Podcasts about Los Angeles

John is joined by Haim and producer Rostam Batmanglij to discuss how they wrote, recorded and produced the album ‘I Quit'. Haim are an American pop-rock band from Los Angeles, made up of multi-instrumentalist sisters Danielle, Este and Alana Haim. Playing together in their family band growing up, they formed Haim in 2007 and released their debut EP, ‘Forever', in 2012.  Their debut album, ‘Days Are Gone', arrived in 2013 and earned them a Grammy nomination for Best New Artist. Their follow-up records, 2017's ‘Something to Tell You' and 2020's ‘Women in Music Pt. III', both received widespread critical acclaim, with ‘Women in Music Pt. III' also securing a Grammy nomination for Album of the Year. Haim released their fourth album, ‘I Quit', in June this year, once again collaborating with longtime producer Rostam. In this episode, John is joined by Danielle and Rostam, from Rostam's LA studio where much of the album was recorded. The trio discuss everything from garageband demos to recording and reamping drums, as well as techniques for producing Haim's distinctive vocals and being influenced by multiple genres and sounds. Tracks discussed: Relationships, Down to be wrong, Now it's time, Everybody's trying to figure me out GEAR GIVEAWAY COMPETITION Join the Christmas Giveaway on the Tape Notes Patreon Page TAPE IT Thanks to our friends at Tape It for supporting the podcast. Visit tape.it/tapenotes or use the promo code TAPENOTES in the app to get 20% off. QUBE Get 20% off at Qube Studio: https://www.theqube.com/ MAKENOISE PRO AUDIO Get 20% off all Franklin Audio products at https://makenoiseproaudio.com/ MUSIVERSAL Skip the waitlist and get your discount HERE LISTEN to ‘I Quit' here: I quit by HAIM,  Polydor Records LINKS TO EVERYTHING TAPE NOTES   linktr.ee/tapenotes  Intro Music - Sunshine Buddy, Laurel Collective GEAR MENTIONS D16 Repeater Delay Waves Soundshifter Plugin E-Mu Emulator ii Vintage Synth Solaris Synth Universal Audio AMS-DMX Roland Juno Gretsch Round Badge Drums Ludwig Steel Snare SPL Transient Designer Korg Trident Eventide Harmonizer UnderToneAudio Unfairchild Korg A5 Multi-Effects Pedalboard E-Bow Oberheim OB-8 Synthesiser Electro-Voice RE20 RCA KU-3A Vintage Arturia Mellotron GarageBand OUR GEAR https://linktr.ee/tapenotes_ourgear HELP SUPPORT THE SHOW If you'd like to help support the show you can join us on Patreon, where among many things you can access full length videos of most new episodes, ad-free episodes and detailed gear list breakdowns. KEEP UP TO DATE For behind the scenes photos and the latest updates, make sure to follow us on:  Patreon: Tape Notes YouTube: Tape Notes Podcast Instagram: @tapenotes  Discord: Tape Notes To let us know the artists you'd like to hear, slide into our DMs, send us an email or even a letter. We'd love to hear!  Visit our website to join our mailing list: www.tapenotes.co.uk

Netflix announced plans on Friday to acquire Warner Bros. Discovery's studio and streaming business, in a deal that would send shock waves through Hollywood.On Monday, Paramount made a hostile bid for the studio, arguing that the Netflix deal would be “anti-competitive.”The Times journalists Nicole Sperling, Kyle Buchanan and Lauren Hirsch discuss what it all means for the future of TV and film.Guest:Nicole Sperling, a New York Times reporter in Los Angeles who covers Hollywood and the streaming revolution.Kyle Buchanan, a pop culture reporter and the awards-season columnist for The New York Times.Lauren Hirsch, a New York Times reporter who covers the biggest stories on Wall Street, including mergers and acquisitions.Background reading: Netflix planned to buy Warner Bros. Discovery in $83 billion deal to create a streaming giant.Paramount made a hostile bid for Warner Bros. Discovery.Photo: Aleksey Kondratyev for The New York TimesFor more information on today's episode, visit nytimes.com/thedaily. Transcripts of each episode will be made available by the next workday.  Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app.

Van and Rachel welcome rapper Nana to talk hip-hop culture in Los Angeles before they react to Sydney Sweeney's comments on her infamous jean ad campaign. Then a boxing-style scoring of the best back-and-forths between Stephen A. Smith and Max Kellerman. (0:00) Intro (11:41) Jason Derulo on working with women (23:15) Nana joins the show (53:04) Sydney Sweeney on the “great jeans” ad (1:01:33) Stephen A. Smith vs. Max Kellerman Hosts: Van Lathan and Rachel Lindsay Producers: Donnie Beacham Jr. and Jade Whaley Video Supervision: Chris Thomas Learn more about your ad choices. Visit podcastchoices.com/adchoices

Angel Studios https://Angel.com/Herman Join the Angel Guild today where you can stream Thank You, Dr. Fauci and be part of the conversation demanding truth and accountability.  Renue Healthcare https://Renue.Healthcare/ToddYour journey to a better life starts at Renue Healthcare. Visit https://Renue.Healthcare/Todd Bulwark Capital https://KnowYourRiskPodcast.comBe confident in your portfolio with Bulwark! Schedule your free Know Your Risk Portfolio review. Go to KnowYourRiskPodcast.com today. Alan's Soaps https://www.AlansArtisanSoaps.comUse coupon code TODD to save an additional 10% off the bundle price.Bonefrog https://BonefrogCoffee.com/ToddThe new GOLDEN AGE is here!  Use code TODD at checkout to receive 10% off your first purchase and 15% on subscriptions.LISTEN and SUBSCRIBE at:The Todd Herman Show - Podcast - Apple PodcastsThe Todd Herman Show | Podcast on SpotifyWATCH and SUBSCRIBE at: Todd Herman - The Todd Herman Show - YouTubeThe Left will use scripture as a cudgel to beat you into submission. Does “Be kind to sojourners” really mean “welcome the lawless one?” The Left would have you believe it so.Episode Links:BREAKING: The Supreme Court has just agreed to hear President Trump's case BANNING birthright citizenship in the U.S.Sen. Mark Warner: "I think, in many ways, the uniformed military may help save us from this President." They're now just openly calling for military coups against President Trump.“Breaking News in downtown Los Angeles, a man has been arrested, accused of throwing Molotov cocktails at a federal building” and at ICE agents. The man arrested has an extensive criminal record, Democrats kept releasing himKetanji lost it today during oral arguments and went on a “No Kings” style rant about President Trump wanting to rule like a monarch, and how we should instead have many issues handled by “the experts and PhDs” like Dr. Fauci, Dr. “Rachel” Levine, and the gay bondage AIDS dude. BREAKING: Voter fraud case in Minnesota TIES Somali communities with registering fake Democrat voters.Minneapolis Mayor Jacob Frey says city police will not cooperate with ICE. Then he turns to the Somali community and begins speaking… Somalian. Hard to believe this was the less extreme candidate.Here's a confidential CIA memo from 1983 on illegal immigration from Mexico. It says illegal immigrants send 1/3 of their earnings back home to Mexico in remittances, the Mexican economy is totally dependent on those remits, and that Mexico thinks we can't politically stop it.https://www.cia.gov/readingroom/docs/CIA-RDP85T00287R000400380002-7.pdfBREAKING: Trump admin to CUT OFF SNAP funding to states who REFUSE to provide data on SNAP benefits. The only reason Democrat states don't want to hand over data is because they know there's MAJOR FRAUD and illegals are receiving SNAP. EXPOSE THEMReplacement Migration is literally a plan from the UN.Northwestern's Contract With Qatar Forbids School From Criticizing Regime; House interview with ousted Northwestern University president Michael Schill reveals university employees, students, faculty—even family members—are required to submit to Qatari law, which prohibits criticism of the ruling family 

Life can change in an instant. One day you're shopping at Saks Fifth Avenue, and the next you're sitting in your car with everything you own, and everyone you love, wondering what happens now.Joan Howard grew up in Beverly Hills with every advantage until a series of crises left her homeless and living in her car with her mother and three dogs. What helped her rebuild wasn't luck or charity. It was kindness, consistency, and one simple weekly practice of being in service to others.Today, Joan is a long-time volunteer for Food on Foot, the very organization that helped her decades ago. Food on Foot is more than a meal line—it's a community built on dignity, kindness, and practical support for people experiencing homelessness in Los Angeles. Their model helps people find work, save money, build confidence, and move forward with independence.In this episode, we talk about what homelessness actually looks like, why service can be transformative, and how organizations like Food on Foot help people not just get back on their feet, but build a future.This is A Bit of Optimism.---------------------------To learn more about Food on Foot, visit their website!https://www.foodonfoot.org/---------------------------

From 12/09 Hour 1: The Sports Junkies highlight Los Angeles' win over Philly.

