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Austin Nace @devydeets, Chris Kay @RealestChrisKay, and Matt Bruening @sportsfanaticMB discuss Michigan firing Sherrone Moore for cause. What's next for the Wolverines? Who are the best players currently in the transfer portal? Our CFB playoff reactions. Help us get to 5,000! SUBSCRIBE Get into a Campus2Canton college fantasy football league: https://campus2canton....

Welcome to THE BLITZ, your go-to college football betting show for the entire season! Each week, Bryan Power, Steve Merril & Ralph "The Pen" Michaels break down the biggest college football matchups, providing picks, predictions, and best bets to help you stay ahead of the lines.Introduction 00:00Army-Navy 00:45How Do you Attack Betting Bowls? 12:00LA Bowl (Boise State vs. Washington) 15:50Veterans Bowl (Troy vs. Jacksonville State) 25:40Cure Bowl (Old Dominion vs. South Florida) 36:00Ventures Bowl (Louisiana vs. Delaware) 45:20XBox Bowl (Missouri State vs. Arkansas State) 45:46CFP Early Thoughts 49:31Best Bet Recap 56:00

  Lately I have been spending time out on my Aunt's ranch in Joshua Tree, California, and the rhythm of the animals has offered me a new perspective on how we respond to the boundaries in our lives. Watching the horses move through their space, communicate their needs, and express their energy reminded me how easy it is to accept certain limits without ever pausing to ask whether they still feel aligned. Their behavior became an unexpected mirror, showing me where I have honored barriers that were never truly mine or that no longer support who I am becoming. Their exuberance and clarity sparked something in me, and it led to a few honest reflections about how I define freedom and success. As I witnessed one strong and determined horse rear up just enough to press her chest through the electric fence until it snapped, I felt this surge of admiration and recognition. There are moments in life when we feel something calling us forward, even if others do not understand it or caution us to stay put. Sometimes the only way to understand what is possible is to trust our instincts and step into the unknown with confidence and curiosity. On today's Wise Walk we will explore the barriers we have been honoring, the beliefs that might be holding us back, and the freedom available to us when we choose to move beyond them. Is there a self imposed barrier you honor that no longer feels aligned, and are you ready to let it go so you can run free? How can you build your confidence and communicate clearly so this barrier no longer holds you back, whether it is mental or physical? Are you ready to release any naysayers in your life and trust what is possible on the other side of the barrier? Is it worth it to you to cross this barrier, and what limiting beliefs are keeping you from taking that step? If fear of failure is present, can you let it soften so your momentum and desire can carry you forward? What mental or physical barriers feel most constraining right now, and how does your definition of success influence whether you stay within them or move beyond them? What becomes possible for you when you define success on your terms and allow yourself to feel free and expansive? Where in your life can you embody the majestic power of a horse and invite more freedom into your daily rhythm? What vision of success feels true to you, and how can you move through obstacles with strength, grace, and authenticity? I hope you tune in next Thursday for another Wise Walk. As always, I would love to hear what you took away from today's episode. Feel free to reach out and message me. Be sure to break those barriers that do not feel good to you anymore and let yourself run free with that majestic power that you already innately have. In this episode: [02:34] I break down the fencing on the ranch and how going from pipe corral to an expanded electric fenced area was a plan to give the horses more area to roam. [04:12] My Aunt put up four volt electric fencing which the horses have used before. [05:01] When we opened the gates, the horses were bucking and running and having the best time in their expanded area.  [06:06] The horse who was the boss was thinking about breaking free in spite of my Aunt's warnings. Suddenly, she pressed her chest against the fence and it snapped.  [07:07] All of the horses and the Donkey were running wild on the property. They were still contained, because there was an additional fence line. [08:04] They had so much joy with the additional space and free access to the feed station.  [09:03] If we have the drive and know the goal, nothing can stand in our way. The horse's example creates a great reminder for us to pursue our dreams and authentic desires. [11:16] For different periods of my life, self-limiting beliefs have gotten in my head. I've tried some of the advice I've been given when I became a self-employed author and podcaster, but some things don't align with me. [12:10] One of the things I've learned from this experience by reflecting is knowing what success means to me. [13:17] The self-imposed barriers that we might be living by could be due to our own internal beliefs or external pressures. We get to decide which ones we're going to keep. [14:29] There's always a leader who will break through first and show us what's possible. It's up to us to decide if we want to follow. [15:28] Remember that you are powerful and have a spirited personality just like a horse. Others are attracted to you when they see you running free and tackling your life. [17:19] My Aunt and I are still laughing about this incident, and we're giving kudos to the horses and the donkey for being themselves. [18:19] Can you support other people when you see them getting ready to break a barrier? [19:04] I feel myself gearing up to break some barriers that no longer serve me. Memorable Quotes: "There are moments when we outgrow the barriers we once agreed to, and our heart knows it long before our mind catches up." - Mary Tess "If a boundary no longer supports who you are becoming, you get to redefine it or release it." - Mary Tess "When we stop honoring old limitations, we make space for new energy, new confidence, and new possibilities." - Mary Tess Links and Resources: Mary Tess Rooney Email Heart Value Facebook | LinkedIn | Twitter | Instagram

