Podcasts about Hollywood

On the night of March 9, 1963, officers Karl Hettinger and Ian Campbell made a traffic stop on the corner of Carlos Avenue and Gower Street and Hollywood. Early that day, the officers had been instructed to seek out and bust anyone they suspected of being engaged in gay sexual activity, and that night they were confident they'd found two men that fit the bill. However, after Campbell instructed both men to step out of the car, the driver, Gregory Powell, pulled out a pistol and held it on Campbell, effectively disarming him, while other man, Jimmy Smith, disarmed Hettinger. The two officers were then forced into Powell's car and driven more than one hundred miles away, where they executed Ian Campbell, while Hettinger escaped into a nearby onion field and managed to find help at the home of a farmer. The murder of Ian Campbell in the onion field shocked residents of California, not only because it was so cold-blooded, but also because of how the incident unfolded. By yielding to the demands of their hostage taker and handing over his gun, many people felt that Hettinger was at least partially responsible for Campbell's death. Powell and Smith were quickly captured, tried, and convicted for the murder, but the consequences of that night in the onion field would have a profound and lasting effect on police policy all over the country for years to come.Recommendations in this episodeFollow @themhoffers Follow @annaleegrace15  ( YouTube  or Instagram)Follow @ChefRileyMeehan and Purchase his book A Little Bit ExtraReferencesAssociated Press. 1963. "2 policemen are kidnapped; 1 is slain." Sacramento Bee, 03 11: 1.Los Angeles Times. 1963. "Cold-blooded slaying of detective re-enacted." Los Angeles Times, March 12: 1.—. 1963. "Officer slain by accident, says former convict." Los Angeles Times, August 21: 27.—. 1963. "Pair guilty of slaying policeman." Los Angeles Times, September 5: 1.—. 1963. "Partner of murdered officer tells of ordeal." Los Angeles Times, March 20: 29.Malnic, Eric. 1994. "Karl Hettinger; survived 1963 'Onion Field' attack." Los Angeles Times, May 5: A32.The People v. Gregory Ulas Powell and Jimmy Lee Smith. 1967. 7739 (Supreme Court of California, July 18).Turan, Kenneth. 1979. "The Onion Field caper." Washington Post, October 13.United Press International. 1963. "2 thugs admit kidnap-killing." New York Times, March 12: 4.Waldie, D.J. 2013. "The Onion Field at 50: 'This is about the tragedy of police work'." PBS SoCal, March 11.Wambaugh, Joseph. 1973. The Onion Field. New York, NY: Dell Publishing. Cowritten by Alaina Urquhart, Ash Kelley & Dave White (Since 10/2022)Produced & Edited by Mikie Sirois (Since 2023)Research by Dave White (Since 10/2022), Alaina Urquhart & Ash KelleyListener Correspondence & Collaboration by Debra LallyListener Tale Video Edited by Aidan McElman (Since 6/2025) Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Jake Johnson (We're Here to Help, The Dink, New Girl) is an actor, writer, and podcast host. Jake returns to the Armchair Expert to discuss why anything that can still evoke fading old school Hollywood is special, how everything feeling like a black box theater has him falling in love with acting again, and focusing on playing the game his way while he's here. Jake and Dax talk about letting go of control to be present in his movie The Dink, why he strategizes his workflow to stay ahead of the darkness, and how he tries to re-engineer doing this business out of love. Jake explains building up better after the loss of a close friend, finding someone a kidney through his podcast We're Here to Help, and the terrifying, thrilling process of performing scenes with Tom Cruise.Follow Armchair Expert on the Wondery App or wherever you get your podcasts. Watch new content on YouTube or listen to Armchair Expert early and ad-free by joining Wondery+ in the Wondery App, Apple Podcasts, or Spotify. Start your free trial by visiting wondery.com/links/armchair-expert-with-dax-shepard/ now.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

#915: Sit down with Rainn Wilson — actor, producer, comedian, and author of Soul Boom, a powerful exploration of spirituality, healing, and meaning. Known worldwide as Dwight Schrute from The Office, Rainn opens up about the years he struggled as an actor, the unexpected rise of his career, and how humor became both a shield and a compass. He dives deep into his spiritual awakening, the inspiration behind Soul Boom, his search for purpose, and how he believes we can build more meaning into our modern lives. This is a candid, inspiring, and surprisingly emotional look at one of Hollywood's most beloved actors — far beyond the character you think you know. To Watch the Show click HERE   For Detailed Show Notes visit TSCPODCAST.COM   To connect with Rainn Wilson click HERE   To connect with Lauryn Bosstick click HERE   To connect with Michael Bosstick click HERE   Read More on The Skinny Confidential HERE   Head to our ShopMy page HERE and LTK page HERE to find all of the products mentioned in each episode.   Get your burning questions featured on the show! Leave the Him & Her Show a voicemail at +1 (512) 537-7194.   To learn more about Rainn Wilson's Soul Boom, including his latest workbook & podcasts, visit https://www.soulboom.com.    This episode is sponsored by The Skinny Confidential Your skincare routine, reimagined. Shop The Skinny Confidential Face Towels today at https://shopskinnyconfidential.com/products/face-towels.   This episode is sponsored by Squarespace Go to Squarespace.com for a free trial, and when you're ready to launch, http://squarespace.com/SKINNY to save 10% off your first purchase of a website or domain.   This episode is sponsored by Cymbiotika Go to http://Cymbiotika.com/TSC today to get 20% off plus free shipping.    This episode is sponsored by EBay There's always more to discover – eBay has millions of pre-loved finds, from hundreds of brands, backed by eBay Authenticity Guarantee. eBay. Things. People. Love.   This episode is sponsored by Higher Self Go to http://thehigherself.app/skinny and get 4 months free or 30% off the yearly plan. That's literally 53 cents a day to reprogram your subconscious and completely upgrade your life.   This episode is sponsored by The RealReal  Get $25 off your first purchase when you go to http://TheRealReal.com/skinny.   This episode is sponsored by Rebel  Spread some holiday cheer (and serious savings) at http://FromRebel.com.   This episode is sponsored by Neiman Marcus If you're looking for gifts that are guaranteed to surprise and delight, head to Neiman Marcus.   Produced by Dear Media

