Podcasts about Switching

In This Episode of Business Lunch, join Ryan Deiss and I in this enlightening episode of Business Lunch, where they delve into the often overlooked yet crucial topic of accounting and finance. We discuss how entrepreneurial optimism can clash with the harsh realities of financial reporting. Learn how to navigate these challenges and foster a productive relationship with your CFO to ensure your company's financial health.Timestamps:00:00 – Entrepreneurial Optimism vs. Financial Realism01:36 – Why Accounting Reporting Shapes Company Culture02:37 – Switching from Cash to Accrual Accounting03:17 – When Financial Reports Become Depressing05:41 – Fixing the Reporting Process08:29 – Avoiding Obstacles: A Common Entrepreneurial Pitfall09:54 – Support Your Team… or Change It12:19 – Leadership's Role in Financial Clarity17:34 – Preparing for Exit & Upgrading the Finance Team20:17 – Why Accounting Method Changes Can Distort Profit27:03 – Restructuring Contracts to Fix Revenue Recognition31:54 – Challenging Accounting Assumptions37:15 – The Importance of Cash Flow Over Profit40:54 – Don't Let Accounting Wag the Dog43:10 – Final Thoughts & OutroConnect with me on social:TikTok: Check out my TikTok HereInstagram: Check out my Instagram HereFacebook: Check out my Facebook HereLinkedIn: Check out my LinkedIn HereSubscribe to my YouTube

Season 12 is coming to a close, and it's been a season of big shifts. With Alyssa stepping in to host every episode and Madeline handling more behind-the-scenes projects, the podcast sounded a little different, but still hit all the same emotional notes. We also covered some especially heavy community topics, from family planning to marriage to familial rejection, which shaped the tone of the season in a really meaningful way.In this finale episode, we're sharing a quick look behind the scenes of what Season 12 was actually like for us, plus a full recap of the season through all the intro clips. We're also playing three listener takeaways, where Cary, Meghan, and Michelle share the episodes that resonated with them most this season.And finally, we're giving you a little peek at Season 13 on the topic of our children's disabilities, including long-requested topics like the NICU experience and how moms and dads are taken seriously (or not) in medical settings.Thank you for listening, supporting Sticker Club, and being part of this community. We can't wait to be back with you in January.Links:Join The Rare Life newsletter andnever miss an update!Fill out our contact form to joinupcoming discussion groups!Follow us on Instagram @the_rare_life!Donateto the podcast or Contactme about sponsoring an episode.Follow the Facebook page. Join the Facebook group Parents of Children with Rare Conditions.And if you love this podcast, please leave usa rating or review in your favorite podcast app! 

Is now the time to refinance your mortgage? Only if you meet certain criteria. Clark breaks it down.  Also - Are you with what Clark calls a Giant Monster Mega Bank? If so, you may be paying fees you don't have to! Clark's overview of the banking industry makes it clear, the regional, super regional and giant banks are not your wallet's friend. Hear how people are migrating their money in a way that's comfortable for them - a method called “soft switching”.  Mortgage Refi Guidelines: Segment 1 Ask Clark: Segment 2 Banish Bank Fees: Segment 3 Ask Clark: Segment 4 Mentioned on the show: How and When To Refinance Your Mortgage: A Step-By-Step Guide Mortgage Refinance Calculator - With Cash Out and Points What Can I Safely Use for Peer-to-Peer Payments? How To Freeze and Unfreeze Your Credit With Experian, Equifax and TransUnion How To Switch Banks in 4 Simple Steps Best Online Banks: Free Checking and High-Interest Savings Accounts Best Cash Management Account: Comparing Vanguard, Fidelity, and Schwab Costco Travel: 5 Things To Know Before You Book When Do You Need a Travel Agent? Clark's Christmas Kids Clark.com resources: Episode transcripts Community.Clark.com  /  Ask Clark Clark.com daily money newsletter Consumer Action Center Free Helpline: 636-492-5275 Learn more about your ad choices: megaphone.fm/adchoices Learn more about your ad choices. Visit megaphone.fm/adchoices

Mike Quick joins the 94 WIP Morning Show in the wake of the Eagles' third straight loss. He does not think benching Jalen Hurts is the solution to the Eagles' problems.

Pallacanestro Trieste's assistant coach, Francesco Nanni, dives deep into the topic of attacking switching defenses. Defenses frequently use switches to neutralize advantage-creating actions in the modern game. Coach Nanni provides tactics for teaching your players how to attack those switches.This episode is sponsored by the Dr. Dish Basketball Shooting Machine. Mention "Quick Timeout" and receive $300 off on the Dr. Dish Rebel, All-Star, and CT models. Get $100 off the IC3 Basketball Shot Trainer with the code TONYMILLER (or click this link).If you're already using tools like FastDraw, FastScout, or FastRecruit—you know how essential they are to your workflows. And now that they're fully part of the Hudl ecosystem, they're more powerful than ever. From film and play diagrams to scouting reports and custom recruiting boards, everything flows together. One system. Built for high-performance programs. Learn more at hudl.com/aquicktimeout. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

When it comes to the evolving gaming market, there's a lot for Sony to keep an eye on in the years and decades to come. To keep PlayStation the vibrant brand it is today, the company needs to spread the field, and two newly-announced projects -- an all-new co-op multiplayer game from the director of Left 4 Dead and a mobile port of mega-popular baseball franchise MLB: The Show -- fit the bill nicely. It's true that Sony has had more than its fair share of false starts (and even outright failures) in both the mobile and games-as-a-service space. Yet, there's gold in them there hills. Lots of it. Can Sony finally slay some off-platform and off-genre demons and reap some rewards? We discuss. Plus: Nixxes helps reduce Helldivers 2's PC file size by an astounding 85%, Bungie has apparently solved its dispute with the artist it purportedly stole Marathon-related art from, Shovel Knight developer Yacht Club Games finds itself in self-inflicted financial duress, Amazon has already renewed the God of War TV show for a second season, and more. Then: Listener inquiries! Has leaking culture gone too far? Will Micron's exit from the consumer RAM business affect console manufacturing? How can people find likeminded gaming friends online? Can we please do away with adult gift-giving once and for all? Please keep in mind that our timestamps are approximate, and will often be slightly off due to dynamic ad placement. 0:00:00 - Intro0:52:36 - Juices flowing0:54:56 - YouTube Recap1:08:13 - Colin dying1:11:02 - Switching to no presents1:21:02 - PlayStation partners with Bad Robot1:35:15 - The Show: Mobile releases1:46:06 - Helldivers 2 PC install sized down1:53:26 - Helldivers 2 movie has a director2:03:31 - Amazon orders two seasons of God of War2:08:14 - Bungie settles with artist over stolen art2:11:45 - Yacht Club Games may be in trouble2:27:26 - Saudi PIF will own 93.4% of EA2:31:22 - IO confirms Hitman 42:36:53 - Splinter Cell Remake director returns2:40:15 - Tomba 2 gets a release date2:43:10 - November's top PSN downloads2:45:16 - What We're Playing (Ball x Pit, Metal. Eden, TMNT: Cowabunga Collection, Metal Gear Solid Delta, Red Dead Redemption)3:09:22 - Arc Raiders introduces gamers to socializing3:25:28 - Games that age well3:31:54 - Disdain for leakers3:41:44 - Micron leaves the consumer market3:49:29 - Meeting new people to play games3:56:53 - Can criticism go too far? Learn more about your ad choices. Visit podcastchoices.com/adchoices

