Podcasts about Precious

Dec 12, 2025 – Wall Street buzzes with anticipation as Jim Puplava interviews Craig Johnson, Chief Technical Analyst at Piper Sandler, about the market's future. With the S&P 500 nearing Johnson's “bullseye” target and investors hungry for...

Dec 12, 2025 – With silver soaring to multi-year highs and the dollar at a critical turning point, Chris Puplava, CIO at Financial Sense Wealth Management, argues that the next move for the dollar will have significant consequences for precious metals...

Dec 12, 2025 – As midterms approach, Bruce Mehlman and Jim Puplava discuss how presidential approval, inflation, AI, and regulation are shaping up for an interesting political landscape for 2026 with the biggest surprise likely to come from...

Dec 11, 2025 – Seeking a rigorous, data-driven perspective on the U.S. economic outlook? Lauren Saidel-Baker of ITR Economics explores the key macroeconomic themes for 2026 including the data center buildout, inflationary headwinds...

Dec 10, 2025 – Is the AI boom saving the U.S. economy—or setting it up for a crash? FS Insider's Cris Sheridan speaks with David Woo to unpack the Fed's latest “hawkish” rate cut and just how much the US market outlook is riding on continued...

Worship Leader Desi Whorton shares a message about the significance of Jesus as the cornerstone and believers as living stones, emphasizing that through faith, we become part of a spiritual house anchored by the stability and strength of Christ.

Dec 9, 2025 – Silver has doubled in price this year, surging from below $30 to a record high above $60. On this episode, FS Insider welcomes precious metals expert Bob Coleman—who accurately predicted a major "short-covering rally" in silver...

Dec 9, 2025 – Rising geopolitical tensions are pushing global capital and institutions to seek out safe havens. Enter Singapore—a strategically neutral powerhouse—and gold, the world's ultimate safe-haven asset. The intersection of these two forces...

The new Precious Paths season is underway, the debut of Nacli and Clobbopus are here, Honedge makes it into eggs, Inadequance does it again, new movesets shake up the meta, and it's still called the Championship Series Cup in GBL...? Get The Battle Catz Podcast merchandise here: https://the-battle-catz-podcast-shop.fourthwall.com/ Where to find us! YouTube - https://youtube.com/@thebattlecatzpodcast X - https://twitter.com/BattleCatzPod Caleb Peng YouTube - https://youtube.com/calebpeng  X - https://twitter.com/CalebPeng Twitch - https://twitch.tv/calebpeng  HurricaneKaz X - https://x.com/thehurricanekaz Steve YouTube - https://www.youtube.com/PvPSteve X - https://x.com/PvPSteve1 Twitch - https://twitch.tv/PvPSteve7 Podcast - https://www.youtube.com/@GdayBattlers Twastell X - https://x.com/pogoTwastell 0:00:00 - Intro & In Game Events 0:30:22 - Championship Series 0:38:21 - GO Battle League 1:26:53 - YouTube Comments

Today, I explore a powerful truth: your money is mirroring your mind. I sit down with Clarity Coach Precious Azuree to unpack why pausing to reflect is often the very thing that transforms your wealth story. Precious shares the season that forced her to slow down, release control, and listen for God's direction, revealing how clarity and abundance flowed once she stopped hustling. We talk about the discomfort of the pause, the identity shifts required to build sustainable wealth, and why alignment, not effort, is what actually moves the needle. Precious also walks us through her Faith Focus Formula and how reconnecting with your beliefs reshapes your financial reality. This conversation is an invitation to step back, breathe, and see where you may be holding yourself back. When your mind shifts, your money follows. Listen in.Follow Precious Azuree here:Instagram: https://www.instagram.com/preciousazuree/Grab a copy of Precious's book, The Faith Focus Formula, to discover the gateway to simplified decision making, here: https://www.theclaritycoach.co/faith-focus-formulaGain the clarity and confidence to overcome business challenges while navigating the daily demands of life. Connect with Precious here: https://www.theclaritycoach.co/services-coachingGet exclusive access to powerful behind-the-scenes riffs I only share with my inner circle. SUBSCRIBE to unlock it now and go deeper with me here: https://www.buzzsprout.com/818893/subscribeJoin the Mastering Your Mindset Facebook Group, and surround yourself with individuals who are on their journey to success. https://www.facebook.com/groups/MasteringYourMindsetwithDanielleThe Success Society is your gateway to an elevated life—an empowering community for driven individuals who are ready to align with abundance, success, and purpose. Join us for less than a cup of coffee per month! https://empress.danielleamos.co/the-success-society/Want to start working with me? Book a complimentary strategy call with The Success Society Team. We're here to support you. https://danielleamos.as.me/consultationYou can catch the video version of this episode on my YouTube channel. Subscribe here: https://www.youtube.com/@thedanielleamosOne conversation with me can change your life. Access my free gift, Success Mindset Workshop, here: https://successmindsetworkshop.danielleamos.co/If you love this episode, please share it on Instagram, tag me, and send me a DM @TheDanielleAmos; I'd be so grateful if you could leave me a 5-star review on Apple Podcasts and Spotify.Support the show

