Podcasts about lieberman

Join Erin Doppelt as she welcomes her best friend, Michal Lieberman, to the Wise Woman podcast. In this episode, Michal shares her journey of unlocking her inner artist and the power of intuition. From her artistic beginnings in Jerusalem to her current life in Copenhagen, Michal discusses the importance of following one's intuition and the liberating effect it has on oneself and others. Discover how art serves as a form of medicine and learn how to connect with your own creative spirit. Tune in for an inspiring conversation about creativity, intuition, personal growth and liberation. Takeaways from the episode: Follow your intuition to unlock creativity. Art serves as a form of personal medicine. Trust the creative process without overthinking. Intuition can lead to personal liberation. Creative growth often involves stepping into the unknown. Artistic expression is a journey, not a destination. Connecting with your inner artist can be transformative. Embrace the love of learning and exploration. Intuition is about listening to your inner voice. Creative collaboration can enhance personal growth. Michal Lieberman (b. 1988, Tel Aviv, Israel) lives and creates in Copenhagen, Denmark. She holds a BFA from the Bezalel Academy of Art and Design, Jerusalem, and is also a graduate of the Hatachana School of Figurative Drawing and Painting, Tel Aviv. Lieberman has presented a solo exhibition and has participated in numerous group exhibitions in museums and galleries across Israel. Her works are held in public collections as well as in many private collections worldwide. Michallieberman.com https://www.instagram.com/michallieberman Message Erin on Social Media to join Soul Pods: a 12-week group experience for women who are ready to collapse timelines and step into their highest expression now, not someday. Soul Pods is for the woman who: Knows she's meant for more Is done staying small or dimming her magic Feels ready to jump timelines and embody her 2026 self today Wants to rewire her subconscious, elevate her energy, and take aligned action Craves sisterhood with women on the same path Over our 10 calls, we'll explore: • Kriya + energetic purification • Reprogramming the subconscious mind • Active meditation for everyday integration • Kabbalah + spiritual technology • Positive psychology • Deep manifestation work • Physical aligned action • Identity shifting + future-self embodiment This is where you get to rise. Where you become the woman you keep seeing in your vision. Where you step fully into your leadership, intuition, wholeness, and power.

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

This content has been developed for healthcare professionals only. Patients who seek health information should consult with their physician or relevant patient advocacy groups.For the full presentation, downloadable Practice Aids, slides, and complete CME/AAPA information, and to apply for credit, please visit us at PeerView.com/QBS865. CME/AAPA credit will be available until November 9, 2026.Building Clinical Confidence in the Diagnosis and Multidisciplinary Management of Rett Syndrome In support of improving patient care, PVI, PeerView Institute for Medical Education, is jointly accredited by the Accreditation Council for Continuing Medical Education (ACCME), the Accreditation Council for Pharmacy Education (ACPE), and the American Nurses Credentialing Center (ANCC), to provide continuing education for the healthcare team.SupportThis activity is supported by an educational grant from ACADIA Pharmaceuticals Inc.Disclosure information is available at the beginning of the video presentation.

This content has been developed for healthcare professionals only. Patients who seek health information should consult with their physician or relevant patient advocacy groups.For the full presentation, downloadable Practice Aids, slides, and complete CME/AAPA information, and to apply for credit, please visit us at PeerView.com/QBS865. CME/AAPA credit will be available until November 9, 2026.Building Clinical Confidence in the Diagnosis and Multidisciplinary Management of Rett Syndrome In support of improving patient care, PVI, PeerView Institute for Medical Education, is jointly accredited by the Accreditation Council for Continuing Medical Education (ACCME), the Accreditation Council for Pharmacy Education (ACPE), and the American Nurses Credentialing Center (ANCC), to provide continuing education for the healthcare team.SupportThis activity is supported by an educational grant from ACADIA Pharmaceuticals Inc.Disclosure information is available at the beginning of the video presentation.

In this powerful episode, we dive into the historic transition from the ICA to the IFCO and what it means for the future of Principled Chiropractic. Joined by special guests Dr. Eddie Martinez, Dr. Brian Lieberman, and Dr. Edwin Cordero, we explore how this shift marks the beginning of a new era, one rooted in clarity, certainty, and unwavering commitment to serving humanity. Get ready for insight, vision, and the spark that's driving the chiropractic world forward. Learn more at WakeUpHumans.org and check out Steve Judson's books and gear.

Pocas veces solemos caer en la cuenta de lo importante que es el clima en el curso de los acontecimientos históricos. Quizá a corto plazo no nos lo pueda parecer ya que en el curso de una vida humana rara vez cambian de forma drástica las condiciones climáticas. Pero en el largo plazo el impacto del clima sobre el curso de la historia se ha demostrado fundamental. Desde la prehistoria se han producido varios cambios climáticos de distinta envergadura y todos, sin excepción, han afectado a las comunidades humanas. Unas veces para bien, otras para mal. Los neandertales, por ejemplo, no pudieron aguantar un enfriamiento más o menos repentino del planeta y eso, junto a la irrupción del homo sapiens, les condenó a la extinción hace unos 40.000 años. Ya en tiempos históricos otro enfriamiento provocó la caída del imperio antiguo en Egipto, el mismo que había levantado las grandes pirámides de Guiza. Ese mismo fenómeno provocó que el norte de África, que en aquel entonces era verde, húmedo y se encontraba poblado, se transformase en el desierto del Sahara, el mayor del planeta. Dos mil años más tarde otro evento climático fue el causante del colapso del imperio hitita, de las migraciones indoeuropeas hacia el oeste y de la llegada de los llamados “pueblos del mar” al oriente mediterráneo, tres acontecimientos concatenados que reconfiguraron por completo el mundo antiguo. A los periodos cálidos y húmedos en los que las civilizaciones prosperaban le han seguido siempre otros de carácter frío y seco. Esos inviernos prolongados acompañados de magras cosechas y seguidos por epidemias derribaron imperios, facilitaron invasiones y cambiaron el rumbo de la historia. Ese fue el caso, por ejemplo, de la peste de Justiniano a mediados del siglo VI, provocada por la erupción casi simultánea de tres grandes volcanes en distintas partes del mundo, que tendieron un velo de cenizas en la atmósfera haciendo descender la temperatura en todo el mundo. A las erupciones le siguió la crisis agrícola y, a esta, la irrupción de la peste negra que acabó con la vida de una cuarta parte de los habitantes del imperio bizantino en unos pocos años. La influencia del clima en la historia es un campo de estudio relativamente nuevo. Hasta hace sólo unos años no se solía tener en cuenta ya que nuestros ancestros no tenían el modo de medir con precisión los parámetros climáticos del tiempo que les tocó vivir. Algo de información documental nos ha llegado, pero no es demasiada y, además, está muy fragmentada. A cambio, gracias a los avances en paleoclimatología, se está reconstruyendo de forma muy completa el clima que hubo en la Tierra en tiempos pasados, desde la prehistoria hasta que se empezaron a medir y anotar registros climáticos de forma sistemática y concienzuda ya en el siglo XIX. Hoy en La ContraHistoria tenemos a un historiador, José Soto Chica, bien conocido por los seguidores de este programa, y a un paleoclimatólogo, Francisco Jiménez Espejo, investigador del Consejo Superior de Investigaciones Científicas. Entre ambos han alumbrado un libro excepcional, “El dios incomprendido. El desafío del clima en la historia de la humanidad” que publica la editorial Desperta Ferro y sobre el que hablaremos larga y pausadamente a lo largo de la próxima hora. Bibliografía: “El dios incomprendido” de José Soto Chica y Francisco J. Jiménez Espejo - https://amzn.to/4qW3Paf “El águila y los cuervos. La caída del imperio romano” de José Soto Chica - https://amzn.to/47ZjT2k “Imperios y bárbaros” de José Soto Chica - https://amzn.to/3WWZIwO “El siglo maldito” de Geoffrey Parker - https://amzn.to/49hVYNS “El mundo que forjó la peste” de James Belich - https://amzn.to/48dlFy0 “El cambio climático en la historia de la humanidad” de benjamín Lieberman - https://amzn.to/49AflSz · Canal de Telegram: https://t.me/lacontracronica · “Contra el pesimismo”… https://amzn.to/4m1RX2R · “Hispanos. Breve historia de los pueblos de habla hispana”… https://amzn.to/428js1G · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Contra la Revolución Francesa”… https://amzn.to/4aF0LpZ · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #clima #paleoclimatologia Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Have a question, comment, idea or suggestion? Send us a text.What if the political consulting industry isn't the competitive free market everyone assumes it is? Jordan Lieberman, CEO of Powers Interactive, analyzed over 54 million federal campaign transactions to reveal the hidden architecture of political consulting. In this episode, Jordan shares eye-opening findings about vendor survival rates, the power of alumni networks, and why 93% of consultants don't make it a decade in the business. We discuss how institutions like the Leadership Institute and party committees create lasting professional networks, why digital shops churn while printers endure, and what Jordan calls the "hollowing out of the middle class" in political consulting. Plus, Jordan offers counterintuitive career advice: why losing campaigns might actually lead to more success than winning them. If you want to understand how campaign money really flows and what it takes to build a lasting career in politics, this conversation is essential listening. Visit our website: CampaignTrend.com