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

This is a recording of an Ask Me Anything live stream originally broadcasted on YouTube, featuring Chunky and Corey. This live stream dives deep into a topics including current news, politics, culture, personal finance, real estate, investing, the stock market, spirituality and history.If you enjoy lively conversation and want your questions answered in real time, click on this link to watch upcoming live streams and be part of the conversation: https://www.youtube.com/@CoachCoreyWayne/streams 

Will it be possible to have fully autonomous networks in the near future? Anil Varanasi, CEO and Co-Founder of Meter, joins Scott Robohn in this sponsored episode to discuss the ongoing evolution from automated to autonomous networks. Anil breaks down how Meter differentiates from other networking vendors, discusses how Meter’s network products are vertically integrated... Read more »

Will it be possible to have fully autonomous networks in the near future? Anil Varanasi, CEO and Co-Founder of Meter, joins Scott Robohn in this sponsored episode to discuss the ongoing evolution from automated to autonomous networks. Anil breaks down how Meter differentiates from other networking vendors, discusses how Meter’s network products are vertically integrated... Read more »

Mark interviews J.D. Barker about his writing and publishing journey and his many collaborations over the years, including with James Patterson, and the unique publishing and distribution collaboration with Simon & Schuster that combines the best of the self-publishing and the traditional publishing worlds. Prior to the interview, Mark shares comments from recent episodes, a personal update and a word about this episode's sponsor. This episode is sponsored by an affiliate link to Manuscript Report. Use code MARK10 at checkout and save 10% off your own personalized report. In their interview, Mark and J.D. talk about: How JD was always interested in writing including a little business endeavor he had when he was youngBeing told by his mother that writing is a fantastic hobby, but you have to get a "real job" - and following her advice The main day job he had, which he hated, and coming home at night to write How the first two decades he'd been writing he did ghost writing and did book-doctor sort of work Having written six different books that hit the New York Times bestseller list but had other people's names on the cover JD's wife coming up with a plan to get him to writing for himself How putting his feet to the coals was what JD really needed What it was like writing on his own The value that JD recognizes in the 20 years of writing other peoples' books Having Asperger's which often involves mimicking other people (which JD could do on paper, continuing to write in another person's voice) How ghostwriting for celebrities/NYT Bestselling authors can be very lucrative What it was like co-authoring with James Patterson Being the only guy who has ever gotten James Patterson to "pants" a novel, but how Patterson convinced him to outline, which he now does for certain projects What a typical work-day looks like for JD Making a change in terms of what time of day JD does interviews Working with a virtual assistant and the various PR agencies JD works with Switching over to paying for PR a la carte rather than a monthly retainer Selling more than half a million copies of his first self-published book, which caught the attention of agents That "taste" of being an indie author which mean a loss of freedom Creating his own unique path within publishing that's a blend of self-publishing and traditional publishing models The imprint JD has with Simon & Schuster - Hampton Creek Press How JD has done a number of recent co-authored titles under his imprint by paying the co-authors up front in a work-for-hire manner, which removes the complexity of paying royalties The way JD can pay it forward by helping the mentor the co-authors that he is working on Why JD gave away a skid of hardcover books at Reader Nation in Vegas Advice JD has about authors who are constantly "chasing each other" The unique marketing JD created for his book SOMETHING I KEEP UPSTAIRS that involved an overnight stay in a real haunted house What James Patterson did to get his book ALONG CAME A SPIDER onto the New York Times bestseller list And more... After the interview Mark reflects on a few of the things from the conversation that have inspired him in different ways.   Links of Interest: J.D. Barker's Website EP 445 - Overcoming The Self Sabotage From Buried Trauma with Andrea Torrey Balsara Manuscript Report (Mark's affiliate link - use MARK10 to save 10%) Buy Mark a Coffee Patreon for Stark Reflections Mark's YouTube channel ElevenLabs (AI Voice Generation - Affiliate link) Mark's Stark Reflections on Writing & Publishing Newsletter (Signup) An Author's Guide to Working With Bookstores and Libraries The Relaxed Author Buy eBook Direct Buy Audiobook Direct Publishing Pitfalls for Authors An Author's Guide to Working with Libraries & Bookstores Wide for the Win Mark's Canadian Werewolf Books This Time Around (Short Story) A Canadian Werewolf in New York Stowe Away (Novella) Fear and Longing in Los Angeles Fright Nights, Big City Lover's Moon Hex and the City Only Monsters in the Building The Canadian Mounted: A Trivia Guide to Planes, Trains and Automobiles Yippee Ki-Yay Motherf*cker: A Trivia Guide to Die Hard Merry Christmas! Shitter Was Full!: A Trivia Guide to National Lampoon's Christmas Vacation I Think It's A Sign That The Pun Also Rises   J.D. Barker (Jonathan Dylan Barker) is an international bestselling American author whose work has been broadly described as suspense thrillers, often incorporating elements of horror, crime, mystery, science fiction, and the supernatural.   The introductory, end, and bumper music for this podcast ("Laser Groove") was composed and produced by Kevin MacLeod of www.incompetech.com and is Licensed under Creative Commons: By Attribution 3.0  

Be sure to follow me on Patreon for more! https://www.patreon.com/NigelBarrosand on instagram! https://www.instagram.com/nigelbarrosin this episode we answer some viewer question and talk about some of my takes on camera choices! ►Get the BEST film emulation and color correction plugins with 10% off here:https://www.filmconvert.com/purchase/?promoCode=NIGELBARROSCinematch link:https://www.cinematch.com/purchase/?promoCode=NIGELBARROSSome links to gear I mentioned: little tripod: https://amzn.to/3MjdQyrGH7: https://amzn.to/3MEl7syshotgun mic: https://amzn.to/4iHQmiywireless mic: https://amzn.to/3KDhlzbumbrella: https://amzn.to/4pNx1yFlight: https://amzn.to/4pP8byw(these are affiliate links)

In this week's episode of the Rich Habits Podcast, Robert Croak and Austin Hankwitz answer your questions!---

This is the stuff they don't put in documentaries.Seth Ryan's first combat mission as an Army Ranger wasn't just historic — it was horrifying. We're talking chemical suits, pitch-black raids, gunships in the sky, and digging up decomposed soldiers with their bare hands. This is the real story behind the rescue of POW Jessica Lynch — told by the guy who lived it.And trust me... you've never heard it like this like you will on today's Urban Valor Episode!In this episode, Seth walks us through:- Growing up surrounded by drugs, prison-bound relatives, and trauma most kids never see.- The fire that burned down his home — and the weird, defining aftermath.- Getting mentally obliterated in Marine Corps boot camp... and reshaped into something tougher.- Switching to the Army Rangers and becoming a punching bag for hazing because of it.- Living in barracks filled with black mold, spitting blood from pneumonia — and not backing down.- Watching new guys break bones falling off rappel towers, or worse.- His first mission ever — a rescue op no one expected to survive.- Digging into a soccer field by hand to recover the rotting remains of American soldiers.The unspoken toll that moments like that leave behind… and why Rangers carry it alone.If you're here for real special operations history, raw emotional storytelling, and a side of war that doesn't make it into the headlines… you're exactly where you need to be.

