Podcasts about IMDb

Are the Claims of Racism True, or a Distraction? Special Episode. From Chicago to West Virginia, a Law Enforcement Perspective. Few accusations are repeated as often, or with as much certainty, as the claim that American policing and the criminal justice system are inherently racist. It's a powerful narrative, amplified daily across social media, headlines, and political talking points. But is it true? Or has it become a dangerous distraction from facts, context, and real solutions? Look for The Law Enforcement Talk Radio Show and Podcast on social media like their Facebook , Instagram , LinkedIn , Medium and other social media platforms. That question is at the center of a special episode of the Law Enforcement Talk Radio Show and Podcast, available on their website, also on Apple Podcasts, Spotify, Youtube and many major streaming platforms, and discussed across Facebook, Instagram, and the news. The episode features Maurice “Maury” Richards, a former Police Chief in Martinsburg, West Virginia, and a retired Chicago Police Lieutenant with decades of frontline experience. Experience From Two Very Different Cities Richards' career spans two vastly different policing environments, urban Chicago and small-city West Virginia. His perspective is not theoretical or academic; it's built on years of responding to violent crime, managing officers, and confronting the realities that don't always make headlines. Supporting articles about this and much more from Law Enforcement Talk Radio Show and Podcast in platforms like Medium , Blogspot and Linkedin . During the conversation, Richards challenges the popular claim that police shootings in America are driven by racial bias. Instead, he argues that crime patterns, suspect behavior, and officer encounters with violence, not race, largely explain police use-of-force outcomes. Are the Claims of Racism True, or a Distraction? Special Episode. What the Data Shows National data consistently reveals that police shootings closely track rates of violent crime and armed encounters, not racial animus. In 2019, police officers fatally shot just over 1,000 individuals nationwide. The majority were armed or posed an immediate threat. While African Americans represented roughly a quarter of those killed, that proportion has remained stable for years and is lower than what crime and suspect data would predict, given the frequency with which officers encounter armed violent offenders. That context is often missing from public debate. Available for free on their website and streaming on Apple Podcasts, Spotify, Youtube and other podcast platforms. Equally overlooked: in 2019, police fatally shot more unarmed white suspects than unarmed Black suspects, and those numbers have declined significantly since 2015. When placed alongside broader homicide data, unarmed Black suspects killed by police represent a tiny fraction of overall violent deaths involving African Americans. What Research Actually Concludes Multiple large-scale studies, spanning economics, criminology, and peer-reviewed science, have examined police use of force. Their findings repeatedly undermine the claim of systemic racial bias in police shootings. Are the Claims of Racism True, or a Distraction? Special Episode. The Law Enforcement Talk Radio Show and Podcast episode is available for free on their website , Apple Podcasts , Spotify and most major podcast platforms. Researchers have found that: The likelihood of a fatal police encounter increases with exposure to violent suspects, regardless of race. There is no statistically significant evidence of anti-Black bias in fatal police shootings when crime rates and behavior during encounters are considered. White officers, in some departments, have been found less likely than minority officers to shoot unarmed Black suspects. These conclusions don't deny that misconduct occurs or that bad officers exist. Rather, they challenge the idea that racism is baked into the system itself. The Cost of a False Narrative Richards and the show's hosts argue that the real danger lies in what happens when an unproven narrative is treated as fact. The portrayal of policing as systemically racist has had consequences, some deadly.  In past years, false assumptions fueled targeted attacks on officers and led to pullbacks in proactive policing, especially in high-crime neighborhoods. When officers disengage, it is often law-abiding residents in minority communities who pay the price through increased violence, drug activity, and gang control. Are the Claims of Racism True, or a Distraction? Special Episode. Check out The Law Enforcement Talk Radio Show and Podcast website, on Apple podcasts, Spotify, Youtube and on LinkedIn, Facebook, Instagram, and across most podcast platforms where listeners will find authentic law enforcement stories. As Richards explains, fewer arrests and less enforcement don't eliminate crime, they simply shift power to those who exploit the absence of law and order. Politics, Policy, and the Bigger Picture Claims of systemic racism have become foundational to movements such as “Defund the Police,” opposition to Broken Windows policing, and calls to dismantle traditional drug enforcement. Even national leaders have echoed these allegations, often without defining what “systemic racism” actually means. When examined closely, the arguments fall apart: Claims of widespread racial animus ignore how aggressively modern institutions punish and correct discriminatory behavior. Assertions that past racism explains all present disparities assume causal links unsupported by evidence. Psychological theories of subconscious bias have been widely challenged and debunked. Disparity-based arguments focus solely on offenders while ignoring victims, who are disproportionately minority themselves. Perhaps most troubling, many proposed “solutions” would harm the very communities they claim to protect by reducing safety, enforcement, and accountability. The Bottom Line The conversation reaches a clear conclusion: the claim of systemic racism in American policing and the criminal justice system does not stand up to scrutiny. That doesn't mean reform isn't needed or that every police action is justified, but it does mean debates should be grounded in facts, not fear or political convenience. Are the Claims of Racism True, or a Distraction? Special Episode. A Special Episode of the podcast episode is streaming now on Apple Podcasts, Spotify, and across Facebook, Instagram, and LinkedIn. To hear the full discussion, listen to this special episode of the Law Enforcement Talk Radio Show and Podcast, available now on their website, on Apple Podcasts, Spotify, Youtube and other major platforms, and join the conversation across social media and news outlets nationwide. Listeners can tune in on the Law Enforcement Talk Radio Show website, on Apple Podcasts, Spotify, YouTube, and most every major Podcast platform and follow updates on Facebook, Instagram, and other major News outlets. You can find the show on Facebook, Instagram, Pinterest, X (formerly Twitter), and LinkedIn, as well as read companion articles and updates on Medium, Blogspot, YouTube, and even IMDB. You can help contribute money to make the Gunrunner Movie . The film that Hollywood won't touch. It is about a now Retired Police Officer that was shot 6 times while investigating Gunrunning. He died 3 times during Medical treatment and was resuscitated. You can join the fight by giving a monetary “gift” to help ensure the making of his film at agunrunnerfilm.com . Background song Hurricane is used with permission from the band Dark Horse Flyer. You can contact John J. “Jay” Wiley by email at Jay@letradio.com , or learn more about him on their website . Stay connected with updates and future episodes by following the show on Facebook, Instagram, LinkedIn, their website and other Social Media Platforms. Find a wide variety of great podcasts online at The Podcast Zone Facebook Page , look for the one with the bright green logo. Be sure to check out our website . Be sure to follow us on X , Instagram , Facebook, Pinterest, Linkedin and other social media platforms for the latest episodes and news. Are the Claims of Racism True, or a Distraction? Special Episode. Attributions Manhattan Insitute Liberty University Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Send us a text about your favourite films relating to the episode.For our last episode of the year, as the worlds greatest detective in back, no not Batman, Benoit Blanc is at it again in another Knives Out movie. This time with a twist, he's grown his hair out in, Wake Up Dead Man now available on Netflix. As Wake Up Dead Man is a detective mystery story, we are going to focus the episode on the Whodunnit genre. Discussing all things Whodunnits, is a debutant guest Heather J Stewart a film reviewer and now the European correspondent for the Revisionist Almanac. Warning we will be talking SPOILERS.Martins turn to go first and is going for the Robert Altman classic, Gosford Park with every British actor known to man involved. On this one we talk about how on earth Robert Altman directs this massive cast beautifully. We talk about how tonally this works so well with so many storylines going on. We talk about why the film doesn't feel like a whodunnit and why it almost feels a parody and then hits you with an emotional gut punch at the end. Plus we talk about dodgy accents. IMDB page Heather J Stewarts Instagram page FVF Social linkstwitterinstagramTikTokAs ever please enjoy.                  Support the show

Send us a text about your favourite films relating to the episode.For our last episode of the year, as the worlds greatest detective in back, no not Batman, Benoit Blanc is at it again in another Knives Out movie. This time with a twist, he's grown his hair out in, Wake Up Dead Man now available on Netflix. As Wake Up Dead Man is a detective mystery story, we are going to focus the episode on the Whodunnit genre. Discussing all things Whodunnits, is a debutant guest Heather J Stewart a film reviewer and now the European correspondent for the Revisionist Almanac. Warning we will be talking SPOILERS.Heathers up next with her pick and is going for her favourite film of all time, Zodiac from the great David Fincher. On this one we talk about how David Fincher keeps his direction really simple to create incredible tension and shock value and how his direction evolves as the film goes on. We talk about how efficient the film is, in terms of sticking to facts and writing fictional scenes and how the balance works so well. Plus we talk about squirrels. IMDB page         Heather J Stewarts Instagram page FVF Social linkstwitterinstagramTikTokSupport the show

Welcome, readers. We are thrilled to continue this new content from the creators of Currently Reading Podcast! This spin-off podcast series will tackle book to screen adaptations in a spoiler-FILLED format. Be sure you've read the book and watched the film version before listening to the episode, because we don't shy away from strong opinions OR from all the spoilers, unlike our regular episodes.   Show notes for this series will not be time-stamped, but will still include links to Bookshop dot org or Amazon for any books or resources referenced in the episode. These are affiliate links, so they kick back a small percentage to us if you buy through them, and help support the work we do on Currently Reading.   The Time Traveler's Wife by Audrey Niffeneger 2:01 - Setup The Time Traveler's Wife by Audrey Niffeneger 4:10 - Previews Release date. Sales info and awards. Released in September 2003 One of the longest books on PitP at 536 pages Won British Book Award for Popular Fiction in 2006 Movie name and release date. Box office and awards. Released September 2009 Did not get nominated or win any awards, but was a commercial success Grossed 19.2M Budget of 39M, Earned a little over 100M Adaptations include an HBO series that was canceled and a 14m run as a stage production in England 9:41 - The Cutting Room Pivotal Book scenes and how they translated to the screen His disappearing When Claire first meets Henry The wedding Car crash that killed Henry's mother The miscarriages (17:10 - 20:10 is this discussion. Skip to 20:10 if you don't want to listen to this section!) Henry's final months Changes from Book to Movie Car accident with Henry's Mom The miscarriages (17:10 - 20:10 is this discussion. Skip to 20:10 if you don't want to listen to this section!) Henry's final months Left out of the adaptation Henry's first time traveling Most of the interactions between Claire and Henry The relationship with Dr. Kendrick Claire's relationship with Gomez Henry coming to see Claire when she's 83 (should have been added) Lack of side characters from the book Added to the movie Henry's absence causing friction in their marriage Song used as symbolism Conversation about how Claire's parents don't get divorced Casting and alternates Claire: Rachel McAdams → Kristen Stewart, Emma Watson, Kiera Knightly, Katherine Heigl Henry: Eric Bana → Robert Pattinson, Shia LeBouf, Sam Rockwell, James Marsden Gomez: Ron Livingston → Edward Norton, Paul Walker, Cam Gigandet, Alex Pettyfer, Guy Pierce Mary Elizabeth: Mae Whitman →  Rebel Wilson, Alison Brie, Rose McIver Problematic elements Grooming Claire's racist family Comments against women Icky scenes due to the age gap between Henry and Claire 32:41 - Award Season Worst and best parts of the adaptation. The storytelling The "watered down" ness of the movie Not as many scenes between young Claire and older Henry Eric Bana's butt Worst and best actors. Ron Livingston as Gomez Rachel McAdams as Claire Worst and best book characters. Henry Claire Cherise Ben 1:10:22 - Book/Flick Energy Book scored on a 5 star scale. Book on Goodreads Movie scored on a 10 point scale. Movie on Rotten Tomatoes Movie on IMDB 1:17:20 - A Leftover Popcorn Kernel If you meet a guy who says certifiably insane things like Henry, but then he shows you his power, would you date him? (Kaytee) Do you believe in fate and a higher predestined life? (Shad) 56:30 - End Credits The Thursday Murder Club by Richard Osman The movie is available to stream on Netflix Connect With Us: Currently Reading Podcast | Kaytee | Meredith Shad is in the Bookish Friends FB Group (for our Patreon supporters) Our Website | Email Us Support Us: Become a Bookish Friend | Buy Some Merch

