Podcasts about moments

Ajike “A.J.” Owens was a devoted 35-year-old mother of four. She was the kind of woman who fought for her kids without hesitation. But on a June evening in Ocala, Florida, what began as one of many neighborhood disputes, turned into a national flashpoint. After an argument involving her children and the woman next door, A.J. walked to her neighbor's home seeking answers. Moments later, a single gunshot fired through a closed, windowless door ended her life. Now, with the case back in the spotlight and the coroner's findings, trial testimony, and forensic contradictions resurfacing through documentaries and public debate, unpack the explosive questions her murder continues to raise… . If you're new here, don't forget to follow the show for weekly deep dives into the darkest true crime cases! To watch the video version of this episode, head over to youtube.com/@annieelise.  .

On the 3rd Nightmare Before Christmas... On the sweltering evening of July 14, 1982, a call came into the Waco Police Department that would shatter the community's sense of safety. Two teenage boys, fishing near the shores of Lake Waco at Speegleville Park, had stumbled across a scene no one could have imagined. Beneath a tree lay a teenage boy. His hands were bound tightly behind his back, a gag shoved into his mouth, sunglasses still shielding his eyes. His chest had been punctured repeatedly. Moments later, officers discovered two more bodies scattered across the park. In that moment, Lake Waco would forever be etched in the memory of a town that had lost its innocence. Join Cam and Jen on this episode of Our True Crime Podcast, entitled "The Lake Waco Murders." Murders: Day 3:12 Nightmares Before Christmas". Thank you to our incredible team: Listener discretion by Edward October @octoberpodVHS. Executive Producer/Music by @theinkypawprint  Sources:  https://web.archive.org/web/20160304075726/http://www.lakewacomurders.com/html/Melendez%20Pleads%20Guilty.PDF https://en.wikipedia.org/wiki/1982_Lake_Waco_murders https://www.kwtx.com/2022/07/13/lake-waco-murders-40-years-later-attorneys-believe-wrongfully-convicted-man-executed/ https://www.nytimes.com/1997/07/25/opinion/the-wrong-man.html?src=pm https://www.amazon.com/Careless-Whispers-Lake-Waco-Murders/dp/0671646060 https://www.texasbar.com/AM/Template.cfm?Section=Texas_Gavel_Awards&Template=/CM/ContentDisplay.cfm&ContentID=19539 http://www.chron.com/CDA/archives/archive.mpl/1991_795370/conviction-overturned-inmate-now-seeks-a-job-deeb.html https://www.texasmonthly.com/true-crime/the-murders-at-the-lake/ http://www.chron.com/news/houston-texas/texas/article/3-decades-after-brutal-killings-last-defendant-10858867.php https://web.archive.org/web/20160304081445/http://www.lakewacomurders.com/html/indictments%20near%20teenagers%20deaths.PDF Learn more about your ad choices. Visit megaphone.fm/adchoices

Bear, Gray, and Big A make their College Bowl picks! Thanks to Wes Anderson for Moments in Time and Mind Quarantine! Check him out on X and Instagram @SongsByWes and Wes Anderson Music on Facebook. Thank you to our sponsors: All Wear Clothing, Crandall's Quality Landscaping, GrayKey Merchandising and Concert Vending Services, Sparty Steve, PaperDenimArt, and Datingtransformation.com.

What if the story you tell yourself about being “not smart enough” is just a bad fit between your brain and a test format? We open up about growing up with the quiet fear of not measuring up, the panic of multiple-choice exams, and the surprising relief that came from changing the way questions were asked. When the puzzle layer fell away, knowledge finally had room to show up—no extra genius required, just a fairer way to think and respond.From there, we explore learning differences without shame: how timing, ambiguity, and test-maker intent can derail capable minds, and how accommodations like oral exams and extended time aren't shortcuts but bridges to accuracy. Carmen shares a small, luminous practice—the toothbrushing smile—that acts like a daily reset. It sounds simple because it is: look in the mirror, smile for real, and watch your nervous system unclench. That tiny habit makes it easier to greet strangers with warmth, to start softer, and to carry less static into the day.The conversation turns on a phrase that finally landed: be not afraid. A client with power and status reflected Carmen's strengths back to her until they stuck. That mirror—of competence, kindness, and calm under pressure—reframed worth beyond grades, titles, and money. We talk about the mask of “behave as if,” why many of us wear it, and how confidence shifts from performance to alignment when we stop trying to decode other people's expectations and start honoring our own wiring.If you've ever felt small in classrooms, meetings, or social circles, this story invites you to audit your beliefs: Who taught you them? Do they serve you now? Try the smile ritual, ask for the format that lets your mind work, and practice be not afraid in small, brave steps. If this resonated, follow the show, share it with a friend who needs a kinder story about intelligence, and leave a review so more listeners can find their way here.Thank you for stopping by. Please visit our website: All About The Joy and add, like and share. You can also support us by shopping at our STORE - We'd appreciate that greatly. Also, if you want to find us anywhere on social media, please check out the link in bio page. Music By Geovane Bruno, Moments, 3481Editing by Team A-JHost, Carmen Lezeth DISCLAIMER: As always, please do your own research and understand that the opinions in this podcast and livestream are meant for entertainment purposes only. States and other areas may have different rules and regulations governing certain aspects discussed in this podcast. Nothing in our podcast or livestream is meant to be medical or legal advice. Please use common sense, and when in doubt, ask a professional for advice, assistance, help and guidance.

In this podcast episode of Previously On, fangirl Jillian and her husband Tyler break down Heated Rivalry Episode 4 “Rose." They start with the big news that Heated Rivalry has officially been renewed for Season 2 before breaking down the timeline and how Shane Hollander and Ilya Rozanov's relationship has evolved.Then they unpack the episode's heartbreaking themes and the emotional toll of Shane and Ilya having to pass as completely straight in professional hockey. They also break down that intimate evening at Ilya's house - complete with tuna melts, ginger ale, and couch cuddling - and why Shane runs out. They discuss the introduction of Rose Landry and the episode's standout music moment, which perfectly captures the ache at the heart of Shane and Ilya's story. #heatedrivalry #podcast #recap 00:00:00 Intro to podcast00:01:10 Season 2 announced and predictions00:04:52 Apologies, corrections, notes 00:07:03 Timelines and opening montage00:14:26 Top 5 Moments of Shane and Ilya Having to Pass as Completely Straight Hockey Players00:15:54 Shane with Hayden00:18:14 Svetlana asking about Jane00:19:33 Swedish princess at Wimbledon00:22:15 Ilya yelling "I need to get laid!"00:23:11 Ilya and Shane dancing at the club00:24:40 "All The Things She Said" by t.A.T.u.00:27:22 Shane and Ilya's sexual identity00:31:39 Ginger ale00:33:22 Hooking up leads to intimacy00:35:15 Shane and Ilya's relationship00:43:00 Shane meets Rose Landry00:46:03 Ending - crosscutting thinking of each other00:50:04 Tyler's Takes00:50:32 Mr. Real Estate00:51:26 Shane's commercials00:52:07 Sexting00:52:47 Season schedule calendar00:53:26 Shoes off and boring00:55:09 Hollander passing with Western last name00:55:46 Ryan Price00:56:56 What's the deal with Miles?Buy our merch: ⁠https://www.etsy.com/shop/PreviouslyOnTeenTV⁠Follow Previously On Teen TV on Instagram: ⁠⁠https://www.instagram.com/previouslyon_teentv/Follow Previously On Teen TV on TikTok: ⁠⁠https://www.tiktok.com/@previouslyon_teentv⁠⁠Subscribe to our YouTube: ⁠⁠https://www.youtube.com/channel/UCe2lgvvZGKMrQ8v24FmDdWQ?sub_confirmation=1⁠

A media ministry publication of Grace Bible Church in Elkhart, Indiana. Moments of transforming grace from the Bible.