Switching gears on the latest Whisper in the Wings from Stage Whisper, we kick off our coverage of the 2025 Gene Frankel Theatre Winter Festival. On this episode, we welcomed on four amazing artists who are bringing their works to this year's events. So make sure that you hit play and get your tickets for this year's festivities!The Gene Frankel Theatre Winter FestivalDecember 8th-22nd@ The Gene Frankel TheatreTickets and more information are available at genefrankeltheatrefestival.com And be sure to follow our guests to stay up to date on all their upcoming projects and productions: Pie in the Sky by Abigail JensenDecember 9th, 13th and 18thabigailmjensen.comOut of Time by Joseph Sexton December 12th, 14th, and 20thThe River (A Ghost Story) by Joseph SextonDecember 12th, 15th, and 20th@josephsextonThe Human Element by Phoebe Eileen Grech December 12th, 14th, and 20th@phoebe.eileen.grechMalpractice by Victor Cuenca December 12th, 15th, and 20th@mistervicman

This episode of Everything Fast Pitch by Fast Pitch Prep, hosted by Coach Tory and Coach Don, covers various segments including City of the Week, Player of the Week, and Equipment Tip of the Week. The lead-off segment discusses recent incidents of athletes' misconduct and the impact it has on sports. The cleanup segment addresses considerations for switching teams, providing advice for players and their families. Finally, the action coach coaching tip emphasizes the importance of positive coaching over fear-based coaching. Support the show

Check out my Tronic Radio on your favorite streaming platforms here: https://ssyncc.com/tronic-podcast/ Don't miss D-SHIFT's latest ''Future Heights EP'' out now on Tronic: https://ffm.to/tr551 D-SHIFT is more than just a musical project for me—it's where the magic happens. Switching to progressive house has given me a new direction and new inspiration. This genre allows me to add elements and explore sonic territories I couldn't touch with other styles. It feels like I'm starting over, but now armed with all my knowledge and experience. (Dee from Drunken Kong) This show is syndicated & distributed exclusively by Syndicast. If you are a radio station interested in airing the show or would like to distribute your podcast / radio show please register here: https://syndicast.co.uk/distribution/registration

This week Steve takes us through his journey with Enty and Immich. Plex makes their users pay a monthly fee, and Steam releases a new SteamBox console. -- During The Show -- 00:50 Intro How was your week Watching sales Smart TVs WebOS 07:21 Mac Feedback - Gregory Network Effect "Comforting Mac Feels" Pavu Control (https://www.freedesktop.org/software/pulseaudio/pavucontrol/) OBS (https://obsproject.com/) Stewardship 11:32 Mac Feedback - Patrick Pragmatic approach Steve's thoughts Treating windows like an appliance Making the FOSS path easy 18:15 Succession Planning - Dominik Suggestions Design your home so it works without automation Have a HDD with important data Have migration plan in place Struggling with massive amounts of data Steve's documentation journey Criticality 30:33 News Wire Gnome 49.2 - gnome.org (https://discourse.gnome.org/t/gnome-49-2-released/32730) Tmus 3.6 - proxmox.com (https://www.proxmox.com/en/about/company-details/press-releases/proxmox-backup-server-4-1) Snort 3.10 - github.com (https://github.com/snort3/snort3/releases) Dbeaver 25.3 - dbeaver.io (https://dbeaver.io/download/) Proxmox 4.2 Backup Server - proxmox.com (https://www.proxmox.com/en/about/company-details/press-releases/proxmox-backup-server-4-1) Fedora Ultramarine 43 - fyralabs.com (https://blog.fyralabs.com/ultramarine-43-release/) AlmaLinux 10.1 - almalinux.org (https://almalinux.org/blog/2025-11-24-almalinux_101_release/) Rocky Linux 10.1 - rockylinux.org (https://rockylinux.org/news/rocky-linux-10-1-ga-release) KaOS 2025.11 - kaosx.us (https://kaosx.us/news/2025/kaos11/) NixOS 25.11 - nixos.org (https://nixos.org/blog/announcements/2025/nixos-2511/) Armbian 25.11 - blog.armbian.com (https://blog.armbian.com/v25-11-improving-the-base-unlocking-new-options/) Solus 4.8 - getsol.us (https://getsol.us/2025/11/29/solus-4-8-released/) 4M Linux 50.0 - 4mlinux.com (https://4mlinux.com/index.php?page=home) AV Linux 25 - linuxmusicians.com (https://linuxmusicians.com/viewtopic.php?t=28954) Pardus 25 - pardus.org (https://pardus.org.tr/en/pardus-25-release-note/) Linux 6.18 - phoronix.com (https://www.phoronix.com/news/Linux-6.18-Released) Flux 2 - bfl.ai (https://bfl.ai/blog/flux-2) z-Image-Turbo - huggingface.co (https://huggingface.co/Tongyi-MAI/Z-Image-Turbo) Deepseek 3.2 - deepseek.com (https://api-docs.deepseek.com/news/news251201) Linux MCP - siliconangle.com (https://siliconangle.com/2025/11/25/suses-mcp-server-tech-preview-lays-foundation-ai-assisted-linux-infrastructure/) 31:51 Plex Crackdown Forcing Plex Pass subscriptions Proprietary software controls you Are Plex users getting what they deserve? Switching to JellyFin (https://jellyfin.org/) Scanning of people's media Reason for crackdown Problem with the approach FS PBX (https://www.fspbx.com/) ArsTechnica.com (https://arstechnica.com/gadgets/2025/11/plexs-crackdown-on-free-remote-streaming-access-starts-this-week/) 41:50 Steam Machine First response is it's a "Travel Machine" SteamDeck "just works" Community experience ArsTechnica (https://arstechnica.com/gaming/2025/11/steam-deck-minus-the-screen-valve-announces-new-steam-machine-controller-hardware/) 44:42 Self Hosted Image Software Immich (https://immich.app/) experience Ente (https://ente.io/) experience Ente vs Immich Ente Encryption Native App Backup Where Immich came from iOS challenges Which is the winner? -- The Extra Credit Section -- For links to the articles and material referenced in this week's episode check out this week's page from our podcast dashboard! This Episode's Podcast Dashboard (http://podcast.asknoahshow.com/469) Phone Systems for Ask Noah provided by Voxtelesys (http://www.voxtelesys.com/asknoah) Join us in our dedicated chatroom #GeekLab:linuxdelta.com on Matrix (https://element.linuxdelta.com/#/room/#geeklab:linuxdelta.com) -- Stay In Touch -- Find all the resources for this show on the Ask Noah Dashboard Ask Noah Dashboard (http://www.asknoahshow.com) Need more help than a radio show can offer? Altispeed provides commercial IT services and they're excited to offer you a great deal for listening to the Ask Noah Show. Call today and ask about the discount for listeners of the Ask Noah Show! Altispeed Technologies (http://www.altispeed.com/) Contact Noah live [at] asknoahshow.com -- Twitter -- Noah - Kernellinux (https://twitter.com/kernellinux) Ask Noah Show (https://twitter.com/asknoahshow) Altispeed Technologies (https://twitter.com/altispeed)