Number, Word and Song of the Day. Local Knowledge on the World Cup coming to Los Angeles. Secret Textoso RoundupSee omnystudio.com/listener for privacy information.

Waymo, whose fully automated, self-driving cars are a common sight in Los Angeles, has recently released it's raw data on several years of practical, on-the-road traffic accidents. It turns out that even first-generation self-driving cars are at least TEN TIMES SAFER than those driven by humans (and the true number might be much more than that). From a safety point of view, the future clearly seems to favor automation. But is there more to driving a car than just safety?

What if the future of humanity's evolution is intertwined with extraterrestrial contact, and it all begins with your vibration? In this episode of The Healing & Human Potential Podcast, I welcome back Darryl Anka, who has been channeling an extraterrestrial being, Bashar, for over 40 years. Together, we discuss Bashar's predictions of the upcoming global exposure of extraterrestrials and how, while they have always been here, they will soon be recognized as a key part of humanity's evolution. They offer us the chance to evolve in ways we've never imagined, but it's up to us to decide whether to embrace this opportunity. We explore how raising your vibration can prepare you for this shift, making you more open to contact with extraterrestrials, spirit guides, and other higher-dimensional beings. Darryl shares valuable insights on following your excitement, staying positive through life's changes, and letting go of limiting beliefs.  This episode offers practical steps to help you align with your highest potential and stay open to the guidance and opportunities unfolding as we move toward a new era of open extraterrestrial contact.   ===   If you need a practice to come home to yourself, try this meditation for 30 days & watch your life shift: https://podcasts.apple.com/us/podcast/10-minutes-to-shift-from-overwhelm-to-inner-peace-abundance/id1705626495?i=1000738341998   ===   We are accepting applications for ICM 2026! This is your opportunity to receive early access bonuses. Apply here

In this solo episode of the Mixing Music Podcast, Dee Kei breaks down why loudness is part of the mix, not an afterthought for mastering. He explains why you should never send clients an unlimited mix as the main reference, even if a separate mastering engineer is involved, and why your job as a mixer is to deliver something that already feels like a finished record.DK talks through how to limit with intention, using loudness as an emotional dimension of the record instead of just cranking LUFS. He gets into the illusion of dynamics, sidechain feel, clipping, multiple limiters, and how different genres (jazz versus hyper-loud pop) demand different loudness philosophies. He also explains why mastering engineers would rather receive a well-intentioned, fully limited mix than an unintentional “safe” premaster that forces them to guess what you wanted.To close, DK rants a bit about Dolby Atmos and spatial audio: how strict loudness specs in Atmos remove an entire emotional dimension for music, why it makes sense for film and games, and why spatial formats are pushed in music mostly to sell headphones, not to make records sound better.What you will learn:Why you should always send clients a limited mix or “reference master”How to think about loudness as part of tone, impact, and emotionIllusion of dynamics, sidechain feel, clipping, and multi-stage limiting in loud mixesHow intentional rough mixes and stems reduce guesswork for mixers and mastering engineersWhy Atmos loudness standards remove a creative dimension for music and are better suited for film and TV SUBSCRIBE TO OUR PATREON FOR EXCLUSIVE CONTENT!⁠SUBSCRIBE TO YOUTUBE⁠Join the ‘Mixing Music Podcast' Discord!HIRE DEE KEIHIRE LU⁠HIRE JAMES⁠Find Dee Kei and Lu on Social Media:Instagram: @DeeKeiMixes @MasteredbyLu @JamesParrishMixesTwitter: @DeeKeiMixes @MasteredbyLuThe Mixing Music Podcast is sponsored by ⁠Izotope⁠, ⁠Antares (Auto Tune)⁠, Sweetwater, ⁠Plugin Boutique⁠, ⁠Lauten Audio⁠, ⁠Filepass⁠, & ⁠Canva⁠The Mixing Music Podcast is a video and audio series on the art of music production and post-production. Dee Kei, Lu, and James are professionals in the Los Angeles music industry having worked with names like Odetari, 6arelyhuman, Trey Songz, Keyshia Cole, Benny the Butcher, carolesdaughter, Crying City, Daphne Loves Derby, Natalie Jane, charlieonnafriday, bludnymph, Lay Bankz, Rico Nasty, Ayesha Erotica, ATEEZ, Dizzy Wright, Kanye West, Blackway, The Game, Dylan Espeseth, Tara Yummy, Asteria, Kets4eki, Shaquille O'Neal, Republic Records, Interscope Records, Arista Records, Position Music, Capital Records, Mercury Records, Universal Music Group, apg, Hive Music, Sony Music, and many others.This podcast is meant to be used for educational purposes only. This show is filmed and recorded at Dee Kei's private studio in North Hollywood, California. If you would like to sponsor the show, please email us at ⁠deekeimixes@gmail.com⁠.Our Sponsors:* Check out Uncommon Goods: https://uncommongoods.com/mmpodSupport this podcast at — https://redcircle.com/mixing-music-music-production-audio-engineering-and-music/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

China industry specialist Ertan Tawakkul talks about the rapid growth of the Chinese electric vehicle market. Ertan looks at current factors shaping this sector and gives insights from his hundreds of company meetings. #CapGroupGlobal This content is intended to highlight issues and be of a general nature. It should not be considered advice, an endorsement or a recommendation. Products mentioned are not an offer of the product and may not be available for sale or purchase in all countries. All investments have risk, and you may lose money. Past results are not a guarantee of future results. Statements attributed to an individual represent the opinions of that individual as of the date published and do not necessarily reflect the opinions of Capital Group or its affiliates. Investing outside the United States involves risks, such as currency fluctuations, periods of illiquidity and price volatility. These risks may be heightened in connection with investments in developing countries. For our latest insights, practice management ideas and more, subscribe to Capital Ideas at getcapitalideas.com. If you're based outside of the U.S., visit capitalgroup.com for Capital Group insights. Watch our latest podcast, Conversations with Mike Gitlin, on YouTube: https://bit.ly/CG-Gitlin-playlist This content is published by Capital Client Group, Inc., and copyrighted to Capital Group and affiliates, 2025, all rights reserved.  For more information, including our detailed disclosures, visit www.capitalgroup.com/global-disclosures. U.K. investors can view a glossary of technical terms here: https://bit.ly/49rdcFq To stay informed, follow us: LinkedIn: https://bit.ly/42uSYbm YouTube: https://bit.ly/4bahmD0 Follow Mike Gitlin: https://www.linkedin.com/in/mikegitlin/About Capital Group Capital Group was established in 1931 in Los Angeles, California, with the mission to improve people's lives through successful investing. With our clients at the core of everything we do, we offer carefully researched products and services to help them achieve their financial goals. Learn more: capitalgroup.com Join us: capitalgroup.com/about-us/careers.html Copyright ©2025 Capital Group

The guest host for today's show is Brad Bannon. Brad runs Bannon Communications Research, a polling, message development and media firm which helps labor unions, progressive issue groups and Democratic candidates win public affairs and political campaigns. His show, 'Deadline D.C. with Brad Bannon,' airs every Monday from 3-4pm ET. Brad is first joined by Kate Lincoln-Goldfinch, an Immigration Attorney and Advocate. The pair discusses Trump's new efforts to block immigration from 19 countries he deemed 'high risk.' Kate also explains the details of the U.S. Supreme Court agreeing to take up one of President Trump's most contentious policies by reviewing the American legal principle of "birthright citizenship," potentially upending a 127-year-old understanding of who gets to be a U.S. citizen.  Kate and Brad also discussed how alarmingly frequent it has been for ICE to arrest and detain U.S. citizens for hours to even days, with some of them being assaulted in the process. Then, Center for American Progress's Natasha Murphy talks with Brad about healthcare, including premiums that are set to skyrocket at the end of the month if Republicans refuse to extend ACA tax credits. Natasha also breaks down why the Health Savings Account options, which many congressional Republicans are pushing as a replacement for ACA tax credits, do nothing to help pay for skyrocketing health insurance premiums themselves. Kate Lincoln-Goldfinch is also the Owner and CEO of Lincoln-Goldfinch Law. Their website is www.LincolnGoldfinch.com. Kate's handle is @AttorneyKLG on X, @attorneykatelg on Instagram, and @abogadakate on TikTok. Additionally, she's currently running for State Representative for Texas House district 50 as a Democrat. Natasha Murphy is the director of Health Policy at American Progress, where she develops and advances policy proposals to lower health care costs and improve health care coverage, affordability, and quality. Brad is on the National Journal's panel of political insiders, is an American political analyst for The Times of India TV, and is a national political analyst for WGN TV and Radio in Chicago and KNX Radio in Los Angeles. Brad also writes a political column every Sunday for 'The Hill.'  You can read his columns at www.MuckRack.com/Brad-Bannon. His handle on BlueSky is @bradbannon.bsky.social.

