Podcasts about Talk

Thursday at 11:15 PM ET. Hosted by Emmanuel Acho with LeSean “Shady” McCoy and "Carebear" Kieran, the show brings hot takes, cold truths, and culturally forward conversations that connect sports and culture in real time. ⁠⁠⁠YouTube⁠⁠⁠ ⁠⁠⁠Twitter⁠⁠⁠ ⁠⁠⁠Instagram⁠⁠⁠ ⁠⁠⁠TikTok⁠⁠ Facebook PrizePicks x Speakeasy Pick MORE or LESS. Win cash. Talk your talk. Play $5, get $50 →  PrizePicks | America's #1 Fantasy Sports App Learn more about your ad choices. Visit megaphone.fm/adchoices

In this mini episode we are reading more listener submitted stories. First up, a Cancun wedding trip turns chaotic when a tequila-fueled vacation fling with a younger boss collides with a very sensitive stomach. Then, a quick Sonic run in a comfy romper turns into a drive-through moment so embarrassing our camper still refuses to go back. Finally, we head into the New England woods, where our camper's little brother goes from home chef to felony arson.Get your tickets to see Zachariah Porter's new Live Comedy Tour!Want BONUS CONTENT? Join our PATREON!SPONSORS➜ Go to FactorMeals.com/camp50off and use code camp50off to get 50% off plus FREE breakfast for a year!➜ Talk it out, with BetterHelp. Our listeners get 10% off their first month at BetterHelp.com/CAMP➜ Cancel your unwanted subscriptions and reach your financial goals faster with Rocket Money. Go to RocketMoney.com/CAMP today. ➜ Bring your A-game and talk to your doctor. Learn more at Apretude.com or call 1-888-240-0340.Check out our website and submit your inquiries for advice, juicy gossip, confessions, and horror stories!Camp Songs: Spotify Playlist | YouTube Playlist | Sammich's Secret MixtapeSocial Media:Camp Counselors TikTokCamp Counselors InstagramCamp Counselors FacebookCamp Counselors TwitterSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode of Talk Nerdy, Cara is joined by climate change researcher, and Associate Professor of Political Science at Providence College, Dr. Thea Riofrancos. They discuss her newest book, Extraction: The Frontiers of Green Capitalism.

Though our culture has changed dramatically through the decades, there are certain issues that will always present difficult challenges in the lives of adolescent girls. Today on Family Talk, you'll hear Dr. James Dobson speak with his daughter, Danae Dobson, about her book, Let's Walk the Talk! Girlfriend to Girlfriend on Faith, Friendship and Finding Real Love. She discusses tough subjects such as self-esteem, peer-pressure, and dating, as well as sisterly advice on how we can have faith and trust God to navigate us through these rough seas of life. Listen as Danae shares and articulates some of the best advice she's been given, “It pays to follow Jesus!” To support this ministry financially, visit: https://www.oneplace.com/donate/707/29?v=20251111