Buy tickets to “The IPO Tour” (our In-Person Offering) TODAYAustin, TX (2/25): https://tickets.austintheatre.org/13274/13275 Arlington, VA (3/11): https://www.arlingtondrafthouse.com/shows/341317 New York, NY (4/8): https://www.ticketmaster.com/event/0000637AE43ED0C2Los Angeles, CA (6/3): https://www.squadup.com/events/the-best-one-yet-liveThe 3 stories on today's pod:Netflix splurged $83B to buy Warner Bros… it's the ultimate Hollywood plot twist.The hottest new restaurant on earth is run by an AI chef… who also does podcast interviews.Nothing sells alt-Apple tech gadgets… Sales are $1B, because everything is fashion.Plus, 8 ½-foot Santas are disappearing across the economy… $NFLX $WBD $AAPL $HDGet your TBOY Yeti Doll gift here: https://tboypod.com/shop/product/economic-support-yeti-doll NEWSLETTER:https://tboypod.com/newsletter OUR 2ND SHOW:Want more business storytelling from us? Check our weekly deepdive show, The Best Idea Yet: The untold origin story of the products you're obsessed with. Listen for free to The Best Idea Yet: https://wondery.com/links/the-best-idea-yet/NEW LISTENERSFill out our 2 minute survey: https://qualtricsxm88y5r986q.qualtrics.com/jfe/form/SV_dp1FDYiJgt6lHy6GET ON THE POD: Submit a shoutout or fact: https://tboypod.com/shoutouts SOCIALS:Instagram: https://www.instagram.com/tboypod TikTok: https://www.tiktok.com/@tboypodYouTube: https://www.youtube.com/@tboypod Linkedin (Nick): https://www.linkedin.com/in/nicolas-martell/Linkedin (Jack): https://www.linkedin.com/in/jack-crivici-kramer/Anything else: https://tboypod.com/ About Us: The daily pop-biz news show making today's top stories your business. Formerly known as Robinhood Snacks, The Best One Yet is hosted by Jack Crivici-Kramer & Nick Martell.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Recorded live in Brisbane, Australia, this week's Bugle sees Andy Zaltzman joined on stage by Nish Kumar and Alice Fraser for a high-energy international tour of scandal, chaos, and cinematic derangement.

The news to know for Monday, December 8, 2025! What to know about a case before the U.S. Supreme Court today that tests President Trump's power over the government. Also, America's new national security strategy that's being welcomed in Russia and condemned in Europe. Plus: a decades-long vaccine recommendation has changed, a major merger involving Netflix could reshape Hollywood, and the matchups are set for next week's College Football Playoff and next year's World Cup. Those stories and even more news to know in about 10 minutes!    Join us every Mon-Fri for more daily news roundups!  See sources: https://www.theNewsWorthy.com/shownotes Become an INSIDER to get AD-FREE episodes here: https://www.theNewsWorthy.com/insider Get The NewsWorthy MERCH here: https://thenewsworthy.dashery.com/ Sponsors: Shop my favorite pajamas at SKIMS.com! After you place your order, be sure to let them know we sent you! Get 15% off OneSkin with the code NEWSWORTHY at https://www.oneskin.co/NEWSWORTHY #oneskinpod To advertise on our podcast, please reach out to ad-sales@libsyn.com    

Morning Rush Hour Podcast — Monday Edition It's a jam-packed Monday as the Blake Lively vs. Justin Baldoni drama takes a sharp new turn. Fresh evidence suggests Blake may be calling in favors from allies who helped orchestrate mass unfollows of Baldoni — and the receipts are raising eyebrows across Hollywood. Plus, the Justice for Clayton movement heats up again as Laura Owens' attorney continues targeting and trying to intimidate creators covering the case. We break down the latest tactics and what they mean for the community. And in politics-as-performance news, Donald Trump claims he'll resign the presidency if his ratings ever dip below Jimmy Kimmel's. Yes, that actually happened — and yes, we have thoughts. All that and more on your Monday morning Rush Hour. Let's get into it. Sponsored by Mint Mobile. Go to mintmobile dot come slash try for 50% off! Sponsored by 1-800-Contacts Go to 1800Contacts dot com for hassle free contacts!

In this week's episode, we dive into the life of Hollywood's original “I'll do it my way” girl: Katharine Hepburn. From growing up in a fiercely progressive household (her mom was literally fighting for birth control while her dad was lecturing on public health) to reinventing herself as the pants wearing, ice-bath-taking, golf obsessed wellness influencer of 1930, Hepburn was never going to fit the studio mold. We unpack her rise from east coast tomboy to four time Oscar winner, the rumors, the reinventions, the romances (real and speculated), and the unapologetic independence that made her a legend. It's a story of privilege, pressure, feminism before we called it that, and the price of living life on your own terms in old Hollywood. History is just gossip, and this is Hepburn like you've never heard her. Produced and created by Tess Bellomo & Claire Donald For more RAM, go here To join our premium subscription for 3 bonus eps a month for $7.99, go here Learn more about your ad choices. Visit podcastchoices.com/adchoices

Travis sits down with actor‑turned‑entrepreneur Ryan Rottman, cofounder of AthleteAgent.com, an IMDb‑style database for the sports world. From training as a business major and actor at Texas Tech to navigating constant rejection in Hollywood, Ryan shares how thick skin, relationships, and a love of sports led him to build the most extensive searchable sports database online, alongside partners like Aaron Rodgers and Nate Robb. On this episode we talk about: How Ryan's early trading and acting work out of college built the financial runway and mindset he needed to pursue creative projects What acting teaches about rejection, resilience, and treating yourself as a business—and how those lessons transfer directly into startups and fundraising The origin story of AthleteAgent.com, modeled after IMDb but built to centralize athlete data, representation info, and off‑field opportunities Why most athletes beyond the top 1% are massively under‑monetized, and how better visibility can unlock endorsements, podcast bookings, investments, and partnerships The realities of building a tech platform from scratch—finding dev teams, talking to 100+ investors, and expanding from 10 sports toward a global, 50+ sport footprint Top 3 Takeaways Acting and entrepreneurship share the same core skill: moving from “no” to “no” without losing enthusiasm, while treating every experience as training for the next opportunity. Athletes are brands, and most are dramatically under‑leveraged off the field; centralized, accurate data and contact info unlocks deals for the other 99%, not just superstars. Long‑term success often comes from repurposing skills and networks—Ryan used his IMDb experience, sports relationships, and business training to spot an obvious gap and fill it with AthleteAgent.com. Notable Quotes "As an actor, you are your own business—rejection is daily, and your job is to keep showing up until the right role hits." "IMDb changed my acting career because people could actually find my reps; I realized nothing like that existed for athletes." "We didn't build AthleteAgent for the top 1%—we built it so the other 99% can finally be found, booked, and paid." Connect with Ryan Rottman: Website (AthleteAgent): athleteagent.com Instagram: @ryanrottman ✖️✖️✖️✖️

We review Jay Kelly starring George Clooney, Adam Sandler, Laura Dern, Billy Crudup and many more recognizable Hollywood stalwarts for Noah Baumbach's latest feature, now playing on Netflix (crowd boos and we cringe.) Will there be a Netflix bias in the upcoming awards season months? Or will Jay Kelly stay in contention for certain categories? NON-SPOILER REVIEW OF JAY KELLY: Reception, Award Profile & Initial Thoughts - 2:17 A Christmas Carol Vibes & 1st Watch Stories - 6:01 Review of the Performances & Casting Category - 12:22 Production Values - 24:23 Oscar Lens - 27:45 Spoiler Warning - 33:31 SPOILER FILLED REVIEW OF JAY KELLY: The Josh Hartnett connection - 34:04 The Jay & Ron (Clooney & Sandler) Relationship is the heart of the film - 36:17 A Christmas Carol with no ghosts? - 40:29 That Ending - 43:52 More Bests and Worsts - 49:46 Final Grades & One Final Awards Discussion - 52:22 OUTRO: If you're enjoying what we do here, please like & subscribe, rate & review and tell your people about our show. Thank you for doing so. https://linktr.ee/mikemikeandoscar Stay tuned for more Oscar Race Checkpoints, Oscar Profiles, and special episodes in the near future.