On Day 12 of Sean "Diddy" Combs's federal sex trafficking and racketeering trial, former assistant "Mia" delivered emotional testimony detailing alleged abuse during her employment from 2009 to 2017. She recounted multiple instances of sexual assault, including an alleged rape at Combs's Los Angeles home in 2010. Mia described a volatile work environment where Combs subjected her to physical violence, such as throwing her into a pool and slamming a door on her arm. She testified that she felt unable to refuse his demands, fearing retaliation and job loss. Mia also alleged that Combs controlled her movements, preventing her from leaving his properties without permission. Her testimony corroborated previous accounts by Combs's ex-girlfriend, Cassie Ventura, highlighting a pattern of abuse and control.Mia further testified about witnessing Combs's violent behavior toward Ventura, including a 2013 incident where he allegedly assaulted Ventura, resulting in a severe head injury. She described a toxic work environment characterized by extreme demands and fear of retribution. Mia also recounted an event at a party hosted by Prince, where Combs allegedly attacked Ventura, prompting intervention from Prince's security. Despite the abuse, Mia stated that she believed Combs operated above the law, which contributed to her reluctance to report the incidents.to contact me:bobbycapucci@protonmail.comsourceDiddy's 'Freak-Off' hotel rooms were covered in menstrual blood, candle wax and broken glass, ex-assistant claims

In the case of United States v. Sean Combs (Case No. 1:24-cr-00542-AS), the defense has filed a memorandum supporting a motion to suppress evidence obtained through search warrants executed at Combs' residences in Los Angeles and Miami. The defense contends that federal authorities included false statements and omitted critical exculpatory information in their affidavits to secure these warrants, particularly regarding the voluntary nature of an alleged victim's participation in events described by the prosecution. Additionally, the defense argues that the warrants were overly broad, leading to the seizure of extensive personal data and records beyond the scope of the investigation. In the alternative, the defense requests a Franks hearing to examine the veracity of the affidavits supporting the search warrants.to contact me:bobbycapucci@protonmail.comsource:gov.uscourts.nysd.628425.160.0.pdf

In the case of United States v. Sean Combs (Case No. 1:24-cr-00542-AS), the defense has filed a memorandum supporting a motion to suppress evidence obtained through search warrants executed at Combs' residences in Los Angeles and Miami. The defense contends that federal authorities included false statements and omitted critical exculpatory information in their affidavits to secure these warrants, particularly regarding the voluntary nature of an alleged victim's participation in events described by the prosecution. Additionally, the defense argues that the warrants were overly broad, leading to the seizure of extensive personal data and records beyond the scope of the investigation. In the alternative, the defense requests a Franks hearing to examine the veracity of the affidavits supporting the search warrants.to contact me:bobbycapucci@protonmail.comsource:gov.uscourts.nysd.628425.160.0.pdf

In this episode, we explore the powerful concept of soul karma, the emotional and energetic ripple effects created when a life ends with regret, broken promises, or unresolved relationships. Many people don't realize that unfinished soul contracts can follow us across lifetimes, shaping how we love, connect, and even struggle in our relationships today.This story reveals how a young woman who passed away too soon carries deep karmic regret, and how that regret now affects her connection with her daughter in the present life. Through the lens of past life regression, soul-level healing, and karmic relationship patterns, we dive into:•How unresolved promises in one lifetime can create emotional blocks in another•Why unfinished conversations can manifest as fear, distance, or tension in current relationships•How soul contracts, karmic bonds, and past life trauma influence the parent–child dynamic•The spiritual reasons why certain souls return together to heal old wounds•How recognizing karmic patterns helps us release them, transform relationships, and close old timelinesThis episode is ideal for anyone interested in past life healing, karmic relationships, soul contracts, generational healing, reincarnation, and spiritual awakening. If you've ever felt a deep emotional charge with someone that didn't quite make sense, or an unexplained heaviness in a relationship, you may be experiencing the effects of karmic entanglement or unfinished soul lessons.By understanding the story of this young woman's past life regret, we gain insight into how karma, love, and soul evolution work—and how healing the past can transform our relationships today.Mayra Rath is a Spiritual Hypnotherapist specializing in Past Life Regression Therapy and QHHT Hypnosis. With over 25 years of experience, she has guided countless individuals through transformative journeys into their past lives, helping them uncover deep-rooted patterns and heal emotional wounds and traumas connected to previous incarnations.Based in Los Angeles, Mayra conducts sessions through her private practice, Soul Signs Hypnosis, both in-person and remotely.Connect with me Website: https://www.soulsigns.netSocial Media:TIKTOK:@SoulSignsHypnosisInstagram:@SoulSignsHypnosisFacebook Group: https://www.facebook.com/groups/1009959799420939 Youtube: @SoulSignsHypnosisPODCAST: Past Lives with Mayra Rath (Apple & Spotify)#pastlivespodcast #starseedmeaning #starseedactivations #qhhtpractitioner #qhhtsessions Hosted on Acast. See acast.com/privacy for more information.