What does it really take to build a multi-six-figure author business with no advertising? Is running your own warehouse really necessary for direct sales success — or is there a simpler path using print-on-demand that works just as well? In this conversation, Sacha Black and I compare our very different approaches to selling direct, from print on demand to pallets of books, and explore why the right model depends entirely on who you are and what your goals are for your author business. In the intro, Memoir Examples and interviews [Reedsy, The Creative Penn memoir tips]; Written Word Media annual indie author survey results; Successful Self-Publishing Fourth Edition; Business for Authors webinars; Into the Drowning Deep by Mira Grant; Camino Portuguese Coastal on My Camino Podcast; Creating while Caring Community with Donn King; The Buried and the Drowned by J.F. Penn Today's show is sponsored by Bookfunnel, the essential tool for your author business. Whether it's delivering your reader magnet, sending out advanced copies of your book, handing out ebooks at a conference, or fulfilling your digital sales to readers, BookFunnel does it all. Check it out at bookfunnel.com/thecreativepenn This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Sacha Black is the author of YA and non-fiction for authors and previously hosted The Rebel Author Podcast. As Ruby Roe, she is a multi-six-figure author of sapphic romantasy. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights, and the full transcript is below. Show Notes Two models for selling direct: print on demand vs running your own warehouse. Plus, check out Sacha's solo Rebel Author episode about the details of the warehouse. Cashflow management Kickstarter lessons: pre-launch followers, fulfillment time, and realistic timelines How Sacha built a multi-six-figure business through TikTok with zero ad spend Matching your business model to your personality and skill set Building resilience: staff salaries, SOPs, and planning for when things change You can find Ruby at RubyRoe.co.uk and on TikTok @rubyroeauthor and on Instagram @sachablackauthor Transcript of the interview Joanna: Sacha Black is the author of YA and nonfiction for authors, and previously hosted the Rebel Author podcast. As Ruby Roe, she is a multi-six-figure author of sapphic romance. So welcome back to the show, Sacha. Sacha: Hello. Thank you for having me. It's always a pleasure to be here. Joanna: I'm excited to talk to you today. Now, just for context, for everybody listening, Sacha has a solo episode on her Rebel Author podcast, last week as we record this, which goes into specific lessons around the warehouse in more detail, including financials. So we are going to come at this from a slightly different angle in our discussion today, which is really about two different ways of doing selling direct. I want us to start though, Sacha, in case people don't know your background, in case they've missed out. Can you just give us a quick recap of your indie author journey, because you haven't just come out of nowhere and jumped into this business and done incredibly well? Sacha's Indie Author Journey Sacha: No, I really haven't. Okay. So 2013, I started writing. So 12 years ago I started writing with the intention to publish, because I was writing before, but not with the intention. 2017 I first self-published and then two years after that, in 2019, I quit the day job. But let me be clear, it wasn't because I was rolling in self-published royalties or commissions or whatever you want to call them. I was barely scraping by. And so those are what I like to call my hustle years because I mean, I still hustle, but it was a different kind. It was grind and hustle. So I did a lot of freelance work. I did a lot of VA work for other authors. I did speaking, I was podcasting, teaching courses, and so on and so forth. 2022, in the summer, I made a realisation that I'd created another job for myself rather than a business that I wanted to grow and thrive in and was loving life and all of that stuff. And so I took a huge risk and I slowed down everything, and I do mean everything. I slowed down the speaking, I slowed down the courses, I slowed down the nonfiction, and — I poured everything into writing what became the first Ruby Roe book. I published that in February 2023. In August/September 2023, I stopped all freelance work. And to be clear, at that point, I also wasn't entirely sure if I was going to be able to pay my bills with Ruby, but I could see that she had the potential there and I was making enough to scrape by. And there's nothing if not a little bit of pressure to make you work hard. So that is when I stopped the freelance. And then in November 2023, so two months later, I started TikTok in earnest. And then a month after that, December the eighth, I went viral. And then what's relevant to this is that two days after that, on December the 10th, I had whipped up my minimum viable Shopify, and that went live. Then roll on, I did more of the same, published more Ruby Roe books. I made a big change to my Shopify. So at that point it was still print on demand Shopify, and then February 2025, I took control and took the reins and rented a warehouse and started fulfilling distribution myself. The Ten-Year Overnight Success Joanna: So great. So really good for people to realise that 2013, you started writing with the intention, like, seriously, I want this to be what I do. And it was 2019 when you quit the day job, but really it was 2023 when you actually started making decent money, right? Sacha: Almost like we all need 10 years. Joanna: Yeah. I mean, it definitely takes time. So I wanted just to set that scene there. And also that you did at least a year of print on demand Shopify before getting your own warehouse. Sacha: Yeah, maybe 14 months. Joanna: Yeah, 14 months. Okay. So we are going to revisit some of these, but I also just want as context, what was your day job so people know? Sacha: So I was a project manager in a local government, quite corporate, quite conservative place. And I played the villain. It was great. I would helicopter into departments and fix them up and look at processes that were failing and restructure things and bring in new software and bits and bobs like that. The Importance of Business Skills Joanna: Yeah. So I think that's important too, because your job was fixing things and looking at processes, and I feel like that is a lot of what you've done and we'll revisit that. Sacha: How did I not realise that?! Joanna: I thought you did know that. No. Well, oh my goodness. And let's just put my business background in context. I'm sure most people have heard it before, but I was an IT consultant for about 13 years, but much of my job was going into businesses and doing process mapping and then doing software to fix that. And also I worked, I'm not an accountant, but I worked in financial accounting departments. So I think this is really important context for people to realise that learning the craft is one thing, but learning business is a completely different game, right? Sacha: Oh, it is. I have learnt — it's wild because I always feel like there's no way you can learn more than in your first year of publishing because everything is brand new. But I genuinely feel like this past 18 months I have learnt as much, if not more, because of the business, because of money, because of all of the other legal regulation type changes in the last 18 months. It's just been exhausting in terms of learning. It's great, but also it is a lot to learn. There is just so much to business. Joanna's Attempts to Talk Sacha Out of the Warehouse Joanna: So that's one thing. Now, I also want to say for context, when you decided to start a warehouse, how much effort did I put into trying to persuade you not to do this? Sacha: Oh my goodness, me. I mean a lot. There were probably two dinners, several coffees, a Zoom. It was like, don't do it. Don't do it. You got me halfway there. So for everybody listening, I went big and I was like, oh, I'm going to buy shipping containers and convert them and put them on a plot of land and all of this stuff. And Joanna very sensibly turned around and was like, hmm, why don't you rent somewhere that you can bail out of if it doesn't work? And I was like, oh yeah, that does sound like a good idea. Joanna: Try it, try it before you really commit. Okay. So let's just again take a step back because the whole point of doing this discussion for me is because you are doing really well and it is amazing what you are doing and what some other people are doing with warehouses. But I also sell direct and in the same way as you used to, which is I use Bookfunnel for ebooks and audiobooks and I use BookVault for print on demand books, and people can also use Lulu. That's another option for people. So you don't have to do direct sales in the way that you've done it. And part of the reason to do this episode was to show people that there are gradations of selling direct. Why Sell Direct? Joanna: But I wanted to go back to the basics around this. Why might people consider selling direct, even in a really simple way, for example, just ebooks from their website, or what might be reasons to sell direct rather than just sending everything to Amazon or other stores? Sacha: I think, well, first of all, it depends on what you want as a business model. For me, I have a similar background to you in that I was very vulnerable when I was in corporate because of redundancies, and so that bred a bit of control freakness inside me. And having control of my customers was really important to me. We don't get any data from Amazon or Kobo really, or anywhere, even though all of these distributors are incredible for us in our careers. We don't actually have direct access to readers, and you do with Shopify. You know everything about your reader, and that is priceless. Because once you have that data and you have delivered a product, a book, merchandise, something that that reader values and appreciates, you can then sell to them again and again and again. I have some readers who have been on my website who have spent almost four figures now. I mean, that is just — one person's done that and I have thousands of people who are coming to the website on a regular basis. So definitely that control and access to readers is a huge reason for doing it. Customising the Reader Relationship Sacha: And also I think that you can, depending on how you do this model, there are ways to do some of the things I'm going to talk about digitally as well. But for me, I really like the physical aspect of it. We are able to customise the relationship with our customers. We can give them more because we are in control of delivery. And so by that I mean we could give art prints, which lots of my readers really value. We can do — you could send those digitally if you wanted to, but we can add in extra freebies like our romance pop sockets, that makes them feel like they are part of my reader group. They're part of a community. It creates this belonging. So I think there is just so much more that you can do when you are in control of that relationship and in control of the access to it. Joanna: Yeah. And on that, I mean, one of the reasons we can do really cool print books — and again, we're going to come back to print on demand, but I use print on demand. You don't have to buy pallets of books as Sacha does. You can just do print on demand. Obviously the financials are different, but I can still do foiling and custom end papers and ribbons and all this with print on demand through BookVault custom printing and bespoke printing. The Speed of Money Joanna: But also, I think the other thing with the money — I don't know if you even remember this, because it's very different when you are selling direct — you can set up your system so you get paid like every single day, right? Or every week? Sacha: Yes. Joanna: So the money is faster because with Amazon, with any of these other systems, it can take 30, 60, 90 days for the money to get to you. So faster money, you are in more control of the money. And you can also do a lot more things like bundling and like you mentioned, much higher value that you could offer, but you can also make higher income. Average order value per customer because you have so many things, right? So that speed of money is very different. Sacha: It is, but it's also very dangerous. I know we might talk about cashflow more later, but— Joanna: Let's talk about it now. Managing Cashflow With Multiple Bank Accounts Sacha: Okay, cool. So one of the things that I think is the most valuable thing that I've ever done is, someone who is really clever told me that you're allowed more than one business account. Joanna: Just to be clear, bank accounts? Sacha: Yes, sorry. Yeah. Bank accounts. And one of my banks in particular enables you to have mini banks inside it, mini pots they call it. And what I do with pre-orders is I treat it a bit like Amazon. So that money will come in — you know, I do get paid daily pretty much — but I then siphon it off every week into a pot. So let's just say I've got one book on pre-order. Every week the team tells me how much we've got in pre-orders for that one product and all the shipping money, and I put it into an account and I leave it there. And I do not touch it unless it is to pay for the print run of that book or to pay for the shipping. Because one of the benefits of coming direct to me is that I promise to ship all pre-orders early, so we have to pay the shipping costs before necessarily Amazon might pay for its shipping costs because they only release on the actual release day. But that has enabled me to have a little savings scheme, but also guarantee that I can pay for the print run in advance because I haven't accidentally spent that money on something else or invested it. I've kept it aside and it also helps you track numbers as well, so you know how well that pre-order is doing financially. Understanding Cashflow as an Author Joanna: Yeah. And this cashflow, if people don't really know it, is the difference between when money comes in and when it goes out. So another example, common to many authors, is paying for advertising. So for example, if you run some ads one month, you're going to have to pay, let's say Facebook or BookBub or whoever, that month. You might not get the money from the sale of those books if it's from a store until two months later. In that case, the cash flows the other way. The money is sitting with the store, sitting on Amazon until they pay you later. This idea of cashflow is so important for authors to think about. Another, I guess even more basic example is you are writing your first book and you pay for an editor. Money goes out of your bank account and then hopefully you're going to sell some books, but that might take, let's say six months, and then some money will come back into your bank account. I think this understanding cashflow is so important at a small level because as it gets bigger and bigger — and you are doing these very big print runs now, aren't you? Talk a bit about that. The Risks of Print Runs Sacha: Yeah. So one of the things I was going to say, one of the benefits of your sell direct model is that you don't have to deal with mistakes like this one. So in my recent book, Architecti, that we launched at the end of September, we did a print run of a thousand books, maybe about 3,000 pounds, something like that, 2,000 pounds. And basically we ended up selling all thousand and more. So the pre-orders breached a thousand and we didn't have enough books. But what made that worse is that 20% of the books that arrived were damaged because there had been massive rain. So we then had to do a second print run, which is bad for two reasons. The first reason is that one, that space, two, the time it's going to take to get to you — it's not instant, it's not printed on demand. But also three, I then had to spend the same amount of money again. And actually if we had ordered 2,000 originally, we would've saved a bit more money on it per book. So you don't — if you are doing selling direct with a print on demand model, the number of pre-orders you get is irrelevant because they'll just keep printing, and you just get charged per copy. So there are benefits and disadvantages to doing it each way. Obviously, I'm getting a cheaper price per copy printed, but not if I mess up the order numbers. Is Running a Warehouse Just Another Job? Joanna: So I'm going to come back on something you said earlier, which was in 2022 you said, “I realised I made a job for myself.” Sacha: Yeah. Joanna: And I mean, I've been to your store. You obviously have people to help you. But one of my reservations about this kind of model is that even if you have people to help you, taking on physical book — even though you are not printing them yourself, you're still shipping them all and you're signing them all. And to me it feels like a job. So maybe talk about why you have continued — you have pretty much decided to continue with your warehouse. So why is this not a job? What makes this fun for you? The Joy of Physical Product Creation Sacha: I wish that listeners could see my face because I'm literally glittering. I love it. I literally love it. I love us being able to create cool and wacky things. We can make a decision and we can create that physical product really quickly. We can do all of these quirky things. We can experiment. We can do book boxes. So first of all, it's the creativity in the physical product creation. I had no idea how much I love physical product creation, but there is something extremely satisfying about us coming up with an idea that's so integrated in the book. So for example, one of my characters uses, has a coin, a yes/no coin. She's an assassin and she flips it to decide whether or not she's going to assassinate somebody. We've actually designed and had that coin made, and it's my favourite item in the warehouse. It's such a small little thing, but I love it. And so there is a lot of joy that I derive from us being able to create these items. Sending Book Mail and Building Community Sacha: I think the second thing is I really love book mail. There is no better gift somebody can give me than a book. And so I do get a lot of satisfaction from knowing we're sending out lots and lots of book presents to people and we get to add more to it. So some of the promises that we make are: I sign every book and we give gifts. We have character art and, like I've mentioned before, pop sockets and all these kinds of things. And I get tagged daily in unboxings and stories and things like this where people are like, oh my gosh, I didn't realise I was going to get this, this, and this. And I just — it's like crack to me. I get high off of it. So I can't — this is not for everybody. This is a logistical nightmare. There are so many problems inherent in this business model. I love it. Discovering a Love of Team Building Sacha: And I think the other thing, which is very much not for a lot of authors — I did not realise that I actually really like having a team. And that has been a recent realisation. I really was told that I'm not a team player when I was in corporate, that I work alone, all of this nonsense. And I believed that and taken it on. But finding the right team, the right people who love the jobs that they do inside your business and they're all as passionate as you, is just life changing. And so that also helps me continue because I have a really great team. Joanna: I do have to ask you, what is a pop socket? Sacha: It's a little round disc that has a mechanism that you can pull out and then you — and it has a sticky command strip back and you can pop it on the back of your phone or on the back of a Kindle and it helps you to hold it. I don't know how else to describe it. It just helps you to hold the device easier. Joanna: Okay. I'm sure I wasn't the only one who was confused. I'm like, why are you doing electrical socket products? Know What Kind of Person You Are Joanna: But I think this actually does demonstrate another point, and I hope people listening — I hope you can sort of — why we are doing this partly is to help you figure out what kind of person you are as well. Because I can't think of anything worse than having lots of little boxes! And I've been in Sacha's thing and there's all these little stickers and there's lots of boxes of little things that they put in people's packages, which make people happy. And I'm like, oh, I just don't like packages of things. And I mean, you geek out on packaging, don't you as well? Sacha: Oh my goodness. Yeah. One of the first things I did when we got the warehouse was I actually went to a packaging expo in Birmingham. It was like this giant conference place and I just nerded out there. It was so fun. And one of the things that I'm booked to do is an advent calendar. And that was what drove me there in the first place. I was looking for a manufacturer that could create an advent calendar for us. I have two. I'm not — I have two advent calendars this year because I love them so much. But yeah, the other thing that I was going to say to you is I often think that as adults, we can find what we're supposed to do rooted in our childhood. And I was talking the other day and someone said to me, what toy do you remember from your youth? And I was like, oh yeah. The only one that I can remember is that I had a sticker maker. I like — that makes sense. You do like stickers. And I do. Yeah. Digital Minimalism vs Physical Products Joanna: Yeah, I do. And I think this is so important because I love books. I buy a lot of books. I love books, but I also get rid of a lot of books. I know people hate this, but I will just get rid of bags and bags of books. So I value books more for what's inside them than the physical product as such. I mean, I have some big expensive, beautiful books, but mostly I want what's in them. So it's really interesting to me. And I think there's a big difference between us is just how much you like all that stuff. So if you are listening, if you are like a digital minimalist and you don't want to have stuff around your house, you definitely don't want a warehouse. You don't want all the shipping bits and bobs. You are not interested in all that. Or even if you are, you can still do a lot of this print on demand. Then I think that's just so important, isn't it? I mean, did you look at the print on demand merch? Did you find anything you liked? The Draw of Customisation Sacha: Yeah, we did, but I think for me it was that customisation. We are now moving towards — I've just put an order in this morning for 10,000 customised boxes. We've got our own branding on them. We've got a little naughty, cheeky message when they flip up the flap. And it's little things like that that you can't — you know, we wouldn't have control over what was sent. So much of what I wanted, and some of the reasons for me doing it, is that I wanted to be able to sign the books. I was being asked on a daily basis if people could buy signed books from me, and it was driving me bonkers not being able to say yes. But also being able to send a website mailing list sign-up in the box, or being able to give them a discount in the box. I mean, I know you do that, but yeah, there was just a lot more customisation and things that we could do if we were controlling the shipping. Also, I wanted to pack the boxes, the books better. So we wanted to be able to bubble wrap things or we wanted to be able to waterproof things because we had various different issues with deliveries and so we wanted a bit more control over that. So yeah, there were just so many reasons for us to do it. Print on Demand Is Still Fantastic Sacha: Look, don't get me wrong, if I suddenly wanted to go off travelling for a year, then maybe I would shut down the warehouse and go back to print on demand. I think print on demand is fantastic. I did it for 14 months before I decided to open a warehouse. It is the foundation of most authors' models. So it's fantastic. I just want to do more. Joanna: Yeah. You want to do more of it. Life Stage Matters Joanna: We should also, I also wanted to mention your life stage. Because when we did talk about it, your son is just going to secondary school, so we knew that you would be in the same area, right? Sacha: Yeah. Joanna: Because I said to you, you can't just do this and — well, you can, you could ditch it all. But the better decision is to do this for a certain number of years. If you're going to do it, it needs time, right? So you are at that point in your life. Sacha: Yeah, absolutely. We — I mean, we are going to move house, I think, but not that far away. We'll still be in reachable distance of the warehouse. And yeah, the staying power is so important because it's also about raising awareness. You have to train readers to come to you. You have to show them why it's beneficial for them to order directly from you. Growing the Business Year Over Year Sacha: And then you also have to be able to iterate and add more products. Like you were talking earlier about increasing that average order value. And that does come from having more products, but more products does create other issues like space, which may or may not be suffering issues with now. But yeah, so for example, 2024, which was the first real year, I did about 73 and a half thousand British pounds. And then this year, where — as we record this, it's actually the 1st of December — and I'm on 232,000. So from year one to year two, it's a huge difference. And that I do think is about the number of products and the number of things that we have on there. Joanna: And the number of customers. I guess you've also grown your customer base as well. And one of the rules, I guess, in inverted commas, of publishing is that the money is in the backlist. And every time you add to your backlist and every launch, you are selling a lot more of your backlist as well. So I think as time goes on, yeah, you get more books. Kickstarter as an Alternative Joanna: But let's also talk about Kickstarter because I do signed books for my Kickstarters and to me the Kickstarter is like a short-term ability to do the things you are doing regularly. So for example, if you want to do book boxes, you could just do them for a Kickstarter. You don't have to run a warehouse and do it every single day. For example, your last Kickstarter for Ruby Roe made around 150,000 US dollars, which is amazing. Like really fantastic. So just maybe talk about that, any lessons from the Kickstarter specifically, because I feel like most people, for most people listening, they are far more likely to do a Kickstarter than they are to start a warehouse. Pre-Launch Followers Are Critical Sacha: Yeah, so the first thing is even before you start your Kickstarter, the pre-launch follow accounts are critical. So a lot of people think — well, I guess there's a lot of loud noise about all these big numbers about how much people can make on Kickstarter, but actually a lot of it is driven by you, the author, pushing your audience to Kickstarter. So we actually have a formula now. Somebody more intelligent gave this to me, but essentially, based on my own personal campaign data — so this wouldn't necessarily be the same for other people — but based on my campaign data, each pre-launch follower is worth 75 pounds. And then we add on seven grand, for example. So on campaign three, which was the most recent one, I had 1,501 pre-launch followers. And when you times that by 75 and you add on seven grand, it makes more or less exactly what we made on the campaign. And the same formula can be applied to the others. So you need more pre-launch followers than you think you do. And lots of people don't put enough impetus on the marketing beforehand. Almost all of our Kickstarter marketing is beforehand because we drive so many people to that follow button. Early Bird Pricing and Fulfillment Time Sacha: And then the other thing that we do is that we do early bird pricing. So we get the majority of our income on a campaign on day one. I think it was something wild, like 80% this time was on day one, so that's really important. The second thing is it takes so, so very much longer than you think it does to fulfil a campaign, and you must factor in that cost. Because if it's not you fulfilling, you are paying somebody else to fulfil it. And if it is you fulfilling it, you must account for your own time in the pricing of your campaign. And the other thing is that the amount of time it takes to fulfil is directly proportionate to the size of the campaign. That's one thing I did not even compute — the fact that we went from about 56,000 British pounds up to double that, and the time was exponentially more than double. So you do have to think about that. Overseas Printing and Timelines Sacha: The other lesson that we have learned is that overseas printing will drag your timelines out far longer than you think it does. So whatever you think it's going to take you to fulfil, add several months more onto that and put that information in your campaign. And thankfully, we are now only going to be a month delayed, whereas lots of campaigns get up to a year delayed because they don't consider that. Reinvesting Kickstarter Profits Sacha: And then the last thing I think, which was really key for us, is that if you have some profit in the Kickstarter — because not all Kickstarters are actually massively profitable because they either don't account enough for shipping or they don't account enough in the pricing. Thankfully, ours have been profitable, but we've actually reinvested that profit back into buying more stock and more merchandise, which not everybody would want to do if they don't have a warehouse. However, we are stockpiling merchandise and books so that we can do mystery boxes later on down the line. It's probably a year away, but we are buying extra of everything so that we have that in the warehouse. So yeah, depending on what you want to do with your profit, for us it was all about buying more books, basically. Offering Something Exclusive Sacha: I think the other thing to think about is what is it that you are doing that's exclusive to Kickstarter? Because you will get backers on Kickstarter who want that quirky, unique thing that they're not going to be able to get anywhere else. But what about you? Because you've done more Kickstarters than me. What do you think is the biggest lesson you've learned? Reward Tiers and Bundling Joanna: Oh, well I think all of mine together add up to the one you just did. Although I will comment on — you said something like 75 pounds per pre-launch backer. That is obviously dependent on your tiers for the rewards, so most authors won't have that amount. So my average order value, which I know is slightly different, but I don't offer things like book boxes like you have. So a lot of it will depend on the tiers. Some people will do a Kickstarter just with an ebook, just with one ebook and maybe a bundle of ebooks. So you are never going to make it up to that kind of value. So I think this is important too, is have a look at what people offer on their different levels of Kickstarter. And in fact, here's my AI tip for the day. What you can do — what I did with my Buried and the Drowned campaign recently — is I uploaded my book to ChatGPT and said, tell me, what are some ideas for the different reward tiers that I can do on Kickstarter? And it will give you some ideas for what you can do, what kind of bundles you might want to do. So I think bundling your backlist is another thing you can do as upsells, or you can just, for example, for me, when I did Blood Vintage, I did a horror bundle when it was four standalone horror books in one of the upper tiers. So I think bundling is a good way. Also upselling your backlist is a really good way to up things. And also if you do it digitally, so for ebooks and audiobooks, there's a lot less time in fulfillment. Focus on Digital Products Too Joanna: So again, yours — well, you make things hard, but also more fun according to you, because most of it's physical, right? In fact, this is one of the things you haven't done so well, really, is concentrate on the digital side of things. Is that something you are thinking about now? Sacha: Yeah, it is. I mean, we do have our books digitally on the website. So the last — I only had one series in Kindle Unlimited, and I took those out in January. But so we do have all of the digital products on the website, and the novellas that we do, we have in all formats because I narrate the audio for them. So that is something that we're looking at. And since somebody very smart told me to have upsell apps on my website, we now have a full “get the everything bundle” in physical and digital and we are now selling them as well. Surprising. Definitely not you. So yeah, we are looking at it and that's something that we could look at next year as well for advertising because I haven't really done any advertising. I think I've spent about 200 pounds in ads in the last four months or something. It's very, very low level. So that is a way to make a huge amount of profit because the cost is so low. So your return, if you're doing a 40 or 50 pound bundle of ebooks and you are spending, I don't know, four pounds in advertising to get that sale, your return on that investment is enormous for ads. So that is something that we are looking at for next year, but it just hasn't been something that we've done a huge amount of. A Multi-Six-Figure Author With No Ads Joanna: Yeah. Well, just quoting from your solo episode where you say, “I don't have any advertising costs, customers are from my mailing list, TikTok and Instagram.” Now, being as you are a multi-six-figure author with no ads, this is mostly unthinkable for many authors. And so I wonder if, maybe talk about that. How do you think you have done that and can other people potentially emulate it, or do you think it's luck? It's Not Luck, It's Skill Set Sacha: Do you know, this is okay. So I don't think it's luck. I don't believe in luck. I get quite aggressive about people flinging luck around. I know some people are huge supporters of luck. I'm like, no. Do I think anybody can do it? Do you know, I swing so hard on this. Sometimes I say yes, and sometimes I think no. And I think the brutal truth of it is that I know where my skill set lies and I lean extremely heavily into it. So what do I mean by that? TikTok and Instagram are both very visual mediums. It is video footage. It is static images. I am extremely comfortable on camera. I am an ex-theatre kid. I was on TV as a kid. I did voiceover work when I was younger. This is my wheelhouse. So acting a bit like a tit on TikTok on a video, I am very comfortable at doing that, and I think that is reflected in the results. Consistency Without Burnout Sacha: And the other part of it is because I am comfortable at doing it, I enjoy it. It makes me laugh. And therefore it feels easy. And I think because it feels easy, I can do it over and over and over again without burning out. I started posting on TikTok on November the 19th, 2023, and I have posted three times a day every day since. Every single day without stopping, and I do not feel burnt out. And I definitely feel like that is because it's easy for me because I am good at it. Reading the Algorithm Sacha: The other thing that I think goes in here is that I'm very good at reading what's working. So sorry to talk Clifton Strengths, but my number one Clifton Strength is competition. And one of the skills that has is understanding the market. We're very good at having a wide view. So not only do I read the market on Amazon or in bookstores or wherever I can, it's the same skill set but applied to the algorithm. So I am very good at dissecting viral videos and understanding what made it work, in the same way somebody that spends 20,000 pounds a month on Facebook advertising is very good at doing analytics and looking at those numbers. I am useless at that. I just can't do it. I just get complete shutdown. My brain just says no, and I'm incapable of running ads. That's why I don't do it. Not Everyone Can Do This Sacha: So can anybody do this? Maybe. If you are comfortable on camera, if you enjoy it. It's like we've got a mutual friend, Adam Beswick. We call him the QVC Book Bitch because he is a phenomenon on live videos on TikTok and Instagram and wherever he can sell. Anything on those lives. It is astonishing to watch the sales pop in as he's on these lives. I can't think of anything worse. I will do a live, but I'll be signing books and having a good old chitchat. Not like it's — like that hand selling. Another author, Willow Winters, has done like 18 in-person events this year. I literally die on the inside hearing that. But that's what works for them and that's what's helping grow their business models. So ah, honestly, no. I actually don't think anybody can do what I've done. I think if you have a similar skill set to me, then yes you can. But no, and I know that I don't want to crush anybody listening. Do you like social media? I like social media. Do you like being on camera? Then yeah, you can do it. But if you don't, then I just think it's a waste of your time. Find out what you are good at, find out where your skill set is, and then lean in very, very hard. Writing to Your Strengths and Passion Joanna: I also think, because let's be brutal, you had books before and they didn't sell like this. Sacha: Yep. Joanna: So I also think that you leaned into — yes, of course, sapphic romance is a big sub-genre, but you love it. And also it's your lived experience with the sapphic sub-genre. This is not you chasing a trend, right? I think that's important too because too many people are like, oh, well maybe this is the latest trend. And is TikTok a trend? And then try and force them together, whereas I feel like you haven't done that. Sacha: No, and actually I spoke to lots of people who were very knowledgeable on the market and they all said, don't do it. And the reason for this is that there were no adult lesbian sapphic romance books that were selling when I looked at the market and decided that this was what I wanted to write. And I was like, cool, I'm going to do it then. And rightly so, everyone was like, well, there's no evidence to suggest that this is going to make any money. You are taking a huge risk. And I was like, yeah, but I will. I knew from the outset before I even put a word to the page how I was going to market it. And I think that feeling of coming home is what I — I created a home for myself in my books and that is why it's just felt so easy to market. Lean Into What You're Good At Sacha: It's like you, with your podcasting. Nobody can get anywhere near your podcast because you are so good at it. You've got such a history. You are so natural with your podcasting that you are just unbeatable, you know? So it's a natural way for you to market it. Joanna: Many have tried, but no, you're right. It's because I like this. And what's so funny — I'm sure I've mentioned it on the show — but I did call you one day and say, okay, all right, show me how to do this TikTok thing. And you spent like two hours on the phone with me and then I basically said no. Okay. I almost tried and then I just went, no, this is definitely not for me. And I think that this has to be one of the most important things as an author. Maybe some people listening are just geeking out over packaging like you are, and maybe they're the people who might look at this potential business model. Whereas some people are like me and don't want to go anywhere near it. And then other people like you want to do video and maybe other people like me want to do audio. So yeah, it's so important to find, well, like you said, what does not work for you? What is fun for you and when are you having a good time? Because otherwise you would have a job. Like to me, it looks like a job, you having a warehouse. But to you, it's not the same as when you were grinding it out back in 2022. Packing Videos Are Peak Content Sacha: Completely. And I think if you look at my social media feeds, they are disproportionately full of packing videos, which I think tells you something. Joanna: Oh dear. I just literally — I'm just like, oh my, if I never see any more packaging, I'll be happy. Sacha: Yeah. That's good. The One Time Sacha Nearly Burnt It All Down Sacha: I have to say, there was one moment where I doubted everything. And that was at the end — but basically, in about, of really poor timing. I ended up having to fulfil every single pre-order of my latest release and hand packing about a thousand books in two weeks. And I nearly burnt it all to the ground. Joanna: Because you didn't have enough staffing, right? And your mum was sick or something? Sacha: Yeah, exactly that. And I had to do it all by myself, and I was alone in the warehouse and it was just horrendous. So never again. But hey, I learned the lessons and now I'm like, yay, let's do it again. Things Change: Building Resilience Into Your Business Joanna: Yeah. And make sure there's more staffing. Yes, I've talked a lot on this show — things change, right? Things change. And in fact, the episode that just went out today as we record this with Jennifer Probst, which she talked about hitting massive bestseller lists and doing just incredibly well, and then it just dropped off and she had to pivot and change things. And I'm not like Debbie Downer, but I do say things will change. So what are you putting in place to make sure, for example, TikTok finally does disappear or get banned, or that sapphic romance suddenly drops off a cliff? What are you doing to make sure that you can keep going in the future? Managing Cash Flow and Salaries Sacha: Yeah, so I think there's a few things. The first big one is managing cash flow and ensuring that I have three to six months' worth of staff salaries, for want of a better word, in an account. So if the worst thing happens and sales drop off — because I am responsible for other people's income now — that I'm not about to shaft a load of people. So that really helps give you that risk reassurance. Mailing Lists and Marketing Funnels Sacha: The second thing is making sure that we are cultivating our mailing lists, making sure that we are putting in infrastructure, like things like upsell apps. And, okay, so here's a ridiculous lesson that I learned in 2025: an automation sequence, an onboarding automation sequence, is not what people mean when they say you need a marketing funnel. I learned this in Vegas. A marketing funnel will sell your products to your existing readers. So when a customer signs up to your mailing list because they've purchased something, they will be tagged and then your email flow system will then send them a 5% discount on this, or “did you know you could bundle up and get blah?” So putting that kind of stuff in place will mean that we can take more advantage of the customers that we've already got. Standard Operating Procedures Sacha: It's also things like organisational knowledge. My team is big enough now that there are things in my business I don't know how to do. That's quite daunting for somebody who is a control freak. So I visited Vegas in 2025 and I sat in a session all on — this sounds so sexy — but standard operating procedures. And now I've given my team the job of creating a process instruction manual on how they do each of their tasks so that if anybody's sick, somebody else can pick it up. If somebody leaves, we've got that infrastructure in place. And even things down to things like passwords — who, if I unfortunately got hit by a car, who can access my Amazon account? Stuff like that, unfortunately. Joanna: Yeah, I know. Well, I mean, that would be tragic, wouldn't it? Sacha: But it's stuff like that. Building Longer Timelines Sacha: But then also more day-to-day things is putting in infrastructure that pulls me out. So looking more at staffing responsibilities for staffing so that I don't always have to be there, and creating longer timelines. That is probably the most important thing that we can do because we've got a book box launching next summer. And we both had the realisation — I say we, me and my operations manager — had the realisation that actually we ought to be commissioning the cover and the artwork now because of how long those processes take. So I'm a little bit shortsighted on timelines, I think. So putting a bit more rigour in what we do and when. We now have a team-wide heat map where we know when the warehouse is going to be really, really full, when staff are off, when deliveries are coming, and that's projected out a year in advance. So lots and lots of things that are changing. And then I guess also eventually we will do advertising as well. But that is a few months down the line. Personal Financial Resilience Sacha: And then on the more personal side, it's looking at things like not just how you keep the business running, but how do you keep yourself running? How do you make sure that, let's say you have a bad sales month, but you still have to pay your team? How are you going to get paid? So I, as well as having put staff salaries away, I also have my own salary. I've got a few months of my own salary put away. And then investing as well. I know, I am not a financial advisor, but I do invest money. I serve money that I pay myself. You can also do things like having investment vehicles inside your business if you want to deal with extra cash. And then I am taking advice from my accountant and my financial advisor on do I put more money into my pension — because did I say that I also have a pension? So I invest in my future as well. Or do I set up another company and have a property portfolio? Or how do I essentially make the money that is inside the business make more money rather than reinvesting it, spending it, and reinvesting it on things that don't become assets or don't become money generating? What can I do with the cash that's inside the company in order to then make it make more for the long term? Because then if you do have a down six months or worse, a down year, for example, you've got enough cash and equity inside the business to cover you during those lower months or years or weeks — or hopefully just a day. Different Business Models for Different Authors Joanna: Yes, of course. And we all hope it just carries on up and to the right, but sometimes it doesn't work that way. So it's really great that you are doing all those things. And I think what's lovely and why we started off with you giving us that potted history was it hasn't always been this way. So if you are listening to this and you are like, well, I've only got one ebook for sale on Amazon, well that might be all you ever want to do, which is fine. Or you can come to where my business model is, which is mostly even — I use print on demand, but it's mostly digital. It's mostly online. It's got no packaging that I deal with. Or you can go even further like Sacha and Adam Beswick and Willow Winters. But because that is being talked about a lot in the community, that's why we wanted to do this — to really show you that there's different people doing different things and you need to choose what's best for you. What Are You Excited About for 2026? Joanna: But just as we finish, just tell us what are you excited about for 2026? Sacha: Oh my goodness me. I am excited to iterate my craft. And this is completely not related to the warehouse, but I have gotten myself into a position where I get to play with words again. So I'm really excited for the things that I'm going to write. But also in terms of the warehouse, we've got the new packaging, so getting to see those on social media. We are also looking at things like book boxes. So we are doing a set of three book boxes and these are going to be new and bigger and better than anything that we've done before. And custom tailored. Oh, without giving too much away, but items that go inside and also the artwork. I love working with artists and commissioning different art projects. But yeah, basically more of the same, hopefully world domination. Joanna: World domination. Fantastic. So basically more creativity. Sacha: Yeah. Joanna: And also a bigger business. Because I know you are ambitious and I love that. I think it's really good for people to be ambitious. Joanna: Oh, I do have another question. Do you have more sympathy for traditional publishing at this point? Sacha: How dare you? Unfortunately, yeah. I really have learnt the hard way why traditional publishers need the timelines that they need. This latest release was probably the biggest that — so this latest release, which was called Architecting, is the reason that I did the podcast episode, because I learned so many lessons. And in particular about timelines and how tight things get, and it's just not realistic when you are doing this physical business. So that's another thing if you are listening and you are like, oh no, no, no, I like the immediacy of being able to finish, get it back from the editor and hit publish — this ain't for you, honey. This is not for you. Joanna: Yeah. No, that's fantastic. Where to Find Sacha and Ruby Roe Joanna: So where can people find you and your books online? Sacha: For the Ruby Empire, it's RubyRoe.co.uk and RubyRoeAuthor on TikTok if you'd like to see me dancing like a wally. And then Instagram, I'm back as @SachaBlackAuthor on Instagram. Joanna: Brilliant. Thanks so much for your time, Sacha. That was great. Sacha: Thank you for having me.The post Two Different Approaches To Selling Books Direct With Sacha Black And Joanna Penn first appeared on The Creative Penn.

