Podcasts about hilarious

What a glorious night for Packer fans as we once again prove our supremacy over the trash-talking Bears in a heart-stopping thriller! Caleb Williams got exposed when it mattered most, failing to make the plays while our Packers dug deep for the win. From fan calls celebrating the victory to breaking down the game's highs and lows, this episode is pure after-dark gold. Fans unleash on Bears excuses, Caleb's inaccuracies, and why we're still Kings of the North Debates rage over special teams disasters, receiver snaps, and Caleb's elusive scrambling Hilarious takes on announcer blunders, holding calls, and Bears fans' nonstop chirping Shoutouts to standout plays like Nixon's revenge and the defense's clutch stops This episode is brought to you by PrizePicks! Use code PACKDADDY and visit https://prizepicks.onelink.me/LME0/PACKDADDY to get started with America's #1 fantasy sports app. Don't forget to subscribe, rate, and review to keep the Packer net vibes rolling—your support means everything! Hit us up on social for more trash talk and stay tuned for the rematch breakdown. #GoPackGo #BearsStillSuck #PackernetAfterDark To advertise on this podcast please email: ad-sales@libsyn.com Or go to: https://advertising.libsyn.com/packernetpodcast

On this week's episode of The Therapy Crouch, chaos is very much the theme as Abbey and Pete dive straight into tash turmoil, surprise mood swings and a Fashion Awards night that left Abbey fuming in her fleece at home.We get a full breakdown of Pete's accidental “golf-club-after-party” at their house, while Abbey confesses to the most unhinged hangover day of her life—complete with a Chinese and a Big Mac.The pair also open up about a genuinely frightening night when their tiny puppy had to be rushed to an emergency vet, before lightening the mood with the funniest listener messages about accents, school slang and childhood run-ins—including Abbey being hit in the head with a Coke can by a young Wayne Rooney.Names turn into a battlefield this week too, as a listener's football-inspired baby dilemma sends Abbey and Pete spiralling into their own stories about Jack's almost-name, why Rafa was banned, and Abbey's unexpected crush on Phil Foden's footwork.In the Agony Abs, things get more emotional as they tackle trauma-based parental anxiety, hidden dating history, and the disastrous consequences of snooping through your partner's phone.If you need laughter, honesty and a bit of relationship chaos—this week's pod has everything.00:00 – Pete's “Tom Selleck vibes” tash saga01:37 – Abbey ill in bed while Pete attends Fashion Awards02:16 – The role-reversal “Get Ready With Me” story03:53 – Weekly Whine: Pete brings the entire golf club home… again05:09 – Abbey's hangover day of Chinese and McDonalds06:32 – Their puppy's poorly saga08:31 – Listener letter: Classroom accents turning Scouse10:09 – Abbey's childhood story of Wayne Rooney throwing Coke at her13:20 – Language learning in football changing-room culture16:22 – The “Tilly Tilly” wedding name story17:07 – Ross nearly becoming “Ross Ross” as a child18:01 – Hilarious name combos20:05 – Listener expecting a baby & football-inspired name debate21:29 – Abbey's full Phil Foden obsession spiral23:03 – Abbey & Pete talk about picking baby names (Julian, Rafa, Jack)28:33 – Abbey's Christmas chaos & home renovations31:22 – School Christmas fairs, nativities & Abbey'sTV show reading voice33:04 – Listener struggling with parental anxiety & trauma36:04 – Relationship dilemma: girlfriend's hidden dating history41:08 – Phone snooping disaster: partner's private notes exposed46:31 – “Say it, forget it. Write it, regret it.”Find great deals on the things you love https://www.ebay.co.uk/ Email: thetherapycrouch@gmail.com Instagram: https://www.instagram.com/thetherapycrouchpodcastTikTok: https://www.tiktok.com/@thetherapycrouch Website: https://thetherapycrouch.com/ For more from Peterhttps://twitter.com/petercrouchFor more from Abbeyhttps://www.instagram.com/abbeyclancyOur clips channelhttps://www.youtube.com/channel/UCZntcv96YhN8IvMAKsz4Dbg#TheTherapyCrouch #AbbeyAndPete #RelationshipAdvice #Podcast Hosted on Acast. See acast.com/privacy for more information.

After taking a week off to enjoy Thanksgiving with our families, we're back with another installment of Choose What The Future Brings Radio, pushing this Black Culture Through Music! Contrary to what we do the most, our favorite style of poddin' isn't an interview but it's raw conversation and opinions on what's important to us and the people who look like us. This week we're accompanied by the good brother Paris, the creator of Hello New World & more recently, Heart Art, to help us deliver some takes on what's been goin on in the city and in the world! If you know anything about Paris, not only is he a respected creative and entrepreneur, but he's also VERY outspoken about a lot and doesn't hold back on his opinions; so this made for a HILARIOUS yet insightful talk! This week join Charlie MaSheen, Bellez & Paris as we talk about the return of #WEAKestOfTheWeek, the 50 Cent produced docu-series on Netflix that has the world in a chokehold, quarter-zips vs Nike Techs and SO MUCH MORE! We also rated some albums that people kept asking us about and were blessed with 2 new #RedCupsAndRap freestyles from 2 different artists! We had a lot of fun recording this one so make sure you go and TAP INNNNNN! *Drops on YouTube Wednesday 12/10 @ 12:00PM! - - - - - - - - - - - - - - - follow on ig: @CWTFBradio @Charlie.MaSheen @BellezTheGreat @HeartArtParis @HeartArtCommunity CHECK OUT ALL OF OUR CONTENT: www.CWTFB.com Learn more about your ad choices. Visit megaphone.fm/adchoices

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

Sparky Fifer interview, Studz suspended someone from a group chat for a hilarious reason (Hour 2) full 2607 Sat, 06 Dec 2025 19:19:34 +0000 5zxwlV2Cf7941hTbmBtTivVvIEPzHvaC sports Steve Rosenbloom Show sports Sparky Fifer interview, Studz suspended someone from a group chat for a hilarious reason (Hour 2) Former Chicago Tribune writer and columnist Steve Rosenbloom brings his witty, at-times snarky sports commentary to the airwaves on Saturdays at 11 a.m. to lead a show that he and listeners affectionately call Saturday Suckage. Follow him on Twitter @SteveRosenbloom.  2024 © 2021 Audacy, Inc. Sports False

“If you had to choose between your spouse and your lifelong dream of raising a baby raccoon, which would you pick?” That's just one of the thought-provoking questions that kicks off this lively episode of The Sandy Show, where Sandy and Tricia's playful banter takes center stage!