December 8, 2025 Dr. JONATHAN L. MASTER,President of Greenville PresbyterianTheological Seminary in Taylors, SC,author & editor of a number of books,contributor to a number of periodicalsincluding “TableTalk”, a member of theExecutive Council of the Gospel Re-formation Network, member of theBoard of Directors for the Alliance ofConfessing Evangelicals & co-host oftheir podcast, “Theology on the Go”who will address:“BLESSED ASSURANCE, JESUS ISMINE!!: A PRECIOUS DOCTRINE ofthe HOLY SCRIPTURES REVIVEDDURING the REFORMATION” Subscribe: iTunes TuneIn Android RSS Feed Listen:

As a Magnify community, we read "Personal Ministry: Sacred and Precious" by Bonnie D. Parkin, former Relief Society General President. In it she challenges each of us to identify our personal ministry and live each day finding opportunities to care for others as the Savior would. In this conversation, three women at very different stages of life, a widow and empty-nester, a mom of five kids ages 10 and under, and a young single adult, get personal and share what's in their hearts after reading Sister Parkin's address, and what it looks like for them to be on the Lord's divine errands and develop a deeper sense of personal ministry with the Lord. Sister Parkin said, "Most ministering opportunities are spontaneous, not planned in advance." The little things we do to share the light of Christ each day add up to make this world a better place and our daily efforts to care for each other the way Jesus would make a difference. Show Notes: Personal Ministry: Sacred and Precious by Sister Bonnie D. Parkin Join us on Instagram! @magnifycommunity Learn more about Magnify! magnifythegood.com

Dec 8, 2025 – Explore the science of longevity in this compelling discussion between Financial Sense's Jim Puplava and Nick Buettner at Blue Zones. Drawing on extensive research from the world's longest-lived populations, Buettner outlines...

What if the whole of Advent could be summed up in one question: what are you seeking, and how precious is it to you? In Luke 2, we meet a chorus of seekers—shepherds, Simeon, Anna, the temple teachers, and even Mary and Joseph—each revealing a different way hearts move toward Jesus. We start with the shepherds, overlooked but chosen, who drop the lesser assignment to run toward the greater one. Joy meets them in a manger, reminding us that impact is measured by proximity to Christ, not platform. Then Simeon teaches us to see the end in the beginning, to bless a promise while it still looks like a baby. Anna shows how devotion rewires attention; when you make room for what's sacred, you recognize God in places others miss. The temple teachers demonstrate that honest questions can be a doorway to faith, and that knowledge must bow to encounter.Finally, Mary and Joseph offer a wake-up call: you can assume Jesus is with you and still walk on without Him. When routine replaces presence, even good work grows heavy. We talk about faithfulness in your field, recovering wonder in ordinary rhythms, and building practices that keep Jesus at the center of your calendar, your home, and your ministry. By the end, you'll have a clear lens for this Advent: hurry with clarity, wait with hope, seek with devotion, ask with courage, and turn back quickly when you realize you've moved on without Him.My hope is that this podcast helps grow your faith and equips you to accomplish your dreams and goals!Follow me on InstagramFollow me on FacebookFollow me on TikTok

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

Dec 5, 2025 – What if the future of war, politics, and your electric bill were all connected? In this must-hear conversation, veteran host Jim Puplava sits down with acclaimed energy expert and author Robert Bryce to expose the hidden battle for...