Unsure about your niche... what it is or if you should switch it? That's exactly what we're getting into today. Your niche is one of those words that gets thrown around a lot, and it's the most misunderstood. Your niche isn't about looking through your strengths and areas of expertise and having to choose one with a Sophie's-Choice-like decision. That is NOT going to work, because a niche is actually one that leverages all of you. A niche is just an easier-to-digest word for brand positioning. It's the unique space you own in the market and in your ideal clients' minds. It defines who you help and the problem, and then connects those dots to you and the unique value of your consulting or coaching. And it's incredibly important, as it is the foundation for standing out in our crowded marketplace, which seems to get even more crowded with every layoff in these challenging times! The question becomes whether you should keep doing what you have been doing, stay on the path you have been on for a bit, or move on to something different. That's why I invited Brad Johnson onto the show. He is an executive performance coach and was in that very spot where he wanted to shift his focus. For the past few months, we have been trying to figure out where and how to focus his very unique combination of strengths, education, and personal story. If you're where Brad was, knowing you have something powerful to offer but struggle with your niche and want to get out of the back and forth that's happening in your mind, this is the episode for you. In This Episode, We Discuss What a niche really is and why most people define it wrong How to know when it's time to pivot or refine your niche The fears that come up around narrowing your focus (and why they're normal) The breakthrough moment that helped Brad land absolute clarity How niche clarity instantly improves networking, messaging, and sales conversations Where To Dive In (00:01) Discovering Your Niche(03:40) Career Evolution and Coaching Transition(11:28) Defining Your Coaching Niche(24:16) Identifying Ideal Client Breakthrough(28:13) Maximizing Business Performance Through Science(37:21) Client Discovery and Ideal Connections(43:45) Strategic Coaching Differentiation and Framing(55:12) Navigating Customized Coaching Solutions Next Steps Reflect on Your Own Niche Clarity Take 5 minutes to notice where your positioning feels foggy, confusing, or too broad. Awareness is the first step toward real clarity. Identify the Patterns in Your Best Clients Think about the clients you love working with — the ones who energize you and get the best results. Write down the common traits they share. Assess Where You Might Be the Bottleneck If your brand, message, or niche feels all over the place, ask yourself: “Am I avoiding narrowing down because it feels risky?” Get Support Instead of Spinning Your Wheels You don't need to figure this out alone. Book a Clarity Conversation so we can help you land your niche, refine your ideal client, and strengthen your message with confidence. Book a call Other episodes you may enjoy: Lost Your Business Mojo? How Pamela Johnson Got Hers Back (Ep141) Inside My Brand Messaging Process (and Why It Always Works) (Ep140) The Million-Dollar Milestone I Almost Hid (Ep135) About the guest: Brad Johnson is a high-performance coach who works with driven leaders who want to excel in business, health, family, and impact without burning out. Drawing on performance psychology and years of coaching high-achievers, he helps clients break through mental and physical obstacles so they can lead, live, and perform at their best. Brad partners with executives and founders who feel stuck or unfocused and need clear systems, structure, and support to match their ambition. Through customized strategies and tools, he helps them become the kind of leader who can grow a thriving company and still be fully present at home. About the host: Betsy Jordyn is a business mentor, brand messaging strategist, and former Disney consultant who helps purpose-driven consultants and coaches build profitable businesses rooted in their unique strengths. With over 20 years in the industry and a knack for turning big ideas into clear positioning, she's your go-to for strategy that aligns with your calling.

Ron Apke welcomes back Mike DeFrancisis to share how he scaled from wholesaling into high-profit land investing by focusing on large parcels, subdivides, and major entitlement projects. Mike explains why land offers faster deals, bigger margins, and less work, and breaks down his current 34-deal pipeline, projected $8M profit, his entitlement process, six marketing channels, and his best advice for new and scaling land investors. Join our free land investing community where you can reach out directly to Mike or connect with hundreds of other land investors: https://landinvestingonline.com/pages/discordWhat You Will Learn:- Why land investing beats other real estate strategies- How Mike scales large parcels, subdivides, and entitlements- His six top marketing channels for land deals- How he manages his business and team- Key advice for beginners and growing investors================================ 

McKay examines the modern epidemic that is silently reshaping our brains - "Switching and Scrolling" - drawing a powerful parallel between the rise of physical obesity and the growing crisis of fractured attention. He argues that our addiction to the shallows of digital consumption is not just a productivity loss, but a thief of our peace, creativity, and deep connection.Navigating the science of attention, McKay cites Johann Hari's Stolen Focus and a Hewlett-Packard study revealing that digital distraction drops IQ twice as much as cannabis use. He shares the "phantom vibrations" felt by campers at a device-free retreat and the success of San Mateo High School's magnetic phone pouches to illustrate how environment dictates focus. The episode concludes with practical strategies - from "unplugged nights" to the Boston Consulting Group's "predictable time off" - encouraging listeners to reclaim their minds from the attention economy.Main Themes:"Switch and Scroll" is a cumulative epidemic, mirroring the long-term costs of obesity.Multitasking forces the brain into superficial processing, blocking deep learning.The three costs of switching: slower speed, increased errors, and drained creativity.Constant micro-interruptions trigger physiological stress and background anxiety."Attention Theft" uses behavioral psychology to hijack focus without consent.Focus is an environmental condition that must be intentionally designed and protected.Top 10 Quotes:"When we multitask, we operate in the shallow end of the pool, thinking and processing at a very superficial level.""Where do new thoughts and innovation come from? They come from your brain shaping new connections out of what you've seen and heard and learned.""I didn't realize how flat my attention had become until it expanded again.""Attention now has economic value... The more attention they get, the more money they make.""Switching destabilizes identity, it fragments memory, it disrupts coherence, and over time, it can reshape who we think we are.""Focus is not just an individual skill; it's an environmental condition that can be designed and protected.""Most people learn focus by doing something that's either very important or very interesting to them.""You may not be able to change the trends of obesity in our society, but you can change them in your own life and home."Show Links:Open Your Eyes with McKay Christensen

The Mariners miss out on a top end reliever for this free agent class as Ryan Helsley signed with the Orioles this past week. Will the Mariners still be in the top end reliever market this offseason? A new development for top prospect Michael Arroyo has some of us raising our eyebrows at what his future with the Mariners could look like! Arroyo to LF 1:14 Helsley Signing 10:23 Cease or Woo 22:36 Some links below are affiliate links Behind the scenes videos from Mariner Mojo! https://www.youtube.com/channel/UCfsGiwY3KWUsbGSmolnsB3Q/join ️The Hit It Here Podcast part of the Bleav podcast network! https://bleav.com/shows/hit-it-here/ FanDuel: Download the FanDuel app or head to FANDUEL.com to get started! https://www.fanduel.com/ NEW MERCH STORE: https://mariner-mojo-shop.fourthwall.com/ SimplySeattle Code "MOJO10" at checkout for 10% off your order! https://www.simplyseattle.com/ BreakingT http://breakingt.com/MarinerMojo to head straight to the Mariners specific merchandise! Seat Geek Code "MarinerMojo" for $20 off https://seatgeek.onelink.me/RrnK/teamseatgeek Check out the OFFICIAL Mariner Mojo Merch! https://www.youtube.com/channel/UCfsGiwY3KWUsbGSmolnsB3Q/store Twitter: https://twitter.com/MojoMariner Linktree: https://linktr.ee/marinermojo Discord: https://discord.gg/Mg7W7jPRUh Business Inquiries MarinerMojoBiz@gmail.com FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN) Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

On Hands-On Tech, helps out helps listener Daniel switch their MFA from Authy to another app, and explains why it's going to be a more tedious process than with other MFA's. Don't forget to send in your questions for Mikah to answer during the show to hot@twit.tv! Host: Mikah Sargent Download or subscribe to Hands-On Tech at https://twit.tv/shows/hands-on-tech Want access to the ad-free video and exclusive features? Become a member of Club TWiT today! https://twit.tv/clubtwit Club TWiT members can discuss this episode and leave feedback in the Club TWiT Discord.

On Hands-On Tech, helps out helps listener Daniel switch their MFA from Authy to another app, and explains why it's going to be a more tedious process than with other MFA's. Don't forget to send in your questions for Mikah to answer during the show to hot@twit.tv! Host: Mikah Sargent Download or subscribe to Hands-On Tech at https://twit.tv/shows/hands-on-tech Want access to the ad-free video and exclusive features? Become a member of Club TWiT today! https://twit.tv/clubtwit Club TWiT members can discuss this episode and leave feedback in the Club TWiT Discord.