Today we welcome Editor Viridiana Lieberman who joins us to talk about their work on the documentary The Perfect Neighbour. Viri will talk us through editing a film primarily shot through body cam and archival footage. The Perfect Neighbor Trailer : https://www.youtube.com/watch?v=fNp85HGJtooProduced by Daniel Miller and Monika DittonArtwork Designed by Piotr MotykaMusic by ELPHNTContact: creativeindustryinsight@gmail.com

In this episode of the Real Estate Pros Podcast, host Erika speaks with Brent Lieberman of Level and Partners about his journey in the real estate industry, focusing on the industrial sector. They discuss the importance of networking, sourcing deals, navigating market trends, and maintaining high standards in tenant management. Brett shares valuable insights for aspiring real estate professionals and outlines his vision for growth at Levelan Partners.   Professional Real Estate Investors - How we can help you: Investor Fuel Mastermind:  Learn more about the Investor Fuel Mastermind, including 100% deal financing, massive discounts from vendors and sponsors you're already using, our world class community of over 150 members, and SO much more here: http://www.investorfuel.com/apply   Investor Machine Marketing Partnership:  Are you looking for consistent, high quality lead generation? Investor Machine is America's #1 lead generation service professional investors. Investor Machine provides true 'white glove' support to help you build the perfect marketing plan, then we'll execute it for you…talking and working together on an ongoing basis to help you hit YOUR goals! Learn more here: http://www.investormachine.com   Coaching with Mike Hambright:  Interested in 1 on 1 coaching with Mike Hambright? Mike coaches entrepreneurs looking to level up, build coaching or service based businesses (Mike runs multiple 7 and 8 figure a year businesses), building a coaching program and more. Learn more here: https://investorfuel.com/coachingwithmike   Attend a Vacation/Mastermind Retreat with Mike Hambright: Interested in joining a "mini-mastermind" with Mike and his private clients on an upcoming "Retreat", either at locations like Cabo San Lucas, Napa, Park City ski trip, Yellowstone, or even at Mike's East Texas "Big H Ranch"? Learn more here: http://www.investorfuel.com/retreat   Property Insurance: Join the largest and most investor friendly property insurance provider in 2 minutes. Free to join, and insure all your flips and rentals within minutes! There is NO easier insurance provider on the planet (turn insurance on or off in 1 minute without talking to anyone!), and there's no 15-30% agent mark up through this platform!  Register here: https://myinvestorinsurance.com/   New Real Estate Investors - How we can work together: Investor Fuel Club (Coaching and Deal Partner Community): Looking to kickstart your real estate investing career? Join our one of a kind Coaching Community, Investor Fuel Club, where you'll get trained by some of the best real estate investors in America, and partner with them on deals! You don't need $ for deals…we'll partner with you and hold your hand along the way! Learn More here: http://www.investorfuel.com/club   —--------------------

Episode 21 of the Ask Away series addresses diverse questions on kosher laws, Jewish practices, and spiritual growth, emphasizing practical application and Torah sourcing. Recorded post-Sukkot, the session encourages questioning to deepen understanding. Key themes include:Kosher Laws: Blood is forbidden (Leviticus 17:11), requiring precise kashering (soaking, salting, rinsing). Glass vessels' non-absorptive nature will be clarified later. Pre-kashered meat doesn't need re-kashering when cut, and chicken hearts require special preparation (cutting, rinsing, salting). Contaminated water undermines kashering, necessitating clean water (0:42–25:27).Animal Welfare: Hunting is not Jewish; kosher animals are confined for painless slaughter (shechita). Esau's hunting skill (aided by Adam's garments) was exceptional but not normative, as Jews avoid tza'ar ba'alei chaim (5:31–9:42).Health and Hygiene: Sick animals are non-kosher due to defects (e.g., cancer), requiring post-slaughter inspection. Cockroaches can be removed on Shabbat without killing, and hand-washing reflects halachic hygiene awareness (13:24–24:29).Happiness and Gratitude: Marriage fosters selflessness, per Yevamot 62b, paralleling God's giving. Reciting 100 daily blessings cultivates gratitude, preventing entitlement. Ungrateful children given everything become miserable, unlike those earning rewards (27:06–33:14).Teshuva and Past: Embracing one's past, even with trauma, fuels teshuva and growth. Gratitude prevents “stealing” from oneself the chance to connect with Hashem (35:42–38:31).Marriage and Responsibility: Constant love and selflessness in marriage mirror God's giving. Stories of Rav Scherer and Senator Lieberman highlight prioritizing home duties, reinforcing marriage's role in personal growth (39:17–46:38).Please submit your questions at askaway@torchweb.org_____________The Everyday Judaism Podcast is dedicated to learning, understanding and appreciating the greatness of Jewish heritage and the Torah through the simplified, concise study of Halacha, Jewish Law, thereby enhancing our understanding of how Hashem wants us to live our daily lives in a Jewish way._____________This Podcast Series is Generously Underwritten by Marshall & Doreen LernerDownload & Print the Everyday Judaism Halacha Notes:https://drive.google.com/drive/folders/1RL-PideM42B_LFn6pbrk8MMU5-zqlLG5This episode (Ep. #71) of the Everyday Judaism Podcast by Rabbi Aryeh Wolbe of TORCH is dedicated to my dearest friends, Marshall & Doreen Lerner! May Hashem bless you and always lovingly accept your prayer for good health, success and true happiness!!!Recorded in the TORCH Centre - Levin Family Studio (B) to a live audience on October 19, 2025, in Houston, Texas.Released as Podcast on November 5, 2025_____________Connect with Us:Subscribe to the Everyday Judaism Podcast on Apple Podcasts (https://podcasts.apple.com/us/podcast/everyday-judaism-rabbi-aryeh-wolbe/id1600622789) or Spotify (https://open.spotify.com/show/3AXCNcyKSVsaOLsLQsCN1C) to stay inspired! Share your questions at askaway@torchweb.org or visit torchweb.org for more Torah content.  _____________About the Host:Rabbi Aryeh Wolbe, Director of TORCH in Houston, brings decades of Torah scholarship to guide listeners in applying Jewish wisdom to daily life.  To directly send your questions, comments, and feedback: awolbe@torchweb.org_____________Support Our Mission:Help us share Jewish wisdom globally by sponsoring an episode at torchweb.org. Your support makes a difference!_____________Subscribe and Listen to other podcasts by Rabbi Aryeh Wolbe: NEW!! Prayer Podcast: https://prayerpodcast.transistor.fm/episodesJewish Inspiration Podcast: https://inspiration.transistor.fm/episodesParsha Review Podcast: https://parsha.transistor.fm/episodesLiving Jewishly Podcast: https://jewishly.transistor.fm/episodesThinking Talmudist Podcast: https://talmud.transistor.fm/episodesUnboxing Judaism Podcast: https://unboxing.transistor.fm/episodesRabbi Aryeh Wolbe Podcast Collection: https://collection.transistor.fm/episodesFor a full listing of podcasts available by TORCH at http://podcast.torchweb.org_____________Keywords:#AskAway, #Torah, #Halacha, #Q&A, #Kosher, #Blood, #Hunting, #Poultry, #Marriage, #Gratitude, #Happiness, #Relationships, #TorahLaw ★ Support this podcast ★

Dr. Carole Lieberman is a psychiatrist and expert on the mental effects of terrorism and how to cope with it. Dr. Lieberman can also be found on Renegade Talk Radio or at her website TerroristTherapist.com.  Join us for War Locker LIVE — formerly Locker Room Live! Stream (almost) every Wednesday at 8:30 PM PST on YouTube, where we dive deep into current events, culture, and the real conversations shaping modern society. Remember: If we release a War Locker Interview, we will be LIVE the same day! Support War Locker and War Locker LIVE by leaving a review and sharing the show! Visit www.warstoriesofficial.com to listen to past episodes, grab exclusive merchandise, become a patron, and follow us on Instagram and Facebook for updates, behind-the-scenes content, and community discussions.