Send us a textJoin David, Jamie, and Kristy on this hilarious episode of Surviving-ISH as they dive into the true crime world, life's unexpected bloopers, and the real-life struggles of menopause and finding time for yourself. Find out the shocking backstory of the popular True Crime podcast, Speculating Wildly About Crime (SWAC Pod)! #swacpod #truecrime #survivingish #menopausehttps://www.youtube.com/@SWACPODSupport the show

Ep 631 features Anthony, a 911 professional and supervisor with Cass County Central Dispatch in Michigan. Sponsored by INdigital - Facebook | LinkedIn | X | Web RapidSOS - Facebook | LinkedIn | X | Web Episode topics – What dispatchers might say if sarcasm was allowed on 911 calls The surprising reality behind common (and not-so-emergency) 911 calls Dispatchers' picks for their ultimate theme songs while putting on the headset Hilarious slip-ups like accidentally saying "I love you" to callers The must-have snacks and dream dispatch chair features every dispatcher deserves If you have any comments or questions or would like to be a guest on the show, please email me at wttpodcast@gmail.com.

From throwing knives through a painting to surviving a grocery store parking lot accident, this week on The Jubal Show, the crew shares their wildest personal moments. Hear about pregnancy class mishaps, home decorating adventures with command strips, and corporate chaos that proves not everyone is cut out for leadership. You can find every podcast we have, including the full show every weekday right here…➡︎ https://thejubalshow.com/podcasts The Jubal Show is everywhere, and also these places: Website ➡︎ https://thejubalshow.com Instagram ➡︎ https://instagram.com/thejubalshow X/Twitter ➡︎ https://twitter.com/thejubalshow Tiktok ➡︎ https://www.tiktok.com/@the.jubal.show Facebook ➡︎ https://facebook.com/thejubalshow YouTube ➡︎ https://www.youtube.com/@JubalFresh Support the show: https://the-jubal-show.beehiiv.com/subscribeSee omnystudio.com/listener for privacy information.

Fluent Fiction - Dutch: Suitcase Switcheroo: A Hilarious Holiday Adventure at Schiphol Find the full episode transcript, vocabulary words, and more:fluentfiction.com/nl/episode/2025-12-04-23-34-02-nl Story Transcript:Nl: In de drukte van Schiphol was alles een gezellige chaos.En: In the bustle of Schiphol, everything was a cozy chaos.Nl: De winterse kou hield reizigers binnen, weg van de gure wind.En: The winter cold kept travelers inside, away from the harsh wind.Nl: Overal hingen Sinterklaas-versieringen, en de geur van warme chocolademelk vulde de lucht.En: Sinterklaas decorations were everywhere, and the smell of hot chocolate filled the air.Nl: Sander was blij.En: Sander was happy.Nl: Zijn vlucht zou niet lang meer duren, en alles verliep volgens planning.En: His flight wouldn't take much longer, and everything was going according to plan.Nl: Naast hem stonden Femke en Bram, op zoek naar hun bagage.En: Next to him stood Femke and Bram, looking for their luggage.Nl: Bram keek om zich heen, zijn ogen glinsterend van opwinding.En: Bram looked around, his eyes sparkling with excitement.Nl: "Kijk eens wat een mooie versieringen!"En: "Look at those beautiful decorations!"Nl: zei hij.En: he said.Nl: Sander knikte beleefd, maar zijn ogen bleven op de bagageband gericht.En: Sander nodded politely, but his eyes remained fixed on the baggage carousel.Nl: "Ik moet mijn koffer vinden.En: "I need to find my suitcase.Nl: Ik wil op schema blijven," mompelde hij.En: I want to stay on schedule," he muttered.Nl: Plotseling verscheen een grote, zwarte koffer op de band.En: Suddenly, a large, black suitcase appeared on the belt.Nl: "Dat is de mijne!"En: "That's mine!"Nl: riep Femke vrolijk.En: exclaimed Femke cheerfully.Nl: Maar toen ze hem opende, zag ze een zakelijke outfit in plaats van haar schetsboeken.En: But when she opened it, she saw a business outfit instead of her sketchbooks.Nl: Sander trok een keurige wenkbrauw op.En: Sander raised a tidy eyebrow.Nl: "Dat is niet van mij," zei hij snel.En: "That's not mine," he said quickly.Nl: "Waar is mijn koffer?"En: "Where is my suitcase?"Nl: vroeg Bram, terwijl hij probeerde de inhoud van Femke's koffer te zuiver.En: Bram asked, as he tried to clear out the contents of Femke's suitcase.Nl: Na rondvragen kwamen ze tot de conclusie dat hun koffers allemaal waren verwisseld.En: After asking around, they concluded that all their suitcases had been swapped.Nl: "We moeten hulp vragen," stelde Sander voor.En: "We have to ask for help," Sander suggested.Nl: Hij stapte kordaat naar de balie.En: He walked confidently to the counter.Nl: Terwijl Sander druk in gesprek was met de dame aan de balie, haalde Femke haar schetsboek tevoorschijn en begon tekeningen te maken van hun verdwenen spullen.En: While Sander was busy talking to the lady at the desk, Femke pulled out her sketchbook and started drawing pictures of their missing items.Nl: Bram, intussen, besloot om gesprekkies te voeren met andere reizigers.En: Bram, meanwhile, decided to chat with other travelers.Nl: Misschien hadden zij iets gezien.En: Maybe they had seen something.Nl: Na een tijdje kwamen Sander, Femke en Bram weer bij elkaar.En: After a while, Sander, Femke, and Bram gathered again.Nl: Ze hadden nog steeds hun koffers niet.En: They still hadn't found their suitcases.Nl: Plots hoorde Femke iemand schaterlachen.En: Suddenly, Femke heard someone laughing uproariously.Nl: Een kleurrijk geklede reiziger hield twee koffers vast, en tranen van het lachen biggelden over zijn wangen.En: A colorfully dressed traveler held two suitcases, and tears of laughter streamed down his cheeks.Nl: "Hebben jullie je tassen gemist?"En: "Did you miss your bags?"Nl: grinnikte hij.En: he chuckled.Nl: "Ik zag de naamkaartjes en dacht aan een Sinterklaas-streek.En: "I saw the name tags and thought of a Sinterklaas prank.Nl: Daardoor wilde ik ze even 'lenen'."En: So I wanted to 'borrow' them for a bit."Nl: Sander begon eerst wat geïrriteerd te protesteren, maar toen begon hij te lachen.En: Sander began to protest irritably at first, but then he started to laugh.Nl: "Nou, dit is een ervaring," gaf hij toe.En: "Well, this is an experience," he admitted.Nl: De reiziger deed de koffers open en onthulde al hun spullen, inclusief Bram's onmisbare souvenirs voor Sinterklaas.En: The traveler opened the suitcases and revealed all their things, including Bram's indispensable souvenirs for Sinterklaas.Nl: Nadat alles was opgehelderd, namen Sander, Femke en Bram afscheid van hun nieuwe excentrieke vriend.En: After everything was cleared up, Sander, Femke, and Bram said goodbye to their new eccentric friend.Nl: "Misschien moeten we elkaar nog eens opzoeken," stelde Femke voor.En: "Maybe we should meet up again," Femke suggested.Nl: Bram knikte instemmend.En: Bram nodded in agreement.Nl: "Jazeker!En: "Definitely!Nl: Met Sinterklaas," voegde hij lachend toe.En: With Sinterklaas," he added with a laugh.Nl: Zonder nog meer omwegen vervolgden ze hun reis, geladen met koffers én een nieuwe vriendschap.En: Without any more detours, they continued their journey, loaded with suitcases and a new friendship.Nl: Sander voelde zich bevrijd, Femke genietend van de humor van de situatie en Bram, zoals altijd, een verhaal rijker.En: Sander felt liberated, Femke enjoyed the humor of the situation, and Bram, as always, had another story to cherish.Nl: Terwijl ze hun doelen bereikten, realiseerde Sander zich dat soms de beste plannen niet perfect hoeven te zijn.En: As they reached their destinations, Sander realized that sometimes the best plans don't have to be perfect.Nl: Femke kreeg haar schetsboek terug, en Bram had een onverwacht avontuur om te koesteren.En: Femke got her sketchbook back, and Bram had an unexpected adventure to treasure.Nl: Op Schiphol was alles weer zoals het hoorde, gevuld met de kleur en vreugde van de feestdagen.En: At Schiphol, everything was as it should be again, filled with the color and joy of the holidays.Nl: Hun reis was compleet.En: Their trip was complete. Vocabulary Words:bustle: druktechaos: chaosharsh: gurewinter: wintersedecorations: versieringensparkling: glinsterendpolitely: beleefdcarousel: bagagebandmuttered: mompeldeexclaimed: riepcheerfully: vrolijktidy: keurigeswapped: verwisseldconfidently: kordaatsketchbook: schetsboekuproariously: schaterlachencolorfully: kleurrijkstreamed: biggeldenchuckled: grinnikteprotest: protesterenirritably: geïrriteerdindispensable: onmisbaresouvenirs: souvenirseccentric: excentriekesuggested: voorsteldedetours: omwegenliberated: bevrijdhumor: humorcherish: koesterenrealized: realiseerde