On Hands-On Tech, helps out helps listener Daniel switch their MFA from Authy to another app, and explains why it's going to be a more tedious process than with other MFA's. Don't forget to send in your questions for Mikah to answer during the show to hot@twit.tv! Host: Mikah Sargent Download or subscribe to Hands-On Tech at https://twit.tv/shows/hands-on-tech Want access to the ad-free video and exclusive features? Become a member of Club TWiT today! https://twit.tv/clubtwit Club TWiT members can discuss this episode and leave feedback in the Club TWiT Discord.

On Hands-On Tech, helps out helps listener Daniel switch their MFA from Authy to another app, and explains why it's going to be a more tedious process than with other MFA's. Don't forget to send in your questions for Mikah to answer during the show to hot@twit.tv! Host: Mikah Sargent Download or subscribe to Hands-On Tech at https://twit.tv/shows/hands-on-tech Want access to the ad-free video and exclusive features? Become a member of Club TWiT today! https://twit.tv/clubtwit Club TWiT members can discuss this episode and leave feedback in the Club TWiT Discord.

On Hands-On Tech, helps out helps listener Daniel switch their MFA from Authy to another app, and explains why it's going to be a more tedious process than with other MFA's. Don't forget to send in your questions for Mikah to answer during the show to hot@twit.tv! Host: Mikah Sargent Download or subscribe to Hands-On Tech at https://twit.tv/shows/hands-on-tech Want access to the ad-free video and exclusive features? Become a member of Club TWiT today! https://twit.tv/clubtwit Club TWiT members can discuss this episode and leave feedback in the Club TWiT Discord.

On Hands-On Tech, helps out helps listener Daniel switch their MFA from Authy to another app, and explains why it's going to be a more tedious process than with other MFA's. Don't forget to send in your questions for Mikah to answer during the show to hot@twit.tv! Host: Mikah Sargent Download or subscribe to Hands-On Tech at https://twit.tv/shows/hands-on-tech Want access to the ad-free video and exclusive features? Become a member of Club TWiT today! https://twit.tv/clubtwit Club TWiT members can discuss this episode and leave feedback in the Club TWiT Discord.

  As we head towards December, today's episode leans into something many of us are feeling right now: that pull toward more — more deals, more shopping, more pressure, more to-do lists. And yet, beneath all of that, what most of us actually want is much simpler… we want ease. In this episode, I'm talking about the emotional side of Black Friday season, why clutter and chaos in our surroundings often mirror what's happening in our minds, and how easy it is to slip into old habits when life feels heavy. I'm also sharing some very personal updates about my dad's health, the anger I've had to process, and the steps I've taken to protect my own wellbeing during an incredibly stressful few weeks. I've created something new to support anyone who feels mentally overloaded, unfocused, stuck, or simply tired of carrying everything alone: Ease Your Mind — a gentle, simple introduction to hypnosis, with the first three modules completely free. https://www.claireoldhamwest.com/Ease-your-mind It's designed to help you switch off, calm the noise, settle your emotions and finally feel that sense of mental space you've been craving. If you've ever said: “My head's not in it.” “I want to lose weight but I can't focus.” “Stress keeps throwing me off track.” “I don't sleep well and the cravings hit hard.” …this episode is for you. Get the first 3 modules of “Ease Your Mind” mini-course now for FREE https://www.claireoldhamwest.com/Ease-your-mind  

On Hands-On Tech, helps out helps listener Daniel switch their MFA from Authy to another app, and explains why it's going to be a more tedious process than with other MFA's. Don't forget to send in your questions for Mikah to answer during the show to hot@twit.tv! Host: Mikah Sargent Download or subscribe to Hands-On Tech at https://twit.tv/shows/hands-on-tech Want access to the ad-free video and exclusive features? Become a member of Club TWiT today! https://twit.tv/clubtwit Club TWiT members can discuss this episode and leave feedback in the Club TWiT Discord.

On Hands-On Tech, helps out helps listener Daniel switch their MFA from Authy to another app, and explains why it's going to be a more tedious process than with other MFA's. Don't forget to send in your questions for Mikah to answer during the show to hot@twit.tv! Host: Mikah Sargent Download or subscribe to Hands-On Tech at https://twit.tv/shows/hands-on-tech Want access to the ad-free video and exclusive features? Become a member of Club TWiT today! https://twit.tv/clubtwit Club TWiT members can discuss this episode and leave feedback in the Club TWiT Discord.

On Hands-On Tech, helps out helps listener Daniel switch their MFA from Authy to another app, and explains why it's going to be a more tedious process than with other MFA's. Don't forget to send in your questions for Mikah to answer during the show to hot@twit.tv! Host: Mikah Sargent Download or subscribe to Hands-On Tech at https://twit.tv/shows/hands-on-tech Want access to the ad-free video and exclusive features? Become a member of Club TWiT today! https://twit.tv/clubtwit Club TWiT members can discuss this episode and leave feedback in the Club TWiT Discord.

Mike Schaedel is the Western Montana Forest Restoration Director for The Nature Conservancy, where he leads some of the most ambitious and collaborative forest restoration work happening anywhere in the West. Based in Missoula, Mike works at the intersection of science, community partnerships, and land stewardship—helping restore fire-adapted forests, reduce wildfire risk, and improve the health and resilience of landscapes across the region. Mike's career path is super interesting and anything but traditional. He grew up in Portland, fell in love with the mountains through rock climbing, and eventually landed in Missoula, where the combination of wild landscapes and a rich literary community drew him in. After earning an undergraduate degree in creative writing, he found his way into forestry and fire ecology through conservation corps work, hands-on restoration experience, and a graduate program focused on forest dynamics and fire. In this conversation, Mike offers a clear overview of how Western Montana's forests came to look the way they do today—shaped by millennia of tribal burning, transformed by railroad-era land grants and industrial logging, and altered further by a century of fire suppression. He explains why effective restoration now depends on combining mechanical thinning with prescribed fire and on working across ownership boundaries with partners ranging from local communities to tribes and federal agencies. We also discuss some of the innovative collaborative efforts underway in the region, as well as a memorable story of a prescribed burn that came together through quick problem-solving and deep trust. This is a rich, informative, and hopeful conversation about what it takes to restore forests at scale—and why the future of these landscapes depends on both ecological understanding and strong community partnerships. Enjoy! --- Michael Schaedel, Western Montana Forest Restoration Director Reserved Treaty Rights Lands Program: The Power of Partnership Complete episode notes and links: https://mountainandprairie.com/mike-schaedel --- This episode is brought to you in partnership with the Colorado chapter of The Nature Conservancy and TNC chapters throughout the Western United States. Guided by science and grounded by decades of collaborative partnerships, The Nature Conservancy has a long-standing legacy of achieving lasting results to create a world where nature and people thrive. During the last week of every month throughout 2025, Mountain & Prairie will be delving into conversations with a wide range of The Nature Conservancy's leaders, partners, collaborators, and stakeholders, highlighting the myriad of conservation challenges, opportunities, and solutions here in the American West and beyond. To learn more about The Nature Conservancy's impactful work in the West and around the world, visit www.nature.org --- TOPICS DISCUSSED: 3:02 – Intro, Mike's love for Missoula 6:04 – Getting a creative writing degree 8:21 – And fighting back into forestry 12:26 – Early writing influences 13:39 – Switching sides of the brain 15:32 – First job out of grad school 20:08 – And that work now 23:38 – Checkerboard landownership 33:04 – Conservation accomplishment 34:56 – Fitting in forest health 39:33 – Fire scars 45:52 – The Big Burn 52:59 – Fire playing a beneficial role 58:51 – And the role mill workers play 1:02:03 – Projects down the pipeline 1:12:00 – Book recs 1:13:49 – Parting words --- ABOUT MOUNTAIN & PRAIRIE: Mountain & Prairie - All Episodes Mountain & Prairie Shop Mountain & Prairie on Instagram Upcoming Events About Ed Roberson Support Mountain & Prairie Leave a Review on Apple Podcasts