Watching 9 to 5, what a way to earn a living. Mick, Hannah and Jen revisit Jane Fonda, Lily Tomlin and – people's favourite – Dolly Parton in this classic comedy about sexism in the workplace that everyone knows inside out. Don't they?  Learn more about your ad choices. Visit megaphone.fm/adchoices

I love having mentors.  Watching and learning as others navigate the world is one of my superpowers.  Sometimes I feel like a spy as I closely and quietly observe the behavior of others and think, “Oh, I want to be more like THAT.”  Because I love learning and growing personally and professionally, I have hired many mentors and coaches over the years - paying well over 6 figures to learn how to improve many aspects of my life.   However, some of the most important mentorships I've benefited from have been totally free and come from unlikely relationships.  In this episode, I talk about the mentorship I've received from one of my sisters-in-law.  On paper, our lives are wildly different.  We were born in different generations, have had very different career paths, and many different interests.  However, there is an overlap in some of our most important core values that has always made it feel like she just gets me.  That said, she approaches life with a quiet wisdom and deep curiosity that I don't have (yet).  I pay close attention to how she asks questions, how she listens with her head and her heart, how she speaks with compassion, and how she is never afraid to learn or try something new.  I'm curious for you, who are the people you already have proximity to who might be your greatest teachers, even though they lead a very different life than you?  And, what might happen if you were to identify and adopt some of their greatest strengths as your next stepping stones of growth?  Listen in to learn how to find and learn from these kinds of unlikely mentors in your life.  Links Mentioned: [Open Enrollment] Join Sara's Aligned Leadership Incubator: saradean.com/aligned Hire me to speak: saradean.com/speaking Coach with me: https://saradean.com/executive-coaching-services Connect with me on LinkedIn: https://www.linkedin.com/in/saradeanspeaks Watch Shameless Leadership episodes on YouTube: https://www.youtube.com/@saradeanspeaks Learn more about your ad choices. Visit podcastchoices.com/adchoices

875. As we close out the year, Rachel explores why observation - not action - might be the key to unlocking what's already working. Learn how to find your bright spots and carry them into the new year. Modern Mentor is hosted by Rachel Cooke. A transcript is available at Simplecast.Have a question for Modern Mentor? Email us at modernmentor@quickanddirtytips.com.Find Modern Mentor on Facebook, Twitter, and LinkedIn, or subscribe to the newsletter to get more tips to fuel your professional success.Modern Mentor is a part of Quick and Dirty Tips.Links: https://www.quickanddirtytips.com/https://www.linkedin.com/company/modern-mentor-podcast/https://www.quickanddirtytips.com/modern-mentor-newsletterhttps://www.facebook.com/QDTModernMentorhttps://twitter.com/QDTModernMentor Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