In this week's episode of Behind Beautiful Things, host Kevin sits down with Shawn, author of F*ck Happiness: The Search for Meaning in a World Gone Mad Chasing Happiness*. Shawn shares his powerful life story—from growing up in Chicago and working long hours in a steel factory to navigating serious mental health challenges that shaped his early adulthood.Kevin and Shawn explore how Shawn took a bold leap of faith, moving to Los Angeles to launch his own talent agency and building it from the ground up. As his career progressed, an unexpected personal tragedy changed the course of his life and set him on a new journey of purpose and self-discovery.If you're interested in personal growth, mental health, resilience, and the pursuit of meaning over happiness, this episode offers an inspiring and deeply human conversation. Please join us!Please note: This episode contains discussions about suicide. Please take care while listening. Check out Shawn's website: https://www.shawnleonnowotnik.com/Behind Beautiful Things Website: www.sadtimespodcast.com Follow Behind Beautiful Things on Facebook: https://www.facebook.com/groups/373292146649249Follow Behind Beautiful Things on Instagram: @behindbeautifulthingspodcastLearn more about Kevin's Professional Speaking and Acting at www.kevincrispin.comCheck out Kevin's substack: https://allconviction.substack.com Get your very own “Sad Schwag”: https://www.teepublic.com/stores/hysteria51/albums/253388-sad-times-podcast?ref_id=9022Editorial note: Behind Beautiful Things is committed to sharing various stories from generous guests. The hope is to allow any number of stories to be shared to help people feel less alone and, perhaps, more empathetic. It is important to clarify that the guests' stories, perspectives, and sentiments do not necessarily reflect the views and beliefs of Behind Beautiful Things in any way. Please note that Behind Beautiful Things is in no way a substitute for medical or professional mental health support.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Dan, Manny, & Billy put the 2024 American Horror/Comedy/Action film ZombieCon Vol.1 to the ultimate test—THE NOSTALGIA TEST (NOW)! “I'd be like, ‘Yo mom, there's f***ing zombies.'” -Manny In a world where ridiculously predictable legacy sequels, horrible reboots, and half-assed IP superhero movies are suffocating the movie watching experience, indie movies are fighting the good fight to save cinema! ZombieCon Vol.1 is a fun-filled horror/comedy/action film that will become your next favorite midnight cult classic for every Halloween cosplay party. The boys dive into it and give it the ball-busting Nostalgia Test treatment. They celebrate this movie the only way 3 dudes from Long Island know how: TO ROAST THE HELL OUT OF IT! The talk about learning what cosplay cons are all about, the importance of character deaths in horror movies, the hilarious Pop-Punk soundtrack during kill scenes, and the fun of an indie Zombie movie. This is part 1 of a 2-parter on ZombieCon, so make sure to follow the podcast to hear the interview with the director Kyle Valle & writer/actor Erin Áine on December 16th. So, get your best friends over to the house, dress up like your favorite characters, and turn the ball busting up to level ten!   A group of cosplaying friends trigger a zombie apocalypse and are forced to traverse a zombie-infested Los Angeles to save their loved one. Trailer:  https://youtu.be/5J_wBWru-t8 Linktree: https://linktr.ee/ZombieCONVol1     Email us (thenostalgiatest@gmail.com) your thoughts, opinions, and topics for our next Nostalgia Test! Suggest A Test & Be Our Guest! We're always looking for a fun new topic for The Nostalgia Test. Hit the link above, tell us what you'd like to see tested, and be our guest for that episode!   Approximate Rundown 00:00 Introduction to Nostalgia Test Podcast 00:19 Meet the Hosts and Their Banter 01:59 Discussing the Movie: Zombie Con Volume One 03:22 Cosplay and Character Dynamics 06:43 Zombie Apocalypse Begins 10:01 Surviving the Zombie Attack 12:31 Analyzing the Characters and Plot 14:08 The Role of Cosplay in the Movie 17:30 Final Thoughts and Reflections 35:59 Parking Lot Scene Critique 36:25 Tunnel Chase and Map Loss 36:48 Weapon Bag and Zombie Strategy 37:21 Compton Zombie Scenario 37:38 Cage Scene and Predictable Jump scares 38:22 Sound Mix Issues and Troll Comments 38:59 Melons and Javier's Sacrifice 39:41 Zombie Transformation and Backstory Cuts 41:18 Voiceovers and Homeless Dude 41:48 Horror Movie Sacrifices and Character Arcs 44:29 Zombie Apocalypse and Pop Culture References 53:05 Indie Film Production and Nostalgia 01:01:48 Final Thoughts and Sequel Speculations   Book The Nostalgia Test Podcast Bring The Nostalgia Test Podcast's high energy fun and comedy on your podcast, to host your themed parties & special events!  The Nostalgia Test Podcast will create an unforgettable Nostalgic experience for any occasion because we are the party! We bring it 100% of the time! Email us at thenostalgiatest@gmail.com or fill out the form at this link. LET'S GET NOSTALGIC!       Keep up with all things The Nostalgia Test Podcast on Instagram | Substack | Discord | TikTok | Bluesky | YouTube | Facebook   The intro and outro music ('Neon Attack 80s') is by Emanmusic. The Lithology Brewing ad music ("Red, White, Black, & Blue") is by PEG and the Rejected

Use our code for 10% off your next SeatGeek order*:https://seatgeek.onelink.me/RrnK/LAPLATICA10 Sponsored by SeatGeek. *Restrictions apply. Max$20 discount Someone call the North Pole and tell Santa his Lil Traviesos ended up in Los Angeles.

ITB host Adam Caplan discussed the injury situation and other personnel developments as the Eagles will face the Chargers on Monday night in Los Angeles.► Subscribe to our Patreon Channel for exclusive information not seen or heard anywhere else and become among smartest Birds fans out there (just ask our members!!)https://www.patreon.com/insidethebirds► Sign up for our newsletter! • Visit http://eepurl.com/hZU4_n.► Download Cash App Today: https://cash.app/ #cashapppod ► My Bookie Promo Code link!: https://bit.ly/joinwithTHEBIRDS► Simpli Safe Home Alert System: https://simplisafe.com/BIRDS for 60% OFF!► Camden Apothecary: https://camdenapothecary.com/► Soul Out of Office Gummies: https://getsoul.com. Use Promo Code: BIRDS for 30% off► Sky Motor Cars: https://www.skymotorcars.com/Follow the Hosts!► Follow our Podcast on Twitter: https://twitter.com/InsideBirds► Follow Geoff Mosher on Twitter: https://twitter.com/geoffpmosher► Follow Adam Caplan on Twitter: https://twitter.com/caplannfl► Follow Greg Cosell on Twitter: https://twitter.com/gregcosell

YouTube Description In this faith-building message titled "Let God Be God," Pastor Chad Veach continues Zoe Church's series Watch God Work by teaching from the story of the fiery furnace in Daniel 3. He unpacks how Shadrach, Meshach, and Abednego stood firm in the face of cultural pressure, trusting God not only for deliverance but through the fire. This is a word for anyone walking through a storm, waiting on a miracle, or learning to trust even when things don't go as planned. Through scripture, stories, and humor, Pastor Chad reminds us that God doesn't always rescue from the fire but He always shows up in it. At Zoe, our mission is simple: People Saved, Disciples Made, Leaders Raised, and The Church Released. Through every service, we seek to share the love and hope of Jesus, impact lives, and see transformation in communities in Los Angeles and around the world. Don't forget to like, subscribe, and share this stream with friends and family!

Perimenopause often starts quietly. Maybe your sleep gets weird, maybe your cycles change, maybe you just don't feel like yourself. And when that happens, most of us do the obvious thing: we start looking for information. We want reassurance. We want a roadmap.And that's where the trap springs.Because the loudest voices don't talk to you like a human moving through a profound hormonal transition. No—they talk to you like a problem, a project, and a body in need of tightening, shrinking, purifying, or fixing.Cole Kazdin returns (her second time on the pod!) to talk to me about this whole mess.We get into so much in the episode, including:• the sneaky ways diet culture slips into menopause advice• the reactivation of old eating disorder behaviors• orthorexia, “eating clean,” and restriction as coping mechanisms• the research on midlife vulnerability to dieting• longevity and nutrition misinformation• reclaiming exercise from wellness culture• how we can experience more joy, autonomy, and nourishment during this transitionSupport the show: Enjoying this podcast? Please support the show on Substack for bonus episodes, community engagement, and access to "Ask Abbie" at abbieattwoodwellness.substack.com/subscribeApply for Abbie's Group Membership:Already been at this anti-diet culture thing for a while, but want community and continued learning? Apply for Abbie's monthly membership: https://www.abbieattwoodwellness.com/circle-monthly-groupAbout Cole:Cole Kazdin is a four-time Emmy Award-winning journalist, writer, and performer. She is the author of What's Eating Us: Women, Food, and the Epidemic of Body Anxiety and has contributed to The Moth Presents All These Wonders. Cole has written for outlets including VICE, TIME, The New York Times, and Cosmopolitan, and produced for Good Morning America, Nightline, and Netflix. A celebrated storyteller, she's performed on The Moth Mainstage nationwide and NPR's The Moth Radio Hour, and currently teaches writing at UCLA Extension. She lives in Los Angeles. Find the show on Instagram: @fullplate.podcastFind Abbie on Instagram: @abbieattwoodwellness Podcast Cover Photography by Anya McInroyPodcast Editing by Brian WaltersThis podcast is ad-free and support comes from your support on Substack. Subscribe HERE. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit abbieattwoodwellness.substack.com/subscribe

Today's guest is Roti Brown, the Los Angeles–based creative director, host, and content creator known for her cinematic tablescapes, cultural fusion recipes, and modern approach to gathering. Roti's rise has been anything but conventional—after studying political science and briefly considering law school, she found her way into the worlds of fashion, content, and food, ultimately carving out a creative career all her own. Roti has built an unexpected path that blends cooking, storytelling, visual direction, and a deep love of community. Her journey included restaurant work, early internships in media and fashion, a major role at Jenni Kayne, and a two-year stint as creative director for Ashley Tisdale French, before ultimately deciding to bet on herself full-time.Thank you to JW Marriott for supporting our show. Order The Cake IssueTickets for our Working Lunch event in Charleston on Thursday, December 11th, hereSubscribe to our SubstackJubilee NYC 2026 tickets hereCheck out Cherry Bombe on ShopMyMore on Roti: Instagram, Flavor GardenMore on Kerry: Instagram