Episode 21 of the Ask Away series addresses diverse questions on kosher laws, Jewish practices, and spiritual growth, emphasizing practical application and Torah sourcing. Recorded post-Sukkot, the session encourages questioning to deepen understanding. Key themes include:Kosher Laws: Blood is forbidden (Leviticus 17:11), requiring precise kashering (soaking, salting, rinsing). Glass vessels' non-absorptive nature will be clarified later. Pre-kashered meat doesn't need re-kashering when cut, and chicken hearts require special preparation (cutting, rinsing, salting). Contaminated water undermines kashering, necessitating clean water (0:42–25:27).Animal Welfare: Hunting is not Jewish; kosher animals are confined for painless slaughter (shechita). Esau's hunting skill (aided by Adam's garments) was exceptional but not normative, as Jews avoid tza'ar ba'alei chaim (5:31–9:42).Health and Hygiene: Sick animals are non-kosher due to defects (e.g., cancer), requiring post-slaughter inspection. Cockroaches can be removed on Shabbat without killing, and hand-washing reflects halachic hygiene awareness (13:24–24:29).Happiness and Gratitude: Marriage fosters selflessness, per Yevamot 62b, paralleling God's giving. Reciting 100 daily blessings cultivates gratitude, preventing entitlement. Ungrateful children given everything become miserable, unlike those earning rewards (27:06–33:14).Teshuva and Past: Embracing one's past, even with trauma, fuels teshuva and growth. Gratitude prevents “stealing” from oneself the chance to connect with Hashem (35:42–38:31).Marriage and Responsibility: Constant love and selflessness in marriage mirror God's giving. Stories of Rav Scherer and Senator Lieberman highlight prioritizing home duties, reinforcing marriage's role in personal growth (39:17–46:38).Please submit your questions at askaway@torchweb.org_____________The Everyday Judaism Podcast is dedicated to learning, understanding and appreciating the greatness of Jewish heritage and the Torah through the simplified, concise study of Halacha, Jewish Law, thereby enhancing our understanding of how Hashem wants us to live our daily lives in a Jewish way._____________This Podcast Series is Generously Underwritten by Marshall & Doreen LernerDownload & Print the Everyday Judaism Halacha Notes:https://drive.google.com/drive/folders/1RL-PideM42B_LFn6pbrk8MMU5-zqlLG5This episode (Ep. #71) of the Everyday Judaism Podcast by Rabbi Aryeh Wolbe of TORCH is dedicated to my dearest friends, Marshall & Doreen Lerner! May Hashem bless you and always lovingly accept your prayer for good health, success and true happiness!!!Recorded in the TORCH Centre - Levin Family Studio (B) to a live audience on October 19, 2025, in Houston, Texas.Released as Podcast on November 5, 2025_____________Connect with Us:Subscribe to the Everyday Judaism Podcast on Apple Podcasts (https://podcasts.apple.com/us/podcast/everyday-judaism-rabbi-aryeh-wolbe/id1600622789) or Spotify (https://open.spotify.com/show/3AXCNcyKSVsaOLsLQsCN1C) to stay inspired! Share your questions at askaway@torchweb.org or visit torchweb.org for more Torah content.  _____________About the Host:Rabbi Aryeh Wolbe, Director of TORCH in Houston, brings decades of Torah scholarship to guide listeners in applying Jewish wisdom to daily life.  To directly send your questions, comments, and feedback: awolbe@torchweb.org_____________Support Our Mission:Help us share Jewish wisdom globally by sponsoring an episode at torchweb.org. Your support makes a difference!_____________Subscribe and Listen to other podcasts by Rabbi Aryeh Wolbe: NEW!! Prayer Podcast: https://prayerpodcast.transistor.fm/episodesJewish Inspiration Podcast: https://inspiration.transistor.fm/episodesParsha Review Podcast: https://parsha.transistor.fm/episodesLiving Jewishly Podcast: https://jewishly.transistor.fm/episodesThinking Talmudist Podcast: https://talmud.transistor.fm/episodesUnboxing Judaism Podcast: https://unboxing.transistor.fm/episodesRabbi Aryeh Wolbe Podcast Collection: https://collection.transistor.fm/episodesFor a full listing of podcasts available by TORCH at http://podcast.torchweb.org_____________Keywords:#AskAway, #Torah, #Halacha, #Q&A, #Kosher, #Blood, #Hunting, #Poultry, #Marriage, #Gratitude, #Happiness, #Relationships, #TorahLaw ★ Support this podcast ★

Join Jim and Greg for the Tuesday edition of the 3 Martini Lunch as they reflect on the legacy of the late former Vice President Dick Cheney, slam former Attorney General Eric Holder for trying to undermine the Supreme Court, and highlight more deranged behavior from the left, this time targeting Montana Sen. Tim Sheehy.First, they examine the long and influential career of Dick Cheney, from his early days in the Ford administration to serving as Defense Secretary during the Gulf War and later as one of the most consequential vice presidents in U.S. history. There will be considerable debate on the right over his legacy in the Iraq War and his endorsement of Kamala Harris in 2024. Jim also tells us about a special dinner he had with the Cheneys shortly after the 2004 election.Next, they slam former Attorney General Eric Holder for his latest comments clearly aimed at delegitimizing the U.S. Supreme Court, all because he's frustrated by the right-leaning decisions coming from the court. Holder is also among the people urging Democrats to gerrymander their congressional even more heading into the 2026 midtermsFinally, they recoil at the vile voicemail left for Sen. Sheehy by a woman who is running for local office in Montana. In the message, she hopes Sheehy contracts pancreatic cancer and dies quickly because he supported the GOP's One Big Beautiful Bill. Jim says after Charlie Kirk's murder, the Jay Jones scandal, and now this, there are a lot of people becoming detached from reality over politics.Please visit our great sponsors:Give your liver the support it deserves with Dose Daily.  Save 35% on your first month when you subscribe at https://DoseDaily.co/3ML or enter code 3ML at checkout. Get 20% off your first purchase of classic menswear. Visit https://MizzenAndMain.com with promo code 3ML20—shop online or visit a Mizzen and Main store in select states.Sponsored by Quo, formerly known as Open Phone: Get started free and save 20% on your first 6 months and keep your existing numbers at no extra charge—no missed calls, no missed customers. Visit https://Quo.com/3ML

To start the show this morning, Chaz and AJ put out a warning about the uptick of deer accidents since the clocks changed. The Tribe called in to share some of their stories involving accidents with deer, and to share tips on how to properly hit them (if needed.) (0:00)  The news of Dick Cheney's passing was announced while the show was on live, and Chaz and AJ immediately remembered interviewing him through a DC visit to Senator Lieberman's office. Plus, the story of AJ's vehicle being impounded for not having a parking sticker. (9:17)  Comedian Vince Berry was out in Milford this morning, visiting the polls to gauge voter interest at the beginning of Election Day. (23:36)  Chaz and Scot in the Box will be happening next week, and the song that will plays on a continuous 24-hour loop still needs to be decided. The Tribe called to share the songs they think will irritate Chaz the most. (27:11)  Photo credit: Getty Images 