We're celebrating our 10th anniversary all year by digging in the vaults to re-present classic episodes with fresh commentary. Today, we're revisiting our 2020 conversation with Elvis Costello. ABOUT ELVIS COSTELLOReleased between 1977 and 1979, Elvis Costello's first three albums—My Aim is True, This Year's Model, and Armed Forces—were all included in Rolling Stone magazine's list of the 500 Greatest Albums of All Time. That early period of his recording career yielded now-classic singles such as “Alison,” “Watching the Detectives,” “Pump it Up,” “Radio Radio,” “Oliver's Army,” “Accidents Will Happen,” and others.Though he established his career as a rock artist and reached commercial heights in the US with the pop hit “Everyday I Write the Book,” Costello's more than thirty studio albums cover a breathtaking range of stylistic ground, from Almost Blue, his early 1980s album of country covers, to The Juliet Letters, his 1993 collaboration with The Brodsky Quartet, to North, an album of ballads partially inspired by his wife Diana Krall that topped Billboard's Jazz chart in 2003, to Il Sogno, his first full-length orchestral work, which was performed by the London Symphony Orchestra, and topped Billboard's classical chart in 2004, to Wise Up Ghost, a 2013 collaboration with Questlove and The Roots. In between, he's continued to release albums both solo and with his bands The Attractions, The Imposters, and The Sugarcanes. Always an adventurous collaborator, Costello entered into a fruitful songwriting partnership with Paul McCartney that yielded more than a dozen songs, including Costello's Top 10 single “Veronica” and McCartney's “My Brave Face.” He went on to release entire collaborative albums with Richard Harvey, Burt Bacharach, Allen Toussaint, and others. He has written lyrics for compositions by Charles Mingus, Billy Strayhorn and Oscar Peterson, as well as musical settings for lyrics by Johnny Cash and Bob Dylan. His songs have been covered by a range of artists including George Jones, Chet Baker, Dusty Springfield, and Solomon Burke. Costello has been nominated for fourteen Grammy awards, two of which he won, as well as an Academy Award for co-writing “The Scarlet Tide” with T-Bone Burnett for the film Cold Mountain. He has received two Ivor Novello awards for Songwriting, the Americana Music Association's Lifetime Achievement in Songwriting award, and the ASCAP Founder's Award, which was presented by Burt Bacharach. He was inducted into both the Songwriters Hall of Fame and the Rock & Roll Hall of Fame, and was named one of the 100 Greatest Songwriters of All Time by Rolling Stone magazine. His genre-stretching new album, Hey Clockface, was recorded in Helsinki and Paris, and was released on October 30.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Nat & Ange spiral into TV chaos, cold meds, patriarchy rants & Sister Wives mullet trauma

Vince Gilligan's new show Pluribus is looking like it might just be a masterpiece. On this episode of Crossing Streams, Craig Elsten and Chris Reed take a look at the big themes and moments from episodes 4-6 of the first season. The show contains spoilers for all six episodes of the series to date. SHOW TIME CODES:30 Intro4:00 quick housekeeping5:30 Episodes 4-6 had a theme: discovery for Carol10:00 Rhea Seehorn is carrying the rock for Pluribus, but we will meet Manousos14:30 Jeff Hiller appearance!18:00 Carol's diabolical plot to learn the truth in episode 423:00 Manousos can't get here from there27:45 The crazy visuals and methodical montages of episode 534:00 The Hamlin-Phone36:00 transitioning to episode 6 and Empty Las Vegas38:45 Pluribus as an allegory for AI re: Diabate in Vegas44:15 you down with HDP?48:15 The Others are colonizers and consent hypocrites54:00 circling back to Koumba's role and viewpoint59:45 What We're Watching

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On this episode of Project Big Screen, Kirk Minihane returns as we review two major releases: ‘JAY KELLY' and ‘FIVE NIGHTS AT FREDDY'S 2'. What are Adam Sandler's chances at an Oscar nomination? And are we too old to enjoy the FNAF franchise? We also react to the industry shaking news out of Netflix and Warner Bros, dissect Quentin Tarantino's Top 20 of the 21st Century, and catch up on the movies and series we were watching for the past week… We finish the episode with a ranking of the 10 Best George Clooney Performances — what do you think deserves to go #1? Make sure to like and subscribe — and if you want to be a part of our fan rankings, listen for Gooch's instructions in this episode on how to join! Timecodes: || Intro - (0:00) || Jay Kelly Review - (2:03) || Jay Kelly SPOILERS - (10:03) || Ad - (24:17) || Five Nights at Freddy's Review - (25:08) || Netflix Wins WB Bid - (38:01) || Tarantino's Jabs - (45:55) || Star Wars 77 Rerelease - (1:04:19) || Ad - (1:07:36) || What We're Watching - (1:09:22) || Physical Media Corner - (1:27:22) || Ad - (1:27:54) || The George Clooney Top 10 - (1:29:04) Follow us on Social Media: barstool.link/pbs X | Twitter | Letterboxd: @ProjBigScreen IG | Tik Tok: @ProjectBigScreen Our Personal Letterboxds: Jeff: @JeffDLowe Gooch: @Bobby_Gooch Kenjac: @Kenjac Klemmer: @ChrisKlemmer Kirk: @KirkMinihaneYou can find every episode of this show on Apple Podcasts, Spotify or YouTube. Prime Members can listen ad-free on Amazon Music. For more, visit barstool.link/lightscamerabarstool

