Podcasts about protect

In this solo December episode, I continue a month-long series dedicated to educating parents about the real dangers our kids face online. After last week's story about Adam Tate, today I share two more real cases—one involving sextortion and another involving swatting—that every parent needs to understand. These aren't rare events. They're happening quickly, quietly, and often right under our noses while our kids sit in their bedrooms playing games like Roblox, Fortnite, and more.   You'll hear the heartbreaking story of 17-year-old Ryan Lass from San Jose, who took his own life within hours of being extorted by an overseas criminal network. Then we break down the tragic case of Andrew Finch, a 28-year-old father of two who was killed after a swatting prank triggered a full SWAT response to the wrong house. Both stories highlight how dangerous the digital world has become—and why we must be proactive, aware, and deeply involved in protecting our kids' online lives.     Timeline Summary: [0:00] Introduction [1:02] Why December episodes are focused on online safety and protecting kids. [1:50] Recap of last week's episode about Adam Tate and the Sean Ryan interview. [2:32] Why sinister online activity is escalating and why parents must stay informed. [3:02] Introducing two new stories: a sextortion case and a swatting case. [3:48] Explanation of "swatting" and why even young kids are now doing it. [4:48] Beginning Ryan Lass's story — a high school senior extorted online. [5:38] How a predator posed as a woman and launched a rapid blackmail attack. [6:07] FBI findings and identification of the international criminal ring. [7:41] Why Ryan's case matters: he was targeted, not reckless. [8:37] How modern predators manipulate teens using panic and pressure. [9:02] Parents' blind spots about who kids are connected to online. [10:17] Reminder that kids are connected to global predators—not just friends. [11:03] Introduction to Andrew Finch's swatting case. [12:06] The false 911 call describing a violent hostage situation. [12:57] How Andrew Finch was shot despite having no involvement. [14:01] Why swatting is deadly—and how it grew out of gaming communities. [15:39] The seriousness of online conflict and its real-world consequences. [16:33] How swatting and predator activity now infiltrate gaming platforms. [16:54] Why Bark is one of the most effective tools for monitoring kids' devices. [17:19] The need for proactive online supervision—like helmets for digital life. [18:18] A recent incident with my own son that Bark helped me catch early. [19:09] The urgency of protecting our kids from online predators. [19:32] Directing listeners to the show notes and resources at thedadedge.com/1412. [20:10] Additional resources including PenTester, YouTube links, and conversation guides. [20:27] Free "Conversations for the Car" PDF for kids ages 5–18. [20:45] Encouragement for parents: we fight this fight together.       Five Key Takeaways Predators are organized, trained, and global. Kids on gaming systems are interacting with far more than just "friends."  Sextortion happens extremely fast. In Ryan's case, the window from first contact to death was only hours.  Swatting is no longer just a gaming prank—it's deadly. The Andrew Finch tragedy shows how quickly it can turn fatal.  Parents must stay vigilant, informed, and engaged. Safety now requires ongoing conversations and digital monitoring.  Tools like Bark can save lives. Monitoring texts, DMs, and online chats can catch danger long before it escalates.      Links & Resources Mentioned   Bark Monitoring for Families: https://thedadedge.com/bark Ryan Montgomery Episode: https://open.spotify.com/episode/2GPd36fFPuLsBSlZp6WUvc?si=BPYACSoWRRin9MatFHMGbg Facebook Story Referenced in Episode: https://www.facebook.com/story.php?story_fbid=32876961955250751&id=100000911118224&mibextid=wwXIfr&rdid=nnmVU8LFIdec2oLO# PenTester (Ryan Montgomery's Cybersecurity Site): https://pentester.com/ Ryan Montgomery's YouTube Channel (@0dayCTF): https://www.youtube.com/@0dayCTF NBC Bay Area News — Sextortion Case of San Jose Teen: https://www.nbcbayarea.com/news/local/4-arrested-sextortion-san-jose-teen-suicide/3865298/?utm_source=chatgpt.com ABC News — Swatting Incident Leading to Andrew Finch's Death: https://abcnews.go.com/US/la-man-arrested-swatting-incident-led-police-killing/story?id=52057251&utm_source=chatgpt.com Podcast Episode Shownotes: http://thedadedge.com/1412   Closing Remark If this episode helped open your eyes to the realities our kids face online, please take a moment to rate, review, follow, and share the show. Together, we can protect our kids and make the digital world a safer place for every family.

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Have you ever felt like other people understand power better than you do — like they know the rules of the game and you don't? In this episode, I sit down with The 48 Laws of Power author Robert Greene to talk about what power really is, how to use it without becoming manipulative, and why feeling powerless can quietly wreck your life. We get into communication, self-love, boundaries, and how to spot people who don't have your best interests at heart, plus a preview of his new book The Law of the Sublime and what surviving a near-death experience taught him about appreciating life. Order The Next Conversation Workbook: https://www.jeffersonfisher.com/workbook Thank you to our sponsors: Cozy Earth. Upgrade Your Every Day. Get 40% off at cozyearth.com/jefferson or use code JEFFERSON at check out. Monarch Money. 50% off your first year at https://monarchmoney.com/jefferson  Momentous. Visit https://www.livemomentous.com/ and use code JEFFERSON for 35% off your first order. BetterHelp. Click ⁠https://betterhelp.com/jeffersonfisher⁠ for a discount on your first month of therapy. Order my new book, The Next Conversation, or listen to the full audiobook today. Like what you hear? Don't forget to subscribe and leave a 5-star review! Suggest a topic or ask a question for me to answer on the show!  Want a FREE communication tip each week? Click here to join my newsletter.  Join My School of Communication Watch my podcast on YouTube  Follow me on Instagram  Follow me on TikTok Follow me on LinkedIn Learn more about your ad choices. Visit megaphone.fm/adchoices

In today's episode the boys break down Ryans questionable snapchats, Black mold in Cjs House, Ken turning into heavy D, did Gavin make the right decision with his truck, Micah being a hater, Ryans Girlfriend winning chilli Cookoff, White Monster Tattoo and Launching our Gear Brand Sign up for your $1 per month trail at https://www.shopify.com/wideopen Protect your family with life insurance from Ethos. Get up to $3 million in coverage in as little as 10 minutes at https://ethos.com/WIDEOPEN. Application times may vary. Rates may vary. Visit https://prizepicks.onelink.me/LME0/WIDEOPEN and use code WIDEOPEN and get $50 in lineups when you play your first $5 lineup! Get $10 Off at BRUNT with code LWO at https://www.bruntworkwear.com/LWO #Bruntpod  New customers get 50% Off with code WIDEOPEN at https://www.GLD.com To watch the podcast on YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bit.ly/LifeWideOpenYT⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Don't forget to subscribe to the podcast for free wherever you're listening or by using this link: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bit.ly/LifeWideOpenWithCboysTV⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you like the show, telling a friend about it would be amazing! You can text, email, Tweet, or send this link to a friend: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bit.ly/LifeWideOpenWithCboysTV⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ You can also check out our main YouTube channel CboysTV: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/c/CboysTV⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit podcastchoices.com/adchoices