Dr. Carole Lieberman is a board-certified Beverly Hills psychiatrist, author, and media personality who specializes in forensic psychiatry and media psychiatry.    Education and training M.D.: She received her medical degree from the Université Catholique de Louvain in 1975. M.P.H.: She earned a Master's of Public Health from the University of California, Los Angeles (UCLA). Residency: Lieberman was Chief Resident in Psychiatry at NYU-Bellevue. Clinical Faculty: She has been a member of the clinical faculty in UCLA's Department of Psychiatry for many years. Other Training: She studied at the Anna Freud Hampstead Clinic and the Institute of Psychiatry/Maudsley Hospital in London.    Career and notable work Forensic Psychiatrist: With over 20 years of experience, she works as a forensic psychiatrist and expert witness on hundreds of civil and criminal cases nationwide, including high-profile cases like the Jenny Jones Talk Show murder trial and celebrity divorces. Media Personality: An Emmy-honored media personality, Lieberman frequently provides psychiatric expertise on news and talk shows such as Oprah and the Today Show, and hosts a radio show and podcast. Author: She is an award-winning author of several books, including Bad Boys, Bad Girls, and Lions and Tigers and Terrorists, Oh My!. Activism: She has testified before Congress multiple times to advocate for mental health awareness in the media. Hollywood Consultant: She has worked as a psychiatric script consultant for soap operas like The Young and the Restless.    Controversies Analyzing Public Figures: Dr. Lieberman has faced criticism for providing analyses of public figures she has not personally met, which goes against the American Psychiatric Association's "Goldwater Rule". Criticism from UCLA: An article in Shockya raised questions about the use of psychiatric evaluations by UCLA-trained psychiatrists, including Lieberman, to potentially discredit individuals who challenge established interests. Video Game Controversy: In 2011, she suggested that video games contribute to aggression and sexual assault.      SOCIAL MEDIA EXPLOITATION – HOW IT WORKS Social media platforms exploit and manipulate psychological mechanisms to drive excessive engagement, often at the expense of users' mental well-being. While Dr. Carole Lieberman has not specified a distinct list of mechanisms, her public stance as a "Media Psychiatrist" aligns with a recognized set of issues identified by mental health professionals, researchers, and tech critics.  Key psychological mechanisms that make social media platforms harmful include: The variable reward system Social media platforms use an intermittent, variable reward schedule similar to that of a slot machine.  The dopamine hit: Each notification, "like," or share is a potential reward that triggers a release of dopamine, a neurotransmitter in the brain's reward pathway. The unpredictability factor: Since users don't know when they will receive a reward, they are incentivized to keep scrolling and checking for updates. The unpredictability of the reward makes the platforms highly addictive.  Social comparison and curated reality Social media platforms present a distorted view of others' lives, leading to a constant and often unhealthy process of comparison.  The "highlight reel": Users primarily post curated, idealized versions of their lives, showcasing achievements, vacations, and happy moments. Feelings of inadequacy: When a user's unfiltered reality is constantly compared to the polished "highlight reel" of others, it can create feelings of low self-esteem, envy, and inadequacy. Filters and altered self-perception: The pervasive use of filters on images and videos further promotes unrealistic beauty standards, which can lead to body dissatisfaction and a disconnect from one's authentic self.  Fear of missing out (FOMO) Platforms capitalize on the fundamental human need for connection by creating a fear of exclusion.  Anxiety and compulsion: Notifications and feeds highlighting the activities of friends and acquaintances can trigger the fear of missing out on social events or experiences. This anxiety can drive compulsive checking and over-engagement. Displacement of real-life interactions: The desire to stay "in the loop" online can cause users to prioritize virtual engagement over genuine, in-person social interactions, leading to feelings of loneliness and isolation.  Design features that drive compulsive use Social media platforms are deliberately engineered with features that make it hard to stop scrolling, even when a user intends to log off.  Infinite scroll: This feature eliminates stopping points, allowing users to consume an endless stream of content without having to make a conscious decision to start a new page. Autoplay: Platforms like YouTube and TikTok automatically play the next video in a queue, seamlessly prolonging a user's session without requiring any action. Personalized algorithms: Artificial intelligence (AI) is used to constantly learn a user's preferences, ensuring that the content delivered is as engaging and attention-grabbing as possible.  Targeting of adolescents Social media companies disproportionately impact younger users, whose brains are still in a sensitive period of development.  Vulnerability to reward systems: Developing brains are particularly sensitive to social rewards, which makes young people more susceptible to the variable reward systems of social media. Impact on developing brains: Excessive social media use has been linked to changes in the parts of the adolescent brain related to emotional learning, impulse control, and regulation. This can lead to increased emotional sensitivity and compromised decision-making.  This is for informational purposes only. For medical advice or diagnosis, consult a professional. AI responses may include mistakes. Learn more

Blue Sunshine, LSD, Brotherhood of Eternal Love, Timothy Leary, William Mellon Hitchcock, Ronald Hadley Stark, orange sunshine acid, flashbacks, the mythology around orange sunshine, Jerry Brown, Jeff Lieberman, Sonny Liston, Lieberman as noided, cult casting, Zalman King, exploitation films, 1970s nihilism, shopping malls and American consumer culture, noided political thrillers, punk counterculture, how the punks saw Blue Sunshine, 1950s sci-fi as an influence on Blue Sunshine, Stanford, MK-ULTRA, The GloveMusic by: Keith Allen Dennishttps://keithallendennis.bandcamp.com/ Hosted on Acast. See acast.com/privacy for more information.

In this episode, No Film School's GG Hawkins and guests Geeta Gandbhir and Viridiana Lieberman dive into the making of the breakout documentary The Perfect Neighbor, which uses police body‑cam, Ring‑cam and dash‑cam footage to tell a harrowing story of a neighborhood dispute and a fatal shooting in Florida under the “stand your ground” law. The conversation focuses on how editor Lieberman navigated massive technical and emotional challenges, how director Gandbhir shaped the vision and collaboration, and what it takes to make nonfiction storytelling that feels fresh, urgent and cinematic. In this episode, No Film School's GG Hawkins and guests Viridiana Lieberman and Geeta Gandbhir discuss: How Viridiana  Lieberman approached editing “The Perfect Neighbor”, choosing what to show when and from which vantage to preserve both clarity and emotional resonance. The origin of the project: how Geeta Gandbhir came to this story, the community she wanted to honor, and why she opted to build the film almost entirely out of institutional footage rather than recourse to expert interviews or narration. The technical and ethical challenges of juggling footage from very different sources (body cam, dash cam, Ring camera, 911 calls) in the edit room — and how Viridiana organised the workflow. The importance of tone, pacing and audience trust in documentary editing: trusting the audience, staying rooted with community, giving them room to observe rather than prescribing meaning. Collaboration between director and editor: the shorthand Lieberman and Gandbhir had built, the trust that was required, and how they shaped the structure together. Self‑care and emotional resilience when working on stories that deal with trauma, racial violence, and community grief — how Viridiana and the team held space for the neighborhood and for themselves. Advice for aspiring editors and filmmakers: start making stuff, vocalise what you want, collaborate with people you trust, don't wait for permission. Memorable Quotes: “I said, wow, the film created that space.” “There's moments of incredible insight and joy of this community … I always say surprising that people … do feel all of that.” “What I love is that Gita can direct me like I'm an actor … what are we trying to say here?” “The hardest part of this edit was more creative and technical because all of the … footage … is what it is.” Guests: Geeta Gandbhir Viridiana Lieberman Resources: Watch The  Perfect Neighbor on Netflix Find No Film School everywhere: On the Web: No Film School (https://nofilmschool.com/) Facebook: No Film School on Facebook (https://www.facebook.com/nofilmschool) Twitter: No Film School on Twitter (https://twitter.com/nofilmschool) YouTube: No Film School on YouTube (https://www.youtube.com/user/nofilmschool) Instagram: No Film School on Instagram (https://www.instagram.com/nofilmschool)  

In this episode, Dr. Steve Judson, and Drew Henderson are joined by Dr. Eddie Martinez and Dr. Brian Lieberman to dive into the pure chiropractic message and the power of going to DE. They share how staying grounded in chiropractic principles, and surrounding yourself with purpose-driven doctors, can reignite your passion, sharpen your focus, and transform the way you serve. Learn more at WakeUpHumans.org and check out Steve Judson's books and gear.

In this mind-expanding conversation, psychiatrist and author Daniel Lieberman unpacks the role of dopamine — the brain's molecule of motivation — and how it shapes nearly every aspect of our lives, from love and ambition to addiction and impulsive behavior. Drawing from his bestselling book *The Molecule of More*, Lieberman explains why we're wired to crave what's out of reach and why that craving often leads to restlessness, dissatisfaction, or destructive decisions. He contrasts dopamine's future-focused drive with the chemistry of the present moment, exploring how we mistake infatuation for love, sabotage long-term happiness, and continually chase “more” even when we have enough. Packed with science, stories, and sobering insights, this episode offers a framework for understanding your own behavior and building a more balanced relationship with desire itself. Hosted on Acast. See acast.com/privacy for more information.

The assassination of Charlie Kirk is the new 9//11: a shocking life-changing event that is giving birth to a new breed of domesticterrorists, who are playing whack-a-mole with Republican leaders.Your host, Carole Lieberman, M.D., a psychiatrist known as TheTerrorist Therapist®, starts off by talking about the significance of his assassination taking place the day before 9/11. She lists reasons why we are more vulnerable to Radical Islamist terroriststoday than on September 11, 2001, and adds the divisiveness, that caused Charlie Kirk to be assassinated, as a new reason.  Next, Dr. Lieberman psychoanalyzes the shooter, Tyler Robinson, and explores why he murdered Charlie Kirk - whom she knew from his being a guest on her podcast. You will hear about his motives, what his gender identity has to do with it, the messages on the bullets, the significance of his flunking out of college on scholarship and more. You will also hear about his ‘roommate'/lover, Lance Twiggs, and how he plays into this scenario. Finally, you'll hear about the aftermath of the assassination: the investigation, charges against Tyler Robinson, what his social media trail reveals, the consequences for people celebrating his death and so much more. 

Chelek 29, Chai Elul - Mrs. Sara Lieberman

Michele Lieberman, County Manager of Alachua County, reflects on over a decade of service in the county and her transition from attorney to manager. Michele shares how the county's strategic planning process gives staff a clearer sense of purpose, aligning programs with community needs and board goals. For her, the most rewarding part of the job is seeing even small decisions improve lives, especially when tied to critical infrastructure and community-wide impact.