Alles Rund um das Thema (Street) Fotografie!Willkommen zu meiner Aktuellen Podcast Folge. „Einige nennen es Streetphotography, Ich nenne es „Moments and Atmosphere“.Seit 2018 findest Du auf meinem YouTube-Kanal spannende Videos über Fotowalks, Buchvorstellungen und Fotografie Monatsrückblicke. Alles Authentisch, Kostenlos und immer mit meiner persönlichen Meinung. Einen Gesamtüberblick findest Du auch auf meiner Homepage.Wenn Du Themen oder Fragen hast, freue ich mich über eine Nachricht von Dir. Alle Links zu meinen Seiten findest Du hier:Homepage: https://www.maikkroner.com/Youtube: http://www.youtube.com/c/MaikKronerPhotographyIch würde mich sehr freuen, wenn Du meinen Podcast weiterempfehlen würdest oder auch gern die Folgen teilst.Es erhöht die Sichtbarkeit diesen Podcasts deutlich.

Another week and another Angry Planet about the horrifying systems that rule our lives.Is there a depressive theme running through the work right now? Possibly. I promise we'll soon replace it with rage.This week on the show we have Sven Beckert to talk about his new book Capitalism: A Global History. Beckert is a professor of history at Harvard and his tome is an attempt to capture the entire history of an economic system in one book. It's a doorstop, but it's also readable and clear-eyed. Some come with me on a journey that runs through the plantations of South Carolina to the tech markets of Shenzhen.Cotton as an entry point to the history of capitalismThe economic big bangIndustrial Revolution as mutation“It's still being born.”Human data is oil to be frackedThe Quaker Oats metaphor“The market is God.”Ascribing morality to economicsWhen Gary Hart ushered in Neoliberalism“Capitalism is a series of regime changes.”Moments of great change offer opportunitiesCapitalism: A Global HistoryThe Old Order Is Dead. Do Not Resuscitate.Support this show http://supporter.acast.com/warcollege. Hosted on Acast. See acast.com/privacy for more information.

America Out Loud PULSE with Dr. Clayton J. Baker – Billions in controversial defense funding move through the House as the NDAA advances toward final approval. Moments after the vote, geoengineering critic Babooshka exposes alarming initiatives tied to military technology, surveillance, foreign aid, and financial control, framing the battle as political, technological, and deeply spiritual in nature...

In this episode, Petia explores why believers sometimes don't feel God emotionally and why this does NOT mean God is distant. She shares encouragement, Scripture, and seven biblical ways we often sense God that have nothing to do with feelings.   Key Points: Feelings are not the measure of God's presence. Exhaustion and motherhood deeply affect emotional sensitivity. God's presence is constant even when our awareness is low. Silence is often God deepening spiritual maturity. Practical steps to reconnect with God gently.   7 Ways We Sense God (Even Without Feelings): A verse becomes alive. Peace that doesn't make sense. Strength you didn't have before. Desire to pray, even weakly. Gentle conviction or redirection. Moments of comfort — music, words, quiet. Perseverance that comes from the Holy Spirit.   Scriptures Included: Psalm 42:5 James 4:8   Call to Action: Share this episode with a friend. Connect with Petia on Instagram @petiakolibova   Thank you for listening — remember, silence is not separation, and God is closer than your breath.

America Out Loud PULSE with Dr. Clayton J. Baker – Billions in controversial defense funding move through the House as the NDAA advances toward final approval. Moments after the vote, geoengineering critic Babooshka exposes alarming initiatives tied to military technology, surveillance, foreign aid, and financial control, framing the battle as political, technological, and deeply spiritual in nature...

What if respect isn't something we owe to power, but something power owes to us? We start with a listener's challenge - “say one nice thing about Trump” - and follow the thread through the messy intersection of office, behavior, and accountability. Titles don't launder harm, and a single human moment can't offset a pattern of contempt. From there, we look at how policy choices reveal priorities: a proposed five‑year social media review for visa waiver travelers as North America prepares for the World Cup and the Olympics. The contradiction is stark - inviting the world to celebrate while signaling suspicion at the border - and it raises real questions about free expression, privacy, and soft power.We also zoom in on shifting political ground at home, from Miami's new Democratic mayor to a heavyweight Texas primary shaped by gerrymandering and court decisions. Then we widen back to Central America, where Honduras faces a pivotal choice between corruption and hardline order. We talk candidly about security, due process, and the risks of letting fear do the policymaking. Power without guardrails breeds hypocrisy; pardoning a convicted trafficker while pushing extrajudicial force is the definition of mixed signals.Underneath these stories runs a deeper current: empathy fatigue. A San Diego freeway closure for a suicidal man triggered more outrage over delays than concern for a life in crisis. We connect that brittleness to our unprocessed pandemic grief and the way social media rewards performative cruelty as often as it amplifies care. And because joy is part of the antidote, we end with a Hallmark curveball - yes, a firefighter, two cats, and a soft landing. Comfort isn't an escape from seriousness; it's fuel for showing up with more humanity the next day.If this resonates, share it with a friend, hit follow, and leave us a review with one takeaway you're still thinking about. Your notes shape what we explore next.Thank you for stopping by. Please visit our website: All About The Joy and add, like and share. You can also support us by shopping at our STORE - We'd appreciate that greatly. Also, if you want to find us anywhere on social media, please check out the link in bio page. Music By Geovane Bruno, Moments, 3481Editing by Team A-JHost, Carmen Lezeth DISCLAIMER: As always, please do your own research and understand that the opinions in this podcast and livestream are meant for entertainment purposes only. States and other areas may have different rules and regulations governing certain aspects discussed in this podcast. Nothing in our podcast or livestream is meant to be medical or legal advice. Please use common sense, and when in doubt, ask a professional for advice, assistance, help and guidance.