Dr. Greg Hobelmann, Co-CEO/President of Ashley Addiction Treatment alongside Alex Denstman, brings a wealth of experience to his role. Formerly serving as senior vice president and chief clinical/medical officer, Greg now oversees our entire continuum of care including Medical, Clinical, and Spiritual Care, as well as Family Services, Quality Improvement, and Health Information Management. Holding a Master of Public Health from Johns Hopkins Bloomberg School of Public Health, Greg's expertise spans psychiatry, anesthesiology, and pain medicine. With a background in interventional pain management, he focuses on substance use disorders and chronic pain, dedicated to providing innovative holistic care to patients and families at Ashley. Greg currently serves as Secretary on the Executive Committee for the National Association of Addiction Treatment Providers and is Co-Chair of the Public Policy Committee for the Maryland/DC Society of Addiction Medicine. Today on the show we discuss: the complexities of addiction and why the epidemic is so out of control, the nature of addiction and its impact on the brain, strategies for navigating early recovery and regaining control of your life, the ins and outs of the treatment industry and what great treatment actually looks like, what Dr. Hobelmann's latest research suggests about addiction recovery, his advice families and much more. WELLNESS DISCLAIMER  Please be advised; the topics related to health and mental health in my content are for informational, discussion, and entertainment purposes only. The content is not intended to be a substitute for professional advice, diagnosis, or treatment. Always seek the advice of your health or mental health professional or other qualified health provider with any questions you may have regarding your current condition. Never disregard professional advice or delay in seeking it because of something you have heard from your favorite creator, on social media, or shared within content you've consumed.If you are in crisis or you think you may have an emergency, call your doctor or 911 immediately. If you do not have a health professional who is able to assist you, use these resources to find help: Emergency Medical Services—911 If the situation is potentially life-threatening, get immediate emergency assistance by calling 911, available 24 hours a day. National Suicide Prevention Lifeline, 1-800-273-TALK (8255) or https://suicidepreventionlifeline.org. SAMHSA addiction and mental health treatment Referral Helpline, 1-877-SAMHSA7 (1-877-726-4727) and https://www.samhsa.gov Learn more about your ad choices. Visit megaphone.fm/adchoices