In this episode, I get into the impact of taking an extended break from podcasting and how it affects your show's growth, audience engagement, and completion rates. Here are the main takeaways:I discuss a situation where a podcast grew to 500 downloads per episode but lost half its audience after taking a year-long break. Even with improved audio quality and more polished episodes after returning, both downloads and completion rates suffered.Consistency is key. I emphasize how taking long breaks can significantly set you back, comparing it to putting your finger in a leaky bucket – once you take it out, the water (your audience) drains away.Switching to a biweekly episode schedule can help maintain consistency if that's all you can manage with your workload, but it may slow growth.If you notice completion rates dropping, it's a sign something may not connect with your current content. Sometimes we're too close to our own work, so getting outside feedback is crucial.I suggest finding a friend or colleague who matches your target audience to get honest feedback on your episodes.Numbers don't lie! Data can reveal hard truths that help you improve.If you need help starting, growing, or monetizing your podcast, I offer consulting at School of Podcasting. Use the coupon code listener for a discount!You can also check out Podcast Hot Seat, which currently includes a Black Friday deal with a free month at the School of Podcasting.If you're looking for feedback, growth strategies, or just a friendly ear that understands the journey – I'm here to help! Let's see what we can accomplish together.URLs mentioned:School of Podcasting (Coupon Code: listener)Podcast Hot SeatThanks for listening! I can't wait to help you take your podcast to the next level.Mentioned in this episode:Get Your Show GrowingI once had a typo in the name of my show. I didn't see it. I'm too close. Your show may have some things that need polish. Get an objective overview at www.podcasthostseat.com AND get a free month at the School of PodcastingPodcas Hot SeatThis podcast uses the following third-party services for analysis: OP3 - https://op3.dev/privacy

After more than 80 hours of labor, Erica Wright found herself exhausted, emotional, and determined to keep trusting her body. With the steady support of her doulas (including EBB Instructor Tara Thompson), she discovered that birth doesn't have to go "according to plan" to be powerful.   In this episode, Dr. Rebecca Dekker talks with Erica and Tara about how preparation, advocacy, and teamwork carried them through a marathon labor filled with unexpected turns. From switching hospitals late in pregnancy to finding strength through challenges, their story exemplifies flexibility, informed choice, and the power of doula support.   (05:55) Tara's updates from Atlanta and her path to becoming an IBCLC (09:17) Erica's lightbulb moments from the EBB Childbirth Class (11:22) Switching hospitals at 35 weeks and advocating for the right fit (16:18) Labor begins: prodromal labor, GBS, and waiting for spontaneous birth (24:30) Hospital admission, challenges with staff, and early interventions (32:17) The Pitocin battle and advocating for movement and monitoring choices (35:40) Finding a supportive nurse and regaining freedom during labor (39:53) Tara's night shift: rest, affirmations, and encouragement (44:20) Deciding on the epidural and reframing "failure" as flexibility (49:18) The final stage: rest, relief, and meeting baby (55:12) Postpartum recovery and breastfeeding challenges (01:00:25) Tara's advice for navigating long labors (01:02:43) Erica's reflections on flexibility, intuition, and informed choice   Resources Get in touch with Tara: tarasbirthservices.com | @taras.birthservices Connect with Tara's teammate, Brittany: @wellpreparednest Listen to EBB 146 - How Doula and EBB Instructor Tara Thompson Supports Families in Atlanta Listen to EBB 357 – Making Decisions about Elective Induction of Labor with Dr. Ann Peralta & Kari Radoff, CNM, from Partner to Decide The Evidence on: GBS (Group B Strep): evidencebasedbirth.com/groupbstrep/ The Evidence on: Pitocin During the Third Stage of Labor: evidencebasedbirth.com/evidence-on-pitocin-during-the-third-stage-of-labor/ Epidural during Labor for Pain Management: evidencebasedbirth.com/epidural-during-labor-pain-management/ Learn more about the Evidence Based Birth Childbirth Class: evidencebasedbirth.com/childbirthclass   For more information about Evidence Based Birth® and a crash course on evidence based care, visit www.ebbirth.com. Follow us on Instagram and YouTube! Ready to learn more? Grab an EBB Podcast Listening Guide or read Dr. Dekker's book, "Babies Are Not Pizzas: They're Born, Not Delivered!" If you want to get involved at EBB, join our Professional membership (scholarship options available) and get on the wait list for our EBB Instructor program. Find an EBB Instructor here, and click here to learn more about the EBB Childbirth Class.

Learn how to automate tasks, save time, and increase your profit. No Coding required!

In this episode of the Mulder Life Podcast, Andy dives into hardscaping challenges, winter operations, and major updates on his new shop build. He discusses the ongoing problems he's experienced with traditional concrete edging—specifically summer grass dieback and edging pull-away—and explains why he's considering transitioning to hybrid edging. The conversation also covers the recent concrete pour, upcoming spray-foam insulation, heating plans, and the push to finish fall cleanups before winter weather settles in. Andy reflects on big-picture business decisions, including whether to expand to multiple hardscape crews, developing a mission and core values for his team, and future possibilities for the property such as commercial rentals or a landscape supply yard. The episode closes with insights on tool efficiency and the ways modern equipment is transforming day-to-day operations in the field.

Drs. Lewiecki and Camacho discuss sequential therapy in osteoporosis as a critical strategy that involves strategically switching between anabolic and antiresorptive treatments to maximize bone mineral density and reduce fracture risk. By carefully transitioning between different drug classes (eg, romosozumab; teriparatide; denosumab), clinicians can optimize patient outcomes and address the evolving needs of individuals with bone health challenges.

SaaS monetization in 2026 is being reshaped by smarter tiering strategies, flexible usage-based models, AI-powered add-ons, and bold pricing experiments that help companies grow revenue while meeting evolving customer expectations. In this episode of the Grow Your B2B SaaS podcast, host Joran speaks with Krzysztof “Chris” Szyszkiewicz, the co-founder of ValueShips, a boutique pricing consultancy that works primarily with technology companies, particularly within SaaS and AI. The conversation, recorded live at the SaaS Summit in Benelux, explores where SaaS pricing is heading in 2026 and how companies can gain an advantage by rethinking monetization, packaging, and expansion strategy.Chris offers practical insights on output and success-based pricing, the rise of AI add-ons, the importance of structuring tiers based on willingness to pay, and the need to view pricing as a continuous process. He also explains how to run pricing experiments, avoid common traps, and use straightforward frameworks to protect margins, especially in AI-driven products where usage costs can escalate quickly. For any SaaS company preparing for growth in 2026, this discussion provides a grounded and actionable blueprint for building a pricing system that supports scale.Key Timestamps(0:00) – SaaS Pricing in 2026 Is Gonna Get Wild(0:53) – Live From SaaS Summit Benelux(0:57) – Meet the Pricing Guy Behind ValueShips(1:11) – What Will SaaS Pricing Look Like in 2026?(1:19) – Expansion Revenue Is the New Growth Hack(2:32) – Scale Smarter With Usage Metrics(3:45) – Stop Guessing: Do Real WTP Research(4:10) – Switching to Hybrid Pricing Without Chaos(4:23) – Test AI Add-Ons Before Going All-In(5:43) – The New AI-Native SaaS Models(5:58) – Freemium Isn't Free(7:08) – Booking.com-Style Pricing Comes to SaaS(8:04) – Pricing Is a Process(9:44) – Ad Break: Reditus(9:57) – A/B Test Your Pricing Like a Pro(10:30) – How to Test Pricing on Existing Customers(11:38) – The Churn Math You Must Know(12:41) – The Most Expensive Pricing Mistakes(13:45) – Don't Blow Up Your Pricing Model for AI(14:47) – When Credits Pricing Works(15:01) – Keep AI Costs From Killing Margins(16:10) – Utility-Style Billing 101(16:48) – Early-Stage Pricing to Hit 10K MRR(18:15) – Scale to $10M ARR Without Revenue Leaks(19:24) – Final Takeaways(19:27) – Connect With Chris(19:40) – Outro & Subscribe