Happy December! Bundle up with us in these cold days as we tell you what's been going on: brides of Frankenstein, girl vampires, toolbox murders, and even the correct order to watch the It films in. Then we dive right into 2020's Underwater! Fall to the ocean floor with us as we discuss falling in love 7 miles down, guys trying to swallow you, and the unwell nature of IMDB trivia. Note: there's some technical difficulties in this one, and I had to deamplify Rose for a couple minutes towards the end. It might be a little jarring! Just pretend she's in a huge diving suit, or something.

Placerville is one of these California towns that got its start during the Gold Rush. This was a rough and tumble Wild West place also known as Hang Town. The Cary House Hotel was built to accommodate people coming in for the Gold Rush and was the jewel of Placerville. The hotel is believed to be quite haunted and there could be several reasons why. The Odd Fellows were strong in this town and met at the hotel. And there were two deaths there. But it isn't the only haunted location. Several buildings have spirits. Join us for the history and hauntings of Placerville, California. This Month in History features the Chunnel Breakthrough. Check out the website: http://historygoesbump.com Show notes can be found here: https://historygoesbump.blogspot.com/2025/12/hgb-ep-615-haunted-placerville.html     Become an Executive Producer: http://patreon.com/historygoesbump Music used in this episode: (This Month in History) "In Your Arms" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ Title: "Strangeness Afoot" Artist: Tim Kulig (timkulig.com) Licensed under Creative Commons By Attribution 4.0 http://creativecommons.org/licenses/by/4.0/ IMDB: https://www.imdb.com/name/nm0997280/?ref_=fn_al_nm_1

Damo, Sean, and Tom get scared watching Predator: BadlandsYou can join our Patreon for just $5 a month to get access to an beefy amount of bonus episodes as well as all our regular episodes ad free. Sign up HERE.Or if Apple is more your bag, you can also sign up for a Scaredy Boys subscription on Apple Podcasts where you'll get access to everything that's on our patreon, but on apple! You can find that here.And if you're in the market for a sexy tee or sticker that lets everyone know you're a cowardly custard, brave babe, book freak, or iMDB detective then you should head over to our store and peruse our fine wares.And while you're at it, go check out Damo's other podcast Stray Thoughts for some messy but meaningful audio essays.Want to get in contact with us?Email us at 3scaredboys@gmail.comOr find us instagram: Scaredy Boys | Damo | Sean | TomOr letterboxd: Damo | Sean | TomOr twitter: Scaredy Boys | Sean | TomOr bluesky: Scaredy Boys | Sean | TomOr tiktok: DamoOr join our Discord hereRecorded and produced on Wurundjeri land, we respectfully acknowledge the Wurundjeri People of the Kulin Nation, pay our respect to their Elders past and present, and recognise that sovereignty was never ceded. Hosted on Acast. See acast.com/privacy for more information.

In this episode of The Beacon Way podcast, host Adrienne Wilkerson is joined by Steve Ramona, a prolific podcaster who started his journey in October 2022 and has already completed 850 shows! Steve shares insightful tips on how to succeed in the podcasting world, the importance of a servant's heart in business, and his experiences that highlight the law of reciprocity. From overcoming initial fears to harnessing the power of relationships, Steve elaborates on his journey and offers valuable advice for aspiring podcasters. Tune in for an inspiring conversation filled with actionable tips and transformative stories. Links and resources:Doing Business with a Servant's Heart Podcast: https://www.servinginbusinesspodcast.com/IMDB https://pro.imdb.com/name/nm16106884YouTubeSign up for his newsletter:  https://doing-business-with-a-servants-heart.kit.com/628f9d5962Follow Steve on socials! LinkedIn: https://www.linkedin.com/in/steveramona/Twitter (X): https://twitter.com/oppbrokerFacebook: https://www.facebook.com/steve.ramona/Instagram: https://www.instagram.com/bizopportunitynow/TikTok: https://www.tiktok.com/@podcastmentor

E vamos para a 4a colaboração do cineasta Yorgos Lanthimos com a atriz Emma Stone, em uma distopia que vem aparecendo com certo destaque na temporada de premiações e que conta, possível e provavelmente, com a melhor performance da prolífica carreira de Jesse Plemons.::BUGONIAthriller, sátira, sci-fiOnde assistir: salas de cinemaAvaliação imdB: 7.5/10Avaliação Metcritic: 72/100Avaliação Letterboxd: 3.9/5Avaliação Rotten

Loren Avedon discusses martial arts and his career in Hollywood on Two Dollar Late Fee! Loren Avedon (No Retreat No Surrender 2 & 3, The King of the Kickboxers) is a phenomenal martial artist and one heck of an entertaining actor! In this interview, Loren reminisces on his career in Hollywood (crazy stunts in No Retreat No Surrender 2, working on Baywatch, etc) and is surprised by a very dear friend, Tami Goldsmith. What's their connection? You'll have to watch/listen to find out. Enjoy! As mentioned in the episode, watch L.A. Streetfighters here! Dig the show? Please consider supporting $2 Late Fee on Patreon for tons of bonus content (like Tales From The Video Store)! Links are below: Two Dollar Late Fee: ⁠www.patreon.com/twodollarlatefee⁠ Please follow/subscribe and rate us on Spotify and Apple Podcasts! Apple Podcasts: ⁠podcasts.apple.com/us/podcast/two-dollar-late-fee⁠ Spotify: ⁠open.spotify.com/show/⁠ Instagram: ⁠@twodollarlatefee⁠ Subscribe to our ⁠YouTube⁠ Check out Jim Walker's intro/outro music on Bandcamp: ⁠jvamusic1.bandcamp.com⁠ Facebook: ⁠facebook.com/Two-Dollar-Late-Fee-Podcast⁠ Merch:⁠ https://www.teepublic.com/user/two-dollar-late-fee⁠ IMDB: ⁠https://www.imdb.com⁠ Two Dollar Late Fee is a part of the nutritious ⁠Geekscape Network⁠ Every episode is produced, edited, and coddled by Zak Shaffer (⁠@zakshaffer⁠) & Dustin Rubin (⁠@dustinrubinvo⁠) You can watch the entire interview on our YouTube channel here. Don't forget to like & subscribe!You can listen & NOW watch on Spotify here. Don't forget to like & subscribe! Learn more about your ad choices. Visit megaphone.fm/adchoices