Trump's antics :: "This is war" - Trump about Venezuela :: MK Ultra is real, the gov looked into woo woo subjects :: People who are trying to ring the alarm that AI is dangerous :: Legalizing drugs would end fent problems faster and better than war would :: Gypsy Rose Blanchard and psychopathy :: The psychopaths want us to not care :: Movies actually mind control :: The US knew the Japanese were going to bomb Pearl Harbor :: Caller asks about convo with Bonnie from Porcfest and Tether :: EU fines Elon Musk's X $140,000,000 :: Turd's problem with Indians :: Is there a NAP argument for cop unalivings? :: Candace Owens saga and cult families in Delaware :: Trannies enslaved to big pharma :: 2025-12-07 Hosts: Bonnie, Angelo and Riley O'Bill

Discover how we grew one of our Facebook pages to 122 million organic views and 24% growth in just 28 days. In this episode, I show you step by step how to use Facebook Insights to track views, reach, and engagement—and why data is your most powerful tool in marketing. Learn how to analyze top-performing posts, leverage text-only threads, and use the algorithm as your ultimate survey tool to find what works. Stop guessing and start scaling with data-driven social media marketing that gets results. If you want to build audiences, increase reach, and turn attention into revenue, this breakdown is for you.-------------------About Manuel Suarez:Manuel Suarez, known as the "Marketing Ninja" and a "Best Selling Author" of "Marketing Magic", leads Attention Grabbing Media (AGM), a marketing agency honored three times on the Inc 5000 list. With a team of over 120, AGM specializes in turning attention into profit for a wide array of brands. In 2023 alone, brands managed by AGM exceeded 250 million USD in revenue.Manuel is also the co-founder of NaturalSlim, a self-funded high 9-figure brand. He has elevated thousands of businesses across various sectors and has directed marketing campaigns for industry leaders like Dr. Eric Berg, Grant Cardone, and Daymond John.He is also responsible for two of the top 15 largest U.S. YouTube channels—Dr. Eric Berg and MetabolismoTV—which together have over 20 million subscribers. Over seven years, his strategies have amassed 8 billion views, generated 5 million leads, and earned over 500 million USD in revenue.Follow Manuel Suarez on Social Media:- Facebook: https://www.facebook.com/theninjamarketer/- Instagram: https://www.instagram.com/mrmanuelsuarez/- TikTok: https://www.tiktok.com/@mrmanuelsuarez- X (formerly Twitter): https://x.com/MrManuelSuarez- LinkedIn: https://www.linkedin.com/in/mrmanuelsuarez/Learn More About AGM:- Visit our website: https://www.agmagency.comNeed Help with Your Marketing?- Talk to a Ninja: https://www.talktoaninja.comCheck Out Manuel's Book, a #1 Seller on Amazon:- Marketing Magic by Manuel Suarez: https://a.co/d/gbwHKSf

Kari Keegan isn't just one of the “Friday the 13th” final girls — her character, Jessica Kimble, is actually a direct descendant of Jason Voorhees. Talk about a terrifying family tree! Tune in to hear all about making “Jason Goes to Hell: The Final Friday,” what it was like filming that big climactic finale with Kane Hodder, and she sets the record straight on her supposed feud with Director Adam Marcus.