The LA-Barstow-to-Vegas (LAB2V) is a famous, long-running annual two-day dual-sport motorcycle event that covers over 400 miles of mostly off-road desert terrain between Los Angeles and Las Vegas, and our very own Charley, Scottie and Hector decided to give it a go. This is not an easy ride, so most people take a light, nimble and capable off road bike something like the KTM EXC500. But of course Misfits don't take the easy ride, and opt for the challenge instead. Charley rode his Yamaha Super Tenere, Hector his KTM 1290 Adventure, and being the wisest among them, Scottie opted for her Husqvarna 701. It might not surprise you to hear that only one of them finished the ride (I wonder who?) but all three arrived safe and had a great time. They share their stories and lessons from the trip, and we talk about what would be the perfect bike for this challenging ride. And due to Charley's unfortunate situation, we take a moment to talk about bearings, how important they are, and how little they've changed in the last 100 years. With Liza, Stumpy John, Hector, Charley, Scottie, Naked Jim and Bagel. www.motorcyclesandmisfits.com motorcyclesandmisfits@gmail.com www.breakingawayadventures.com/shop/p/mi…-rally-v4 www.patreon.com/motorcyclesandmisfits www.zazzle.com/store/recyclegarage www.youtube.com/channel/UC3wKZSP0J9FBGB79169ciew https://womenridersworldrelay.com/ motorcyclesandmisfits.com/shop Join our Discord at discord.gg/hpRZcucHCT

Dave Pagnotta (The Fourth Period) joins host Jesse Cohen to crown a King of the Week and recap the ninth week of the 2025-26 season. The pair discuss the team's 1-2 week against Washington and Chicago. After crowning a King of the Week Dave discusses the national perception of the LA Kings in a season where few teams have separated themselves from the pack.

Brendan Paul, a close assistant to Sean "Diddy" Combs, was arrested in March 2024 at Miami-Opa Locka Executive Airport during a federal raid. Authorities found cocaine and marijuana-laced candy in his travel bags. This arrest coincided with searches of Diddy's properties in Miami and Los Angeles as part of a larger federal investigation involving Diddy. Brendan Paul was charged with felony drug possession, and his case was seen as potentially impacting Diddy's ongoing legal troubles, which include allegations related to sex trafficking and illegal firearms.Paul, a former Syracuse University basketball player, was referred to as Diddy's "drug mule" in a separate civil lawsuit, where he was accused of acquiring and distributing drugs and guns for Diddy. Despite the serious charges, Paul avoided jail time by accepting a plea deal, entering a drug diversion program that will result in the charges being dismissed upon completion.(commercial at 10:34)to contact me:bobbycapucci@protonmail.comsource:

Matt and Eric bring the (Justin) hammer down on 2010's IRON MAN 2 - an entertaining watch that never quite focuses on the right things. War Machine, Black Widow, drunk dancing, and more!

The Eagles gear up to take on the Chargers tonight in Los Angeles. With the Eagles at a fork in the road in their season do you believe that they have it in them to save their season?

In hour 3, the WIP Afternoon Show is joined by Eagles insider Eliot Shorr-Parks live from Los Angeles to discuss everything around Eagles vs Chargers. As well as, what may have inspired the 'positivity bunny'

The WIP Morning Team, joined by Reuben Frank, previews the Eagles game tonight in Los Angeles against the Chargers. They share what they think must happen in the game, debating what is more important; a win or style points? The Morning Team shares what they see as strengths and weaknesses for both teams, highlighting how the Eagles defense will adjust to playing without Jalen Carter. The team reacts to audio of Saquon Barkely saying that the energy on the sideline is ‘awful'. They react to Saquon's comments about the sideline, sharing concern for the energy of the team. Next, the team comments on if they believe Jalen Hurts could be benched this season or in the future. They also bring up the Winter Meetings for MLB, sharing what they believe the future of Kyle Schwarber will be. Will he be overpaid by the Phillies? What will the team look like without the designated hitter? They also debate who the Phillies may pick up if they do not re-sign Schwarber. The team discussed Zach Ertz's injury yesterday, the college football drama, and read a statement from Temple Football regarding their decision to play in a bowl game. Finally, they listen to Time's Yours calls.

A very busy but P.R. damaged PPV took place in San Antonio, TX, and we're ready to recap it all, plus, hear from a cruiserweight world champ and more on the "Fight Freaks Unite Recap Podcast!"Host T.J. Rives returns with insider Dan Rafael of his Fight Freaks Unite Substack and Newsletter to go over it all.They have a full recap of the "PBC on Prime Video" PPV card on Saturday Isaac “Pitbull” Cruz draw with Lamont Roach and keeps WBC interim 140 lb. title. Was this a just draw or not? Will they meet again?O'Shaquie Foster dominates Stephen Fulton and wins vacant WBC interim 135 lb. title. Yes, you read right. The WBC now just makes up interim title fights the day before fight cards. We explain the comedy and debate. Foster also has options in multiple weight divisions, now too.Then, a dreadful Erislandy Lara decision over late replacement Johan Gonzalez and keeps WBA 160 lb. A boring defense.And, Jesus Ramos decisions Shane Mosley Jr., in an action packed bout and wiins the vacant WBC interim 160 lb title.Also, on the free PrelimsA HUGE KO! Frank Martin in the 4th over Rances Barthelemy, junior welterweightsIsaac Lucero decisions Roberto Valenzuela Jr. in a good fight.And, junior middleweights Luis Nunez looks good against Hector Sosa in a featherweight decision. Next, a recap of Saturday's Tasman Fighters main event in Broadbeach, AustraliaHUUUUUUUUGE KO Jai Opetaia with one punch in the eigth over Huseyin Cinkara. Opetaia retains lineal/IBF cruiserweight title and has a big future coming. Next an interview with WBC Cruiserweight Champ BADOU JACK He defends vs. former titlist Noel Mikaelian on Saturday in Los Angeles on PPV in a rematch of their close fight in May on the Canelo-Scull card in Riyadh, Saudi Arabia.And, some newsTyson Fury social media post indicates he is headed out of retirement –SHOCKING!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!  Yes, Dan approved all those !'sA deal has been made for vacant WBO interim light heavyweight title bout between Callum Smith and David Morrell, and the purse bid that was due to take place this past Friday was canceled  And, finally, MVP added junior lightweight Jahmal Harvey, a 2024 U.S. Olympian, to the main card of Paul-Joshua on January 19th.It's all part of the "Fight Freaks Unite Recap Podcast" and make sure to follow/subscribe on Apple/Spreaker/Spotify, etc.!

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

Trump fumbles the ball on his ONLY job heading into the midterm year. Brian interviews Jamie Raskin, Mark Warner, and Pod Save America's Tommy Vietor. Shop merch: https://briantylercohen.com/shopYouTube: https://www.youtube.com/user/briantylercohenTwitter: https://twitter.com/briantylercohenFacebook: https://www.facebook.com/briantylercohenInstagram: https://www.instagram.com/briantylercohenPatreon: https://www.patreon.com/briantylercohenNewsletter: https://www.briantylercohen.com/sign-upWritten by Brian Tyler CohenProduced by Sam GraberRecorded in Los Angeles, CASee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Lauren Rothery is the author of the debut novel Television, available from Ecco Books. Rothery was born in London and raised in San Diego. She spent her twenties writing and directing short films and music videos between New York and Los Angeles. In 2020, she moved to Europe and began writing fiction. Television is her first novel. *** ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Otherppl with Brad Listi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is a weekly podcast featuring in-depth interviews with today's leading writers. "This episode is sponsored by Ulysses. Go to ⁠ulys.app/writeabook⁠ to download Ulysses, and use the code OTHERPPL at checkout to get 25% off the first year of your yearly subscription." Available where podcasts are available: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, etc. Get ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠How to Write a Novel,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ the debut audio course from DeepDive. 50+ hours of never-before-heard insight, inspiration, and instruction from dozens of today's most celebrated contemporary authors. Subscribe to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Brad's email newsletter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support the show on Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Merch⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bluesky⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email the show: letters [at] otherppl [dot] com The podcast is a ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠proud affiliate partner of Bookshop⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Escapes and Escapades of Winnie Ruth JuddJump to the AD-FREE Safe House EditionEpisode 90 begins in the fall of 1931 when a Phoenix resident shows up in a Los Angeles train depot trying to claim three trunks that she had shipped there. The clerks wouldn't let her take the trunks because of the foul odor emanating from them.  Winnie Ruth Judd said she'd go get the key so they could see there was nothing nefarious in her luggage and made her first escape. Hear more stories about TRUNK MURDERS!!!Become a supporter of this podcast: https://www.spreaker.com/podcast/true-crime-historian--2909311/support.You can pay more if you want to, but rent at the Safe House is still just a buck a week, and you can get access to over 400 ad-free episodes from the dusty vault, Safe House Exclusives, direct access to the Boss, and whatever personal services you require.We invite you to our other PULPULAR MEDIA podcasts:If disaster is more your jam, check out CATASTROPHIC CALAMITIES, telling the stories of famous and forgotten tragedies of the 19th and 20th centuries. What could go wrong? Everything!For brand-new tales in the old clothes from the golden era of popular literature, give your ears a treat with PULP MAGAZINES with two new stories every week.