Fitzy’s mate thought he’d sneak off work and ‘chuck a sickie’ to catch the Aussies vs England in the Ashes but on the plane over, something happened that left him absolutely panicked! Meanwhile, Kate’s got a boyfriend test you can try out on your partner, Fitzy’s buzzing about a new movie announcement starring Leonardo DiCaprio, and we’ve got Riddle Time lined up to take you into the weekend!See omnystudio.com/listener for privacy information.

Support the show: http://www.newcountry963.com/hawkeyeinthemorningSee omnystudio.com/listener for privacy information.

On this week's Wrap Party, Zeth is joined by Double Elvis' Head of Production, Matt Beaudoin, to break down the first season of Tim Robinson's hilarious and absurd show ‘The Chair Company.' Plus, we hear from you about your favorite holiday movies, and we want to know: what's the best kidnapping film? Call or text (617) 906-6638, email disgracelandpod@gmail.com, or reach out on socials @disgracelandpod. 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

President Trump says if the tariffs keep working, he’s expecting that income tax will soon be ABOLISHED! Plus, is the FBI turning on Kash Patel and Dan Bongino? See omnystudio.com/listener for privacy information.

In episode #173 of Misery Loves Mandy, Mandy shares her weirdest plane encounter yet, complete with red flags and apple juice — no ice.

Send us a textRemembering Ozzy Osbourne on his birthday. A hilariously dated Subway employee training video. Some of the wildest mishaps during the Macy's Thanksgiving Day Parade.Episode 222 kicks off December and the Holiday Season with a package of GenX nostalgia tucked neatly under the tree.It all begins with a celebration of the Prince of Darkness himself, Ozzy Osbourne, on what would have been his 77th birthday. A creator of heavy metal, a celebrated icon of music, a reality TV star, and more. Ozzy transcended music and became a pop culture legend. We dive deep into his life and the accomplishments of the man himself.Awkward interactions, questionable hygiene, and seriously weak attempts at humor. You'll find all of this and more in a hilariously dated employee training video from Subway in 1993. All you need to know is there is a pie chart of customer complaints, with one of them being not wearing gloves, and the very next scene is an employee making a sub without gloves. A classic video for sure.Thanksgiving might be over but there is more turkey day fun to be had. In a new Top 5 we look at some of the biggest Macy's Day Parade mishaps. Hint: They all involve rogue balloons.There is a brand new This Week In History and Time Capsule, where we look at the crazy but true story of the woman who was struck by a meteorite.You can support my work by becoming a member on Patreon. Or you can Buy Me A Coffee!Helpful Links from this EpisodeBuy My New Book, In Their Footsteps!Searching For the Lady of the Dunes True Crime BookHooked By Kiwi - Etsy.comDJ Williams MusicKeeKee's Cape Cod KitchenChristopher Setterlund.comCape Cod Living - Zazzle StoreSubscribe on YouTube!Initial Impressions 2.0 BlogCJSetterlundPhotos on Etsy1993 Subway Employee Training VideoListen to Mixtape #2 hereSupport the show