Hey there Lovelies and welcome back for the 380th episode of Final Girls Horrorcast! Today we'll be discussing ‘Weapons' from 2025 which is currently streaming on HBO Max.   Trailer Trashtalk: ‘Five Nights at Freddy's 2' (December 2nd, 2025)   Next Week - Join us next week as we chat about ‘Talk to Me', streaming on HBO Max.

This is season 5. In this episode, Mike Charleston is joined with his wife Sarah, and Chuck Tate. Apologetics is the ability to defend ones beliefs. Why is it important to give answers to people? Do I have know everything to be able to believe the gospel? Elisabeth asks questions to Mike and Chuck. Sarah has her song of the week.If you want to ask a question or make a comment:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Talk@fellowshipofbelievers.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Or record a voice message⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://anchor.fm/mike-charleston/messag⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Sarah's new book⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠"You Can Run in Flip-Flops, But Is That the Best Way"⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check out the website at⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.fellowshipofbelievers.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠To watch Every Step go here:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/watch?v=Eh8dX0VUPJw&t=s&ab_channel=RebekahCharleston⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe on⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Or watch it here ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Find the show on:Apple, Spotify, Anchor, Breaker, Google, Pocket Cast, RadioPublic, Audible, and now on YouTube

Guiding Question: What will you choose in the defining moments of your life—mediocrity or a life of courageous adventure?

Chaos Engineering is the practice to introduced controlled failures into a system with the goal to improve the overall resiliency! What started with "lets see what happens when we unplug that server" to "lets simulate network latency issues" or "lets kill critical pods and see if the system recovers gracefully" is now seeing new experiments being conducted that are identified by a new companion: AI In this episode we have invited Bartek Pisulak, Dir of Cloud Quality Engineering at Pegasystems, who has been educating quality engineers on AI-Augmented Chaos Testing in Practice. Tune in and learn about the how AI can improve efficiency in the 5 critical phases of a chaos experiment: Steady State, Hypothesis, Run Experiment, Verify, Improve!To learn more about the foundational principles make sure to watch some of the conference talks from Bartek listed below:Links discussedBartek's LinkedIn: https://www.linkedin.com/in/bart%C5%82omiej-pisulak-82b94036/Talk at Cloud Native Days Austria: https://www.youtube.com/watch?v=xUVCKNpMEz8&list=PLtLBTEzR4SqU9GwgWiaDt10-yOVIN0nzM&index=10Talk at Porto Tech Hub: https://www.youtube.com/watch?v=-ZuEaA2PoToKraken: https://github.com/krkn-chaos/krknChasoEater: https://github.com/ntt-dkiku/chaos-eater

Daily Dose of Hope December 8, 2025   Scripture – Acts 12   Prayer:  Lord Jesus, King of Kings and Lord of Lords, We give you all the glory and praise.  Thank you for being a God who provides.  Thank you for being a God who heals.  Thank you for being a God who sees past our brokenness and invites us into relationship with you.  Help us, Lord, to grow more deeply in love with you every day.  More of you and less of me.  In Your Name, Amen.   Welcome back to the Daily Dose of Hope, the devotional and podcast that complements the New Hope Church daily Bible reading plan.  We are getting to the end of our reading plan after months of walking through the Gospels and Acts.  I would love to hear what you have learned.  What have been your big takeaways?    Today, we walk through Acts 12.  Things are getting rough for Peter and the Christians.  Persecution is increasing.  Herod is getting especially agitated and throws Peter in prison.  I want to talk about the miracle of Peter being released but first let's discuss the Herod dynasty because I think that's important.  The Herodians were given power of the region of Judea by the Romans.  While they were brutal and power-hungry, they did consider themselves to be Jews.  This Herod from Acts 12 is Herod Agrippa I.  His grandfather was Herod the Great; he was the Herod who called for the killing of the Jewish baby boys after Jesus' birth.  He was the nephew of Herod Antipas, who ordered the beheading of John the Baptist and to whom Jesus was brought.    All of these Herodian kings were insecure and felt easily threatened by those who criticized them or their way of life.  Thus, this Herod was persecuting Christians and had already executed James, the brother of John.    Peter is arrested and thrown in prison with many, many layers of security.  But no soldiers or shackles can stop God!  He sends an angel who frees Peter and leads him out of the prison to a home where many believers were meeting.  The believers had been praying fervently for Peter's release and then they were shocked when he shows up at the door of the home where they had gathered.  Talk about answered prayer!  This is just the beginning of the miracles God is going to do.   Do you believe in answered prayers?  Do you pray bold prayers like these believers?  The boldness of our prayers speak volumes about how we feel about God.  It's clear that the early church believed that God was all-powerful, that God was a God of miracles, a God of provision, and a God who would take care of their every need.  The big question is – do we?   Finally, let's talk about Herod's death.  After securing some kind of peace deal, King Herod stands before the people and gives his royal address.  The people go wild!  They begin to say this is the voice of a god, not a man.  And insecure Herod just soaks it up.  But God is having none of it, and he strikes him down dead.  Y'all, arrogance does not pay.  God calls his people to be humble.  All glory and honor belong to God.  Yes, there are times in which we can be appropriately proud but we have to be very, very careful.  The way of Christ is always humility.   Blessings, Pastor Vicki

Elliot and Brian are joined by Kendrick Smith, creator of the award-winning actual play Tales Yet Told. We dig into how Kendo has used multiple seasons and TTRPG systems to create “The Sublime”, a shared universe that is built and refined through play. Along the way, we talk about intentional storytelling through actual play, the motivations behind why we make art, and what is next for the Sublime on Tales Yet Told and beyond.Talk of the Table is hosted by Elliot Davis and Brian Flaherty.Links:Listen to Tales Yet ToldMerch Yet SoldKendo on BlueskyTales Yet Told on BlueskyKendo RecommendsBOWLINGLegend in the MistOur Links:Support TotT on PatreonMany Sided NewsletterMany Sided Media DiscordCredits:Edited by Elliot DavisProduced by Many Sided MediaAdvertising Inquiries: https://redcircle.com/brands

NEW! Akira Schmid Shut Out; Akira Meet and Greet! Two upcoming Watch Parties; Girls 4 - 10 Learn to Play by VGK and Congrats Shannon Walker for being Knighted! Listen Now!SEASON 9 EP 16Vegas Hockey Girls Podcast is created and recorded by hockey loving sisters Colleen and Mandy. The girls team up in their hometown of Las Vegas, NV and attend as many hockey games as possible! They were introduced to the NHL when Vegas was awarded an expansion team, shortly thereafter we were hooked! Yup, been fans since day effing one! Listen to be caught up with all things VGK and NHL in 15 minutes or less with a new pod twice a week!⁠www.vegashockeygirls.com⁠Thank you to our sponsor: https://www.jessieraesbbq.com/Find us on social media:https://www.instagram.com/hockeygirlspod/https://twitter.com/HockeyGirlsPod⁠https://www.facebook.com/groups/vegashockeygirlspodcast⁠Mandy can be found on socials: as VGK GOALIE GIRLReach out! Talk to us by leaving a voice message on SPOTIFY! If you ever hear an error, mistake, or something missing in our pod please email us: ⁠vegashockeygirls@gmail.com⁠The views and opinions expressed in this podcast are those of the hosts and guests and do not reflect the position of The Vegas Golden Knights and/or any affiliates.32 teams: 82 games for each team: 16 go to the playoffs: best of 7: four rounds: 16 wins and then you get to hoist Lord Stanley. Thanks!

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

Ole Miss football on Sunday was named the No. 6 seed in the 2025-26 College Football Playoff. The Rebels will host 11-seed Tulane on Saturday, December 20, at 2:30 p.m. CT on TNT/TrueTV/HBO Max. The Green Wave are returning to Oxford for the second time this season. Ole Miss won the previous meeting 45-10.Ben Garrett and Brad Logan of the Ole Miss Spirit went LIVE after the bracket reveal to discuss the Rebels' path to their first title since the ‘60s and much, much more. ‘Talk of Champions' is powered by RiverLand Roofing.Our Sponsors:* Check out FRE and use my code LISTEN20 for a great deal: https://frepouch.com* Check out Underdog Fantasy and use my code CHAMPIONS for a great deal: https://underdogfantasy.comAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

When you were a kid, having an imaginary friend was harmless, maybe even healthy. But as a business owner? That imaginary friend can tank your marketing. Too many businesses build their strategy around an avatar that looks neat on paper but has nothing to do with the real people who buy from them. In this episode of *More Than a Few Words*, Rachel Allen and I dig into why client avatars often miss the mark and what you can do instead. **Key Insights** • Demographics alone are useless. Age, gender, and job title won't tell you what keeps someone awake at 3 a.m. Worries and motivations matter more than surface stats. • Your best customers live at the intersection of three groups: the people you want to talk to, the ones you actually attract, and the ones willing to pay. That sweet spot is your marketing home base. • Data flattens people into averages. Great marketing leans into quirks, because quirks are what make your audience pay attention. **Actionable Takeaways** • Swap demographics for psychographics. Go deeper into what your audience values, fears, and hopes for. • Talk to 10 or 20 real people. Forget long surveys. Short, human conversations reveal more than a polished PDF ever will. • Audit your own copy. Ask yourself, “Would I say this sentence out loud to the last customer I spoke with?” If the answer is no, rewrite it. • Bring in an outside perspective. A trusted colleague, a coach, even a tool like ChatGPT can help you see blind spots you can't catch alone. • Don't shy away from edges. The quirky details that make your audience unique are the ones that make your marketing memorable. If you're still writing for your imaginary friend, this conversation is your wake-up call. Stop talking to make-believe customers and start connecting with the real ones who are ready to listen.   About Rachel Allen  Rachel Allen is a fast-thinking, deeply nerdy marketer with broad-ranging experience in for-profit and non-profit sectors. She's written for some of the biggest (and smallest) names in business, and excels at marketing that's equal parts data-driven and human-centered. Having run a marketing business for 17 years with clients in 21+ countries, Rachel's written for some of the top names in entrepreneurship, as well as influencers, brick-and-mortar businesses, and non-profits around the world. Her work has contributed directly to high-ROI launches, leaps in audience engagement, industry awards, relationships with top venture capital firms, and national-level honors. Find out more at boltfromthebluecopywriting.com  

Ready for some GOOD news? This week, Steve and the gang chat with Thom Rainer about Gen Z's (ages 13 – 28) surprising return to the church. Tom's book is […] The post Thom Rainer | Anxious At Church | Steve Brown, Etc. appeared first on Key Life.