Step inside one of the most legendary — and misunderstood — eras in American crime history. For the first time ever, Whitey Sullivan, the right-hand man to Washington D.C.'s infamous drug lord Rayful Edmond, sits down on camera to finally set the record straight. Whitey was there for all of it — from Rayful becoming a teenage millionaire valedictorian and star basketball player… to building a cocaine pipeline from Los Angeles to D.C.… to overseeing multi-ton shipments every single week. He counted the money, managed the crews, and stood beside Rayful during the DEA's most dramatic kingpin takedown of the 1980s. His power, influence, and empire continued to shock law enforcement for decades. Today, Whitey is breaking decades of silence to reveal: - How Rayful became the most successful urban drug dealer of his generation - The violence, rules, loyalty — and mythology — of D.C.'s streets - The truth about the federal case, the media, and the betrayals - Rayful's plan to go legit… and why nobody truly walks away - Never-before-told stories of wealth, danger & survival This is the raw, unfiltered story the streets still whisper about — straight from the only man qualified to tell it. This Episode Is #Sponsored By The Following: Superpower! This holiday, give your loved ones the only gift that keeps on giving — health. Go to https://Superpower.com/gift to get a free $49 gift box with your gifted membership. Rocket Money! Cancel your unwanted subscriptions and reach your financial goals faster with Rocket Money. Go to https://rocketmoney.com/connect today. Join The Patreon For Bonus Content! https://www.patreon.com/theconnectshow 00:00 Intro: Setting the Record Straight 02:25 Rayful Edmond: Origins and Early Hustle 07:57 The Rise: Childhood to Drug Kingpin 18:13 Starting Out Pre-Crack Era 25:21 Transitioning to Cocaine and Expansion 30:57 This Episode Is Sponsored By Superpower 33:36 Running DC: Growing the Empire 41:01 Scaling Up: Bricks, Stash Houses, and Riches 57:41 Life as a Young Insider 1:00:42 This Episode Is Sponsored By Rocket Money 01:02:12 Rayful's Connections and the Colombian Cartel 01:14:48 Organization Structure and DC's Drug World 01:29:02 The Crack Era: Streets & Violence 01:43:44 The Indictment: Raids and Arrests 01:56:00 Jail, Trials, and Surviving the System 02:14:09 The Second Case: Inside Prison Operations 02:30:09 Sentencing, Appeals, and Release 02:37:13 Coming Home: Release and Final Days 02:44:31 Rayful Edmond's Death and Legacy 02:56:53 Setting the Record Straight: The Real Story Learn more about your ad choices. Visit podcastchoices.com/adchoices

Parents navigating children's health in today's fast-paced world will find practical guidance and balanced insights in this episode. Dr. Joel Warsh, a board-certified pediatrician specializing in integrative medicine, shares strategies for making informed choices about vaccines, boosting immunity, and supporting overall wellness. From reducing toxins and improving nutrition to fostering emotional and mental health, this conversation provides actionable tips that empower families without overwhelm. Listeners will gain clarity, confidence, and tools to raise resilient, healthy children.  Key Takeaways:   Holistic pediatric care begins with balancing traditional medicine and integrative wellness.  Informed parenting is empowered through understanding, asking questions, and seeking clarity.  Prevention and mindful lifestyle choices lay the foundation for lifelong health in children.  Small, intentional changes at home—like nutrition, sleep, and toxin reduction—create lasting impact.  Open conversations and personalized care help families navigate complex health decisions with confidence.  About Dr, Joel "Gator" Warsh:  Joel Warsh aka Dr. Joel Gator of the popular parenting Instagram account and substack is a Board-Certified Pediatrician in Los Angeles, California who specializes in Parenting, Wellness and Integrative Medicine. He is the author of multiple books including his latest, Between a Shot and a Hard Place: Tackling Difficult Vaccine Questions with Balance, Data, and Clarity, He grew up in Toronto, Canada and completed a Master's Degree in Epidemiology before earning his medical degree from Thomas Jefferson Medical College. He completed his Pediatric Medicine training at Children's Hospital of Los Angeles and then worked in private practice in Beverly Hills before founding his current practice, Integrative Pediatrics. Dr. Gator has published research in peer-reviewed journals on topics including childhood injuries, obesity and physical activity. He has been featured in numerous documentaries, films, summits, podcasts and articles.  Connect with Dr. Joel Warsh at:  https://www.instagram.com/drjoelgator/  https://raisingamazingplus.com/inner-circle/  https://raisingamazingplus.com/   Connect with Dr. Michelle and Bayleigh at:  https://smallchangesbigshifts.com  hello@smallchangesbigshifts.com  https://www.linkedin.com/company/smallchangesbigshifts  https://www.facebook.com/SmallChangesBigShifts  https://www.instagram.com/smallchangesbigshiftsco  Thanks for listening!  Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page.  Do you have some feedback or questions about this episode? Leave a comment in the section below!  Subscribe to the podcast  If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can also subscribe in your favorite podcast app.  Leave us an Apple Podcasts review  Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts. 

Gay homosexuals Nick and Joseph review ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Alice Doesn't Live Here Anymore - a 1974 American romantic comedy drama  directed by Martin Scorsese, written by Robert Getchell, and starring It stars Ellen Burstyn, Kris Kristofferson, Billy "Green" Bush, Diane Ladd, Valerie Curtin, Lelia Goldoni, Vic Tayback, Jodie Foster, Alfred Lutter, and Harvey Keitel.Additional topics include:Halle Berry's child support paymentsQuentin Tarantino's loud mouthAvatar's cultural impactGuac DaddyThe death of Cary-Hiroyuki TagawaJoin us on Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/FishJellyFilmReviews⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Want to send them stuff? Fish Jelly PO Box 461752 Los Angeles, CA 90046Find merch here: https://fishjellyfilmreviews.myspreadshop.com/allVenmo @fishjellyVisit their website at www.fishjellyfilms.comFind their podcast at the following: Anchor: https://anchor.fm/fish-jelly Spotify: https://open.spotify.com/show/388hcJA50qkMsrTfu04peH Apple Podcasts: https://podcasts.apple.com/us/podcast/fish-jelly/id1564138767Find them on Instagram: Nick (@ragingbells) Joseph (@joroyolo) Fish Jelly (@fishjellyfilms)Find them on Letterboxd: https://letterboxd.com/ragingbells/ https://letterboxd.com/joroyolo/Nick and Joseph are both Tomatometer-approved critics at Rotten Tomatoes: https://www.rottentomatoes.com/critics/nicholas-bell https://www.rottentomatoes.com/critics/joseph-robinson

Air Week: December 8-14, 2025 Don & Dewey Don Bowman and Dewey Terry never scored a national hit record, but together as the 1950s duo Don & Dewey, they remain one of R&B and early Rock n’ Roll’s best kept secrets. They grew up as friends in Pasadena, CA, joining fellow students at John Muir High School to form The Squires. In 1955, the group scored a local Los Angeles hit with “Sindy,” which has since become a vocal group classic, but when no follow-up hits materialized, Don & Dewey were persuaded to go off on their own by local manager John Criner. After a few sides for local labels Spot and Shade tanked, Criner sold their contract off to Art Rupe, owner of the much larger Specialty Records in LA. Rupe and his A&R man, Bumps Blackwell worked with Don (who was now known as Don Harris) & Dewey, trying to turn their frantic brand of up-tempo jump blues into something, but it never really caught on. Don & Dewey remarkably wrote most of their own material, which was not a standard practice back in the ’50s and though they couldn’t score hits with their own recordings, other artists were able to. Dale and Grace took Don & Dewey’s “I’m Leaving It All Up To You” to the top of the pop chart (#6 R&B) in ’63 and the Righteous Brothers cracked the pop chart with their version of “Justine” in ’65. The Olympics made a hit out of “Big Boy Pete” in ’60, while The Premiers entered the top 20 with “Farmer John” in ’64. This week, Matt The Cat reveals the story of one of early Rock’s craziest duos as he loads the ol’ Rockola Juke with their jumpin’, jivin’ sides on the Juke In The Back.  LISTEN BELOW