Dass Weihnachtslieder und der wiegende Rhythmus des Reggae sehr gut miteinander harmonieren, davon ist Patrice überzeugt. Der gefeierte Singer/Songwriter und Gitarrist, der im Frühjahr 2026 bereits sein zehntes Album veröffentlichen wird, hat sich dem Reggae verschrieben. Mit seinen Shows füllt er nicht nur Säle im heimischen Rheinland, sondern tourt in Europa und ist auch schon mal auf dem afrikanischen Kontinent zu Gast. Mit seiner Band, musikalischen Weggefährten aus Deutschland und Europa, lädt er am 30. Dezember dazu ein, Weihnachten einmal anders zu feiern. Aus Jamaika reisen u. a. mit Clive Hunt, Robbie Lyn, Lloyd Parks und Dwight Pinkney sogar jene legendären Rocksteady-Stars an, die dieses Genre geprägt haben. Für den Podcast der Kölner Philharmonie plaudert Patrice entspannt mit unserem Host Katie Knees über das, was ihn zu seinen Songs inspiriert, über die Magie des Moments und seine Beziehung zu Weihnachten. https://www.koelner-philharmonie.de/de/konzerte/patrice/4909

Bear, Gray, and Big A make their  NFL and NCAA picks. What else is happening in sports?  Thanks to Wes Anderson for Moments in Time and Mind Quarantine! Check him out on X and Instagram @SongsByWes and Wes Anderson Music on Facebook. Thank you to our sponsors: All Wear Clothing, Crandall's Quality Landscaping, GrayKey Merchandising and Concert Vending Services, Sparty Steve, PaperDenimArt, and Datingtransformation.com.

Hey Hustlers! In this episode, I'm diving into the jaw-dropping revelations from the Diddy documentary. We'll explore the manipulative tactics and eye-opening moments businesses use to create aspiration within us. Plus, I'm sharing some business tips to streamline your communication to make your life easier. Tap in!00:00:00 - Introduction and Pop Culture00:01:00 - Diddy Documentary Revelations00:03:00 - Business Tips of the Week00:05:00 - The Power of Moments in Business

What if the words you use every day could reshape the way you lead, think, and navigate your life? Tune in as we continue The Executive Wisdom Series with Tisha Marie Cain, JD, CHt. Tisha Marie offers thoughtful insight into how intentional language and aligned mindset shifts can transform leadership and support meaningful personal growth.Moments with Marianne airs in the Southern California area on KMET1490AM & 98.1 FM, an ABC Talk News Radio Affiliate! https://www.kmet1490am.comTisha Marie Cain, JD, CHt, is an executive counsel, c-suite breakthrough mindset coach, clinical hypnotherapist, and multiple #1 bestselling international author and artist who helps people rewire their subconscious, release emotional weight, and transform their relationship with money, power, and self-worth. She works with a wide range of clients, including Fortune 500 executives and visionary leaders, guiding them through deep mindset work, subconscious healing, and unapologetic self-liberation. Tisha Marie Cain is highly sought after for her work in elevating executive mindsets with clarity, confidence, and strategic vision to convert opportunities into measurable advantages. To schedule your private appointment visit: https://tishamariecain.com.https://www.cainslegalsupport.com/ For more show information visit: https://www.mariannepestana.com/

Moments, 22, 21, and 20 are revealed

Moments 25,24, and 23 are revealed in our annual countdown.

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

In this special edition of Inside the Rope, host David Clark brings listeners into a raw, deeply personal roundtable with three exceptional founders who have stood at one of the most defining crossroads in wealth: the liquidity event. Moments where years, sometimes decades, of sacrifice, risk, and relentless effort crystallise into life-changing capital. Featuring: Julie Mathers, founder of Flora & Fauna, who built Australia's largest ethical retail platform from scratch before selling to a public company — only to dive straight back in with a new venture. Julie brings honesty, humility and practical wisdom about identity, values, and the emotional aftershocks of selling a business. Nick Cloete, founder of Kounta, the category-leading hospitality software platform acquired by Lightspeed. Nick reflects on the entrepreneurial addiction to momentum, recalibrating risk once money becomes real, and the power of trusted relationships during the transition. Scott Nowell, co-founder of The Monkeys, one of Australia's most awarded creative agencies, later acquired by Accenture. Scott opens up about purpose, identity loss, burnout, and the complexity of navigating an earn-out while redefining who you are outside your business. Alongside them is Sean Abbott, Partner at Koda Capital and one of Australia's most respected advisers. Sean shares insights from a decade of research, five white papers, and more than 45 conversations with entrepreneurs about the unexpected challenges that follow a major exit - from managing family dynamics to recalibrating risk, rebuilding purpose, and finding the right advisers when you suddenly become a target for everyone's attention. What This Episode Covers * How founders really feel when the money lands - excitement, relief, fear, and everything in between. * Why “don't rush” may be the best advice any founder can receive. * The psychological whiplash of going from high-risk operator to conservative investor. * How wealth can splinter families…and how intentional planning prevents it. * Navigating friendship breakdowns, opportunistic requests and public deal announcements. * Why identity, not money, is often the hardest part of exiting a business. * The power of trusted advice, and why founders need a personal board of directors just as much as a corporate one. * The role of partners and families in the journey and why their support is often the invisible foundation of every successful exit. This is an unfiltered, emotional, and remarkably generous conversation. A must-listen for business owners, founders, advisers, and anyone preparing for their own event. A rare look behind the curtain of what wealth really means when it arrives all at once.

Have you ever had a friend, spouse, family member, or someone close to you let you down? Maybe they didn’t follow through on a promise or weren’t there when you needed them most. Moments like these can shake our confidence and make us wonder if we can truly trust them again. We’ve all felt that sting. But the good news is that Jesus never fails to keep His promises. Just as He fulfilled the prophecies of His birth spoken centuries before it happened, we can trust that He will continue to be faithful to His promises for us today and for tomorrow. This Sunday, we’ll be diving into Luke 1:26–38 and looking at Jesus’ birth announcement—seeing how every part of His story fits into a much bigger promise God made long before. As we consider what it means to trust Him as Immanuel, “God With Us,” we’ll discover that if He kept His promises in the past, we can confidently trust Him with our future. - Pastor Brandon Marchetti For this week's Scripture and notes: http://bible.com/events/49517148

Have you ever felt like pieces of yourself have slipped away, and the numbness or heaviness you feel is your body asking you to come back home to yourself? Tune in for an inspiring discussion with Dr. Danielle Armour as we dive into her new book Awaken Your Body Awaken Your Desire: Using Science to Heal Your Stress & Find Your Sexual Vitality.  Moments with Marianne airs in the Southern California area on KMET1490AM & 98.1 FM, an ABC Talk News Radio Affiliate!  https://www.kmet1490am.comDr. Danielle Armour is a psychotherapist, clinical sexologist, and nervous system specialist with over 15 years of experience helping women and couples restore balance, resilience, and connection. Drawing on neuroscience, somatic healing, and cognitive restructuring, she offers a compassionate, science-based approach that reframes stress and disconnection as the body's natural way of seeking safety. Through practical tools like breathwork, yoga, mindfulness, and nervous system regulation, Dr. Armour guides people in cultivating self-awareness, confidence, and a renewed sense of vitality. https://daniellearmour.comFor more show information visit: https://www.mariannepestana.com/

Bear surprises the podcast with Jeopardy! Gray, Jeremy, and Big A compete in Round 1 of Jeopardy! Thanks to Wes Anderson for Moments in Time, check  him out on Twitter @SongsByWes and Wes Anderson Music on Facebook.

