Podcasts about networks

Glenn goes through what he liked and what he disliked about President Trump's address to the nation last night. Glenn explains that while the economy isn't getting better under Trump, the everyday consumer perception is that it's still struggling, as they struggle to pay their bills. Glenn addresses the "Warrior Dividend" of $1,776 for military members, which should arrive in time for Christmas. DOJ's Assistant Attorney General for Civil Rights Harmeet Dhillon joins to discuss the abuse of process that occurred when Biden's DOJ raided Mar-a-Lago despite the lack of probable cause. Jason Buttrill joins Glenn and Stu to discuss the potential for war and the concerning lack of progress in the investigation of the Brown University shooting. Christian worship artist Phil Wickham joins to discuss the presence of God at Charlie Kirk's memorial service and the ongoing fight for the soul of the nation. Glenn and Stu react to a survivor of the Bondi Beach shooting in Australia, revealing her children asked to turn off the large menorah in their neighborhood due to fear.  Learn more about your ad choices. Visit megaphone.fm/adchoices

If you’re curious as to what Ethan and Holly have in store for 2026, they give you a sneak peak on today’s episode. Hint: Some of these topics might include letters like B, G, P, Q, o, S, A and I.  They also take time in this episode to answer listener questions, ranging from how... Read more »

Welcome back to another EUVC Podcast, where we explore the lessons, frameworks, and insights shaping Europe's venture ecosystem.Today, Andreas Munk Holm sits down with Matti Hautsalo, Founding Partner at Nordic Science Investments (NSI), a €60M early-stage fund dedicated to university spin-outs across the Nordics and Europe. With a team spanning tech transfer, research, founding, VC, and investment banking, NSI backs science-powered companies at pre-seed and seed, then helps recruit commercial leaders, navigate TTOs, and transfer IP cleanly so these companies can raise from broader deep-tech syndicates.

Today Eric Chou dives deep into network automation and operational simplicity with guest Hardik Ajmera, VP of Product Management at Extreme Networks. In this sponsored episode, they talk about the ‘network fabric', Extreme Platform ONE, and, of course, what's next with AI in the world of enterprise networking. Hardik also shares how customers in complex... Read more »

Today Eric Chou dives deep into network automation and operational simplicity with guest Hardik Ajmera, VP of Product Management at Extreme Networks. In this sponsored episode, they talk about the ‘network fabric', Extreme Platform ONE, and, of course, what's next with AI in the world of enterprise networking. Hardik also shares how customers in complex... Read more »

For today's essential Heretics 101 feature, Chris Yeh discusses infinite learning, staying relevant through younger generations, Blitzscaling adaptability principles, assessing founders through shared experiences, and negotiating equity by establishing fair processes before debating numbers.Support our Sponsor:Metaview is the AI platform built for recruiting. Check it out: https://www.metaview.ai/heretics* Our suite of AI agents work across your hiring process to save time, boost decision quality, and elevate the candidate experience.* Learn why team builders at 3,000+ cutting-edge companies like Brex, Deel, and Quora can't live without Metaview.* It only takes minutes to get up and running.KEEP UP WITH CHRIS, NOLAN + KELLI ON LINKEDINChris: https://www.linkedin.com/in/chrisyeh/Nolan: https://www.linkedin.com/in/nolan-church/Kelli: https://www.linkedin.com/in/kellidragovich/__LINKS:For coaching and advising inquire at https://kellidragovich.com/—TIMESTAMPS:(00:00) Introduction: Infinite Learning & Blitzscaling Adaptability(01:00) The Source of Energy, Public Speaking & Performance Background(02:00) The Power of Unlearning & Staying Relevant(04:08) Blitzscaling: Hiring for Adaptability & Resilience(07:12) Picking Companies: Thinking Like an Investor(09:08) Assessing Founders: The Travel & Summer Camp Effect(10:14) Sponsor: Metaview(11:36) Negotiating Founder Shares & Equity Splits(17:00) Compensation Philosophy & The Numbers Hack(19:13) Wrap This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit hrheretics.substack.com

John Canzano and Jon Wilner talk with retired Fox Sports Networks President Bob Thompson about the Pac-12's media deal, the College Football Playoff, and more. Subscribe to this podcast and share it. • Read John Canzano's work at www.JohnCanzano.com. • Read Jon Wilner's work at www.WilnerHotline.com via the Bay Area News Group. Follow on Twitter: www.Twitter.com/JohnCanzanoBFT www.Twitter.com/WilnerHotline

On today's episode, Vince sits down with Steven Hernandez of The North Group, a national security and intelligence expert. They discuss Venezuela's role as a hub for threat actors, the presence of sleeper cells in the U.S., and the challenges of tracking multi-state security risks. Borderland is an IRONCLAD Original Sponsors: 1stPhorm Go to⁠ ⁠https://www.1stphorm.com/borderland⁠⁠ and get free shipping on any orders over $75, free 30 days in the app for new customers, and 110% money back guarantee on all of our products. AmmoSquared Visit https://ammosquared.com/ today for a special offer and keep yourself fully stocked. With over 100,000 members and thousands of 5-star ratings, Your readiness is their mission. Aura:  Go To: https://aura.com/ironclad  to try 14 days for free Learn more about your ad choices. Visit megaphone.fm/adchoices