When the undead start sprinting and the mall becomes the ultimate apocalypse hangout, Jackie and Danielle grab their metaphorical Blockbuster name tags and dive headfirst into the chaotic, hilarious, and surprisingly emotional world of Dawn of the Dead (2004). From fast zombies to questionable survival instincts, this remake gives us plenty to chew on and the No More Late Fees crew is here to break it all down with their signature Y2K flair.In this episode, the trio revisits Zack Snyder's high-octane reimagining and unpacks everything from the unforgettable opening sequence to the mall-cop power struggle and the legendary rooftop friendship with Andy. They dig into the character dynamics—from Anna's nonstop trauma and Kenneth's quiet determination to Nicole's questionable decision-making and Andre's zombie-baby storyline—while sprinkling in behind-the-scenes fun facts, box-office trivia, and their own Y2K ratings rewind. Expect witty commentary, fandom hot takes, and nostalgic deep dives into the kind of early-2000s horror that defined an era.Listeners will also hear: • Trivia about the film's tight budget, fast-zombie innovation, and practical effects • A breakdown of iconic scenes like the bloated woman, the improvised rooftop games, and the unforgettable chainsaw moment • Character analysis exploring relationships, motivations, and emotional arcs • Hilarious commentary on mall survival logic, dog-rescue chaos• A look at what still holds up, what definitely doesn't, and how their original Blockbuster-era ratings compare to today's takesIf you love nostalgic movie deep dives, early-2000s horror, or just want to laugh through the apocalypse, hit that subscribe button, drop a review, and share your favorite moment from the episode to help other fans discover the show.Search Keywords: Dawn of the Dead podcast, 2004 horror movie review, zombie movie analysis, Zack Snyder remake discussion, No More Late Fees episode, behind-the-scenes horror trivia, early 2000s movies podcast, horror nostalgia breakdown, fast zombies debate, Dawn of the Dead cast analysis, movie rewatch podcast, zombie film commentary·Season 5 Episode 29·—No More Late Fees ⁠https://nomorelatefeespodcast.com⁠909-601-NMLF (6653)—Follow Us on Social:Instagramhttps://www.instagram.com/nomorelatefees TikTokhttps://www.tiktok.com/@nomorelatefees Facebookhttps://www.facebook.com/nomorelatefeesYoutubehttps://www.youtube.com/@nomorelatefees Twitterhttps://x.com/NoMoreLateFees —CONQUERing⁠⁠myconquering.com⁠⁠10% Off Code: JACKIE10—DescriptCreator Plan 50% off 2 monthshttps://descript.cello.so/zp4OQqeIMdq—Anwarhttps://www.instagram.com/theanwarali/ https://www.tiktok.com/@theanwaraliPrevious EpisodesFinal Girls with Anwarhttps://nomorelatefeespodcast.com/episode/final-girls-with-anwarTales from the Crypt: Demon Knighthttps://nomorelatefeespodcast.com/episode/tales-from-the-crypt-demon-knightChatting with Anwarhttps://nomorelatefeespodcast.com/episode/chatting-with-anwarDeliver Us from Evahttps://nomorelatefeespodcast.com/episode/deliver-us-from-evaGetting Social with Anwarhttps://nomorelatefeespodcast.com/episode/getting-social-with-anwarKilljoyhttps://nomorelatefeespodcast.com/episode/killjoyChillin' with the Creepy Kidshttps://nomorelatefeespodcast.com/episode/chillin-with-creepy-kids-horrors-scariest-youngsters-with-anwarGhost Shiphttps://nomorelatefeespodcast.com/episode/ghost-ship

Bubba Dub is back for a wild Monday night episode filled with comedy, chaos, sports talk, celebrity news, and one of the funniest interviews you’ll hear all year. This episode is STACKED from start to finish. Dub kicks things off with his monthly PrizePicks giveaway, announcing FIVE $100 lineup winners and giving game to new players on how to sign up and tap in. From there, Dub jumps into the headlines lighting up the culture:

Jeffrey Paul and Sean Morton welcome back fan favorite Mark Riccadonna for an episode packed with unfiltered comedy, wild storytelling, and full-scale musical chaos. The guys dive into Rolling Stone's “Top Songs of the 21st Century” and “Greatest Guitarists” lists — and absolutely torch them. They also react to some of the strangest music videos and commercials ever made, including a roller-rink PSA, a Real Housewife's club anthem, an 80s metal band with a trombone, and the unforgettable JJ Fish.Hilarious arguments, brutal opinions, insane videos, and Mark's sharp comedic energy make this one a must-listen.Roller skate. Don't smoke crack.

Well, well, well… look at Maroon taking a day off on the 2nd last show of the year! Adam Peacock is back for an encore with Millie and Hindy, and the guys speak to Pressure from the Hilltop Hoods, they take your calls on your best pranks and it’s the last Rush Hour’s last believe it or not for the year!See omnystudio.com/listener for privacy information.

Topics discussed: Giants' Brian Burns calls Drake Maye "too poised" | Brian Hoyer on how cold weather could impact Drake Maye's performance on Monday night (The Drive) // Our official score predictions for Patriots-Giants on Monday Night Football // Chef Elizabeth Heiskell loses a hilarious bet after Lane Kiffin leaves Ole Miss (Odds and Ends)

'What's the story with the metal seagull in the tree?'Dave chats to Neil about his brand-new show, 'Reinventing the Neil'.

Legendary comedian and storyteller Bill Bellamy pulls up to 7PM in Brooklyn and shares hilarious stories from across his career. He chops it up with Carmelo Anthony and Kazeem Famuyide about hooping with Michael Jordan during the Space Jam era, meeting Michael Jackson with Biggie, and the wild world of 90s and 2000s pop culture. Bill drops never before heard stories about his cousin Shaquille O'Neal, legendary run-ins, and the moments that shaped his journey from comedy to film.They tap into how he created “rizz” before the internet, his classic movies, the origin of “Booty Calls", his bond with Bernie Mac, and what it took to bet on himself early in his career. This episode is full of laughs and iconic stories. Tap in. Learn more about your ad choices. Visit megaphone.fm/adchoices

Scotch, Tank, and Mandy needed a little fun today—so they’re playing the ultimate game of tough decisions: One Must Go! From favorite foods to pop culture staples, which beloved things will survive and which will get the boot? Hilarious debates, shocking choices, and plenty of laughs. Play along and see if you agree with the crew!See omnystudio.com/listener for privacy information.

Here's an Amazon link to my microphone: https://amzn.to/3lInsRR Wanna rock the ReddX merch? https://teespring.com/stores/r... Got a story? I got a subreddit: https://www.reddit.com/r/ReddX... In this episode of r/LegbeardStories we encounter Kreepy Kali the creepy legbeard... She seems to be clueless about how to interject and says the strangest things. Eventually OP's friend group has enough and tells her to stop being a legbeard stalker. Does she listen? Does she put on the legbeard denial hat and pretend that everything is still just fine? Bro, what do you think? Is this your first legbeard story? Oh man... Good cringe. It doesn't matter what your background is, you always need to treat people like people and not use them simply to get off. Neckbeards seem to learn this lesson particularly slow and it really does make my blood boil... So we must bring it to light so others don't suffer alone. For your fill of neckbeard stories we've got you covered with the freshest weeaboo, niceguy, and neckbeard happenings on reddit. Stick with ReddX for your daily dose of cringe with a side-dish of relatability. You might even feel good for dessert... But who can say? #creepy #legbeard #stalker Join me on Discord dude: https://discord.gg/Sju7YckUWu One-time PayPal donation: https://www.paypal.me/daytondo... Support this channel on Patreon: http://patreon.com/daytondoes Stalk me on the Twitter! http://www.twitter.com/daytond... Visit me over on Facebook: https://www.facebook.com/ReddX... Check out my other channel: https://www.youtube.com/dayton... Wifey's channel is right over here: https://www.youtube.com/channe... Have you ever met a neckbeard or a legbeard? They are frustrating to deal with, but luckily you aren't alone! These r/legbeardstories from Reddit are among the top posts of all time and include some of the funniest Reddit stories ever posted on the legbeard stories subreddit! rSlash LegbeardStories have all kinds of funny legbeards in them, but especially the nice girl. And the weeaboo. There is a wide spectrum of neckbeards, and this is but a small slice of it. Listening to ReddX's legbeard stories playlist is a great experience! These neckbeard stories Top Posts of All Time from Reddit are made for you to enjoy any time you feel like it, so be sure to save my rSlash legbeard stories playlist to your favorites! While there are many rslash channels that read r/legbeard stories and r/prorevenge from reddit, each channel has their own way of performing them. Some of the top rSlash subreddit narration channels I recommend checking out are the original rSlash, Redditor, fresh, r/Bumfries, VoiceyHere, Mr Reddit, Storytime and Darkfluff. These Reddit story channels inspired me to start my own Reddit story channel, with a focus on legbeard stories and at times going into the r/pettyrevenge and r/choosingbeggars subreddit as well. Because most of my audience prefers Neckbeard Stories of Reddit, I tend to just stick with reading the r/EntitleParents Top Posts of All Time. But I also enjoy getting up close and personal with legbeards and weeaboos from time to time. Subscribe to ReddX for the freshest daily Reddit content. I post relatable readings of Reddit posts and Reddit stories every single day! Journey with me as I relate these amazing Reddit stories to my personal life journey. I'm greatly inspired by the top reddit posts of all time videos and reddit stories on YouTube which is why I started doing them myself. YouTube: https://www.youtube.com/channe... Discord: https://discord.gg/Sju7YckUWu Twitch: https://www.twitch.tv/daytondo... PayPal: https://www.paypal.me/daytondo... Patreon: http://patreon.com/daytondoes Twitter: http://www.twitter.com/daytond... Facebook: https://www.facebook.com/ReddX... Merch: https://reddx-shop.fourthwall....