300,000 Black women have been pushed out of the workforce. The system labels them "aggressive" when they speak, "not a team player" when they set boundaries, "difficult" when they advocate for themselves. These aren't random incidents; they're the deliberate mechanisms that systematically remove Black women from positions of power and influence. Minda Harts has documented this structural violence across thousands of women's experiences and built a framework to navigate it with clarity. As a bestselling author, workplace consultant, and NYU professor, she created The Seven Trust Languages®, a system that gives women the precise vocabulary to identify where and how they're being strategically undermined at work in real time. She's the author of The Memo: What Women of Color Need to Know to Secure a Seat at the Table, Right Within: How to Heal from Racial Trauma in the Workplace, You Are More Than Magic, and Talk to Me Nice: The Seven Trust Languages for a Better Workplace. Recognized by LinkedIn as the #1 Top Voice for Equity in the Workplace and by Business Insider as one of the 100 People Transforming Business, Minda is the founder of The Memo LLC and Queen of Harts Productions. She works with Fortune 500 companies to rebuild trust and teaches the next generation of leaders at NYU's Wagner School of Public Service. In this conversation, Minda shows you how to see the patterns, name what's happening, and make strategic choices that protect your power.   You can find Minda Hart's work here: Website: https://www.mindaharts.com/ Instagram: https://www.instagram.com/mindaharts/?hl=en YouTube: https://www.youtube.com/@OfficialMindaHarts LinkedIn: https://www.linkedin.com/in/mindaharts/ Facebook: https://www.facebook.com/MindaHarts/ ----more---- Tools and stories to help you choose yourself in a world that socializes you not to. The Shop: Discover exclusive tools, curated workshops, and guides for the radical woman ready to step fully into her power. https://www.charliestoolbox.com/shop Substack Newsletter: Read deep dives and stories about women choosing themselves, money, self-trust, and building power outside of old systems. https://charliestoolbox.substack.com/ Website: Find more resources, learn about our methodology, and explore all our offerings in one place. https://www.charliestoolbox.com/ The Podcast: Listen to real conversations with women who've built lives beyond approval, expectation, and limits. https://charliestoolbox.podbean.com/ Your sovereignty is your foundation. My role is to help you use it as a launchpad. **Follow for Daily Inspiration:** - TikTok: https://www.tiktok.com/@charliestoolbox - Instagram: https://www.instagram.com/charliestoolbox/ - LinkedIn: https://www.linkedin.com/company/charliestoolbox   Take Action Now: Hit subscribe if you're ready to stop waiting for permission and start choosing yourself. New episodes drop weekly with tools for building a life that's authentically felt and beautifully lived.

12/07/25The Healthy Matters PodcastS05_E05 - Antibiotics - When They're Strong vs. When They're WrongWith Special Guest: Dr. Caitlin Eccles-RadtkeAntibiotics have been around for almost a century, in that time they've been responsible for saving countless lives - in both humans and in livestock.  But these meds have gone from medical marvels to "use with caution" in recent times.  But what's driving this change?  When are antibiotics actually called for and when are they ineffective?  And what's the latest on these antibiotic resistant superbugs?Antibiotics have stirred up some big conversations recently, and on Episode 5 of our show, we'll be joined by infectious disease expert Dr. Caitlin Eccles-Radtke to explore the myths, mishaps, and mind-blowing discoveries shaping antibiotic use today.  Wanna know why your doctor side-eyes unnecessary Z-packs?  This episode breaks it all down.  Join us!Got healthcare questions or ideas for future shows?Email - healthymatters@hcmed.orgCall - 612-873-TALK (8255)Get a preview of upcoming shows on social media and find out more about our show at www.healthymatters.org.

We're live taking your calls after the Buccaneers fall 24–20 to the New Orleans Saints. Now sitting at 7–6 and tied with the Panthers, Tampa Bay turns in another flat, uninspired performance that raises even more questions about where this team is headed. Is this the beginning of the end for Todd Bowles?

"Curiosity isn't a soft skill. It's a performance capability—and organizations are paying the price for ignoring it." Summary What if the most powerful leadership capability isn't having the right answers—but asking better questions? In this On the Brink with Andi Simon episode, Dr. Deborah Clary, author of The Curiosity Curve, explains why curiosity is a measurable driver of performance, engagement, and innovation—and how leaders can deliberately rebuild it to create stronger, more human-centered cultures. Why Curiosity May Be the Missing Link in Leadership and Culture Change In this episode of On the Brink with Andi Simon, I had the pleasure of speaking with Dr. Deborah Clary, author of The Curiosity Curve and a purpose-driven leader whose work sits at the intersection of leadership development, organizational culture, and performance. What emerged from our conversation was both refreshing and deeply needed: a reminder that curiosity—something many leaders unintentionally abandon as they rise—may be the very capability organizations need most right now . Deborah's journey is anything but linear. Straight out of business school, she began her career not in a corporate office but as a route driver for Frito-Lay in Detroit—wearing a uniform, managing a route, and learning leadership from the inside out. That truck, she says, became her classroom. Over the next four decades, Deborah moved through senior roles at Coca-Cola, Jack Daniel's, and Humana, eventually earning a PhD focused on leadership development and organizational design. Yet it was her growing fascination with human behavior—what makes leaders effective and cultures thrive—that ultimately shaped her work today . What Is Curiosity—Really? Deborah defines curiosity simply but powerfully: being genuinely interested in yourself, in others, and in the situation at hand. It's not about having the right answers. It's about asking better questions—and staying open long enough to explore them. That distinction matters, especially in organizations where leaders often believe their role is to know, decide, and direct. As Deborah shared, many leaders become "incurious" not because they lack interest, but because time pressures, performance demands, and past success reinforce the idea that they must always have the answer. Over time, curiosity is treated like a luxury—when in fact, research shows it is a driver of performance . The Engagement Crisis—and Why Leaders Matter More Than Ever One of the most striking parts of our conversation focused on employee disengagement. Gallup data shows engagement levels at historic lows, with millennials—now a critical segment of the leadership pipeline—showing especially high levels of disengagement. When Deborah and her research team conducted focus groups, they found a consistent theme: "My leader doesn't know me—and doesn't seem to care to know me." This wasn't about surface-level recognition or personal details. Employees wanted leaders to be curious about their ideas, their aspirations, and how they could contribute meaningfully. In other words, they wanted leaders who asked thoughtful questions instead of simply providing directives. Curiosity, Measured—and Made Actionable What makes Deborah's work especially compelling is that curiosity isn't treated as a vague personality trait. Through a validated assessment, she measures curiosity across four dimensions: Exploration Openness to new ideas Inspirational creativity Focused engagement In one executive team she worked with, the results revealed a powerful—and uncomfortable—truth. While most executives scored high in curiosity, the CEO did not. The organization was struggling with innovation, market share, and retention. When the data was shared openly, the CEO recognized that his resistance—not the team—was the bottleneck. His willingness to acknowledge this became a breakthrough moment for the organization . That story underscores a central theme of the episode: leaders shape culture not by intention alone, but by how open—or closed—they are to curiosity. Watch our podcast on YouTube. From Short-Term Answers to Long-Term Leadership Curious leadership, Deborah explained, is about playing the long game. The short game is giving answers. The long game is exploring possibilities, testing ideas, and learning from outcomes—even when they fail. This requires psychological safety. Leaders must normalize statements like, "I don't know—let's explore this together."When leaders model curiosity, they give others permission to think, experiment, and grow. Over time, this builds confidence, ownership, and engagement across the organization . Why This Matters Now? In fast-changing markets, yesterday's solutions rarely solve tomorrow's problems. Yet many organizations still rely on outdated assumptions, rigid hierarchies, and fear of failure. As an anthropologist, I see this pattern often: cultures resist change even when change is essential. Curiosity interrupts that pattern. It helps leaders see what they've been missing, hear voices that have been quiet, and test new ways forward. In Deborah's words, curiosity is contagious—and learnable. It can be rebuilt, one question at a time. If you're a leader navigating uncertainty, disengaged teams, or stalled innovation, this conversation offers both insight and hope. You don't need all the answers. But you do need the courage to ask better questions. And that may be exactly what helps you—and your organization—get off the brink. For more about Debra Clary, check out her website and LinkedIn Page. Connect with me: Website: www.simonassociates.net Email: info@simonassociates.net Learn more about our books here: Rethink: Smashing the Myths of Women in Business Women Mean Business: Over 500 Insights from Extraordinary Leaders to Spark Your Success On the Brink: A Fresh Lens to Take Your Business to New Heights Listen + Subscribe: Available wherever you get your podcasts—Apple, Spotify, Stitcher, YouTube, and more. If you enjoyed this episode, leave a review and share with someone navigating their own leadership journey. Reach out and contact us if you want to see how a little anthropology can help your business grow.  Let's Talk! From Observation to Innovation, Andi Simon, PhD CEO | Corporate Anthropologist | Author Simonassociates.net Info@simonassociates.net @simonandi LinkedIn

The back half of Musicology is up next. Talk about your highs and lows…Visit us on Facebook: https://www.facebook.com/TMATSPodcast/Twitter… X… Twix: @TMATSPodcastEmail: TMATSPodcast@gmail.com

Season Review - Finals Tony Whitlock and James McCabe (Race Engineering Services) look at the success or failure of the Supercars first finals series, and Chaz Mostert taking the 2025 Crown. From the race track to your device with Tony Whitlock on Inside Supercars Inside Supercars Podcast: Subscribe Apple Podcasts I Spotify I Google Podcasts Supported by: P1 Australia Link:P1 Australia MusicCreative Commons Music by Jason Shaw on Audionautix.com MusicComa-Media from Pixabay #RepcoSC #TCRAust #Supercars #Motorsport #ADL500

WBBM Noon Business Hour host Rob Hart sits down with Angela Cummings & Cynthia Paidipati of the American Foundation of Suicide Prevention to discuss the holiday blues, where people can seek help if needed and much more. If you are in a crisis & need assistance, call or text 988 or text TALK to 741741

Episode 527 von TMNT - Der Talk. Das Hauptthema diesmal sind die 2003-Cartoon-Folgen "Space Invaders Part I" und "Space Invaders Part II". Besucht auch die Website unter https://www.tmnttalk.com/ oder schreibt mir an tmnttalk1984@gmail.com.

Love, Live, Obey, Walk And Teach To Love God With All You Are Deuteronomy 6:4-9 4Hear, O Israel: The Lord our God, the Lord is one. a 5Love the Lord your God with all your heart and with all your soul and with all your strength. 6These commandments that I give you today are to be on your hearts. 7Impress them on your children. Talk about them when you sit at home and when you walk along the road, when you lie down and when you get up. 8Tie them as symbols on your hands and bind them on your foreheads. 9Write them on the doorframes of your houses and on your gates.