It's been an unprecedented year in fashion. 16 designers rebooted 15 labels in September causing one of the biggest shakeups in fashion history, Labubus took over the world, and Kendrick Lamar's Celine flared jeans stirred up the discourse.Today on the show, we invited Virginia Smith, Vogue's Global Head of Fashion Network, and Laia Garcia-Furtado, Senior Fashion News Editor at Vogue Runway, to break down all the biggest moments from a massive year in fashion.“Awar closing the Chanel show was my fashion moment of the year because it encapsulated so many great things,” Smith said. “It was really something I have not witnessed very many times in my very long career of attending shows.”Another major collection was Dario Vitale's debut at Versace. Vitale was our reader's 3rd favorite designer of the year, after Blazy at Chanel and Jonathan Anderson at Dior. “Immediately I saw the show and thought, “this is how I want to dress.” said Garcia-Furtado. “As soon as the show ended, I went on The RealReal and bought a pair of Versus jeans within minutes.”Plus, tune in to hear what our editors are looking forward to in 2026.The Run-Through with Vogue is your go-to podcast where fashion meets culture. Hosted by Chloe Malle, Head of Editorial Content, Vogue U.S.; Chioma Nnadi, Head of British Vogue; and Nicole Phelps, Director of Vogue Runway, each episode features the latest fashion news and exclusive designer and celebrity interviews. Learn about your ad choices: dovetail.prx.org/ad-choices

3 Choices When You're Thinking About Starting a Cash PT Clinic In this episode, Doc Danny Matta breaks down the real decision points for clinicians who are thinking about starting their own cash-based practice. He explains why staying stuck in "research mode" is dangerous, what it actually takes to make the leap, and the three clear paths you can choose—staying employed, going solo, or getting guided support. Quick Ask If this episode helps you get clarity on your next move, share it with another clinician who's on the fence about starting a practice—and tag @dannymattaPT so he can see what resonated with you. Episode Summary Claire math: If Claire saves a staff PT 6 hours/week, even using 3 of those for patient visits at $200/visit can add ~$30k/year in revenue per clinician. Why decisions feel awful: Danny compares making a big move (like starting a clinic) to knowing you're about to throw up—you dread it, but feel better once it's done. The real problem: Most people hide in endless "learning" (podcasts, books, courses) instead of making an actual decision. 3 choices you actually have: Stay in your current role and own that decision. Go the DIY route and figure business out alone. Get guided support from people who've already done it. Who shouldn't start a clinic: Highly risk-averse, conflict-avoidant, or extremely introverted clinicians may be better off in a great employed role. The trap of DIY: Going solo usually means slower progress, more expensive mistakes, more stress, and more risk for your family. The case for mentorship: Guided support is like residency/fellowship for business—it speeds up results and increases your odds of success. Why this is serious: Your business is how you pay rent, buy groceries, and take care of your family—treat it like it matters. Decision purgatory: Staying stuck in "maybe" is the worst place to live—nothing changes, and frustration grows. Lessons & Takeaways Indecision is a decision: Avoiding a choice is still choosing—the status quo wins by default. Acceptance can be powerful: If you stay employed, own it, and aim to be world-class—not secretly resentful. DIY has a cost: You'll likely spend more time, more money, and experience more stress figuring everything out on your own. Guided support = faster, safer: Proven systems and mentorship are like insurance for one of the biggest financial decisions of your life. Business is a skill set: Just like clinical skills, business skills can be learned with the right teachers and reps. Mindset & Motivation Stop chasing greener grass: Comparing yourself to other owners while doing nothing is a recipe for misery. Own your path: Whether you're an employed PT or a clinic owner, commit to excellence in the lane you choose. Respect the risk: When your business feeds your family, being "proudly stubborn" is not a strategy—it's a liability. Decisiveness is a superpower: Successful entrepreneurs make decisions, take action, and adjust as they go. Pro Tips for Clinicians on the Fence Be brutally honest: Do you truly want to be a business owner, or do you just want a better job? Know your wiring: If you hate uncertainty and change, ownership may not be the right move right now. Count the real cost: Time, money, stress, and impact on your family—not just the price of a program or course. Treat support like insurance: Mentorship isn't cheating; it's reducing the odds that you crash your business (and savings) in the first few years. Get out of research purgatory: Podcasts and books are great—but only if they eventually lead to action. How Claire Fits In Save clinician time: Claire is saving staff clinicians about six hours a week on documentation. Turn time into revenue: Even converting half that into extra patient visits can generate ~$30,000 per clinician per year. Protect your team: Use tech to increase volume without burning clinicians out. Try it free: Test Claire with a 7-day free trial at MeetClaire AI. Notable Quotes "If nothing changes, nothing changes." "For some of you, you have no business starting a clinic—and that's okay." "Guided support is basically residency and fellowship for your business." "Purgatory for your future is endlessly gathering information and never making a decision." Action Items Decide your lane: Are you going to stay employed, go DIY, or pursue guided support? Audit your reasons: Write down why you actually want a clinic—is it meaning, freedom, income, or all of the above? Count the risk: Look at your family, your bills, and your responsibilities. What level of risk are you really willing to take? Set a deadline: Give yourself a hard date to decide and take your first concrete step. Explore support options: If guided help makes sense, look into programs built specifically for cash PT clinic owners. Programs Mentioned PT Biz Part-Time to Full-Time 5-Day Challenge (Free): Get crystal clear on your numbers, your plan, and the steps to replace your income and go all-in on your practice. Join here. Resources & Links PT Biz Website Free 5-Day PT Biz Challenge MeetClaire AI — Free 7-day trial for PTs About the Host: Doc Danny Matta is a physical therapist, entrepreneur, and founder of PT Biz and Athlete's Potential. He's helped over 1,000 clinicians start, grow, and scale successful cash practices and is committed to helping PTs build businesses that support real time and financial freedom.

In December 2025, we celebrate something special—twenty years of this podcast, which first launched as Accidental Creative in December 2005. We reflect on how starting, even with imperfect beginnings, is an essential part of a creative journey. In this episode, we draw insights from the book Daily Creative, sharing a series of thought-provoking essays designed for creative professionals navigating the end of the year.We explore themes from balance and priorities (Rubber and Glass Balls), beginner's mindset (Just One Song), the power of working from what's known (The Edge Pieces), and the importance of knowing what “actual work” is (When You're Working). Each essay comes with a practical application question to help leaders and creative pros pause, reflect, and reset for the coming year.If you're looking for a ritual or rhythm to keep your creative juices flowing and your mindset sharp, this episode is packed with reminders and prompts to help you refocus and get ready for fresh challenges ahead.Five Key Learnings:Starting Imperfectly Is Essential: Early creative work will rarely be polished, but the act of beginning is what opens the door to growth and excellence.Protect the Fragile Elements of Life: Not everything rebounds after a setback; relationships, health, friendships, and spirit deserve proactive care and attention.Approach Work Like a Beginner: Tackling each project with fresh enthusiasm and curiosity ignites new insights, regardless of past experience.Solve Problems Starting With What You Know: Like edge pieces in a puzzle, letting your certainties frame the unknowns brings clarity to complex creative challenges.Distinguish Busyness from True Work: Knowing which activities actually create value helps redirect energy away from distraction and toward your core genius.Get full interviews and bonus content for free! Just join the list at DailyCreativePlus.com.Mentioned in this episode:Apply for Creative Leader Roundtable Every creative team needs a leader who's brave, focused, and brilliant, but none of us get there alone. The Creative Leader Roundtable is your place to connect with peers, sharpen your leadership craft, and stay inspired for the long haul. We're about to launch with a brand new group of leaders. So, if you're interested, visit CreativeLeader.net to learn more and to apply. Great leadership is a practice, not an accident.