Linktree: ⁠https://linktr.ee/Analytic⁠Join The Normandy For Additional Bonus Audio And Visual Content For All Things Nme+! Join Here: ⁠https://ow.ly/msoH50WCu0K⁠Analytic Dreamz breaks down Netflix's explosive 4-part documentary Sean Combs: The Reckoning in this must-hear Notorious Mass Effect segment. Dropped December 2, 2025 and executive-produced by Curtis “50 Cent” Jackson, the series features never-before-seen September 2024 footage of Diddy admitting “We're losing” just days before his federal arrest on racketeering, sex trafficking, and prostitution charges. Though acquitted of the top counts, Diddy was convicted on two lesser prostitution charges and is serving 50 months.The doc ignited firestorms: Diddy calls it a “shameful hit piece” using stolen, unauthorized footage (some allegedly breaching attorney-client privilege); Netflix and director Alexandria Stapleton insist every clip was legally obtained. 50 Cent refuses to reveal his source while continuing his decades-long feud, now reignited with Ja Rule calling him a “dry snitch” and “cancer to the culture.”Analytic Dreamz examines the bombshell lawyer-yelling clip, conflicting insider accounts from Roger Bonds and Kirk Burrowes, the Biggie funeral controversy, public backlash, and the larger debate: accountability or exploitation? This segment delivers every key detail, reaction, and implication from the documentary shaking hip-hop and Hollywood right now. Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsPrivacy & Opt-Out: https://redcircle.com/privacy

The destruction of classic Hollywood is here! Lionel explains how Netflix's colossal $72 billion deal to acquire Warner Brothers Discovery (including HBO and DC Studios) signals the rise of a media colossus that could remake culture and politics. This isn't just a merger; it's the reboot of the game with one dominant gatekeeper. Plus, Lionel dives into the terrifying reality of AI in showbiz, from the controversial AI actress Tilly Norwood to the digital mapping of production assets, asking: Is our cultural repository being destroyed for maximal global efficiency? Learn more about your ad choices. Visit megaphone.fm/adchoices

Joe and Hollywood break down Miami's dramatic selection into the College Football Playoff over Notre Dame, with Alabama also landing a spot as the bracket comes into focus. They react to Notre Dame opting out of its bowl game after being left out and debate how much SEC influence played into Alabama's inclusion. Joe recaps conference championship weekend — from Alabama–Georgia to Ohio State–Indiana and more — and explains why the committee's decisions feel questionable and why Notre Dame ultimately got snubbed.

Tate Donovan on Acting, Directing, and Nostalgia Tate Donovan stops by Reza Rifts and offers a masterclass in Hollywood longevity in this engaging interview, sharing candid career insights from his decades in the industry. He delves into stories from iconic 90s films like 'Love Potion Number Nine' and beloved TV shows like 'Friends' (as Joshua), 'Damages,' and voicing Disney's Hercules. Donovan reflects on the evolution of storytelling, the audition process, and the emotional craft of acting techniques. He also discusses his directing aspirations and the collaborative nature of filmmaking, providing a transparent look at the highs and lows of Hollywood. Tate's Socials IG @t8donon ... https://www.instagram.com/t8dono/?hl=en  Chapters 00:00 Introduction and Social Media Recovery 02:15 Welcoming Tate Donovan 06:10 Reflections on Past Roles 10:12 Love Potion Number Nine: A Classic Comedy 18:36 Navigating Relationships and Friends 20:28 The Experience of Damages 23:15 Hercules: Voice Acting and Legacy 28:44 Behind the Scenes of Argo 31:28 Auditioning and Nerves in Acting 33:54 Directing and Collaborating with Actors 35:59 Memorable Co-Stars and Learning from Others 38:21 Future Directing Aspirations and The Pyramids   Support the show on https://patreon.com/rezarifts61  Follow Keith on all social media platforms: FB: https://www.facebook.com/realkeithreza IG:https://www.instagram.com/keithreza  ALT IG:https://www.instagram.com/duhkeithreza  X:https://www.twitter.com/keithreza  TT:https://www.tiktok.com/keithreza  Book Keith on cameo at www.cameo.com/keithreza Check out my website for dates at https://www.keithreza.com/  Subscribe - Rate & Review on Apple Podcasts - Tell a friend :) Be a Rifter!               #TateDonovan #HollywoodInterview #FriendsCast #VoiceActor #ActingLife #FilmIndustry #Storytelling #DirectorGoals #BehindTheScenes #ClassicTV

Today on another encore episode of the Rarified Heir Podcast we are talking to Katherine Kramer, daughter of producer/director Stanley Kramer. Our chat with Katherine or Kat was both edifying and easy as we had familial connections and we learned a few things in the process. Such as? Well how about what famous actress was she named after, where in the Western United States did her family move to once they left Hollywood and what films made her father a bankable director while he was still producing. We also spoke about some of his films, many of them 'message' films such as Guess Who's Coming To Dinner, Judgement at Nuremberg, The Defiant Ones and a small, off-beat comedy called It's A Mad, Mad, Mad, Mad World which co-starred Edie Adams, our host's Josh Mills's mother. In all, Stanley Kramer's films garnered 80 Academy Awards and starred everyone from Spencer Tracy to Sidney Pointier, Marlon Brando and so many, many more. Kat talked to us about her work as well – in terms of both her charity events and her film festivals, her one woman show about Rolling Stones frontman Mick Jagger, her creepy house growing up, The Kennedy Assassination and much more. This is the Rarified Heir Podcast and everyone has a story. Kat Kramer's is coming right up!  

As Syrians celebrate ‘Liberation Day’, we get the mood on the ground in Damascus and assess how far the country has come. Then: Hong Kong’s local elections in the wake of deadly fires and the future of Hollywood as Netflix buys Warner Bros Discovery. Plus: Monocle’s Christmas market in Paris.See omnystudio.com/listener for privacy information.

Disney World and Hallmark are teaming up and Allyson talks about this being the busiest day ever to order pizza!

Miley Cyrus gives an update on Dolly Parton!

In this episode, I spoke with author Scott Eyman regarding his book "Joan Crawford A Women's Face'. Film historian and acclaimed New York Times bestselling biographer Scott Eyman has written the definitive biography of Hollywood icon Joan Crawford, drawing on never-before-seen documents and photos from the Crawford estate.

durée : 00:03:05 - Un monde connecté - par : François Saltiel - L'entreprise de streaming s'est offert pour 82 milliards de dollars le catalogue et les studios de la Warner, symbole de la prise du pouvoir des acteurs de la tech à Hollywood. Un deal qui inquiète les scénaristes et pourrait, à terme, menacer les salles de cinéma.