Is the Word Cop an Insult or Offensive? In Defense of a Title Earned. Few words tied to law enforcement spark online arguments as quickly, or as emotionally, as the word cop. For some, it's an instant trigger. For others, it's harmless shorthand. But for many who have worn the badge, worked the streets, and answered the calls, cop is neither an insult nor a slur. It's a title of respect, earned through action, accountability, sacrifice, and service. This special episode is streaming for free on the Law Enforcement Talk Radio Show and Podcast website, on Apple Podcasts, Spotify, YouTube, and most every major Podcast platform That's why this conversation matters, and why a special episode of the Law Enforcement Talk Radio Show and Podcast was dedicated to defending the word “Cop.” Look for The Law Enforcement Talk Radio Show and Podcast on social media like their Facebook , Instagram , LinkedIn , Medium and other social media platforms. Why One Word Creates Such Big Reactions. Ask ten people what comes to mind when they hear “cop,” and you'll likely get ten different answers. Online, the word ignites debate at lightning speed, often led by people with little to no firsthand connection to the profession itself. The disconnect is striking. Opinions about the word rarely come from the street, the squad car, or the midnight shift. They come from the outside looking in. Is the Word Cop an Insult or Offensive? In Defense of a Title Earned. Supporting articles about this and much more from Law Enforcement Talk Radio Show and Podcast in platforms like Medium , Blogspot and Linkedin . As a retired Baltimore Police Sergeant, I use the word intentionally and unapologetically. Growing up in the job, cop was always a compliment. It was what fellow cops called you when they knew you were reliable, when they trusted you to show up, back them up, and do the work. It was never whispered as an insult or tossed around in a derogatory way. It was a term of respect shared among people who understood exactly what the job demanded. A Word Big Enough for the Whole Profession One of the greatest misconceptions about law enforcement is the idea that it's a single job with a single title. In reality, it's a massive profession made up of countless roles: Police Officers, Deputy Sheriffs, State Troopers, Highway Patrol, Game Wardens, Wildlife Officers, Park Rangers, Corrections Officers, Probation and Parole Officers, Federal Agents, and many more. Available for free on their website and streaming on Apple Podcasts, Spotify, Youtube and other podcast platforms. Each agency has its own mission, culture, and rank structure: Officer, Agent, Corporal, Sergeant, Lieutenant, Captain, Major, Chief. Titles and ranks matter in this profession because they're earned. Technically, the most accurate way to address someone is by their full title. That's exactly where the word cop fits. It's universal. It cuts across agencies, uniforms, patches, and ranks without erasing them. Whether someone works urban streets, rural highways, a jail tier, or a federal task force, “cop” recognizes the shared commitment to a job most people wouldn't last a week doing. It acknowledges the brotherhood and sisterhood beneath the badges. Is the Word Cop an Insult or Offensive? What “Cop” Really Means on the Inside Among those who lived the job, being called a cop meant something very specific: you actually did the work. The Law Enforcement Talk Radio Show and Podcast episode is available for free on their website , Apple Podcasts , Spotify and most major podcast platforms. The uncomfortable truth is that not everyone who wears a badge lives up to that standard. Every agency has individuals who technically show up but avoid the real work whenever possible. They dodge hot calls, arrive late to dangerous scenes by choice, and stay “clean” by doing the bare minimum. Ironically, those are often the people who climb the promotional ladder the fastest, because staying invisible protects them from scrutiny. In the Baltimore Police Department, there was a word for officers like that: humps. They mastered the art of stretching simple calls into hour-long events, lingering in the station, and letting other officers absorb the risk. That behavior didn't just burden coworkers, it hurt the community by reducing real response and proactive policing. A cop, what our old-timers called “real police”, was different. A cop showed up. A cop backed their partners without hesitation. A cop stepped into chaos, took responsibility, and handled business when it mattered. The job wasn't about comfort, popularity, or fast promotions. It was about service and accountability. That's the standard behind the word. Is the Word Cop an Insult or Offensive? In Defense of a Title Earned. Check out The Law Enforcement Talk Radio Show and Podcast website, on Apple podcasts, Spotify, Youtube and on LinkedIn, Facebook, Instagram, and across most podcast platforms where listeners will find authentic law enforcement stories. The Fake Outrage Over Language Every so often, usually on social media, someone erupts in outrage when I use the word cop. What's telling isn't just the anger, but where it's aimed. It's not about the crime. Not about the victim. Not about the officer injured or killed. It's about the word. That says everything. When a headline reads A COP WAS SHOT and someone ignores the violence to lecture about terminology, priorities are clearly misplaced. Fixating on language while glossing over criminal violence raises serious questions about motive and intent. Outrage over vocabulary is easy. Standing up for truth, accountability, and human life is much harder. Is the Word Cop an Insult or Offensive? A Special Episode of the podcast episode is streaming now on Apple Podcasts, Spotify, and across Facebook, Instagram, and LinkedIn. So let me be clear: when I call someone a cop, it is a compliment. If someone chooses to be offended, that's their issue, not mine. Proud of the Title I don't casually refer to myself as a cop, out of respect for what the word represents. If others call me that, I accept it with gratitude. I'm honored to have served. Honored to have stood alongside men and women who ran toward danger while others ran away. Honored to be part of a profession that demands courage, resilience, sacrifice, and integrity. And I'm proud to defend a word that represents the best of that profession. So yes, I'll keep using the word cop. Because it's not just a name. It's a standard. It's a legacy. It's a badge of honor. To those who lived the job and did it the right way, “cop” is a quiet salute, one that carries respect, not disrespect. Is the Word Cop an Insult or Offensive? In Defense of a Title Earned. The Law Enforcement Talk Radio Show and Podcast episode is available for free on their website , Apple Podcasts , Spotify and most major podcast platforms. So I'll leave you with this question: When you hear the word cop, what do you hear? If you believe it's an insult, that belief belongs to you alone. It does not reflect the mindset of those who earned the title, lived the work, and still stand proudly behind the word. ️ This discussion is featured in a special episode of the Law Enforcement Talk Radio Show and Podcast, available on Facebook, Instagram, YouTube, Apple Podcasts, Spotify, LinkedIn, X, and major news and podcast platforms. Is the Word Cop an Insult or Offensive? Be sure to follow us on X , Instagram , Facebook, Pinterest, Linkedin and other social media platforms for the latest episodes and news. Listeners can tune in on the Law Enforcement Talk Radio Show website, on Apple Podcasts, Spotify, YouTube, and most every major Podcast platform and follow updates on Facebook, Instagram, and other major News outlets. You can find the show on Facebook, Instagram, Pinterest, X (formerly Twitter), and LinkedIn, as well as read companion articles and updates on Medium, Blogspot, YouTube, and even IMDB. You can help contribute money to make the Gunrunner Movie . The film that Hollywood won't touch. It is about a now Retired Police Officer that was shot 6 times while investigating Gunrunning. He died 3 times during Medical treatment and was resuscitated. You can join the fight by giving a monetary “gift” to help ensure the making of his film at agunrunnerfilm.com . Background song Hurricane is used with permission from the band Dark Horse Flyer. You can contact John J. “Jay” Wiley by email at Jay@letradio.com , or learn more about him on their website . Stay connected with updates and future episodes by following the show on Facebook, Instagram, LinkedIn, their website and other Social Media Platforms. Find a wide variety of great podcasts online at The Podcast Zone Facebook Page , look for the one with the bright green logo. Be sure to check out our website . Is the Word Cop an Insult or Offensive? In Defense of a Title Earned. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Greetings horror fans and welcome back to The History Of Horror which is the theme for 2025 where the crew reviews one movie a year from the last five decades.Join your hosts Austin and Gabby along with two special guests from the One Week Rental Podcast, Matt and Laci, as they talk about Knock at the Cabin. The conversation starts off with a brief intro, followed up by the Jason pick for the week and then some Oscar winners for 2023. After that, they move on to the IMDb roundup portion of the episode and follow that up with a spoiler heavy review of Knock at the Cabin. Sit back, relax and enjoy the conversation! Stay Spooky! Check out the Linktree below for all our social media sites as well as the crews Letterboxd pages and much more! linktr.ee/frightmarespodcast stayspooky@outlook.com Timestamps for episode. Intro - 0:00 - 6:18Jason Pick - 6:18 - 8:41Oscar Winners - 8:41 - 15:08IMDb Roundup (Spoilers) - 15:08 - 18:07Trailer - 18:07 - 20:03Review (Spoilers) - 20:03 - 1:07:03 Wrap Up and Ratings - 1:07:03 - 1:09:19Outro - 1:09:19 - 1:13:38Bad/Funny Reviews - 1:13:38 - 1:14:55

Hollywood rarely tells the full truth — but Susan Olsen, actress and former talk radio host, is doing exactly that.Best known for her iconic role on The Brady Bunch, Susan Olsen joins Dr. Jerome Corsi on The Truth Central for a wide-ranging, no-holds-barred conversation about fame, politics, censorship, crime, culture, and the hidden realities inside Hollywood — then and now.In this powerful interview, Susan and Dr. Corsi discuss:

This week, we review Wicked: For Good / Zootopia 2 / FNAF2, and more!The Bloody Awesome Movie Podcast delivers a spoiler-free review of a film, usually a new release with some exceptions, every week. Then Matt Hudson (@wiwt_uk) from What I Watched Tonight and Jonathan Berk (@berkreviews) from disappointment media will introduce a variety of movies or pop-culture-related topics in a series of segments.Director, writer, and cast provided by Letterboxd.comIMDb.com Synopsis:As an angry mob rises against the Wicked Witch, Glinda and Elphaba will need to come together one final time. With their singular friendship now the fulcrum of their futures, they will need to truly see each other, with honesty and empathy, if they are to change themselves, and all of Oz, for good.RATINGS:67% RT critic 93% RT audience58 Metascore, 7.2 IMDb user score3.7 Letterboxd, $296,951,660 domestic and $440,106,660 worldwideDirector, writer, and cast provided by Letterboxd.comIMDb.com Synopsis: After cracking the biggest case in Zootopia's history, rookie cops Judy Hopps and Nick Wilde find themselves on the twisting trail of a great mystery when Gary De'Snake arrives and turns the animal metropolis upside down. To crack the case, Judy and Nick must go undercover to unexpected new parts of town, where their growing partnership is tested like never before.RATINGS:91% RT critic 96% RT audience73 Metascore, 7.7 IMDb user score3.9 Letterboxd, $220,474,037 domestic and $915,774,037 worldwideDirector, writer, and cast provided by Letterboxd.comIMDb.com Synopsis:One year since the supernatural nightmare at Freddy Fazbear's Pizza, the stories about what transpired there have been twisted into a campy local legend, inspiring the town's first ever Fazfest. With the truth about what transpired kept from her, Abby sneaks out to reconnect with Freddy, Bonnie, Chica, and Foxy, setting into motion a terrifying series of events that will reveal dark secrets about the true origin of Freddy's, and unleash a long-forgotten horror hidden away for decades.RATINGS:12% RT critic 88% RT audience31 Metascore, 5.8 IMDb user score2.8 Letterboxd, $63,000,000 domestic and $109,116,000 worldwideReview of Wicked: For GoodMatt - IntroducesReview of Zootopia 2Jon IntroductesReview of  FNAF 2

After we heard about a finger licking DoorDasher during WTF, Steve revealed the Pros like him pick up their take out. Plus, we are not impressed with IMDB's Christmas movie picks and JESSI PIERCE with a big prediction for this upcoming Wild homestand. See omnystudio.com/listener for privacy information.

Santa With Muscles (1996)Directed By: John MurlowskiStarring: Hulk Hogan, Don Stark, Robin Curtis, a man who has starred in nothing but trash.You thought Ernest Saves Christmas was bad? Well... that's like... you're opinion man. This week we examine another Christmas disaster, this time starring Hulk Hogan as a mean business owner who loses his memory and helps some orphans (including a young Mila Kunis) or some garbage like that. IMDB.com describes Santa with Muscles as: "A heartless millionaire believes he is Santa Claus after an accident renders him amnesiac."We Also Talked About:The Chair Company (Amazon)Crawlspace (Tubi)Please, Kill Mr. Kinski (Youtube)My Own Private Idaho (DailyMotion)Class Action Park (DailyMotion)Mr. Scorsese (Amazon)Project Grizzly (Youtube) Our Violent Night EpisodeLike what you hear here? We're on the youtubes now with our entire new back catalog and some upcoming exclusive content available at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://youtube.com/@deweypodmonster⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠(Some of the above links are affiliate links, if you purchase through these affiliate links we do get a small kickback, and it's the best way to support this show!).Rate and Review us on the podcast platform of your choice!As always, remember, you can always find the latest goings on at our website ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://Crap.Town⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check out our fellow podcast network members at https://⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Yourunpodcast.com⁠⁠⁠

Will the SUPERGIRL TRAILER Blow Up the Internet? That is the question that will be answered this week and Superman is the most popular movie of 2025 on IMDb.