Board certified forensic psychiatrist Dr Carole Lieberman joins the show to discuss the Bryan Kohberger case, 9/11 and Trump Derangement Syndrome. Dr Lieberman is a trial witness expert and has been deep in many high-profile cases. https://www.dailymail.co.uk/health/article-14512427/Doctors-reveal-symptoms-Trump-Derangement-Syndrome-tell-youve-got-it.htmlhttps://nypost.com/video/bryan-kohbergers-most-disturbing-red-flags-before-the-idaho-murders/

Welcome to the Social-Engineer Podcast: The Doctor Is In Series – where we will discuss understandings and developments in the field of psychology.   In today's episode, Chris and Abbie delve into the fascinating world of intuition and gut feelings. They explore whether these instincts are rooted in biology or shaped by past experiences and discuss the science behind how our brains process environmental cues to make quick decisions. [Sept 1, 2025]   00:00 - Intro 00:44 - Dr. Abbie Maroño Intro 01:02 - Intro Links -          Social-Engineer.com - http://www.social-engineer.com/ -          Managed Voice Phishing - https://www.social-engineer.com/services/vishing-service/ -          Managed Email Phishing - https://www.social-engineer.com/services/se-phishing-service/ -          Adversarial Simulations - https://www.social-engineer.com/services/social-engineering-penetration-test/ -          Social-Engineer channel on SLACK - https://social-engineering-hq.slack.com/ssb -          CLUTCH - http://www.pro-rock.com/ -          innocentlivesfoundation.org - http://www.innocentlivesfoundation.org/                                 02:23 - New Book Announcement -          Lilly the Brave Lion - Dr. Abbie Maroño 03:34 - The Topic of the Day: All About Intuition 06:04 - Is Intuition Always Right? 10:39 - Training Over Instinct 13:56 - Teaching Autonomy 16:39 - Facing Hard Truths 20:19 - Lack of Self Trust 24:06 - Intuition or Trauma Response? 26:16 - Wrap Up & Outro -          www.social-engineer.com -          www.innocentlivesfoundation.org   Find us online: -          LinkedIn: linkedin.com/in/dr-abbie-maroño-phd -          Instagram: @DoctorAbbieofficial -          LinkedIn: linkedin.com/in/christopherhadnagy     References: American Psychological Association. (n.d.). Intuition. In APA Dictionary of Psychology. Retrieved March 29, 2025, from https://dictionary.apa.org/intuition   Bechara, A., Damasio, H., Tranel, D., & Damasio, A. R. (1997). Deciding advantageously before knowing the advantageous strategy. Science, 275(5304), 1293–1295. https://doi.org/10.1126/science.275.5304.1293   Dane, E., & Pratt, M. G. (2007). Exploring intuition and its role in managerial decision making. Academy of Management Review, 32(1), 33–54. https://doi.org/10.5465/amr.2007.23463682   Gigerenzer, G. (2007). Gut feelings: The intelligence of the unconscious. Viking.   Hodgkinson, G. P., Langan-Fox, J., & Sadler-Smith, E. (2008). Intuition: A fundamental bridging construct in the behavioral sciences. British Journal of Psychology, 99(1), 1–27. https://doi.org/10.1348/000712607X216666   Kahneman, D. (2011). Thinking, fast and slow. Farrar, Straus and Giroux.   Lieberman, M. D. (2000). Intuition: A social cognitive neuroscience approach. Psychological Bulletin, 126(1), 109–137. https://doi.org/10.1037/0033-2909.126.1.109   Sadler-Smith, E., & Shefy, E. (2004). The intuitive executive: Understanding and applying 'gut feel' in decision-making. Academy of Management Executive, 18(4), 76–91. https://doi.org/10.5465/ame.2004.15268692

Chelek 29, Shoftim 2 - Mrs. Sara Lieberman

Download the PrizePicks app today and use code NOSTALGIA to get $50 in lineups after you play your first $5 lineup! https://prizepicks.onelink.me/LME0/NOSTALGIA It divided a lot of critics and fans of Scooby Doo, so what does the Nostalgia Critic think of Warner Bros.' attempt to turn this beloved cartoon into a cinematic universe? Let's take a look at Scoob!. Join our YouTube Members - https://www.youtube.com/channel/UCiH828EtgQjTyNIMH6YiOSw/join Last weeks Nostalgia Critic - https://youtu.be/2ACHI_DlNyc Check out our store - https://channelawesome.myshopify.com/ Support this month's charity - https://solvecfs.org/ Scoob! is a 2020 American animated mystery comedy film produced by Warner Animation Group, and distributed by Warner Bros. Pictures. It is a reboot of the theatrical Scooby-Doo film series and the third theatrical film based on the characters, following Scooby-Doo (2002) and Scooby-Doo 2: Monsters Unleashed (2004). The film is directed by Tony Cervone (in his feature directorial debut) from a screenplay by Adam Sztykiel, Jack Donaldson, Derek Elliott, and Matt Lieberman, and a story by Lieberman, Eyal Podell, and Jonathon E. Stewart. It stars the voices of Frank Welker, Will Forte, Gina Rodriguez, Zac Efron, and Amanda Seyfried. The film also features the voices of Mark Wahlberg, Jason Isaacs, Kiersey Clemons, Ken Jeong, and Tracy Morgan as other animated Hanna-Barbera characters. Set in a Hanna-Barbera animated shared universe, the film follows Mystery Incorporated working with the Blue Falcon to solve their most challenging mystery behind their mascot's secret legacy and purpose, which connects with Dick Dastardly's evil plan to unleash Cerberus. Learn more about your ad choices. Visit megaphone.fm/adchoices

Amy talks with documentary, commercial, and editorial photographer Morgan Lieberman about ‘The Age of Incarceration,' where she captures the testimony and experiences of nine of the last survivors of Japanese American incarceration, 80 years after the war ended and these people were released.

Dr Alicia Lieberman is a clinical psychologist, author, and the senior developer of Child-Parent Psychotherapy (CPP). Her books include: The Emotional Life of the Toddler, Don't Hit My Mommy, and Psychotherapy with Infants and Young Children. She has received numerous awards including: the Rene Spitz Award from the World Association for Infant Mental Health, the Hero Award from the San Francisco Department of Public Health, and the Whole Child Award from the Simms/Mann Institute. In this conversation, we explore: — The pioneering work of Selma Fraiberg and how this influenced Dr Lieberman's trajectory — The role that "ghosts" and "angels" in the nursery play in the intergenerational transmission of trauma — The importance of “speaking the unspeakable” and helping children who have experienced trauma to construct adaptive narratives from their experiences. And more. You can learn more about Dr Lieberman's work at: https://childparentpsychotherapy.com/ --- Dr. Lieberman is the Irving B. Harris Endowed Chair in Infant Mental Health and Vice Chair for Academic Affairs at the UCSF Department of Psychiatry, and Director of the Child Trauma Research Program. She is a clinical consultant with the San Francisco Human Services Agency. She is active in major national organizations involved with mental health in infancy and early childhood. She is past-president of the board of directors of Zero to Three: National Center for Infants, Toddlers and Families, and on the Professional Advisory Board of the Johnson & Johnson Pediatric Institute. She has served on peer review panels of the National Institute of Mental Health, is on the Board of Trustees of the Irving Harris Foundation, and consults with the Miriam and Peter Haas Foundation on early childhood education for Palestinian-Israeli children. Born and raised in Paraguay, she received her BA from the Hebrew University of Jerusalem and Ph.D. from Johns Hopkins University. This background informs her work on behalf of children and families from diverse ethnic and cultural origins, with primary emphasis on the experiences of Latinos in the United States. Dr. Lieberman is currently the director of the Early Trauma Treatment Network (ETTN), a collaborative of four university sites that include the UCSF/SFGH Child Trauma Research Program, Boston Medical Center, Louisiana State University Medical Center, and Tulane University. ETTN is funded by the federal Substance Abuse Mental Health Services Administration (SAMHSA) as part of the National Child Traumatic Stress Network, a 40-site national initiative that has the mission of increasing the access and quality of services for children exposed to trauma in the United States. Her major interests include infant mental health, disorders of attachment, early trauma treatment outcome research, and mental health service disparities for underserved and minority children and families. Her current research involves treatment outcome evaluation of the efficacy of child-parent psychotherapy with trauma-exposed children aged birth to six and with pregnant women involved in domestic violence. As a trilingual, tricultural Jewish Latina, she has a special interest in cultural issues involving child development, child rearing, and child mental health. She lectures extensively on these topics nationally and internationally. --- Interview Links: — Dr Liberman's website - https://childparentpsychotherapy.com/ 3 books that Dr Lieberman recommended — The emotional life of the toddler - Alicia Lieberman - https://amzn.to/46pWmGn — Don't hit my mommy - Alicia Lieberman - https://amzn.to/3LHCepK — Make Room for Baby - Alicia F. Lieberman, Manuela A. Diaz, Gloria Castro, Griselda Oliver Bucio - https://amzn.to/3ynmyow

What does it take to build a martial arts academy that thrives for decades—not just a few years? In this episode of the Black Belt Business Podcast, Easton leaders Eliot Marshall, Mike Tousignant, and Ian Lieberman share the biggest lessons from over 25 years of running successful martial arts schools. From the power of fundamentals programs to the role of core values, and from aligning staff to ensuring product quality on the mats, they break down what truly sustains growth. Whether you're just starting your academy or scaling past 500 members, this conversation is a roadmap for creating a school culture, business structure, and training environment that lasts. Watch or listen to the full podcast on our blog: https://www.easton.online/blog/ Visit https://www.easton.online to sign up for our mailing list!