John Noonan, Organic Advisor, Teagasc, joined Cathal Somers on the latest podcast version of the Signpost Series to discuss ‘Beyond the Farm Gate: The Learnings from Farmer Networks in Advancing Organic Farming Innovation in Europe'. A questions and answers session took place at the end of the webinar which was facilitated by Teagasc's Elaine Leavy. To register for future webinars visit:https://www.teagasc.ie/corporate-events/sustainable-agriculture-webinars/                        For more podcasts from the Signpost Series go to: https://www.teagasc.ie/signpostpodcast/ 

In this explosive episode, Johnny sits down with Aaron Peila — a former multi-state Oxy distributor who survived five brutal years inside USP Victorville, one of the deadliest federal prisons in America. From running a massive opioid pipeline across Nevada, Utah, Idaho, Alaska, and the Pacific Northwest to navigating the violent racial politics of high-security federal lockup, Aaron pulls no punches as he breaks down his story in raw, unfiltered detail. Aaron explains how he built an oxy empire during the height of the opioid boom, how pills flowed through dirty doctors and retirement communities, and why markets like Alaska were paying exorbitant prices. He also opens up about the corruption inside the Bureau of Prisons, the influx of contraband phones after COVID, and what it really takes to survive in a place where everyone has a weapon and people get stabbed regularly. From music-industry ambitions and touring with rap artists…to DEA pressures, federal enhancements, snitches, RICO fears, and the three overdose deaths that nearly put him away for life… to trying to rebuild a life after 14 years inside a system designed to break you — this is one of the most gripping redemption-arc interviews we've ever had. If you want a real look into the American opioid era and the prison machine that chews up everyone involved, this episode is it. Go Support Aaron! Clothing Brand: https://cceapparel.creator-spring.com/ IG: https://www.instagram.com/aaronpeila/ TikTok: https://www.tiktok.com/@peilaroni This Episode Is #Sponsored By The Following: Hims! To get simple, online access to personalized, affordable care for ED, Hair Loss, Weight Loss, and more, visit https://hims.com/CONNECT Rag & Bone! Upgrade your denim game with Rag & Bone!. Get 20% off sitewide with code CONNECT at www.rag-bone.com #ragandbonepod Join The Patreon For Bonus Content! https://www.patreon.com/theconnectshow 00:00 Intro: Aaron Peila's Story 01:22 Life Lessons From Prison 02:47 Reentering Society and Social Changes 03:47 Prison During COVID: Corruption & Phones 06:06 Prison Gangs & Racial Politics 08:36 Hustling Evolution: Weed to Pills 14:42 The Rise of the Pill Game 20:30 Building a Multi-State Operation22:49 This Episode Is Sponsored By Hims 24:29 Shipping, Networks, and Profits 33:33 Money Laundering & Legal Strategy 40:33 Getting Busted: The Pistol Case 49:41 Indictments, Conspiracy, and Betrayal51:57 This Episode Is Sponsored By Rag & Bone 54:15 Federal Sentencing & Prison Transfers 01:15:41 USP Victorville: Arrival & Politics 01:27:18 Race, Cars, and Prison Politics 01:34:37 Putting in Work: Removals and Demos 01:47:00 Violence, Stabbing, and Survival Skills 01:58:12 Hustles and Addiction Inside Prison 02:08:04 Getting Released: Transfers and COVID 02:18:16 Reflection, Growth, and Forgiveness 02:31:18 Life After Release & New Beginnings Learn more about your ad choices. Visit podcastchoices.com/adchoices

It was November 22, 1963, when the President of the United States, John F. Kennedy was assassinated. Traumatized by the event, many people never questioned the incident. Since then we have been analyzing the shooting, questioning the official story and blaming the CIA for orchestrating the assassination. But is there enough evidence?Who had motive? Who may have been involved? Was the arrested shooter the lone gunman? These questions have been surfacing ever since, leading the CIA to coin the term "conspiracy theory".

Is the ideal IT employee just leaving college or a veteran with years of experience? Russ White joins Ethan Banks and Drew Conry-Murray to discuss the complexities of this question. Younger professionals just out of college are more willing to work longer hours or unpopular shifts, learn new tools and skills, and take risks. Older... Read more »

Is the ideal IT employee just leaving college or a veteran with years of experience? Russ White joins Ethan Banks and Drew Conry-Murray to discuss the complexities of this question. Younger professionals just out of college are more willing to work longer hours or unpopular shifts, learn new tools and skills, and take risks. Older... Read more »

Is the ideal IT employee just leaving college or a veteran with years of experience? Russ White joins Ethan Banks and Drew Conry-Murray to discuss the complexities of this question. Younger professionals just out of college are more willing to work longer hours or unpopular shifts, learn new tools and skills, and take risks. Older... Read more »

On this episode of the Inside the FBI Podcast, we'll break down the threat posed by violent online networks, tell you how to recognize the signs that a you or a loved one may be one of their targets, and teach you how to report this crime to the proper authorities. For a full transcript and additional resources, visit fbi.gov/podcasts. And if you're the victim of a federal crime, the FBI's Victim Services Division also offers a wealth of supportive resources. You can visit fbi.gov/victims to learn more.