This is a Grave Talks CLASSIC EPISODE! For Shiloh Beene, growing up with paranormal activity meant learning to recognize what others often overlook — the subtle whispers, the energetic shifts, and the quiet signs that something unseen is still present. That intuition led her and her team to a historic Mississippi train depot, a location surrounded by the remnants of a battlefield and steeped in centuries of emotional residue. What began as a standard investigation quickly took on a darker tone. Inside the depot, shadowy figures seemed to linger just beyond the light. Moments of unexplained movement, sudden temperature changes, and intense bursts of energy hinted at a deeper story — one tied not just to the depot itself, but to the lives lost on the battlefield surrounding it. Shiloh shares her experiences inside the historic depot, the evidence her team captured, and the profound connection between the location's past and its present hauntings. Her journey reveals that some places don't let go of their history — they relive it. This is Part Two of our conversation. #hauntedmississippi #thegravetalks #paranormalinvestigation #traindepothaunting #ghoststories #civilwarspirits #shadowfigures #historicghosts #supernaturalencounters #realparanormal #battlefieldhauntings #mississippighosts Love real ghost stories? Don't just listen—join us on YouTube and be part of the largest community of real paranormal encounters anywhere. Subscribe now and never miss a chilling new story:

This is a Grave Talks CLASSIC EPISODE! For Shiloh Beene, growing up with paranormal activity meant learning to recognize what others often overlook — the subtle whispers, the energetic shifts, and the quiet signs that something unseen is still present. That intuition led her and her team to a historic Mississippi train depot, a location surrounded by the remnants of a battlefield and steeped in centuries of emotional residue. What began as a standard investigation quickly took on a darker tone. Inside the depot, shadowy figures seemed to linger just beyond the light. Moments of unexplained movement, sudden temperature changes, and intense bursts of energy hinted at a deeper story — one tied not just to the depot itself, but to the lives lost on the battlefield surrounding it. Shiloh shares her experiences inside the historic depot, the evidence her team captured, and the profound connection between the location's past and its present hauntings. Her journey reveals that some places don't let go of their history — they relive it. #hauntedmississippi #thegravetalks #paranormalinvestigation #traindepothaunting #ghoststories #civilwarspirits #shadowfigures #historicghosts #supernaturalencounters #realparanormal #battlefieldhauntings #mississippighosts Love real ghost stories? Don't just listen—join us on YouTube and be part of the largest community of real paranormal encounters anywhere. Subscribe now and never miss a chilling new story:

Season 6 Episode 6Ace DistributingWelcome back to the podcast! In this essential episode, we peel back the curtain on one of the most critical, yet often unseen, parts of the beer industry: distribution.We are thrilled to welcome Angela Dion, a representative from South Central Pennsylvania's own Ace Distributing, onto the show!Ace Distributing's fantastic slogan is "We deliver for life's moments," and Angela gives us an insider look at exactly what that means. We dive deep into the logistics, challenges, and incredible effort it takes to get your favorite brews from the brewery to the shelves and taps across South Central PA.In this episode, you will learn about:-The day-to-day life of a leading distributor in the PA market.-How Ace Distributing lives up to its motto, Delivering for Life's Moments, every single day.-The impact of supply chain issues on your local beer selection.-What makes the beer consumer market unique in South Central Pennsylvania.-The relationship between distributors, breweries, and retailers.Whether you're a homebrewer, a craft beer enthusiast, or just curious about the supply chain, this conversation with Angela Dion is a must-listen!Check us out on Hopped Up Network Join us as we take you on our beer sampling through the local beers and let's all Be Bonded by Beer!Have a suggestion on a beer or brewery we need to highlight? Leave us a reply in the comments or email us at centralpapour@gmail.com Special Thanks to York's own, Voice the Chaos for our awesome new music: EmergeCheck out their website: Voice The Chaos, Facebook , YouTube and Spotify

In today's Q&A episode, I am answering two powerful parenting questions about teens who are anxious, withdrawn, or pushing parents away.Exploring how to support a 14-year-old who feels intense anxiety entering stores or public places, and why this “spotlight stage” is such a normal part of teen development. Listen in to hear me share how tools like the CALM Technique, predictability, rehearsal, and sensory anchors can reduce anticipatory fear and help anxious teens feel more regulated.We then look at how to communicate with a 15-year-old who shuts down or becomes easily irritated, and why teens often push away the feeling of being small rather than the parent themselves. I offer practical strategies like side-door conversations, low-pressure moments of connection, a warm neutral tone, and the 5:2 ratio to keep communication open and relationship-focused.This episode is a reassuring guide for any parent navigating anxious teens, withdrawn teens, or the normal developmental challenges of adolescence reminding you that connection and co-regulation are the bridge back to closeness.Jennifer's Takeaways:Q&A on Helping a 14-Year-Old with Anxiety (00:01)Strategies for Managing Anxiety in Public Places (04:46)Connecting with Teenagers: Side Door Conversations (09:05)Building Connection Through Proximity and Moments (15:13)Resources and Final Thoughts (18:12)Meet Jennifer KolariJennifer Kolari is the host of the “Connected Parenting” weekly podcast and the co-host of “The Mental Health Comedy” podcast. Kolari is a frequent guest on Nationwide morning shows and podcasts in the US and Canada. Her advice can also be found in many Canadian and US magazines such as; Today's Parent, Parents Magazine and Canadian Family.Kolari's powerful parenting model is based on the neurobiology of love, teaching parents how to use compassion and empathy as powerful medicine to transform challenging behavior and build children's emotional resilience and emotional shock absorbers.Jennifer's wisdom, quick wit and down to earth style help parents navigate modern-day parenting problems, offering real-life examples as well as practical and effective tools and strategies.Her highly entertaining, inspiring workshops are shared with warmth and humour, making her a crowd-pleasing speaker with schools, medical professionals, corporations and agencies throughout North America, Europe and Asia.One of the nation's leading parenting experts, Jennifer Kolari, is a highly sought- after international speaker and the founder of Connected Parenting. A child and family therapist with a busy practice based in San Diego and Toronto, Kolari is also the author of Connected Parenting: How to Raise A Great Kid (Penguin Group USA and Penguin Canada, 2009) and You're Ruining My Life! (But Not Really): Surviving the Teenage Years with Connected Parenting (Penguin Canada, 2011).

Episode Show NotesIn this heartfelt episode of Stories from Real Life, we sit down with “Miss Karen” Bates, a Utah school bus driver who has spent 14 years shaping young lives from the driver's seat.Miss Karen opens up about her childhood, her 34-year marriage, raising five children, and the meaningful path that led her to become a school bus driver. She shares stories filled with laughter, love, and the moments that still bring tears to her eyes — from unforgettable encounters with students to the silent struggles she's witnessed along the way.This conversation reveals the unseen emotional labor of a job often overlooked — and the profound ripple effect one person can have simply by showing up every day.