Pretty much every detail from Taylor Swift’s upcoming wedding to Travis Kelce has been leaked, thanks to allegations that they paid another couple to give up their dream location, here’s everything we know.And Miley Cyrus is officially engaged to Maxx Morando, so now we need to talk about the surprising way they met, who his family his and why he’s flying the flag for background boyfriends everywhere.Plus, Quentin Tarantino is going viral for comments he made on a podcast naming Hollywood’s worst actors, and some of the biggest names in Hollywood have come out swinging against him.WHAT TO LISTEN TO NEXTThe New Red Flag In Taylor Swift And Travis Kelce's Relationship & We've Been Attacked By Spotify... Listen on Apple Or Spotify. Our podcast Watch Party is out now, listen on Apple or Spotify.THE END BITS Support independent women's media Follow us on TikTok, Instagram and Facebook. And subscribe to our Youtube channel. Read all the latest entertainment news on Mamamia... here. Discover more Mamamia Podcasts here. Do you have feedback or a topic you want us to discuss on The Spill? Send us a voice message, or send us an email thespill@mamamia.com.au and we'll come back to you ASAP! CREDITS Hosts: Laura Brodnik and Ksenija Lukich Executive Producer: Monisha Iswaran Audio Producer: Scott StronachBecome a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

Join host Lynn Hoffman in this encore presentation of one of Comedy Saved Me’s most beloved episodes featuring television icon Tom Bergeron. In this insightful and hilarious conversation, the legendary host of Dancing with the Stars and America’s Funniest Home Videos opens up about how comedy became his lifeline throughout a remarkable career in entertainment. In This Episode, Tom Bergeron Shares: Tom takes listeners on a journey from his early days in local radio to becoming one of America’s most trusted and beloved TV hosts. Discover how his quick wit and comedic instincts helped him master the art of live television, navigate unexpected on-air moments, and build a career spanning decades at the top of the entertainment industry. Key Highlights Include: • Early Comedy Influences - Tom reveals the comedians and performers who shaped his comedic sensibility and inspired him to pursue entertainment • Behind-the-Scenes Stories - Exclusive anecdotes from his years hosting Dancing with the Stars, America’s Funniest Home Videos, and Hollywood Squares that have never been shared publicly • The Power of Humor in Live TV - How comedy and improvisation became essential tools for handling the unpredictable nature of live broadcasts and connecting with millions of viewers • Resilience Through Laughter - Personal stories about using comedic advice to overcome professional challenges, career transitions, and life’s difficult moments • Lessons from a Legendary Career - Hard-won wisdom about authenticity, staying grounded in Hollywood, and the healing power of making people laugh Why Listen to This Episode: Tom Bergeron’s warmth, honesty, and razor-sharp wit make this conversation essential listening for anyone who loves comedy, television history, or inspiring stories of perseverance. Lynn Hoffman’s thoughtful interview style draws out both the laughter and the deeper truths about how comedy can sustain us through life’s challenges. Whether you’re a longtime fan of Tom’s work on DWTS and AFV, a comedy enthusiast, or someone seeking inspiration about the transformative power of humor, this episode delivers heartfelt moments and genuine laughs in equal measure. See omnystudio.com/listener for privacy information.Support the show: https://musicsavedme.net/See omnystudio.com/listener for privacy information.

It's another fantastic episode of Big Conversations, Little Bar in the corner booth as Patrick Evans and Randy Florence welcome acclaimed director, writer, producer and gin-maker Paul Feig to Skip Paige's Little Bar. From his Michigan childhood, standup gigs in Detroit biker bars and early TV roles to creating Freaks and Geeks and directing hits like Bridesmaids, Spy and Ghostbusters, Feig traces the winding path of a career built on smart, character-driven comedy. He teases his twisty new thriller The Housemaid, explains why he loves blending scares with laughs, and reflects on fan backlash, streaming-era shakeups and the future of movies and TV storytelling. Plus: stories of George Carlin, Bob Hope and Gary Shandling, behind-the-scenes TV memories, his obsession with impeccably made gin martinis, the origin of Artingstall's Gin, his burgeoning Palm Springs icon status, and why he and his wife fell hard for life in the Coachella Valley—Scotty dog Kevin included.Takeaways:How a Michigan kid with comedy-loving parents found his way from magic acts and Detroit biker-bar standup to Hollywood.The real-life inspirations behind “Freaks and Geeks” and why it still resonates 25 years later despite its short network run.Why thrillers and horror-comedy now excite him more than traditional straight-ahead comedy.The fast, budget-conscious whirlwind production of “The Housemaid” and adapting a beloved Frieda McFadden bestseller.What he learned from legends like George Carlin, Bob Hope and Gary Shandling about structure, timing and audience connection.The story behind Artingstall's Gin, his love affair with classic martinis and how a childhood Vegas trip sparked it.Honest thoughts on Ghostbusters backlash, toxic fandoms, and how streaming has upended TV and film economics.Why he and his wife chose the Coachella Valley as home, complete with Scottish Terrier Kevin and a deepening local connection.#BigConversationsLittleBarPodcast #PatrickEvans #RandyFlorence #SkipsLittleBar #MutualBroadcastingSystem #CoachellaValleyResidents #SkipPaige #McCallumTheatre #PaulFeig #FreaksAndGeeks #TheHousemaidFilm #CocktailTimeBook #ComedyAndThrillers #HollywoodDirectors #PalmSpringsLife #CoachellaValleyPodcast #MovieMakingStories #StandUpComedyRoots #GinMartiniLovers #ClassicTVAndFilm

This week on History Rage, host Paul Bavill welcomes the brilliant mythologist and author Natalie Haynes, to unravel the tangled web of Greek mythology and challenge the male-centric narratives that often dominate our understanding of these ancient tales.Myth vs. Reality: Natalie passionately argues that the stories from ancient Greece are not as male-dominated as they are often portrayed. She encourages listeners to reconsider the powerful roles women play in these myths, particularly through figures like Medea and Hera, who defy the traditional expectations of their time.The Argo and Its Heroes: Dive into the legendary quest for the Golden Fleece as Natalie dissects the dynamics of the Argonauts. Are they truly a cohesive unit or merely a collection of egos? Discover the complexities of their relationships and the conflicts that arise as they embark on their perilous journey.Women in Mythology: Explore the surprising strength and agency of female characters in Greek mythology. Natalie highlights how goddesses like Athena and Artemis offer a stark contrast to the often flawed male heroes, challenging the notion that women were merely passive figures in these ancient stories.Hollywood's Take: The conversation takes a critical turn as Natalie examines the portrayal of Greek myths in popular culture, particularly in films like Jason and the Argonauts and Disney's Hercules. She reveals how these adaptations often strip away the complexity and richness of the original tales, reducing powerful female figures to mere side characters.Support History Rage on Patreon for exclusive content and early episode access at www.patreon.com/historyrage.Follow History Rage on Social Media:Facebook: https://www.facebook.com/HistoryRageTwitter: https://twitter.com/HistoryRageInstagram: https://www.instagram.com/historyrage/Buy the Book: No Friend to this House: https://uk.bookshop.org/a/10120/9781529061543Listen to Natalie Haynes Stands Up For the Classics: https://www.bbc.co.uk/programmes/b077x8pc/episodes/playerFollow NatalieInstagram: @nataliehaynesauthorTwitter: @officialnhaynesBluesky: @nataliehaynes.bsky.social Stay Angry, Stay Informed - History Rage Hosted on Acast. See acast.com/privacy for more information.