Will, Adam, and Mike watched Die Hard 2: Die Harder and they were astonished by the brilliance of this Christmas movie. IMDb: https://www.imdb.com/title/tt0099423/ Trailer: https://www.youtube.com/watch?v=OyxfXQ4MGLQ

“If you're going to do something, go in with your whole heart.” That's the advice from Hollywood actor Joe Cortese, who counts the Oscar-winning “Green Book” among his film credits. In this episode, Joe shares lessons he's learned over his 4-decade career in film, theatre and fashion. These universal truths have given him a fulfilling life and career and they can guide anyone who's on a mission. Listen in and learn from the wisdom of this accomplished actor, writer and producer.Find Joe on IMDB: https://www.imdb.com/name/nm0181288/Music mentioned in this episode: “The White Album” by the Beatles“Here's Yianni” on IMDB: https://www.imdb.com/title/tt10730424/?ref_=fn_t_1 

The DC Universe just got a lot more complicated. Netflix is making moves to acquire Warner Bros. Studios and the entire DC catalog, which puts James Gunn's carefully planned cinematic universe on a ticking clock. With a reported 2027 deadline looming, can Gunn prove his vision before corporate upheaval changes everything? But it's not all doom and gloom—Superman is having a record-breaking year, dominating every chart from IMDb to Google searches. We're days away from the "Supergirl" teaser trailer, the costume reveal at CCXP25 has fans buzzing, and Christopher Reeve's iconic cape is heading to auction. In this episode, we break down all the biggest Superman and DC news, what the Netflix acquisition could mean for fans, your favorite Superman boots, and much more.

Travis sits down with actor‑turned‑entrepreneur Ryan Rottman, cofounder of AthleteAgent.com, an IMDb‑style database for the sports world. From training as a business major and actor at Texas Tech to navigating constant rejection in Hollywood, Ryan shares how thick skin, relationships, and a love of sports led him to build the most extensive searchable sports database online, alongside partners like Aaron Rodgers and Nate Robb. On this episode we talk about: How Ryan's early trading and acting work out of college built the financial runway and mindset he needed to pursue creative projects What acting teaches about rejection, resilience, and treating yourself as a business—and how those lessons transfer directly into startups and fundraising The origin story of AthleteAgent.com, modeled after IMDb but built to centralize athlete data, representation info, and off‑field opportunities Why most athletes beyond the top 1% are massively under‑monetized, and how better visibility can unlock endorsements, podcast bookings, investments, and partnerships The realities of building a tech platform from scratch—finding dev teams, talking to 100+ investors, and expanding from 10 sports toward a global, 50+ sport footprint Top 3 Takeaways Acting and entrepreneurship share the same core skill: moving from “no” to “no” without losing enthusiasm, while treating every experience as training for the next opportunity. Athletes are brands, and most are dramatically under‑leveraged off the field; centralized, accurate data and contact info unlocks deals for the other 99%, not just superstars. Long‑term success often comes from repurposing skills and networks—Ryan used his IMDb experience, sports relationships, and business training to spot an obvious gap and fill it with AthleteAgent.com. Notable Quotes "As an actor, you are your own business—rejection is daily, and your job is to keep showing up until the right role hits." "IMDb changed my acting career because people could actually find my reps; I realized nothing like that existed for athletes." "We didn't build AthleteAgent for the top 1%—we built it so the other 99% can finally be found, booked, and paid." Connect with Ryan Rottman: Website (AthleteAgent): athleteagent.com Instagram: @ryanrottman ✖️✖️✖️✖️

Gabrielle Leonore is an actor, writer, and director based in Florida. She has appeared on stage in productions including Desdemona: A Play About a Handkerchief (TheatreFor), Straight White Men (Tampa Rep), and Almost, Maine (West Coast's Community Players).She premiered her original one-woman show, My Life as an "Inspirational Porn" Star, at the Tampa Fringe Festival this summer before taking it to the Edinburgh Festival Fringe. Gabrielle is passionate about creating bold, heartfelt stories that blend humor with emotional depth.https://www.instagram.com/gabbycab13/https://linktr.ee/gabbycab13Thanksgiving, Again?! ⁠⁠⁠https://vimeo.com/ondemand/thanksgivingagain⁠⁠⁠⁠BetterHelp: Go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://betterhelp.com/macolino⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for 10% off your first month of therapy with BetterHelp and get matched with a therapist who will listen and help #sponsoredYouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/c/JeffMacolino⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Me!!! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/saintjmac⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/jeffmacolinopodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/saintjmac/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠IMDB: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.imdb.com/title/tt17046562/?ref_=nm_knf_t1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.tiktok.com/@jeffmacolino⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Art Credit: Chase Henderson

Donna watched the new George Clooney/Adam Sandler movie Jay Kelly, IMDB released its list of the best Christmas movies ever and another update on the Tara Reid story.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Episode 188 - Testimony Series: A Life Saved in Prison - With Ulises Larramendi This episode is a part of our December testimony Series. Ulises Larramend shares his 15-year journey with Reflective Media Productions. He discusses the ministry's evolution from Bible studies and women's retreats to impactful media addressing significant issues like trauma, suicide, and substance abuse. Highlighting their work, Ulysses recounts an emotional letter from an inmate who was inspired by their short film 'Reconsider' to reconsider suicide, renew his faith and find a new purpose. Ulysses underscores the profound impact and purpose of their media storytelling in changing lives for the better.Bio:Born in Cuba in 1963, Ulises moved to the US in 1977 where he settled in Houston and has considered Texas "home" ever since. In 2006 Ulises created his own restaurant concept called Eden Café. But while he carries hospitality in his veins and loves what he does, he also has another passion for telling stories and acting. Ulises has been blessed to work in faith-based films and TV series glorifying God with his gifts. Ulises lives in Texas with his wife and children.https://www.reflectivemedia.org/Ulises on IMDb: https://www.imdb.com/es/name/nm7245884/Ulises on Facebook: https://www.facebook.com/UlisesALarramendiEden Cafe Magnolia, TX https://edencafe.net/index.phpWe Are Stronger: https://www.strongermovie.com/Breaking Strongholds Series: https://www.breakingstrongholds.com/FAFF Association Online Meetups: https://faffassociation.com/#faff-meetingsVIP Producers Mentorship Program https://www.faffassociation.com/vip-producers-mentorship Jaclyn's Book - In the Beginning, Middle and End: A Screenwriter's Observations of LIfe, Character, and God: https://www.amazon.com/dp/B0D9R7XS9VThe Faith & Family Filmmakers podcast helps filmmakers who share a Christian worldview stay in touch, informed, and inspired. Releasing new episodes every week, we interview experts from varying fields of filmmaking; from screenwriters, actors, directors, and producers, to film scorers, talent agents, and distributors. It is produced and hosted by Geoffrey Whitt and Jaclyn Whitt , and is brought to you by the Faith & Family Filmmakers Association Support Faith & Family Filmmakers Our mission is to help filmmakers who share a Christian Worldview stay in touch, informed, and inspired. If you would like to assist with the costs of producing this podcast, you can help by leaving a tip.Get Email Notifications Enter the Faith & Family Screenwriting Awards...

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

Welcome back! Bundle up…because it's going to be cold AF later this week. Not too bad tomorrow, but into the teens on Thursday & Friday…and single digit highs this coming weekend. In the news this morning, a date for the destruction of the Lansing bridge, a Cinnabon employee in Ashwaubenon got fired after a racist rant captured on video, a recall on Amazon power-banks, and nobody won the Powerball jackpot on Saturday night!!! In sports, the Packers beat the Bears yesterday to claim the top spot in the NFC North, the Vikes got a win as well, the Bucks continue to suck, the Badgers beat Marquette over the weekend, and the women's volleyball team advances to the regional semi-finals! We talked about what's on TV today/tonight and we discussed Shirley Manson's rant about beach balls. Elsewhere in sports, a look at the College Football Playoffs & bowl schedule, John Cena's final opponent is revealed, James Harden is a top-10 scorer in the NBA, and a wild scene this weekend involving former Badger Julius Davis. Cool story about a woman that bought a piggy bank at a thrift store and found a bunch of money inside, and an interesting world record was recently broken in the UK! Only 17 days until Christmas, and we looked at a list of the best Xmas movies based on their IMDB scores. Plus, the President sort of suggested that we should rename the NFL, so we discussed some suggestions for a new moniker. If you say "um" and "uh" a lot, your brain might be broken. And in today's edition of "Bad News with Happy Music", we had stories about a guy in Ohio who sent his meth through the tube at bank, butter-dipped ice cream, a problem with Kohler's toilet cams, a massive gator in #Florida, a dude who choked someone at a Home Depot with an umbrella, and a fire department employee in Baltimore who was skeeting all over the place.See omnystudio.com/listener for privacy information.

Hosted by Andrew Quinn, Darren Mooney and Jess Dunne, this week with special guest David Monaghan, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every second Saturday at 6pm GMT, with the occasional bonus episode between them. This week, Noah Hawley's Alien: Earth. In the near future, the young company known as Prodigy is working on a transhuman innovation that will upend human consciousness and breach the undiscovered country. However, these grand ambitions are thrown into chaos when a Weyland-Yutani freighter crashes into the heart of Prodigy City, carrying extraterrestrial cargo. At time of recording, it was not ranked on the list of the best television shows of all time on the Internet Movie Database.