Summary In this conversation, Dr. Nick van der Horst, a sports physiotherapist, discusses the significant impact of hamstring and groin injuries in football, emphasizing the importance of pelvic control in injury prevention and rehabilitation. He highlights the prevalence of these injuries, the role of eccentric strength training, and the need for comprehensive screening and assessment methods. Dr. van der Horst shares insights on how to modify pelvic posture and control during rehabilitation, providing practical advice for integrating these concepts into injury prevention programs. The discussion also covers the relationship between pelvic mechanics and performance optimization, making it clear that understanding these factors is crucial for effective rehabilitation and injury prevention in sports. Guest Dr. Nick van der Horst is a sports physiotherapist and rehabilitation specialist with deep expertise in football medicine. He's currently part of the medical staff at PSV Eindhoven's first team, where he focuses on on- and off-field rehab, return-to-play strategies, and injury prevention.Nick earned his PhD at UMC Utrecht with a thesis on preventing hamstring injuries in male soccer players. Over the years, he has worked with organizations like the KNVB and Go Ahead Eagles, and he's the founder and CEO of SoccerDoc, a platform dedicated to improving football medicine through research, education, and clinical care.His work centers on maximizing football performance by reducing injury burden and creating evidence-based, player-centered rehab and prevention programs. Timestamps 00:00:00 Intro and guest bio 00:01:00 How big are hamstring and groin injury problems (incidence and time loss)? 00:04:04 Clarifying the topic: SI joint issues vs pelvic position/control 00:04:42 Why are pelvic control and positioning key for hamstring and groin pain? 00:12:44 Sponsor: PhysioTutors Premium Membership 00:15:28 Screening and assessment: Go-to markers for pelvic posture/control issues 00:19:27 Do you need motion capture or other equipment to assess pelvic control? 00:22:17 How do you differentiate pelvic-mechanics-related hamstring issues from tissue-specific or neural problems? 00:27:12 Common lumbopelvic patterns in recurrent hamstring and groin injuries 00:25:38 Sponsor: WriteUpp Practice Management 00:37:54 Groin pain: Is pelvic posture/control a cause or a consequence? 00:41:50 How modifiable is pelvic posture and control? 00:44:51 Rehab progression: Early vs late stages when focusing on pelvic control 00:48:54 Do you use basic core/lumbopelvic exercises (bird dog, dead bug, pelvic tilts)? 00:52:13 Have improvements in pelvic control reduced hamstring/groin injuries in practice? 00:54:46 Sponsor: PhysioTutors Online Courses 00:56:13 Case experience: Moments that shifted perspective on pelvic role 01:03:08 Practical advice for integrating pelvic control into prevention/rehab in football 01:05:49 Where to find Dr. Nick van der Horst 01:06:29 Outro   Bonus Material Download the referenced transcript including PubMed Links and a high-resolution infographic on this episode as part of your Physiotutors membership on the Physiotutors App. Download the Free App now   Follow our Podcast on: Spotify |  Apple Podcasts  

This week on Paranormal Activity, Yvette is joined once again by her partner in paranormal crime, the brilliant and unshakable Karl Beattie, for an episode that dives into the darker, more dangerous side of ghost hunting.Across decades of investigations, Yvette and Karl have faced some of the most intense hauntings imaginable… but there are moments that still stand out.Moments where an unseen force becomes physical.From the sudden scratch down the back, to that unmistakable shove, to nights when the air turns hostile and the energy in the room feels like it wants you out — or worse.Together, they revisit the violent encounters that left them breathless, shaken, and questioning what exactly lurks in the shadows:What makes a spirit lash out?Are these entities angry, confused, territorial… or something far darker?And why do certain locations seem to amplify aggression?Yvette and Karl share their real-life experiences: the injuries, the moments of terror, and the instances that still make them shudder today.They also explore the emotional and energetic triggers that might spark a violent haunting and what investigators can do when a spirit decides to fight back.Turn off the lights, settle in… and prepare yourself.This is the episode where the paranormal isn't just heard or seen, it hits.A Create Podcast Hosted on Acast. See acast.com/privacy for more information.

Bear, Gray, Jeremy and Big A make their  NFL and NCAA picks. What else is happening in sports?  Thanks to Wes Anderson for Moments in Time, check  him out on Twitter @SongsByWes and Wes Anderson Music on Facebook.

Something happens when a photograph refuses to behave like a photograph. When a shadow appears in a place no shadow should be — and stays there, year after year, no matter who tries to explain it away. Our first story begins with an image like that… taken at an old summer camp where the activity never really stopped when the season ended. But the picture is only the beginning. Because for this storyteller, the strange didn't end at camp. It followed them home — into a house that seemed to breathe, listen, and occasionally let its presence be known in ways no one could ignore. Voices in empty rooms. Movements in places no one was standing. Moments that felt less like hauntings and more like… interactions. And the most unsettling part? Very little ever repeated itself. As if whatever lived there didn't want to form a pattern — it wanted to be noticed. #ghoststories #hauntedhouse #realghoststoriesonline #paranormalactivity #walmartghost #threeknocks #shadowpeople #poltergeist #grandmaghost #supernatural #trueparanormal #hauntedsummer camp Love real ghost stories? Don't just listen—join us on YouTube and be part of the largest community of real paranormal encounters anywhere. Subscribe now and never miss a chilling new story:

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

MUST WATCH on Spotify, YouTube, or BoldEncounters.TV. These pros FACES and BODY LANGUAGE are nearly EVERYTHING and brilliant!Confidence grows fastest when play is allowed:“Humor reveals truth before defensiveness can rise.”“Lightness clears the room for real communication.”“Laughter gives teams a shortcut to psychological safety.”Practical creativity & cooperation expands when leaders...A live improv session to improve teamwork—four performers, two leaders, and zero scripts—turns an interview into a working demo of team trust, timing, and better communication. This is improv inserted as a management tool, seen in real time and explained with precision.Holly MandelFounder of iMergence. Groundlings alum and seasoned improv instructor. Coach to Kristen Wiig, Melissa McCarthy, & by Will Ferrell & Lisa Kudrow. Known for unlocking cooperation with playful spontaneity. See: https://www.linkedin.com/in/holly-mandel.Brian PalermoWorking actor with credits including Modern Family, Will & Grace, and The Tonight Show with Jay Leno. Veteran improv performer and communication trainer. Known for audience connection and fast-listening skill. Translates comedic flow into practical leadership behavior. See: https://www.linkedin.com/in/brian-palermo-improvtrainingforcommunicationskills/.James WilsonMed-tech sales leader and dear friend of Mark with natural storytelling presence. Steady, grounded, and sincere collaborator. Balances humor with warmth. Anchors group energy with calm comedy. See: linkedin.com/in/james-wilson-3869827.Liz CoinActor, writer, and corporate facilitator. Blends precision and play in leadership workshops. Known for adaptive thinking and warm, sharp timing. Helps teams shift from rigid to responsive communication. See: https://www.linkedin.com/in/liz-coin/.Sarah HicksImproviser and performance coach who has worked with Jeff Goldblum & in the revival of Gypsy with Patti LuPone. Expert in emotional awareness and group facilitation. Combines behavioral insight with creative technique. Brings clarity, attention, and surprising comedic instinct. See: https://www.linkedin.com/in/sarah-hicks-corporate/.Inside This EpisodeWhat happens when an improv ensemble brings its full toolkit into a leadership conversation? They demonstrate it—live, unrehearsed, and with explosive clarity. Holly Mandel returns with the iMergence team—Liz Coin, Sarah Hicks, Brian Palermo, and Mark's close friend, med-tech leader, James Wilson. Together they show humor reveals valves for tension, resets communication, and makes collaboration safer. This episode blends laughter with insight, turning improv into a masterclass on presence, timing, and trust for any leader willing to loosen the grip and lead with play.Go Deeper — Premium ActionPremium action at the end turns the group's live improvisation into a framework leaders can apply immediately. Learn how to harness lightness to clear tension, develop timing without performing, and use strategic spontaneity to unlock stronger trust. This segment breaks each improv principle into a simple behavioral pattern you can practice daily.Listen + ConnectiMergence: https://www.imergence.comMark S. Cook: BoldEncounters.TV / WindfallPartners.com.Moments to RevisitA spontaneous moment that reveals trust before words do. The exercise that exposes communication habits in under 10 seconds. Why timing and expression, not content, carry more influence. The ensemble's final insight on humor as a leadership lever.Chapters — Free Episode (6)0:00 Welcome and setup3:40 Introducing the iMergence ensemble9:15 First improv exercise and early leadership insight16:22 How play exposes communication patterns24:50 Translating improv principles to real teams32:40 Final takeaways before the premium executionFinal ThoughtWhen leaders allow play, communication opens—and people open with it. Humor isn't the opposite of professionalism; it's the catalyst for clarity, courage, and connection.