Andrew For America welcomes to the show "America's Psychiatrist" and author, Dr. Carole Lieberman. Dr. Lieberman is also known as "the terrorist therapist" and has appeared on ABC, NBC, Fox, Newsmax, and Dr. Phil as well as many other blogs and podcasts. She and Andrew unexpectedly start the show by doing an impromptu session about Andrew, and then pivot to doing what they originally planned, which was to talk about how Dr. Lieberman is getting ready to propose that "Trump Derangement Syndrome" is soon to be a clinical psychiatric diagnosis that will be entered into the DSM (Diagnostic and Statistical Manual of Mental Disorders)! Andrew makes the contention that some of the blame for TDS can also be laid at the feet of the mainstream media and how they have covered Donald Trump in the "news" ever since he has entered the world of politics. Enjoy!Visit allegedlyrecords.com and check out all of the amazing punk rock artists!Visit soundcloud.com/andrewforamerica1984 to check out Andrew's music!Like and Follow The Politics & Punk Rock Podcast PLAYLIST on Spotify!!!Check it out here: https://open.spotify.com/playlist/1Y4rumioeqvHfaUgRnRxsy...politicsandpunkrockpodcast.comhttps://linktr.ee/andrewforamericaFollow Future Is Now Coalition on Instagram @FutureIsOrgwww.futureis.org

Subscribe to UnitedHealthcare's Community & State newsletter.Health Affairs' Rob Lott interviews Steven M. Lieberman of the University of Southern California, Los Angeles on his recent paper that explores how Medicare Advantage has seen significant enrollment growth and what reform efforts can be attempted to rebalance traditional Medicare and MA.Order the August 2025 issue of Health Affairs.Currently, more than 70 percent of our content is freely available - and we'd like to keep it that way. With your support, we can continue to keep our digital publication Forefront and podcast Subscribe to UnitedHealthcare's Community & State newsletter.

Chuck Lieberman wouldn't rule out the possibility of a 50 basis point rate cut this year. He says this could “make up for lost ground” after the last employment report changed the market's understanding of the economy sharply. However, he expects the market to continue to make new highs into the end of the year. “This is almost an optimal environment for stocks,” he adds. He likes regional banks and energy pipeline companies.======== Schwab Network ========Empowering every investor and trader, every market day. Subscribe to the Market Minute newsletter - https://schwabnetwork.com/subscribeDownload the iOS app - https://apps.apple.com/us/app/schwab-network/id1460719185Download the Amazon Fire Tv App - https://www.amazon.com/TD-Ameritrade-Network/dp/B07KRD76C7Watch on Sling - https://watch.sling.com/1/asset/191928615bd8d47686f94682aefaa007/watchWatch on Vizio - https://www.vizio.com/en/watchfreeplus-exploreWatch on DistroTV - https://www.distro.tv/live/schwab-network/Follow us on X – https://twitter.com/schwabnetworkFollow us on Facebook – https://www.facebook.com/schwabnetworkFollow us on LinkedIn - https://www.linkedin.com/company/schwab-network/ About Schwab Network - https://schwabnetwork.com/about

Comedian and host of the 2 Goons podcast, JJ Lieberman, joins the pod.  Alex fills in JJ on his landlord drama, and JJ says the recording studio is nicer than his apartment. In the current political climate, Drago admits that no one is coming after the Serbians in America. As a bi man, JJ discusses the difference between Eastern European men's and women's builds. JJ shares more about his podcast, 2 Goons, where he and Che Durena interview adult film stars. It's shocking how much these creators are making, and JJ points out the similarities between comedians and adult film stars.   Give JJ a follow on Instagram: https://www.instagram.com/jjlibermanlive/?hl=en  JOIN THE PATREON FOR A WEEKLY BONUS EPISODE AND EARLY ACCESS TO REGULAR EPISODES: https://www.patreon.com/youreanidiot  Buy tickets to Alex's upcoming shows here: https://linktr.ee/alexdrag

I have written many times about how in the 1800s, vibrators were not sexual items that women bought for themselves, but medical devices used by doctors to treat a medical condition then known as hysteria.  The problem is- that's not true. And be sure to check out my photo gallery of devices discussed in this episode! The popularly accepted history of the vibrator Hysteria, and how it was treated in the early 1900s Dr. Lieberman's research  What medical conditions electric vibrators were used for The story continues..the mid-1900s The re-launch of the vibrator Sneak preview of Dr. Lieberman's upcoming book on GIGOLOS! Link to my Substack article with pictures  of the devices  https://drstreicher.substack.com/p/good-vibrations Link to my Guide to Buying a Vibrator https://drstreicher.substack.com/p/toy-story Link to my podcast episode on the current medical use of vibrators and why they work when nothing else does https://drstreicher.substack.com/p/episode-23-why-vibration-works-so?r=740mq Hallie Lieberman https://www.hallielieberman.com/ BUZZ: The Stimulating History of the Sex Toy https://www.amazon.com/Buzz-Stimulating-History-Sex-Toy/dp/1681775433 Lauren Streicher MD, is a clinical professor of obstetrics and gynecology at Northwestern University's Feinberg School of Medicine, the founding medical director of the Northwestern Medicine Center for Sexual Medicine and Menopause, and a Senior Research Fellow of The Kinsey Institute, Indiana University. She is a certified menopause practitioner of The Menopause Society.  Dr. Streicher is the medical correspondent for Chicago's top-rated news program, the WGN Morning News, and has been seen on The Today Show, Good Morning America, The Oprah Winfrey Show, CNN, NPR, Dr. Radio, Nightline, Fox and Friends, The Steve Harvey Show, CBS This Morning, ABC News Now, NBCNightlyNews,20/20, and World News Tonight. She is an expert source for many magazines and serves on the medical advisory board of The Kinsey Institute, Self Magazine, and Prevention Magazine. She writes a regular column for The Ethel by AARP and Prevention Magazine.    LINKS Subscribe To Dr. Streicher's Substack Information About the COME AGAIN Podcast Dr. Streicher's CV and additional bio information To Find a Menopause Clinician and Other Resources  Glossary Of Medical Terminology Books by Lauren Streicher, MD    Slip Sliding Away: Turning Back the Clock on Your Vagina-A gynecologist's guide to eliminating post-menopause dryness and pain Hot Flash Hell: A Gynecologist's Guide to Turning Down the Heat Sex Rx- Hormones, Health, and Your Best Sex Ever The Essential Guide to Hysterectomy     Dr. Streicher's Inside Information podcast is for education and information and is not intended to replace medical advice from your personal healthcare clinician. Dr. Streicher disclaims liability for any medical outcomes that may occur because of applying methods suggested or discussed in this podcast.                                     

It is a perfect evening for softball and we are LIVE on the Bob Bender Senior Diamond announcing the Senior TLL Championship game. Jason is back with professional broadcaster Andrew Blechman (and a number of special guests including Chef Loren Rue). we live broadcast the Senior game between Mutnick's team and Lieberman's Team and give updates on the Intermediate Championship game between Judah Nitzkin's Team and Reid Parks' Team. Enjoy!

This episode recorded live at the Becker's 22nd Annual Spine, Orthopedic and Pain Management-Driven ASC + The Future of Spine Conference features Dr. Izzy Lieberman, Orthopaedic Surgeon, Texas Back Institute. Dr. Lieberman discusses the evolving role of spine care, challenges with social media in surgery, workforce trends, and the promise of data and AI in improving outcomes for patients.

Join Dr. Steve Judson, Dr. Drew Henderson, and special guests Dr. Eddie Martinez and Brian Lieberman as they dive deep into the mindset, heart, and habits of legends who never gave up. This episode explores what it truly means to live with purpose, push past limits, and keep your fire burning, right until the end. Get inspired by real stories of grit, passion, and unbreakable drive. Visit WakeUpHumans.org to grab Steve Judson's books and gear.