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Two Dollar Late Fee celebrates the 35th anniversary The King of the Kickboxers! In this pre-episode to the upcoming interview with Loren Avedon (No Retreat No Surrender 2, The King of the Kickboxers) Dustin returns to Two Dollar Late Fee to discuss the 1990 martial art classic, The King of the Kickboxers! Spoiler alert: this movie rules and there is a lot to say about it! But first, Zak and Dustin recap a bit of 2025. If you don't recall, it was about a year ago that Dustin announced that he was taking a break from the show. Well he's back and there's lots to catch up on! This episode has everything you'd want, laughs, tears (of joy), and lots of kicks! Enjoy! Dig the show? Please consider supporting $2 Late Fee on Patreon for tons of bonus content (like Tales From The Video Store)! Links are below: Two Dollar Late Fee: ⁠www.patreon.com/twodollarlatefee⁠ Please follow/subscribe and rate us on Spotify and Apple Podcasts! Apple Podcasts: ⁠podcasts.apple.com/us/podcast/two-dollar-late-fee⁠ Spotify: ⁠open.spotify.com/show/⁠ Instagram: ⁠@twodollarlatefee⁠ Subscribe to our ⁠YouTube⁠ Check out Jim Walker's intro/outro music on Bandcamp: ⁠jvamusic1.bandcamp.com⁠ Facebook: ⁠facebook.com/Two-Dollar-Late-Fee-Podcast⁠ Merch:⁠ https://www.teepublic.com/user/two-dollar-late-fee⁠ IMDB: ⁠https://www.imdb.com⁠ Two Dollar Late Fee is a part of the nutritious ⁠Geekscape Network⁠ Every episode is produced, edited, and coddled by Zak Shaffer (⁠@zakshaffer⁠) & Dustin Rubin (⁠@dustinrubinvo⁠) You can watch the entire interview on our YouTube channel here. Don't forget to like & subscribe!You can listen & NOW watch on Spotify here. Don't forget to like & subscribe! Learn more about your ad choices. Visit megaphone.fm/adchoices

A Stranger Saved a Retired NYPD Officer's Life on Christmas Eve, A Special Episode Worth Hearing. This is more than a headline. It is a true story of survival, loss, depression, and an unexpected moment of human connection that changed everything. Look for The Law Enforcement Talk Radio Show and Podcast on social media like their Facebook , Instagram , LinkedIn , Medium and other social media platforms. Dean Simpson is a retired police officer from the New York City Police Department. Years before this Christmas Eve, he was shot in the line of duty during a violent, life-and-death encounter. He survived the attack, but the shooting left him permanently disabled. What followed was a slow, painful unraveling that many first responders know too well. The inpsiring episode is streaming for free on the Law Enforcement Talk Radio Show and Podcast website, on Apple Podcasts, Spotify, YouTube, and most every major Podcast platform Purpose disappeared. Pain remained. Alcohol filled the silence. By December of 2001, Dean's life had narrowed to drinking, isolation, and attending one police funeral after another. Just three months earlier, the Twin Towers had fallen. While his fellow officers ran toward the chaos on September 11, Dean woke up late, hungover, and drowning in guilt. He still put on his uniform and reported to Ground Zero, working at “The Pile” for weeks, until he realized he wasn't helping anymore. A Stranger Saved a Retired NYPD Officer's Life on Christmas Eve, A Special Episode Worth Hearing. Supporting articles about this and much more from Law Enforcement Talk Radio Show and Podcast in platforms like Medium , Blogspot and Linkedin . Then came Christmas Eve. That morning, Dean put his father's revolver in one pocket and his father's worn Bible in the other. He boarded a train at Penn Station with a one-way ticket upstate. He had already decided that once he reached his destination, his life would end. He chose a secluded place so no one would have to clean up the mess, a thought that haunted him even then. While the train rolled north through snow-covered landscapes, a stranger sat down next to him. Her name was Erin. She was a chatty grandmother with a red scarf and a warm smile, exactly the kind of person Dean did not want to talk to. She spoke about the beauty of the city, the holidays, life, and love. Dean sat in silence, angry at her optimism, angry at everything. When she finally asked what he loved about New York City, his response was cold and sharp. Available for free on their website and streaming on Apple Podcasts, Spotify, Youtube and other podcast platforms. “I love being left alone.” Instead of snapping back or moving seats, Erin stayed. When Dean apologized, she accepted. Slowly, gently, she drew him into conversation. She shared her own story, her late husband, her children, her grandchildren. And for the first time in a long while, Dean talked about his life. About being shot. About losing his father. About feeling useless and invisible. A Stranger Saved a Retired NYPD Officer's Life on Christmas Eve, A Special Episode When the train reached Albany, Erin handed him a small pink note. “I don't know where you're headed,” she told him, “but when you get there, read this.” They hugged, and she was gone. Dean continued on to Black Mountain, climbing toward Lake George with ice-capped water below. At the summit, he opened his father's Bible. A scrap of paper fell out, marking a verse: Corinthians 10:13. To a cop, that number meant something else entirely, police code for officer needs assistance. The Law Enforcement Talk Radio Show and Podcast episode is available for free on their website , Apple Podcasts , Spotify and most major podcast platforms. Then he read Erin's note: “Dean, life is a gift meant to be shared. Don't ever give up hope. Merry Christmas. Erin.” In that moment, something lifted. The weight inside him eased. Dean emptied the revolver and threw it into the abyss. Then he turned around and walked back down the mountain. A Stranger Saved a Retired NYPD Officer's Life on Christmas Eve. That was the day a stranger saved his life. In this special episode of the Law Enforcement Talk Radio Show and Podcast, Dean Simpson tells his story openly, not for attention, but to reach others who may be standing on the same edge. He speaks about trauma, addiction, purpose, and recovery. He shares how the badge shaped him, how it nearly broke him, and how one unexpected act of kindness redirected his life. His interview can be found on The Law Enforcement Talk Radio Show and Podcast website, on Apple podcasts, Spotify, Youtube and on LinkedIn, Facebook, Instagram, and across most podcast platforms where listeners will find authentic law enforcement stories. Dean is also the author of two books: The Blue Pawn: A Memoir of an NYPD Foot Soldier, a raw and unfiltered account of life in law enforcement, and Godless v. Trust: The Radical Left's Quest to Destroy Western Civilization, reflecting the worldview forged through experience and service. His story has been shared across Facebook, Instagram, and various news outlets, and is now featured in a special episode of a powerful podcast conversation. Listeners can hear Dean tell this story in his own words on Apple, Spotify, and other major podcast platforms. A Stranger Saved a Retired NYPD Officer's Life on Christmas Eve, A Special Episode Worth Hearing. The full podcast episode is streaming now on Apple Podcasts, Spotify, and across Facebook, Instagram, and LinkedIn. This is not just a story about a retired NYPD officer. It's a reminder that you never know when a simple conversation, a shared moment, or a stranger's kindness might save a life. And sometimes, angels don't have wings, they just won't stop talking. Be sure to check out our website . Be sure to follow us on X , Instagram , Facebook, Pinterest, Linkedin and other social media platforms for the latest episodes and news. Listeners can tune in on the Law Enforcement Talk Radio Show website, on Apple Podcasts, Spotify, YouTube, and most every major Podcast platform and follow updates on Facebook, Instagram, and other major News outlets. You can find the show on Facebook, Instagram, Pinterest, X (formerly Twitter), and LinkedIn, as well as read companion articles and updates on Medium, Blogspot, YouTube, and even IMDB. You can help contribute money to make the Gunrunner Movie . The film that Hollywood won't touch. It is about a now Retired Police Officer that was shot 6 times while investigating Gunrunning. He died 3 times during Medical treatment and was resuscitated. You can join the fight by giving a monetary “gift” to help ensure the making of his film at agunrunnerfilm.com . Background song Hurricane is used with permission from the band Dark Horse Flyer. You can contact John J. “Jay” Wiley by email at Jay@letradio.com , or learn more about him on their website . Stay connected with updates and future episodes by following the show on Facebook, Instagram, LinkedIn, their website and other Social Media Platforms. Find a wide variety of great podcasts online at The Podcast Zone Facebook Page , look for the one with the bright green logo. A Stranger Saved a Retired NYPD Officer's Life on Christmas Eve, A Special Episode Worth Hearing. Attributions Amazon NY Post Amazon Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

"Following the style of some of the world's most prolific street artists, an amateur filmmaker makes a foray into the art world." That's the official IMDB description for this Oscar-nominated documentary but does that even really describe it?  Well.....sort of.  The amateur filmmaker described is likely Theirry Guetta, a French clothing shop-owner in Los Angeles who never goes anywhere without his camera and we initially seem to follow him as he takes a very strong interest in graffiti artists.  So he starts to film various reknowned streets artists in action including Shephard Fairey, Space Invader, Borf, Buffmontster, and eventually.....the legendary Banksy.  He builds a relationship with Banksy, decides to film some exciting new acts of street art and then things get increasingly interesting....AND funny! :)  Well as it turns out, Banksy himself is the ACTUAL director of this film, Theirry Guetta MIGHT be the actual star, it's all wittily narrated by Welsh actor Rhys Ifans (Notting Hill, House of the Dragon), and what results could actually be one of the funniest (yet still insightful) documentaries of all time. ;) Host: Geoff GershonEdited By Ella GershonProducer: Marlene GershonSend us a textSupport the showhttps://livingforthecinema.com/Facebook:https://www.facebook.com/Living-for-the-Cinema-Podcast-101167838847578Instagram:https://www.instagram.com/livingforthecinema/Letterboxd:https://letterboxd.com/Living4Cinema/

The Saturn Studs Podcast is a banter driven wild ride through the nerd culture entertainment landscape. Each week your hosts Kurt, Peter, and Jake engage in entertaining discussions about the latest trailers, box office winners and losers, the latest happenings in the world of video games, and whatever off-topic nonsense pops into their heads Support the show by donating: https://app.redcircle.com/shows/902676cb-9b03-4021-9042-cf79635436f9/donations. Visit Saturnstuds.com for links to all of your Saturn Studs side projects,social media, and more. Join the Saturn Studs discord server at https://discord.gg/kgdnhJd. Follow @StudsSaturn on twitter or visit facebook.com/saturnstuds to stay up to date on the latest news episode releases and audio highlights from each show.Support this podcast at — https://redcircle.com/the-saturn-studs-podcast/donations

This week, we're diving into the explosive, ridiculous, joke-a-second world of Hot Shots! Part Deux — a sequel that proves parody films can be smart, sharp, and absolutely unhinged all at once.We break down everything that makes this one of the best spoof sequels ever made, including:

In Episode 66, We welcome Diana Porter, who has more than 50 IMDb acting credits and a growing footprint in the sci-fi thriller space. We talk about her newest short film, THE REWIND, which she co-wrote, co-directed, and stars in. Diana walks me through the film's concept, the emotional core of the story, the production design choices, and what it's like balancing acting and directing on the same project. We also get into her path from analyst to working actor, her unexpected stunt-double experience for Christina Hendricks, the festival she founded in Massachusetts, and her creative partnership with filmmaker Michael Whistler. Later in the episode, Diana shares two film moments that have stayed with her: the heartbreaking telegram scene in A LEAGUE OF THEIR OWN and the unforgettable long takes and emotional ceasefire in CHILDREN OF MEN.