Send us a textGood morning from Pharma Daily: the podcast that brings you the most important developments in the pharmaceutical and biotech world. Today, we're diving into a series of impactful events and breakthroughs that are shaping patient care and drug development.The U.S. Food and Drug Administration recently granted early approval for a combination therapy using Padcev and Keytruda for the perioperative treatment of bladder cancer, a decision made months ahead of schedule. This approval represents a significant advancement in the therapeutic landscape for this type of cancer, offering new hope to patients who have had limited treatment options. The combination of these two therapies underscores the growing trend of integrating multiple mechanisms of action to tackle complex diseases like cancer more effectively. It also highlights the potential of combination therapies to provide enhanced clinical benefits by leveraging different therapeutic targets.In another notable development, Merck's partner Kelun announced successful Phase 3 trial results for an antibody-drug conjugate combined with Keytruda in treating PD-L1-positive non-small cell lung cancer (NSCLC). The trial results demonstrated statistically significant improvements in progression-free survival compared to Keytruda alone. This finding reinforces the expanding role of antibody-drug conjugates in oncology and emphasizes the importance of biomarker-driven therapies in personalizing cancer treatment. These advancements reflect a broader industry shift towards precision medicine, which aims to improve patient outcomes by tailoring treatments based on individual patient profiles.Meanwhile, Novo Nordisk experienced setbacks as its shares fell nearly 9% following two unsuccessful Phase 3 trials of semaglutide for Alzheimer's disease. Despite these disappointing results, this outcome highlights the persistent challenges and complexities inherent in developing therapies for neurodegenerative diseases—areas where unmet needs remain substantial. The market's reaction reflects investor sensitivity to clinical trial outcomes, particularly in high-stakes areas like Alzheimer's where breakthroughs are eagerly anticipated.Switching gears to AstraZeneca, the company is making a strategic move by expanding its manufacturing capabilities with a $2 billion investment in Maryland. This expansion reflects an ongoing trend among pharmaceutical companies to enhance their production infrastructure, driven by increasing demand for biologics and complex therapeutics. Such investments are crucial for supporting large-scale production needs and ensuring robust supply chains that are essential for meeting global health demands.In regulatory news, a collective letter from biotech CEOs addressed to FDA director Marty Makary has raised concerns about regulatory stability in the U.S., with 82% of biopharma respondents expressing apprehension over the FDA's ability to function predictably. This plea underscores how regulatory volatility can hinder innovation and emphasizes the importance of consistent policies that support long-term research and development efforts.In clinical trial updates, Bayer's oral FXIa inhibitor asundexian has shown promise in reducing stroke risk during Phase 3 trials. These findings revive interest in FXIa inhibitors as potentially blockbuster drugs after previous setbacks in this class. This development illustrates ongoing efforts to identify novel anticoagulant therapies that balance efficacy and safety, offering new hope for improved therapeutic options.Now turning our attention to Johnson & Johnson's recent setback with their anti-tau antibody posdinemab in a phase 2 trial targeting Alzheimer's disease. The trial was unable to demonstrate a significant slowing of clinical decline, leading JSupport the show

This isn't your typical "we raised $50M and exited" story. This is what happens when you have no choice but to figure it out yourselves. When the tripod refuses to fall. When you run out of everything except ideas. This is the story of Heroic Labs.About Heroic Labs: Core infrastructure for game studios. If you've played games from Zynga, Gram Games, or dozens of other studios, you've used their tech without knowing it. That's by design.

Photo by Tim Wildsmith on Unsplash Published 24 November 2025 e534 with Michael, Andy and Michael – AI and ML training data, camouflage, ppen source Zork, Deadpool VR, NPH movies and a whole lot more. Michael, Andy and Michael start things off with with an intriguing AI analysis of the heist from the Louvre. The Ars Technica article takes the examples of mathematical machine learning and human psychology to show how both were defeated what was considered to be ordinary versus suspicious. This is a terrific reminder on the importance of the training data sets used for AI models and how the “performance of normality became the perfect camouflage”. Michael R highlights the On Intelligence book, and Michael M brings up visual pattern recognition of the human form which ghillie suits help disguise. Switching to a hackster.io article, the die is cast – or rather the die is 3d printed. Andy shares his thoughts on this bluetooth enabled die, and mentions how dice have featured prominently in the the podcast over the years. E132 from 2016 appears to be the earliest reference to dice in the show notes. Next up is Microsoft's announcement to open source the Zork family of text based adventure games from Infocom. Zork is another favorite of the podcast, and e78 from 2014 is the earliest reference! Then the team discusses the Deadpool VR game. The Kotaku article mentions that Neil Patrick Harris does the Deadpool voice acting in the game. This leads the cohosts down the rabbit hole of NPH acting with a number of movies and TV shows. Oh, and the reason for the “I don't want a McRib” part of the show title was because the Kotaku article kept serving up McDonalds McRib ads to Michael M, while Michael R with his PiHole does not get such ads. What is your favorite NPH movie or tv show? Have your bots