Welcome to PsychEd, the psychiatry podcast for medical learners, by medical learners.This short episode is about an approach to patients with psychotic symptoms.Hosts: Ravi Bhindi (CC3), Dr. Angad Singh (PGY2)Audio editing: Dr. Angad Singh (PGY2)Show notes: Dr. Angad Singh (PGY2)Infographic: Dr. Kate BraithwaiteReferences:Griswold, K. S., Del Regno, P. A., & Berger, R. C. (2015). Recognition and differential diagnosis of psychosis in primary care. American family physician, 91(12), 856-863.Hua, L. L., Alderman, E. M., Chung, R. J., Grubb, L. K., Lee, J., Powers, M. E., ... & Wallace, S. B. (2021). Collaborative care in the identification and management of psychosis in adolescents and young adults. Pediatrics, 147(6), e2021051486.Lieberman, J. A., & First, M. B. (2018). Psychotic disorders. New England Journal of Medicine, 379(3), 270-280.PsychDB. (2021, Jan 15). Psychotic Disorders. Retrieved July 15, 2025, from https://www.psychdb.com/psychosis/homePsychDB. (2022, Jan 26). Psychotic Depression. Retrieved July 15, 2025, from https://www.psychdb.com/mood/1-depression/psychoticPsychDB. (2021, Jan 15). Psychotic Disorders. Retrieved July 15, 2025, from https://www.psychdb.com/psychosis/homeResources:https://www.camh.ca/en/health-info/mental-illness-and-addiction-index/psychosishttps://www.earlypsychosis.ca/symptoms-of-psychosis/For more PsychEd, follow us on Instagram (@psyched.podcast),  Facebook (PsychEd Podcast), and X (@psychedpodcast). You can email us at psychedpodcast@gmail.com and visit our website at psychedpodcast.org.

Get 50 free credits for AuraMate, Rache's new AI for understanding your Human Design!

This episode recorded live at the Becker's 22nd Annual Spine, Orthopedic and Pain Management-Driven ASC + The Future of Spine Conference features Dr. Izzy Lieberman, Orthopaedic Surgeon, Texas Back Institute. Dr. Lieberman discusses the evolving role of spine care, challenges with social media in surgery, workforce trends, and the promise of data and AI in improving outcomes for patients.

This episode recorded live at the Becker's 22nd Annual Spine, Orthopedic and Pain Management-Driven ASC + The Future of Spine Conference features Dr. Izzy Lieberman, Orthopaedic Surgeon, Texas Back Institute. Dr. Lieberman discusses the evolving role of spine care, challenges with social media in surgery, workforce trends, and the promise of data and AI in improving outcomes for patients.

This episode recorded live at the Becker's 22nd Annual Spine, Orthopedic and Pain Management-Driven ASC + The Future of Spine Conference features Dr. Izzy Lieberman, Orthopaedic Surgeon, Texas Back Institute. Dr. Lieberman discusses the evolving role of spine care, challenges with social media in surgery, workforce trends, and the promise of data and AI in improving outcomes for patients.

In this episode of the Black Belt Business Podcast, Eliot Marshall is joined by Easton Training Center CEO Mike Tousignant and VP Ian Lieberman to unpack the five major shifts that propelled Easton from a single location to one of the most successful martial arts organizations in the country. They discuss how changes in training structure, leadership systems, communication, and core values created alignment, empowered team members, and fueled long-term growth. From implementing a fundamentals program to adopting decentralized command, this conversation is packed with practical lessons for any school owner serious about scaling their academy the right way. If you're ready to build a stronger business and a better team, this episode is your blueprint. Watch or listen to the full podcast on our blog: https://www.easton.online/blog/ Visit https://www.easton.online to sign up for our mailing list!

Join Dr. Steve Judson and Dr. Drew Henderson as they dive deep into what fuels passion, persistence, and performance in the field. With special guests Dr. Eddie Martinez and Dr. Brian Lieberman, this episode explores the personal journeys, challenges, and pivotal moments that helped shape their purpose. Whether you're a seasoned chiropractor or just starting out, this conversation will inspire you to reconnect with your mission and amplify your impact, one adjustment at a time. Visit WakeUpHumans.org to grab Steve Judson's books and gear.

Iran agreed to a ceasefire with Israel - but they haven't given up!Now, they're taking their war INSIDE America! On today's Terrorist Therapist® podcast, your host, Carole Lieberman, M.D.,  The Terrorist Therapist®, warns you about all the stealthy and dangerous ways Iran is bringing the war from the Middle East to America. After a brief summing up of the Iran-Israel-America war, you'll hear about the Fatwa declared against President Trump and Prime Minister Netanyahu, by a top Iranian cleric, alleging they are “Enemies of God.” It begs for pro-Iranian supporters to assassinate them. Then you'll hear the note Dr. Lieberman sent to the Ayotollah, offering help to get him to destroy Iran's nuclear weapons in exchange for a prize for peace and why she sent it to him. Instead of Iran disclosing the progress they're making withenriching uranium, they're now disclosing sleeper cells on the brink of attacking America. You'll also hear about  the symbol of Radical Islam that's suddenly appearing on flags all over America and the British rapper, Bob Vylan, who's leading his fans in anti-Israel chants.Finally, you'll hear about the ‘Israel doomsday clock' in Iranthat is ticking down the days until Israel's destruction….The Soundtrack of your Life Sky Pilot Radio 60's thru the 80's

This Week's Guests: Dr. Carole Lieberman Episode 359 "Rethink Production presents "Live From America Podcast" - a weekly show that combines political commentary with humor. Hosted by the comedy cellar owner Noam Dworman and producer Hatem Gabr, the show features expert guests discussing news, culture, and politics with a blend of knowledge and laughter. Dr. Carole Lieberman, M.D., M.P.H., is a board-certified forensic psychiatrist known as “America's Psychiatrist.” She's a best-selling author, three-time Emmy-honored TV personality, and a regular on Fox News, Newsmax, and OANN. With decades of experience analyzing everything from terrorism to true crime to political mass hysteria, Dr. Lieberman brings a fearless psychological lens to today's most polarizing issues—including Trump Derangement Syndrome. Follow Live From America YouTube @livefromamericapodcast twitter.com/AmericasPodcast www.LiveFromAmericaPodcast.com LiveFromAmericapodcast@gmail.com Follow Hatem Twitter.com/HatemNYC Instagram.com/hatemnyc/ Follow Noam Twitter.com/noam_dworman #AmericasPsychiatrist #criminalminds #politicalextremism

FOLLOW RICHARD Website: https://www.strangeplanet.ca YouTube: @strangeplanetradio  Instagram: @richardsyrettstrangeplanet  SUPPORT OUR SPONSORS!!! HIMS - Making Healthy and Happy Easy to Achieve Sexual Health, Hair Loss, Mental Health, Weight Management START YOUR FREE ONLINE VISIT TODAY - HIMS dot com slash STRANGE https://www.HIMS.com/strange   ⁠⁠RingBoost⁠⁠ The largest provider of custom phone numbers since 2003 ⁠⁠https://www.ringboost.com⁠⁠ If you're ready to sound like the business people want to call, head over to ⁠⁠https://www.ringboost.com⁠⁠ and use promo code STRANGE for an exclusive discount.   QUINCE BEDDING Cool, Relaxed Bedding. Woven from 100% European flax linen. Visit www.quince.com/RSSP to get free shipping on your order and 365-day returns.    BECOME A PREMIUM SUBSCRIBER!!!  https://strangeplanet.supportingcast.fm  Three monthly subscriptions to choose from.  Commercial Free Listening, Bonus  Episodes and a Subscription to my monthly newsletter, InnerSanctum.  Visit https://strangeplanet.supportingcast.fm Use the discount code "Planet" to receive one month off the first subscription.  We and our partners use cookies to personalize your experience, to show you ads based on your interests, and for measurement and analytics purposes. By using our website and services, you agree to our use of cookies as described in our Cookie Policy. Learn more about your ad choices. Visit megaphone.fm/adchoices EP. # 1212 Diddy on Trial, but is His Mother the Mastermind? What drives a music icon to depravity? In this riveting episode of Strange Planet, forensic psychiatrist Dr. Carole Lieberman dissects the explosive sex-trafficking trial of Sean “Diddy” Combs. From his traumatic childhood to the intoxicating allure of fame, she uncovers the psychological forces fueling his alleged double life. With A-list names like Cassie Ventura and Britney Spears entangled, and whispers of political ties, this case could expose Hollywood's underbelly. Tune in as Dr. Lieberman reveals how trauma, power, and a culture of silence collide—and what it means for the elite. GUEST:  Dr. Carole Lieberman, aka, “America's Psychiatrist” is a Beverly Hills-based, board-certified forensic psychiatrist and bestselling author. With decades as an expert witness in high-profile cases, she's analyzed the minds of notorious figures. Hosting Dr. Carole's Couch and The Terrorist Therapist® Podcast, she offers incisive psychological insights. A frequent commentator on CNN, Fox News, and Court TV, Dr. Lieberman fearlessly tackles celebrity scandals and global crises. Today, she unpacks the psychological roots of Sean “Diddy” Combs' alleged crimes, exploring how trauma, fame, and power shape behavior. WEBSITE: http://www.drcarole.com   BOOKS: Bad Girls: Why Men Love Them & How Good Girls Can Learn Their Bad Boys: How We Love Them, How to Live with Them, When to Leave Them Coping with Terrorism Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://strangeplanet.supportingcast.fm/