Matthew Bannister has a star-studded cast on this week's Last Word: Sir David Hare pays tribute to his friend and fellow playwright Sir Tom Stoppard.Boy George recalls the flamboyant fashion designer Pam Hogg.Sir Mark Rylance gives an insight into the many talents of the actor, director and writer Jack Shepherd.We also remember Yanxin He, one of the last surviving speakers in a village that spoke a secret language that helped women to share their suffering in a patriarchal society.Interviewee: Sir David Hare Interviewee: Boy George Interviewee: Dr Tessa Hartmann Interviewee: Yehong Wei Interviewee: Sir Mark Rylance Producer: Gareth Nelson-Davies Assistant Producer: Catherine Powell Researcher: Jesse Edwards Editor: Glyn TansleyArchive used: Tom Stoppard, Desert Island Discs, BBC Radio 4, 12/01/1985; Rosencrantz and Guildenstern Are Dead (Hamlet), Official Promo, Director: Tom Stoppard; MGM Studios, 1990; Tom Stoppard interview, BBC One 29/05/1977; Shakespeare In Love, Official Trailer, MiraMax pictures 1998, Directed: John Madden; Pam Hogg interview, Icons of Style, BBC Scotland, 16/03/2025; Pam Hogg interview, BBC Radio 2, 26/09/2012; Pam Hogg music track: Honeyland, pamhogg.com/music; He Yanxin, interview, Hidden Letters Official Trailer, Fish+Bear Pictures, Director: Violet Du Feng; Nushu: The secret Chinese language, BBC Culture, Video by Harriet Constable; Co-produced by Fiona Macdonald; 16/11/2022; Acting with...Jack Shepherd , BBC Two, 15/04/1996; In Lambeth, BBC Two, 04/07/1993; Written and Directed by Jack Shepherd; Play For Today: Through The Night, BBC One, 04/09/1977; Wycliff, ITV Official Trailer, IMDB; Season 1, Episode 1: The Four Jacks; Director: Ferdinand Fairfax;

Florian and Esther discuss the language industry news of the past few weeks, reflecting on SlatorCon Remote and announcing that SlatorCon London 2026 is open for registration.The duo touch on IMDb's decision to recognize dubbing artists as part of new professional credit categories, explaining how this expands visibility for multilingual voice talent. They then move on to Coursera's strategy shift and outline how its new CEO is betting on AI translation and AI dubbing to revive slowing growth. Florian and Esther talk about Amazon's rollout of AI-translated Kindle eBooks, and question authors' willingness to rely on automated translation despite Amazon's promise of fast turnarounds, in as little as 72 hours.Florian highlights research on spatial audio improving AI live speech translation, and reflects on how clearer speaker differentiation could enhance comprehension. Although he stresses ongoing challenges in live settings, like latency and overlapping speech.In Esther's M&A and funding corner, healthcare AI technology startup No Barrier raises USD 2.7m, Cisco acquires EZ Dubs to enhance WebEx's real-time speech translation capabilities, and audio AI startup AudioShake raises USD 14m. Florian analyzes OneMeta's financials and notes its rapid revenue growth despite significant ongoing and limited marketing presence. Esther details the landmark UK NHS framework agreement for language services, including scope and the number of awarded vendors.Florian concludes with updates on interpreting performances at Teleperformance and AMN Healthcare, noting mixed results.

Rolling Hills Asylum in East Bethany, New York was once known as the Old Country Home and served as the Genesee County Poor Farm for decades. The main building spans over 60,000 square feet with a subterranean tunnel and has stood for almost 200 years. It saw its share of tragedies and hardship through the years. Today, it serves as a museum and paranormal hotspot, featuring tours and investigations. This is said to be one of the most haunted locations anywhere in the world. Join us for the history and hauntings of Rolling Hills Asylum. The Moment in Oddity features the Agar Art Contest. Check out the website: http://historygoesbump.com Show notes can be found here: https://historygoesbump.blogspot.com/2025/11/hgb-ep-614-rolling-hills-asylum.html     Become an Executive Producer: http://patreon.com/historygoesbump Music used in this episode: (Moment in Oddity) "Vanishing" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ Title: "Death Whistle" Artist: Tim Kulig (timkulig.com) Licensed under Creative Commons By Attribution 4.0 http://creativecommons.org/licenses/by/4.0/ IMDB: https://www.imdb.com/name/nm0997280/?ref_=fn_al_nm_1

On today's episode, we discuss the 4th highest rated Tarantino movie on IMDB and his 3rd highest rated on Rotten Tomatoes.  It's a hilarious, inspiring and brutal alternate history tale of the ages.  this movie Tarantino's masterpiece?  Does Mike Myers really need to be in this movie?  Is the opening scene of this movie the greatest of all-time?  Is Brad Pitt perfect for this role?  We tackle these questions and more in our full blown review of 2009's Inglorious Basterds.  •0:00:00 - Introductions •0:03:00 - Memories of first viewing •0:07:45  - Pertinent movie details  •0:14:00  -  Critical and fan reviews •0:26:30 - Scene by scene breakdown  •1:49:00 - Modern day ratings —————————————————————— SPONSORS-  **BIG GROVE- Check out our beers of the episode here- http://BigGrove.com  **ASPCA-  To learn more about Pet Health Insurance, visit http://aspcapetinsurance.com/breakfast  **UNCOMMON GOODS-  To get 15% off your next gift, go to http://uncommongoods.com/CONFUSED  **WARBY PARKER-  You can head over to http://WarbyParker.com/CONFUSED right now to try on any pair virtually! **RULA-  Take the first step towards better mental health today and go to http://Rula.com/confused  —————————————————————— **Support us at http://patreon.com/confusedbreakfast for bonus weekly episodes, voting on upcoming movies, giving your modern-day ratings on our movies and much more. **Mail us something   The Confused Breakfast PO Box 10016 Cedar Rapids, IA 52402-9802 Special thanks to our executive producers- Josh Miller, Starling, Michael Guiliano and NicMad. Learn more about your ad choices. Visit megaphone.fm/adchoices

Damo, Sean, and Tom get scared watching Black Phone 2You can join our Patreon for just $5 a month to get access to an enormous slew of bonus episodes as well as all our regular episodes ad free. Sign up HERE.Or if Apple is more your bag, you can also sign up for a Scaredy Boys subscription on Apple Podcasts where you'll get access to everything that's on our patreon, but on apple! You can find that here.And if you're in the market for a sexy tee or sticker that lets everyone know you're a cowardly custard, brave babe, book freak, or iMDB detective then you should head over to our store and peruse our fine wares.And while you're at it, go check out Damo's other podcast Stray Thoughts for some messy but meaningful audio essays.Want to get in contact with us?Email us at 3scaredboys@gmail.comOr find us instagram: Scaredy Boys | Damo | Sean | TomOr letterboxd: Damo | Sean | TomOr twitter: Scaredy Boys | Sean | TomOr bluesky: Scaredy Boys | Sean | TomOr tiktok: DamoOr join our Discord hereRecorded and produced on Wurundjeri land, we respectfully acknowledge the Wurundjeri People of the Kulin Nation, pay our respect to their Elders past and present, and recognise that sovereignty was never ceded. Hosted on Acast. See acast.com/privacy for more information.

A soothing December reset for women who overspend, overgive and overstretch themselves during the holidays. Katie shares a mindful breathwork pause, explores the emotional patterns behind people-pleasing and money pressure, and celebrates the launch of My Million Dollar Experiment 2, now charting globally. A gentle invitation to choose peace, boundaries, and self-kindness this season.  Watch the Zero Limits Movie on Amazon Prime or Apple TV  https://zerolimitsmovie.com/katiec .  Leave a short review on IMDb or Amazon to ripple this message further. Zero Limits (2025) - IMDb   Subscribe to both Soulful Valley Podcast & She Invests Intuitively to stay in the miracle flow. She Invests Intuitively Podcast – Soulful Valley