Let’s hear from the next generation of network engineers. Eric Chou sits down with Sem Eyob and Damon Hoody, two early-career network engineers, to talk about how they got into the profession and where they hope to go. They share their views on AI and its effect on their generation, their struggles finding entry level... Read more »

Let’s hear from the next generation of network engineers. Eric Chou sits down with Sem Eyob and Damon Hoody, two early-career network engineers, to talk about how they got into the profession and where they hope to go. They share their views on AI and its effect on their generation, their struggles finding entry level... Read more »

AI is accelerating at a rate faster than at any point in recruitment history. New tools are emerging monthly. Employers are experimenting without clear guardrails. And agency owners are left wondering which developments will matter - and which are just noise. In this episode, I sit down with Matt Alder, talent acquisition futurist and host of Recruiting Future, to cut through the hype and focus on the realities of AI in recruitment today. With more than 25 years tracking technology's impact on talent acquisition, Matt brings a long-term perspective few others can match. We explore the shift from experimentation to adoption, including real examples of employers using AI to conduct live voice interviews with candidates. Matt breaks down where AI is already delivering value, where it's still falling short, and why trust has become the most important currency in recruitment. He explains the three human skills that will keep recruiters indispensable - networks, relationships, and influence - and why agencies who double down on these strengths will rise above the noise. We also discuss the two competing futures unfolding right now: Recruiting Utopia vs Recruiting Dystopia. Matt closes with a prediction about agentic AI - a future where candidate agents and employer agents negotiate autonomously. It sounds futuristic, but Matt believes it's entirely feasible and may reshape the industry faster than people expect. If you're a recruitment leader looking to stay ahead of technological change, this episode offers clarity, direction, and a practical roadmap for the years ahead. TAKEAWAYS - Why the pace of AI innovation is unlike anything the recruitment industry has seen - How employers are already using AI to conduct voice interviews - Why trust is eroding - and how recruiters can rebuild it - The three human skills that keep recruiters relevant - Why outreach automation isn't effective yet - How candidate-facing AI may disrupt faster than employer tech - The two competing futures: Recruiting Utopia vs Dystopia - What agentic AI could mean for hiring and recruiter influence TIMESTAMPS 4:23 Matt's background and the evolution of TA tech 7:19 What HR/IT convergence reveals about the future 10:29 AI hype vs practical reality 14:18 Where AI is already improving recruitment processes 21:14 Why AI interviews may enhance candidate experience 26:24 Categories of AI tools shaping workflows 32:45 Why automation isn't fixing outreach 40:20 Networks, relationships, influence - the future skillset 47:02 The erosion of trust and how recruiters can differentiate 52:16 Recruiting Utopia vs Recruiting Dystopia 55:04 The agentic AI future 57:48 What agency owners must pay attention to now GUEST BIO Matt Alder is a talent acquisition futurist, international speaker, author, and host of Recruiting Future, the number one podcast in the recruitment industry. Over the past 11 years, he has interviewed hundreds of leaders and innovators across the global TA landscape. Matt advises employers on innovation and technology strategy and has been studying recruitment technology since the late 1990s. GUEST LINKS LinkedIn: https://www.linkedin.com/in/mattalder/ Recruiting Future Podcast: http://www.recruitingfuture.com CONNECT WITH MARK WHITBY FREE Strategy Call: https://recruitmentcoach.com/strategy-session/ LinkedIn: https://www.linkedin.com/in/mwhitby/ Instagram: https://www.instagram.com/recruitmentcoach/ Subscribe to The Resilient Recruiter: https://plinkhq.com/i/1489513354

Micah and Nick are back with a fiery episode of JML ACC!- Virginia losses the ACC Championship to Duke- Duke played the perfect game- Miami in the CFP- Notre Dame blaming the ACC for being left out of the CFP- The real culprit is the Networks and Alabama- Let Notre Dame leave?