Today, you and I will face things that will threaten our faith, especially our faith in God's protection. You might be worried about your marriage, the decisions your children are making, the future of your career, the economy, or even your physical safety. You might be worried about your retirement account, the increase in crime in your neighborhood, or an upcoming medical test. There are so many things that threaten our faith in God's protection.Main Points:1. First, remembering God's past protection inspires us to believe God will protect us in the present and future. Remembering what God has already done inspires confidence in God's future faithfulness. 2. Second, David knows the power of verbalizing his faith. He worships out loud. In Psalm 27:6, David says, “I will sing, yes, I will sing praises to the Lord.” By writing down this Psalm, he is declaring what he believes about God. In doing both of these things, he is encouraging his own soul in the Lord.3. You and I can do this today. No matter what you are facing, put your faith in God and in His power to protect you. Today's Scripture Verses:Psalm 27:1-2 - “The Lord is my light and my salvation; Whom shall I fear? The Lord is the strength of my life; Of whom shall I be afraid? When the wicked came against me To eat up my flesh, My enemies and foes, They stumbled and fell. Though an army may encamp against me, My heart shall not fear; Though war may rise against me, In this I will be confident.”Quick Links:Donate to support this podcastLeave a review on Apple PodcastsGet a copy of The 5 Minute Discipleship JournalConnect on SocialJoin The 5 Minute Discipleship Facebook Group

Why Client Poaching Isn't the Real Problem in Your Studio (and What To Fix Instead)Hosted by: Christa Gurka, PT, OCS | Fit Biz StrategiesIf you've ever panicked because a client followed an instructor out the door… or you've worried that an instructor is “stealing” clients… this episode is going to flip that narrative on its head.Inside our boutique fitness and wellness studios, client poaching feels personal — but it's actually a symptom of deeper operational issues. And the good news? You can fix them.In today's episode, Christa breaks down why poaching happens, what's really driving client loyalty (hint: it's not what you think), and how to build a brand-first, team-centered system that keeps clients AND instructors loyal to your studio — not just one star player.Whether you run a Pilates studio, private practice PT clinic, yoga studio, or any wellness brick-and-mortar, this is a MUST-listen as you head into 2026.✨ What You'll Learn in This EpisodeWhy “client poaching” is not an instructor problem — it's a systems problemThe #1 hiring mistake most studio owners make (and how it leads to client loss later)How unclear onboarding creates blurred boundaries, confusion, and client attachment to individualsWhy clients start identifying instructors — not your studio — as the “product”How to flip your culture from star instructors to one cohesive teamWhat healthy studio ecosystems look like (and what broken ones look like)The systems Christa used at Pilates in the Grove to maintain brand loyaltyExactly what expectations, policies, and boundaries need to be in placeHow to create a culture where clients feel connected to the brand, not one personThe essential contracts every studio should have (even with ICs!)Leadership questions to ask yourself before blaming an instructorWhy 2026 must be the year you build or rebuild your foundations

In celebration of their new record, "Mirror Touch," Myke Terry of Volumes joins the show to talk about video games that shaped his childhood, gems on Netflix and Paramount+, and what TV shows dominate his free time when he's not on the road.EARGASM Use the code METALCORENERDS to save 10% off your order. Protect your hearing while still enjoying the music you love.Support Volumes!Pre-Order 'Mirror Touch' | Instagram | Facebook | SpotifySong of the Week: Nate Vickers "Don't Look Down"Check out the Metalcore Nerds Pull List Spotify PlaylistJoin the Metalcore Nerds Community:Discord | FB GroupFollow Metalcore Nerds on Social Media:Facebook | Instagram | Twitter | YouTube | TikTok

Great leaders aren't defined by how loudly they speak— but by how strong their team becomes because of them. Show Notes — "Lead From the Front—and the Back" In today's episode, Baylor breaks down what real leadership looks like as we move into 2026—not the title, not the spotlight, but the standard you set and the people you surround yourself with. He challenges you to evaluate your circle: Are these quality people? Do they have integrity? Do they help move you forward—and do you help move them? Baylor explains why true leaders don't cling to the front position. They lead when they need to lead, support when they need to support, and create teams that focus on the objective, not job titles, finger-pointing, or ego. From cheering the loudest for others' success to recognizing when your mentee rises to your level, Baylor shows how a leader's true legacy is measured by the people they elevate. And as he reminds us—your inner circle shouldn't be open enrollment. Protect the standard. Protect the culture. Build a circle that earns the right to grow with you. What You'll Learn Why great teams focus on objectives, not job titles How real leaders switch between leading and supporting Why cheering for others' success strengthens your leadership How your standard becomes your team's standard The importance of keeping your circle selective and intentional Featured Quote "A true leader doesn't just rise—they raise everyone around them."

In the first part of our interview with legendary director James Cameron, he explained his actor-driven approach to performance capture and why human nuance is still at the core of great storytelling. In this second half, Cameron goes deeper into the promises and risks of A.I., where he believes the line sits between helpful innovation and harmful replacement. He talks about what Hollywood must stand guard over as these tools accelerate. And yes, he talks about Skynet and why The Terminator feels a lot less hypothetical today than it did in 1984. *The views expressed by guests are their own and do not necessarily reflect the views of their organization or SAG-AFTRA. Any mention of products or services does not imply endorsement.

James Cameron has spent four decades pushing filmmaking technology forward, but at the core of his work is something deeply human. In this video, the Oscar-winning director of Terminator, Aliens, Titanic and the Avatar films (Avatar: Fire and Ash opens December 19) talks about why performance capture is the "purest form of cinema acting," why he refuses to use generative A.I. for scripts and actors' performances, and how safety and trust guide every set he runs. The man who dreamed up Skynet also explains what kind of A.I. boundaries the industry urgently needs to put in place. *The views expressed by guests are their own and do not necessarily reflect the views of their organization or SAG-AFTRA. Any mention of products or services does not imply endorsement.

This week, in Episode 273, David C. Barnett, Paul Downs, and Sarah Segal tackle health insurance, one of the least enjoyable issues business owners confront. It's renewal season, and the three owners are seeing different systems, different pressures, but similar frustrations. Paul tells us he's facing the largest premium increases he's seen since the Affordable Care Act—double-digit hikes that will cost him an extra $15,000 to $25,000 next year. Sarah hasn't received her numbers yet, but she's preparing for the worst. And David gives us a cross-border view from Canada, where universal coverage eliminates the pricing drama but introduces its own set of complications. It's a candid conversation about what's responsible, what's sustainable, and what business owners are supposed to do when the numbers don't leave good options. Plus: We also talk about what it takes to get a business ready to be sold. While BizBuySell recently reported that more owners are looking to get out—even if it means dropping their asking price—that's not exactly what David is seeing in the marketplace. “The truth is that small businesses sell for relatively low multiples of cash flow,” he says. “And so, the real benefit is not actually in the exit. It's in the owning.”

The College Football Playoff bracket is revealed, and BYU isn't in it. President Trump wonders why President Zelenskyy hasn't read the proposed peace plan for the war between Ukraine and Russia. The Somali-connected fraud being uncovered in the state of Minnesota is big and getting bigger. Ungrateful immigrants express disdain for the country they have migrated to. A man has swallowed a Faberge egg. Birthright citizenship is going before the Supreme Court. Explaining the legality of the drug-boat attacks in 90 seconds. CNN calls out Democrat senator over drug-boat comments. Former President Joe Biden mumbles and stumbles his way through a speech. New York City Mayor-elect Zohran Mamdani shares tips on how to evade ICE. Thailand and Cambodia back at war?? Vaccine schedule for infants in America to change. FIFA and the world of soccer honor President Trump. GOP to extend Obamacare subsidies. Trouble in the African nation of Benin is short-lived. 00:00 Pat Gray UNLEASHED! 00:13 BYU Texas Tech Update 10:37 President Trump on Russia-Ukraine Peace Proposal 12:27 President Trump is Obsessed with Ilhan Omar? 12:55 Ilhan Omar Calls Somali Fraud Allegations False 15:46 Ilhan Omar on Stephen Miller 19:10 Stephen Miller Explains Somali Fraud 21:30 Bill Glahn Explains How to Commit Fraud? 27:08 Deqa Dhalac Criticizes America 28:07 Mana Abdi on Living in the US 34:45 Fat Five 50:14 Eric Schmitt Pushes Back against George Stephanopoulos 55:02 Tammy Duckworth Lies about Narco-Terrorist Boat Strike Video 57:25 Joe Biden Wants to Protect the Constitution? 59:19 Biden Forgets his Press Secretary 1:00:37 The United States of "Ameri-Got It" 1:05:56 FLASHBACK: Obama & Biden on Immigration 1:07:42 62,000 Children Found by the Trump Administration 1:08:53 Zohran Mamdani has Tips on How to Deal with ICE 1:13:47 Thailand & Cambodia Conflict Resumes 1:15:59 Hepatitis B Vaccine is No More? 1:18:04 RFK Jr. on Hepatitis B Vaccine History 1:20:51 President Trump on Football VS. Soccer Name 1:21:57 President Trump Draws USA 1:23:45 President Trump Receives FIFA Peace Prize 1:25:52 FIFA President on World Peace Learn more about your ad choices. Visit megaphone.fm/adchoices

On Today's Show: Dennis discusses the importance of raising children in today’s complex world in his eloquent and inimitable style. Children should be allowed to remain innocent as long as possible, Dennis contends. Parents should do everything in their power to ensure this. But it’s not easy to be a parent today.See omnystudio.com/listener for privacy information.