Today I'm recording and publishing "live" from the mountaintop in Darjeeling, India. We discuss the population increase/decrease of India/China (among other things), then look at the testimony of the first Hindu convert (by William Carey's mission) as well some words from the first man to publish a Chinese Bible (Joshua Marshman in INDIA). Last but not least, Cherokee Theology is a look back at the last words of my friend and adopted grandfather back in Oklahoma, Dewey Sanders, who passed away 7 years ago. India vs. China, Borden in Darjeeling, Darjeeling to Dalijia, Marshman’s Chinese Bible Follow me on Twitter/X (@chinaadventures) where I post new/unique Chinese city prayer profiles every single day. Also, you can email me any questions or comments (bfwesten at gmail dot com) and find everything else, including my books, at PrayGiveGo.us! The Millionaire Missionary in Darjeeling www.BordenofYale.com The First Hindu Convert: Krishna Pal https://archive.org/details/firsthindooconv00unkngoog Cherokee Theology: Remembering Dewey Sanders https://chinacall.substack.com/p/cherokee-theology Now let's take a look at this coming week's Pray for China (PrayforChina.us) cities… Pray for China (Dec 1-7): https://chinacall.substack.com/p/pray-for-china-dec-8-14-2025 Subscribe to China Compass and leave a review on your favorite podcast platform! Follow me on X (@chinaadventures) and send any questions or comments to (bfwesten at gmail dot com). You can find everything else, including my books, at PrayGiveGo.us! Luke 10, verse 2, the harvest is plentiful but the workers are few. Talk again soon!

Vegas meets Bravo in this glittering special  as the couture power couple sit down with the fabulous Margaret Josephs of The Real Housewives of New Jersey. Filmed at the luxurious Four Seasons Las Vegas, with podcast space sponsored by Scooter's Coffee, the conversation flows with laughter, candor, and plenty of caffeinated charm. Pol'—ever the non-drinker—sips rich Armenian coffee while Patrik enjoys something stronger, teasing their guest that her signature mocktail line, Soirée, could use “a splash of vodka.” Margaret laughs, explaining that Soirée celebrates inclusion and elegance: “I'm a non-judgy, non-drinker, but I want everyone to have fun together.” The trio reminisce about how they met before Margaret's RHONJ debut in 2017. She opens up about joining the show during a turbulent time marked by a $12 million lawsuit. “I came to Housewives with a business,” she reflects. “I needed to rebuild—and I did.” Pol' and Patrik celebrate her resilience: “Whether you're a housewife or not, you're a powerhouse.” From BravoCon buzz to Bravo tea, no topic is off-limits. Margaret comments on Teresa and Joe's reconciliation, celebrates Dolores's engagement, and spills the truth behind the reality: “It's not scripted. We're all Type A—real friendships, real fights.” Then comes the moment that will live in Undressed history—Margaret's “boob journey.” In her signature unfiltered style, she describes going from “cheeseburger nipples” to “Upper East Side socialite boobs” after a lift and reduction. “I went from a cheeseburger to a chicken nugget!” she jokes. Talk turns to semaglutide, weight loss, and honesty. “Don't say it's Pilates when it's Ozempic!” Pol' quips, and everyone roars. After the laughter, Pol' gently turns Margaret's cup to perform his renowned Armenian coffee cup reading—an ancient tradition that interprets a person's energy, emotions, and intentions through the shapes left in their coffee grounds. He sees symbols of strength and transformation, telling her: “You've climbed your mountain—it's time to enjoy the view.” A faint “snake” represents tension with someone once close, but Pol' assures her it signals peace and closure. When a number seven appears, Margaret beams: “Seven's always been lucky for me!” The tone turns tender as Patrik opens up about losing his mother and connects with Margaret over her legendary mom, Marge Sr. “She's more me than I am,” Margaret says affectionately. “She tells me, ‘Spend your last dollar on lipstick.'” The trio celebrate mothers, glamour, and unconditional love—the emotional heart of the episode. Naturally, fashion makes a grand return. Margaret admits to owning “a million fur coats” and invites Pol' to come take one, while praising Rago Brothers of Morristown for luxury repairs. Before wrapping, Pol' and Patrik share their big news: Season 5 of Gown and Out in Beverly Hills has launched in 68 countries. Margaret cheers them on and promises to celebrate in New Jersey—“If there's another reunion, Pol', you're doing my gown!” Brimming with glamour, laughter, and heart, this Vegas episode blends Bravo gossip, couture conversation, and authentic connection. Between honesty, humor, and an intuitive Armenian coffee reading, Undressed with Pol' Atteu & Patrik Simpson proves that friendship and fabulousness are always in style. Subscribe to our audio: linktr.ee/undressedpod Follow Pol Atteu:  Instagram: @polatteu  Tiktok: @polatteu  Twitter: @polatteu  www.polatteu.com Follow Patrik Simpson:  Instagram: @patriksimpson  Tiktok: @patriksimpsonbh www.patriksimpson.com Follow SnowWhite90210: Instagram: @snowwhite90210 Twitter: @SnowWhite9010 www.snowwhite90210.com Watch Gown and Out In Beverly Hills on Prime Video.  www.gownandoutinbeverlyhills.com #UndressedPodcast  Armenian Coffee Reading: https://polatteu.com/armenian-coffee-cup-read Buy yourSnowWhite90210 SnowBubu:  https://polatteu.com/shop/ols/products/snowbubu90210 Learn more about your ad choices. Visit megaphone.fm/adchoices

President of Football Operations/General Manager John Lynch joins '49ers Talk,' co-host Matt Maiocco for an update on the organization before San Francisco starts its final stretch of the 2025 NFL season. Lynch detailed the pride he has for the 49ers enduring tremendous adversity to place themselves squarely in the NFC playoff race before offering his expectations for the rest of the season. Jennifer Lee Chan also joins Maiocco to break down the 49ers' chances of making a deep playoff run as San Francisco begins to hit its stride.--(1:00) Hard to believe the 49ers are 9-4 heading into the bye week with all their injuries this season(3:00) The state of the NFC playoff picture also helps the 49ers' cause this season, without clear front-runners its wide open for Sam Francisco to make a run(7:00) Brant Boyer has helped transform the 49ers special teams from one of the worst units in the NFL to one of the best the season(12:00) It will be difficult for Kyle to win his first NFL Coach of the Year Award given the turnaround performances of teams like the Bears, Colts, Patriots(18:00) Lynch on how 49ers embraced the grind - organization has shown a lot of resilience this season(21:00) Chances Fred Warner can comeback back this season if the 49ers make a deep run(30:00) Expectations from the team once they return from the bye week for this final stretch Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

The 7-5 Tampa Bay Buccaneers are finally getting healthy, and now it's time to show they belong in the playoff conversation in a stacked NFC. In today's episode, we break down Tampa Bay's upcoming home matchup with the division-rival New Orleans Saints — what's improving, what still needs fixing, and why this week is a chance for the Bucs to make a real statement.

Leland's LIVE at Siluria Brewing Co. for the Talk 99.5 Christmas Extravaganza!See omnystudio.com/listener for privacy information.

Season Review - Endurance Cup Tony Whitlock and James McCabe (Race Engineering Services) reflect on the success of Matt Payne taking out the Endurance Cup From the race track to your device with Tony Whitlock on Inside Supercars Inside Supercars Podcast: Subscribe Apple Podcasts I Spotify I Google Podcasts Supported by: P1 Australia Link:P1 Australia MusicCreative Commons Music by Jason Shaw on Audionautix.com MusicComa-Media from Pixabay #RepcoSC #TCRAust #Supercars #Motorsport #ADL500

How do we listen to the 'voice within'? How do we become an individual? How can imagination free us? Satyalila weaves together Sangharakshita's teachings on the True Individual with Blake to show us how to follow our golden thread towards greater clarity, receptivity and awareness. Talk given on a retreat for women who have asked for ordination as part of a series on 'The Group, the Individual and The Spiritual Community' given at Tiratanaloka Retreat Centre, as part of the series Becoming an individual in today's world, 2024. ••• Help us keep FBA Podcasts free for everyone! Donate now: https://freebuddhistaudio.com/donate Subscribe to our Free Buddhist Audio podcast: A full, curated, quality Dharma talk, every week. Apple Podcasts: https://podcasts.apple.com/us/podcast/dharmabytes-from-free-buddhist-audio/id416832097 Spotify: https://open.spotify.com/show/4UHPDj01UH6ptj8FObwBfB YouTube: https://www.youtube.com/@FreeBuddhistAudio1967      

Talk about it: pursueGOD.org/ac

Aloha! In dieser Episode des Triathlon-Podcasts spreche ich mit Chris Nindl über seine Erfahrungen im Triathlon, die Gründung von PrimeMerch bzw. PrimeWear und die Herausforderungen bei der Entwicklung individueller Triathlon-Anzüge. Chris teilt seine Erfahrungen über die Bedeutung von Komfort und Passform im Vergleich zur Aerodynamik, die Innovationskraft in der Bekleidungsindustrie und die Notwendigkeit, sich an die Bedürfnisse der Athleten anzupassen. Zudem sprechen wir über die immer größer werdende Bedeutung von Individualisierung der Produkte, und Chris gibt einen Ausblick über die Erweiterung des Portfolios von PrimeMerch/ PrimeWear. Mega interessanter Talk und bin gespannt wie mein zukünftiger Rennanzug bzw. Lauf Klamotten demnächst aussehen werden ;) Die Folge kannst Du überall wo es Podcasts gibt anhören! (Podcastfolge enthält unbezahlte Werbung!) Shownotes: Website von PrimeMerch/ PrimeWear => https://primewear.co/ PrimeWear in Instagram Kurzlink zur Spendenaktion zugunsten von Lichtblick Seniorenhilfe e.V. => betterplace.org/spenden/triathletenhelfen oder KLICK HIER zur Spendenseite in Betterplace.org Website von Lichtblick Seniorenhilfe e.V. => https://seniorenhilfe-lichtblick.de/ Wichtige Info: Dir hat die heutige Podcastfolge mit Chris Nindl von PrimeMerch gefallen? Na dann lass gern einen Kommentar in Socials da und lass uns wissen ob Du Lust bekommen hast auf Deinen eigenen individualisierten Rennanzug/ Laufbekleidung! Ebenfalls wäre es klasse, wenn Du die Podcastfolge mit Deinen Freunden/Freundinnen, Vereinskollegen/Koleginnen, und allen die sie anhören sollten teilst! Abonniere Triathlon Podcast, um keine zukünftige Folge zu verpassen (Spotify, Apple Podcast) und dann hören wir uns bald wieder. Ach ja, eine Bewertung des Podcasts wäre auch klasse! Da freue ich mich immer wie ein kleiner Junge drüber ;) Bis dahin, bleib gesund, unfallfrei, verletzungsfrei und sportlich! Dein Marco Folge direkt herunterladen

#OpossumLivesMatter Opossum guardian and advocate Lea Murray is mother to several opossums, including Kricket, the Fruit Loop-eating marsupial in this viral video. Lea is outraged about an Inside Edition broadcast that painted Opossums as a typhus vehicle. She says the much-maligned and misunderstood critter is actually good for humankind. Listen Now AVMA Releases Latest Stats on Pet Ownership Pet ownership is on the rise, with dogs leading the way and large increases in the number of less traditional pets like chickens and lizards. 57% of all U.S. households have a pet. The state with the honor of having the most pets is...drum roll please...Wyoming. Listen Now No Chainmail Gauntlets Needed Trimming your cat's nails may not be your favorite activity, but it's truly important for their health. Joey Villani has tips to make it a little easier and less bloody. It doesn't need to be a big deal for you or your cat. Listen Now What It's Like To Be Bitten By A Pit Bull Denise James loves animals. She also loves talking about them.... a lot! Her love for dogs was not soured when she was bit in the face by a pit-bull. She'll tell us what went wrong and how to avoid being a dog treat. Listen Now Pet Hoarding On The Rise A new study, published in the journal Psychiatry Research, takes a look at the motivations of people who hoard animals. This latest study suggests that animal hoarding should be classified as an independent disorder with the hope of developing specialized treatments to help these people cope with the compulsion to collect critters. Animal hoarders acquire and live with dozens or even hundreds of creatures in their homes, causing suffering for both the hoarder and the animals. In the United States, authorities discover between 900 and 2,000 cases of animal hoarding every year. Listen Now Read more about this week's show.

Today I'm recording and publishing "live" from the mountaintop in Darjeeling, India. We discuss the population increase/decrease of India/China (among other things), then look at the testimony of the first Hindu convert (by William Carey's mission) as well some words from the first man to publish a Chinese Bible (Joshua Marshman in INDIA). Last but not least, Cherokee Theology is a look back at the last words of my friend and adopted grandfather back in Oklahoma, Dewey Sanders, who passed away 7 years ago. India vs. China, Borden in Darjeeling, Darjeeling to Dalijia, Marshman’s Chinese Bible Follow me on Twitter/X (@chinaadventures) where I post new/unique Chinese city prayer profiles every single day. Also, you can email me any questions or comments (bfwesten at gmail dot com) and find everything else, including my books, at PrayGiveGo.us! The Millionaire Missionary in Darjeeling www.BordenofYale.com The First Hindu Convert: Krishna Pal https://archive.org/details/firsthindooconv00unkngoog Cherokee Theology: Remembering Dewey Sanders https://chinacall.substack.com/p/cherokee-theology Now let's take a look at this coming week's Pray for China (PrayforChina.us) cities… Pray for China (Dec 1-7): https://chinacall.substack.com/p/pray-for-china-dec-8-14-2025 Subscribe to China Compass and leave a review on your favorite podcast platform! Follow me on X (@chinaadventures) and send any questions or comments to (bfwesten at gmail dot com). You can find everything else, including my books, at PrayGiveGo.us! Luke 10, verse 2, the harvest is plentiful but the workers are few. Talk again soon!

Ein knisterndes Lagerfeuer, kalte Herbstluft und der perfekte High-School-Moment. Für die 18-jährige Kimber Mills sollte es einer der letzten unbeschwerten Abende vor dem College werden. Doch als ein Fremder auftaucht und eine Abfuhr nicht verkraftet, kippt die Stimmung in Sekunden. Plötzlich fallen Schüsse – und ein unschuldiger Streit wird zum Albtraum. Eigentlich sollte die 18-jährige Kimber Mills jetzt ihre letzten Monate als High-School-Seniorin genießen. Sie hat Pläne, will Krankenschwester werden, Leben retten. Stattdessen wird sie heute selbst durch die Gänge geschoben – vorbei an Familie, Freunden und Lehrern – für ihren allerletzten Weg: den „Honor Walk“.! TRIGGER-WARNUNG !Waffengewalt / Schusswaffengebrauch, Gewalt an Jugendlichen, Krankenhaus & Organspende, Trauer & VerlustHier geht's zum Online-Organspende-Register:https://www.organspende-info.de/organspende-register/?mtm_campaign=organspende-sea-2024-register&gad_source=1Du willst unseren Podcast früher als alle anderen hören oder als Videofolge sehen?Unterstütze uns mit 2€ im Monat & bekomme verfrühten Zugriff auf die Folgen

嘉宾 | 魏倩，《三联生活周刊》主任记者嘉宾 | 夏杰艺，《三联生活周刊》记者嘉宾 | 魏昭阳，《三联生活周刊》记者主播 | 高一丁，《Talk三联》编辑一个人开始步入社会，上班或许是最为直接的标志。如果说上学是时间固定、目标明确的“有限游戏”，那工作更像是一场“无限游戏”，上班第一年，就是这把游戏的开局时刻：刷不完的副本、打不尽的boss，似乎也没有固定通关的那一天。不适、焦虑、失败、挫折，也随之而来。当“00后”开始步入职场，这种感受或许更为强烈。经济下行压力、增长饱和、冗杂庞大的组织，都会给当下的职场新人带来更多困惑。而经历过种种不确定性的冲击和无意义“内卷”的磨损后，“努力就有回报”，变得更加无力。工作的价值和意义何在？成为一个残酷甚至不值得思考的问题。在年轻人和当下的职场环境之间，还有许多鸿沟需要被抹平。本期节目，我们想聊聊“上班第一年”的故事：今天刚刚进入职场的年轻人们，正在经历怎样的成长与阵痛，而已经走过这一阶段的朋友，又是如何看待工作与生活的关系。【时间轴】01:47 “00后”初入职场，发生了什么新的变化？09:44 当没有人为你兜底，只有自己能救自己16:40 错综复杂的人际关系：弄清谁是领导，谨防同事甩锅23:30 被延长的上班准备：当实习也有实习42:27 相比于对未来的“画饼”，我们更追求实际的回报49:58 永远下不了的班：当工作与生活的时空界限不再明晰54:08 在工作里追求意义感，是件残酷的事情吗？60:22 “我想工作，但不想上班”69:56 时间胶囊：对工作第一年的自己，有什么想说的？73:17 时间胶囊：五年后的我们，真的会变得更好吗？编辑/一丁剪辑/译丹————“Talk三联”是《三联生活周刊》出品的一档软硬皆有的泛文化类音频栏目，用声音记录报道背后的故事，提供丰富的新知与思辨的可能。在以下渠道均可收听我们的节目：三联中读APP |小宇宙|喜马拉雅|苹果播客|网易云音乐【我们还有这些播客】苗师傅·天真与经验|中场时间|我有一个朋友·董晨宇|多一种生活|岁时茶山记|你好，陌生人 HelloStranger|孩子，你的情绪我们在乎| “三联·大案追踪”有声剧如果你喜欢我们的节目，欢迎点赞支持，或者把我们的节目推荐给更多的朋友～【关注我们】App：三联中读微信公众号：三联中读微博：@三联中读小红书：三联中读官网：https://www.lifeweek.com.cn/【商务合作】zhongdu@lifeweek.com.cn

Thursday at 11:15 PM ET. Hosted by Emmanuel Acho with LeSean “Shady” McCoy and "Carebear" Kieran, the show brings hot takes, cold truths, and culturally forward conversations that connect sports and culture in real time. ⁠⁠⁠YouTube⁠⁠⁠ ⁠⁠⁠Twitter⁠⁠⁠ ⁠⁠⁠Instagram⁠⁠⁠ ⁠⁠⁠TikTok⁠⁠ Facebook PrizePicks x Speakeasy Pick MORE or LESS. Win cash. Talk your talk. Play $5, get $50 →  PrizePicks | America's #1 Fantasy Sports App Learn more about your ad choices. Visit megaphone.fm/adchoices

Talk about some crazy cameos! Did you spot a certain celebrity in Season 8 Episode 3 'Forgive and Forget?' Apparently, there's more to the story!See omnystudio.com/listener for privacy information.

Malcom Esposito hosts his audition for a spot on the website. The crew purposefully f*cks with him. Sign up for a Backstage Pass and enjoy Hours of exclusive content, Phil's new podcast, Classic podcasts, Bobbie Dooley's podcasts, special live streaming events and shows, and oh so very much more…See omnystudio.com/listener for privacy information.

Send us a text!We recently sat down with John Lovell, founder of Warrior Poet Society, to talk about why Christians have to be ready to defend their people, especially after the assassination of Charlie Kirk. John is not only skilled in personal defense, but is a pastor and father who has talked about the need for Christian homeschooling, the recovery of robust masculinity, and the poison of feminism. Did you know supporters of the show get ad-free video and audio episodes delivered early and access to our patron exclusive show the After Hours and interactive live streams with Eric and Brian?      https://www.patreon.com/thekingshallThis episode is sponsored by: Lux Coffee Company; Caffeinating the New Christendom with artisan roast coffee. Get 15% off your coffee with code "NCP15". https://luxcoffee.co/Armored Republic: Making Tools of Liberty for the defense of every free man's God-given rights - Text JOIN to 88027 or visit: https://www.ar500armor.com/ Talk to Joe Garrisi about managing your wealth with Backwards Planning Financial.      https://backwardsplanningfinancial.com/Visit KeepwisePartners.com or call Derrick Taylor at 781-680-8000 to schedule a free consultation.      https://keepwise.partners/Small batch, hand-poured candles. Welcome to the resistance. https://resistancecandles.com/Visit Muzzle-Loaders.com and get 10% off your first order when you use the coupon code KINGSHALL at checkout.      https://muzzle-loaders.com/Go to Mt Athos for sustainably sourced goat dairy protein and other performance products. Listeners of the show get a 20% discount site-wide with code "NCP20".    https://athosperform.com/Support the show:https://www.patreon.com/thekingshall

Controlling the Banking Function in Your Life to Change Your Finacial Future! You might be saving 10% of your income… but quietly sending 34.5% of every disposable dollar to banks in interest. In this episode, Mary Jo breaks down Chapter 3 of Building Your Warehouse of Wealth and shows why how money flows is more important than the rate of return you're chasing.

War Room The Curious Case Of DNC/RNC Pipe-Bomb Suspect, CDC Ends Hepatitis B Shot Recommendation for Babies & Dems Cling to Hegseth Boat Strike Narrative

It's the most judgmental time of the year! The LadyGang is closing things out with their annual Best of the Yearextravaganza, where the girls make the rules, break the rules, and crown the very best (and sometimes worst) moments of the past twelve months. From celebrity scandals that fed our souls, to the TV shows, movies, and music that carried us through, to the ugliest trends we wish we could unsee, and even the best dupes that saved our bank accounts—nothing is safe from the LadyGang's chaotic, heartfelt, and brutally honest ranking system. Get ready for laughter, surprises, heated debates, and a few deeply unhinged honorable mentions as the trio decides what truly defined the year… according to them, and only them.Check out our holiday deals!!Vimergy: Try VIMERGY liquid vitamins! Save 20% off your first order with the code "Ladygang" at Vimergy.comClearstem: Treat your skin! Go to Clearstem.com/ladygang for 15% off your first order!Apretude: Prevent HIV! Talk to your doctor and learn more at Apretude.com or call 1-888-240-0340See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Thursday at 11:15 PM ET. Hosted by Emmanuel Acho with LeSean “Shady” McCoy and "Carebear" Kieran, the show brings hot takes, cold truths, and culturally forward conversations that connect sports and culture in real time. ⁠⁠⁠YouTube⁠⁠⁠ ⁠⁠⁠Twitter⁠⁠⁠ ⁠⁠⁠Instagram⁠⁠⁠ ⁠⁠⁠TikTok⁠⁠ Facebook PrizePicks x Speakeasy Pick MORE or LESS. Win cash. Talk your talk. Play $5, get $50  Learn more about your ad choices. Visit megaphone.fm/adchoices