Join Opie for a wild live session at Gebhards just before Thanksgiving, packed with irreverent banter on turkey debates, fart-filled bus rides, and bizarre bar finds that will have you laughing out loud. Featuring comedians Ron the Waiter and Tony P dishing outrageous stories, plus musicians Michael G Potter and Interstate Johnson adding tunes to the mix, this episode uncovers surprising twists like why Rocky tops Thanksgiving movie lists. Opie's obsession with hating olives, wildest thing Tony P found in a tirlet and Matt's 3 year old wants what for Christmas!?! Tune in for the ultimate dose of witty holiday escapism that'll make your family gathering feel tame by comparison.

Let's talk Monday Night Raw that aired November 24th, 2025. The final Raw before this weekend's major PLE, Survivor Series. One that saw Brock Lesnar slip and fall, more tournament matches and the Men's & Women's War Games final build.Go Ad-Free at patreon.com/wwepodcastBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-wwe-podcast--2187791/support.

Attorney General Phil Weiser reinforced his 'soft-on-crime' stance with an infamous comment on when and how auto theives should be punished - after stealing 3 or 4 cars over four months. Another fatal wreck involving a car thief has Dan fired up.President Trump brought his 'A-game' to a press conference announcing the pardon of turkeys for Thanksgiving.

Lern shines in today's daily show as she shares the family traditions, characters, and chaotic holiday stories that shaped her — including the jaw-dropping reveal that she still has relatives who show up to Thanksgiving literally dressed as pilgrims (and even a “Native American” costume cameo). The room erupts as the crew breaks down this Southern Illinois cultural moment, turning it into one of the most unforgettable conversations of the episode.It also happens to be Lern's Week, with her announcement of being inducted into the Illinois State University WZND Radio Hall of Fame — the first Rizz Show cast member to enter any Hall of Fame.Between Fell Hall memories, her early DJ shifts, and the emotional weight of returning home, the crew celebrates her with the full Rizz Show energy.Add in Thanksgiving debates, casserole controversies, etiquette fights, parade lip-sync conspiracies, awkward family announcements, and the classic Rizzuto Show pile-on, and you've got a perfect mix of sarcastic humor, weird news vibes, and all the daily-podcast fun you've come to expect from the Rizz crew's daily show.Follow The Rizzuto Show → https://linktr.ee/rizzshowConnect at → https://1057thepoint.com/RizzShowWatch the daily show live on YouTube from 6a-10a → https://www.youtube.com/@therizzutoshowHear The Rizz Show daily from 6a-10a on 105.7 The Point | Hubbard Radio | St. Louis, MODaily Show Notes: A New Survey Says 40% Of Americans Want To Skip This Traditional Thanksgiving SideDebate rages about best time for Christmas tree trimming as Americans sound off | Fox NewsShould You Eat Before Your Thanksgiving Meal? What Dieititians SayTurkey population down to lowest in 40 years, wholesale prices soar 40 percent: reports | New York PostThanksgiving Foods You Might Want to Skip on OzempicEvolution Festival will not host a 2026 event | St. Louis MagazineMan accused of lighting woman on fire in western NCPolice arrest alleged frisky thieves who broke into Scottsdale restaurantExperts On Why Volcano Hayli Gubbi Erupted After 12,000 YearsTexas bank robber arrested after trying to rob same branch nearly a decade later | New York PostWhen Rebecca the Raccoon Ruled the White House | TimelessWatch: Texas bus driver named the world's oldest at 95 - UPI.com15-year-old helps save stepdad with CPR he learned in school: 'He was heroic' - ABC NewsMinnesota couple Zach Zarembinski Isabelle Richard engaged in same hospital they were treated for comas as teens | New York PostCould owning a cat bring health risks? Study suggests it may double the chances of a ‘serious mental health condition'Billikens Overpower Purdue Fort Wayne, 91-60 - Saint Louis UniversitySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Ken Carman and Anthony Lima re-analyze a thought on Shedeur Sanders' performance and the Cleveland Browns game plan, with Ken explaining why it was "necessary" for Sanders of the Browns.