Die Themen: Erster wilder Biber in England seit Ausrottung vor 400 Jahren gesichtet; Tumult auf Weihnachtsmarkt; Renten-Reform; DFB-Präsident will sich nicht zur Trump-Show äußern; WM-Termine stehen fest; Sarkozy schreibt Buch über seine Haft; Warum trennen sich so viele Paare am 11. Dezember?; Heute vor 40 Jahren lief die erste Folge der Lindenstraße; Die jüngste Selfmade-Milliardärin der Welt; Hollywood stellt sich gegen Quentin Tarantino; Kuckelkorn-Rücktritt. Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/ApokalypseundFilterkaffee

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

Jamie Lee Curtis is an Academy Award and Emmy winning actress, author, and producer best known for Everything Everywhere All at Once, the Halloween franchise and her acclaimed guest role in The Bear. Curtis sits down with Willie Geist to discuss her late career hot streak, embracing aging and authenticity, and her role as Aunt Helen in James L. Brooks's new film Ella McCay. Plus, she reflects on the woman who first saw her potential, the hustle behind building her Comet Pictures production company, and why she believes the most important moments in life hinge on a few unexpected seconds. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Subscribe now for the full episode. Danny and Derek welcome back to the show media scholar Andrew deWaard to discuss Netflix's reported acquisition of Warner Bros. Discovery and what it says about the economic forces driving contemporary media. They talk about how conglomeration and financialization have reshaped Hollywood; zero interest rates, asset inflation, and Wall Street driving mergers; how intellectual property, streaming platforms, and algorithmic “background TV” are transforming both culture and labor; the decline of cable and mass entertainment to Netflix's rent-based (and subsequent subscription) business model; the influence of Spotify, YouTube, and Amazon on media strategy; and the global implications of growing U.S. cultural monopolies. Read Andrew's book Derivative Media (for free!). Check out Danny's piece “The Life and Death of Hollywood.” Also take a look at this n+1 article on Netflix and how it's transformed modern film and TV consumption, “Casual Viewing.”

New Schizo Just Dropped:We discover our new favorite schizo, Adam Wayne Bailey. A true genius Haitian Island Invasion: Two men in Texas are arrested for planning to take over a Haitian island with an army of homeless people. What is this distracting us from? Andy Dick and Corey's Twitter: Andy Dick is hanging with bums like he should and Corey's Twitter confirms that the divorce with Courtney has now been settled. Corey is also out here fighting for his life on his social. THE BEAR!, FUCK YOU, WATCH THIS!, ELTON JOHN!, STEP INTO CHRISTMAS!, FELDMAS!, DRAGONBALL Z!, MEMES!, TICKLESACK!, TOTS TURNT!, DONATIONS!, NEW SCHIZO JUST DROPPED!, ADAM WAYNE BAILEY!, RAT NASTY BITCH!, CLOWN ASS DOUCHEBAGS!, REACHER!, BASH YOUR HEAD!, CHOICES!, DECISIONS!, PLOT OF LAND!, 2.5 ACRES!, WISCONSIN!, TALK SHIT!, DIPSHIT GRANDPARENTS!, R2D2!, FAKE WIFEY!, DIFFERENT CHARACTERS!, MAKE SENSE!, DAUGHTER!, STATE OF MIND!, MINNESOTA!, 2.5 ACRES!, HAITIAN ISLAND!, INVASION!, ENSLAVE!, CONSPIRACY!, TAKE OVER!, CRIME!, TWO GUYS!, COMEDIC!, INEPT!, DISTRACTION!, VIRAL STORY!, CLICKBAIT!, TIME WILL TELL!, ANDY DICK!, DRUNK!, HOLLYWOOD!, FAVORITE RAPPER!, OUTKAST!, MISSY ELLIOTT!, DOCUMENTARY!, STAGED!, DAILYMAIL!, RAG!, GROPE!, GRABBED BUTTS!, NO ANGELS HAVE SPOKEN OUT!, FIGHTING FOR HIS LIFE!  You can find the videos from this episode at our Discord RIGHT HERE!

This week on Gun For Hire Radio… America never had a revenue problem. We have a theft problem. Our government is a multi-trillion dollar a year theft and money laundering operation. It becomes clearer every day. There is absolutely no reason for the US Congress to exist at this point. It's a joke, a bunch of B-movie actors living out their Hollywood dreams, obstructing all action that could solve our fiscal, foreign policy, immigration/population problems. As I Say, “Once  you realize they hate us, it all makes sense”! Please Listen, Learn, Like, Follow, Share, & Volunteer. The post The Gun For Hire Radio Broadcast: Episode 759 appeared first on Best Gun Range NYC and NJ Area | Gun Range Near Me.

Why do people who've spent their careers in the trenches of production take everything they've learned on set and turn it into something as quiet and lasting as a book? In this episode of Below the Line, three authors with deep roots in the industry talk about translating lived experience into storytelling on the page. This week on Below the Line, Skid is joined by Melanie Ragone, Key Grip and author of Below the Line: A Film Crew Survival Guide; Rob Spera, director, teacher, and author of the Film/TV Director's Field Manual: Seventy Maxims to Change Your Filmmaking; and Ken Levin, longtime Property Master and author of the satirical novel Great Exploitations – A Hollywood Fable. Together, they compare notes on why they wrote their books, how decades inside the industry shaped them as authors, and what they hope readers take away — whether they work on set or simply love the stories it produces. On the page and behind the scenes, we talk about: How each book grew out of real experience: Melanie's trial-by-fire years as a first-generation filmmaker and grip, Rob's four decades directing and teaching, and Ken's time in commercials, kids' TV, and beyond The shared belief that film sets are communities, not dictatorships — and why Rob rejects auteur theory in favor of leadership that listens, thanks, and makes room for crew voices Melanie's “love letter to crew”: honest advice about long hours, mental and physical strain, and why gratitude and basic respect from above the line can change an entire day on set Ken's choice to write fiction as a way to tell the truth about Hollywood's brutality, absurdity, and mutual exploitation — especially for those working below the line The changing economics of the industry: shorter seasons, longer gaps between shows, and why all three guests stress diversifying skills, planning ahead, and learning when (and how) to pivot Different publishing paths — from querying hundreds of agents to choosing self-publishing for speed and creative control — and what it really takes to market a niche industry book Who these books are for: new crew trying to survive their first shows, directors and producers who want a clearer picture of below-the-line life, and readers who just want to understand what really happens behind the camera What's next: Melanie's push toward showrunning and television writing, Rob's continuing work as a teacher and documentary filmmaker, and Ken's “second career” as a novelist, including aviation-themed projects waiting in the wings At its heart, this conversation is about survival, adaptation, and generosity — three industry veterans turning hard-won lessons into something that can outlast a single job, a single season, or even a single career.