Interview recorded - 3rd of December, 2025On this episode of the WTFinance podcast I had the pleasure of welcoming back popular guest David Hunter. David is Chief Macro Strategist of Contrarian Macro Advisors and one of the few who have been bullish over the past few years. During our conversation we spoke about his new market targets, precious metals, which industries he sees outperforming, midterm election impact, hyperinflation, crash and more. I hope you enjoy!0:00 - Introduction1:00 - Outlook for markets6:10 - Markets to continue?9:38 - Precious metals13:21 - Miners16:05 - Other industries?21:53 - Most contrarian view?25:00 - Midterm election28:00 - Hyperinflation30:34 - One message to takeaway?David is an investment professional with 25 years of investment management experience and 20 years as a sell-side strategist with strong expertise in macroeconomic analysis and portfolio management. His strong macro capabilities combined with a contrarian philosophy have allowed me to forecast economic cycles and spot market trends well ahead of the consensus. David is an intellectually honest, independent thinker comfortable with charting a course away from the crowd. Accomplished stock picker and value-oriented portfolio manager.David Hunter - Twitter - https://twitter.com/DaveHcontrarianLinkedIn - https://www.linkedin.com/in/david-hunter-668ba015/WTFinance -Spotify - https://open.spotify.com/show/67rpmjG92PNBW0doLyPvfniTunes -https://podcasts.apple.com/us/podcast/wtfinance/id1554934665?uo=4LinkedIn - https://www.linkedin.com/in/anthony-fatseas-761066103/Twitter - https://twitter.com/AnthonyFatseas

Dec 5, 2025 – Wondering where the stock market is headed as we wrap up the year—and what could be in store for 2026? Financial Sense's Jim Puplava speaks with veteran market strategist John Roque at 22V Research as they dive into...

Dec 2, 2025 – Is uranium the next big investment? Discover why global energy shifts, tech-driven demand, and supply shortages could spark an ongoing uranium bull market. 13D's Woody Preucil discusses the future of nuclear and where...

Today's message is a call to give all our treasures to Jesus. Find out more as you prayerfully listen.

Dr. Jerome Corsi exposes what they describe as a rapidly escalating breakdown of America's political, financial, and national security systems. From massive voter roll lawsuits and foreign infiltration, to precious metals breaking historic price levels and the Ukraine war entering its final phase, this broadcast connects the most critical developments shaping the future of the United States.

Dec 2, 2025 – Market strategist Dr. Ed Yardeni joins FS Insider's Cris Sheridan to discuss his bullish outlook, including a 10,000 target for the S&P 500 by 2029. Yardeni, known for his “Roaring 2020s” thesis, highlights strong economic and...

Rob Russell, Managing Partner, Russell-Kroese Partners, joins Railway Age Editor-in-Chief William C. Vantuono for a wide-ranging discussion on the railroad industry and its future, with particular emphasis on the proposed Union Pacific-Norfolk Southern merger. Among the topics are the health of the rail industry from 2002 to present; the service and rate environment, the outlook for intermodal business; challenges with connecting to a railroad for carload customers; when railroads say “we're looking to grow,” what does “growth” really mean?; challenges for commercial professionals in the rail space; rail in the West vs. rail in the East; and “benefits” and “lookouts” for UP's acquisition of NS. Rob Russell is a seasoned transportation executive who operates fluidly from the boardroom to the shop floor. A certified six sigma black belt and a LEAN champion, Rob is a proven business leader who has a track record of strategy development, financial planning, business develop-ment, operations, and performance management to accomplish an organization's desired goals. Pulling from more than 23 years of executive logistics experience across CWR Solutions, OmniTRAX, Progressive Rail and Union Pacific, he brings passion, expertise and dedication to his clients. In addition to being a successful entrepreneur, Rob is recognized to excel within complex, high pressure organizations to achieve measurable and timely results by cultivating relationships, developing high performing teams, and delivering on time.

In this sharp and practical lesson, Brian Tracy reveals why time — not money, talent, or connections — is your most precious resource. He explains how successful people use their 24 hours differently, why time management is really life management, and how investing in your own earning ability creates lifelong success. Packed with timeless principles, this talk is a roadmap for anyone ready to level up.JOIN QOD CLUB. Ready to stop growing alone? Join QOD Club and connect with people who actually get you. Get weekly Monday Mentorship Calls, Wednesday Book Club discussions, and brand-new business, mindset, and social media trainings coming soon. Start your 30-day trial for only $9!GET MY TOP 28 BOOK RECOMMENDATIONS: Click here to get your free copy of “28 Books That Will Rewire Your Mindset for Success and Self-Mastery” curated by yours truly!Source: Success Talk by Brian Tracy Hosted by Sean CroxtonFollow me on InstagramSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Dec 1, 2025 – As year-end approaches, prioritize Roth conversions before December 31st to capitalize on low tax rates. Complete critical actions like 529 contributions, gifting, RMDs, and charitable distributions by year-end to ensure tax benefits...

Join Keith and Shawn from a classic episode of Territorial that used to air on the Backbone Network to live watch Ron Garvin's win over Ric Flair for the NWA World Title! Prior to the live watch Shawn provides the history of the feud and the set up that involved Garvin's brother, Jimmy, his wife Precious, the infamous Dream Date where we had the return of Miss Atlanta Lively and so much more! Hands of Z proper will return in January, so hope you enjoy this special episode of Hands of Z!

Investor interest in precious metals has surged, partly driven by concerns over rising debt levels in major economies. Silver (XAG) is outperforming Bitcoin in terms of retail interest, breaking multi-decade records and prompting investors to explore a new frontier: tokenized silver.~This episode is sponsored by Tangem~Tangem ➜ https://bit.ly/TangemPBNUse Code: "PBN" for Additional Discounts!GUEST: Richard Boccius -Head of Communication & Growth at Denario SwissBuy Silver on Denario App➜ https://bit.ly/DenarioSilver00:00 00:08 Sponsor: Tangem00:53 Silver all-time High!01:20 CME Halt Recap02:39 Denario CEO Called-It03:10 Silver Easily Heading to $10006:25 Supply Shock Happening?08:30 China vs Bitcoin09:08 Tokenized Gold flipping Bitcoin?10:14 Silver vs Gold10:30 Tokenized Silver Market14:29 Denario App Launching16:09 Tether & Paxos Silver Incoming16:45 People Demanding Tokenized Silver Now18:20 Cross-Chain To Solana & XRP?19:08 Gold Trending on Solana19:30 Chain Reaction Catalysts22:07 outro#Silver #Crypto #ethereum~Silver Going PARABOLIC!… and Tokenized Silver Could Take It Even Higher!

Who knew a Galilean fisherman could be so elegant?Monday • 12/1/2025 •Monday of the First Week of Advent, Year Two  This morning's Scriptures are: Psalm 1; Psalm 2; Psalm 3; Amos 2:6–16; 2 Peter 1:1–11; Matthew 21:1–11 This morning's Canticles are: following the OT reading, Canticle 9 (“The First Song of Isaiah,” Isaiah 12:2–6, BCP, p. 86); following the Epistle reading, Canticle 19 (“The Song of the Redeemed,” Revelation 15:3–4, BCP, p. 94)

Send us a textThis week,We kick things off with Mark's electrifying warning: “DANGER DANGER! HIGH VOLTAGE!” as the trio deliver their full High Voltage event review. From spawns and bonuses to frustrations, surprises, and standout catches, nothing escapes their inspection — followed by a quick but spark-filled? chat about Dynamax Eevee.Next up, the boys revive a classic favourite: What The Ducklett (OG Edition) — where they attempt to guess the Pokémon using only its Pokédex entry. Expect chaos. Expect confusion. Expect Ian to overthink it.Then it's time for Ask The Intern, as the hosts address the new Pokémon GO ban wave that hit countless Trainers — including many who insist they weren't cheating. What went wrong? What does it mean? And how do players protect themselves going forward?The episode surges into The News, spotlighting the brand-new Pokémon GO Season: Precious Paths. The hosts break down the highlights, early impressions, and gameplay shifts, before Mark introduces the details of GO Pass December— including GO Pass vs. GO Pass Deluxe, featured Pokémon, reward tracks, and those mysterious timed incubator bonuses.Finally, the squad wraps things up with the community's favourite segment: Shinies of the Week, celebrating YOUR newest sparkles.We'd like to say a massive thank you to all of our Patrons for your support, with credited Patrons from featured tiers below:#GOLDJB, Kerry & Zachary, Barside2, Mandy Croft, Mr Mossom, Mufti, DeanDHL, Masterlaxus42 & DamonMac08.#SILVERKLXVI, Dell Hazard, Spindiana, Lori Beck, Steve In Norway, CeeCeeismad, Macfloof, Saul Haberfield, Lizzie George, Sander Van Den Dreiesche, Neonnet, Ellen Rushton, James Alexander, Northern Soph, Tom Cattle, Charley Todd, Robert Wilson, MissSummerOf69, Malcolm Grinter, Jordi Castel, Thehotweasel, shinyikeamom, TonyOfPride, Joohno, Malcolm Burgess & mrj4ck4l.The Gaming BlenderWe mash genres. We pitch games. You question our sanity.Listen on: Apple Podcasts SpotifySupport the showFind us on Niantic Campfire: CLICK MESend us a voice message on WhatsApp: +44 7592695696Email us: contact@incensedpodcast.comIf you'd like to buy merch, you can find us by clicking HERE for U.K. store, HERE for U.S. Oceana store or copy this link: https://incensedpodcast.myspreadshop.net/ for U.K. store or this link: https://incensed-podcast.myspreadshop.com/ for U.S. Oceana store!Hosted By: PoGoMiloUK, Ian Waterfall & Masterful 27. Produced & Edited By: Ian Waterfall & PoGoMiloUK. Administrators: HermesNinja & IAMP1RU5.Pokémon is Copyright Gamefreak, Nintendo and The Pokémon Company 2001-2016All names owned and trademarked by Nintendo, Niantic, The Pokémon Company, and Gamefreak are property of their respective owners.

November 28, 2025 – Is the dollar's reign under threat? Jim Puplava interviews Harvard's Kenneth Rogoff on “Our Dollar, Your Problem,” discussing how US debt, political division, China's yuan, and crypto challenge dollar dominance and why...

durée : 00:26:47 - Les Midis de Culture - par : Marie Labory - Pour clore la semaine, notre débat critique s'intéresse aujourd'hui à deux expositions : "Amazonia, Créations et futurs autochtones" au Quai Branly et "Les Mondes de Colette" à la BNF François-Mitterrand. Et le Coup de coeur du jour, en partenariat avec Les Inrockuptibles. - réalisation : Laurence Malonda - invités : Joseph Ghosn Directeur adjoint de la rédaction de Madame Figaro; Céline du Chéné Productrice à France Culture; Carole Boinet Journaliste française

Rabbi Feiner shiurim

Nov 26, 2025 – Humanoid robots are on the verge of an “iPhone moment”—and the AI revolution is accelerating faster than ever. In this fascinating interview, Cris Sheridan and AI expert Dr. Alan D. Thompson explore how robots are mastering...

In this episode, I'm chatting with Precious Kolawole, who moved from Nigeria to Canada through the Shopify Dev Degree program, and has also seen her TEDx talk “How coding can change your life-and the world” go viral.There's a trap that awaits most immigrants. It's subtle, and it sounds like self-awareness: Maybe they won't pick me because of my accent. Maybe I don't belong here. Maybe I should expect less.Precious knows this too well. She describes sitting before a performance review at Shopify, telling herself to calm down, preparing for disappointment despite knowing she'd worked harder than anyone. When her supervisors told her she'd earned the highest rating, she screamed on the call. They paused, confused. Why this reaction? Because she'd already decided she wouldn't get it. “It's very funny how we think,” she says. “We think too much. We're immigrants.”But what makes Precious different is how she reorients herself. She traces it back to coding, specifically, to debugging. When you debug code, errors are problems that always have a solution, that's if you're willing to keep looking.And that mindset has carried into how she approaches her immigration journey in Canada.Precious and I dig into:Leaving behind a medical degree, a Microsoft Nigeria offer, and communities she foundedHow her family stays connected across four countries through mandatory Sunday callsWhy Canada's talent visa puts power in employers' hands, and what that costs the countryThe Nobel Prize effect and the danger of letting success make you comfortable

Welcome to Barn Talk! In this Thanksgiving episode, Tork and Sawyer bring holiday cheer (and pilgrim hats) as they answer listener questions and reflect on everything they're grateful for. The discussion covers farm life, market updates, family succession, and the future of small town America, along with some honest thoughts on health and favorite Thanksgiving foods. Tune in for practical insights, family stories, and plenty of gratitude—Tork and Sawyer remind us why it's important to appreciate what we have and invest in our communities. It's a heartfelt, festive episode perfect for the holiday season!Shop Farmer Grade

Christina Monson spent decades studying with the meditation master Chatral Rinpoche in the mountains of Nepal and translating and practicing the teachings of Sera Khandro. But it was facing stage four cancer that revealed whether decades of practice could meet the greatest pain with the greatest teaching. This conversation, recorded less than a year before Christina's passing, offers a window into what it means to follow one's heart all the way through, free of regrets. ~ Time notes: [00:00:00] Introduction [00:02:18] Meeting Chatral Rinpoche [00:08:48] Seeing Her Ego Up Close [00:14:10] A Nomad's Temperament [00:17:57] Mountain Retreat [00:25:08] Discovering Sera Khandro [00:27:30] The Rhythm of Retreat [00:28:48] No Sessions, No Breaks [00:32:09] About Sera Khandro [00:36:37] Grief and Terminal Diagnosis [00:43:47] Everything as a Test of Practice [00:47:45] Natural Process of Illness [00:49:04] Precious moments [00:51:18] Sera Khandro's Song of Severance [00:58:58] The Power of Her Realization [01:01:02] Chatral Rinpoche's Prayer [01:05:19] The Impossibility of Translation [01:10:40] Following One's Heart, No Regrets This conversation originally aired on Dec 21, 2022 ~ Christina Monson was a Buddhist practitioner and teacher, and Tibetan language translator, and interpreter with over 30 years of study, translation, and practice experience in Buddhism. ~ Links: A Dakini's Counsel: Sera Khandro's Spiritual Advice and Dzogchen Instructions By Sera Khandro and translated by Christina Monson https://www.shambhala.com/a-dakini-s-counsel.html?srsltid=AfmBOoryRwpUExBE8808dsuCtSMUzURCGSXpNh6n5hr1l10NsLOcG0DO   A Song of Amazement Inspired by Practice Experience by Sera Khandro https://www.lotsawahouse.org/tibetan-masters/sera-khandro/song-of-amazement   Spontaneous Advice Connected with a Prayer by Kyabje Chatral Rinpoche https://www.lotsawahouse.org/tibetan-masters/chatral-rinpoche/spontaneous-advice-connected-with-prayer   Post-Listen Episode with Sally Kempton https://oliviaclementine.com/sally-kempton-on-tantra-divinity-shakti-the-subtle-influences/

In this episode, we traveled north to Remagination Farm on Eastern Pomo and Lake Miwok land—also known as Kelseyville, CA—ancestral homelands of the Pomo people. There, we had the profound honor of sitting with Dr. Robyn Magalit Rodriguez, whose life and work reflect a deeply powerful and life-altering return to the land.For so many of us rooted in homeland struggles, this return is a dream—an act of reclaiming, remembering, and embodying freedom. Dr. Rodriguez has done exactly that. After more than two decades as a professor of Asian American Studies at UC Davis, and following the devastating loss of her son, Amado Khaya, she made the courageous decision to transform her life's path. Her journey led her to establish Remagination Farm, where she is building a living practice of regenerative agriculture, ritual, spirituality, and ethical relationships to land and community.Drawing from her extensive background as a researcher, educator, and long-time community organizer, Dr. Rodriguez shares how she listens to ancestral callings, how she understands land stewardship as a liberatory practice, and how returning to the earth can be a site of both grief and rebirth. She also discusses her founding of Remagination Lab, home of the School for Liberating Education (SLE), and the Amado Khaya Initiative (AKI)—projects devoted to radical learning, community nourishment, and honoring her son's legacy.In this conversation, Robyn offers a model of what it means to truly realign one's life with purpose, lineage, and liberation. She is actively manifesting the world we are fighting for.This episode features music from Amado Khaya's memorial – listen here at Amado Khaya Memorial Tribute Soundtrack – and some of the following music: A Day Will Come by Desirée Dawson, Dal3ona el zaytoun دلعونا الزيتون - دلال أبو آمنة Dalal Abu Amneh, our kasama Sam singing The Eyes the Flight The Slow Gestures - performed live at We Rise's Crosspollination: Roots Of Justice (We Rise podcast episode 54), and ends with a reading of A Comrade is as Precious as a Rice Seedling – a poem by Filipina revolutionary Mila D. Aguilar.Learn more: ReimaginationFarm.org

Rob tangles with Quentin Tarantino, Peter tries to protect Dick Van Dyke from a media hit job, Emilia discovers "The Mask" and the boys make an ill-advised suicide pact.  www.ricoandtheman.com https://www.youtube.com/playlist?list=PLwfJdZoVzQBgynnyf4JE2nTBGRrLdExob TWITTER: @RICOANDTHEMAN EMAIL: ricomanpodcast@gmail.com EVERYTHING ELSE: https://linktr.ee/Ricoandtheman

Nov 24, 2025 – Emergencies can happen without warning, making preparation essential. In this episode, Kevin Matsukado, former Head of Safety and Security at Hawaii Pacific University, shares a practical five-step approach to emergency...

Jennifer Finch in conversation with David Eastaugh  https://jenniferfinch.com/ https://jenniferfinch.bandcamp.com/album/diamonds-in-the-belly-of-the-dog https://substack.com/@jenniferfinch https://theshockerofficial.bandcamp.com/album/up-your-ass-tray-extended American musician, designer, and photographer most notable for being the primary bass player of the punk rock band L7. Active in L7 from 1986 to 1996, Finch also wrote music and performed with her bands OtherStarPeople and The Shocker in the interim before joining the reunited L7 in 2014.

“Time is the only currency you spend without knowing your balance.”

Buckle up because Doug and Vic were in charge this week with special guests OG Illinoise emo inventors Cap'n Jazz hanging out and rocking out with "For Nates Brother" (which is technically from their other band Owls) and "Precious," podcaster Molly Lambert zoomed in to chat about her wildly inventive new show about the porn industry JENNAWORLD, we checked in our sister stream Coopers Town House pub in Liverpool, Doug's Indie Rock Quiz, and many more funs and surprises.Support Office Hours and watch another hour of today's episode including Doug's Guess The Emo Game, Vic's New Gals, a bonus performance of "Oh Messy Life" from Cap'n Jazz, and much more with OFFICE HOURS+. Get a FREE seven-day trial at patreon.com/officehourslive.Subscribe to Molly Lambert's new podcast JennaWorld here.Watch the new season of On Cinema at the Cinema and get tickets for the 2026 “Certified Five Bags of Popcorn" tour at heinetwork.tv.Order our NEW MERCH in time for the holidays at officehours.merchtable.com.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Nov 21, 2025 – AI is rapidly transforming the U.S. economy and energy grid. Jim Puplava and Mark Mills discuss the surge in AI data centers, rising energy demand, skilled trade shortages, and how America can lead the global AI race amid major...

Nov 21, 2025 – Is gold sending an alarm for the broader outlook? Today, on Financial Sense Newshour, Jim Puplava interviews Ron William on how gold's rally is a “bell ringing” for investors, signaling a generational rotation from equities...

Nov 18, 2025 – Cracks are showing in the AI trade, warns Peter Boockvar. As US tech giants spend up to 50% of revenue on AI, Wall Street grows wary. With China releasing open-source models, Boockvar favors commodities and gold over big tech amid rising uncertainty.

Nov 14, 2025 – Chris Hennessey shares tips on maximizing deductions, managing SALT limits, and estate planning essentials before 2026 tax law changes. Don't miss his expert advice for investors and high earners...

A few years ago, Robert Plant thought he was done making records. But the former lead singer of Led Zeppelin discovered he still had at least one more left in him. His new album, “Saving Grace,” is named after the band he's been performing with for the last six years. It's a collection of 10 musical interpretations and covers of songs by a variety of artists. Robert joins Tom Power to talk about finding new inspiration in old music, why he's not precious about the past — including his time in Led Zeppelin — and this great quote he has about Bob Dylan: “Dylan didn't tap me on the shoulder, he hit me between the eyes.”

Nov 14, 2025 – Are the days of tech dominance numbered? In this wide-ranging discussion, Jim Puplava and Greg Weldon warn that the so-called Mag 7 tech stocks are faltering, jeopardizing narrow market leadership and exposing investors to...

Nov 14, 2025 – Are the Magnificent 7 tech stocks losing their crown? In this timely interview, Jim Puplava sits down with Market Gauge's Mish Schneider to decode the major rotations shaking the markets...

Nov 14, 2025 – Amid mounting concerns about market liquidity, Financial Sense's Chris Puplava explains why the Federal Reserve may soon intervene to stabilize short-term funding. As the Fed shrinks its balance sheet, reserves risk falling from “ample” to...