On this episode of Golf & Politics, Matt and Rob sit down with one of the most fascinating personalities in the game: golf photographer, storyteller, and record-setting adventurer Patrick Koenig, author of The United States of Golf. Patrick shares how he left a conventional career behind to chase a dream—playing over 500 golf courses in a year, criss-crossing America in his RGV (Recreational Golf Vehicle), and capturing the spirit of the sport and the people connected to it. We dive into: ⛳ The day he crossed paths with President Bill Clinton at Sleepy Hollow 

BEFORE ZOOTOPIA 2!! Zootopia Full Movie Reaction Watch Along: ⁠  / thereelrejects  ⁠ Zootopia Reaction, Recap, Commentary, Analysis, & Spoiler Review! Greg Alba & Tara Erickson dive into Disney's Zootopia (2016), the hilarious, heartfelt, surprisingly mature animated adventure starring Judy Hopps, Nick Wilde, Chief Bogo, Bellwether, Mayor Lionheart, Flash, Clawhauser, Yax, and the entire ZPD squad. We break down all the iconic scenes — the DMV sloth sequence with Flash, Judy & Nick's first meeting, Mr. Big's “ice-'em” moment, the Night Howlers twist, the Gazelle concert, the train chase, the cliff fight, and the emotional “Try Everything” finale. We also revisit the most popular quotes (“It's called a hustle, sweetheart,” “Let it go,” “We are in a really big hurry!”) and the deeper themes about prejudice, stereotypes, identity, ambition, fear, and community that made Zootopia one of Disney's smartest films ever. With Zootopia 2 releasing THIS WEEK, we compare world-building, character arcs, the return of Judy & Nick, the new mystery storyline, and what Disney has confirmed for the sequel. Expect full commentary, fun tangents, Easter-egg breakdowns, analysis of Michael Giacchino's score, and a whole lot of love for this universe. Follow Tara Erickson: Youtube:⁠ https://www.youtube.com/@TaraErickson⁠ Instagram: ⁠ https://www.instagram.com/taraerickson/⁠ Twitter: ⁠ https://twitter.com/thetaraerickson⁠ 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

You know her by her HILARIOUS (& award-winning) Reels about the beauty and barber industry, but this episode we actually get to KNOW Mz. Morgan Thomas, aka Kathryn aka @JadeBeautyCo! You're gonna love how beautiful this woman truly is and how much she has to offer the professional beauty and barber industry in this episode of The BeautyPro Podcast! WANT MORE MORGAN? Instagram: https://www.instagram.com/jadebeautyco/Links: https://linktr.ee/jadebeautycoWANT MORE KRYSTINE?For 1:1 Coaching, Freebies & More, TAP HERE: ⁠⁠⁠⁠bit.ly/3S5R2lo⁠⁠⁠⁠LOVE THIS EPISODE?Leave Your Ratings, Reviews & Comments on the Podcast! Your feedback allows for more nourishing content and for more on-point education for beauty & barber pros.

Support the show: http://www.newcountry963.com/hawkeyeinthemorningSee omnystudio.com/listener for privacy information.

BEFORE ZOOTOPIA 2!! Zootopia Full Movie Reaction Watch Along:   / thereelrejects   Zootopia Reaction, Recap, Commentary, Analysis, & Spoiler Review! Greg Alba & Tara Erickson dive into Disney's Zootopia (2016), the hilarious, heartfelt, surprisingly mature animated adventure starring Judy Hopps, Nick Wilde, Chief Bogo, Bellwether, Mayor Lionheart, Flash, Clawhauser, Yax, and the entire ZPD squad. We break down all the iconic scenes — the DMV sloth sequence with Flash, Judy & Nick's first meeting, Mr. Big's “ice-'em” moment, the Night Howlers twist, the Gazelle concert, the train chase, the cliff fight, and the emotional “Try Everything” finale. We also revisit the most popular quotes (“It's called a hustle, sweetheart,” “Let it go,” “We are in a really big hurry!”) and the deeper themes about prejudice, stereotypes, identity, ambition, fear, and community that made Zootopia one of Disney's smartest films ever. With Zootopia 2 releasing THIS WEEK, we compare world-building, character arcs, the return of Judy & Nick, the new mystery storyline, and what Disney has confirmed for the sequel. Expect full commentary, fun tangents, Easter-egg breakdowns, analysis of Michael Giacchino's score, and a whole lot of love for this universe. Follow Tara Erickson: Youtube: https://www.youtube.com/@TaraErickson Instagram:  https://www.instagram.com/taraerickson/ Twitter:  https://twitter.com/thetaraerickson 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

The guys get this week's Best of Valenti underway with some stats that highlight some concerning trends for the Lions. Plus, they take a caller who thinks Mike is Riger, react to the rumored Big Ten private equity deal, and much more.

Dive into the chaos of Packernet After Dark as we gear up for the Packers-Vikings showdown with hilarious caller stories, brutal Bears takedowns, and mouthwatering meat talk that'll have you firing up the smoker. From bathroom brawl anthems that had everyone cracking up to predictions on Aaron Jones going beast mode at 31, this episode is packed with unfiltered fan fire. Whether it's exposing Chicago's lucky wins or hyping a potential run-the-table streak, we're keeping it real and rowdy. Hilarious takes on the viral bathroom fight song and why Omar's story deserves eternal Lambeau loops Deep dive into the Bears' overrated hype, draft disasters, and why their GM is setting them up for another epic fail Game preview: Stacking the box against JJ McCarthy, Aaron Jones threats, and hopes for clean Packer play with no drops Smoked prime rib recipes loaded with garlic butter and rosemary for the ultimate game day feast This episode is brought to you by PrizePicks! Use code PACKDADDY and visit https://prizepicks.onelink.me/LME0/PACKDADDY to get started with America's #1 fantasy sports app. Subscribe, rate, and review to keep the after-dark vibes rolling—hit us up on social for your wild takes! #GoPackGo #PackernetAfterDark #BearsSuck #GameDayEats To advertise on this podcast please email: ad-sales@libsyn.com Or go to: https://advertising.libsyn.com/packernetpodcast

Dive into the chaos of Packernet After Dark as we gear up for the Packers-Vikings showdown with hilarious caller stories, brutal Bears takedowns, and mouthwatering meat talk that'll have you firing up the smoker. From bathroom brawl anthems that had everyone cracking up to predictions on Aaron Jones going beast mode at 31, this episode is packed with unfiltered fan fire. Whether it's exposing Chicago's lucky wins or hyping a potential run-the-table streak, we're keeping it real and rowdy. Hilarious takes on the viral bathroom fight song and why Omar's story deserves eternal Lambeau loops Deep dive into the Bears' overrated hype, draft disasters, and why their GM is setting them up for another epic fail Game preview: Stacking the box against JJ McCarthy, Aaron Jones threats, and hopes for clean Packer play with no drops Smoked prime rib recipes loaded with garlic butter and rosemary for the ultimate game day feast This episode is brought to you by PrizePicks! Use code PACKDADDY and visit https://prizepicks.onelink.me/LME0/PACKDADDY to get started with America's #1 fantasy sports app. Subscribe, rate, and review to keep the after-dark vibes rolling—hit us up on social for your wild takes! #GoPackGo #PackernetAfterDark #BearsSuck #GameDayEats To advertise on this podcast please email: ad-sales@libsyn.com Or go to: https://advertising.libsyn.com/packernetpodcast