At Sean "Diddy" Combs' infamous parties, celebrities became accustomed to certain signals that marked when it was time to leave before the night's activities spiraled into more debauched territory. Insiders revealed that around 2 to 3 a.m., the atmosphere at the parties began to shift dramatically. One clear indication that things were about to escalate was when young women would start shedding their clothes. For many high-profile attendees, this was the moment to discreetly exit.Those who stayed beyond this point encountered increasingly wild behavior, including drug use, explicit sexual activities, and the presence of sex workers willing to fulfill any request. Parties would continue into the early morning hours, often lasting until 7 a.m. According to sources, the atmosphere after 2 a.m. paled in comparison to the more extreme activities that would take place as the night progressed​.These parties have come under intense scrutiny following Diddy's arrest and the flood of allegations against him. Attorney Tony Buzbee, representing over 120 accusers, described the events as days-long drug-fueled sex parties, with some participants coerced into performing acts for blackmail purposes. The lawsuits, which involve both male and female victims, include accusations from individuals who were minors at the time​.As more victims come forward, the infamous nature of these gatherings—long an open secret in Hollywood—has been laid bare, with many former guests distancing themselves from Diddy amidst the mounting legal actions​.In our Second segment...Comedian Jeff Wittek recently shared his experience at one of Sean "Diddy" Combs' infamous parties during a discussion on his podcast, Jeff FM. Wittek described attending a "freak-off" party at a Miami mansion in 2010, which he originally thought was going to be a normal event. However, he quickly realized it was anything but ordinary when his then-girlfriend and her friend showed up in revealing lingerie.Wittek recounted witnessing "live sex" for the first time in his life, which shocked him. Although he did not participate, he admitted to getting drunk at the party. He described the mansion as sprawling and multi-leveled, with the atmosphere becoming stranger the higher he went. Wittek also mentioned that this party was one of many similar events Diddy hosted, which have since become part of the legal case against the music mogul, who faces numerous allegations of sex trafficking and racketeering.(commercial at 8:52)to contact me:bobbycapucci@protonmail.comsource:Sean 'Diddy' Combs' party guests left before things took turn (pagesix.com)Comedian Jeff Wittek saw 'live sex' at 'f--king crazy' Sean 'Diddy' Combs party filled with scantily clad women (pagesix.com)

A Stranger Saved a Retired NYPD Officer's Life on Christmas Eve, A Special Episode Worth Hearing. This is more than a headline. It is a true story of survival, loss, depression, and an unexpected moment of human connection that changed everything. Look for The Law Enforcement Talk Radio Show and Podcast on social media like their Facebook , Instagram , LinkedIn , Medium and other social media platforms. Dean Simpson is a retired police officer from the New York City Police Department. Years before this Christmas Eve, he was shot in the line of duty during a violent, life-and-death encounter. He survived the attack, but the shooting left him permanently disabled. What followed was a slow, painful unraveling that many first responders know too well. The inpsiring episode is streaming for free on the Law Enforcement Talk Radio Show and Podcast website, on Apple Podcasts, Spotify, YouTube, and most every major Podcast platform Purpose disappeared. Pain remained. Alcohol filled the silence. By December of 2001, Dean's life had narrowed to drinking, isolation, and attending one police funeral after another. Just three months earlier, the Twin Towers had fallen. While his fellow officers ran toward the chaos on September 11, Dean woke up late, hungover, and drowning in guilt. He still put on his uniform and reported to Ground Zero, working at “The Pile” for weeks, until he realized he wasn't helping anymore. A Stranger Saved a Retired NYPD Officer's Life on Christmas Eve, A Special Episode Worth Hearing. Supporting articles about this and much more from Law Enforcement Talk Radio Show and Podcast in platforms like Medium , Blogspot and Linkedin . Then came Christmas Eve. That morning, Dean put his father's revolver in one pocket and his father's worn Bible in the other. He boarded a train at Penn Station with a one-way ticket upstate. He had already decided that once he reached his destination, his life would end. He chose a secluded place so no one would have to clean up the mess, a thought that haunted him even then. While the train rolled north through snow-covered landscapes, a stranger sat down next to him. Her name was Erin. She was a chatty grandmother with a red scarf and a warm smile, exactly the kind of person Dean did not want to talk to. She spoke about the beauty of the city, the holidays, life, and love. Dean sat in silence, angry at her optimism, angry at everything. When she finally asked what he loved about New York City, his response was cold and sharp. Available for free on their website and streaming on Apple Podcasts, Spotify, Youtube and other podcast platforms. “I love being left alone.” Instead of snapping back or moving seats, Erin stayed. When Dean apologized, she accepted. Slowly, gently, she drew him into conversation. She shared her own story, her late husband, her children, her grandchildren. And for the first time in a long while, Dean talked about his life. About being shot. About losing his father. About feeling useless and invisible. A Stranger Saved a Retired NYPD Officer's Life on Christmas Eve, A Special Episode When the train reached Albany, Erin handed him a small pink note. “I don't know where you're headed,” she told him, “but when you get there, read this.” They hugged, and she was gone. Dean continued on to Black Mountain, climbing toward Lake George with ice-capped water below. At the summit, he opened his father's Bible. A scrap of paper fell out, marking a verse: Corinthians 10:13. To a cop, that number meant something else entirely, police code for officer needs assistance. The Law Enforcement Talk Radio Show and Podcast episode is available for free on their website , Apple Podcasts , Spotify and most major podcast platforms. Then he read Erin's note: “Dean, life is a gift meant to be shared. Don't ever give up hope. Merry Christmas. Erin.” In that moment, something lifted. The weight inside him eased. Dean emptied the revolver and threw it into the abyss. Then he turned around and walked back down the mountain. A Stranger Saved a Retired NYPD Officer's Life on Christmas Eve. That was the day a stranger saved his life. In this special episode of the Law Enforcement Talk Radio Show and Podcast, Dean Simpson tells his story openly, not for attention, but to reach others who may be standing on the same edge. He speaks about trauma, addiction, purpose, and recovery. He shares how the badge shaped him, how it nearly broke him, and how one unexpected act of kindness redirected his life. His interview can be found on The Law Enforcement Talk Radio Show and Podcast website, on Apple podcasts, Spotify, Youtube and on LinkedIn, Facebook, Instagram, and across most podcast platforms where listeners will find authentic law enforcement stories. Dean is also the author of two books: The Blue Pawn: A Memoir of an NYPD Foot Soldier, a raw and unfiltered account of life in law enforcement, and Godless v. Trust: The Radical Left's Quest to Destroy Western Civilization, reflecting the worldview forged through experience and service. His story has been shared across Facebook, Instagram, and various news outlets, and is now featured in a special episode of a powerful podcast conversation. Listeners can hear Dean tell this story in his own words on Apple, Spotify, and other major podcast platforms. A Stranger Saved a Retired NYPD Officer's Life on Christmas Eve, A Special Episode Worth Hearing. The full podcast episode is streaming now on Apple Podcasts, Spotify, and across Facebook, Instagram, and LinkedIn. This is not just a story about a retired NYPD officer. It's a reminder that you never know when a simple conversation, a shared moment, or a stranger's kindness might save a life. And sometimes, angels don't have wings, they just won't stop talking. Be sure to check out our website . Be sure to follow us on X , Instagram , Facebook, Pinterest, Linkedin and other social media platforms for the latest episodes and news. Listeners can tune in on the Law Enforcement Talk Radio Show website, on Apple Podcasts, Spotify, YouTube, and most every major Podcast platform and follow updates on Facebook, Instagram, and other major News outlets. You can find the show on Facebook, Instagram, Pinterest, X (formerly Twitter), and LinkedIn, as well as read companion articles and updates on Medium, Blogspot, YouTube, and even IMDB. You can help contribute money to make the Gunrunner Movie . The film that Hollywood won't touch. It is about a now Retired Police Officer that was shot 6 times while investigating Gunrunning. He died 3 times during Medical treatment and was resuscitated. You can join the fight by giving a monetary “gift” to help ensure the making of his film at agunrunnerfilm.com . Background song Hurricane is used with permission from the band Dark Horse Flyer. You can contact John J. “Jay” Wiley by email at Jay@letradio.com , or learn more about him on their website . Stay connected with updates and future episodes by following the show on Facebook, Instagram, LinkedIn, their website and other Social Media Platforms. Find a wide variety of great podcasts online at The Podcast Zone Facebook Page , look for the one with the bright green logo. A Stranger Saved a Retired NYPD Officer's Life on Christmas Eve, A Special Episode Worth Hearing. Attributions Amazon NY Post Amazon Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