What would your family need from you if the unexpected happened tomorrow, and would they be able to find it? Tune in for an inspiring discussion with Wendy Michelle on her new book Just In Case Solutions: Essential Planner to Organize and Record All Your Important Life Details!Moments with Marianne airs in the Southern California area on KMET1490AM & 98.1 FM, an ABC Talk News Radio Affiliate! https://www.kmet1490am.comWendy Michelle is an international best-selling author and the creator of the ‘Just In Case Solutions' workbook, a practical guide that helps individuals and families organize their essential life details. With over 30 years of client service experience and a passion for empowering others, Wendy has spent more than 20 years developing her 10-step system to simplify planning for accidents, illness, or end-of-life events. Her user-friendly approach has earned global recognition, reaching #1 in multiple categories, and provides peace of mind to both users and their loved ones. Driven by empathy and meticulous attention to detail, Wendy inspires audiences to take a proactive role in preparing for life's uncertainties. Through her work, she encourages everyone to be their own life expert, offering practical solutions that begin right at home. https://justincasesolutions.comFor more show information visit: https://www.mariannepestana.com/

What if technology could actually support your spiritual growth? Tune in for an inspiring discussion with founder Sylvia Leifheit on the hot new app SPINE The Spiritual Network. Moments with Marianne airs in the Southern California area on KMET1490AM & 98.1 FM, an ABC Talk News Radio Affiliate!  https://www.kmet1490am.comSylvia Leifheit is the founder and visionary behind SPINE – The Spiritual Network, the first social media platform founded by a woman that puts the soul at the center. A former actress and media entrepreneur, Sylvia created SPINE as a global hub where seekers and holistic healers finally find each other—instantly, credibly, and without noise. In a world that prizes cars, status, and speed over mental, emotional, and spiritual health, the wisdom of healers is undervalued and too often invisible. SPINE changes that. The app makes healers visible and accessible, worldwide in 175 countries and 3 languages, giving people one place to discover guidance, book support, and grow with like-minded community. Unlike traditional social media that drains time and gives nothing back, SPINE is designed to nourish awareness. It connects you to what heals instead of pulling you away from your path. As Sylvia puts it: “No AI can be spiritual. Humanity must reclaim the inner path.”  With anxiety, depression, burnout, and chronic illness rising, SPINE offers practical access to holistic healing and restores the value of spiritual work and those who carry it. This isn't about likes or clicks. It's about health, meaning—and sometimes life or death. It is time the world hears about SPINE.  https://www.spine.app/enFor more show information visit: https://www.mariannepestana.com/

This week on the podcast, Taylor and Kelley walk through two weddings we filmed just weeks apart at the same venue, Santa Lucia Preserve. If you have ever worked a massive property with no cell service, winding roads, and multiple locations that all demand precision and calm, you will feel this one.We break down the experience of navigating first looks in the Redwoods, dealing with rain delays, swatting off bugs, trusting our team when we cannot communicate, and staying composed when timelines shift unexpectedly. You will also hear the story of how a drone ended up in a very tall oak tree. The memory card survived. The drone did not.This episode is full of practical takeaways for anyone working in the luxury market. We talk through managing complex timelines, becoming the easy choice for planners, and building strong relationships with photographers that lead to real referrals. These are the skills that elevate your career and help you stand out in rooms that matter.We also share a deeper look at LEAGUE, our private networking community for photographers, filmmakers, and planners who want real connection and real opportunity. If you know it is time to grow your circle in a more intentional way, this conversation will give you clarity on where to begin.Applications are open now https://thelevelupco.com/leagueIt is a good one, and we are excited for you to tune in.Timestamps00:00–02:00 | Introduction + Reflection on Last Week's Episode02:00–05:30 — Two Weddings at Santa Lucia Preserve + First Impressions05:30–10:40 | Navigating Logistics: No Cell Service, Routes, Team Communication10:40–15:50 — Redwoods Portraits, Buggy Ceremony Sites + Multi-Location Timelines15:50–20:45 | Rain Delays, Guest Movement, Gear Drops + Trusting Your Team20:45–27:30 — Drone Crash, Travel Costs, Pricing Education + Vendor Etiquette27:30–39:27 | Photographer Collaboration, Super 8 Moments, LEAGUE Overview + Next Week's PreviewSave your seat for Your Most Profitable Year Yet: https://thelevelupco.com/workshop The next round of The Luxury Mastermind will start in October 2025! We are thrilled to welcome you inside our signature 8 week program. Learn more + save your seat here >> https://thelevelupco.com/mastermind

Join SP3, Miss Krssi Luv, Tru Draw Josh & special guest Lyric of The Takedown on Sports Illustrated for an all-new edition of our flagship podcast Tru Heel Heat 357 discussing the latest wrestling news including: Time Stamps: 0:00 Intro 3:48 SP3, Tru Draw Josh & special guest Lyric welcome you to the show 12:40 General C2 & titles situation in AEW 22:02 AEW Full Gear 2025 recap 34:50 Miss Krssi Luv joins the pod to talk more Full Gear 41:31 AEW needs to run all PPVs in the afternoon? 50:35 Swerve Strickland's return & recent comments on chemistry w/Hangman Page 1:04:20 Andrade drama update; non-compete talk & Mercedes Mone/Hurt Syndicate booking 1:29:26 AEW Dynamite: Thanksgiving Eve ft. start of the Continental Classic 1:45:54 AEW Collision: Thanksgiving ft. PAC/Speedball & Takeshita/Roddy C2 matches 1:54:14 Continental Classic begins & spotlights AEW's too many titles issue 2:11:20 Continental Classic predictions 2:18:25 AEW Dynamite/Collision taping changes; Shockwave & ROH Final Battle updates 2:28:30 NJPW World Tag League, CMLL Viernes Espectacular & ROH TV Black Friday special 2:36:35 TIK TOK TIME - King of the Hill for 2025 Pro Wrestling PPVs & PLEs 2:52:21 WWE SmackDown ft. Traditional Survivor Series Elimination Match 3:05:13 Paul Heyman hypes WarGames & WrestleMania 42 build begins 3:12:15 Seth Rollins & Bianca Belair could be back soon 3:20:20 WWE Raw on Netflix ft. final build for WarGames & Brock Lesnar's epic slip 3:29:55 Penta injury update; AJ Lee on Stephanie McMahon podcast 3:33:35 AAA Alianzas; TNA IMPACT & WWE NXT Gold Rush Night 2 3:37:20 Best, Worst, Moments & Matches of the Week 3:43:19 WWE Survivor Series: WarGames final predictions Leave your thoughts on this podcast in the live chat and comments section. Like, share, superchat and subscribe to support! #AEW #WWE #WWESurvivorSeries #WarGames #AEWFullGear #NJPW #TNA #ROH #CMLL #AAA #njwtl #ContinentalClassic Welcome to the Tru Heel Heat Wrestling YouTube channel where we cover  the sport of professional wrestling including all WWE TV shows (Raw,  Smackdown, & NXT), AEW Dynamite/Dark, IMPACT Wrestling, NJPW, ROH,  Dark Side of the Ring and more. Our weekly podcast hosted by SP3, Top  Guy JJ & Miss Krssi Luv breaking down the weekly wrestling news and  present unfiltered, honest thoughts and opinions for wrestling fans by  wrestling fans, drops every Saturday. We also include PPV reviews,  countdowns, and exclusive interviews with wrestlers from all promotions  hosted by a wide range of personalities such as Romeo, Chris G, Ness,  StatKing, Drunk Guy JJ, J-News and more. Subscribe and enable ALL  notifications to stay posted for the latest wrestling WWE news,  highlights, commentary, updates and more.Become a member of Tru Heels Facebook community: www.facebook.com/groups/1336177103130224/Subscribe to Tru Heel Heat on YouTube: www.youtube.com/channel/UC0AmFQmsRyQYPKyRm5hDwNgFollow Tru Heels on Twitter: twitter.com/truheelheatFollow Tru Heels on Instagram: www.instagram.com/truheelheat/Music composed by JPM