November 21, 2025; 8pm: Tonight, the Mamdani meeting with Donald Trump and what it says about where we are. Then, the cracks in MAGA world after the Epstein vote. Plus, the spectacular collapse of Donald Trump's plan to hold onto power. And the ongoing fallout from the president's threats to members of Congress. Want more of Chris? Download and follow his podcast, “Why Is This Happening? The Chris Hayes podcast” wherever you get your podcasts.To listen to this show and other MS podcasts without ads, sign up for MS NOW Premium on Apple Podcasts. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Dive into the raw, unfiltered chaos of Packers fandom on this episode of Packernet After Dark, where we tackle the offensive line's epic failures and dream of a better tomorrow. From dissecting why our sieve-like blockers are killing drives to hilarious caller stories that'll have you cracking up, we keep it real with no holds barred. Whether it's debating draft fixes or laughing at bathroom "Go Pack Go" mishaps, this call-in show captures the passion and absurdity of being a Green Bay diehard. Breaking down OL contracts, improvements, and why we need to draft guards like Kobe Baines ASAP Hilarious tales from callers: Toddler makeup disasters, forgetting you're on the line during games, and a gross bathroom arm-grab PSA Exploring Malik Willis packages to protect Jordan Love, plus hot takes on Luke Musgrave's stunted growth and Rashan Gary's sack slump Draft watch: Top prospects for center, DT like Kristen Miller, and CB Chris Johnson to bolster the squad This episode is brought to you by PrizePicks! Use code PACKDADDY and visit https://prizepicks.onelink.me/LME0/PACKDADDY to get started with America's #1 fantasy sports app. Subscribe, rate, and review to keep the After Dark vibes alive—your calls make the show! Hit us up on social for more Packers rants. #GoPackGo #PackersNation #AfterDarkChaos To advertise on this podcast please email: ad-sales@libsyn.com Or go to: https://advertising.libsyn.com/packernetpodcast

Dive into the raw, unfiltered chaos of Packers fandom on this episode of Packernet After Dark, where we tackle the offensive line's epic failures and dream of a better tomorrow. From dissecting why our sieve-like blockers are killing drives to hilarious caller stories that'll have you cracking up, we keep it real with no holds barred. Whether it's debating draft fixes or laughing at bathroom "Go Pack Go" mishaps, this call-in show captures the passion and absurdity of being a Green Bay diehard. Breaking down OL contracts, improvements, and why we need to draft guards like Kobe Baines ASAP Hilarious tales from callers: Toddler makeup disasters, forgetting you're on the line during games, and a gross bathroom arm-grab PSA Exploring Malik Willis packages to protect Jordan Love, plus hot takes on Luke Musgrave's stunted growth and Rashan Gary's sack slump Draft watch: Top prospects for center, DT like Kristen Miller, and CB Chris Johnson to bolster the squad This episode is brought to you by PrizePicks! Use code PACKDADDY and visit https://prizepicks.onelink.me/LME0/PACKDADDY to get started with America's #1 fantasy sports app. Subscribe, rate, and review to keep the After Dark vibes alive—your calls make the show! Hit us up on social for more Packers rants. #GoPackGo #PackersNation #AfterDarkChaos To advertise on this podcast please email: ad-sales@libsyn.com Or go to: https://advertising.libsyn.com/packernetpodcast

Gilbert Arenas joins Bubba Dub for one of the most unfiltered and insightful NBA conversations of the year. In this episode, Bubba Dub and Gil break down the NBA gambling allegations, the reality of locker-room culture, player discipline, and why some stars never reach their full potential. They also dive deep into the current state of the Lakers, the pressures that come with superstardom, and what teams really deal with behind the scenes. The conversation covers everything from Ja Morant’s value to the league, Zion Williamson’s durability, Brandon Ingram’s development, and how organizations hide issues with star players. Gilbert also speaks candidly about NBA nightlife, financial pitfalls young players face, and the truth about how gambling investigations actually work. The episode includes honest takes on Luka Dončić vs Larry Bird, Kawhi Leonard’s injuries, Vince Carter’s unreal talent, Grant Hill’s prime, and why Kobe Bryant’s mindset remains unmatched. Bubba Dub adds his signature commentary throughout, pushing the conversation into comedy, real talk, and raw stories you won’t hear anywhere else. Topics Discussed • NBA gambling allegations and player accountability• Lakers roster, coaching challenges, and playoff potential• Ja Morant’s influence and long-term value• Zion Williamson’s conditioning and long-term concerns• Brandon Ingram’s stalled development• NBA nightlife, money mistakes, and culture• Luka Dončić vs Larry Bird comparisons• Kawhi Leonard’s ongoing injury issues• Kobe, Vince Carter, Grant Hill, and NBA legend conversations• Behind-the-scenes team politics and front-office decisions• Marketing, shoe deals, and superstar pressure• Hilarious stories from Gilbert’s playing day About the Show The Bubba Dub Show blends comedy, sports commentary, and real-life conversations with some of the biggest personalities in entertainment and athletics. New episodes weekly. See omnystudio.com/listener for privacy information.

After a couple of weeks off, Amy Earnhardt and Dale Earnhardt Jr. are back for a brand-new episode of Bless Your ‘Hardt. Today's episode starts off hot when Dale gets caught sending his truck away after denting it. Amy accuses Dale of regifting something that was just sitting in their garage, and it sparked the debate: When is it okay to regift something? Then, Dale and Amy recall a hilarious VHS tape they found of Dale Sr. and a little Dale Jr. involving a waterbed. Plus, we solve real listener problems in the Fixins segment presented by Hellmann's and a fun #AskAmy!And for more content, check out our YouTube page: https://www.youtube.com/@BlessYourHardtReal fans wear Dirty Mo. Hit the link and join the crew.

Think you can outsmart Victoria Ramirez? In today’s You Versus Victoria, contestant Heidi takes on Victoria in a fast-paced trivia battle for Louis Tomlinson tickets, and things get hilariously unpredictable. From bizarre guesses about “DJ” and AI to shockingly tricky questions about languages and YouTube history, no one is safe from the fun. The ultimate trivia showdown from The Jubal Show! Think you’ve got the brains to take down Victoria? Listeners go head-to-head with her in a battle of wits, testing their knowledge on everything from pop culture to random facts. Will you come out on top, or will Victoria destroy you? Play along, laugh out loud, and see if you have what it takes to claim victory! ➡︎ Sign up to battle Victoria - https://thejubalshow.com This is just a tiny piece of The Jubal Show. You can find every podcast we have, including the full show every weekday right here…➡︎ https://thejubalshow.com/podcasts The Jubal Show is everywhere, and also these places: Website ➡︎ https://thejubalshow.com Instagram ➡︎ https://instagram.com/thejubalshow X/Twitter ➡︎ https://twitter.com/thejubalshow Tiktok ➡︎ https://www.tiktok.com/@the.jubal.show Facebook ➡︎ https://facebook.com/thejubalshow YouTube ➡︎ https://www.youtube.com/@JubalFresh Support the show: https://the-jubal-show.beehiiv.com/subscribeSee omnystudio.com/listener for privacy information.