durée : 00:58:48 - Toute une vie - par : Elodie Maillot - Agnès Varda a eu plusieurs vies : photographe, artiste visuelle et cinéaste, couronnée par un Oscar d'honneur à Hollywood en 2017. Avant cette hype américaine, la "grand-mère de la Nouvelle Vague" avait connu deux exils très différents à Los Angeles (en 1967 et en 1980). - réalisation : Félix Levacher

Today we dived in deep on all the dirty gossip from Hollywood over the weekend, but somehow got into Croat Nat's Harry Potter-esque sneezing habits.... It's all fun and games of course, until someone brings out the wrapping paper at Miley Cyrus's house. Lock in for a wild ride! See omnystudio.com/listener for privacy information.

Samsung presenta su primer triple plegable con diseño en forma de “G” y precio récord. Analizamos si este Galaxy Trifold tiene sentido real. Además, Netflix sacude Hollywood con la compra de Warner y Apple enfrenta una ola de salidas clave.

This is a free preview of a paid episode. To hear more, visit thecelticunderground.substack.comSouness had arrived at Rangers along with the England Captain, Goalkeeper and right back. They were the Hollywood team of Britain and things looked bleak when all we could muster was the signing of a young Andy Walker from Motherwell. Andy and McAvennie went on to form a dynamic front two that secured a Centenray Season double and etch their names int…

Warner Bros. finally might have a buyer, and if the deal goes through, it will literally change Hollywood forever. A full breakdown of everything from the agreement itself, to the challenges of getting approved, to the aftermath of reaction from Hollywood, and everything in between, on this week's FLITECAST. Contact Ray at: EMAIL: ray@theflitecast.com BLUESKY: @FliteCast THREADS: @TheFliteCast INSTAGRAM: theflitecast FACEBOOK: https://www.facebook.com/TheFliteCast/ Subscribe to The FliteCast: Apple Podcasts / YouTube / Spotify / Pandora / RSS Become a member of The FliteCast on Patreon: https://www.patreon.com/TheFliteCast

Set in present-day, a disgraced former Secret Service office and a Jesuit professor join forces to delve into the mysteries surrounding the events of November 22, 1963. Fixated on deciphering the conspiracies behind the history-changing assassination, they are oblivious to the fact that the cabal is still active—and may face an end as bloody as the carnage in Dealey Plaza. Will they be able to uncover the truth in time? Or will they become two more footnotes in history? Chris Hauty was born in 1956 in San Antonio, Texas, and raised in Delaware, a geographic and cultural relocation made more tolerable by virtue of his relative youth and an obsession with Greek mythology. He graduated from Reed College, in Portland, Oregon, then moved to New York, where he supported his playwriting habit as a bike messenger and graphic artist. His plays produced Off-Off-Broadway included South of American Business and Shut Eye, Big Mouth. The sale of his first screenplay, Don Coyote, to 20th Century Fox prompted a move to Los Angeles. Employed for the last thirty years as a screenwriter, he has worked for every major movie studio, in nearly all genres, and in collaboration with Hollywood professionals ranging from Mel Gibson to Jessica Alba. #chrishauty #authorpodcast #speakingofwriterspodcast #podcast

All week long, we're looking into 10 new terms and concepts that are certain to be on everyone's lips in 2023! In December 2022, New York magazine ran a cover which got a lot of attention. It featured the heads of a number of Hollywood celebs like Lily-Rose Depp, Ben Platt, Dakota Johnson and Zoe Kravitz, all edited onto babies' bodies. In the centre of the page the bright pink headline read: “She Has Her Mother's Eyes. And Agent.” The article inside labelled 2022 the “Year of the Nepo Baby”. What those celeb babies all have in common is that they're the children of famous, successful parents. That's where the “nepo” part comes from, as in nepotism. Right from the get go, these kids had an advantage or arguably a sure road to success. Isn't that obvious? That's been the case forever, hasn't it? What do nepo babies themselves have to say on the issue? In under 3 minutes, we answer your questions! To listen to more episodes, click here: ⁠Can a weighted blanket help you get a better night's sleep?⁠ ⁠What is the internet of senses?⁠ ⁠What is goblin mode?⁠ A Bababam Originals podcast. Written and produced by Joseph Chance. First Broadcast: 11/1/2023 Learn more about your ad choices. Visit megaphone.fm/adchoices

A CDC advisory panel has voted to roll back Hepatitis B vaccines for newborns. If approved, it could reverse 30 years of gains in fighting the liver disease. We also look how Hollywood is responding Netflix purchasing Warner Bros. And we look at a series of economic indicators and how the Federal Reserve might respond to in their meeting next week.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Friday on the News Hour, the CDC's vaccine committee changes recommendations for hepatitis B shots for newborns in a major shift for childhood immunizations. The world's largest streaming service announces plans to acquire one of Hollywood's oldest studios. Plus, Minnesota’s Somali community pushes back against President Trump’s rhetorical attacks as it prepares for immigration raids. PBS News is supported by - https://www.pbs.org/newshour/about/funders. Hosted on Acast. See acast.com/privacy

George Noory and Hollywood stuntman Rick McCallum discuss his career as an investigator with the Hollywood Ghost Hunters, his childhood experience in a haunted hotel room with his mother, and why some places are more haunted than others.See omnystudio.com/listener for privacy information.