The Worst Mass Shooting in U.S. History: A Retired Las Vegas Police Officer Shares His Story. On October 1, 2017, the world witnessed the deadliest mass shooting by a lone gunman in American history. More than 22,000 people were gathered for the Route 91 Harvest music festival on the Las Vegas Strip when gunfire erupted from the 32nd floor of the Mandalay Bay hotel. In just ten minutes, a 64-year-old attacker fired over 1,000 rounds into the crowd, killing 60 people and wounding hundreds more. The total number of injured would eventually rise to approximately 867 as panic swept through the venue. The powerful episode is streaming for free on the Law Enforcement Talk Radio Show and Podcast website, on Apple Podcasts, Spotify, YouTube, and most every major Podcast platform. For many, the details of that night came through breaking news on Facebook, Instagram, and other social media platforms. But for the officers responding to the scene, including Retired Las Vegas Metro Police Captain Josh Bitsko, the horror unfolded in real time inside the hotel. Law Enforcement Talk Radio Show and Podcast social media like their Facebook , Instagram , LinkedIn , Medium and other social media platforms. A Night That Changed Las Vegas Forever The shooter had meticulously prepared his vantage point: two adjoining suites, 24 firearms, thousands of rounds of ammunition, and high-capacity magazines. Fourteen of the rifles were .223-caliber semi-automatic weapons; others included .308-caliber rifles and a revolver. Investigators would later confirm that the gunman fired 1,058 rounds, 1,049 of them aimed toward the festival grounds from nearly 500 yards away. The Worst Mass Shooting in U.S. History: A Retired Las Vegas Police Officer Shares His Story. Look for supporting articles about this and much more from Law Enforcement Talk Radio Show and Podcast in platforms like Medium , Blogspot and Linkedin . Shortly before the attack began at 10:05 p.m., a Mandalay Bay security guard discovered a barricaded door on the 32nd floor. Moments later, he was struck by gunfire through the shooter's door and was able to radio the hotel for help even while wounded. A maintenance worker also encountered the danger and helped relay the message: this was no routine call, someone was firing rapidly and indiscriminately. Meanwhile, concertgoers below initially mistook the gunfire for fireworks. But as bursts of 80 to 100 rounds echoed across the Las Vegas Village fairgrounds, panic set in. The crowd struggled to escape the fenced-in venue as bullets rained from above. Available for free on their website and streaming on Apple Podcasts, Spotify, Youtube and other podcast platforms. The shooter paused only briefly during reloads and while confronting the security guard. By 10:15 p.m., the gunfire had stopped. The suspect then turned his revolver on himself. Inside the 32nd Floor: Captain Josh Bitsko's Experience Amidst early confusion, reports of shots from multiple hotels, uncertainty about the shooter's position, police officers made their way to the Mandalay Bay. At 10:17 p.m., officers reached the 32nd floor. Guided by the wounded security guard, they began clearing rooms one by one while evacuating terrified guests. The Worst Mass Shooting in U.S. History: A Retired Las Vegas Police Officer Shares His Story. Retired Captain Josh Bitsko, then a sergeant, was one of the officers who ultimately breached the shooter's room. Between 10:26 and 10:30 p.m. Using explosives, Bitsko and his team entered Room 32–135, where they found the shooter deceased from a self-inflicted gunshot. The Law Enforcement Talk Radio Show and Podcast episode is available for free on their website , Apple Podcasts , Spotify and most major podcast platforms. Bitsko would later supervise another officer-involved shooting just weeks afterward, a separate critical incident involving a double-homicide suspect. Both events left lasting emotional impacts and deepened his understanding of trauma within law enforcement. Beyond the Headlines: Leadership, Trauma & Resilience Today, Josh Bitsko shares his experience through his book, The Courage to Live, an exploration of leadership under pressure, surviving trauma, and finding clarity in moments of chaos. In it, he opens up about the realities of critical incidents and the therapy journey that helped him process the weight of his police career. He also founded Bitsko Consulting, where he leads high-impact tabletop training designed to prepare agencies for real-world emergencies. His programs focus on communication, decision-making under stress, leadership development, and understanding operational gaps before the next crisis hits. Grounded in decades of frontline experience, his instruction combines personal stories with practical tools, giving students immediately usable insights and a deeper sense of mission. The Worst Mass Shooting in U.S. History: A Retired Las Vegas Police Officer Shares His Story. His interview can be found on The Law Enforcement Talk Radio Show and Podcast website, on Apple podcasts, Spotify, Youtube and on LinkedIn, Facebook, Instagram, and across most podcast platforms where listeners crave authentic law enforcement stories. A Story Shared Across Platforms Josh's story and the deeper lessons from One October continue to be shared through interviews, social media, and podcast platforms. Listeners can find conversations about his experiences on major outlets including: The Law Enforcement Talk Radio Show and Podcast website Apple Podcasts Spotify YouTube Facebook and Instagram LinkedIn The Route 91 Harvest tragedy remains one of the most defining moments in modern U.S. history, a night that reshaped national conversations about public safety, policing, mental health, and resilience. Through voices like retired Captain Josh Bitsko, the public continues to gain critical insight into what happened on the 32nd floor and what it takes to lead with courage during the unthinkable. The Worst Mass Shooting in U.S. History: A Retired Las Vegas Police Officer Shares His Story.  The full podcast episode is streaming now on Apple Podcasts, Spotify, and across Facebook, Instagram, and LinkedIn. Find a wide variety of great podcasts online at The Podcast Zone Facebook Page , look for the one with the bright green logo. Be sure to check out our website . Be sure to follow us on X , Instagram , Facebook, Pinterest, Linkedin and other social media platforms for the latest episodes and news. Listeners can tune in on the Law Enforcement Talk Radio Show website, on Apple Podcasts, Spotify, YouTube, and most every major Podcast platform and follow updates on Facebook, Instagram, and other major News outlets. You can find the show on Facebook, Instagram, Pinterest, X (formerly Twitter), and LinkedIn, as well as read companion articles and updates on Medium, Blogspot, YouTube, and even IMDB. You can help contribute money to make the Gunrunner Movie . The film that Hollywood won't touch. It is about a now Retired Police Officer that was shot 6 times while investigating Gunrunning. He died 3 times during Medical treatment and was resuscitated. You can join the fight by giving a monetary “gift” to help ensure the making of his film at agunrunnerfilm.com . Background song Hurricane is used with permission from the band Dark Horse Flyer. You can contact John J. “Jay” Wiley by email at Jay@letradio.com , or learn more about him on their website . Stay connected with updates and future episodes by following the show on Facebook, Instagram, LinkedIn, their website and other Social Media Platforms. The Worst Mass Shooting in U.S. History: A Retired Las Vegas Police Officer Shares His Story. Attributions Bitsko Consulting Wikipedia Amazon   Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Greetings horror fans and welcome back to The History Of Horror which is the theme for 2025 where the crew reviews one movie a year from the last five decades.Join your hosts Austin and Spencer as they talk about Smile. The conversation starts off with a brief intro, followed up by the Jason pick for the week and then some Oscar winners for 2022. After that, they move on to the IMDb roundup portion of the episode and follow that up with a spoiler heavy review of Smile. Sit back, relax and enjoy the conversation! Stay Spooky! Check out the Linktree below for all our social media sites as well as the crews Letterboxd pages and much more! linktr.ee/frightmarespodcast stayspooky@outlook.com Timestamps for episode. Intro - 0:00 - 4:36Jason Pick - 4:36 - 8:48Oscar Winners - 8:48 - 12:30IMDb Roundup (Spoilers) - 12:30 - 16:29Trailer - 16:29 - 18:45Review (Spoilers) - 18:45 - 1:03:21 Wrap Up and Ratings - 1:03:21 - 1:06:30Bad/Funny Reviews - 1:06:30 - 1:08:09Outro - 1:08:09 - 1:09:40

The life of a promising actor takes a devastating turn when she is attacked in her home, sending her into an 18-year fight to reclaim her sense of safety, her career, and the date that haunts her every year. Today's episode featured Amy Benedict. You can find Amy on Instagram @amy.benedict and on TikTok @amybenbro. To find her acting credentials, you can find her on IMDB here: https://m.imdb.com/name/nm0070749 Producers: Whit Missildine, Andrew Waits, Cathy Sitzes Content/Trigger Warnings: Sexual assault, Attempted murder/strangulation, Home invasion, PTSD, dissociation, and long-term trauma symptoms, Violence against women, Discussion of serial rape and homicide, Family betrayal (parental infidelity), Bullying and emotional abuse in childhood, Self-injury, Depression and anniversary trauma, Police violence, Death of perpetrator during police encounter, explicit language Social Media:Instagram: @actuallyhappeningTwitter: @TIAHPodcast Website: thisisactuallyhappening.comTo Pre-Order the Limited Edition BOOK, hand-numbered and signed by Whit for shipping by December 8: https://www.thisisactuallyhappening.com/the-book Website for Andrew Waits: andrdewwaits.comWebsite for Cathy Sitzes: cathysitzes.com Support the Show: Support The Show on Patreon: patreon.com/happening Wondery Plus: All episodes of the show prior to episode #130 are now part of the Wondery Plus premium service. To access the full catalog of episodes, and get all episodes ad free, sign up for Wondery Plus at wondery.com/plus Shop at the Store: The This Is Actually Happening online store is now officially open. Follow this link: thisisactuallyhappening.com/shop to access branded t-shirts, posters, stickers and more from the shop. Transcripts: Full transcripts of each episode are now available on the website, thisisactuallyhappening.com Intro Music: “Sleep Paralysis” - Scott VelasquezMusic Bed: Pure_Ambience_APM ServicesIf you or someone you know is struggling with the effects of trauma or mental illness, please refer to the following resources: National Suicide and Crisis Lifeline: Text or Call 988 National Alliance on Mental Illness: 1-800-950-6264National Sexual Assault Hotline (RAINN): 1-800-656-HOPE (4673)See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Ernest Saves Christmas (1988)Directed By: John R. Cherry IIIStarring: Jim Varney, Douglas Seale, Oliver Clark, not Otho from BeetlejuiceWe're starting the month of December with an early Christmas gift to you - our first discussion (in I'm sure a long line of) about Ernest movies. This time around, of course it's Ernest Saves Christmas, where Ernest does some shit and Santa and Christmas and Reindeer and other words. IMDB.com describes Ernest Saves Christmas as: "Ernest helps Santa Claus as he searches for his successor."We Also Talked About:Winners Tape All: The Hendersons Brothers Story (Tubi)Maximum Breakout (Tubi)Death Ring (Youtube)Our Episode on Firepower with Chad McQueenThe Codefendents (Youtube)(And our Episode about them)The Ratman (Tubi)Debbie Does Demons (Tubi)Like what you hear here? We're on the youtubes now with our entire new back catalog and some upcoming exclusive content available at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://youtube.com/@deweypodmonster⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠(Some of the above links are affiliate links, if you purchase through these affiliate links we do get a small kickback, and it's the best way to support this show!).Rate and Review us on the podcast platform of your choice!As always, remember, you can always find the latest goings on at our website ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://Crap.Town⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check out our fellow podcast network members at https://⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Yourunpodcast.com⁠⁠⁠

Chris Gibson is a popular YouTuber, holistic health coach, and skincare expert best known for his channel Chris Gibson Live. With over 500,000 subscribers, he shares practical, evidence- based advice on skincare, anti-aging, and wellness. https://www.instagram.com/chrisgibsonfriends/https://www.youtube.com/@CHRISGIBSONLIVEThanksgiving, Again?! ⁠⁠https://vimeo.com/ondemand/thanksgivingagain⁠⁠⁠BetterHelp: Go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://betterhelp.com/macolino⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for 10% off your first month of therapy with BetterHelp and get matched with a therapist who will listen and help #sponsoredYouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/c/JeffMacolino⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Me!!! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/saintjmac⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/jeffmacolinopodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/saintjmac/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠IMDB: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.imdb.com/title/tt17046562/?ref_=nm_knf_t1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.tiktok.com/@jeffmacolino⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Art Credit: Chase Henderson

Join The MisFitNation as host Rich LaMonica welcomes US Army Veteran Lori McVicar-Peltan — MP pioneer, private investigator, actress, comedian, and the definition of grit. Lori's journey is unlike any other. She served in the first group of women to go coed at Fort McClellan in 1978, trained as the first female Military Police boxer, and served on the streets of Frankfurt. After the military, she became the first female to start her own PI firm in Buffalo, NY, earned top investigative honors at AIG, and now continues her mission as a grandmother of 11, actress in the film Lucy and the Lake Monster, presenter at the VETTYS, and graduate of a comedy writing program. In this episode, we dive into trailblazing military history, resilience, humor, survival, and the courage to keep reinventing yourself through every season of life.

http://www.UnderThePuppet.com -  Louise Gold is puppetry royalty. A trained theatre performer, Louise began her puppetry career working on the second season of The Muppet Show, where she played many characters — including the role of Annie Sue, much to Miss Piggy's dismay. In addition to continuing her work with The Muppets, she went on to perform in The Dark Crystal, Sesame Street, and the Sesame Street spin-off The Furchester Hotel, where she played the hotel's proprietor, Funella Furchester. She's also performed on Spitting Image, The Ghost of Faffner Hall, Dodge's Pup School, and many, many more puppetry projects. I talk to Louise Gold about her incredible career on this episode of Under The Puppet. Plus, hear more of my conversation with Louise Gold by becoming a Saturday Morning Media Patreon Patron.  Visit www.patreon.com/saturdaymorningmedia for info and to help create more episodes like this. Connect with Louise Gold: Instagram - https://www.instagram.com/gold7046 IMDB - https://www.imdb.com/name/nm0325028/ Muppet Wiki - https://muppet.fandom.com/wiki/Louise_Gold Discussed on the show: The Muppet Show - https://shows.disney.com/the-muppet-show Annie Sue - https://muppet.fandom.com/wiki/Annie_Sue The Dark Crystal - https://www.darkcrystal.com/ Sesame Street - https://www.sesamestreet.org/ The Furchester Hotel - https://en.wikipedia.org/wiki/The_Furchester_Hotel The Ghost of Faffner Hall - https://muppet.fandom.com/wiki/The_Ghost_of_Faffner_Hall Dodge's Pup School - https://www.imdb.com/title/tt33665574/ Spitting Image - https://www.youtube.com/c/SpittingImage Connect with the Show: http://www.instagram.com/underthepuppet https://www.facebook.com/underthepuppet http://www.twitter.com/underthepuppet Connect with Grant: http://www.MrGrant.comhttp://www.twitter.com/toasterboy https://instagram.com/throwingtoasters/ Art by Parker Jacobs Music by Dan Ring Edited by Stephen Staver ©2025 Saturday Morning Media - http://www.saturdaymorningmedia.com  