The Joint Open Infrastructure for Networks Research (JOINER), a UK-wide experimentation platform created to accelerate future communications and networks research, exploitation and adoption, has announced that its first international connection is live at Trinity College Dublin, opening up new potential for collaboration and innovation. JOINER brings together the cutting-edge capabilities of 15+ world-leading universities and labs in one ecosystem to provide the real-life conditions needed for world-leading research, conducted at a scale beyond what is possible in a single lab. It accelerates the process of validation and co-creation of 6G technologies and applications, coordinating and federating new future networks testbed initiatives for research, innovation and adoption trials. As such, it serves to close the gap between the lab and the market, exploiting research, testing at scale in real-world conditions, working with end users and advancing commercialisation. JOINER is led by the University of Bristol, alongside three core partners who represent each of the Future Telecoms Hubs - CHEDDAR, HASC, and TITAN - supported by the UKRI Engineering and Physical Sciences Research Council (EPSRC). In partnership, JOINER connects research labs that each bring their own unique specialisations and capabilities. By creating a network of "nodes" that draws together research leaders and test networks internationally, JOINER is facilitating unprecedented collaboration, and access to expertise, at scale. Hosted by researchers at Trinity, Ireland is now home to the first international node in JOINER, located in the Open Ireland testbed, which was launched by the CONNECT Centre and has been headquartered at Trinity since 2020. CONNECT brings together 12 different universities and telecoms research institutes from across Ireland and includes around 200 researchers. The new partnership with JOINER means that this scale - and the potential for innovation - grows significantly. Professor Dan Kilper, Director of the CONNECT Centre, said: "What becomes immediately clear when you start working with organisations in other countries is that even the most similar research areas can foster markedly different approaches. Whether in policy, desired outcomes, funding directions or even culture, these differences, and the grey space between them, provide an invaluable learning opportunity." "With JOINER, this will undoubtedly inform new approaches and innovation - and far more readily than they might otherwise arise. This, then, is about more than just connecting and comparing technical capabilities and research focuses: the platform actively fosters a collaboration of perspectives. Social, cultural experiences develop alongside scientific, technical interactions." Professor Dimitra Simeonidou, Director, JOINER and Smart Internet Labs, University of Bristol, added: "In the two years since this venture began, incubated through the EPSRC future telecoms hubs, we've stacked up a growing pile of milestones. At first, scaling across the UK felt ambitious. We soon realised that our foundation was strong enough to extend JOINER's reach even further. With the addition of a new node in Ireland, based at Trinity College Dublin, our footprint has gone international. Later this year, we'll expand to new continents, with demonstrations planned through JOINER with Taiwan's Industrial Technology Research Institute." Dr Derek Craig, Deputy Director, Future Communications & Quantum Technologies, EPSRC commented: "JOINER's first international expansion demonstrates its potential to revolutionise the way we do research, by fusing technological innovation with collaboration across academia, business and other perspectives. This approach will also help us to bring the benefits of research out of the lab and into society and the economy, by helping innovative companies to deliver new technology that could benefit us all." See more stories here. More about Irish Tech News Ir...

ABC, CBS and NBC choose to spend very little airtime on the outrageous Somalian theft of Covid funds meant to feed the hungry, help the infirm and house the homeless. But Jake Tapper does decide to fact check President Trump's claims that he solved 8 wars in 8 months. The media fail to update their coverage about the climate emergency study that was just pulled for being ridiculous. An Idaho bar owner finds standing up to liberals can be a nasty business. 

In this Technology Reseller News podcast, Publisher Doug Green speaks with Roel Cortez, Senior Director, Sales–Telecom at C&D Technologies, about how AI-driven network growth is transforming power and energy storage requirements across telecom infrastructure. C&D Technologies—whose batteries and power systems are embedded throughout U.S. carrier networks—supports everything from large switching facilities to distributed inline amplifier (ILA) sites. Cortez describes 2026 through two lenses: physical infrastructure and intelligence. He highlights continued investment in 5G SA and Advanced, aggressive fiber expansion to support data center connectivity, fast-growing fixed wireless, and emerging space-based connectivity. At the intelligence layer, operators are integrating AI to optimize and automate network operations. “Telecom operators are the backbone of digital society, but AI is changing the scale and speed they need to support,” Cortez notes. AI's workload demands are also reshaping optical transport and power engineering. Hyperscalers require extremely high capacity and low latency between data centers, pushing new collaboration with telecom operators—and new pressure on ILA designs. Traditional sites built for a few kilowatts per rack must now support configurations exceeding 100 kW per rack, along with new cooling strategies such as liquid cooling. Cortez points out the tension between hyperscalers' “speed-to-market mindset” and operators' traditional deployment pace, alongside challenges involving brownfield upgrades, greenfield design, and supply chain constraints. As networks virtualize, Cortez emphasizes that intelligent energy storage is the next frontier for resilience. Three components of DC power plants—controllers, rectifiers, and distribution—are already smart and remotely managed. The remaining piece, batteries, is now evolving to match. “Everything in the network is becoming intelligent, and energy storage can't be the exception anymore,” he says. With operators demanding richer telemetry and automated response capabilities, Cortez sees intelligent storage as essential to building flexible, self-aware, AI-ready telecom networks. Learn more at https://www.cdtechno.com/. Software Mind Telco Days 2025: On-demand online conference Engaging Customers, Harnessing Data

AI is reshaping the world of networking and security—and Cisco Champions are diving in. In this episode, our experts explore how artificial intelligence is transforming network management, efficiency, and security operations. From SD-WAN optimization and bandwidth considerations to digital twins and secure routers, the conversation unpacks the real-world opportunities and challenges of integrating AI into modern networks. Plus, we tackle the balance between automation and the ongoing need to develop engineering skills in the AI era. Resources Visit our webpage to learn more about our SD-WAN and Security solutions: https://www.cisco.com/site/us/en/solutions/networking/sdwan/index.html Cisco guest VP of Product Management, Cisco SD-WAN Champion guests Gert-Jan de Boer, Networking Archeologist, aaZoo Network Solutions Donald Robb, Principal Network Architect, Walt Disney Company Marco Krauss, IT Senior Consultant Network Automation, Computacenta Dan Kelcher, Sr. Network Engineer, Hollstadt Consulting

Pavlos Panagopoulos of Cetera Advisor Networks Stock Market Report for December 9th, 2025 on News Radio KKOBSee omnystudio.com/listener for privacy information.