Judges go soft on UK grooming gang rapists, citing "community standing." The panel slams the media's silence, Piers Morgan's evasions, and the brutal reality victims face. Is this justice or cowardice disguised as tolerance?

Silver is flashing every warning sign in the global financial system! 
In only the last 30 days we've seen:


Your hormones are not separate from your life. They're responding to it. And nothing reveals that more clearly than the holiday season. Every year, women take on more—more planning, more emotional labor, more mental load, more pressure to make everything magical. And we tell ourselves it's "just busy," but physiologically, there's so much more happening beneath the surface. When your schedule gets unpredictable, your meals get irregular, or your sleep gets pushed aside, your cortisol rises. When cortisol rises, progesterone dips. And when progesterone dips, you feel it: heavier PMS, shorter tempers, disrupted sleep, more cravings, more bloating, more mood swings. This episode is about understanding why the holidays hit your body the way they do—and how to protect yourself without throwing out the joy of the season. I'm sharing the simple shifts that matter most: – Why boundaries are hormone regulation, not selfishness – How rest stabilizes cortisol faster than any supplement – Why simplifying meals reduces inflammation and digestive stress – How overstimulation impacts sleep cycles and adrenal function – And why ease—not perfection—is the most supportive thing for your hormones right now This isn't about doing the holidays "right." It's about no longer abandoning yourself in the process. Because when you understand what your body needs—especially during the most demanding season of the year—you don't just protect your hormones… you protect your experience, your energy, and the memories you actually want to be part of. If you've ever wondered why you hit January feeling depleted, this episode will finally make it make sense.  And if you're listening and thinking, "I need deeper support than holiday tips," that's exactly what the 1:1 VIP program is for. It's the highest level of care I offer—personalized testing, custom protocols, and direct access to me so we can uncover what your body actually needs and help you rebuild from the inside out. If this season has you realizing it's time for a different level of support, you can learn more here: https://drbethwestie.com/jumpstart-program/

What if the things you trust most are the very things wearing you down? This episode pulls back the curtain on hidden health risks, a CPS system parents need to understand, and the spiritual noise that keeps you too overwhelmed to hear God clearly. If you're ready to protect your body, your family, and your spirit, this is the episode to slow down and listen to.   0:58–22:39 | Hidden Toxins & How to Strengthen Your Body What if the health basics you rely on are actually weakening your immunity? In a two-part conversation, Dr. Lee Merritt breaks down the everyday toxins people overlook and how stress and overmedication affect the body. She explains simple, God-made ways to support your immune system and stay strong through the season without fear.   22:40–34:26 | Missing Kids & the Fight for Parental Rights What if the agency meant to protect children is removing them from good homes? ​Diego Rodriguez exposes how CPS targets families, how children vanish into the system, and why parents must be vigilant about their rights. He shares real cases, warning signs, and what every family should know to stay protected and empowered.   34:27–43:02 | Stillness, Discernment & Asking Bigger When was the last time you slowed down long enough to hear God? Shemane opens up about unplugging from the noise to find clarity, peace, and direction again. Pastor Anthony Thomas shares a powerful message on inviting God into the silence, trusting His nature, and asking Him for greater things without hesitation. Resources Dr. Lee Merritt —  Website: themedicalrebel.com   Diego Rodriguez —  Rumble: Never In America   Pastor Anthony Thomas —  Website: TipOfTheSpearChurch.org Rumble: Tip of the Spear Church    Sponsors Watch Faith & Freedom every Sunday,  10 am EST on Real America's Voice https://americasvoice.news/playlists/faith-and-freedom-with-shemane/   Protect yourself with EMP Shield  Use the promo code "SHEMANE"    Activate stem cells & reset your body's clock  at https://lifewave.com/shemane  Please send product inquiries to: shemane.lifewave@gmail.com    Organic natural products to help your family thrive with  https://www.rowecasaorganics.com/Shemane and use the promo code FAITH   Use promo code "FAITH" To Purchase "My Pillow" at  https://www.mypillow.com/  or call 800-933-6972 Use promo code "FAITH"    Use promo code "FREEDOM" to receive 20% off your first order at https://brickhousenutrition.com/collections/field-of-greens    Check out Shemane's new programs https://shemanenugent.rocks/fit-n-fabulous-starter-pack https://shemanenugent.rocks/faith-fuel-21day-daily-devo    Check out Shemane's books: Purchase Shemane's New Book 'Abundantly Well' on Amazon https://www.amazon.com/Abundantly-Well-Bible-Based-Increased-Vibrant/dp/1680999249   Purchase Shemane's new #1 Bestseller 'Killer House': https://www.amazon.com/Killer-House-Air-Your-Killing/dp/B0C5GK5RB7 4 Minutes to Happy: https://www.amazon.com/Minutes-Happy-Happier-Healthier-Dreams/dp/1642795895 Kill It and Grill It Cookbook: https://www.amazon.com/Kill-Grill-Guide-Preparing-Cooking/dp/1621575829   Connect with Shemane: Send your questions, suggestions, positive feedback (!!) & funny pet videos to shemane.chat@gmail.com  Watch Killer House Documentary: https://www.killerhouse.org Get Wildly Well at https://www.shemanenugent.rocks Shemane's Social Media: Instagram: @shemanenugent Youtube: /shemane Truth Social @Shemane Facebook: @shemane.nugent

Online business coaching has gotten chaotic in a very specific way. Too many people are selling support they are not qualified to give, recycling the same scripts, leaning on borrowed credibility, and creating this MLM adjacent loop where coaches hire other coaches just to stay afloat. Meanwhile buyers are left confused, pressured, or wondering why something felt off.In this episode I'm joined by my business bestie Stacy Braga and we talk about why the coaching space feels out of control, how shame gets used to pressure people into programs, how “mindset” gets used to deflect real problems, why so many strategies have not evolved with buyers, and what actually helps you make better decisions before investing in anyone.Inside the episode we cover:• How shame gets used as a pressure tactic• How “mindset” gets positioned as the reason something didn't work• Why fake urgency still hooks people who know better• The inbreeding effect of coaches coaching coaches• How borrowed credibility shows up in marketing• Parasocial friendship pressure and why it feels manipulative• What ethical support actually looks like• What to ask before you invest so you can protect yourselfMENTIONED IN THIS EPISODE:Connect with Stacy online: www.stacybragacopy.comListen to Stacy's podcast: CozyPreneur PodcastConnect with Sydney on Instagram: @sydneyobrien.coGrab the Buyer Journey Content Map

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

We're joined by the great Mark Leibovich from The Atlantic to run through some of the wild stories fresh out of Washington. Secretary of War Pete Hegseth is facing criticisms on multiple fronts: Not only was it reported that he ordered the killing of two survivors from a bombed alleged drug trafficking boat, a Pentagon Inspector General also found that he put American troops' lives in danger with his reckless messages on Signal. Could we see Trump turn on Hegseth? We also recap the marathon Cabinet meeting. Secretary of State Marco Rubio spent his time kissing Trump's ass, and Trump (when he was awake) broke out into an maliciously racist rant about Somalis. Plus, we talk MORE shady pardons (including the former Honduran President and convicted drug trafficker), Trump's sinking approval ratings, and Dick Cheney! READ Mark's writing in The Atlantic: https://www.theatlantic.com/author/mark-leibovich/ Protect yourself and your family from cybercrime this holiday season with 75% off from our sponsor Webroot! https://www.webroot.com/franken Visit our sponsor OneSkin for all of your skincare needs! Use the code FRANKEN at checkout to get 15% off of your order: https://www.oneskin.co/FRANKEN Get 10% off your first order from Graza Olive Oil. Use the code FRANKEN at checkout: https://partners.graza.co/FRANKEN Visit our sponsor Ghostbed and get 25% off of your purchase. Use the code FRANKEN at checkout: https://www.ghostbed.com/Franken

For a certain kind of political obsessive, the Trumpworld dispatches penned by Olivia Nuzzi in the first term were almost too on-the-nose. Still in her 20s then, her ability to paint the distorted, distorting figures that inhabited the era in prose was always interesting and often revelatory. And then, she fell in love with a subject, then-presidential candidate Robert F. Kennedy Jr., and her life, her job, and her engagement to fellow journalist Ryan Lizza imploded. A year on, the release of a memoir purportedly about these events has her back in the news, but absolutely nothing is going according to plan.Want early, ad-free episodes, regular Dumpster Dives, bonus divorces, limited series, Zoom hangouts, and more? Join us at patreon.com/trashydivorces!SponsorsIncogni. Protect your personal information from scammers, spammers, and data brokers – with 60% off an annual plan at incogni.com/trashy.Uncommon Goods. Get 15% off your next gift at uncommongoods.com/trashy!Aura Frames. Get $35 off Aura's best-selling Carver Mat frames by using promo code TRASHY at checkout at auraframes.com.Want a personalized message for someone in your life? Check us out on Cameo!To advertise on our podcast, please reach out to info@amplitudemediapartners.com.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

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In this episode, Bryce welcomes back AJ Rice — publicist, strategist, and, “center of the MAGA cinematic universe.” AJ pulls back the curtain on the chaos, characters, and culture wars shaping American politics right now. From Trump’s cabinet-as-casting-call approach, to the fractures on the right, to why today’s political battles look more like Shakespearean theater than anything else… AJ breaks it all down. They dive into:• The rise of disruptors reshaping the political landscape• Why Trump’s coalition worked — and what threatens it now• The internal fights happening inside the conservative movement• How censorship, culture, and comedy are more intertwined than ever• And yes… the meaning behind White Privilege Christmas

PODCAST: This Week in Amateur Radio Edition #1397 - Full Version (With repeater ID breaks every 10 minutes) Release Date: December 6, 2025 Here is a summary of the news trending...This Week in Amateur Radio. This week's edition is anchored by ordan Kurtz, KE9BPO, Denny Haight, NZ8D, Marvin Turner, W0MET, Ed Johnson, W2PH, Don Hulick, K2ATJ, Will Rogers, K5WLR, Eric Zittel, KD2RJX, Chris Perrine, KB2FAF, Mike Nikolich, N9OVQ, George Bowen, W2XBS, and Jessica Bowen, KC2VWX Produced and edited by George Bowen, W2XBS Approximate Running Time: 1:42:09 Podcast Download: https://bit.ly/TWIAR1397 Trending headlines in this week's bulletin service 1. AMSAT: Registration Is Open For The 2025–2026 European Astro Pi Challenge 2. AMSAT: Optical Communications Systems Test the Limits of FCC Authority 3. AMSAT: REALOP CubeSat To Test Hard Drives For ADC System 4. AMSAT: Satellite Shorts From All Over 5. WIA: What Has 5000 Batteries and Floats? 6. WIA: NASA Deep Space Antenna Suffers Rotation Damage 7. FCC: FCC Extends Dates For Comments On Transitioning Voice Telephone Services To All IP 8. FCC: FCC Closes More Than 2,000 Inactive Proceedings 9. FCC: FCC Urges Action After Obscene Material Airs In Hack 10. TvT: China To Host International Telecommunications Union World Radiocommunication Conference '27 11. ARRL: Space Sailors Seeking Download Help From Ham Radio Operators 12. ARRL: The 2024 ARRL Annual Report: Promote, Protect, Inspire, Educate 13. ARRL: Orlando HamCation Award Winners Announced 14. ARRL: Teachers Institute Telethon Raises Over $23,000 15. ARRL: Send A Holiday Radiogram 16. ARRL: Radio Amateur Society of Norfolk, Virginia Awarded $12,000 Grant 17. ARRL: Joe Walsh, WB6ACU, Is Getting Ready For A Very Personal Auction 18. ARRL: HamSci Is Seeking Monitors For Upcoming Meteor Scatter Experiments 19. Short Range UHF Radios In Germany Face New Restrictions 20. Two Silent Keys: John Walker, ZL3IB and Ganesh Subramaniam, VU2TS 21. Radio Transmissions And Aurora's Are Linked 22. Students Face The European Space Agency Challenge Of Computing In Space 23. Woman Lost In Bangladesh Is Assisted By Indian Amateurs 24. ARRL: Pacificon 2025 picture album is now available on line 25: Upcoming RadioSport Contest Listings and Regional Convention Listings 26: Monthly Volunteer Monitoring Report. 27. RSGB: The Radio Society of Great Britain is looking for a Volunteer Accessibility Champion 28. AMSAT: SO-124 is nearing the end of orbital life 29. FCC: FCC deletes 21 obsolete rules and regulations 30. ARRL: 2025 ARRL Board of Directors election results are announced 31. ARRL: ARRL VEC has now completed processing most of the backlog 0f 2500+ license applications 32. ARRL: December is Youth On The Air Month (YOTA) 33. ARRL: Santa Net 2025 Is Now On The Air 34. RSGB: UK Regulator takes steps to ensure disabled amateurs are not excluded 35. FCC: FCC says hackers have hijacked US radio STL using Barix IP to send fake alerts Plus these Special Features This Week: * Working Amateur Radio Satellites with Bruce Paige, KK5DO - AMSAT Satellite News * Foundations of Amateur Radio with Onno Benschop VK6FLAB, will propose a few solutions when you are Having Problems With Logging. * The DX Corner with Bill Salyers, AJ8B with with all the latest news on DXpeditions, DX, upcoming radio sport contests, and a lot more.. * Weekly Propagation Forecast from the ARRL * Our own amateur radio historian, Will Rogers, K5WLR, is here with another brand new edition of A Century of Amateur Radio. This week, Will takes us all aboard The Wayback Machine to the mid 1920's as amateurs were rapidly coming to appreciate that there was something strange and unexpected about the shorter wavelengths. Clearly, it was time to press on downward, but their hands were somewhat tied by the lack of an allocation in this unused, unexplored territory. This is Part One of a two part episode titled, "Onward, Downward". ----- Full Podcast (ID breaks every 10 mins for use on ham frequencies): https://www.twiar.net/twiarpodcast.rss Full Podcast (No ID Breaks for LPFM or personal listening): https://www.twiar.net/twiarpodcastlpfm.rss Truncated Podcast (Approximately 1 hour in length): https://www.twiar.net/twiarpodcast60.rss Website: https://www.twiar.net X: https://x.com/TWIAR Bluesky: https://bsky.app/profile/twiar.bsky.social Facebook: https://www.facebook.com/groups/twiari YouTube: https://www.youtube.com/playlist?list=PLQdPO6QkZJ1eIvw6-EQWQPgogVNiZim4u RSS News: https://twiar.net/?feed=rss2 Automated (Full Static file, updated weekly): https://twiar.net/TWIARHAM.mp3 Automated (1-hour Static file, updated weekly): https://www.twiar.net/TWIAR1HR.mp3 This Week in Amateur Radio is produced by Community Video Associates in upstate New York, and is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License. If you would like to volunteer with us as a news anchor or special segment producer please get in touch with our Executive Producer, George, via email at w2xbs77@gmail.com. Thanks to FortifiedNet.net for the server space! Thanks to Archive.org for the audio space.

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Play audio-only episode | Play video episode | Play on YouTube | Play on Spotify Click above to play either the audio-only episode or video episode in a new window. Episode Summary Subtle problems often start long before a project shows obvious signs of distress. Leaders feel the pressure to deliver momentum, teams shift toward activity over outcomes, and stakeholders slowly fade as competing priorities pull them away. In this conversation, Matthew Oleniuk brings his experience from overseeing large public sector projects and highlights seven early indicators that signal when a project is heading toward trouble. He explains why these issues are easy to ignore, how they quietly compound over time, and why strong leadership vigilance matters more than any dashboard color. He also describes how patterns like output beating outcome, performance theater, and risk box ticking show up in real projects and why they are so harmful when left unchallenged.

Joe Ard and Charles McFall take Wise_N_Nerdy live to Conjuration, teaming up with authors Ben Meeks and Bob McGough for a chaotic, dice-driven hangout where fatherhood, fandom, and the hustle of creative life collide. One roll of the dice and they're deep into “How do I start selling at conventions?” with Ben and Bob breaking down what really goes into turning your books and crafts into table-ready money-makers—black tablecloths, book stands, Square readers, newsletter clipboards, and the all-important reality check on why you're doing events in the first place.From there, the conversation swings through awkward booth encounters (including over-sharing would-be authors and roaming conspiracy conversationalists), the power of having the right table partner, and the difference between Artist Alley and the vendor hall when it comes to actual sales. They wrap things up debating the best movies to introduce kids to fantasy—think The Princess Bride, Labyrinth, NeverEnding Story, Willow, and more—before landing in a storm of skunk apes, dad jokes, and pure nerd-dad energy. If you're a creative, a parent, or just love convention culture, this one hits all the sweet spots.Actionable TakeawaysStart small: hit local art markets, craft fairs, and library events before dropping big money on multi-day conventions and hotel rooms.Build a basic booth kit: black tablecloth, simple book or product stands, and at least one easy way to take electronic payments (plus some cash change).Protect your algorithm: let friends and family buy in person, but focus your online sales and reviews on strangers who actually read your genre.Scout your cons: visit first, see where Authors Alley and vendor spaces actually sit, and choose the spot with real foot traffic—not just a hallway of passers-through.Partner with people who match your energy: share tables with folks who hustle like you do, so someone is always “on” while the other is on panels or taking a breather.Quote“As long as you're covering your costs, every con is worth it—if you're losing money, you've got to dig down and ask why.”— Bob McGoughFollow Be Awesome Together on YouTube, Facebook, Instagram, and TikTokThese notes are empowered by AI. ~Chad

YOU NEED TO SIGN THESE PETITIONS Erin Lee from Protect Kids Colorado is on today at 1:30 to talk about some pop up signing events for the three ballot initiatives they are gathering signatures for.

God's name is holy, and we are to proclaim His Word faithfully and live holy lives according to it. We not only watch our language but intentionally use our words to call upon God's Name in every trouble, pray, praise, and give thanks. “Help us to do this, dear Father in heaven!” We ask the LORD to keep us from speaking unholy words that do not glorify Him. “Protect us from this, heavenly Father!” To hallow is to praise, magnify, and honor Him in word and deed. Rev. Andy Wright, pastor of St. John Lutheran Church, Topeka, KS, joins Rev. Brady Finnern to study the 1st Petition of the Lord's Prayer. To learn more about St. John Lutheran, visit stjohnlcmstopeka.org. Find your copy of the Book of Concord - Concordia Reader's Edition at cph.org or read online at bookofconcord.org. Study the Lutheran Confession of Faith found in the Book of Concord with lively discussions led by host Rev. Brady Finnern, President of the LCMS Minnesota North District, and guest LCMS pastors. Join us as these Christ-confessing Concordians read through and discuss our Lutheran doctrine in the Book of Concord in order to gain a deeper understanding of our Lutheran faith and practical application for our vocations. Submit comments or questions to: listener@kfuo.org. 

Happy Holidays, everyone!This season can be especially triggering, so it's important to carry strong boundaries—particularly when dealing with narcissists who may try to dominate the spotlight, love-bomb with gifts, or create emotional chaos. Protect your energy by choosing how much access they get to you. In some cases, the healthiest choice may be avoiding them altogether. If you do attend gatherings, set yourself up for success: sit away from them, keep interactions brief, and stay in a calm, neutral “grey rock” mode. Avoid sharing personal feelings; instead, keep conversations light—commenting on the food works great. Remember, holidays often activate a narcissist's core wound of “never enough.” No matter how much they receive, it won't fill their emotional void, and you don't need to exhaust yourself trying. Preserve your energy and invest it in people who uplift you, create synergy, and enhance your life instead of draining you. Wishing you a joyful, peaceful holiday season—one where you are the cause of better outcomes in your life.

On this episode of the Great Outdoors with Don Dubuc, Don wonders how bad the weather has to get before sportsman decide to stay home. He checks in with duck hunters across the state, speculates if Lake Salvador might become a fishing hotspot sometime soon, and details LDWF's process in recruiting future game wardens with special guest Colonel Stephen Clark.

Is telling a white lie always the kind thing to do? In this episode, we explore pro-social lying — the kind of deception people use to preserve harmony, protect feelings, and avoid conflict. But is it always harmless? Or are we often just protecting ourselves from discomfort? Topics include: The psychology of white lies and emotional soothing The empathy-accuracy paradox How lies distort behavioural baselines When kindness crosses into manipulation The role of awareness and intention in everyday conversation This is a candid, thought-provoking episode on communication, behavioural intelligence, and what it really means to be kind. Access the free tier or go deeper with exclusive paid challenges: https://www.omniscient-insights.com/axiom https://www.omniscient-insights.com/community-home MERCH -- https://the-deductionist.myspreadshop.co.uk/all E-SCAPE GAME -- https://www.youtube.com/@thedeductionistteam Everything else you need -- https://linktr.ee/bencardall Music provided by https://robertjohncollinsmusic.com/` #BehaviouralIntelligence #ProsocialLying #whitelies #EmpathyVsAccuracy #emotionalawareness #communicationskills #EthicalLying #humanbehaviour #TruthAndKindness #psychologypodcast

Protect your investments with And We Know http://andweknow.com/gold Or call 720-605-3900, Tell them “LT” sent you. ————————— AT sea with LT. 2026. Caribbean: https://www.inspirationtravel.com/event/lt-caribbean-cruise-2026 ————————— ➜ Our AWK Website: https://www.andweknow.com/ ➜ AWK Shirts and gifts: https://shop.andweknow.com/ ------- *DONATIONS SITE: https://bit.ly/2Lgdrh5 *Mail your gift to: And We Know 30650 Rancho California Rd STE D406-123 (or D406-126) Temecula, CA 92591 ➜ AWK Shirts and gifts: https://shop.andweknow.com/ ➜ Audio Bible https://www.biblegateway.com/audio/mclean/kjv/1John.3.16 Connect with us in the following ways: + DISCORD Fellows: https://discord.gg/kMt8R2FC4z

Andy Schectman returns for another sharp and timely Friday Night Economic Review to break down the underreported economic realities that have shaped 2025. We dig into the millions of jobs already lost this year—levels now matching the 2020 pandemic collapse—and the additional million-plus layoffs projected for 2026. It's a crisis unfolding in real time, yet one almost no one in mainstream media will acknowledge.We also examine the explosive AI investment bubble gripping global markets. Even as this bubble shows the classic signs of an inevitable break, AI is fundamentally reshaping every corner of society—from labor and finance to geopolitics and culture. The transformation is already underway, and the economic shocks we're witnessing today are only the beginning. Andy and I connect the dots on what investors, businesses, and everyday Americans need to understand now.Protect your assets with a company you can trust - Get the private & better price list - Go to https://SarahWestall.com/MilesFranklinSee exclusives at https://SarahWestall.Substack.comBuy Anti Aging Peptide GHK-Cu:- Capsule form: https://www.limitlesslifenootropics.com/product/ghk-cu-capsules-2mg/?ref=vbWRE3J- Injectable: https://www.limitlesslifenootropics.com/product/ghk-cu/?ref=vbWRE3J- Nasal Spray: https://www.limitlesslifenootropics.com/product/ghk-cu-spray/?ref=vbWRE3J- use code "Sarah" to save 15% on all peptide purchasesCopyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.Disclaimer: "As a journalist, I report what significant newsmakers are claiming. I do not have the resources or time to fully investigate all claims. Stories and people interviewed are selected based on relevance, listener requests, and by suggestions of those I highly respect. It is the responsibility of each viewer to evaluate the facts presented and then research each story furtherSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Have you been feeling a bit overwhelmed and distracted all of a sudden? Well… it's not random. Some spiritual warfare comes because your peace and focus intimidates the enemy. So when all of a sudden you feel distractions come out of nowhere, it's a sign you're heading somewhere only God can take the credit for. Your spirit is renewed to a greater degree and your mind and soul is about to catch up. God sustained you and is carrying you forward, while the enemy wants you to stay backwards, mentally. Don't let the distraction and the feeling of overwhelm intimidate. Use it as fuel to dig deeper to God's word and His presence through prayer and worship. God's word will protect your focus and prepare you for the next season. For many of us, the Lord is wanting you to invest more time in prayer and in His word instead of writing down specific goals for the new year. Listen to this episode to keep yourself accountable to make time to protect your focus and remain in His peace. Ask the Holy Spirit for His help to do so. To support this podcast and our ministry, you're welcome to give via:  CashApp: $JLPNetwork  PayPal: paypal.me/JLPNetwork WebsiteIf you've been listening to our podcast over the years and have been blessed by our content and want to book a one-on-one session with me, visit our website, JLPNetwork.comI can't wait to partner with you and seeing you flourish in singlehood/ in relationships!Shop EmunahCulture's New Merch

Ever wondered where a traffic stop actually ends, or why a simple order to step out of the car can ignite a constitutional fight? We brought on a rare voice who has lived both sides of the badge—a former highway patrol sergeant turned Harvard Grad attorney, Anthony Bandiero—to demystify search and seizure with plain, usable rules. Together, we press into the places cops and citizens collide: Qualified Immunity, the moment a warning becomes a ticket, what Pennsylvania v. Mims truly permits, and how to handle speech without letting emotion drive enforcement.We move from the curb to the front door and into the yard, where curtilage is the most violated and least understood terrain. You'll hear a clean framework—consent, recognized exception, or warrant—for any search or seizure at a home, plus clear guidance on arrests at a suspect's domicile versus third-party residences under Steagald. We unpack real scenarios: loud backyard parties and exigency, knock-and-talks that drift into unlawful entry, and what “reason to believe” someone is present actually looks like.Then we widen the lens to modern surveillance. Flock cameras, fusion centers, and private feeds don't automatically trigger Katz today, but a mesh of cameras tracking your movement like virtual GPS might. We talk policy, FOIA pitfalls, and how agencies can protect privacy while still solving crime. And yes, we tackle qualified immunity—where it makes sense, where it fails, and why courts should be forced to answer whether a right was violated before awarding immunity. The fix isn't just legal; it's cultural: more training, better articulation, less ego. That's how you cut lawsuits, strengthen cases, and earn trust.If you care about the Fourth Amendment, practical policing, or simply understanding your rights, this conversation delivers clarity without the legal fog. Subscribe, share this episode with a friend who loves a good legal debate, and leave a review with the one rule you think every officer and citizen should know.send us a message! twocopsonedonut@yahoo.comPeregrine.io: Turn your worst detectives into Sherlock Holmes, head to Peregrine.io tell them Two Cops One Donut sent you or direct message me and I'll get you directly connected and skip the salesmen.Support the showPlease see our Youtube channel https://www.youtube.com/c/TwoCopsOneDonut Join our Discord!! https://discord.gg/BdjeTEAc *Send us a message! twocopsonedonut@yahoo.com

Ka'Chava: Get 15% off your next Ka'Chava order at kachava.com with code TRENTSTRAIGHTUP. MasterClass: Right now, our listeners get an additional 15% off any annual membership at MasterClass.com/TRENT. Indeed: Speed up hiring with Indeed! Now get a $75 sponsored job credit when you go to Indeed.com/trent Shopify: Start your $1/month trial at Shopify.com/trent What's up Rehabbers Around the World, Welcome to today's episode. I appreciate you. I love you. And today, we are talking about something that can change your entire life if you apply it, Confidence. And I am going to tell you right out the gate, Confidence isn't given, it's grown. Confidence isn't something you wait on, it is something you build through your actions, your discipline, and the relationship you have with yourself. A lot of people think confidence shows up once life gets easier, once the path is clearer, once fear disappears. No, that is not how confidence works. Confidence is built in the moments when life is unclear, when fear is loud, when doubt is present, and you still choose to show up anyway. You want more confidence? Stop thinking it is something you borrow from people around you. Stop thinking it is something that magically arrives when you hit a certain level. Real confidence, the kind that lasts, comes from one place, Self-respect. And self-respect grows every single time you keep a promise you made to yourself. When you say you are going to show up, and you do. When you say you are going to work on your dreams, and you do. When you say you are going to stop settling, and you actually mean it. Confidence is the byproduct of showing up for you. Let me give you three things that will build confidence starting today. Number one, win the small battles. Confidence isn't built in huge victories, it is built in small wins repeated daily. Wake up on time. Finish your workout. Make the call. Take the step. Stack enough small wins and you will wake up one day with big confidence. Number two, change the way you talk to yourself. Some of you speak to yourself like an enemy. You tear yourself down. You magnify every flaw. You rehearse every insecurity. But hear me, You cannot build confidence with a destructive inner voice. You have to speak life into your life. Encouragement is not weakness, it is strategy. Number three, stop letting fear lead your life. Confidence doesn't mean you won't have fear, it means fear doesn't get the final say. Stop making decisions based on what scares you and start making decisions based on what grows you. Your comfort zone is safe, but your greatness isn't found there. Step into the room. Apply for the thing. Share the message. Take the chance. Confidence grows when you move through fear, not around it. And I want to leave you with this, Confidence isn't loud. Confidence isn't proving yourself. Confidence is knowing yourself. It is walking into a room with peace because you know who you are, you know what you bring, and you know what you refuse to go back to. So today, decide to build the confidence you have been praying for. Not by waiting for approval, Not by waiting for the perfect moment, But by showing up for you, starting now. It all starts with you. Protect your peace. I love you. RehabTime, let's get it.

On this week's Ask Farnoosh, she breaks down new economic data showing private payrolls fell by 32,000 jobs — the third decline in four months — and what that cooling job market means for hiring, raises, and year-end career strategy. She also digs into Redfin's housing market predictions for 2026, smart last-minute tax moves (from retirement contributions to tax-loss harvesting), and inspiring data about teens investing for their futures. In the mailbag, she advises listeners navigating job dissatisfaction, mid-career pivots, starting families, layoffs, health insurance decisions, and the best way to structure your ongoing investing strategy. Hosted on Acast. See acast.com/privacy for more information.

-Rob kicks off Hour 2 by torching Democratic gerrymandering theatrics before welcoming John Fredericks on the Newsmax Hotline, who unloads a flamethrower on Indiana GOP “rhinos” blocking a full 9–0 redistricting sweep. -The hour closes with Mary Walter on the Newsmax Hotline, who riffs with Rob about drug-boat drama, DEI absurdities, parental Munchausen, and why half of Gen Z suddenly develops “test-taking disabilities” every finals week. Today's podcast is sponsored by : BIRCH GOLD - Protect and grow your retirement savings with gold. Text ROB to 98 98 98 for your FREE information kit!WEBROOT : Live a better digital life with Webroot Total Protection. Rob Carson Show listeners get 75% off at http://webroot.com/Newsmax  To call in and speak with Rob Carson live on the show, dial 1-800-922-6680 between the hours of 12 Noon and 3:00 pm Eastern Time Monday through Friday…E-mail Rob Carson at : RobCarsonShow@gmail.com Musical parodies provided by Jim Gossett (http://patreon.com/JimGossettComedy) Listen to Newsmax LIVE and see our entire podcast lineup at http://Newsmax.com/Listen Make the switch to NEWSMAX today! Get your 15 day free trial of NEWSMAX+ at http://NewsmaxPlus.com Looking for NEWSMAX caps, tees, mugs & more? Check out the Newsmax merchandise shop at : http://nws.mx/shop Follow NEWSMAX on Social Media:  -Facebook: http://nws.mx/FB  -X/Twitter: http://nws.mx/twitter -Instagram: http://nws.mx/IG -YouTube: https://youtube.com/NewsmaxTV -Rumble: https://rumble.com/c/NewsmaxTV -TRUTH Social: https://truthsocial.com/@NEWSMAX -GETTR: https://gettr.com/user/newsmax -Threads: http://threads.net/@NEWSMAX  -Telegram: http://t.me/newsmax  -BlueSky: https://bsky.app/profile/newsmax.com -Parler: http://app.parler.com/newsmax Learn more about your ad choices. Visit megaphone.fm/adchoices

-Rob launches into Friday by roasting Tim Walz, Minnesota Democrats, and anyone else within comedic range as he unwraps the state's massive Somali-linked welfare fraud scandal. -Carson and guest Tony Kinnett (Daily Signal) tear into media spin, Jake Tapper's “white black pipe bomber” misfire, and political double standards with tag-team precision. Today's podcast is sponsored by : BIRCH GOLD - Protect and grow your retirement savings with gold. Text ROB to 98 98 98 for your FREE information kit!WEBROOT : Live a better digital life with Webroot Total Protection. Rob Carson Show listeners get 75% off at http://webroot.com/Newsmax  To call in and speak with Rob Carson live on the show, dial 1-800-922-6680 between the hours of 12 Noon and 3:00 pm Eastern Time Monday through Friday…E-mail Rob Carson at : RobCarsonShow@gmail.com Musical parodies provided by Jim Gossett (http://patreon.com/JimGossettComedy) Listen to Newsmax LIVE and see our entire podcast lineup at http://Newsmax.com/Listen Make the switch to NEWSMAX today! Get your 15 day free trial of NEWSMAX+ at http://NewsmaxPlus.com Looking for NEWSMAX caps, tees, mugs & more? Check out the Newsmax merchandise shop at : http://nws.mx/shop Follow NEWSMAX on Social Media:  -Facebook: http://nws.mx/FB  -X/Twitter: http://nws.mx/twitter -Instagram: http://nws.mx/IG -YouTube: https://youtube.com/NewsmaxTV -Rumble: https://rumble.com/c/NewsmaxTV -TRUTH Social: https://truthsocial.com/@NEWSMAX -GETTR: https://gettr.com/user/newsmax -Threads: http://threads.net/@NEWSMAX  -Telegram: http://t.me/newsmax  -BlueSky: https://bsky.app/profile/newsmax.com -Parler: http://app.parler.com/newsmax Learn more about your ad choices. Visit megaphone.fm/adchoices

Live With FBI Director Kash Patel, Breaking News!! | Triggered Ep.297   Protect your savings with Birch Gold. Text DONJR to 989898 and claim your eligibility for free silver today. https://birchgold.com/donjr

In this week's episode of the Rich Habits Radar, Robert Croak and Austin Hankwitz talk about Meta's -30% budget cut to their Realty Labs business division, the US job market falling off a cliff, and the $1 billion spent via Buy Now Pay Later on Cyber Monday. ---

You can go to my link https://aura.com/hammer to try 14 days for free. That's enough time for Aura to start scrubbing your personal info off these data broker sites, automatically #sponsored Sheeesssss *THE WORST* - I even tried to make a budget in the post-show, but she made me fully crash out. So much so that I had to call in a special guest... Papa Gut... Watch here: ➡️ https://bit.ly/chpostshow

Reach Out Via Text!In this Equip Expo conversation Jeremiah Jennings sits down with Cameron Stull from John Deere Financial to give business owners a clear understanding of how JDF supports contractors with practical financing tools. Jeremiah shares how JDF took a chance on him when he was eighteen years old with no money and no credit history and how that relationship helped Growing Green Landscapes get the equipment it needed to scale. Cameron explains why a captive finance company operates differently from a bank and how their goal is to help contractors get into reliable John Deere equipment through flexible approvals strong lease programs and simple application processes. The two talk about leasing as a strategy to eliminate downtime the revolving account for parts and service seasonal and skip pay structures and the parts cabinet that keeps wear items stocked at a shop to reduce unbillable time. This episode is packed with real world financial wisdom and gives owners a clear path to making smarter decisions with equipment cash flow and long term business health. #johndeerepartner #sponsoredJDF- https://www.deere.com/en/finance/financing/Support the show 10% off LMN Software- https://lmncompany.partnerlinks.io/growinggreenpodcast Signup for our Newsletter- https://mailchi.mp/942ae158aff5/newsletter-signup Book A Consult Call-https://stan.store/GrowingGreenPodcast Lawntrepreneur Academy-https://www.lawntrepreneuracademy.com/ The Landscaping Bookkeeper-https://thelandscapingbookkeeper.com/ Instagram- https://www.instagram.com/growinggreenlandscapes/ Email-ggreenlandscapes@gmail.com Growing Green Website- https://www.growinggreenlandscapes.com/

In this replay episode, I'm sitting down with certified coach and first-gen eldest daughter Nikkei Lamodi, to talk about what it really looks like to be an eldest daughter or late bloomer living with chronic illness and running a business.We get into the invisible pressure of being the “strong one,” why eldest daughters are so prone to people-pleasing, perfectionism, and over-responsibility, and how all of that bleeds into your business, your boundaries, and your body.Nikkei shares her story of caregiving, grief, chronic illness diagnosis, and the moment she realized she was sacrificing her time, money, and desires for everyone else. From there, she walks us through her four “eldest daughter skills” that help you protect your capacity instead of burning it out:Direct communication with graceBoundary care (boundaries that are for you, not rules for other people)Talking to yourself like a best friendAsking “What else is true? What else is possible?”If you're an eldest daughter or late bloomer navigating chronic illness, family expectations, and the pressure to hold everyone together while growing a business… this conversation will make you feel so seen.

WarRoom Battleground EP 902: Victory In Texas Against DEI; The Fight To Protect Teens And Children Online