Hello Boys and Girls,Today I will be talking with Author and Rider Nick Adams and he is here to talk about his new motorcycle travel book “Searching for Moments”.WebsiteAudibleAmazonYouTubeTobacco Motorwear Go get yourself some riding jeans and other products for men and women from TOBACCO MOTORWEAR and tell them the Motorcycle Men sent you. Use the coupon code "MotoMen". Scorpion Helmets  For the past 15 years, ScorpionExo® has been DEDICATED to offering high quality, innovative motorcycle helmets and technical apparel at an incredible value. So check them out at Scorpion USA and tell them the Motorcycle Men sent you. Wild-Ass Seats:  You can improve your comfort and ability to stay in the saddle longer with a cushion from wild-ass seats. So, if you are tired of those painful pressure points and fatigue, go to wild-ass.com and get your cushion today. The Motorcycle Men Support David's Dream and Believe Cancer Foundation Help us help them. David's Dream and Believe Cancer Foundation and be sure and let them know you heard about it here on the Motorcycle Men Podcast.  Gold Star Ride:  If you would like to be a part of a great cause and get some heartfelt miles in, go to goldstarride.org and learn how you can participate in the next Gold Star Ride Don't forget to get over and check out the Ted Shed Video's over on the Motorcycle Men Channel and the RIDE WITH TED Channel Get a copy of“The Road Most Traveled” on the Motorcycle Men Website and save $8 and I'll even sign it for you!! OR on Amazon. The audiobook is also available on Audible. Thanks for listening, we greatly appreciate you support. Ride Safe and remember....   .... We say stupid crap so you don't have to.Support the show

June 25th, 1983. Helena National Forest, Montana. Nyleen Marshall went missing during a family outing in the Elkhorn Mountains. Moments before she disappeared, her playmates saw a suspicious, unidentified man talking to her by the creek. HEY PEOPLE GET BONUS EPS and Beyond the ep talk at patreon.com/generationwhySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Moments after news broke that two National Guardsmen were shot near the White House, a reporter attempted to link the violence to President Trump's rhetoric. Judge Jeanine Pirro wasn't having ANY of it.▶Sign up to our Free Newsletter, so you never miss out: https://bio.site/professornez▶Support the Channel and Buy us a Coffee: https://buymeacoffee.com/professornez☑️JOIN US and Become a MEMBER of NEZNATION: https://www.youtube.com/channel/UC4vxhI2-CpDPt16TCUF0Tmw/join#BreakingNews #JudgeJeanine #Trump #DC #WhiteHouse #NationalGuard #MediaSpin

In most industries, if you've got a solid idea, a few engineers, and a working prototype, you can at least get in the game. Professional sports is not one of those industries. When Jordy Leiser co-founded Jump with Alex Rodriguez and Marc Lore, he wasn't just building software — he was trying to rebuild the entire fan experience from the ground up, in a business dominated by legacy players like Ticketmaster.  Four years later, his company is powering the digital backbone for teams like the Minnesota Timberwolves and North Carolina Courage. In this episode, Jordy explains what it actually takes to break into a closed industry, why he reverse-engineers every funding round before he raises it, and the biggest mistake he refused to repeat as a second-time founder. RUNTIME 53:07 EPISODE BREAKDOWN (1:12) Breaking into pro sports, rebuilding fan experience, and reverse-engineering fundraising. (2:03) How Stella Connect (customer service) laid the foundation for Jump (customer experience for fans). (2:58) What Jump does today: a unified fan experience + data platform for teams. (4:11) The unusual founding plan: 3-4 years of R&D, designed to launch with an NBA franchise from day one. (5:46) Why sports is nothing like building a typical SaaS startup — more like a “car company” level of complexity. (6:48)The true barrier: a near-monopoly in ticketing that stops innovation cold. (7:59) Selling into a market where fans have low expectations — and why demand is obvious but still untapped. (9:54) Early customers as classic early adopters — every team already knows the pain points intimately. (11:25) The first hypothesis they had to kill: incumbents don't want to integrate or share data. At all. (12:32) Designing for the actual fan demographic: season ticket holders skew 50+, so “cutting-edge UX” isn't always the answer. (13:25) Jordy's advice to founders: get out of the building, talk to insiders, but keep your “child's mind.” (15:06) Sports as an industry you can't “hack into” — it works more like fashion or Hollywood. (17:31) Moments when he realized he was losing stakeholders — and why being “comfortable in the uncomfortable” is essential. (18:03) Early would-be partners who backed out, the impact on morale, and what they learned from those rejections. (19:45) Jump's origin as a “dynamic seating” idea — and why they had to build the entire platform instead. (21:03) The “invisible platform” ethos: why Jump melts into the background so teams can own the fan relationship. (23:10) Why NWSL teams and NBA franchises have surprisingly similar needs — and what that taught them about productizing. (24:36) Jordy's litmus test for platform vs. point solution: how many people in the org depend on you to do their job? (27:01) Seed to Series A timeline — and how the Timberwolves sale collapsing delayed everything by a year. (28:37HaHow Jordy processed a crisis that was public, sudden, and existential. (31:13) The Long Beach pier walk: the moment he decided to pivot the GTM to a crawl-walk-run strategy. (32:49) Effectuation theory, the “bird in hand,” and how it led to NCAA → NWSL → Timberwolves as a survival sequence. (34:39) What he had to unlearn from Stella Connect: stop zooming in — zoom way out to a 10–20-year vision. (37:05) The habit he kept: talent above all else — and why his first call was to a Chief People Officer. (38:45) Minimum viable people function for early founders: fractional HR > junior recruiter. (42:58) High performance without grind culture: intensity ≠ toxicity — and why durability matters more than speed. (45:40) Hiring from big tech: what's actually transferable, and the dangers of logo-blindness. (50:55) The one answer Jordy would need from a founder-CEO before he'd join their startup. LINKS Jordy Leiser Jump Alex Rodriguez Marc Lore Jump Series A announcement Delivering Happiness: A Path to Profits, Passion, and Purpose, Tony Shieh Effectuation — UVA Darden School of Business SUBSCRIBE