At a Halloween party in Los Angeles, a tense altercation broke out between Ray J and Sean "Diddy" Combs' sons—Christian, Quincy, and Justin Combs. The conflict reportedly began after Ray J made disparaging comments about Diddy, which offended the Combs brothers. The exchange quickly escalated, becoming heated as verbal jabs were traded between Ray J and the brothers. Witnesses described the scene as chaotic, with onlookers unsure if the situation would turn violent. Ray J, known for his confrontational style, seemed unyielding during the argument, which further intensified the clash.Just as the altercation appeared on the brink of becoming physical, Chris Brown, who was also present at the event, intervened. Brown managed to de-escalate the situation, stepping between the parties and calming tensions before they could spiral out of control. His timely intervention prevented a potential brawl, diffusing a highly charged moment. While none of the individuals involved have commented publicly on the incident, it underscores the often unpredictable nature of interactions within the celebrity world, where personal grievances can quickly become public spectacles.(commercial at 9:00)to contact me:bobbycapucci@protonmail.comsource:Diddy's sons got into a 'heated' clash with celebrities outside Halloween party amid dad's legal woes | Daily Mail Online

Hey cops and writers, thanks for being here with us today for another episode of the Cops and Writers podcast! I’m Patrick O’Donnell, and I will be your host for today’s show. Before I start, can I ask you all a favor? If you are enjoying this podcast, could you please rate and review the show on Apple Podcasts or Spotify? It is so important, thank you. This show is listener-supported, so thanks to all of you who keep this show going! I would especially like to thank those of you who are patrons of the show. Most notably, Frances Sheldrick, Kathleen Donnelly, Frank Cross, Katherine Kovacic, Richard Towles, Ryan Ta, Carl Vonderau, Melinda Colt, Jodi Burnett, and Richard Rybicki. Your generosity helps pay for the software, equipment, and my time producing this show. Yes, you too can become a patron for less than a cup of coffee or a pint of Guinness. Just go to patreon.com/copsandwriters. Welcome everyone, for my interview with attorney, author, former California State Assemblyman, and son of a murdered father, Mike Gatto. Mike Gatto served four terms in the California Legislature, representing Los Angeles. He chaired the Appropriations Committee, served as Assistant Speaker, and authored several pieces of landmark legislation. On November 13, 2013, his father, Joseph Gatto, was brutally murdered in a home-invasion robbery, which remains unsolved. Mike wrote the book, Noir by Necessity: How My Father's Unsolved Murder Took Me to Dark Places, which documents his father’s brutal murder and the investigation that took place. Mike takes the reader along with him, witnessing Mike’s frustration, anger, and grief. It was indeed an honor to talk with Mike. He was honest and sincere, taking me to places during the interview I didn’t expect. I hope and pray that someday soon the killer in this case is brought to justice and the Gatto family can get some much-deserved answers.   In today’s episode, we discuss: ·      Why Mike went into politics and what his wife thought. ·      The governors Mike worked for? ·      What and who were his biggest influences?  ·      His father working 3 jobs and the impact he had on others, discipline, including white glove inspections. ·      On November 12, 2013, Joseph Gatto was murdered in an apparent home-invasion robbery. This case is still unsolved to this day! ·      How did you explain what happened to your father to your kids? ·      His first contact with the police regarding his father’s murder.  ·      LAPD’s Robbery/Homicide taking the lead in this investigation. ·      Mike hiring a private detective. Was it worth his time and money and the pushback from the LAPD? Would you entertain a psychic or other non-traditional avenues? ·      The pressure he received from his own party to become the face of gun control. ·      The idea of closure is a fairy tale. Most families of murder victims never achieve this. ·      His book Noir by Necessity: How My Father's Unsolved Murder Took Me to Dark Places.   All of this and more on today’s episode of the Cops and Writers podcast.Please visit Mike's website to learn more about him and his book.  Check out the new Cops and Writers YouTube channel! Check out my newest book, The Good Collar (Michael Quinn Vigilante Justice Series Book 1)!!!!! Enjoy the Cops and Writers book series. Please visit the Cops and Writers website.  

durée : 00:58:48 - Toute une vie - par : Elodie Maillot - Agnès Varda a eu plusieurs vies : photographe, artiste visuelle et cinéaste, couronnée par un Oscar d'honneur à Hollywood en 2017. Avant cette hype américaine, la "grand-mère de la Nouvelle Vague" avait connu deux exils très différents à Los Angeles (en 1967 et en 1980). - réalisation : Félix Levacher

Send us a textThis week,We kick off with a PGO Catch-Up, where the boys break down the Dynamax Lugia Max Battle Weekend and the surprisingly lively Pikipek Community Day. Did we fly high? Did we tap endlessly? Obviously.Then it's onto The News – Part 1, covering the December Content Update and everything this final month of the season is bringing to the overworld, raids, bonuses, and beyond.Milo steps up to host a brand-new Pub Quiz game — expect chaos & questionable knowledge!After a WhatsApp Message from the listeners, we dive into The News – Part 2, where Ian leads us through the massive reveal of the Pokémon GO Tour: Kalos.We discuss:• Live Locations — Tainan & Los Angeles• What's new and debuting• Featured Pokémon• 1★, 5★ & Mega Raids• Wild spawns across Central Village, Mountain Manor & Coastal Laboratory• Eggs, Incense, Snapshots & Timed Research• Bonuses, Add-On Days & Route features• Plus all the Global Tour details for both ticket holders and free players.Finally, we wrap up with Shinies of the Week — your sparkly flexes that keep us going!We'd like to say a massive thank you to all of our Patrons for your support, with credited Patrons from featured tiers below:#GOLDJB, Kerry & Zachary, Barside2, Mandy Croft, Mr Mossom, Mufti, DeanDHL, Masterlaxus42 & DamonMac08.#SILVERKLXVI, Dell Hazard, Spindiana, Lori Beck, Steve In Norway, CeeCeeismad, Macfloof, Saul Haberfield, Lizzie George, Sander Van Den Dreiesche, Neonnet, Ellen Rushton, James Alexander, Northern Soph, Tom Cattle, Charley Todd, Robert Wilson, MissSummerOf69, Malcolm Grinter, Jordi Castel, Thehotweasel, shinyikeamom, TonyOfPride, Joohno, Malcolm Burgess & mrj4ck4l.The Gaming BlenderWe mash genres. We pitch games. You question our sanity.Listen on: Apple Podcasts SpotifySupport the showFind us on Niantic Campfire: CLICK MESend us a voice message on WhatsApp: +44 7592695696Email us: contact@incensedpodcast.comIf you'd like to buy merch, you can find us by clicking HERE for U.K. store, HERE for U.S. Oceana store or copy this link: https://incensedpodcast.myspreadshop.net/ for U.K. store or this link: https://incensed-podcast.myspreadshop.com/ for U.S. Oceana store!Hosted By: PoGoMiloUK, Ian Waterfall & Masterful 27. Produced & Edited By: Ian Waterfall & PoGoMiloUK. Administrators: HermesNinja & IAMP1RU5.Pokémon is Copyright Gamefreak, Nintendo and The Pokémon Company 2001-2016All names owned and trademarked by Nintendo, Niantic, The Pokémon Company, and Gamefreak are property of their respective owners.

In June 2025, I curated Splice, an Afro House/Afro Tech party in Los Angeles. This is the set from that night that I never posted. It was unmarked and almost lost in the archive.