Andy Lapteff once considered himself a ‘CLI lifer.’ As a network engineer he wasn’t interested in Python. He didn’t want to learn to code. He had no desire to embrace any of the developer-like processes and tools creeping into the profession, particularly around network automation. That’s changed. On today’s Heavy Networking, Andy shares the professional,... Read more »

Andy Lapteff once considered himself a ‘CLI lifer.’ As a network engineer he wasn’t interested in Python. He didn’t want to learn to code. He had no desire to embrace any of the developer-like processes and tools creeping into the profession, particularly around network automation. That’s changed. On today’s Heavy Networking, Andy shares the professional,... Read more »

Andy Lapteff once considered himself a ‘CLI lifer.’ As a network engineer he wasn’t interested in Python. He didn’t want to learn to code. He had no desire to embrace any of the developer-like processes and tools creeping into the profession, particularly around network automation. That’s changed. On today’s Heavy Networking, Andy shares the professional,... Read more »

Ted Merz is a veteran media and product leader with 30+ years shaping financial journalism, rising from Bloomberg's 15th newsroom hire to Managing Editor for the Americas and leading product innovation with AI-driven analytics before co-founding Principles Media and Pricing Culture.Episode Sponsor: Fiscal AI is a modern data terminal that gives investors instant access to twenty years of financials, earnings transcripts, and extensive segment and KPI data—use my link for a two-week free trial plus 15% off: https://fiscal.ai/talkingbillions/Find me on Substack!3:00 - Ted discusses New York's unique advantage: unlike cities dominated by single industries (SF/tech, DC/politics, LA/entertainment), New York offers everything—tech, finance, media, advertising—creating endless opportunities to learn from the best across multiple domains.8:00 - The Bloomberg origin story: When Ted joined as the 15th hire in 1990, nobody knew it would become dominant. People questioned whether a data company had the right to produce news. Bloomberg fought for White House credentials, viewed as illegitimate by established media.15:00 - Bloomberg's founding insight: Mike Bloomberg created the first B2B SaaS company before the term existed, building a real-time financial information platform that fundamentally changed how markets consumed data.25:00 - Career transition wisdom: Your network changes dramatically when you leave big institutions. Ted learned to broaden his approach—meeting people not for immediate transactions but for perspective, serendipity, and unexpected connections.35:00 - The evolution of media: Ted emphasizes the importance of "learning in public"—creating content that reaches beyond immediate circles. Even 1,000 views represents an audience unimaginable in the 1980s.55:00 - On building networks: Don't only meet people who can hire you. Meet broadly for perspective on what you should do, how to do it, and who else is playing the game. Matt Ziegler exemplifies the "one plus one equals a thousand" connector.1:04:00 - Redefining success: Ted's perspective evolved dramatically from Bloomberg days when titles and team size mattered. Now success means doing passionate work—writing, communicating, shaping words—while making a living and meeting great people.1:06:00 - The Friday night test: Bogumil shares his realization—spending Friday evening researching a company out of pure curiosity, not obligation. When you love the process itself, you've found something meaningful.Podcast Program – Disclosure StatementBlue Infinitas Capital, LLC is a registered investment adviser and the opinions expressed by the Firm's employees and podcast guests on this show are their own and do not reflect the opinions of Blue Infinitas Capital, LLC. All statements and opinions expressed are based upon information considered reliable although it should not be relied upon as such. Any statements or opinions are subject to change without notice.Information presented is for educational purposes only and does not intend to make an offer or solicitation for the sale or purchase of any specific securities, investments, or investment strategies. Investments involve risk and unless otherwise stated, are not guaranteed.Information expressed does not take into account your specific situation or objectives, and is not intended as recommendations appropriate for any individual. Listeners are encouraged to seek advice from a qualified tax, legal, or investment adviser to determine whether any information presented may be suitable for their specific situation. Past performance is not indicative of future performance.

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

Have you ever wondered how much Karl Stefanovic knows about the Sydney 2000 Olympics or if Leigh Sales could hold her own in pub trivia on The Simpsons? Gold Logie winner Tom Gleeson is hosting a special edition of Hard Quiz, pitting television royalty against each other in a battle for the Big Brass Mug. ABC’s Leigh Sales, Seven’s Larry Emdur, 10’s Angela Bishop and Nine’s Karl Stefanovic will face off in "Battle of the Networks" on Wednesday 17th December on ABC and streaming on ABC iview. The Quicky's Taylah Strano sat down with host and comedian Tom Gleeson for all the intel on the TV takedown of the year. And in headlines today, Storms and damaging winds will keep fire danger high across parts of Australia with 16 homes lost in NSW & 19 in Tasmania; The social media ban for Australians under 16 will kick in on Wednesday with the PM calling it a success while also admitting it won’t be perfect; Thomas Markle says he doesn't want to die estranged from his daughter, the Duchess of Sussex, after reports he had his leg amputated following surgery in the Philippines; Australian Margot Robbie understands the backlash to her and fellow Aussie Jacob Elordi's casting in Emerald Fennell's Wuthering Heights; The Wallaroos beat New Zealand to take out the title at the Cape Town 7s in South Africa; Aussie marathon runner Jessica Stenson finished 5th at a race in Spain, breaking the Australian record THE END BITS Support independent women's media Check out The Quicky Instagram here GET IN TOUCHShare your story, feedback, or dilemma! Send us a voice note or email us at thequicky@mamamia.com.au CREDITS Hosts: Taylah Strano & Claire Murphy Guests: Comedian Tom Gleeson Audio Producer: Lu Hill Become a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