He was hundreds of miles from home when his girlfriend Erin called during a blackout in her old Iowa rental house. The storm outside was deafening, but the silence inside was worse. Then came the whisper—a voice behind her that sounded exactly like his voice. Moments later, Erin saw her five-year-old daughter standing in the hallway… smiling, unblinking, and wrong. Over the phone, Mark listened helplessly as static filled the line and Erin screamed. When she finally called back, she was shaking—Ava was asleep upstairs the whole time. Whatever she'd seen wasn't her daughter. It wasn't him either. Days later, after they fled the house, Mark returned—and heard his own name whispered back at him, this time in Erin's voice. A child's toy appeared from nowhere. The air turned heavy, silent. Something in that house wasn't finished. #RealGhostStories #Doppelganger #HauntedHouse #ParanormalEncounter #VoiceFromTheDark #TrueHaunting #SupernaturalStory #StormHaunting #CreepyVoices Love real ghost stories? Don't just listen—join us on YouTube and be part of the largest community of real paranormal encounters anywhere. Subscribe now and never miss a chilling new story:

Kit, Andy, and Steve react to Episode 3 as new clues shift the fight against Vecna. In Chapter Three: The Turnbow Trap, Will gains unique insight into Vecna's next move, giving the group a rare chance to set a trap. Meanwhile, Holly explores her strange new surroundings, uncovering more about where she's been taken.00:00:00 - Introduction00:02:07 - MadLibs Word Search00:04:17 - Overall Thoughts00:13:07 - Scene by Scene Recap01:09:37 - Chocolate Puddings (Top 3 Moments)01:16:56 - Easter Eggos01:33:01 - Eleven out of 10 Performance01:35:58 - Stranger Things MadLibs Story RevealSpotify Playlist: HEREVideo Version of this Episode: YouTubeFollow Us on Social MediaStreaming Things PatreonStreaming Things InstagramStreaming Things TikTokFollow Kit LazerTikTokInstagramYouTubeFollow SteveInstagramFollow AndyInstagramVisit Our WebsiteCheck Out Our MerchSend Us Mail:Streaming Things6809 Main St. #172Cincinnati, OH 45244 Hosted on Acast. See acast.com/privacy for more information.

Kit, Andy, and Steve dive into Episode 4 as tensions in Hawkins reach a breaking point. In Chapter Four: The Sorcerer, the military tightens its hold on the town, pushing Hawkins into lockdown. Mike, Lucas, and Robin pull off a daring escape, while Eleven finally comes face-to-face with an enemy.00:00:00 - Introduction00:03:19 - MadLibs Word Search00:06:56 - Overall Thoughts00:35:07 - Scene by Scene Recap01:36:51 - Chocolate Puddings (Top 3 Moments)01:41:57 - Easter Eggos01:54:18 - Eleven out of 10 Performance01:57:51 - Stranger Things MadLibs Story RevealSpotify Playlist: HEREVideo Version of this Episode: YouTubeFollow Us on Social MediaStreaming Things PatreonStreaming Things InstagramStreaming Things TikTokFollow Kit LazerTikTokInstagramYouTubeFollow SteveInstagramFollow AndyInstagramVisit Our WebsiteCheck Out Our MerchSend Us Mail:Streaming Things6809 Main St. #172Cincinnati, OH 45244 Hosted on Acast. See acast.com/privacy for more information.

Kit, Andy, and Steve return for the long-awaited final season of Stranger Things, reacting to the brand-new premiere as it drops. In Chapter One: The Crawl, Hawkins reels in the aftermath of Vecna's attack as strange fractures spread across town, hinting that the Upside Down is pushing through. Eleven struggles with the weight of past battles and the uncertainty of her powers, while the rest of the group tries to understand the growing danger now creeping into their world.00:00:00 - Introduction00:03:08 - MadLibs Word Search00:06:50 - Overall Thoughts00:21:55 - Scene by Scene Recap01:16:49 - Chocolate Puddings (Top 3 Moments)01:24:03 - Easter Eggos01:40:52 - Eleven out of 10 Performance01:42:14 - Stranger Things MadLibs Story RevealSpotify Playlist: HEREVideo Version of this Episode: YouTubeFollow Us on Social MediaStreaming Things PatreonStreaming Things InstagramStreaming Things TikTokFollow Kit LazerTikTokInstagramYouTubeFollow SteveInstagramFollow AndyInstagramVisit Our WebsiteCheck Out Our MerchSend Us Mail:Streaming Things6809 Main St. #172Cincinnati, OH 45244 Hosted on Acast. See acast.com/privacy for more information.

In Chapter Two: The Vanishing of ..., the party is shaken when one of their own gets kidnapped.00:00:00 - Introduction00:02:43 - MadLibs Word Search00:05:27 - Overall Thoughts00:16:08 - Scene by Scene Recap00:59:16 - Chocolate Puddings (Top 3 Moments)01:05:03 - Easter Eggos01:13:30 - Eleven out of 10 Performance01:16:03 - Gift Unboxing01:20:32 - Stranger Things MadLibs Story RevealSpotify Playlist: HEREVideo Version of this Episode: YouTubeFollow Us on Social MediaStreaming Things PatreonStreaming Things InstagramStreaming Things TikTokFollow Kit LazerTikTokInstagramYouTubeFollow SteveInstagramFollow AndyInstagramVisit Our WebsiteCheck Out Our MerchSend Us Mail:Streaming Things6809 Main St. #172Cincinnati, OH 45244 Hosted on Acast. See acast.com/privacy for more information.

On a grey fall morning, a young mom and her toddler are locked out of their house, waiting for her fiancé to return with the spare key. As they wait, a strange man begins circling the neighborhood, his gaze fixed on them with unsettling intensity. Without warning, he disappears behind a thick tree. Moments later, he reappears, staring directly at them—this time, holding a gleaming machete... Follow Be. Busta on Insta: @Be.Busta To listen to the podcast on YouTube: http://bit.ly/BeScaredYT Don't forget to subscribe to the podcast for free wherever you're listening or by using this link: http://bit.ly/BeScaredPod If you want to support the show, and get all the episodes ad-free go to: https://bescared.supercast.com/ If you like the show, telling a friend about it would be amazing! You can text, email, Tweet, or send this link to a friend: http://bit.ly/BeScaredPod. If you would like to submit a story for the chance to have it narrated on this channel, please send your story to the following email: Bish.Busta@gmail.com Music: All music was taken from Myuuji's channel and Incompetech by Kevin Mcleod which can be found here: https://www.youtube.com/user/myuuji http://incompetech.com/ Learn more about your ad choices. Visit podcastchoices.com/adchoices