In this episode of Misery Loves Mandy, comedian Brandi Denise Boyd joins Mandy for a hilarious and inspiring conversation.From her roots in Chicago stand-up, to performing in L.A., landing a Hulu comedy special, and working with The Tonight Show and JFL, Brandy shares the highs, the lows, and the burrito disasters in between.They cover:

This might be a candidate for best call of 2025.

Dive into the raw frustration and fiery takes from Packers fans as we unpack the team's latest meltdowns, from offensive line disasters to coaching crossroads that could reshape everything. Ryan Schlipp holds nothing back in this unfiltered late-night rant, blending historical tangents with brutal honesty on why simple fixes often backfire spectacularly. With calls pouring in on everything from Mao's sparrows to Watson shoving linebackers, this episode captures the emotional rollercoaster of being a true Packers diehard. Nate drops a wild historical correction on Mao's sparrow-killing fiasco, tying it to Packers' unintended consequences like exploding cobra populations in India—proving even "smart" decisions can wreck havoc on the field. Garrett unleashes on the soft offensive line and play-calling predictability, demanding a new O-line coach while floating bold replacements like Joe Brady or Todd Monken if LaFleur falters. Debates rage on receiver roles: Is Christian Watson ready to dominate as the X, or does Romeo Dobbs' clutch play keep capping the offense? Plus, why Jordan Love's Yips scream protection issues. Hilarious chaos ensues with prank calls, Alexa bathroom interruptions, and a custom song roasting smart home fails mid-film breakdown—pure After Dark banter at its edgiest. This episode is brought to you by PrizePicks! Use code PACKDADDY and visit https://prizepicks.onelink.me/LME0/PACKDADDY to get started with America's #1 fantasy sports app. Hit subscribe, drop a review, and smash that like button if you're riding this Packers emotional wave with us. Tell me your thoughts on this one—I want to hear from you. Who's your dream LaFleur replacement? Up next: More film breakdowns and fan calls as we gear up for the Giants clash. To advertise on this podcast please email: ad-sales@libsyn.com Or go to: https://advertising.libsyn.com/packernetpodcast Support the Show & Explore My Projects Help keep the show growing and check out everything I'm building across the Packers and NFL world: Support: Patreon: www.patreon.com/pack_daddy Venmo: @Packernetpodcast CashApp: $packpod Projects: Grade NFL Players ➜ fanfocus-teamgrades.lovable.app Packers Hub ➜ packersgames.com Create NFL Draft Big Boards ➜ nfldraftgrades.com Watch Draft Prospects ➜ draftflix.com Screen Record ➜ pause-play-capture.lovable.app Global Economics Hub ➜ global-economic-insight-hub.lovable.app

Dive into the raw frustration and fiery takes from Packers fans as we unpack the team's latest meltdowns, from offensive line disasters to coaching crossroads that could reshape everything. Ryan Schlipp holds nothing back in this unfiltered late-night rant, blending historical tangents with brutal honesty on why simple fixes often backfire spectacularly. With calls pouring in on everything from Mao's sparrows to Watson shoving linebackers, this episode captures the emotional rollercoaster of being a true Packers diehard. Nate drops a wild historical correction on Mao's sparrow-killing fiasco, tying it to Packers' unintended consequences like exploding cobra populations in India—proving even "smart" decisions can wreck havoc on the field. Garrett unleashes on the soft offensive line and play-calling predictability, demanding a new O-line coach while floating bold replacements like Joe Brady or Todd Monken if LaFleur falters. Debates rage on receiver roles: Is Christian Watson ready to dominate as the X, or does Romeo Dobbs' clutch play keep capping the offense? Plus, why Jordan Love's Yips scream protection issues. Hilarious chaos ensues with prank calls, Alexa bathroom interruptions, and a custom song roasting smart home fails mid-film breakdown—pure After Dark banter at its edgiest. This episode is brought to you by PrizePicks! Use code PACKDADDY and visit https://prizepicks.onelink.me/LME0/PACKDADDY to get started with America's #1 fantasy sports app. Hit subscribe, drop a review, and smash that like button if you're riding this Packers emotional wave with us. Tell me your thoughts on this one—I want to hear from you. Who's your dream LaFleur replacement? Up next: More film breakdowns and fan calls as we gear up for the Giants clash. To advertise on this podcast please email: ad-sales@libsyn.com Or go to: https://advertising.libsyn.com/packernetpodcast Support the Show & Explore My Projects Help keep the show growing and check out everything I'm building across the Packers and NFL world: Support: Patreon: www.patreon.com/pack_daddy Venmo: @Packernetpodcast CashApp: $packpod Projects: Grade NFL Players ➜ fanfocus-teamgrades.lovable.app Packers Hub ➜ packersgames.com Create NFL Draft Big Boards ➜ nfldraftgrades.com Watch Draft Prospects ➜ draftflix.com Screen Record ➜ pause-play-capture.lovable.app Global Economics Hub ➜ global-economic-insight-hub.lovable.app

Note: "Act 1" was a separate published audio podcast.*Check out EZ's morning radio show "The InZane Asylum Q100 Michigan with Eric Zane" Click here*Get a FREE 7 day trial to Patreon to "try it out."*Watch the show live, daily at 8AM EST on Twitch! Please click here to follow the page.Email the show on the Shoreliners Striping inbox: eric@ericzaneshow.comTopics:*David Coverdale's silly retirement announcement.*EZ breaks down the "Epstein Discharge Petition."*Tarik Skubal wins 2nd straight Cy Young Award. Contract talks miles apart between Tigers and Skubal.*Hilarious vid of homes ring cam where Insta-kart guy gets freaked out. *EZ recalls this scene from the film, Jarhead.*EZ breaks down "House of Dank."*Some asshole with a sawed off, knocked over a local dispensary.Asshole of the DaySponsors:Impact Powersports, Kuiper Tree Care, Adam Casari Realty, Frank Fuss / My Policy Shop Insurance, Kings Room Barbershop, Shoreliners, Dump A-Haulics,Striping, Ervines Auto Repair Grand Rapids Hybrid & EV, TC PaintballInterested in advertising? Email eric@ericzaneshow.com and let me design a marketing plan for you.Contact: Shoreliners Striping inbox eric@ericzaneshow.comDiscord LinkEZSP TikTokSubscribe to my YouTube channelHire me on Cameo!Tshirts available herePlease subscribe, rate & write a review on Apple Podcastspatreon.com/ericzaneInstagram: ericzaneshowTwitterOur Sponsors:* Check out Secret Nature and use my code ZANE for a great deal: https://secretnature.com* Check out Uncommon Goods: https://uncommongoods.com/zaneSupport this podcast at — https://redcircle.com/the-eric-zane-show-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy