Podcasts about Separate

Separate paths lead to uneasy encounters, as small choices in quiet places begin to echo with consequences that feel anything but small.Keeper: Matthew DawkinsGuest players: Eddy Webb and Bridgett JeffriesMusic by: Halgrath and Ager Sonus. We have also used the Lovecraftian Compilations by Cryo Chamber. Used with permission by Cryo Chamber.Our Champions of the Red Moon: Martin Heuschober, Simon Cooper, Julia, Bob de Lange, Cameron, Graham Barey, Doug Thomson, Lily, Maciej, Black Templar, Dennis Sadecki and Leonhardt.Web: https://www.redmoonroleplaying.comiTunes: http://apple.co/2wTNqHxAndroid: https://www.subscribeonandroid.com/feeds.simplecast.com/oYuoCFr6Youtube: https://www.youtube.com/RedMoonRoleplayingSpotify: https://spoti.fi/30iFmznRSS: http://www.redmoonroleplaying.com/podcast?format=rssPatreon: https://www.patreon.com/RedMoonRoleplaying

News, Czech Constitutional Court scraps separate school enrolments for Ukrainian children, Václav Havel: a legacy growing ever more important?, portrait of Václav Havel "in his own words"

The Art of Keeping Things Separate This topic comes up more than people admit. Usually in a whisper. Or an email that starts with, "This might be a weird question…" It's not weird. It's just complicated. A lot of actors are working in NSFW or spicy spaces. Erotica audiobooks. Adult games. ASMR. OnlyFans. Patreon. Sensual storytelling. And at the same time, they're booking e-learning, commercials, family-friendly narration, children's content. The work itself isn't the problem. The overlap is. So I want to talk about how to keep those worlds separate in a way that's professional, grounded, and sane. Not from a morality angle. From a business one. Why This Feels So Loaded Most of the discomfort doesn't come from the work. It comes from fear. Fear of being judged. Fear of being misunderstood. Fear that one client will see something they weren't meant to see and make a snap decision about you. And honestly? That fear isn't irrational. Algorithms don't understand nuance. Brand managers don't scroll thoughtfully. Google definitely doesn't care about context. So when people ask, "Should I be hiding this?" what they're really asking is, "How do I protect my career without betraying myself?" That's the real question. What Separation Actually Is Separating your spicy work is not about shame. It's about clarity. You're not hiding your art. You're organizing it. Just like authors use different names for different genres, actors can use separate identities for separate audiences. A pseudonym. A distinct brand. A different website, email, and social presence. Both are real. Both are you. They just serve different people. When everything lives in one place, clients get confused. And confused clients don't book. Clear clients do. The Practical Line in the Sand A few things matter more than people realize. Separate branding. Different headshots, colors, fonts, tone. If one side of your work says PBS and the other says sultry midnight headphones, they should not look related. Separate metadata. File names, tags, credits. This is where people accidentally connect dots they never meant to connect. Separate systems. Emails. Phone numbers. Invoicing if you can. Boundaries get easier when logistics support them. None of this makes you secretive. It makes you intentional. When the Worlds Almost Touch This is the moment that spikes everyone's nervous system. Someone recognizes your voice. A link gets shared accidentally. A client stumbles across something unexpected. Here's the rule. Don't panic. If you're comfortable acknowledging it, a simple line works: "I work in multiple genres under different names to keep my projects organized." That's it. No explanation tour. No justification. You're allowed to run your business like a business. And if you're not comfortable bridging those worlds, quiet consistency does the work for you. No cross-linking. No wink-wink posts. No mixing lanes just this once. Something We Don't Talk About Enough Adult performance work can take real emotional energy. Just like screaming in video games. Just like intense drama. Just like anything that asks your nervous system to open. So recovery matters. Boundaries matter. Choice matters. Doing one kind of spicy work does not obligate you to do all of it. Your comfort line is allowed to move, but it's also allowed to exist. Take care of the system holding all of this. One artist. One body. One brain. A Thought I'm Sitting With People assume separation means being two different people. I don't see it that way. I see one whole artist with range and boundaries. Different lighting. Different outfits. Same integrity. The goal isn't secrecy. It's sovereignty. You decide who sees what, where, and when. That's not avoidance. That's professionalism. If you want to train your voiceover craft in a grounded, professional space, Voiceover Gyms is where we do that. Learn more about the classes here: https://www.actingbusinessbootcamp.com/actor-training-program You can always reach me at mandy@actingbusinessbootcamp.com , and if Voiceover Gyms feels like the next right step, keep an eye on your inbox. I'll let you know when doors are open.

RHOBH is back in our lives with newbies, make ups, break ups, more make ups and Kyle who says she is scared to leave the franchise even though she questions her involvement every year. Speaking of Kyle, Mauricio is out in these streets dancing on tables, taking shirtless selfies and telling a few lies, half truths and fabrications. Things are so bad these days between Dorit and Kyle that producers need to intervene. Kyle opens up about the real reason things are on ice with Dorit. Last, but not least, we give much deserved flowers to All's Fair, The Kardashians, Selling The OC, The Rachel Zoe Project and a few more! @tombrich @behindvelvetrope @davidyontef BONUS & AD FREE EPISODES Available at - www.patreon.com/behindthevelvetrope  BROUGHT TO YOU BY: HOMESERVE - homeserve.com (Home Owners Insurance That Start At Just $4.99 a Month) RAKUTEN - rakuten.co.uk (Go To Rakuten.co.uk, Download The App Or Install The Browser Extension To Earn Cash Back While You Shop At All Your Favorite Stores) PROGRESSIVE - www.progressive.com (Visit Progressive.com To See If You Could Save On Car Insurance) ADVERTISING INQUIRIES - Please contact David@advertising-execs.com MERCH Available at - https://www.teepublic.com/stores/behind-the-velvet-rope?ref_id=13198 Learn more about your ad choices. Visit megaphone.fm/adchoices

Dr. Saundra Dalton-Smith—internal medicine physician, international speaker, CEO of Restorasis, author, and speaker—joins Paige for a meaningful conversation about identity, worth, and being created in the image of God. They discuss how understanding God's character helps us recognize His reflection in our own lives and in our children. This insightful conversation also explores Sabbath as a gift rather than a reward, the importance of rest, and how to recognize God's unique gifting. Paige and Dr. Saundra also share practical ways parents can ask intentional questions that help kids discover their strengths and see how God can use their gifts to serve others and bring solutions.Resources:Being Fully Known by Dr. Saundra Dalton-SmithSacred Rest by Dr. Saundra Dalton-SmithIChooseMyBestLife.comMore about Dr. SaundraRestorasisPaige Clingenpeel's websiteQuestions About the Podcast? Email: paigeclingenpeel@gmail.comFacebook: @Paige ClingenpeelInstagram: @paigeclingenpeelYouTube: Embracing Your Season sponsored by HomeWordHomeWord.com Paige's Takeaways:Lead conversations with your kids by asking thoughtful, open-ended questions.Help your children recognize and appreciate the unique gifts God has placed within them.Separate identity from performance—our worth is rooted in being, not doing.Refocus on who God has designed us—and our children—to be by emphasizing character over achievement.Hashtags:#EmbracingYourSeason #PaigeClingenpeel #DrSaundraDaltonSmith #Identity #Christian #Faith #Podcast #PodcastCommunity #HomeWord #PFCAudioVideo Send us a text

Running Meta ads can get confusing fast, especially when you hear people say you should combine all your targeting together. After managing ads for years, I've never seen that work well for course creators.   ‍‍ ‍‍Get the 48-Hour Ad Fix Audit  ‍‍ ‍‍Today, I break down why separating warm and cold audiences still matters (even with the Andromeda update) and how Meta's algorithm actually treats each group behind the scenes. If you've been unsure about your targeting setup or why your cold leads suddenly got expensive, I share exactly what you can do to get better results without overthinking it.‍‍ ‍‍ ‍‍‍‍ ‍‍ ‍‍‍‍ ‍‍ ‍‍‍‍Watch this episode on YouTube!‍‍ ‍‍ ‍‍Please click here to give an honest Rating/Review for the show on iTunes! Thanks for your support!‍‍ ‍‍ ‍‍Kwadwo [QUĀY.jo] Sampany-Kessie's Links:Get 1:1 Meta Ads Coaching from Kwadwo!Say hi to Kwadwo on InstagramSubscribe to The Art of Online Business's YouTube Channel

This Episode Will Rewire How You Think About Healing (& Why Your Gut, Hormones, and Stress Are Never Separate) What if your symptoms aren't random—and your body isn't failing you at all? Healing doesn't fail. Strategies do. What if exhaustion, gut issues, hormone chaos, and skin flares are actually intelligent signals you've been taught to ignore? In this episode, I'm stepping into the guest seat on Well Done with Kat Vong—and we go deep. Not surface-level wellness tips. Not another “eat clean and sleep more” conversation. We're talking about what actually drives chronic symptoms like gut issues, hormone chaos, exhaustion, skin flares, and that quiet sense that your body just isn't cooperating anymore. We unpack why stress is often the root driver, how gut health quietly controls your hormones, why perimenopause deserves way more proactive attention, and the wildly underrated role your identity and subconscious play in healing. If you've ever felt like you're doing “all the right things” and still not getting better—this one will stop you mid-scroll. What We Cover (with Timestamps) [00:02:00] — Why stress isn't just a factor… it's often the driver Chronic stress doesn't just make you tired—it literally creates inflammation, raises cortisol, and pokes holes in your gut lining. This is where a lot of healing conversations need to start. [00:03:30] — My personal health journey (and why it changed everything) From growing up inspired by a surgeon grandfather to developing Hashimoto's myself—why lived experience matters as much as credentials. [00:06:30] — The real root cause of autoimmune conditions We break down the “three-legged stool” of autoimmunity: genetics, leaky gut, and a trigger—and why stress often pulls the trigger. [00:10:30] — Why conventional medicine often stops short The problem with “a pill for an ill,” and what happens when we treat symptoms without asking why the body adapted that way in the first place. [00:16:30] — Gut symptoms you should never ignore Bloating, migraines, fatigue that sleep doesn't fix, brain fog, bowel changes—what's normal vs. what's a check-engine light. [00:19:30] — How stress physically damages the gut This is where everything connects: cortisol, inflammation, leaky gut, blood sugar, hormones—and why I've completely changed how I prioritize stress in healing. [00:22:30] — Deep stress vs. trauma (and how the body stores both) Why you don't have to feel stressed for your body to still be carrying it—and how emotions live in tissues. [00:25:30] — How we actually heal leaky gut (the practical framework) Lifestyle + nutrition + targeted supplements—and why no single supplement will fix what lifestyle is still breaking. [00:27:30] — The key nutrients that rebuild the gut lining Collagen, glutamine, zinc, soothing herbs—and how food and supplements work together. [00:28:30] — Perimenopause signs most women are taught to ignore Mood changes, cycle shifts, irritability, fatigue, heavy periods—why these aren't “just aging” and what to look at now, not later. [00:31:00] — Bioidentical hormone replacement explained (without the fear-mongering) What it is, why it's different, and how balanced hormones protect your brain, bones, and heart. [00:34:30] — The gut–hormone connection no one talks about Meet the estrobolome: how gut bacteria regulate estrogen—and why dysbiosis fuels estrogen dominance. [00:37:00] — Simple gut upgrades that support hormone balance Probiotics, prebiotics, food sensitivities, and why whole foods matter more than perfection. [00:41:30] — Identity, subconscious programming, and healing Why healing stalls when we identify as our diagnosis—and how shifting identity changes biology. [00:44:30] — Visualization + emotion: the missing link Why mindset isn't about positive thinking—it's about retraining the subconscious during the most programmable moments of the day. [00:50:30] — Letting go of the ‘how' and ‘when' Why detachment accelerates healing and obsession slows it down. [00:54:30] — My top daily lifestyle priorities for better health Stress awareness, gut cleanup, whole foods, reducing ultra-processed foods, and tuning into your body's signals. [00:58:30] — Artificial sweeteners, gut damage, and smarter swaps What to avoid, what's okay, and why your sneezing, bloating, or fatigue after meals isn't random. Big Takeaways You'll Still Be Thinking About Tomorrow • Stress is not a side character—it's often the lead villain • Healing the gut often unlocks hormone balance • Perimenopause is a window for prevention, not something to suffer through • The subconscious doesn't argue—it executes • What you repeatedly tell your body, it believes Where to Find Me

Ridgeland Police Chief Brian Myers and New Albany Fire Chief Mark Whiteside said pending changes the Legislature made to the state employee retirement system will make it even harder to hire and retain first responders. They want the Legislature to revisit an overhaul of the Public Employee Retirement System set to take effect in March for those who serve in high-stress, low paying and dangerous first-responder jobs.

Mailbag questions or topic suggestions? Text us!We explore why Trevor Sill at The Bridge Christian Church combines junior high and high school and how they rebuilt midweek around one big night and weekly small groups. Trevor shares wins, missteps, and the practices that turned constraints into a discipleship advantage.• Reasons for combining ages including space, staffing, family rhythm• One big night monthly plus weekly small groups structure• High schoolers as culture carriers and mentors• Onboarding fifth graders and the move-up pathway• MIX as a relational fast-forward for incoming sixth graders• Teaching at a shared level with age-specific application in groups• Handling pushback and aligning leaders to the vision• Stories of student-led impact including a new sixth grade FCS• Electives on Sundays for deeper age-targeted study• Whole-church Wednesday ecosystem that connects parents and studentsIf you like what you heard, be sure to subscribe to Beyond the Event wherever you listen to podcasts.

In my latest Broncos podcast fueled by Hoggatt Injury Law, I discuss how Bo Nix and the Broncos shut up critics with their most impressive win of the season. Denver is now on the fast track to the AFC's top seed as we hear from Sean Payton, Adam Trautman, Quinn Meinerz, Adam Prentice and Mike McGlinchey after the team's 11th straight win. My pod is made possible by my great folks at Ted Shih Family Law and Nate Lundy and Danny Bailey of Mile High Sports. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this episode of the Warner Brothers Podcast, hosts Kyle Warner and Timmy G discuss the upcoming slate of NFL games, focusing on key matchups, playoff implications, and the impact of weather on game outcomes. They analyze lopsided matchups, meaningful games for playoff contenders, and the unpredictable nature of NFC South games. The conversation also touches on the performance of various teams and players, including the Ravens, Bengals, and Texans, as they prepare for crucial matchups in the final weeks of the season. In this episode of The Warner Brothas Podcast, the hosts dive into the upcoming NFL matchups, analyzing key games such as Ravens vs Bengals, Colts vs Seahawks, and Bills vs Patriots. They discuss player performances, coaching strategies, and the implications of each game on playoff standings. The conversation flows through various matchups, highlighting the excitement and unpredictability of the NFL season.   00:00 Introduction to the Sports Slate 01:25 Key Matchups in Football 05:48 Analyzing Lopsided Games 12:08 Meaningful Games and Playoff Implications 17:05 Weather Impact on Game Outcomes 22:17 NFC South Showdown 24:16 Ravens vs. Bengals Showdown 24:20 Ravens vs Bengals: A Cold Showdown 26:57 Colts vs Seahawks: Philip Rivers' Return 30:42 Bills vs Patriots: A Test for New England 34:12 Chargers vs Chiefs: West Coast Clash 36:43 Packers vs Broncos: A Battle of Survival 40:00 Lions vs Rams: The Stafford Bowl 43:40 Cowboys vs Vikings: A Clash of Titans 46:12 Dolphins vs Steelers: Playoff Implications   FOLLOW THE BROTHAS ON Instagram -https://www.instagram.com/warnerbrothaspodcast/ TikTok - https://www.tiktok.com/@thewarnerbrothaspodcast Facebook - https://www.facebook.com/warnerbrothaspodcast X - https://x.com/warnerbrospod YouTube - https://www.youtube.com/@thewarnerbrothaspodcast

 The first step after a breakup is to release your emotions—sadness, anger, fear, confusion, and all the rest.Emotions don't always make sense, yet they shape who we are. If we suppress them, starting a new relationship becomes a disaster. Why? Because we attract what we suppress and end up repeating the old story.The best approach is feeling-based and body-oriented therapy, which also helps release the deeper traumas that contributed to the separation.Ask Yourself:Could you speak freely and share all your emotions?Could you be authentic?Could you solve your money problems together?Was your sex life fulfilling?These questions bring clarity and reveal the real issues behind the breakup.What Happens When Someone Breaks Up With UsWe blame ourselves.We ignore red flags.We lose self-awareness.We take all the responsibility for the breakup.This affects:ConfidenceSelf-worthOur future outlookHow we deal with loneliness and self-loveWe also grieve—not only the person, but the future we imagined with them.Stop the IdealizationYou are not really missing them.You are missing:The version of them you idealized.The future you thought they promised.The moments you believed were the truth.The comfort of certainty.The illusion that they were right for you.Be shamelessly honest with yourself. Clarity heals, idealization traps.Write down what actually happened.What did they really do?What didn't they do?No fantasies—just facts.The Foundation of a Long-Term RelationshipThere are three essential elements:You feel seen.You feel supported.You feel safe.If these three are missing, the relationship cannot last.Break the Repetition of the MindScience has shown: emotions create thoughts, but thoughts cannot create emotions.This is confirmed by psychology, neuroscience, meditation, and spiritual traditions.That's why we keep replaying the same thoughts about the relationship—until we release the emotions underneath.Every minute spent releasing negative emotions saves you at least 20 minutes of overthinking.✨ The path forward is not about erasing the past—it's about releasing the emotions tied to it, so you can live with clarity and freedom.My Video: What to Do After You Separate? https://youtu.be/IknOHXYWDAoMy Audio: https://divinesuccess.net/wp-content/uploads/2021/Podcast5/What-to-Do-After-You-Separate.mp3

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Mamata Surrenders Again, Cadre Left High and Dry | ECI Tough, To Have Separate Booths for High Rises

R. Kenner French opens the presentation by addressing how many real estate entrepreneurs feel unorganized and overwhelmed by bookkeeping. He explains that proper bookkeeping is a foundation for wealth, not a boring task to avoid. He introduces VastSolutionsGroup.com, a Vast Asset Defense company combining tax, AI, and asset protection expertise. Kenner shares his background as a three-time author and long-time manager to establish credibility.He highlights the importance of bookkeeping basics, especially for real estate agents and investors who make up 93% of their clients. Clean books improve financial clarity, tax preparation, and rate-of-return analysis. Proper expense management helps investors decide whether to keep or exit certain deals. Bookkeeping also supports asset protection and enhances business structure.The first major tip is keeping business and personal finances completely separate. Separate accounts and credit cards protect business owners from lawsuits and strengthen legal barriers between assets. Real estate investors are often targeted, so separation is essential for liability defense. Mixing funds makes it easier for plaintiffs to attack all assets in a legal dispute.Kenner then emphasizes tracking expenses diligently and using bookkeeping software instead of manual methods. He introduces VastBookie.ai, an AI tool that automates expense categorization and reconciliation. Many clients save money because AI replaces or reduces the need for bookkeepers. Regardless of the software chosen, automation improves accuracy and saves valuable time.The final tips include maintaining organized digital records and reviewing books regularly. Cloud storage, labeled folders, and consistent backups ensure data is never lost. Monthly or quarterly reviews help owners spot trends and make smarter decisions. Kenner concludes by reminding viewers that bookkeeping is the financial foundation of their wealth and invites them to explore resources at VastSolutionsGroup.com.Takeaways• Bookkeeping is essential for business success.• Separate personal and business finances to lower liability.• Diligently track expenses for better asset protection.• Utilize bookkeeping software to save time and money.• Maintain organized records for easier access and review.• Review financial records regularly to identify trends.• Good bookkeeping supports efficient tax preparation.• Organized bookkeeping enhances overall business management.• Investors should prioritize bookkeeping as a foundation.• Utilizing technology can simplify bookkeeping tasks.Sound Bites• Review your books on a quarterly basis.• You'll be glad you're organized.Listen & Subscribe for More:

-On3 and CBS Sports didn't list Emmett Johnson as a first-team RB (those spots went to Ahman Hardy at Missouri and Jeremiyah Love at Notre Dame)---but both listed Johnson as a first-team all-purpose player -That might not seem as glamorous but it is pretty telling when talking about how important he was as a receiver…  Show Sponsored by SANDHILLS GLOBALOur Sponsors:* Check out Hims: https://hims.com/EARLYBREAK* Check out Infinite Epigenetics: https://infiniteepigenetics.com/EARLYBREAK* Check out Uncommon Goods: https://uncommongoods.com/EARLYBREAK* Check out Washington Red Raspberries: https://redrazz.orgAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

God Loves You No Matter What You Have Done or Said About God – You Cannot Separate Yourself from God's Love MESSAGE SUMMARY: No one, including you, can separate you from the love of God. While we were and are still sinners, Jesus the Christ died for us. God loves you exactly where you are; God loves you no matter what you said about Him; and He loves you no matter what you have done. In Romans 5:8-11, Paul confirms God's unconditional love for us: “but God shows his love for us in that while we were still sinners, Christ died for us. Since, therefore, we have now been justified by his blood, much more shall we be saved by him from the wrath of God. For if while we were enemies we were reconciled to God by the death of his Son, much more, now that we are reconciled, shall we be saved by his life. More than that, we also rejoice in God through our Lord Jesus Christ, through whom we have now received reconciliation.".     TODAY'S PRAYER: Lord, I now take a deep breath and stop. So often I miss your hand and gifts in my life because I am preoccupied and anxious. Grant me the power to pause each day and each week to simply rest in your arms of love. In Jesus' name, amen. Scazzero, Peter. Emotionally Healthy Spirituality Day by Day (p. 132). Zondervan. Kindle Edition. TODAY'S AFFIRMATION: Today, Because of who I am in Jesus Christ, I will not be driven by Lust. Rather, I will abide in the Lord's Perfect Provision. “I am the vine; you are the branches. If a man remains in Me and I in him, he will bear much fruit; apart from Me you can do nothing.” (John 15:5). SCRIPTURE REFERENCE (ESV):  Romans 6:23; John 17:1-26; John 5:24; Psalms 139b:13-24. WORD FROM THE LORD WEBSITE: www.AWFTL.org. THIS SUNDAY'S AUDIO SERMON: You can listen to Archbishop Beach's Current Sunday Sermon: “A Day Is Coming – Part 2” at our Website: https://awordfromthelord.org/listen/ DONATE TO AWFTL: https://mygiving.secure.force.com/GXDonateNow?id=a0Ui000000DglsqEAB

If you've ever wondered why your YouTube channel seems stuck (fewer views, flat growth, confused analytics), you're not alone. In this episode, Jerry Potter joins us to break down what's actually changed inside YouTube's ecosystem in 2025 and why creators who “used to do everything right” are now struggling. Jerry has grown multiple successful channels and now teaches business owners how to build a thriving YouTube presence in just 90 minutes a week, without burnout.Jerry explains the shift from keyword-based discovery to AI-driven understanding. YouTube is no longer relying on tags and titles alone; it can interpret the transcript, visuals, tone, and even emotional cues inside your video. That means creators who post too many unrelated topics send mixed signals, confusing the algorithm and limiting reach. Jerry introduces the “Magnetic Eight,” a strategy where you publish eight tightly focused videos in a row to retrain YouTube on exactly who your ideal viewer is.We also unpack relevance, high-retention editing frameworks, and how creators can move faster by separating decisions from actions in their workflow. Jerry shares practical guidance on thumbnails, titles, and emotional connection, showing that creators don't need fancier edits, just clarity and consistency. Whether you're rebuilding a stalled channel or launching fresh in 2025, this episode offers a roadmap for regaining momentum and getting your videos recommended again.Key TakeawaysYouTube now understands your content holistically, not through keywords. The platform reads your transcript, your visuals, your delivery, and the emotional tone of your video to decide who it's for and whether to recommend it.Mixed topics confuse the algorithm. If you talk to different audiences on the same channel, YouTube doesn't know who to show your videos to, which slows growth dramatically.The “Magnetic Eight” can reset your channel. Publishing eight videos in a row around one hyper-specific topic signals to YouTube exactly who your ideal viewer is.Relevance beats everything else. A great thumbnail and title won't save a video that doesn't match the audience YouTube thinks you're serving.Editing for retention matters more than fancy production. Viewers stay when the content feels clear and purposeful, not when it's over-edited.Separate decisions from actions. Jerry's system helps creators move faster by batching planning and recording, instead of trying to do everything at once.Your audience wants a guide, not a performer. Show up to serve a specific viewer with a specific problem, and YouTube will reward you.ResourcesJerry's YouTube Channel: youtube.com/@mrjerrypotterGrow your channel in 90 minutes a week: www.yt90roadmap.comJerry's Website: donebylunch.coCreator Camp (but in the UK!!): tubefest.co.uk/creator-camp----------------------Ecamm - Your go-to solution for crafting outstanding live shows and podcasts. - Get 15% off your first payment with promo code JEFF15SocialMediaNewsLive.com - Dive into our website for comprehensive episode...

Welcome to episode 186 of the Bodybuilding Down Under podcast! The boys are (almost) all back this week, diving into a full discussion on mental fortitude, the athlete mindset, and navigating wins and losses in bodybuilding. We start with DY's return from overseas, training across time zones and managing routine while traveling. We also chat about new gym environments, atmosphere, and how the right space can genuinely elevate your progress. Then we move into the heart of the episode: what actually makes a successful athlete. We break down delayed gratification, love for the process, composure, and the difference between wanting to win vs fearing losing. There's plenty on staying grounded when things go well, and reflecting productively when they don't. We also talk confidence vs arrogance, why humility matters, and how tying your identity to an outcome can hold you back. We touch on taking judge's feedback, separating emotion from strategy, and how coaches can help athletes stay level-headed heading into future seasons. A mindset-heavy episode, honest, practical, and packed with the nuance athletes need. Enjoy!   Instagram Handles: Bodybuilding Down Under: https://www.instagram.com/bodybuildingdownunder/?hl=en   Jack: https://www.instagram.com/jack.radfordsmith/    Daniel C: https://www.instagram.com/daniel.chapelle/   Lawrence: https://www.instagram.com/general.muscle/   Daniel Y: https://www.instagram.com/dy.fit/ 

We are including this episode from our separate show Teach Me Like I'm Five in the Excess Returns feed. If you would like to continue receiving new episodes, subscribe using the links below.In the episode, we sit down with Business Breakdowns host Matt Reustle to discuss how he breaks down businesses and the common characteristics that the best businesses he has looked at share. Subscribe on Spotifyhttps://open.spotify.com/show/7zu6lFpPohoPKhcu0Er9kBSubscribe on Apple Podcastshttps://podcasts.apple.com/hr/podcast/teach-me-like-im-five-investing-concepts-made-simple/id1815975642

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

Delta talks about the phrase "queer and trans".post of the week: https://www.tumblr.com/sitronsangthoughts/686299228490924032/ive-seen-a-fair-amount-of-fat-liberationshop: https://freakshop-uk-shop.fourthwall.com/all the links: linktr.ee/misfitmediapodsubscribe: https://podcasters.spotify.com/pod/show/misfitmedia/subscribe

Let's talk about money. Specifically: what money can buy... and what it can't. That distinction? It's everything in trial. And it's everything when it comes to damages. Economic damages? You've got bills, life care plans, receipts… Non-economic? You're asking the jury to put a number on grief. On lost joy. On the inability to hold your child again. In this podcast episode, I'll show you EXACTLY how to:   ✅ Separate price from value in voir dire, opening, and closing ✅ Use stand-in language and metaphor to anchor your ask ✅ Reframe the jury's role so they stop thinking they're buying something and start seeing what their number really represents If you've ever struggled to confidently ask for a big number… This one is for YOU. Tune in NOW!

The holidays are here, and there's no better way to kick off the season than revisiting one of the greatest Christmas movies ever made — Home Alone. But this time, we're not just watching Kevin defend his house with paint cans, micro machines, and blowtorches. We're diving deep into what this classic can teach us about Emotional Intelligence, resilience, family dynamics, and how to navigate chaos with clarity.In today's 20-minute episode, The Shadows Podcast breaks down why Home Alone still hits home emotionally more than 30 years after its release. Beneath the comedy and iconic booby traps is a powerful story about courage, belonging, fear, forgiveness, and the emotional messiness that comes with being part of a family — even a wildly dysfunctional one.We open by stepping back into 1990, a year of cultural shifts, global tension, and cinematic magic. Home Alone premiered on November 16, 1990, and instantly became a box office juggernaut — holding the #1 spot for weeks and becoming the highest-grossing live-action comedy for nearly two decades. Today, it's more than nostalgia. It's a reminder that sometimes life throws chaos at us… and we still have the power to choose our response.Then we look at the McCallister family with a humorous EQ lens:✨ A full house of stress, ego, impatience, bad communication, questionable parenting choices (they forgot this kid twice), and a brother who downs Pepsi, wets the bed, and everyone just… accepts it.✨ A kid desperate to feel seen.✨ An old man judged entirely on rumor.✨ And two burglars who are somehow both terrifying and hilariously bad at their jobs.But hidden in all that dysfunction are lessons we can use in our daily lives.Each week on The Shadows Podcast, we give you practical tools — “cheat codes” — that you can actually use in real life. Today's episode breaks Home Alone into three actionable, easy-to-apply Emotional Intelligence lessons:Kevin didn't choose the chaos — but he chose the response.Life hits us with our own versions of paint cans, icy stairs, and unexpected blowtorches. This section explores how creativity, composure, and emotional regulation help us turn overwhelm into problem-solving power.Kevin was terrified of Old Man Marley because of the story he told himself. When they finally talk, Kevin realizes Marley isn't a monster — he's a human dealing with regret and loneliness. We explore how changing your perspective can change your relationships.Kevin goes from “I'm scared” to “This is my house, and I have to defend it.” This is a mindset shift we all need. Whether you're facing holiday stress, work conflict, or personal goals, confidence and self-trust are the foundation.Because this 20-minute episode gives you:• A nostalgic escape• A psychological breakdown of holiday stress• Tangible EQ skills you can apply immediately• A new way to watch a beloved Christmas classic• Humor, heart, and real-life emotional insightsWhether you're traveling, wrapping gifts, hiding from your relatives, or recovering from a burnt turkey, this episode will help you laugh, reflect, and navigate the season with more clarity and intention.

Today we are talking with Dr. Nathan Makowski, a researcher at the VA Medical Center, Case Western Reserve University, and the MetroHealth System in Cleveland, Ohio. Nathan's research specializes in the development of neuroprosthetics and the evaluation of their capacity to improve mobility outcomes after paralysis. Separate from his research roles at those institutions, Nathan is also the board chair for the non-profit organization, GiveAHand.tech. We discussed the idea of using an open-source mechanism to... More info: https://u2fp.org/get-educated/curecast/episode-136.html

Danielle (00:02):Hey, Jenny, you and I usually hop on here and you're like, what's happening today? Is there a guest today? Isn't that what you told me at the beginning?And then I sent you this Instagram reel that was talking about, I feel like I've had this, my own therapeutic journey of landing with someone that was very unhelpful, going to someone that I thought was more helpful. And then coming out of that and doing some somatic work and different kind of therapeutic tools, but all in the effort for me at least, it's been like, I want to feel better. I want my body to have less pain. I want to have less PTSD. I want to have a richer life, stay present with my kids and my family. So those are the places pursuit of healing came from for me. What about you? Why did you enter therapy?Jenny (00:53):I entered therapy because of chronic state of dissociation and not feeling real, coupled with pretty incessant intrusive thoughts, kind of OCD tendencies and just fixating and paranoid about so many things that I knew even before I did therapy. I needed therapy. And I came from a world where therapy wasn't really considered very Christian. It was like, you should just pray and if you pray, God will take it away. So I actually remember I went to the Seattle School of Theology and Psychology, partly because I knew it was a requirement to get therapy. And so for the first three years I was like, yeah, yeah, my school requires me to go to therapy. And then even after I graduated, I was like, well, I'm just staying in therapy to talk about what's coming up for my clients. And then it was probably five years, six years into therapy when I was finally like, no, I've gone through some really tough things and I just actually need a space to talk about it and process it. And so trying to develop a healthier relationship with my own body and figuring out how I wanted to move with integrity through the world is a big part of my healing journey.Danielle (02:23):I remember when I went to therapy as a kid and well, it was a psychologist and him just kind of asking really direct questions and because they were so direct and pointed, just me just saying like, nah, never happened, never did that, never felt that way, et cetera, et cetera. So I feel like as I've progressed through life, I've had even a better understanding of what's healing for me, what is love life like my imagination for what things could be. But also I think I was very trusting and taught to trust authority figures, even though at the same time my own trauma kept me very distrusting, if that makes sense. So my first recommendations when I went, I was skeptical, but I was also very hopeful. This is going to help.Jenny (03:13):Yeah, totally. Yep. Yeah. And sometimes it's hard for me to know what is my homeschool brain and what is just my brain, because I always think everyone else knows more than me about pretty much everything. And so then I will do crazy amount of research about something and then Sean will be like, yeah, most people don't even know that much about that subject. And I'm like, dang it, I wasted so much effort again. But I think especially in the therapy world, when I first started therapy, and I've seen different therapists over the years, some better experiences than others, and I think I often had that same dissonance where I was like, I think more than me, but I don't want you to know more than me. And so I would feel like this wrestling of you don't know me actually. And so it created a lot of tension in my earlier days of therapy, I think.Danielle (04:16):Yeah, I didn't know too with my faith background how therapy and my faith or theological beliefs might impact therapy. So along the lines of stereotypes for race or stereotypes for gender or what do you do? I am a spiritual person, so what do I do with the thought of I do believe in angels and spiritual beings and evil and good in the world, and what do I do? How does that mix into therapy? And I grew up evangelical. And so there was always this story, I don't know if you watched Heaven's Gates, Hells Flames at your church Ever? No. But it was this play that they came and they did, and you were supposed to invite your friends. And the story was some people came and at the end of their life, they had this choice to choose Jesus or not. And the story of some people choosing Jesus and making it into heaven and some people not choosing Jesus and being sent to hell, and then there was these pictures of these demons and the devil and stuff. So I had a lot of fear around how evil spirits were even just interacting with us on a daily basis.Jenny (05:35):Yeah, I grew up evangelical, but not in a Pentecostal charismatic world at all. And so in my family, things like spiritual warfare or things like that were not often talked about in my faith tradition in my family. But I grew up in Colorado Springs, and so by the time I was in sixth, seventh grade, maybe seventh or eighth grade, I was spending a lot of time at Ted Haggard's New Life Church, which was this huge mega, very charismatic church. And every year they would do this play called The Thorn, and it would have these terrifying hell scenes. It was very common for people to throw up in the audience. They were so freaked out and they'd have demons repelling down from the ceiling. And so I had a lot of fear earlier than that. I always had a fear of hell. I remember on my probably 10th or 11th birthday, I was at Chuck E Cheese and my birthday Wish was that I could live to be a thousand because I thought then I would be good enough to not go to hell.(06:52):I was always so afraid that I would just make the simplest mistake and then I would end up in hell. And even when I went to bed at night, I would tell my parents goodnight and they'd say, see you tomorrow. And I wouldn't say it because I thought as a 9-year-old, what if I die and I don't see them tomorrow? Then the last thing I said was a lie, and then I'm going to go to hell. And so it was always policing everything I did or said to try to avoid this scary, like a fire that I thought awaited me.Yeah, yeah. I mean, I am currently in New York right now, and I remember seeing nine 11 happen on the news, and it was the same year I had watched Left Behind on that same TV with my family. So as I was watching it, my very first thought was, well, these planes ran into these buildings because the pilots were raptured and I was left behind.Danielle (08:09):And so I know we were like, we get to grad school, you're studying therapy. It's mixed with psychology. I remember some people saying to me, Hey, you're going to lose your faith. And I was like, what does that mean? I'm like 40, do you assume because I learned something about my brain that's going to alter my faith. So even then I felt the flavor of that, but at the time I was with seeing a Christian therapist, a therapist that was a Christian and engaging in therapy through that lens. And I think I was grateful for that at the time, but also there were things that just didn't feel right to me or fell off or racially motivated, and I didn't know what to say because when I brought them into the session, that became part of the work as my resistance or my UNC cooperation in therapy. So that was hard for me. I don't know if you noticed similar things in your own therapy journey.Jenny (09:06):I feel sick as you say, that I can feel my stomach clenching and yeah, I think for there to be a sense of this is how I think, and therefore if you as the client don't agree, that's your resistance(09:27):Is itself whiteness being enacted because it's this, I think about Tema, Koon's, white supremacy, cultural norms, and one of them is objectivity and the belief that there is this one capital T objective truth, and it just so happens that white bodies have it apparently. And so then if you differ with that than there is something you aren't seeing, rather than how do I stay in relation to you knowing that we might see this in a very different way and how do we practice being together or not being together because of how our experiences in our worldviews differ? But I can honor that and honor you as a sovereign being to choose your own journey and your self-actualization on that journey.Danielle(10:22):So what are you saying is that a lot of our therapeutic lens, even though maybe it's not Christian, has been developed in this, I think you used the word before we got on here like dominion or capital T. I do believe there is truth, but almost a truth that overrides any experience you might have. How would you describe that? Yeah. Well,Jenny (10:49):When I think about a specific type of saying that things are demonic or they're spiritual, a lot of that language comes from the very charismatic movement of dominion and it uses a lot of spiritual warfare language to justify dominion. And it's saying there's a stronghold of Buddhism in Thailand and that's why we have to go and bring Jesus. And what that means is bring white capitalistic Jesus. And so I think that that plays out on mass scales. And a big part of dominion is that the idea that there's seven spheres of society, it's like family culture, I don't remember all of them education, and the idea is that Christians should be leaders in each those seven spheres of society. And so a lot of the language in that is that there are demons or demonic strongholds. And a lot of that language I think is also racialized because a lot of it is colorism. We are going into this very dark place and the association with darkness always seems to coincide with melanin, You don't often hear that language as much when you're talking about white communities.Danielle (12:29):Yeah, I don't know. Yeah, it's interesting when you talk about nuts and bolts and you're in therapy, then it becomes almost to me, if a trauma happens to you and let's say then the theory is that alongside of that trauma and evil entity or a spirit comes in and places itself in that weak spot, then it feels like we're placing the victim as sharing the blame for what happened to them or how they're impacted by that trauma. I'm not sure if I'm saying it right, but I dunno, maybe you can say it better. (13:25):Well, I think that it's a way of making even the case of sexual assault, for instance, I've been in scenarios where or heard stories where someone shared a story of sexual assault or sexual violence and then their life has been impacted by that trauma in certain patterned ways and in the patterns of how that's been impacted. The lens that's additionally added to that is saying an evil entity or an evil spirit has taken a stronghold or a footing in their life, or it's related to a generational curse. This happened to your mother or your grandma too. And so therefore to even get free of the trauma that happened to you, you also have to take responsibility for your mom or your grandma or for exiting an evil entity out of your life then to get better. Does that make sense or what are you hearing me say?Jenny (14:27):Well, I think I am hearing it on a few different levels. One, there's not really any justification for that. Even if we were to talk about biblical counseling, there's not a sense of in the Bible, a demon came into you because this thing happened or darkness came into you or whatever problematic language you want to use. Those are actually pretty relatively new constructs and ideas. And it makes me think about how it also feels like whiteness because I think about whiteness as a system that disables agency. And so of course there may be symptoms of trauma that will always be with us. And I really like the framework of thinking of trauma more like diabetes where it's something you learn to moderate, it's something you learn to take care of, but it's probably never going to totally leave you. And I think, sorry, there's loud music playing, but even in that, it's like if I know I have diabetes, I know what I can do. If there's some other entity somewhere in me, whatever that means, that is so disempowering to my own agency and my own choice to be able to say, how do I make meaning out of these symptoms and how do I continue living a meaningful life even if I might have difficulties? It's a very victimizing and victim blaming language is what I'm hearing in that.Danielle (16:15):And it also is this idea that somehow, for instance, I hate the word Christian, but people that have faith in Jesus that somewhere wrapped up in his world and his work and his walk on earth, there's some implication that if you do the right things, your life will be pain-free or you can get to a place where you love your life and the life that you're loving no longer has that same struggle. I find that exactly opposite of what Jesus actually said, but in the moment, of course, when you're engaged in that kind of work, whether it's with a spiritual counselor or another kind of counselor, the idea that you could be pain-free is, I mean, who doesn't want to be? Not a lot of people I know that were just consciously bring it on. I love waking up every day and feeling slightly ungrounded, doesn't everyone, or I like having friends and feeling alone who wakes up and consciously says that, but somehow this idea has gotten mixed in that if we live or make enough money, whether it's inside of therapy or outside of healing, looks like the idea of absence of whether I'm not trying to glorify suffering, but I am saying that to have an ongoing struggle feels very normal and very in step with Jesus rather than out of step.Jenny  (17:53):It makes me think of this term I love, and I can't remember who coined it at the moment, but it's the word, and it's the idea that your health and that could kind of be encompassing a lot of different things, relational health, spiritual health, physical health is co-opted by this neoliberal capitalistic idea that you are just this lone island responsible for your health and that your health isn't impacted by colonialism and white supremacy and capitalism and all of these things that are going to be detrimental to the wellness and health of all the different parts of you. And so I think that that's it or hyper spiritualizing it. Not to say there's not a spiritual component, but to say, yes, I've reduced this down to know that this is a stronghold or a demon. I think it abdicates responsibility for the shared relational field and how am I currently contributing and benefiting from those systems that may be harming you or someone else that I'm in relationship with. And so I think about spiritual warfare. Language often is an abdication for holding the tension of that relational field.Danielle  (19:18):Yeah, that's really powerful. It reminds me of, I often think of this because I grew up in these wild, charismatic religion spaces, but people getting prayed for and then them miraculously being healed. I remember one person being healed from healed from marijuana and alcohol, and as a kid I was like, wow. So they just left the church and this person had gotten up in front of the entire church and confessed their struggle or their addiction that they said it was and confessed it out loud with their family standing by them and then left a stage. And sometime later I ran into one of their kids and they're like, yeah, dad didn't drink any alcohol again, but he still hit my mom. He still yelled at us, but at church it was this huge success. It was like you didn't have any other alcohol, but was such a narrow view of what healing actually is or capacity they missed. The bigger what I feel like is the important stuff, whatever thatBut that's how I think about it. I think I felt in that type of therapy as I've reflected that it was a problem to be fixed. Whatever I had going on was a problem to be fixed, and my lack of progress or maybe persistent pain sometimes became this symbol that I somehow wasn't engaging in the therapeutic process of showing up, or I somehow have bought in and wanted that pain longterm. And so I think as I've reflected on that viewpoint from therapy, I've had to back out even from my own way of working with clients, I think there are times when we do engage in things and we're choosing, but I do think there's a lot of times when we're not, it's just happening.Jenny (21:29):Yeah, I feel like for me, I was trained in a model that was very aggressive therapy. It was like, you got to go after the hardest part in the story. You have to go dig out the trauma. And it was like this very intense way of being with people. And unfortunately, I caused a lot of harm in that world and have had to do repair with folks will probably have to do more repair with folks in the future. And through somatic experiencing training and learning different nervous system modalities, I've come to believe that it's actually about being receptive and really believing that my client's body is the widest person in the room. And so how do I create a container to just be with and listen and observe and trust that whatever shifts need to happen will come from that and not from whatever I'm trying to project or put into the space.Danielle (22:45):I mean, it's such a wild area of work that it feels now in my job, it feels so profoundly dangerous to bring in spirituality in any sense that says there's an unseen stronghold on you that it takes secret knowledge to get rid of a secret prayer or a specific prayer written down in a certain order or a specific group of people to pray for you, or you have to know, I mean, a part of this frame, I heard there's contracts in heaven that have agreed with whatever spirit might be in you, and you have to break those contracts in order for your therapy to keep moving forward. Now, I think that's so wild. How could I ever bring that to a client in a vulnerable?And so it's just like, where are these ideas coming from? I'm going to take a wild hair of a guest to say some white guy, maybe a white lady. It's probably going to be one or the other. And how has their own psychology and theology formed how they think about that? And if they want to make meaning out of that and that is their thing, great. But I think the problem is whenever we create a dogma around something and then go, and then this is a universal truth that is going to apply to my clients, and if it doesn't apply to my clients, then my clients are doing it wrong. I think that's incredibly harmful.Yeah, I know. I think the audacity and the level of privilege it would be to even bring that up with a client and make that assumption that that could be it. I think it'd be another thing if a client comes and says, Hey, I think this is it, then that's something you can talk about. But to bring it up as a possible reason someone is stuck, that there's demonic in their life, I think, well, I have, I've read recently some studies that actually increases suicidality. It increases self-harming behaviors because it's not the evil spirit, but it's that feeling of I'm powerless. Yeah,Jenny (25:30):Yeah. And I ascribed to that in my early years of therapy and in my own experience I had, I had these very intensive prayer sessions when therapy wasn't cutting it, so I needed to somehow have something even more vigorously digging out whatever it was. And it's kind of this weird both, and some of those experiences were actually very healing for me. But I actually think what was more healing was having attuned kind faces and maybe even hands on me sometimes and these very visceral experiences that my body needed, but then it was ascribed to something ethereal rather than how much power is in ritual and coming together and doing something that we can still acknowledge we are creating this,That we get to put on the meaning that we're making. We don't have to. Yeah, I don't know. I think we can do that. And I think there are gentler ways to do that that still center a sense of agency and less of this kind of paternalistic thinking too, which I think is historical through the field of psychology from Freud onwards, it was this idea that I'm the professional and I know what's best for you. And I think that there's been much work and still as much work to do around decolonizing what healing professions look like. And I find myself honestly more and more skeptical of individual work is this not only, and again, it's of this both, and I think it can be very helpful. And if individual work is all that we're ever doing, how are we then disabling ourselves from stepping into more of those places of our own agency and ability?Danielle (27:48):Man, I feel so many conflicts as you talk. I feel that so much of what we need in therapy is what we don't get from community and friendships, and that if we had people, when we have people and if we have people that can just hold our story for bits at a time, I think often that can really be healing or just as healing is meaning with the therapist. I also feel like getting to talk one-on-one with someone is such a relief at times to just be able to spill everything. And as you know, Jenny, we both have partners that can talk a lot, so having someone else that we can just go to also feels good. And then I think the group setting, I love it when I'm in a trusted place like that, however it looks, and because of so many ethics violations like the ones we're talking about, especially in the spiritual realm, that's one reason I've hung onto my license. But at the same time, I also feel like the license is a hindrance at sometimes that it doesn't allow us to do everything that we could do just as how do you frame groups within that? It just gets more complicated. I'm not saying that's wrong, it's just thoughts I have.Jenny (29:12):Totally. Yeah, and I think it's intentionally complicated. I think that's part of the problem I'm thinking about. I just spent a week with a very, very dear 4-year-old in my life, and Amari, my dog was whining, and the 4-year-old asked Is Amari and Amari just wanted to eat whatever we were eating, and she was tied to the couch so she wouldn't eat a cat. And Sean goes, Amari doesn't think she's okay. And the four-year-old goes, well, if Amari doesn't think she's okay, she's not okay. And it was just like this most precious, empathetic response that was so simple. I was like, yeah, if you don't think you're okay, you're not okay. And just her concern was just being with Amari because she didn't feel okay. And I really think that that's what we need, and yet we live in a world that is so disconnected because we're all grinding just to try to get food and healthcare and water and all of the things that have been commodified. It's really hard to take that time to be in those hospitable environments where those more vulnerable parts of us get to show upDanielle (30:34):And it can't be rushed. Even with good friends sometimes you just can't sit down and just talk about the inner things. Sometimes you need all that warmup time of just having fun, remembering what it's like to be in a space with someone. So I think we underestimate how much contact we actually need with people.Yeah. What are your recommendations then for folks? Say someone's coming out of that therapeutic space or they're wondering about it. What do you tell people?Jenny (31:06):Go to dance class.I do. And I went to a dance class last night, last I cried multiple times. And one of the times the teacher was like, this is $25. This is the cheapest therapy you're ever going to have. And it's very true. And I think it is so therapeutic to be in a space where you can move your body in a way that feels safe and good. And I recognize that shared movement spaces may not feel safe for all bodies. And so that's what I would say from my embodied experience, but I also want to hold that dance spaces are not void of whiteness and all of these other things that we're talking about too. And so I would say find what can feel like a safe enough community for you, because I don't think any community is 100% safe,I think we can hopefully find places of shared interest where we get to bring the parts of us that are alive and passionate. And the more we get to share those, then I think like you're saying, we might have enough space that maybe one day in between classes we start talking about something meaningful or things like that. And so I'm a big fan of people trying to figure out what makes them excited to do what activity makes them excited to do, and is there a way you can invite, maybe it's one, maybe it's two, three people into that. It doesn't have to be this giant group, but how can we practice sharing space and moving through the world in a way that we would want to?Danielle (32:55):Yeah, that's good. I like that. I think for me, while I'm not living in a warm place, I mean, it's not as cold as New York probably, but it's not a warm place Washington state. But when I am in a warm place, I like to float in saltwater. I don't like to do cold plunges to cold for me, but I enjoy that when I feel like in warm salt water, I feel suddenly released and so happy. That's one thing for me, but it's not accessible here. So cooking with my kids, and honestly my regular contact with the same core people at my gym at a class most days of the week, I will go and I arrive 20 minutes early and I'll sit there and people are like, what are you doing? If they don't know me, I'm like, I'm warming up. And they're like, yeah.(33:48):And so now there's a couple other people that are arrive early and they just hang and sit there, and we're all just, I just need to warm up my energy to even be social in a different spot. But once I am, it's not deep convo. Sometimes it is. I showed up, I don't know, last week and cried at class or two weeks ago. So there's the possibility for that. No one judges you in the space that I'm in. So that, for me, that feels good. A little bit of movement and also just being able to sit or be somewhere where I'm with people, but I'm maybe not demanded to say anything. So yeah,Jenny (34:28):It makes me think about, and this may be offensive for some people, so I will give a caveat that this resonates with me. It's not dogma, but I love this podcast called Search for the Slavic Soul, and it is this Polish woman who talks about pre-Christian Slavic religion and tradition. And one of the things that she talks about is that there wasn't a lot of praying, and she's like, in Slavic tradition, you didn't want to bother the gods. The Gods would just tell you, get off your knees and go do something useful. And I'm not against prayer, but I do think in some ways it seems related to what we're talking about, about these hyper spiritualizing things, where it's like, at what point do we actually just get up and go live the life that we want? And it's not going to be void of these symptoms and the difficult things that we have with us, but what if we actually let our emphasis be more on joy and life and pleasure and fulfillment and trust that we will continue metabolizing these things as we do so rather than I have to always focus on the most negative, the most painful, the most traumatic thing ever.(35:47):I think that that's only going to put us more and more in that vortex to use somatic experiencing language rather than how do I grow my counter vortex of pleasure and joy and X, y, Z?Danielle (35:59):Oh yeah, you got all those awards and I know what they are now. Yeah. Yeah. We're wrapping up, but I just wanted to say, if you're listening in, we're not prescribing anything or saying that you can't have a spiritual experience, but we are describing and we are describing instances where it can be harmful or ways that it could be problematic for many, many people. So yeah. Any final thoughts, Jenny? IJenny (36:32):Embrace the mess. Life is messy and it's alright. Buckle up.Kitsap County & Washington State Crisis and Mental Health ResourcesIf you or someone else is in immediate danger, please call 911.This resource list provides crisis and mental health contacts for Kitsap County and across Washington State.Kitsap County / Local ResourcesResourceContact InfoWhat They OfferSalish Regional Crisis Line / Kitsap Mental Health 24/7 Crisis Call LinePhone: 1‑888‑910‑0416Website: https://www.kitsapmentalhealth.org/crisis-24-7-services/24/7 emotional support for suicide or mental health crises; mobile crisis outreach; connection to services.KMHS Youth Mobile Crisis Outreach TeamEmergencies via Salish Crisis Line: 1‑888‑910‑0416Website: https://sync.salishbehavioralhealth.org/youth-mobile-crisis-outreach-team/Crisis outreach for minors and youth experiencing behavioral health emergencies.Kitsap Mental Health Services (KMHS)Main: 360‑373‑5031; Toll‑free: 888‑816‑0488; TDD: 360‑478‑2715Website: https://www.kitsapmentalhealth.org/crisis-24-7-services/Outpatient, inpatient, crisis triage, substance use treatment, stabilization, behavioral health services.Kitsap County Suicide Prevention / “Need Help Now”Call the Salish Regional Crisis Line at 1‑888‑910‑0416Website: https://www.kitsap.gov/hs/Pages/Suicide-Prevention-Website.aspx24/7/365 emotional support; connects people to resources; suicide prevention assistance.Crisis Clinic of the PeninsulasPhone: 360‑479‑3033 or 1‑800‑843‑4793Website: https://www.bainbridgewa.gov/607/Mental-Health-ResourcesLocal crisis intervention services, referrals, and emotional support.NAMI Kitsap CountyWebsite: https://namikitsap.org/Peer support groups, education, and resources for individuals and families affected by mental illness.Statewide & National Crisis ResourcesResourceContact InfoWhat They Offer988 Suicide & Crisis Lifeline (WA‑988)Call or text 988; Website: https://wa988.org/Free, 24/7 support for suicidal thoughts, emotional distress, relationship problems, and substance concerns.Washington Recovery Help Line1‑866‑789‑1511Website: https://doh.wa.gov/you-and-your-family/injury-and-violence-prevention/suicide-prevention/hotline-text-and-chat-resourcesHelp for mental health, substance use, and problem gambling; 24/7 statewide support.WA Warm Line877‑500‑9276Website: https://www.crisisconnections.org/wa-warm-line/Peer-support line for emotional or mental health distress; support outside of crisis moments.Native & Strong Crisis LifelineDial 988 then press 4Website: https://doh.wa.gov/you-and-your-family/injury-and-violence-prevention/suicide-prevention/hotline-text-and-chat-resourcesCulturally relevant crisis counseling by Indigenous counselors.Additional Helpful Tools & Tips• Behavioral Health Services Access: Request assessments and access to outpatient, residential, or inpatient care through the Salish Behavioral Health Organization. Website: https://www.kitsap.gov/hs/Pages/SBHO-Get-Behaviroal-Health-Services.aspx• Deaf / Hard of Hearing: Use your preferred relay service (for example dial 711 then the appropriate number) to access crisis services.• Warning Signs & Risk Factors: If someone is talking about harming themselves, giving away possessions, expressing hopelessness, or showing extreme behavior changes, contact crisis resources immediately.Well, first I guess I would have to believe that there was or is an actual political dialogue taking place that I could potentially be a part of. And honestly, I'm not sure that I believe that. Well, first I guess I would have to believe that there was or is an actual political dialogue taking place that I could potentially be a part of. And honestly, I'm not sure that I believe that.

2025-2028 Roofing Market Report: https://roofmarketreport.com/FREE Roofing Sales & Growth Platform: https://adamsfreestuff.com/ -----I used to think roofing sales was all about the pitch.The strategies.The daily habits.And don't get me wrong, those matter.But after years of training top performers, I discovered something unique.The surprising factor isn't in what they do.It's in who they are.Their inner game.Watch this new video breaking down the 7 inner qualities that separate high-earning roofing sales reps from everyone else.These aren't the typical "knock more doors" tips.One quality in particular (#4) is rarely talked about, but every top performer I know has mastered it.Remember… roofing sales is personal development in disguise. The more you grow, the more you earn, so share this one with your team. =============FREE TRAINING CENTERhttps://adamsfreestuff.com/ FREE ROOFING MARKET REPORT:https://roofmarketreport.com/FREE COACHING FROM MY AI CLONEhttps://secure.rsra.org/adams-cloneJOIN THE ROOFING & SOLAR REFORM ALLIANCE (RSRA)https://www.rsra.org/join/ GET MY BOOKhttps://a.co/d/7tsW3Lx GET A ROOFING SALES JOBhttps://secure.rsra.org/find-a-job CONTACTEmail: help@rsra.orgCall/Text: 303-222-7133PODCASTApple Podcasts: https://apple.co/3fSQiev Spotify: https://bit.ly/3eMAqJe Available everywhere else :)FOLLOW ADAM BENSMANhttps://www.facebook.com/adam.bensman/   https://www.facebook.com/RoofStrategist/ https://www.instagram.com/roofstrategist/ https://www.tiktok.com/@roofstrategist https://www.linkedin.com/in/roofstrategist/#roofstrategist #roofsales #d2d  #solar #solarsales #roofing #roofer #canvassing #hail #wind #hurricane #sales #roofclaim #rsra #roofingandsolarreformalliance #reformers #adambensman

Economic CARS passages feel intimidating or dry? In this MCAT CARS Reading Skills Workshop, Jack and Molly walk through our “Microloans” daily passage sentence by sentence and show you how to actually enjoy an econ passage while still reading with precision.In this episode you will learn how to:- Separate the subject from the argument so you stop missing main idea questions- Track big ideas like capitalism in crisis and community trust without getting lost in the details- Use context clues to handle unfamiliar econ terms like “collateral” and “loan sharking”- Visualize abstract ideas so economic passages feel concrete and human- Apply the same strategy to any dense MCAT CARS passage, not just this oneWhat we cover using the “Microloans” passage:- How microcredit works and why the author thinks it matters- Why the passage spends so much time on capitalism and conventional banks- How microloans create an economy based on community trust- How to spot repeated ideas that signal the true main idea

Barbara Minton is a psychologist and musician who creates neuroscience-informed music designed to support and heal the brain. In this episode, we explore the relationship between music and the brain, and how we can use it to guide or change our mental and emotional states.We talk about how music affects the brain, the difference between making it and listening to it, and why different genres influence us in different ways. We get into transcendent and altered states, how music can support grief, loss, pain, insomnia, and emotional processing, and how individual differences like ADHD or PTSD shape the nervous system's response. We also look at music as a tool for social connection and the unique experience of creating and playing music with others.We discuss how different instruments feel to play, what makes the guitar and pipe organ special, and how music ties into memory. We explore how to use it deliberately to enhance learning and recall, why our emotional reactions to songs change over time, and how lyrics shape the way we see the world. We also explore why certain genres explode at particular moments in history, why pop music remains so consistently popular, which musical elements most strongly affect the brain, what it feels like to make and play music, how live music differs from recorded music, and the overall healing power of music.Connect and Learn MoreWebsite: musicandhealing.netAlbum: Calm the Storm LinkedIn: linkedin.com/in/barbara-minton-057957164RESOURCES People: Ana Lapwood, Aretha Franklin, Calum Graham, Freddie Mercury, Hans Berger, Peppino D'Agostino, Sergei Rachmaninoff, Wolfgang Amadeus MozartSongs: Amazing Grace, Pavane for a Dead PrincessStudies: Contrasting effects of music on reading comprehension in preadolescents with and without ADHD  (Madjar et al., 2020), Human song: Separate neural pathways for melody and speech ( Hamilton, 2022)

Your personal brand isn't just about what you deliver. It's how you show up. If you're exhausted, stressed to the point of breaking, or gripping your way through the week, that comes through too. No amount of polish can hide what's happening underneath when you're not actually taking care of yourself.Jessie Spressart gets this. As founder and managing director of Optia Consulting, she helps law firms build cultures where people can do excellent work and be well at the same time. Her core belief is simple: doing your job well and taking care of yourself aren't two separate conversations. They're two sides of the same coin.In this episode of Branding Room Only, Paula and Jessie unpack what really stops professionals from prioritizing their well-being and how stress quietly builds long before it becomes a crisis. Jessie shares practical resets you can use in five minutes or less, and explains why chasing perfection undermines the consistency your brand actually needs. They also dig into what it takes for leaders to get more comfortable talking about mental health, and why your brand suffers when what you think, feel, and do are out of alignment.  1:19 — Jessie on personal brand, her three words, and her favorite quotes5:44 — How moving from New Jersey to Louisville shaped her7:48 — Jessie's path from music historian to medieval history to law11:14 — How a temp job as a legal secretary became 13 years at a firm12:28 — The move from legal secretary to professional development13:56 — Starting Optia Consulting in 2019 before the pandemic15:44 — The shift from management training to well-being and mental health19:42 — Why personal branding (and well-being) is about consistency, not perfection22:09 — The biggest obstacles lawyers face around prioritizing well-being26:22 — Shifting well-being from a program to part of the culture28:39 — Mental Health Essentials for Leaders and why leaders must get conversant33:23 — Stress and energy tools that take minutes, not hours41:39 — Building a scaffolding of practices before you hit crisis43:29 — Brain, body, behavior — and how all three show up in your brand45:00 — Congruency and why misalignment kills your personal brand50:02 — The part of her brand Jessie will never compromiseMentioned In Self-Care Isn't Separate: Why Your Well-Being Shapes Your Brand with Jessie SpressartOptia Consulting LinkedInSign up for Upcoming WebinarsLearn More About Paula's Personal Branding Strategy Session OfferFollow & Review: Help others find the podcast. Subscribe and leave a quick review.Conferences are an investment—make sure you maximize yours. My Engage Your Hustle™ Conference Playbook gives you the strategies to prepare, stand out, and follow up with impact. Get your copy today.Sponsor for this episodePGE Consulting Group LLC empowers individuals and organizations to lead with purpose, presence, and impact. Specializing in leadership development and personal branding, we offer keynotes, custom programming, consulting, and strategic advising—all designed to elevate influence and performance at every level.You know I love conferences. They're where credibility, connections, and opportunities collide, but showing up isn't enough. That's why I created Paula's Playbook: Engage Your Hustle - Conference Edition.Check it out at paulaedgar.com/digital-products and get ready to stop blending and start branding at conferences.

Josh and Schaef recap another wild weekend in the NFL, including Thanksgiving Day and Black Friday upsets, the Rams going down to the Panthers, and more! Hosted on Acast. See acast.com/privacy for more information.

Mailbag questions or topic suggestions? Text us!A cupcake caper, an Unreal-powered mansion, and a question every youth leader wrestles with: should we separate junior high and high school? We sit down with student pastor Michelle Kruse from Summit Christian Church to unpack how age-intentional programming can transform engagement without requiring a bigger building or a bigger budget. Michelle walks us through their midweek system that alternates middle school and high school in the same space, why the teaching style shifts for each group, and how small groups, worship, and pace change when you design for real developmental stages.We also explore the hidden engine of healthy transitions: a purposeful preteen ministry. Michelle shares how she launched a fourth and fifth grade service, then empowered a part-time couple—both teachers—to lead with Orange curriculum, accessible teaching, and consistent small groups. The result is a smoother handoff into student ministry, monthly fifth-grade previews of midweek, and camp experiences that ease anxiety. One of our favorite moments: why the car ride home with a parent might be the most important discipleship moment for preteens.If you're navigating limited space, limited volunteers, or mixed-age expectations, this conversation offers practical tactics you can try tomorrow: teaching twice in one night, swapping spaces, recruiting part-time leaders, and inviting high schoolers to serve in preteen or middle school to keep mentorship alive. We also get honest about quality tradeoffs, leader health, and how to read your context so you can separate where it matters most and still sustain a life-giving pace.Subscribe, share this episode with a fellow youth leader, and leave a review with one change you're considering for your next gathering—we'd love to hear what you'll try first.

Victory over Hibs cuts the gap at the top of the Scottish Premiership table to two points after Hearts draw with Motherwell, Rangers struggle to a draw with Falkirk, Aberdeen move up to seventh and the Scottish Cup fourth round draw throws up some tantalising ties as Auchinleck Talbot will face Celtic. We round up all the talking points of the weekend action with Jonathan Sutherland, Jackie McNamara and Andy Halliday.

On this 305th episode of Take Flight Weekly, I pull back the curtain on the 10 lessons that shaped me the most in 2025. I'm the President of Jameson Sotheby's International Realty, I coach elite-level producers across dozens of markets, and I continue to build my own business. That combination gives me a front-row seat to what separates the 3% from the 97%. These are the real patterns that separate the people who grow from the people who stay stuck. The 10 Patterns That Separate the 3% From the 97% → Lesson 1: Vision Is an Emotional Destination A true vision is a feeling. It's the emotional state you want to experience three years from now—clarity, control, energy, confidence, margin. → Lesson 2: An Extra 0.25% on Every $10M in Production Is $25,000 Elite producers understand the compounding effect of precision. Micro improvements stack, scale, and matter. → Lesson 3: Is Planning Actually Procrastination? Too many advisors hide behind "planning" because it feels productive. But planning without execution is avoidance. Planning becomes procrastination the moment it delays action. → Lesson 4: The 3% Are Willing to Fail to Learn and Grow Failing in public is the entry fee to elite performance. The 3% don't fear failure. They fear stagnation. Most optimize for safety. The elite optimize for growth. → Lesson 5: The Basics Will Always Work. Less Is More. Top performers master the basics at a higher level. When business gets noisy, the elite simplify. Excellence is built through subtraction, not addition. → Lesson 6: The Next Frontier Is Marketing Your Hyper-Local Market Advisors who master hyper-local expertise will own the next decade. The buying public chooses location first. AI is indexing geography at a micro level. Build a brand tied directly to location. → Lesson 7: Only 4% of People Receive Two or More Handwritten Notes Per Year Authenticity stands out. A handwritten note has the highest open rate in the world. Low cost. High impact. Underutilized. → Lesson 8: If You Don't Plant, You Will Not Harvest Input always precedes output. You cannot take a season off from marketing, database management, and relationship nurturing and expect predictable revenue. Keep planting during your busiest months. → Lesson 9: The Top 1% Are Obsessed with Reaching Their Goals Not committed. Obsessed. The top 1% live in complete alignment with their outcomes. Their habits, calendars, and relationships match their goals. Elite performance is engineered. → Lesson 10: Rightsize Is My Word for 2026 Rightsizing is about stripping away clutter. It's about aligning your business, commitments, team, and inputs with your emotional destination. It's not about shrinking. It's about recalibrating to grow in the right direction. Here's my promise heading into 2026: I'm going to keep doing the work, connecting the dots, and bringing you the truth about what separates elite producers from the 97%. You show up and do your part, and I'll show up and do mine. ━━━━━━━━━━━━━━━━━━━━━━

Today's Promise: Romans 8:38-39 In this uplifting episode, we dive deep into the most powerful force in the universe: the unfailing love of God. From the creation of the world to the sacrifice of Jesus on the cross, every expression of God's heart toward you is rooted in His boundless love. Scripture reminds us that nothing in all creation can separate us from God's love. Not your past, not your failures, not your doubts, nothing. His love isn't dependent on your performance or your perfection. It reaches beyond your attitudes, your mistakes, and even your understanding. God loves you with an unlimited, unstoppable, unending love that holds you close even when life feels uncertain. Join us as we explore the depth, strength, and beauty of God's love and discover how embracing it can transform your perspective, renew your hope, and anchor your heart in every season of life.

In this inspiring episode of Galloping Getaways, Meghan Brady sits down with Rita Soares, visionary leader and co-founder of one of Portugal's most celebrated equestrian and wine estates. Together, they explore how this family-run haven has become a global symbol of luxury, sustainability, and horse welfare — where fine wines, gourmet cuisine, and Lusitano horses coexist in harmony.Rita shares her journey from dream to legacy: how she built a destination rooted in authenticity, her approach to responsible equestrian tourism, and what makes Malhadinha Nova a proud Equestrian Travel Association (ETA) member.HORSES IN THE MORNING Episode 3828 – Show Notes & Links:Host: Meghan Brady of the Equestrian Travel AssociationPresenting Sponsor: Equestrian Travel Association | Facebook | InstagramGuest: Rita Soares of Herdade da Malhadinha NovaRecipe: Sericaia1/2 liter milk (remove 2 tablespoons for a bowl)200 g sugar6 eggs1 heaped tablespoon wheat flour1 heaped tablespoon cornstarch1 cinnamon stick1 strip of lemon peelCinnamon for sprinklingA pinch of saltSTEP-BY-STEP RECIPE: Place the milk (don't forget to remove 2 tablespoons) in a saucepan with the lemon peel, cinnamon stick, and sugar, and simmer until it boils. Separate the egg yolks from the whites and beat the whites until stiff. Set aside. Add the 2 tablespoons of milk and the two types of flour (mixed and sifted) to the egg yolks. Mix everything well with a wooden spoon until you have a smooth mixture, without any lumps. The mixture should be completely smooth.Then add this mixture to the milk, which has now boiled. Mix well, return to a low heat and stir until thickened. This cooking process usually takes about 15 minutes.Turn off the heat and stir to cool slightly. Then add the egg whites and fold in with a wooden spoon. Mix well. (Only add the egg whites when the mixture is lukewarm, almost cold).Finally, spoon the mixture into a deep earthenware dish (do not smooth it out, just shake the dish) and sprinkle with plenty of cinnamon.Bake at 350°F and when it starts to rise, tap it a few times and bake for 35 minutes.Do the toothpick test: if the center is dry, it's ready. Let it cool and serve with Elvas plums, along with their syrup.

In this inspiring episode of Galloping Getaways, Meghan Brady sits down with Rita Soares, visionary leader and co-founder of one of Portugal's most celebrated equestrian and wine estates. Together, they explore how this family-run haven has become a global symbol of luxury, sustainability, and horse welfare — where fine wines, gourmet cuisine, and Lusitano horses coexist in harmony.Rita shares her journey from dream to legacy: how she built a destination rooted in authenticity, her approach to responsible equestrian tourism, and what makes Malhadinha Nova a proud Equestrian Travel Association (ETA) member.HORSES IN THE MORNING Episode 3828 – Show Notes & Links:Host: Meghan Brady of the Equestrian Travel AssociationPresenting Sponsor: Equestrian Travel Association | Facebook | InstagramGuest: Rita Soares of Herdade da Malhadinha NovaRecipe: Sericaia1/2 liter milk (remove 2 tablespoons for a bowl)200 g sugar6 eggs1 heaped tablespoon wheat flour1 heaped tablespoon cornstarch1 cinnamon stick1 strip of lemon peelCinnamon for sprinklingA pinch of saltSTEP-BY-STEP RECIPE: Place the milk (don't forget to remove 2 tablespoons) in a saucepan with the lemon peel, cinnamon stick, and sugar, and simmer until it boils. Separate the egg yolks from the whites and beat the whites until stiff. Set aside. Add the 2 tablespoons of milk and the two types of flour (mixed and sifted) to the egg yolks. Mix everything well with a wooden spoon until you have a smooth mixture, without any lumps. The mixture should be completely smooth.Then add this mixture to the milk, which has now boiled. Mix well, return to a low heat and stir until thickened. This cooking process usually takes about 15 minutes.Turn off the heat and stir to cool slightly. Then add the egg whites and fold in with a wooden spoon. Mix well. (Only add the egg whites when the mixture is lukewarm, almost cold).Finally, spoon the mixture into a deep earthenware dish (do not smooth it out, just shake the dish) and sprinkle with plenty of cinnamon.Bake at 350°F and when it starts to rise, tap it a few times and bake for 35 minutes.Do the toothpick test: if the center is dry, it's ready. Let it cool and serve with Elvas plums, along with their syrup.

So, the NFL and I have been living apart for a bit, but they called me up and asked if I'd be interested in doing Packers @ Lions, Chiefs @ Cowboys and Bengals @ Ravens and then when we wake up in the morning we can do Bears @ Eagles. And I feel like we've been doing well, and I'm willing to look past how on the nose Chiefs v Cowboys on Thanksgiving is conceptually, and so I think I'm going to go over. Also some shit about trying to find the truth of what this impulse to podcast about sport is, the Women's Pro Baseball League, the Professional Women's Hockey League, and why we should stop treating our leisure time as a to do list.

Authors talk about “the algorithm” the way the little aliens in Toy Story talk about “the claw.” Does the algorithm randomly choose your book, or is someone else controlling the claw?In this week's episode, you'll discover what we know about how Amazon decides which books to show, and how to get your book in front of the readers most likely to love it.In this episode, you'll learn:How Amazon “decides” which book recommendations to give shoppersWhich readers you should persuade to click Amazon's “buy now” button, and which you should sell to yourselfHow Amazon's algorithm is changing and tips to help you adapt your strategyIf your book is on Amazon, this episode is not optional listening. Poor optimization can quietly poison the recommendation engine against you. Listen in or read the blog version to keep your book in front of your Timothy.https://novelmarketingconference.com/ https://novelmarketingconference.com/Support the show

"If Apple CEO Tim Cook needs a board of directors to help him make decisions, what makes you think you can do it all by yourself?"  That's the question Brian Will – serial entrepreneur with multiple exits under his belt – poses in this clip from Beyond A Million.  Brian explains why letting go of ego makes it easier to grow your business. He talks about how financial stability helps you become less reactive, more collaborative, and why failing without learning is just wasting time. If you've been stuck in perfectionism, control, or thinking you need (or worse – have) all the answers, this one is to remind you that the best leaders listen more than they talk. Enjoyed this clip? Check out our full interview with Brian: https://youtu.be/7e1gid6rMWI 

1980 was a turning point in American history. When the year began, it was still very much the 1970s, with Jimmy Carter in the White House, a sluggish economy marked by high inflation, and the disco still riding the airwaves. When it ended, Ronald Reagan won the presidency in a landslide, inaugurating a rightward turn in American politics and culture. We still feel the effects of this tectonic shift today, as even subsequent Democratic administrations have offered neoliberal economic and social policies that owe more to Reagan than to FDR or LBJ. To understand what the American public was thinking during this pivotal year, we need to examine what they were reading, listening to, and watching. 1980: America's Pivotal Year (Rutgers UP, 2022) puts the news events of the era—everything from the Iran hostage crisis to the rise of televangelism—into conversation with the year's popular culture. Separate chapters focus on the movies, television shows, songs, and books that Americans were talking about that year, including both the biggest hits and some notable flops that failed to capture the shifting zeitgeist. As he looks at the events that had Americans glued to their screens, from the Miracle on Ice to the mystery of Who Shot JR, cultural historian Jim Cullen garners surprising insights about how Americans' attitudes were changing as they entered the 1980s. Jim Cullen is the author of numerous books, including The American Dream: A Short History of an Idea that Shaped a Nation, Those Were the Days: Why ‘All in the Family' Still Matters, and From Memory to History: Television Versions of the Twentieth Century. He teaches history at the newly-founded upper division of Greenwich Country Day School. Jackson Reinhardt is a graduate of University of Southern California and Vanderbilt University. He is currently an independent scholar, freelance writer, and research assistant. You can reach Jackson at jtreinhardt1997@gmail.com and follow him on Twitter @JTRhardt Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Watch The X22 Report On Video No videos found (function(w,d,s,i){w.ldAdInit=w.ldAdInit||[];w.ldAdInit.push({slot:17532056201798502,size:[0, 0],id:"ld-9437-3289"});if(!d.getElementById(i)){var j=d.createElement(s),p=d.getElementsByTagName(s)[0];j.async=true;j.src="https://cdn2.decide.dev/_js/ajs.js";j.id=i;p.parentNode.insertBefore(j,p);}})(window,document,"script","ld-ajs");pt> Click On Picture To See Larger Picture Trump has withdrawn his nominee for the top IRS lawyer, he is an Obama donor. If you look at the US, the blue states are experiencing a recession, the policies are backfiring. Ford is now going to sell cars on Amazon. Trump wants to make life cheaper for Americans.  Investors are liquidating their Bitcoin positions pushing the price down.  The [CB] is the root of all evil. The fake news continues with their fake stories in regard to the illegals. The D's fell right into the trap that Trump set, they are exposing the Epstein files and clearing Trumps name and implicating themselves. They are now panicking. Trump is now beginning to separate the RINOS from MAGA, this is all in preparation for the midterms, Trump is also beginning to set the narrative for the Presidential race. Trump mission is to take the country back, the [DS] mission is to try to stop him, nothing can stop this.   Economy Trump Withdraws Nominee for Top IRS Lawyer Donald Korb served in the Bush administration from 2004 to 2008. President Donald Trump on Nov. 14 withdrew the nomination of Donald L. Korb, a veteran tax attorney, to serve as the top lawyer for the IRS. Source: theepochtimes.com Deputy Assistant Secretary of the Treasury for Tax Policy At The IRS Is A  Obama Donor   https://twitter.com/KobeissiLetter/status/1990137278304305391?s=20 (function(w,d,s,i){w.ldAdInit=w.ldAdInit||[];w.ldAdInit.push({slot:18510697282300316,size:[0, 0],id:"ld-8599-9832"});if(!d.getElementById(i)){var j=d.createElement(s),p=d.getElementsByTagName(s)[0];j.async=true;j.src="https://cdn2.decide.dev/_js/ajs.js";j.id=i;p.parentNode.insertBefore(j,p);}})(window,document,"script","ld-ajs"); https://twitter.com/KobeissiLetter/status/1990425179621621957?s=20 https://twitter.com/EricLDaugh/status/1990421230193643844?s=20  "More deals with pharma companies to make prescription drugs cheaper" This is HUGE!  BITCOIN Over $900 million in leveraged positions were liquidated since November 15, with longs taking the brunt (~$650 million). High leverage in derivatives markets (funding rates flipped negative) created a cascade: one sell triggered stops, pulling prices lower and wiping out more positions. Weekend and low-volume trading exacerbated the drop—daily spot volume fell to $2 billion (vs. $50 billion peaks in 2021), making BTC vulnerable to amplified moves. A CME futures gap at $92K was filled, adding technical fuel. Sentiment gauges like the Fear & Greed Index hit "extreme fear" (score: 18), spurring retail panic. Notably, on-chain data reveals no major spot selling—exchanges hold fewer BTC now than at the peak—suggesting this is a "synthetic" flush via derivatives, not fundamental dumping. Spot Bitcoin ETFs saw net outflows of $1.1 billion over the past 48 hours—the largest weekly redemptions since March 2025—driven by institutions like BlackRock's IBIT and Fidelity's FBTC. This reversed months of inflows that had propped up prices earlier in the year. https://twitter.com/ColonelTowner/status/1989700368951906382?s=20   Political/Rights https://twitter.com/CMDROpAtLargeCA/status/1990435847611552052?s=20 https://twitter.com/DHSgov/status/1990414982060581351?s=20   removal by an immigration judge from November 4, 2014. His criminal history includes assault with a deadly weapon, multiple counts of burglary, multiple counts of carjacking, carjacking with a firearm, trespassing onto private property, multiple counts of taking a vehicle without owner consent,

If you've ever felt dizzy, lightheaded, floaty, or just “off” and immediately spiraled into anxiety, this meditation is for you. This gentle 7-minute grounding practice helps calm your nervous system when your body feels out of balance. You'll learn how to breathe through the sensation, stop interpreting it as danger, and reconnect to a feeling of safety in the present moment. In this meditation, you'll be guided to: Soothe anxiety-driven dizziness or “weird sensations” Separate discomfort from danger Slow your breathing and settle your nervous system Release the urge to panic or overthink the feeling Reconnect to your body with calm instead of fear This is the meditation to play when dizziness scares you, when you feel out of your body, or when your nervous system is stuck in fight-or-flight. Use it anytime you need reassurance, grounding, or a moment of calm to reset your system. Don't forget to rate and review The Chicks!

Gregg Rosenthal is joined by Jourdan Rodrigue, Patrick Claybon and Nick Shook to recap all of the Week 11 action from around the NFL, starting with the Seahawks at the Rams (0:55) followed by Chiefs at Broncos (11:30), Buccaneers at Bills (20:45), Bears at Vikings (28:26), Chargers at Jaguars (38:10), Packers at Giants (46:06), Panthers at Falcons (53:12), 49ers at Cardinals (01:01:41), Texans at Titans (01:08:24), Commanders versus Dolphins in Madrid (01:13:30), Ravens at Browns (01:21:15), Bengals at Steelers (01:28:40), and Lions at Eagles on Sunday Night Football (01:36:46). Note: time codes approximate.NFL Daily YouTube: https://www.youtube.com/nflpodcastsSee omnystudio.com/listener for privacy information.

I am wrapping up my trip in LA, and heading back to NY, and my love affair with LA (for a visit) continues.  First caller out of the gate is dealing with a "will they, won't they?" situation at work, and our final caller of the day brings up an interesting fatal flaw.  She is dealing with a husband who won't stop buying "junk".  We ask the team for help on this one..... Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

"Fuenty! Separate 'em!" If you could clone one athlete, who would it be? Is Zorhan Mamdani's election as Mayor of New York a sign of things to come? Did we lose out on cable paradise? Did the Jets win the trade deadline? Is Chris super, duper high? Learn more about your ad choices. Visit podcastchoices.com/adchoices