Gratitude doesn’t come easily for everyone—especially if life has conditioned you to expect the other shoe to drop. 1 Thessalonians 5:18 calls us to give thanks in all circumstances, not because everything feels good, but because God is faithfully at work in every moment. When negativity feels more natural than gratitude, shifting your perspective becomes a slow, intentional surrender. But as God reshapes the heart, thankfulness becomes less of a struggle and more of a steady rhythm. Highlights Early experiences can shape a pessimistic mindset, but God can retrain our hearts toward gratitude. Gratitude leads to contentment—and contentment frees us from constantly chasing “more.” A simple gratitude journal can refocus your mind on God’s ongoing work, even in small blessings. Positive community helps redirect your perspective toward God’s faithfulness. Jesus modeled thankfulness—even in pain—and invites us to adopt the same posture. Choosing gratitude is a daily decision that transforms the way we interpret trials and blessings. Shifting your viewpoint ultimately reshapes your attitude and nourishes a thankful spirit. Gift Inspiration: Crosswalk's Holiday Gift Guide Looking for a meaningful way to celebrate the season? Check out our Holiday Gift Guide—from beautifully illustrated Bibles and devotionals to novels, greeting cards, and picture books, there’s something for everyone on your list. Wrap up stories for loved ones, tuck a book into your own nightstand, and join us in celebrating the wonder of giving this Christmas! Full Transcript Below: When Thankfulness Doesn’t Come NaturallyBy: Michelle Lazurek Bible Reading:“Give thanks in all circumstances; for this is God’s will for you in Christ Jesus.” 1 Thessalonians 5:18 As a kid, I didn't have it easy. I came from a controlling household, plus I faced several health challenges. Life was not easy, even in my childhood. Even though I enjoyed the simplicity of playing with toys, playing outside, and just enjoying life, I endured other issues that made my childhood less than simplistic. My mother was also a negative person. She often saw the glass as half-empty, rather than half-full. This taught me to be a pessimistic person, focusing on the negative side of things rather than the positive side. If something good came my way, I often wondered when things would soon turn bad. For years after becoming a Christian, I still felt like this way. Because the Christian life has been full of ups and downs, and I've endured my share of trials, it's easy to look on the negative side of things. This viewpoint has caused me to become less grateful and more entitled. As I've matured in my faith, God has taught me that it's essential to be thankful for everything I have. When I'm grateful, I'm content. When I’m content, I'm no longer searching for the perfect life, the simple pleasures, or the luxuries that I feel I deserve. Switching my viewpoint didn't come easily. Because I had been pessimistic and that attitude was deeply ingrained in my mind, it was hard to shake. But I've learned over the years how to make thankfulness a daily activity, even though it doesn't come naturally to me. Here are some ways to adopt a spirit of thankfulness even when it doesn't come naturally: Start a Gratitude Journal One of the easiest ways for me to switch my viewpoint is to start a gratitude journal. Each day, I'm able to write down even just a few things for which I'm thankful. These can be small blessings, such as having clean clothes or a job. It can also be the bigger things that God does, like the miraculous ways in which He works, or the way He heals my body when it's sick. The most important thing I need to remember is that God is constantly at work in my life. It's a matter of whether I choose to see it or not. Keeping a gratitude journal shifts my focus every day to what I should be thankful for and content in my life. Because I'm someone who doesn't enjoy journaling, this is an easy way for me to adopt the habit of journaling, without having to write complete sentences. Use bullet points and write the words regarding the blessing, so you know what it references. At the end of the month, go back and think of all the ways God has blessed you that month. During your prayer time, thank God for all the ways He is working and for all the ways you see His blessings. Surround Yourself with Positive People Because I learned my pessimistic attitude from my mother, it was an attitude easy to adopt, as she was always around. However, when I became a Christian and attended churches in my area, I surrounded myself with positive people. Instead of focusing on the negative trials in their lives, they chose to be grateful to God for all the ways he was working. As I participated in small groups and heard about all the ways God was working in their lives, it became easier for me to adopt that same attitude. Analyze the company you keep. Do you surround yourself with naturally pessimistic people? Be in regular community with those who seek to see the world positively. Adopt the same attitude of seeing how God is working, rather than focusing on all the things He hasn't done. Adopt Jesus’ Attitude Jesus’ attitude was one of thankfulness. Even in his last moments before he was going to be crucified, he chose to break bread with his disciples. Although I'm sure they discussed many things throughout that meal, the Gospels record that Jesus took the bread and cup and gave thanks to God. If Jesus can choose to adopt an attitude of thankfulness even moments before he knew he was going to be crucified and brutally beaten, then so can we. We can adopt the same attitude of gratitude by looking at our trials and seeking to choose joy rather than sorrow. Although it is normal to feel sadness or despair in times of deep spiritual trial, we mustn't stay there. Instead, grieve the loss, but then move on to a spirit of thankfulness. See all the ways God may be sparing you from the situation if the answer to your prayer was no. If you are in a trial, see all the ways God is refining your character through it. By changing your viewpoint, you change your attitude. Change your perspective to one of gratitude, knowing that God is working on your behalf. Choose to think of it this way rather than dwelling upon the negative parts of life. By choosing to focus on the positive aspects of life rather than the negative ones, you can cultivate gratitude even when it doesn't come naturally. Adopt behaviors and surround yourself with people who will help you give thanks in all circumstances. Father, let us be people who give thanks in all we do. Help us understand how you always work in all situations. Let us adopt an attitude of thankfulness, even when our will is bent toward negativity and discontentment. Amen. Intersecting Faith & Life: In what ways do you display your thankfulness in all circumstances? What is one thing you can do to express your gratitude toward the people in your life today? Further Reading:Philippians 4:6 Discover more Christian podcasts at lifeaudio.com and inquire about advertising opportunities at lifeaudio.com/contact-us.

Today Scott interviews Andy Lapteff. He opens up about his non-linear career path, starting from a working class background and his physical jobs in telecom to becoming a senior product marketing manager and podcaster. Join us as Andy shares candid stories of how he developed his resilience and the heartwarming origin story for the Art... Read more »

Today Scott interviews Andy Lapteff. He opens up about his non-linear career path, starting from a working class background and his physical jobs in telecom to becoming a senior product marketing manager and podcaster. Join us as Andy shares candid stories of how he developed his resilience and the heartwarming origin story for the Art... Read more »

Steve Gruber discusses news and headlines 

00:00 - Intro00:44 - Two-Day Armor Building Formula06:28 - Adding Barbell Work and Pull-Ups to the ABF12:23 - Working Out and Real Longevity Habits20:12 - Rest Periods for Loaded Carries27:27 - Adding Rows in the Coyote Workout31:46 - Improving the Press for Poor Squatters35:28 - What the Hell Effect for Aging Tennis Players39:54 - Smart Strength Training After 60's45:47 - Switching Programs Every 6–8 Weeks51:48 - Balancing ABC Training and Fat Loss57:17 - Combining ABC with Tactical Barbell► Personalized workouts based on your schedule, ability, and equipment options. http://www.DanJohnUniversity.com.► If you're interested in getting coached by Dan personally, go to http://DanJohnInnerCircle.com to apply for his private coaching group.► Go to ArmorBuildingFormula.com to get Dan's latest book.

The U.S. labor market is stagnant right now, with little hiring and lots of people holding onto their jobs for dear life. In Denmark, there's a different kind of labor system where it's easy for employers to hire and fire, but at the same time people have a strong safety net in-between jobs. Today on the show, we learn how “flexicurity” works through the story of a Danish woman who left her job, and we ask how the model could work in the U.S. Related episodes: Why do we live in unusually innovative times?How Marxism went from philosophy to cudgelOzempic's biggest side effect: Turning Denmark into a 'pharmastate'? For sponsor-free episodes of The Indicator from Planet Money, subscribe to Planet Money+ via Apple Podcasts or at plus.npr.org. Fact-checking by Tyler Jones. Translation from Jasmine Lolila. Music by Drop Electric. Find us: TikTok, Instagram, Facebook, Newsletter.  Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Dive into groundbreaking research on the transition from caseload to workload models in school-based OT with Stanbridge University MOT students Jalen, Michelle, Jared, and Ari. Their nationwide survey revealed striking results: practitioners using a workload model reported significantly lower burnout scores compared to those using a caseload model and majority strongly agreeing that the workload approach reduces stress levels.The students' research identified key barriers to making this transition—primarily lack of administrative support and scheduling conflicts—while highlighting successful facilitators including peer support and improved collaboration with teachers. Their findings emphasize the importance of data collection for advocacy, suggesting that tracking time spent on indirect services provides compelling evidence when approaching administrators about workload changes.This episode offers practical insights for school-based OTs feeling overwhelmed, with recommendations to start small by tracking weekly time usage and increasing teacher collaboration. Listen now to discover how transitioning to a workload model can transform your practice, reducing burnout while improving service quality and student outcomes.Listen now to learn the following objectives:Listeners will compare the impact of caseload versus workload models on therapist burnout, stress levels, and job satisfaction.Listeners will identify key barriers and facilitators to transitioning from a caseload to workload approach.Listeners will identify practical strategies for initiating a workload approach. Visit pearsonassessments.com/OTResources to explore assessments designed with your clinical reasoning in mind. Thanks for tuning in! Thanks for tuning into the OT Schoolhouse Podcast brought to you by the OT Schoolhouse Collaborative Community for school-based OTPs. In OTS Collab, we use community-powered professional development to learn together and implement strategies together. Don't forget to subscribe to the show and check out the show notes for every episode at OTSchoolhouse.comSee you in the next episode!