At our Bankless Summit in Buenos Aires, four standout talks captured the frontier of crypto's next chapter. Lincoln Murr lays out why x402 is emerging as the missing payment layer for the agentic internet. Shay Ketsdever explains how bots already run modern markets, and how programmable auctions and privacy can turn the bot economy into something that benefits people instead of exploits them. Michael Dong shows how real-time ZK proving unlocks a hundred-fold expansion of Ethereum's computational power. And Luca Prosperi reframes money as a network, warning that today's stablecoin architecture is a single point of failure and arguing for a more resilient, distributed monetary system. ------

Neurons need particular sodium and potassium concentration gradients across their membranes to function. These gradients are set up by so-called ion pumps which require energy stored in ATP molecules to run. ATP is the common energy currency in the brain and is produced from nutrients delivered by the blood by a complicated set of chemical reactions known as a metabolic network. Today's guest has just published a comprehensive model of such a network and explains how it can shed light on differences between young and brains.

Chinese threat actors deploy Brickstorm malware. The critical React2Shell vulnerability is under active exploitation. Cloudflare's emergency patch triggered a brief global outage. Phishing kits pivot to fake e-commerce sites. The European Commission fines X(Twitter) €120 million for violating the Digital Services Act. Predator spyware has a new bag of tricks. A Russian physicist gets 21 years in prison for cybercrimes. Twin brothers are arrested for allegedly stealing and destroying government data. Our guest is Blair Canavan, Director of Alliances - PKI & PQC Portfolio from Thales, discussing post quantum cryptography. Smart toilet encryption claims don't hold water.  Remember to leave us a 5-star rating and review in your favorite podcast app. Miss an episode? Sign-up for our daily intelligence roundup, Daily Briefing, and you'll never miss a beat. And be sure to follow CyberWire Daily on LinkedIn. CyberWire Guest Today on our Industry Voices segment, we are joined by Blair Canavan, Director of Alliances - PKI & PQC Portfolio from Thales, discussing post quantum cryptography (PQC). Listen to Blair's full conversation here. Selected Reading Chinese hackers used Brickworm malware to breach critical US infrastructure (TechRadar) React2Shell critical flaw actively exploited in China-linked attacks (BleepingComputer) Cloudflare blames today's outage on emergency React2Shell patch (Bleeping Computer) SMS Phishers Pivot to Points, Taxes, Fake Retailers (Krebs on Security) Threat Spotlight: Introducing GhostFrame, a new super stealthy phishing kit (Barracuda) EU issues €120 million fine to Elon Musk's X under rules to tackle disinformation  (The Record) Predator spyware uses new infection vector for zero-click attacks (Bleeping Computer) Russian scientist sentenced to 21 years on treason, cyber sabotage charges (The Record) Twins with hacking history charged in insider data breach affecting multiple federal agencies (Cyberscoop) ‘End-to-end encrypted' smart toilet camera is not actually end-to-end encrypted (TechCrunch)- kicker Share your feedback. What do you think about CyberWire Daily? Please take a few minutes to share your thoughts with us by completing our brief listener survey. Thank you for helping us continue to improve our show. Want to hear your company in the show? N2K CyberWire helps you reach the industry's most influential leaders and operators, while building visibility, authority, and connectivity across the cybersecurity community. Learn more at sponsor.thecyberwire.com. The CyberWire is a production of N2K Networks, your source for strategic workforce intelligence. © N2K Networks, Inc. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nation-State Attack or Compromised Government? [Guest Diary] An IP address associated with the Indonesian Government attacked one of our interns' honeypots. https://isc.sans.edu/diary/Nation-State%20Attack%20or%20Compromised%20Government%3F%20%5BGuest%20Diary%5D/32536 React Update Working exploits for the React vulnerability patched yesterday are not widely available Array Networks Array AG Vulnerablity A recently patched vulnerability in Array Networks Array AG VPN gateways is actively exploited. https://www.jpcert.or.jp/at/2025/at250024.html

Will it be possible to have fully autonomous networks in the near future? Anil Varanasi, CEO and Co-Founder of Meter, joins Scott Robohn in this sponsored episode to discuss the ongoing evolution from automated to autonomous networks. Anil breaks down how Meter differentiates from other networking vendors, discusses how Meter’s network products are vertically integrated... Read more »

Journalist Ahmed Kaballo joins Mnar Adley to break down Sudan's civil war, UAE's gold operations, U.S. narratives on Nigeria, and the rise of anti-imperialist forces across Africa. From RSF atrocities and foreign interference to Burkina Faso's revolutionary model, this episode exposes the geopolitical struggle shaping the continent's future.Mnar Adley is an award-winning journalist and editor and is the founder and director of MintPress News. She is also president and director of the non-profit media organization Behind the Headlines. Adley also co-hosts the MintCast podcast and is a producer and host of the video series Behind The Headlines. Contact Mnar at mnar@mintpressnews.com or follow her on Twitter at @mnarmuh. 