Dive into Hollywood's most enduring mystery in this gripping episode of Surviving the Survivor. Decades after Marilyn Monroe's tragic and controversial death, questions still swirl around what really happened to the world's most iconic star. Best-selling author James Patterson's new book explores Monroe's turbulent final days, the powerful figures in her orbit, and why he believes the story we've been told may not be the full truth. Packed with shocking revelations, untold details, and Patterson's bold new theories, this episode unravels the intrigue behind a case that continues to captivate—and haunt—generations.Support the show & be a part of #STSNation:Donate to STS' Trial Travel: Https://www.paypal.com/ncp/payment/GJ...VENMO: @STSPodcast or Https://www.venmo.com/stspodcastCheck out STS Merch: Https://www.bonfire.com/store/sts-store/Joel's Book: Https://amzn.to/48GwbLxSupport the show on Patreon: https://www.patreon.com/SurvivingTheSurvivorEmail: SurvivingTheSurvivor@gmail.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

It’s shaping up to be the biggest weekend for families heading out to buy their Christmas trees, and Toluca Lake is buzzing with festive energy during the Dylan Keith Salon Holiday Walk Around. In an astonishing human achievement, a man who spent 27 years walking around the entire world is making headlines for his incredible journey. Southern California faced major disruptions as a police incident shut down sections of the 5 Freeway near Del Mar for hours, creating massive backups. One local business is dealing with back-to-back burglaries, adding to the chaos. Holiday festivities turned wild in Rancho Cucamonga, where the popular Thoroughbred Christmas lights drew huge crowds—and misbehavior. Some visitors were stuck in traffic for up to four hours, even causing issues along the horse trails, but it remains a beloved experience for families seeking holiday magic. Meanwhile, the entertainment world is still reeling from Netflix’s blockbuster acquisition of Warner Bros., a massive deal raising questions about the future of streaming, film, and Hollywood’s power structure. Reports also suggest the freeway shutdown in Del Mar Heights may be tied to a possible jumper, further contributing to severe traffic gridlock.See omnystudio.com/listener for privacy information.

The 2026 World Cup Draw delivered fresh group pairings and global excitement, with Kevin Hart and Heidi Klum taking the stage as celebrity announcers. In a nostalgic twist, the moment echoed TV history: back in the 1950s, William Morris Agency didn’t even have a television division in Los Angeles until Phil Weltman launched it—later bringing in comedy legend Tim Conway. As the weekend approaches, most families are gearing up to buy their Christmas trees, while the entertainment world is buzzing over a seismic business move: Netflix is set to acquire Warner Bros. after its split from Discovery Global, at a massive $82.7 billion enterprise value. Meanwhile, nostalgia hits the board-game aisle as people rediscover old-school favorites—The Game of Life (complete with little blue and pink people) and Monopoly, reminding everyone that strategy and luck still rule the classics. In Los Angeles, journalist Elex Michaelson reported from Max & Helen’s Diner, a project created by Phil Rosenthal and iconic chef Nancy Silverton. Rosenthal—best known for creating Everybody Loves Raymond and hosting Netflix’s Emmy-nominated Somebody Feed Phil—is sparking talk of an Everybody Loves Raymond reunion as his popularity keeps climbing. And finally, dinner trends continue to evolve: with early-bird specials kicking off around 5 PM, families and diners are adjusting habits, while pizza orders shift toward fewer toppings and smaller sizes as people rethink budget, flavor, and simplicity.See omnystudio.com/listener for privacy information.

This week on the What Are We Doing podcast, I hit record after missing a week and walk straight into chaos. Holidays, weddings, jet setting, whatever. We made it. Episode 215 is here whether the world is ready or not. I start the show by giving thanks to the only man who deserves it, Joe Exotic, and hoping he gets that presidential pardon he keeps talking about. After that, the madness ramps up fast.Soulja Boy is back with another tech empire that exists only in his mind. He is now saying someone offered him one hundred million for a handheld emulator that screams AliExpress from a mile away. He also says it has sixty four gigs of RAM. It does not. I break it all down and explain why Soulja Boy, if you are reading this, call me. We would print money together.Then we look at the White House's new marketing strategy where they steal Sabrina Carpenter songs to soundtrack ICE raid videos. Sabrina responds. The White House responds. Everyone loses. I offer the White House an easy solution. Use this podcast instead. Leave the pop stars alone. What are we doing.Next up, Epstein news. More photos. More videos. More questions. His island looks worse than my resort in Cabo. There is a dental chair. I pitch the idea of installing a dentistry at my actual resort. It makes more sense than whatever Epstein was doing.Kate Beckinsale shows up on Jimmy Kimmel with a story about her daughter's boyfriend laying eggs. Jimmy eats it up. I try to figure out if this is proof Hollywood has fully melted or if Kate got bamboozled by the easiest prank in world history.We talk about raccoons breaking into liquor stores, getting blackout drunk, and passing out in the bathroom. I also explain that humans are accidentally domesticating raccoons because we keep telling them they are cute. At this rate, my wife is going to smuggle one home from Mexico.Then Miley Cyrus gets engaged to a drummer named Max. I salute her. I also salute her best era, the 23 era. Say what you want. That look was elite.Joe Rogan enters the chat. He is sponsored by Perplexity now. He cannot go a single conversation without Jamie or AI saving him from Facebook misinformation. He also says Jesus might return as AI. So I use ChatGPT to generate a whole sermon and explain why pastors might want to polish their resumes.Finally, we hit the gambling problem taking over America. Kaushi.com lets you bet on anything. You can bet on the second coming of Jesus. You can bet on weather. You can bet on elections. CNN is now partnered with them. This is where we are. We are turning news into a casino and calling it progress.This episode is packed. Soulja Boy tech. Sabrina Carpenter vs the White House. Epstein's low budget island. Celebrities laying eggs. Drunk raccoons. Joe Rogan predicting robot Jesus. CNN turning into DraftKings. It is all here.Hit subscribe. Hit like. Hit the hype button if you find it. New Tone Tailors podcast is live. Lessons with Bridget are open now. Give your kid a guitar instead of screen time. Peace out. See you next week.

If you want a masterclass in modern marketing... stop looking at other creators and start looking at Kim Kardashian and Ryan Murphy.All Is Fair just had the biggest debut on Hulu ever, and whether you love the show or hate it... the marketing is undeniable. Today I'm breaking down the 5 strategies behind their viral success – and how YOU can use them to scale your content, your creative business, and your next launch.This episode is basically a crossover of my two lives: my past career as a TV writer, and my current one as a marketer. And trust me... these lessons are gold.We're talking:✨ Polarization as a strategy (yes, you WANT some people to hate your content)✨ Why BTS content is your secret connection builder✨ The “weekly rollout machine” that keeps viewers coming back✨ The power of collaboration + star stacking✨ How Ryan Murphy's signature style can inspire YOUR brand identityIf you want to treat your business like a Hollywood blockbuster in 2025 and beyond... this one's for you.xxEllen

Andrew Santino sits down with the hilarious Adam Ray — actor, comedian, impression master, and star of the new Netflix special Dr. Phil Unleashed — for an episode full of absurd stories, Hollywood madness, and nonstop bits.They talk about what it's like becoming Dr. Phil, the art of a perfect impression, the grind of touring, and how Adam somehow plays every character in Hollywood while still finding time to crush stand-up.

Corey Feldman's premiere episode of Dancing With The Stars is here and the guys have a sneak preview. A Bonfire fan snuck footage of Corey practicing his moves before the big night. Jay & Bobby speculate how long it would take the Feldog to break out his famous Michael Jackson moves. | What do you do when your Hollywood starlet wife is a hoarder? Denise Richard's ex-husband walks a camera through her messy living situation complete with ten dogs. *To hear the full show to go www.siriusxm.com/bonfire to learn more! FOLLOW THE CREW ON SOCIAL MEDIA: @thebonfiresxm @louisjohnson @christinemevans @bigjayoakerson @robertkellylive @louwitzkee @jjbwolf Subscribe to SiriusXM Podcasts+ to listen to new episodes of The Bonfire ad-free and a whole week early.  Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.