This month on Territory Marks we feast on a match from 1987 between two behemoths of the UWF, One Man Gang vs Big Bubba Rogers! Shortly before One Man Gang was “reborn” in the WWF as Akeem and Big Bubba Rogers made his way to New York to become Big Boss Man, they battled in the UWF for the world title. Paul and Zak are joined by special guest Rob Rudman (Mattel) to discuss this “match” from 1987, reminisce on their favorite Survivor Series moments, and sing a few bars from Big Bubba Rogers ring entrance music…which happens to also be the theme song to the arcade classic Spy Hunter! Enjoy! Over on our Patreon, we continue the Big Bubba Rogers aka Big Boss Man love by featuring Ray Traylor on this month's Legends of the Territories! Consider supporting the show by signing up today at this link: ⁠⁠www.patreon.com/twodollarlatefee⁠⁠ You can watch the match discussed in this episode at the link below: ⁠One Man Gang vs Big Bubba Rogers for the UWF World Heavyweight Championship from 4/19/87⁠ Also mentioned in the episode, the post match promo from Skandor Akbar with you can watch ⁠here⁠. Dig our show? Please consider supporting us on Patreon for tons of bonus content including “Legends of the Territories”: ⁠⁠www.patreon.com/twodollarlatefee⁠⁠ Please follow/subscribe and rate us on Spotify and Apple Podcasts! Apple Podcasts: ⁠⁠podcasts.apple.com/us/podcast/two-dollar-late-fee⁠⁠ Spotify: ⁠⁠open.spotify.com/show/⁠⁠ Instagram: ⁠⁠@territorymarks⁠⁠ Instagram: ⁠⁠@twodollarlatefee⁠⁠ Paul London's Kayfabe Academy: ⁠⁠@kayfabeacademy⁠⁠ Subscribe to our ⁠⁠YouTube⁠⁠ Territory Marks logo by ⁠⁠VideoForce⁠⁠ Check out Jim Walker's intro/outro music on Bandcamp: ⁠⁠jvamusic1.bandcamp.com⁠⁠ Facebook: ⁠⁠facebook.com/Two-Dollar-Late-Fee-Podcast⁠⁠ Merch:⁠⁠ https://www.teepublic.com/user/two-dollar-late-fee⁠⁠ IMDB: ⁠⁠https://www.imdb.com⁠⁠ Two Dollar Late Fee is a part of the nutritious ⁠⁠Geekscape Network⁠⁠ Every episode is produced, edited, and coddled by Zak Shaffer (⁠⁠@zakshaffer⁠⁠) & Dustin Rubin (⁠⁠@dustinrubinvo⁠⁠) Listen on Spotify ⁠here⁠. Don't forget to like & subscribe! Learn more about your ad choices. Visit megaphone.fm/adchoices

Do Blue Wives Matter, What Are They? A Look Inside Police Support in a Special Episode of the Law Enforcement Talk Podcast now streaming on their website, also on Apple Podcasts, Spotify, YouTube, and most major podcast platforms, listeners are introduced to a perspective rarely heard in mainstream news or social media: the voice of a police spouse. The episode features retired Police Captain Rob Sweaza and his wife Kristen Sweaza, two people whose shared experiences ultimately led to the creation of their nonprofit support group, Blue Wives Matter. Law Enforcement Talk Radio Show and Podcast social media like their Facebook , Instagram , LinkedIn , Medium and other social media platforms. A Rare Two-Person Perspective “He saw the things most people never have to witness,” Kristen says during the interview. “But families see it too, just from a different angle.” Look for supporting articles about this and much more from Law Enforcement Talk Radio Show and Podcast in platforms like Medium , Blogspot and Linkedin . Rob adds, “Police spouses carry a weight that many don't see. I couldn't have made it through my career without Kristen.” The Sweazas appear together in this unusually intimate two-person interview to shed light on one of the most overlooked segments of the law enforcement family: the spouses who stand behind the badge. Do Blue Wives Matter, What Are They? Special Episode. Why They Founded Blue Wives Matter After enduring multiple traumatic line-of-duty deaths throughout Rob's police career, the couple repeatedly found themselves helping grieving families in the immediate aftermath. Again and again, they saw the same emotional and practical needs, needs that weren't consistently being met. Available for free on their website and streaming on Apple Podcasts, Spotify, Youtube and other podcast platforms. “We looked at each other one night and just said, ‘Something has to change,'” Rob recalls. That moment became the spark for Blue Wives Matter. So what is Blue Wives Matter? And what are they all about? According to Kristen, “It's not political. It's about people. It's about support. It's about making sure no spouse or family goes through this alone.” Do Blue Wives Matter, What Are They? Special Episode. The Law Enforcement Talk Radio Show and Podcast episode is available for free on their website , Apple Podcasts , Spotify and most major podcast platforms. Rob adds, “The mission is simple: stand by the families who stand by law enforcement.” Their organization focuses on emotional support, community connection, and helping spouses and families navigate the overwhelming days and months that follow a tragedy. The Reality Behind the Statistics The episode also highlightsa topic with sobering data from the National Law Enforcement Officers Memorial Fund and the FBI: 107 officers died in the line of duty in 2024. 52 officers were killed in firearms-related incidents, a 13% increase from 2023. 43 officers died in traffic-related incidents, including 29 vehicle crashes. Many deaths occurred during investigative activities, unprovoked attacks, ambushes, disturbance calls, and traffic stops. Since 1776, America has seen more than 27,000 known line-of-duty deaths. The names of over 24,000 officers are currently inscribed at the National Law Enforcement Officers Memorial in Washington, D.C. Do Blue Wives Matter, What Are They? Special Episode. The full podcast episode is streaming now on Apple Podcasts, Spotify, and across Facebook, Instagram, and LinkedIn. Honoring the Fallen and Their Families Each year, as part of National Police Week, the nation comes together to honor fallen officers and support the families left behind. Events include: The May 13 Candlelight Vigil Peace Officers Memorial Day on May 15 The C.O.P.S. National Survivors Conference The FOP National Peace Officers Memorial Service at the U.S. Capitol These events serve as a reminder that behind every badge is a story of service, sacrifice, and family, something Blue Wives Matter aims to uphold year-round. Do Blue Wives Matter, What Are They? Special Episode. You can find the show on Facebook, Instagram, Pinterest, X (formerly Twitter), and LinkedIn, as well as read companion articles and updates on Medium, Blogspot, YouTube, and even IMDB. A Story Worth Hearing The Sweazas' story is emotional, genuine, and grounded in lived experience. Their message resonates across Facebook, Instagram, and other social media platforms, but it is the depth of their conversation in this special podcast episode that stands out. “Families serve too,” Kristen says quietly near the end of the interview. “They always have.” Rob nods. “And it's time people recognize that.” Do Blue Wives Matter, What Are They? Special Episode. The host of the Law Enforcement Talk Radio Show strongly encourages everyone to listen to this special episode featuring Kristen and Rob Sweaza and learn more about the mission of Blue Wives Matter, a mission born from pain, strengthened by purpose, and powered by love.​ Available for free on their website and streaming on Apple Podcasts, Spotify, and other podcast platforms. Get the latest news articles, without all the bias and spin, from the Law Enforcement Talk Radio Show and Podcast on Medium , which is free. “If you enjoy the show,” John Jay Wiley adds, “please share it with a friend or two, or three. And if you're able to leave an honest rating or review, it would be deeply appreciated.” The Law Enforcement Talk Radio Show and Podcast is available for free on Apple Podcasts, Spotify, YouTube, and LETRadio.com, among many other platforms. Stay connected with updates and future episodes by following the show on Facebook, Instagram, LinkedIn, their website and other Social Media Platforms. Find a wide variety of great podcasts online at The Podcast Zone Facebook Page , look for the one with the bright green logo. Be sure to check out our website . Be sure to follow us on X , Instagram , Facebook, Pinterest, Linkedin and other social media platforms for the latest episodes and news. Listeners can tune in on the Law Enforcement Talk Radio Show website, on Apple Podcasts, Spotify, YouTube, and most every major Podcast platform and follow updates on Facebook, Instagram, and other major News outlets. You can find the show on Facebook, Instagram, Pinterest, X (formerly Twitter), and LinkedIn, as well as read companion articles and updates on Medium, Blogspot, YouTube, and even IMDB. You can help contribute money to make the Gunrunner Movie . The film that Hollywood won't touch. It is about a now Retired Police Officer that was shot 6 times while investigating Gunrunning. He died 3 times during Medical treatment and was resuscitated. You can join the fight by giving a monetary “gift” to help ensure the making of his film at agunrunnerfilm.com . Background song Hurricane is used with permission from the band Dark Horse Flyer. You can contact John J. “Jay” Wiley by email at Jay@letradio.com , or learn more about him on their website . Do Blue Wives Matter, What Are They? Special Episode. Attributions Facebook ODMP.org NLEOMF.com National Police Week Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

A little known factory town was home to the Kreischer Mansion, which actually had a twin. There were two exact mirror-image homes that sat next to each in Staten Island, fittingly owned by brothers. Only one of them remains and it changed ownership many times over the years. There were deaths on the property and people took to calling this the murder house.  It very well might be a real life haunted mansion. Join us as we explore the history and hauntings of the Kreischer Mansion. This Month in History features the birth of Hedy Lamarr and was written by Jim Featherstone. Check out the website: http://historygoesbump.com Show notes can be found here: https://historygoesbump.blogspot.com/2025/11/hgb-ep-613-kreischer-mansion.html     Become an Executive Producer: http://patreon.com/historygoesbump Music used in this episode: (This Month in History) "In Your Arms" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/     Title: "The (g)Host" Artist: Tim Kulig (timkulig.com) Licensed under Creative Commons By Attribution 4.0 http://creativecommons.org/licenses/by/4.0/ IMDB: https://www.imdb.com/name/nm0997280/?ref_=fn_al_nm_1