Will it be possible to have fully autonomous networks in the near future? Anil Varanasi, CEO and Co-Founder of Meter, joins Scott Robohn in this sponsored episode to discuss the ongoing evolution from automated to autonomous networks. Anil breaks down how Meter differentiates from other networking vendors, discusses how Meter’s network products are vertically integrated... Read more »

Neuronal activity induced by the psychedelic drug strengthens inputs from sensory brain areas and weakens cortico-cortical recurrent loops.

A $50,000 cartel bounty on a U.S. border sector chief. Cartel networks stretching from Shanghai → Venezuela → Mexico → El Salvador → U.S. cities. Assassination orders. Attempted executions of ICE agents. Political silence. Media blackout. In this explosive episode, Tara exposes the transnational criminal pipeline, the cartel-deep state alliance, and what Trump is really confronting in Venezuela. We break down:

In Part 1 of Redundancy vs. High Availability, we said that sometimes high availability and redundancy are considered to be the same thing, but we disagree. Holly and Ethan do agree that high availability can be considered a network design goal, and that redundancy is just one technique that can be used to help make... Read more »

In this episode, Yvette Bohanan welcomes back Ran 'Goldi' Goldstein, Senior VP of Payments and Networks at Fireblocks, to provide his perspective on the evolution of the digital currency space. Tune in as they break down a stablecoin transaction, discuss the current state and adoption of blockchain technology, and review various use cases for stablecoins. They define terms like TradFi, Defi, and smart contracts, and explore the impact of tokenized deposits and AI on the digital currency landscape.

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Fungi are veteran survivors of ecological disruption, and they demonstrate a radically different approach to crisis and decision-making than we do. While we tend to work with binaries and control when navigating uncertainty, mycelium works from a place of relationality. In this conversation, acclaimed mycologist and author Merlin Sheldrake explores what we can learn from mycelial networks about building flexible ecological, social, or structural systems that are rooted in mutuality and exchange. Tracing the ways we can embrace a mycelial way of thinking, he invites us to dwell within the “substrate of mystery” embodied by fungi: a liminal space where new ways of being can emerge. Read the transcript. Photo by Tomas Munita. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this Technology Reseller News podcast, Publisher Doug Green speaks with Christian Stredicke, President & CEO of Vodia Networks, about how hotel communications are evolving and why guest room telephony still matters in 2026. Stredicke explains that while many hotels question whether they still need a phone in every room, the answer is often yes—especially when there is on-property staff and services to deliver. From in-room dining and housekeeping to bell service and deliveries, a simple, dedicated room phone with clear speed dials (“Front Desk,” “Room Service,” etc.) remains the fastest, most intuitive way for guests to get what they need. “There's zero training necessary,” he notes. “You just push a button and it works.” Vodia supports both legacy analog phones and modern IP/VoIP hospitality devices, allowing properties to extend the life of existing cabling or upgrade to CAT5/6 and new hotel-specific endpoints. Stredicke sees AI playing a growing role, particularly for “call center–style” functions such as internal operator services, simple requests, and multilingual support. AI can, for example, help connect calls between rooms or handle basic inquiries in the guest's native language. However, he stresses that high-touch revenue activities like in-room dining still benefit from human interaction, especially when guests want recommendations or customization. Compliance and safety are also central. A room phone carries an implied promise that guests can reliably reach emergency services (911) and that staff can quickly see which room placed the call to coordinate with first responders and provide immediate on-site assistance. Stredicke argues that modern PBXs—whether on-premises for resiliency or cloud-based for easier maintenance—are critical to delivering this, and that cutting corners on telephony is usually a false economy. With many hotels still running 20–30-year-old systems, he suggests that upcoming renovation cycles are the ideal time to move to a modern, hospitality-aware phone system that can support AI workflows, better guest experience, and tighter operational efficiency. Vodia's website: https://web.vodia.com/

New York Times reporter Kenneth Vogel talked about the secret world of foreign lobbying in Washington, D.C., and the Americans involved in it, including Rudy Giuliani and Hunter Biden. This event was hosted by the Commonwealth Club World Affairs of California Learn more about your ad choices. Visit megaphone.fm/adchoices

New York Times reporter Kenneth Vogel talked about the secret world of foreign lobbying in Washington, D.C., and the Americans involved in it, including Rudy Giuliani and Hunter Biden. This event was hosted by the Commonwealth Club World Affairs of California Learn more about your ad choices. Visit megaphone.fm/adchoices

In this exclusive interview with FBI Director Kash Patel, we dive into the agency's crackdown on crime and foreign espionage, his trip to China, the “burn bags,” and recent criticisms.What exactly is the “764 network,” and how is the FBI working to target these actors? Why did President Donald Trump label Antifa a domestic terror organization, and how does this alter the playing field?Does the FBI director's recent visit to China signify a pivot in the agency's priorities? Given Beijing's record of broken promises, can we really expect the regime to honor its side of the fentanyl deal?The criminal case against former FBI Director James Comey was dismissed—what's next? What are the FBI “burn bags,” and what was really discovered in those Trump investigation documents?Patel also reacts to recent headlines and controversies regarding his use of an FBI aircraft, the security detail for his partner, Alexis Wilkins, and rumors that Trump planned to replace him as FBI director.Views expressed in this video are opinions of the host and the guest, and do not necessarily reflect the views of The Epoch Times.