In this episode, I had the incredible opportunity to chat with Dr. Carole Lieberman, a renowned forensic psychiatrist. We delved into her fascinating career, where she combines psychiatry with legal expertise to serve as an expert witness in various high-profile cases. Dr. Lieberman shared gripping stories, including her involvement in the infamous Jenny Jones talk show murder trial and the case of Luigi Mangione, who killed an insurance CEO. She also provided insights into the psychological factors behind these cases, emphasizing the profound impact of childhood experiences. Our conversation offered a riveting look into the world of forensic psychiatry and its crucial role in the justice system. Timestamps: 00:00:00 - Introduction and Guest Welcome 00:01:13 - What is a Forensic Psychiatrist? 00:03:46 - Dr. Lieberman's Childhood and Career Path 00:08:58 - The Jenny Jones Talk Show Murder Trial 00:28:29 - Luigi Mangione Case Overview 00:44:12 - Diddy's Mother and Influence MY Go Big Podcasting Courses Are Here! Purchase Go Big Podcasting and learn to start, monetize, and grow your own podcast. Use code MOM15 for 15% OFF until 5/31/2025 **SHOP my Amazon Marketplace - especially if you're looking to get geared-up to start your own Podcast!!!** https://www.amazon.com/shop/thesarahfrasershow Show is sponsored by: Download Cash App & sign up! Use our exclusive referral code TSFS in your profile, send $5 to a friend within 14 days, and you'll get $10 dropped right into your account. Terms apply Horizonfibroids.com get rid of those nasty fibroids Gopurebeauty.com science backed skincare from head to toe, use code TSFS at checkout for 25% OFF your order Nutrafol.com use code TSFS for FREE shipping and $10 off your subscription Quince.com/tsfs for FREE shipping on your order and 365 day returns Rula.com/tsfs to get started today. That's R-U-L-A dot com slash tsfs for convenient therapy that's covered by insurance. SkylightCal.com/tsfs for $30 OFF your 15 inch calendar  Thrivecosmetics.com/tsfs Brighten a mom's day—especially if you're that mom. Go to thrivecausemetics.com/TSFS for 20% OFF your order Warbyparker.com/tsfs make an appointment at one of their 270 store locations and head to the website to try on endless pairs of glasses virtually and buy your perfect pair Follow me on Instagram/Tiktok: @thesarahfrasershow   ***Visit our Sub-Reddit: reddit.com/r/thesarahfrasershow for ALL things The Sarah Fraser Show!!!*** Advertise on The Sarah Fraser Show: thesarahfrasershow@gmail.com Got a juicy gossip TIP from your favorite TLC or Bravo show? Email: thesarahfrasershow@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, I had the incredible opportunity to chat with Dr. Carole Lieberman, a renowned forensic psychiatrist. We delved into her fascinating career, where she combines psychiatry with legal expertise to serve as an expert witness in various high-profile cases. Dr. Lieberman shared gripping stories, including her involvement in the infamous Jenny Jones talk show murder trial and the case of Luigi Mangione, who killed an insurance CEO. She also provided insights into the psychological factors behind these cases, emphasizing the profound impact of childhood experiences. Our conversation offered a riveting look into the world of forensic psychiatry and its crucial role in the justice system. Timestamps: 00:00:00 - Introduction and Guest Welcome 00:01:13 - What is a Forensic Psychiatrist? 00:03:46 - Dr. Lieberman's Childhood and Career Path 00:08:58 - The Jenny Jones Talk Show Murder Trial 00:28:29 - Luigi Mangione Case Overview 00:44:12 - Diddy's Mother and Influence MY Go Big Podcasting Courses Are Here! Purchase Go Big Podcasting and learn to start, monetize, and grow your own podcast. Use code MOM15 for 15% OFF until 5/31/2025 **SHOP my Amazon Marketplace - especially if you're looking to get geared-up to start your own Podcast!!!** https://www.amazon.com/shop/thesarahfrasershow Show is sponsored by: Download Cash App & sign up! Use our exclusive referral code TSFS in your profile, send $5 to a friend within 14 days, and you'll get $10 dropped right into your account. Terms apply Horizonfibroids.com get rid of those nasty fibroids Gopurebeauty.com science backed skincare from head to toe, use code TSFS at checkout for 25% OFF your order Nutrafol.com use code TSFS for FREE shipping and $10 off your subscription Quince.com/tsfs for FREE shipping on your order and 365 day returns Rula.com/tsfs to get started today. That's R-U-L-A dot com slash tsfs for convenient therapy that's covered by insurance. SkylightCal.com/tsfs for $30 OFF your 15 inch calendar  Thrivecosmetics.com/tsfs Brighten a mom's day—especially if you're that mom. Go to thrivecausemetics.com/TSFS for 20% OFF your order Warbyparker.com/tsfs make an appointment at one of their 270 store locations and head to the website to try on endless pairs of glasses virtually and buy your perfect pair Follow me on Instagram/Tiktok: @thesarahfrasershow   ***Visit our Sub-Reddit: reddit.com/r/thesarahfrasershow for ALL things The Sarah Fraser Show!!!*** Advertise on The Sarah Fraser Show: thesarahfrasershow@gmail.com Got a juicy gossip TIP from your favorite TLC or Bravo show? Email: thesarahfrasershow@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Products often tell you exactly how they're intended to be used. But why leave it at that? As a culture, we have long had a knack for finding ingenious, off-label uses for things. In this episode, we take a close look at a few examples of products that are ostensibly meant for one thing, but are better known for something else entirely. We explore Q-tips, which we are explicitly told not to put into our ears; the Hitachi Magic Wand, the iconic sex toy marketed as a body massager; the musical washboard; and the children's electrolyte solution Pedialyte that many adults swear by as a hangover cure. You'll hear from Hallie Lieberman, author of Buzz: A Stimulating History of the Sex Toy; Jacqui Barnett of the Columbus Washboard Company; Christopher Wilson, curator and chair of the Division of Home and Community Life at the Smithsonian; musician and educator Súle Greg Wilson; zydeco musicians C.J. Chenier and Steve Nash; Shaughnessy Bishop-Stall, author of Hungover: The Morning After and One Man's Quest for the Cure; as well as writers Roberto Ferdman, Dan Brooks, and Kaitlyn Tiffany. Decoder Ring is produced by Willa Paskin, Max Freedman, Katie Shepherd, and Evan Chung, Decoder Ring's supervising producer. We had additional production from Sofie Kodner. Merritt Jacob is Senior Technical Director. Special thanks to Kate Sloan, Dr. Carol Queen, Bryony Cole, Amber Singer, Molly Born, Laura Selikson, and Nell McShane Wulfhart. If you have any cultural mysteries you want us to decode, please email us at DecoderRing@slate.com, or leave a message on our hotline at 347-460-7281. Sources for This Episode Bishop-Stall, Shaughnessy. Hungover: The Morning After and One Man's Quest for the Cure, Penguin, 2018. Brooks, Dan. “Letter of Recommendation: Pedialyte,” New York Times Magazine, Jan. 26, 2017. Comella, Lynn. Vibrator Nation: How Feminist Sex-Toy Stores Changed the Business of Pleasure, Duke University Press, 2017. Dodson, Betty. “Having Sex with Machines: The Return of the Electric Vibrator,” Dodson and Ross, June 9, 2010. Feran, Tim. “Pedialyte Is Not Just For Kids,” Columbus Dispatch, July 19, 2015. Ferdman, Roberto A. “The strange life of Q-tips, the most bizarre thing people buy,” Washington Post, Jan. 20, 2016. Kushner, David. “Inside Orgasmatron,” Village Voice, March 26, 1999. Lieberman, Hallie. Buzz: A Stimulating History of the Sex Toy, Pegasus Books, 2017. Lieberman, Hallie. “Selling Sex Toys: Marketing and the Meaning of Vibrators in Early Twentieth-Century America,” Enterprise & Society, June 2016. Russel, Ruth. “Hangover Remedies? I'll Drink to That!,” Idaho Statesman, Jan. 1, 1978. Sloan, Kate. Making Magic, 2024. Tiffany, Kaitlyn. “How Pedialyte got Pedialit,” Vox, Sep. 10, 2018. Williams, Dell. “The Roots of the Garden,” Journal of Sex Research, August 1990. Wulfhart, Nell McShane. “The Best Hangover Cure,” Slate, Aug. 29, 2013. Want more Decoder Ring? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Decoder Ring show page. Or, visit slate.com/decoderplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices