Podcasts about Premiere

90 Day Fiancé: Before the 90 Days Season 8 Premiere Recap Pack your bags and your best side-eye, because Pooya and is back to talk 90 Day Fiancé: Before the 90 Days Season 8! Today, Pooya and Liana Boraas discuss episode 1 of 90 Day Fiancé: Before the 90 Days Season 8. LISTEN! Hop on the Hot Mess Express and ride out the season by subscribing to the 90 Day Fiance RHAPup feed! WATCH! Watch and subscribe to all RHAP podcasts on YouTube SUPPORT! Become a RHAP Patron for bonus content, access to Facebook and Discord groups plus more great perks! Previously on the 90 Day Podcast Feed: 90 Day Podcast Archives

December 15, 1939. The epic Civil War drama Gone With the Wind receives its premiere in Atlanta, Georgia. Support the show! Join Into History for ad-free listening and more. History Daily is a co-production of Airship and Noiser. Go to HistoryDaily.com for more history, daily.

Sitting down with Hugh Jackman and Kate Hudson on their new movie “Song Sung Blue”, a true story of a couple who started a Neil Diamond cover band. Also, Simu Liu stops by to discuss his new Peacock series “The Copenhagen Test”. Plus, Jill Martin is live in Paris, France for a sneak peek at the “Emily in Paris” premiere celebrations.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Finding your Unique Genius for acquisition or career change New Interview guest- Casey Berman I'm happy to have Casey join me for a one-on-one interview! He has turned his back on the law and made a business out of helping others find their passion and unique genius to find a better calling. Tune in and as we'll be discussing the concept of Unique Genius as it applies to small business deals and operations. This is a ‘must see event' for anyone who is making a change in life or wants to be in business for themselves. Set yourself a reminder on YouTube here: https://youtu.be/dPPGjaeV47U It will be going live Monday December 15, 2025 at 1PM Atlantic Time and 12 Noon Eastern Time See you there! David C Barnett Find Casey on Linkedin: https://www.linkedin.com/in/caseybermansf/ https://go.leavelawbehind.com/home https://bermancap.com/ **** - Join David's email list so you never miss any new videos or important information or insights, RECEIVE 7 FREE GIFTS!!- https://www.DavidCBarnettList.com **** Do Business with David using these incredible internet links... - David's Blog where you can find hundreds of free videos and articles, https://www.DavidCBarnett.com - Book a call with David and let him help you with your project, https://www.CallDavidBarnett.com - Learn how to buy a successful and profitable business in a risk-controlled way https://www.BusinessBuyerAdvantage.com - Get help selling your business, https://www.HowToSellMyOwnBusiness.com - Get better organized in your business, https://www.EasySmallBizSystems.com - Learn to make better cash flow forecasts and write incredibly effective business plans from scratch!, https://www.BizPlanSchool.com - Learn to build an equity asset with insurance! visit https://www.NewBankingSolution.com -Did you sign up for an expensive Merchant Cash Advance for your business and now struggle to make the payments? Find out how you can negotiate your way out at https://www.EndMyMCA.com

On the December 14 edition of the Music History Today podcast, Saturday Night Fever opens, Puccini premieres an opera, & happy birthday to Vanessa Hudgens, Offset, & Tori Kelly.For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday Chapters:00:00 Intro 00:16 What happened on this date in music history03:44 Albums released on this date in music history04:53 Singles released on this date in music history05:31 Podcast advertisement05:50 Birthdays of music artists on this date in music history06:45 Passings of music artists on this date in music history07:14 What's on tomorrow's episode

ADVENTSKALENDERFOLGE 14 bei SPORTSFREUNDE! Heute gibt es mal wieder eine SPEZIALFOLGE auf SCHWEIZERDEUTSCH und wir tauchen gemeinsam mit unserem Gast Nils Stump in eine Sportart ein, die hier bei SPORTSFREUNDE ihre Premiere feiert Judo! Taucht mit uns in die Welt von Judo ein und erfahrt dabei unter anderem: Der Weg zur Matte: Wie kam Nils Stump zu dieser intensiven Sportart, und welche Rolle spielte sein Bruder dabei? Die Besonderheit Judo: Was macht Judo für ihn so besonders und wie definiert es seinen Charakter? Nils extreme Passion für seinen Sport und mit welchem Satz er sie beschreibt. Eine tiefgehende Folge über ...Dieser Podcast wird vermarktet von der Podcastbude.www.podcastbu.de - Full-Service-Podcast-Agentur - Konzeption, Produktion, Vermarktung, Distribution und Hosting.Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen?Dann schaue auf www.kostenlos-hosten.de und informiere dich.Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude.

ADVENTSKALENDERFOLGE 14 bei SPORTSFREUNDE! Heute gibt es mal wieder eine SPEZIALFOLGE auf SCHWEIZERDEUTSCH und wir tauchen gemeinsam mit unserem Gast Nils Stump in eine Sportart ein, die hier bei SPORTSFREUNDE ihre Premiere feiert Judo! Taucht mit uns in die Welt von Judo ein und erfahrt dabei unter anderem: Der Weg zur Matte: Wie kam Nils Stump zu dieser intensiven Sportart, und welche Rolle spielte sein Bruder dabei? Die Besonderheit Judo: Was macht Judo für ihn so besonders und wie definiert es seinen Charakter? Nils extreme Passion für seinen Sport und mit welchem Satz er sie beschreibt. Eine tiefgehende Folge über ...Dieser Podcast wird vermarktet von der Podcastbude.www.podcastbu.de - Full-Service-Podcast-Agentur - Konzeption, Produktion, Vermarktung, Distribution und Hosting.Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen?Dann schaue auf www.kostenlos-hosten.de und informiere dich.Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude.

We are entering a whole new magical world from the mind of instantmiso. Her banishment. His wing tattoos. Theories are brewing already! We're talking about episodes 1-4 of Fae Trapped by instantmiso! JOIN INSTANTMISO'S PATREON: patreon.com/instantmiso JOIN MY PATREON FOR EARLY ACCESS: patreon.com/girlwonder LATEST INTERVIEW WITH INSTANTMISO: https://soundcloud.com/user-35260934/qa-with-instantmiso-creator-of-eaternal-nocturnal-sirens-lament?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing MY FIRST INTERVIEW WITH INSTANTMISO: https://soundcloud.com/user-35260934/all-about-sirens-lament-with?si=e8138a59da224dc6b4a4013fa5fe7fb7&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing SHOP WEBTOON - SIREN'S LAMENT: https://shopwebtoon.com/collections/sirens-lament SHOP WEBTOON - EATERNAL NOCTURNAL: https://shop.webtoon.com/collections/eaternal-nocturnal MUSIC CREDIT: Isabella LeVan https://www.instagram.com/isabellalevan https://open.spotify.com/artist/3mHmktHG4sbkGsCORnaNT3?si=Nx2DvyOGQyatxudvD3ik9Q Connect with Girl Wonder:  My Patreon: https://www.patreon.com/girlwonder My YouTube Channel: https://www.youtube.com/channel/UCTk-JbxxAnf5TKyeCchNRHA twitter.com/girlwonderpod instagram.com/girlwonderpodcast Email: girlwondersquad (at) gmail (dot) com Buy me a coffee: http://ko-fi.com/girlwonderpodcast

On this week's episode of WeeklyTrek, TrekCore's news podcast, host Alex Perry is joined by Jamie McGregor to discuss all the latest Star Trek news. This week, Alex and his guest discuss the following stories from around the web: TrekCore: Watch Four Minutes from STAR TREK: STARFLEET ACADEMY's Premiere — and the Arrival of Paul Giamatti's Villain Character! (08:51) TrekMovie: Watch: Dwayne 'The Rock' Johnson Talks 'Star Trek: Voyager' Role And Why Jeri Ryan Is "F***ing Cool" (26:28) TrekCore: LEGO's New Enterprise-D Set Sells Out Quickly on Black Friday; STAR TREK-Themed Custom Minifig Options Now Available (32:59) TrekCore: STAR TREK: STRANGE NEW WORLDS Season 3 Lands on 4K & Blu-ray in March, Digital Streaming Today (40:47) In addition, stick around to hear Jamie ask the question; is it time for someone else to have a shot at running the Star Trek franchise? And also Alex ask the question; Are you wanting someone else to run the Star Trek franchise or are you just exhausted by the social media discourse around new Trek? *** Do you have a wish or theory you'd like to share on the show? Tweet to Alex at @WeeklyTrek, or email us with your thoughts about wishes, theories, or anything else about the latest in Star Trek news!

Weekly Recap: Wednesday Casting, The Boys Teaser Trailer, Percy Jackson Season 2 Premiere, Tomb Raider: The Legend of Lara Croft Season 2 Premiere. Hosted on Acast. See acast.com/privacy for more information.

RHOBH Season 15 Premiere I'll get the episode 2 recap up sooner than this, I promise. SPONSOR: Shopify Sign up for a one-dollar-per-month trial period at https://SHOPIFY.COM/shespeaks JOIN THE SHE'S SPEAKING PATREON! https://www.patreon.com/shesspeaking Summer House, Southern Charm, and more exclusive content! SUBSCRIBE TO MY YOUTUBE CHANNEL -  https://www.youtube.com/channel/UCxspMsBruMQjN265ZGNoV1A BUY ME A COFFEE - https://www.buymeacoffee.com/shesspeaking FOLLOW ME ON SOCIAL: @shesspeakingwithemilyhanks Instagram - https://www.instagram.com/shesspeakingwithemilyhanks Threads - https://www.threads.net/@shesspeakingwithemilyhanks Learn more about your ad choices. Visit megaphone.fm/adchoices

Today we jump back 15 years to the Dec. 11, 2010 episode of the PWTorch Livecast featuring PWTorch editor Wade Keller and Pat McNeill, who discussed Samoa Joe's future, WWE-UFC, Michael Cole-Jerry Lawler, NXT season four premiere (including Jason Bateman, R-Truth, Byron Saxton, and Brodus Clay), Triple H's return, and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/wade-keller-pro-wrestling-podcast--3076978/support.

Artist: Igor Gonya / Stogov (Russia) Label: Lisztomania Genre: Deep House Release Date: 26.12.2025 Traxsource: https://www.traxsource.com/track/14123714/ode-to-frits-original-mix Lisztomania: https://soundcloud.com/lisztomania Igor Gonya: @igorgonya Stogov: @stogovmusic CONTACT (DHM): Email — deephousemoscow@hotmail.com

Wake Up Dead Man: A Knives Out Mystery Premiere, Terminator 2D: NO FATE Premiere, Helldivers Adaptation, Return to Silent Hill Trailer. Hosted on Acast. See acast.com/privacy for more information.

Excitement is bubbling ahead of the New Zealand premiere of the Avatar franchise's third film this weekend. Avatar: Fire and Ash screens at the Embassy Theatre in Wellington tomorrow night, with stars at a red carpet event predicted to draw thousands. Mary Argue has more.

In times of excess, there is constant pressure to cull the noise. A pressure to find those impactful releases that one really resonates with or causes some form of internal reaction. Less is more in this world, and the Russian imprint, Shurale embodies this. Since its creation in 2022, leading off with an inaugural compilation featuring Toki Fuko, Dycide, Altinbas, and A.G., the imprint has released once per year. Embodying the oft-repeated phrase, quality over quantity. Following a stellar Doltz release in 2024, they hand the reigns to o.utlier as he provides a master class in rhythms and textures under the guise of his forthcoming ‘Numina' ep. Four tracks, each with a distinct personality and flow. Tensions rise and fall throughout, as there is never a stale moment, the musical elements constantly evolving and giving movement. Impulse to Obey is the proverbial shot across the bow, a taste of what is to come. Heavy synth leads set the tone, they pop and crackle around a steady bass line. There's a certain weight to these elements that brings the track up a level, and ratchets the tension higher and higher as the track progresses. Numina will be released on the 12th of December. https://soundcloud.com/o-utlier https://www.instagram.com/outlier_rory/ https://soundcloud.com/shurale_records https://www.instagram.com/shurale_records write up by https://soundcloud.com/huedj Follow us on social media: https://soundcloud.com/itsdelayed https://linktr.ee/delayed https://www.delayed.nyc https://www.facebook.com/itsdelayed https://www.instagram.com/_____delayed https://www.youtube.com/@_____delayed Contact us: info@delayed.nyc

Gabriele Erhart ist seit Jahresbeginn die neue Geschäftsführerin des Sternstunden e.V. Tobi Probst ist Kabarettist und hat die Einnahmen seiner Premiere der Aktion Sternstunden gespendet. Am Sternstunden-Tag sind die beiden bei Hermine Kaiser zu Gast.

Artist: Come Closer (Russia) Label: Magic Tribe Music Genre: Organic House Release Date: 12.12.2025 Band.link: https://band.link/mt015 Magic Tribe Music представляет дебютный альбом проекта Come Closer. Релиз, в котором можно проследить совместный путь, пройденный вместе дуэтом диджеев и музыкантов Mike Spirit и Asaga, и по-настоящему оценить их звучание, выверенное годами выступлений и студийных сессий. Саунд Come Closer — это плотный низ, текучие мелодические линии и перкуссионные слои, создающие у слушателя ощущение погружения. В их треках слышны и утончённая электронная архитектура, и уважение к ритмическим традициям: от африканских и латиноамериканских отголосков до минималистичной европейской эстетики. Это музыка, наполненная эмоциональными мелодическими структурами, крепко связывающими строгую клубную драматургию с теплотой живого грува, ловко балансирующая между deep, organic и progressive house. “One Bro” включает в себя два эксклюзивных трека, записанных специально для альбома, и восемь избранных синглов, каждый из которых обновлён и ремастерирован. Дебютный альбом Come Closer — это путешествие, в котором клубные корни встречаются с живой энергетикой и атмосферным саунд-дизайном. Здесь слышны рассветы фестивальных площадок, вибрации ночных клубов и редкие моменты тишины наедине с собой, когда идеи рождаются сами. Это музыка дороги, движения и внутреннего света — музыка, которая следует за слушателем, но при этом ведёт его вперёд, создавая то самое ощущение близости, ради которого и был создан проект. Socials: https://linktr.ee/comecloser_music Contact: alrightcomecloser@gmail.com CONTACT (DHM): Email — deephousemoscow@hotmail.com

This is the premiere episode of our new mini podcast (that ended up being not quite as mini as I'd planned) called Here Comes the News! ICE is making no friends, US Women's Tennis is doing us no favors, and the Metaverse makes no money.

Tomb Raider: The Legend of Lara Croft Season 2 Premiere, Blueman Premiere, Bluey's Quest for the Gold Pen Premiere, This Ain't Even Poker, Ya Joker Premiere. Hosted on Acast. See acast.com/privacy for more information.

Daily Dad Jokes (11 Dec 2025) Christmas Joke Button - 101 eye rolling dad jokes for the festive season! Amazon. The perfect gift for Kris Kringle, Secret Santa and of course for dad! Click here here to view! The official Daily Dad Jokes Podcast electronic button now available on Amazon. The perfect gift for dad! Click here here to view! Email Newsletter: Looking for more dad joke humor to share? Then subscribe to our new weekly email newsletter. It's our weekly round-up of the best dad jokes, memes, and humor for you to enjoy. Spread the laughs, and groans, and sign up today! Click here to subscribe! Listen to the Daily Dad Jokes podcast here: https://dailydadjokespodcast.com/ or search "Daily Dad Jokes" in your podcast app. Jokes sourced and curated from reddit.com/r/dadjokes. Joke credits: Opposite_Teach3797, GiborDesign, original_joe99, hacksawjim89, TheNameBobWasTaken, Legitimate_Ear_3895, Sh0D10N, ASK_ABT_MY_USERNAME, Capable-Day-4564, Low-Poetry-6829, ASK_ABT_MY_USERNAME, Yokelele, MaxGeier, , Vlad_1895, Ramapeda, joshdho1, Longjumping_Glass157, Masselein, Compuoddity Subscribe to this podcast via: iHeartMedia Spotify iTunes Google Podcasts YouTube Channel Social media: Instagram Facebook Twitter TikTok Discord Interested in advertising or sponsoring our show? Contact us at mediasales@klassicstudios.com Produced by Klassic Studios using AutoGen Podcast technology (http://klassicstudios.com/autogen-podcasts/) Learn more about your ad choices. Visit megaphone.fm/adchoices

Daily Dad Jokes (11 Dec 2025) Christmas Joke Button - 101 eye rolling dad jokes for the festive season! Amazon. The perfect gift for Kris Kringle, Secret Santa and of course for dad! Click here here to view! The official Daily Dad Jokes Podcast electronic button now available on Amazon. The perfect gift for dad! Click here here to view! Email Newsletter: Looking for more dad joke humor to share? Then subscribe to our new weekly email newsletter. It's our weekly round-up of the best dad jokes, memes, and humor for you to enjoy. Spread the laughs, and groans, and sign up today! Click here to subscribe! Listen to the Daily Dad Jokes podcast here: https://dailydadjokespodcast.com/ or search "Daily Dad Jokes" in your podcast app. Jokes sourced and curated from reddit.com/r/dadjokes. Joke credits: Opposite_Teach3797, GiborDesign, original_joe99, hacksawjim89, TheNameBobWasTaken, Legitimate_Ear_3895, Sh0D10N, ASK_ABT_MY_USERNAME, Capable-Day-4564, Low-Poetry-6829, ASK_ABT_MY_USERNAME, Yokelele, MaxGeier, , Vlad_1895, Ramapeda, joshdho1, Longjumping_Glass157, Masselein, Compuoddity Subscribe to this podcast via: iHeartMedia Spotify iTunes Google Podcasts YouTube Channel Social media: Instagram Facebook Twitter TikTok Discord Interested in advertising or sponsoring our show? Contact us at mediasales@klassicstudios.com Produced by Klassic Studios using AutoGen Podcast technology (http://klassicstudios.com/autogen-podcasts/) Learn more about your ad choices. Visit megaphone.fm/adchoices

SIJIN is an artist from Seoul whose music is rooted in presence & storytelling. There is a spiritual intention behind the work that he shares, the music grounding him in specific moments from the past, enabling him to let go & remain present. The beauty of letting go of these musical creations is that others can then attach their own memories & experiences to the music. This is SIJIN's intention with his Khövsgöl EP - 2 tracks that materialized from a collection of field recordings close to his heart, gathered from the natural soundscapes of the northernmost province of Mongolia, Khövsgöl. The tracks to him serve as memories of a distinct time & place, a time capsule of moments spent amongst the raw beauty of this relatively untouched part of the world. A prolific DJ who has performed at venues such as KHIDI in Tbilisi & KGRn in Tokyo, SIJIN has recently had his focus on self-releasing his own music. In addition to being a DJ & producer, SIJIN curates a platform called SYNTHASIA which showcases underground electronic music in Asia. The SYNTHASIA Open-Air took place a few months ago, a 24-hour journey at a temple a few hours outside of Seoul, with sets from 14 artists including Scøpe, Cobahn, SIJIN himself & many more. Khövsgöl includes 3 re-imaginations from Archypness, EINOX & Minjoon, artists SIJIN invited to remold these stark & beautiful field recordings into their own visions. The first of the EP, Khövsgöl part1, which we're premiering today, is a 170 bpm track made up of field recordings manipulated in Ableton & delicately interspersed amongst steady percussion. You can feel the peace & open space of that vast landscape, reflected in drones & the sounds of birds & flowing water. There is this beautiful full-circle resolution to it, anchored around a soft bell-sounding sample that remains ever so gently in the background throughout the whole track, ending in the same place that it began. Khövsgöl will be released on December 24th @sijin_synthasia https://www.instagram.com/sijin_grei/ Write up by @aspetuck Follow us on social media: @itsdelayed linktr.ee/delayed www.delayed.nyc www.facebook.com/itsdelayed www.instagram.com/_____delayed www.youtube.com/@_____delayed Contact us: info@delayed.nyc

Berlin, 1925. Vor 100 Jahren geht „Wozzeck“ zum ersten Mal über die Bühne und der Jubel ist groß. Aber wenn etwas so viel Beifall bekommt, kann es nicht gut sein, findet der Komponist Alban Berg und verlässt enttäuscht die Premiere seiner Oper … Von Ben Süverkrüp.

The capital is on track for a star-studded Saturday with the premiere of ‘Avatar: Fire and Ash'. Kate Winslet, Cliff Curtis, and Jemaine Clement are all set to hit the red carpet in Wellington. The 13th and 14th are set to be a huge boost for the local economy, hospitality, and screen sectors, the City Council says – the franchise now bringing $1.1 billion into New Zealand's economy. NZ Film Commission's Head of International Attraction and Marketing, Philippa Mossman told Heather du Plessis-Allan the premiere is a really important and exciting occasion for the country. LISTEN ABOVE See omnystudio.com/listener for privacy information.

Experience the holiday cheer of Podcasts of Christmas Past and enjoy this special public premiere episode! Merry Christmas!  Jim and I kick off the ⁠Bald Move Bad Ass Christmas⁠ celebrations for our ⁠Club Members⁠ with 1985's Rocky IV.  What makes Drago v Balboa a holiday film, you ask?  Their climactic battle takes place on Christmas day.  Plus, there's snow, and pine trees like you wouldn't believe. Very Christmasy.  Anyway, this is a great terrible film that might have helped win the Cold War.   We discuss the film, it's place in the Rocky pantheon, and behind the scenes tidbits and stories straight from the Sly's mouth.  In case you missed it, we Live Watched this thing to, so be sure to check that out. If you're not a Club Member, why not ⁠join today?⁠  You get tons of extra content, ad-free feeds, VIP access to our forums, and loads more. Learn more about your ad choices. Visit megaphone.fm/adchoices

We're diving into the two-episode premiere of 'Percy Jackson and the Olympians' Season 2

Percy Jackson and the Olympians Season 2 Premiere, Ordained Premiere, Halchemist Premiere, NeverAwake FLASHBACK Premiere. Hosted on Acast. See acast.com/privacy for more information.

Today, we take you inside Princeton Pictures' Tuesday night showcase of student short films, cover proposed changes to the length of Winter Break and e-bike policy, and finish out with Princeton's newly named Marshall Scholars.

Hosts Nicholas Friedman, LeAlec Murray, Alex Lebl and Haley Whisennand are of course geeking out over Demon Slayer: Infinity Castle's Golden Globes nomination! They also had to discuss the new series from the Code Geass franchise, the latest about TRIGUN STARGAZE, the Dallas Mavericks's Solo Leveling anime night, and who their anime crush of 2025 is! PLUS, hosts recommend the must-see anime of the 90's in Fan Service. Have a question for The Anime Effect? Ask it here. To bring your brand to life in this podcast, email podcastadsales@sonymusic.com. Demon Slayer: Kimetsu no Yaiba Infinity Castle Earns Golden Globe Nomination Code Geass: Hoshi Oi no Aspal Anime Announced TRIGUN STARGAZE Anime Reveals January 10, 2026 Premiere, Theme Songs in New Trailer VOTE: Who Is Your Anime Crush of 2025? Dallas Mavericks to Host Solo Leveling Anime Night with Themed Jerseys Learn more about your ad choices. Visit podcastchoices.com/adchoices

There's a particular alchemy that happens when a band and producer find themselves on the same wavelength – not through careful planning, but through the natural convergence of shared musical worlds. Jakarta's Strange Fruit and electronic artist Jonathan Kusuma have arrived at exactly that point with the Hypnodubmix of “Iridescent,” the first glimpse of the band's forthcoming Drips EP. Strange Fruit has always inhabited dual territories. While their shoegaze-leaning live sound draws from dreamy, guitar-driven atmospheres, members Baldi Calvianca and Irza Aryadiaz have deep roots in electronic music – producing, DJing, and moving through the same underground circuits as Kusuma himself. This isn't a band reaching outside of their comfort zone for a remix; it's a collaboration between kindred spirits who've been orbiting the same musical universe all along. With releases on Cocktail d'Amore, Correspondant, and Minh, Kusuma strips “Iridescent” back to its essence and rebuilds it as something altogether more hypnotic. Pulsing basslines, dub-driven rhythms, and spectral traces of the vocals drifting through the haze. It's patient, immersive, and designed for those late-night moments when the dancefloor becomes a meditation. With three more remixes still to come ahead of the EP's 2026 release via Gentle Tuesday Recordings, Strange Fruit are charting a new path… Read more: https://www.theransomnote.com/music/premieres/premiere-strange-fruit-iridescent-jonathan-kusuma-hypnodubmix-gentle-tuesday-recordings/

Welcome back to The Viall Files: Reality Recap!  Get excited, because today we welcome Whitney Carson and Carson McAllister to talk all about winning Dancing With The Stars, their relationship and more! Plus, we get into the return of RHOBH, the Secret Lives of Mormon Wives Reunion, Southern Charm and more! Grab your Gandalf beards, because you won't want to miss this one!  "What does winning mean to you?" Buy Our Merch: https://shop.viallfiles.com/  Are you interested in being a part of a dating docuseries, with the opportunity of meeting your one? Fill out our casting call! https://docs.google.com/forms/d/e/1FAIpQLSc8_echsNPYsFZZ1tIpyY_aMD75tB3kZwKWCfgVZuYeS-xJQg/viewform Subscribe to The ENVY Media Newsletter Today: https://www.viallfiles.com/newsletter  Listen to Humble Brag with Cynthia Bailey and Crystal Kung Minkoff. Available wherever you get your podcasts and YouTube: https://www.youtube.com/@humblebragpod https://podcasts.apple.com/us/podcast/humble-brag-with-crystal-and-cynthia/id1774286896 Start your 7 Day Free Trial of Viall Files + here: https://viallfiles.supportingcast.fm/  We've partnered with Mint Mobile to open a hot takes hotline to hear your scorching hot opinions! Give us your hot takes, thoughts and theories and we'll read and react to the best ones on an upcoming Reality Recap episode! All you have to do is call 1-855-MINT-TLK or, if you prefer the numbers, that's 1-855-646-8855 and leave us a message. Please make sure to subscribe so you don't miss an episode and as always send in your relationship questions to asknick@theviallfiles.com to be a part of our Monday episodes. Follow us on X/Twitter: https://twitter.com/TheViallFiles Listen To Disrespectfully now! Listen on Apple: https://podcasts.apple.com/us/podcast/disrespectfully/id1516710301 Listen on Spotify: https://open.spotify.com/show/0J6DW1KeDX6SpoVEuQpl7z?si=c35995a56b8d4038 Watch on YouTube: https://www.youtube.com/channel/UCCh8MqSsiGkfJcWhkan0D0w To Order Nick's Book Go To: http://www.viallfiles.com  If you would like to get some texting advice on Office Hours send an email to asknick@theviallfiles.com with "Texting Office Hours" in the subject line! To advertise on this podcast please email: ad-sales@libsyn.com or go to: https://advertising.libsyn.com/theviallfiles   THANK YOU TO OUR SPONSORS: Amazon - Visit https://Amazon.com and look for the Rufus icon for smarter, more affordable holiday shopping. American Home Shield - For new homeowners especially, it's one of the simplest ways to keep your budget on track and your stress down. Visit https://ahs.com/viallfiles for 20% off any plan today and see promo details. See https://ahs.com/contracts for coverage details, including service fees, limitations, and exclusions.  Homeaglow - Take home cleaning off your plate this Holiday season by using Homeaglow! Head to https://homeaglow.com/viall to get your first 3 hours of cleaning for only $19! Wayfair - Get last-minute hosting essentials, gifts for all your loved ones, and decor to celebrate the holidays for WAY less. Head to https://wayfair.com right now to shop all things home. BILT - Join the loyalty program for renters at https://joinbilt.com/viall  Cymbiotika - Go to https://cymbiotika.com/viall to get 20% off plus free shipping. Rakuten – Keep an eye out for Rakuten's weekly Big Deal Reveals where one great store offers epic–ly high Cash Back for one day only. Membership is free and it's super easy to sign up! You can go to https://rakuten.com, download the app or install the browser extension.  Fabletics - Head to https://fabletics.com/viall and sign up as a VIP to get 80% off everything. Timestamps: 00:00 - Intro 03:56 - Mormon Wives Reunion 35:29 - Whitney and Carson Join 01:13:36 - RHOBH 01:23:30 - Southern Charm Episode Socials:  @viallfiles @nickviall @nnataliejjoy @witneycarson @carson.mcallister @ciaracrobinson @justinkaphillips @leahgsilberstein @dereklanerussell @the_mare_bare

Today Rachel and Amber are back to recap the premiere of new limited series on Hallmark channel 12 Dates Til Christmas Watch our interview with the 12 Dates writers https://youtu.be/3QCikpJWVuc Amber back to recap A Very Jonas Christmas https://www.youtube.com/watch?v=EnDz0E77EWo Today save on the perfect gift by visiting AuraFrames.com to get $35 off Aura's best-selling Carver Mat frames - named #1 by Wirecutter - by using promo code HALLMARKIES To get 15% off your next gift, go to https://www.uncommongoods.com/podcast/hallmarkies for 15% off! Uncommon Goods. We're all out of the ordinary. Our Christmas podcasts are at https://www.youtube.com/watch?v=X4f2KtBPzUE&list=PLXv4sBF3mPUDo41tHqhkjHCvedmZwLzHx For all of our Hallmark writer interviews https://www.youtube.com/playlist?list=PLXv4sBF3mPUBxJT6OHAOjOM3F8w48hYu5 Please support the podcast on patreon and be part of these ranking episodes at https://www.patreon.com/hallmarkies Follow us on ITunes https://itunes.apple.com/us/podcast/hallmarkies-podcast/id1296728288?mt=2 https://twitter.com/HallmarkiesPod on twitter @HallmarkiesPodcast on Instagram HallmarkiesPodcast.com Get some of our great podcast merch https://www.teepublic.com/stores/hallmarkies?ref_id=8581 Please support the podcast on patreon and be part of these ranking episodes at https://www.patreon.com/hallmarkies Follow Rachel's blog at http://rachelsreviews.net Follow Rachel on twitter twitter.com/rachel_reviews Follow Rachel's Reviews on youtube https://www.youtube.com/c/rachelsreviews Follow Rachel on facebook www.facebook.com/smilingldsreviews Check out our merch: https://www.teepublic.com/stores/hallmarkies Send us your feedback at feedback@hallmarkiespodcast.com Or call +1 (801) 855-6407 Follow Rachel on twitter twitter.com/rachel_reviews Follow Rachel's blog at http://rachelsreviews.net Follow Rachel's Reviews on youtube https://www.youtube.com/c/rachelsreviews Learn more about your ad choices. Visit megaphone.fm/adchoices

Forrest goes to a porn shop with his mom; Emma's wig is eaten by baby dogs at puppy yoga; Ziad declines to go inside the Marrakesh airport to retrieve his girlfriend, and he won't make out with her ether; Rick tap dances. Give your loved ones a unique keepsake you'll all cherish for years—Storyworth Memoirs! Right now, save $10 or more during their Holiday sale when you go to ⁠storyworth.com/craycray⁠.   Sign up for our premium podcast feed with 3x the content! Just go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.realitycraycray.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for a 30 second sign up for as little as $5, or if you already have a Patreon account, go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://patreon.com/realitycraycray⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome to the SHIRO! SHOW! news updates! This week, we'll be discussing: - Under the Microscope: Chaos Control - Announcing the SegaXtreme Sega Saturn 31st Anniversary Homebrew Showcase - Digital Monsters Ver. S: Digimon Tamers #BestOfSaturn - Bubble Symphony Hits Modern Platforms, Comes with New Bubble Bobble Game - The Joy of Playing Grandia, on SEGA Saturn - Sega Releases Fighting Vipers Soundtrack for 30th Anniversary - SEGA AGES Phantasy Star Collection #BestOfSaturn - Under the Microscope: Planet Joker - Saturn News Roundup: YZB SAROO Firmware, Homemade Mini Saturn, Dragon Ball at Dev Game Show - Three Virtua Champs Skid Across Virtua Finish Line in November's Community Challenge Follow us on our social media sites: Facebook: https://www.facebook.com/PlaySegaSaturn Twitter: https://mobile.twitter.com/playsegasaturn Website: https://www.segasaturnshiro.com/ Buy our merch at: https://segasaturnshiro.threadless.com/ Buy issue #1 of SHIRO Magazine: https://www.segasaturnshiro.com/shiro-magazine/ Support us on our Patreon at: https://www.patreon.com/shiromediagroup Join our Discord to discuss translation patches, Saturn obscurities, and all things SEGA Saturn!: https://discord.gg/SSJuThN  

In this episode, Welington is joined by Jazmine Henley-Brown, Carlos J Harris, and Kevin Bobby to discuss the new premiere of #RHOBH.

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

Welcome back to Hot Messy Topics. This week, Jason dives into the latest headlines shaking up Bravo. Here's what we cover in this episode: • Vanderpump Rules returns for Season 12 with fresh faces. • Is Teresa Giudice headed to RHOM? • Whitney Rose's accusations about Meredith Marks. • Plus more breaking Bravo updates. Visit Seagrass Co. https://seagrassco.com Our New Home https://upandadamlive.com Up and Adam! Channel 2 https://youtube.com/@UpandAdamLive2 Podcast https://podcasts.apple.com/us/podcast/up-and-adam/id1642609315 Memberships https://www.youtube.com/channel/UCwADl1l8G7IQxasyu43yi1A/join Socials Instagram: https://instagram.com/upandadamlive/ Facebook: https://facebook.com/upandadamlive Twitter: https://twitter.com/upandadamlive TikTok: https://www.tiktok.com/@upandadamlive Merch https://shop.upandadamlive.com Inquiries info@upandadamlive.com Disclaimer The views expressed in this episode and on Up and Adam Live are for entertainment purposes only. All content is protected under Fair Use (Copyright Act 1976). Learn more about your ad choices. Visit megaphone.fm/adchoices

Artist: Gurskii (Russia) Label: Shoes Market Genre: Indie Dance Release Date: 28.11.2025 Beatport: https://www.beatport.com/release/sex-money-more/5580316 Gurskii: @dimaseverov Shoes Market: https://soundcloud.com/shoesmarket CONTACT (DHM): Email — deephousemoscow@hotmail.com

GET IN TOUCH: bravobreakingnews@gmail.com SHOP BRAVO GIFTS: bravobreakingnews.etsy.com Kim (@bravobreakingnews) and Lisa (@lisanotrinna) are back to recap the season 15 premiere of the Real Housewives of Beverly Hills! We discuss PK and Mauricio's pathetic paparazzi photos, why both Garcelle and Avi are no longer in Sutton's life and the anticipated return of Bravo icon, Rachel Zoe. Kim issues a warning to Kyle, while Lisa shares some theories regarding Avi's departure and how the group interacts with Rachel. Is she coming for Kyle's center diamond? Watch to find out and hit that subscribe button so you don't miss any Bravo Breaking News! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

The diamond ladies are back in their glitz, glam, and maybe a blurred filter or two. We catch up with the RHOBH ladies and reintroduce ourselves to Rachel Zoe. Rachel makes a splash in her Housewives debut, showing vulnerability with her divorce and how she forges on. We are excited to see more of her! The ladies question where Avi is and what went wrong with Garcelle but we get no answers. PK and Mo are in their ho phases but it doesn't matter because its 'HOT GIRL SUMMER"! Welcome back, RHOBH! Come judge with us!You can find us:Instagram & Threads: @twojudgeygirlsTikTok: @marytwojudgeygirls & @courtneytjgFacebook: www.facebook.com/twojudgeygirlsPodcast: ACast, iTunes, Spotify, wherever you listen!Merch: www.etsy.com/shop/twojudgeygirlsPatreon: www.patreon.com/twojudgeygirls Hosted on Acast. See acast.com/privacy for more information.

Hot Girl Summer is here!We catch up w. the ladies of Bev Hills!Join us!Find your scent soulmate and try top designer brands at www.microperfumes.com/VPR for up to 60% off !Head to https://homeaglow.com/PUMPERS to get your first 3 hours of cleaning for only $19. Thanks so much to Homeaglow for sponsoring this episode!For bonus content, BravoCon merch giveaways and VPR Trivia events and hangouts, visit www.patreon.com/vanderpumprulesparty--This podcast uses the following third-party services for analysis: Magellan AI - https://docsend.com/view/5vdvbdx7cr4tikmyClaritas - https://claritas.com/privacy-legalPodscribe - https://podscribe.com/privacy

JD and Rachel return to the Upside Down to recap Stranger Things Season 5, Episodes 1 & 2 — and yes, we're spoiling everything. We talk Will's nightmare opening, the “is that CGI or a PS5 cutscene?” debate, the Dustin/Lucas/Steve dynamics, Robin's Pretty in Pink broadcast, Jonathan vs. Steve (again), the baffling obstacle course sequence, Holly's shocking growth spurt, Joyce catching heat, Murray being the delivery man for every important plot point, and the possible real shape of Season 5. Subscribe for more TV breakdowns, new series reviews, and chaotic movie talk every week on Thumb War. Email us → thumbwarpod@gmail.com Join our Patreon for ad-free episodes + bonus shows: http://bit.ly/44Mo8xU Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Today, Rachel and Callie give their first impressions of the new cast of ‘Vanderpump Rules' Season 12 (01:34). They share their skepticism about some of the cast members imitating the OG cast and admit they're interested in the more modern jobs of the staff. Next, they break down the new season of ‘The Real Housewives of Beverly Hills,' where we meet a new cast member: Rachel Zoe (11:25). She's everything that they want in a housewife, and they appreciate the camaraderie of the women that seems to apparently fade as the season goes on. Finally, they discuss ‘The Real Housewives of Salt Lake City,' during which Meredith makes them all take a drug test but fails to take one herself (24:50). They talk about being tired of hearing about Whitney Rose's business, and about Mary's son having to go to jail until January. Host: Rachel Lindsay Guest: Callie Curry Producer: Devon Baroldi and Olivia Crerie Theme Song: Devon Renaldo Learn more about your ad choices. Visit podcastchoices.com/adchoices

What's up Bros? THIS IS PART 2! ROB HUH is back and we are taking a new approach. This show has been a thorn in our side for years, but past experience be damned we are going into this season as positive Peters and trying to look on the bright side of things. Rachel makes her return and it seems like she may be a good addition to the show. Boz and Dorit's friendship has continued to grow and it is nice to see Dorit with an ally that is not Kyle. Sutton finds herself out on an island and the obvious prediction is that she will migrate back over to team Kyle. Erika is poised for a solid season as the Tom stuff (and her renovations) are in the past. Hopefully we get a little more personal life from her this season but time will tell. Kyle has a nice scene with her daughters and we're optimistic that this will be a different season for her. Are we fools only looking at the bright side of things? Maybe we're just tired of being hurt. Who knows. But buckle up Bros because its Rob Huh Time. Learn more about your ad choices. Visit megaphone.fm/adchoices

Something is ending. You can feel it before you can explain it. The familiar world is dissolving, and what is rising to replace it is not human in spirit. It has no face, no voice, only an algorithm waiting to instruct the public imagination. Tonight we open Season 18 of Veritas, and Neil Kramer returns at the moment when clarity is needed most. Neil never appears during quiet chapters. He arrives when the atmosphere tightens, when the horizon shifts, when people sense a deeper truth moving beneath the noise. And right now, the air is very thin. Across the Western world, meaning itself is slipping away. Europe faces a demographic crisis that sits beside migration pressures, cultural destabilization, and a loss of continuity that leadership refuses to confront. Birth rates have collapsed across the developed world, revealing more than a social problem. They reveal a civilization that no longer believes in its own future. Christianity has fragmented, leaving millions spiritually unanchored. Into that vacuum, Islam expands with population strength and cultural confidence. America drifts in its own struggle, torn between moments of awakening and waves of confusion. Few people recognize the tension between culture, religion, and the importation of value systems that do not share the same moral inheritance. While this unfolds, technocracy advances with steady precision. Digital identity systems. New legislative frameworks like the Algorithmic Accountability Act. Behavioral shaping. And a censorship structure that does not silence through force, but through correction, filtering, and engineered agreement. Traditional governance is weakening while algorithmic governance grows stronger. Perception is managed. Masculinity and sovereignty are discouraged. Higher thought is replaced with performative compliance. And Agenda 2030 extends through institutions as a philosophy of how human beings should live and obey. In a climate like this, truth-telling has become a countercultural act. The real question is how to remain spiritually upright in a world shaped by intentional confusion. How to keep agency, clarity, and inner strength as the old structures fall away. Tonight we go directly into that territory. No filters. No evasion.

Gibson Johns and "Morgan's Pop Talks" podcast host Morgan Wright talk about this season of "Southern Charm" so far and the premiere of the "Vanderpump Rules" reboot. Shop the “Gabbing with Gib” Merch Store: https://shop.hurrdatmedia.com/collections/gabbing-with-gib Subscribe to "Gabbing with Gib" on Apple Podcasts: apple.co/471D8Gb Follow "Gabbing with Gib" on Spotify: https://bit.ly/3StiCtY  Follow "Gabbing with Gib" on Instagram: https://instagram.com/gabbingwithgib Follow "Gabbing with Gib" on TikTok: https://www.tiktok.com/@gabbingwithgib  Follow Gibson Johns on Instagram: https://instagram.com/gibsonoma Follow Gibson Johns on Twitter: https://twitter.com/gibsonoma Follow Gibson Johns on TikTok: https://www.tiktok.com/@gibsonoma Subscribe to Gibson Johns' Newsletter: https://gibsonoma.substack.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

It's time to set sail into the Sea of Monsters for Percy Jackson and the Olympians season 2! We have our spoiler free review of the two-episode premiere, some things to remember about season 1 AND exclusive interviews with the cast and creator Rick Riordan!Liked this episode? Support the show: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/bePatron?u=44878998⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠INSTAGRAM: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/abiteofpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠   BLUESKY: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bsky.app/profile/abiteofpodcast.bsky.social⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TWITTER: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/ABiteOfPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  THREADS: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.threads.net/@abiteofpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ YOUTUBE: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/@ABiteOfPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠WEBSITE:  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.abiteofpod.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  DISCORD: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bit.ly/461OOcf⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Hosts: Derek Ivie and Noah ReedFor business inquiries please contact abiteofpod@gmail.com(00:00) - Intro(01:22) - Season 1 Things To Remember(04:00) - Season 2 Premiere Spoiler Free Review(14:19) - Cast InterviewsInterviews feature: Walker Scobell (“Percy Jackson”) Leah Sava Jeffries (“Annabeth Chase”), Daniel Diemer (“Tyson”), Aryan Simhadri (“Grover Underwood”), Charlie Bushnell (“Luke Castellan”), Dior Goodjohn (“Clarisse La Rue”), Author / Co-Creator / Executive Producer Rick Riordan

We dive into VPR: The New Class. A brand new cast, a struggling SUR and Lisa in her matriarch role. We were pleasantly surprised by the premiere and had a lot of fun watching it. Each cast member had traits of an OG but also brought something new to the show. Marcus and Natalie were the standouts to us but we can't wait to see what crazy the new cast brings. Come judge with us!You can find us:Instagram & Threads: @twojudgeygirlsTikTok: @marytwojudgeygirls & @courtneytjgFacebook: www.facebook.com/twojudgeygirlsPodcast: ACast, iTunes, Spotify, wherever you listen!Merch: www.etsy.com/shop/twojudgeygirlsPatreon: www.patreon.com/twojudgeygirls Hosted on Acast. See acast.com/privacy for more information.

We discuss the latest with the VPR and Valley casts, McBee Dynasty, Something About Her and other headlines in the last few days and then we break down The new Vanderpump Rules Premiere, Season 12 Ep 1 with the new cast!Find your scent soulmate and try top designer brands at www.microperfumes.com/VPR for up to 60% off !Head to https://homeaglow.com/PUMPERS to get your first 3 hours of cleaning for only $19. Thanks so much to Homeaglow for sponsoring this episode!For bonus content, BravoCon merch giveaways and VPR Trivia events and hangouts, visit www.patreon.com/vanderpumprulespartyThis podcast uses the following third-party services for analysis: Magellan AI - https://docsend.com/view/5vdvbdx7cr4tikmyClaritas - https://claritas.com/privacy-legalPodscribe - https://podscribe.com/privacy