Can you help me make more podcasts? Consider supporting me on Patreon as the service is 100% funded by you: https://EVne.ws/patreon You can read all the latest news on the blog here: https://EVne.ws/blog Subscribe for free and listen to the podcast on audio platforms: ➤ Apple: https://EVne.ws/apple ➤ YouTube Music: https://EVne.ws/youtubemusic ➤ Spotify: https://EVne.ws/spotify ➤ TuneIn: https://EVne.ws/tunein ➤ iHeart: https://EVne.ws/iheart GENESIS GV90 LEAKED AS ULTRA-LUXE EV FLAGSHIP https://evne.ws/3M87q59 CUPRA RAVAL AIMS FOR EUROPE'S BUDGET EV DRIVERS https://evne.ws/4otQpzQ NACS CHARGING SURGES AS NON-TESLA NETWORKS SCALE UP https://evne.ws/3XXaqnr HYUNDAI SURGES PAST VOLKSWAGEN IN GLOBAL PROFITS https://evne.ws/4pcja5g TESLA LAUNCHES FSD DEMO DRIVES IN EUROPE https://evne.ws/4rogrqV OMODA & JAECOO OFFER UPFRONT REBATE ON FUTURE UK EV TAX https://evne.ws/48oolb3 EU STEPS UP EV BATTERY FACTORY BUILD-OUT https://evne.ws/4pCw7oB MCKINSEY SEES €5 TRILLION CLEAN‑TECH INVESTMENT WAVE BY 2035 https://evne.ws/489dIdd E.ON WINS €70 MILLION EU GRANT FOR MEGAWATT TRUCK CHARGING https://evne.ws/44wt5tX CYPRUS OFFERS NEW EV GRANTS OF UP TO €9,000 https://evne.ws/4an47kv MERCEDES DIESEL RECALL OVERTURNED IN GERMANY https://evne.ws/3Kyblrn GM EV1 RESTORATION PROJECT REWRITES EV HISTORY https://evne.ws/4pxZdWa

Why good communication is the key to good communities.Community and communication go hand-in-hand. For Sandy Pentland, the culture and cohesion of any group “has to do with the stories [people] tell each other.”Pentland is a professor at MIT, where he helped create and direct the MIT Media Lab. As a pioneer in computational social science, he's using data to map social networks and decode communication. In his latest book, Shared Wisdom: Cultural Evolution in the Age of AI, he explores the interplay between human culture, technological development, and societal change — arguing that communication is the tool that enables groups to achieve these advancements and to cohere throughout them. “Stories are the stuff of culture,” he says. “Sharing stories educates the community… defining the worldview and culture of that group.”In this episode of Think Fast, Talk Smart, Pentland and host Matt Abrahams explore what our communication patterns reveal about group dynamics and organizational health. From the “honest signals” in our interactions to strategies for strengthening remote work connections, Pentland shares how better communication can fuel more connected communities.Episode Reference Links:Sandy PentlandSandy's Book: Shared WisdomEp.137 When Words Aren't Enough: How to Excel at Nonverbal Communication Ep.65 Ties That Bind: Why Remote and Hybrid Teams Need the Right Connection Connect:Premium Signup >>>> Think Fast Talk Smart PremiumEmail Questions & Feedback >>> hello@fastersmarter.ioEpisode Transcripts >>> Think Fast Talk Smart WebsiteNewsletter Signup + English Language Learning >>> FasterSmarter.ioThink Fast Talk Smart >>> LinkedIn, Instagram, YouTubeMatt Abrahams >>> LinkedInChapters:(00:00) - Introduction (02:19) - Honest Signals & Human Behavior (04:12) - The Sociometric Badge Research (05:42) - Human Connection in Remote Work (06:59) - Organizations as Networks (09:31) - How Ideas Spread in Groups (12:42) - Bringing the Right People Together (14:10) - Stories as Cultural DNA (16:53) - The Final Three Questions (21:51) - Conclusion ********Thank you to our sponsors.  These partnerships support the ongoing production of the podcast, allowing us to bring it to you at no cost. Go to Quince.com/ThinkFast for free shipping on your order and 365-day returns. 

The world of networking is changing at lightning speed thanks to AI. Today Eric sits down with Chris Kane to explore this new reality for network engineers.  Together, they dive deeper into some of the changes that will be coming next, breaking down the technical demands and mindset shifts of intellectual curiosity and humility necessary... Read more »