In this episode of Mission Matters, ⁠Adam Torres⁠ interviews ⁠Attila Korosi⁠, Founder of Move Mountains Pictures, about his mission to create films that go beyond entertainment and truly touch people's hearts. Attila shares how growing up during the Yugoslavian war shaped his desire to make hopeful cinema, and walks through the journey of “Live and Die in East LA,” a crime thriller shot with both professional actors and local residents that went on to be recognized as one of the top 10 most impactful films about Los Angeles. Attila also talks about audience stories of the film influencing real-life choices, his new action-fantasy project shot in South Korea, and why he sees AI as a powerful tool to enhance creativity rather than replace artists. Follow Adam on Instagram at ⁠https://www.instagram.com/askadamtorres/⁠ for up to date information on book releases and tour schedule. Apply to be a guest on our podcast: ⁠https://missionmatters.lpages.co/podcastguest/⁠ Visit our website: ⁠https://missionmatters.com/⁠ More FREE content from Mission Matters here: ⁠https://linktr.ee/missionmattersmedia⁠ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Directed by John McTiernan and based on the 1979 novel Nothing Lasts Forever by Roderick Thorp, Die Hard stars Bruce Willis, Alan Rickman, Alexander Godunov, and Bonnie Bedelia, with Reginald VelJohnson, William Atherton, Paul Gleason, and Hart Bochner in supporting roles. It follows a New York City police detective, John McClane (Willis), who becomes entangled in a terrorist takeover of a Los Angeles skyscraper while visiting his estranged wife during a Christmas Eve party.

Tim discusses Trump's escalating conflict with Maduro in Venezuela, how Pete Hegseth may have played a part in committing a war crime, a Sabrina Carpenter song being used in an ICE deportation video, Sydney Sweeney making an appearance on The Tonight Show, and a man who took out both his parents in a Long Island deli.  American Royalty Tour

Infrastructure Booms and Business Exoduses in the West: Colleague Jeff Bliss reports that high-speed rail construction from Los Angeles to Las Vegas is accelerating in anticipation of the 2028 Olympics, while the Boring Company expands tunnel networks; conversely, California faces corruption scandals and business flights, and Oregon sees companies like Columbia Sportswear struggle with the business climate. 1945 HOLLYWOOD WARNERS

SHOW 12-5-25 CBS EYE ON THE WORLD WITH JOHN BATCHELOR 1940 PITTSBURGH THE SHOW BEGINS IN THE DOUBTS ABOUT INFLATION. FIRST HOUR 9-915 Infrastructure Booms and Business Exoduses in the West: Colleague Jeff Bliss reports that high-speed rail construction from Los Angeles to Las Vegas is accelerating in anticipation of the 2028 Olympics, while the Boring Company expands tunnel networks; conversely, California faces corruption scandals and business flights, and Oregon sees companies like Columbia Sportswear struggle with the business climate. 915-930 Milan Prepares for Christmas and the Olympics: Colleague Lorenzo Fiori reports that Milan celebrates St. Ambrose Day with traditional markets and lights, marking the start of the holiday season, as the city prepares to host the Winter Olympics in February 2026, with cultural events including the La Scala premiere of Lady Macbeth of Mtsensk and the enjoyment of Panettone. 930-945 Supreme Court Enables Partisan Gerrymandering: Colleague Richard Epstein discusses the Supreme Court permitting Texas to redraw congressional districts for 2026, favoring Republicans, arguing that lack of oversight allows parties to entrench power, creating extreme polarization where "reds become redder and blues become bluer," making legislative compromise nearly impossible. 945-1000 Scrutiny Over Lethal Strike on Drug Boat: Colleague Richard Epstein examines Defense Secretary Hegseth facing pressure regarding a lethal strike on alleged drug traffickers in the Caribbean, with reports suggesting survivors may have been shot in the water, asserting that murdering surrendered individuals violates the laws of war, regardless of whether the targets were smugglers. SECOND HOUR 10-1015 Lancaster County Shows Consumer Fatigue: Colleague Jim McTague reports that retailers in Lancaster are using deep discounts to attract price-sensitive shoppers, noting that while weekend traffic is decent, weekdays are slow and high-end dining is struggling, with the job market tightening significantly as skilled labor demands vanish, suggesting consumers are "running out of disposable income". 1015-1030 Future Tech and Economic Shifts: Colleague Jim McTague predicts "creative destruction" where old industries fade, expressing bullishness on solar power due to data center demands and envisioning self-driving cars and useful humanoid robots revolutionizing daily life, with rate cuts expected in 2026 as consumers rebuild savings after a period of spending. C 1030-1045 Private Space Sector Challenges and Triumphs: Colleague Bob Zimmerman reports that Jared Isaacman testified that private companies, not NASA, are driving space colonization; a Russian cosmonaut was removed from a SpaceX mission for spying, while China successfully tested a reusable rocket; additionally, Boeing faces legal challenges from crash victims' families, and activists oppose Blue Origin's operations. 1045-1100 New Discoveries Challenge Cosmic Models: Colleague Bob Zimmerman reports that ground-based telescopes have directly imaged exoplanets and debris discs, the James Webb Telescope found a barred spiral galaxy in the early universe defying evolutionary models, scientists discovered organic sugars on asteroid Bennu, and admits solar cycle predictions have been consistently incorrect. THIRD HOUR 1100-1115 The Early Church Headquarters on Mount Zion: Colleague James Tabor discusses archaeology on Mount Zion revealing a first-century foundation beneath a medieval church, likely the headquarters of the early movement, describing this as the home where James led the church and Mary hosted pilgrims, with Mary possibly living long enough to witness James's martyrdom. 1115-1130 The Historical Disappearance of Mary: Colleague James Tabor explains that following the crucifixion, Mary disappears from the biblical record, likely dying before the 70 AD destruction of Jerusalem; while early Christians fled to Pella under Simon's leadership, traditions suggest Mary died on Mount Zion, with Tabor arguing she was "written out" of the story by later traditions. 1130-1145 The Talpiot Tomb and Ossuary Evidence: Colleague James Tabor discusses a tomb discovered in 1980 containing ossuaries with a unique cluster of names, including Jesus, Maria, and Jose, suggesting this could be the Jesus family tomb, supported by statistical analysis and an ossuary inscribed "James son of Joseph brother of Jesus," with new DNA testing underway. 1145-1200 Mary's Influence on Early Christian Teachings: Colleague James Tabor examines the "Q" source containing teachings shared by Matthew and Luke that parallel the words of James and John the Baptist, positing that Mary, as the mother, was the source of this shared wisdom, arguing that historians must reclaim her humanity and influence from theological erasure. FOURTH HOUR 12-1215 The Limits of AI and the Global Quantum Race: Colleague Brandon Weichert explains that current AI models are data crunchers rather than thinking entities, facing limits known as "The Bitter Lesson," while China is "nanoseconds" away from practical quantum computing aimed at decrypting military communications, with Switzerland and Singapore also pursuing sovereign quantum capabilities to ensure digital independence. 1215-1230 Lebanon's Demographic Decline and Political Stagnation: Colleague Hussain Abdul-Hussain reports that Pope Leo's visit highlighted Lebanon's diminishing Christian population, now estimated at perhaps one-quarter, with the government remaining weak and reluctant to disarm Hezbollah, fearing foreign deals that sacrifice national interests; while civil war is unlikely, the country remains dominated by an Iranian-backed militia. 1230-1245 Nuclear Ambitions in South Korea: Colleague Henry Sokolski reports that South Korea is requesting nuclear-powered submarines and enrichment rights, raising concerns about potential nuclear proliferation, with some arguing this could lead to a confederation with the North or US withdrawal, while others prefer Seoul invest in American nuclear facilities to strengthen the alliance. 1245-100 AM audi Arabia Seeks Nuclear Capabilities: Colleague Henry Sokolski explains that Saudi Arabia wants a nuclear power plant but resists signing US protocols allowing inspections; while Washington may view this as a hedge against Iran, a Saudi nuclear capability would threaten Israel's qualitative military edge, and the US has not yet granted advanced consent for enrichment.

In today's episode, I sit down with entrepreneur Noor Fateh, the chief revenue officer at FanBasis, to explore how intention and innovation can reshape an entire industry. Noor shares the story of his family's journey from Pakistan to Los Angeles and how their sacrifices fueled his drive to build something meaningful. We walk through his leap from college to tech startups, the early pivots inside FanBasis, and the speed and clarity that guide his leadership. Noor breaks down the platform's growth, the power of referrals, and the mindset that keeps him steady through rapid change.