Julian Agliardi discusses how he got his first skateboard, his dad encourages him to go for it & not half-ass things, how it's fun for him to jump on big rails, breaking his arm on Dolores rail, getting sponsored by Joey Brezinski, grinding a quadruple kink rail at 10 years old, doing a kickflip on an airplane, trick on rails vs a tech ledge tricks, how the French Olympic team blew the relationship with him and much more! Julian Agliardi Instagram: https://www.instagram.com/julian_agliardiBecome a Channel Member & Receive Perks: https://www.youtube.com/TheNineClub/joinNew Merch: https://thenineclub.com Sponsored By: Bubs Naturals: Live Better Longer with BUBS Naturals. For A limited time get 20% Off your entire order with code NINECLUB at checkout. https://www.bubsnaturals.comAG1: Get a FREE Welcome Kit worth $76 when you subscribe, including 5 AG1Travel Packs, a shaker, canister, scoop & bottle of AG Vitamin D3+K2. https://drinkag1.com/nineclubLMNT: Grab a free Sample Pack with 8 flavors when you buy any drink mix or Sparkling. https://drinklmnt.com/nineclubWoodward: Save $100 off summer camp with code NINECLUB. https://www.woodwardpa.comMonster Energy: Monster Energy's got the punch you need to stay focused and fired up. https://www.monsterenergy.comSkullcandy: Feel the music with Skullcandy's custom-tuned audio—from the lyrics in your soul to the bass in your bones. https://www.skullcandy.comYeti: Built for the wild, Yeti keeps you ready for any adventure. https://www.yeti.comRichardson: Custom headwear for teams, brands, and businesses crafted with quality in every stitch. https://richardsonsports.comEtnies: Get 20% off your purchase using our code NINECLUB or use our custom link. https://etnies.com/NINECLUBéS Footwear: Get 20% off your purchase using our code NINECLUB or use our custom link. https://esskateboarding.com/NINECLUBEmerica: Get 20% off your purchase using our code NINECLUB or use our custom link. https://emerica.com/NINECLUB Find The Nine Club: Website: https://thenineclub.com Instagram: https://www.instagram.com/thenineclub X: https://www.twitter.com/thenineclub Facebook: https://www.facebook.com/thenineclub Discord: https://discord.gg/thenineclub Twitch: https://www.twitch.tv/nineclub Nine Club Clips: https://www.youtube.com/nineclubclips More Nine Club: https://www.youtube.com/morenineclub I'm Glad I'm Not Me: https://www.youtube.com/chrisroberts Chris Roberts: https://linktr.ee/Chrisroberts Timestamps (00:00:00) Julian Jeang-Agliardi (00:05:04) Did he look into skateboarding when he first started (00:08:38) Does he care about video parts that come out (00:13:47) Dad encouraged him to go for it and not half-ass things (00:17:58) Watching some of his clips - Fun for him to jump on big rails (00:21:04) Broke his arm on Dolores rail - cross locking (00:24:45) Getting sponsored by Brezinski (00:31:10) River drop in (00:32:22) Did his dad ever stop him from trying something he thought was too dangerous (00:38:01) Is he an adrenaline junkie (00:45:42) Quad kink rail at 10 years old (00:54:29) What happened with Powell Peralta (00:58:12) Kickflip on an airplane (01:03:05) Favorite food? (01:07:59) Back smith to back 270 noseslide (01:12:21) Back bigspin front hurricane on the Willoughby rail (01:19:53) Trick on a rail vs a tech ledge trick (01:22:52) Skating at big contests (01:24:17) Olympics? - French team blew the relationship (01:31:55) Adidas (01:38:16) Did it hurt when you broke your arm? (01:43:31) What has he been doing to pass the time while his arm is broken (01:50:14) How long was the healing process (01:56:35) The search for the broken lens clip - Crobs YouTube thumbnail service for hire (02:06:51) What's she working on now Learn more about your ad choices. Visit megaphone.fm/adchoices

As fighting escalates at home, Alex promises herself to keep eyes on her stepfather. But containing him proves impossible. Binge all episodes of Watching You ad-free today by subscribing to The Binge. Visit The Binge Crimes on Apple Podcasts and hit ‘subscribe' or visit GetTheBinge.com to get access. Join The Binge's free newsletter – Patreon.com/TheBinge From serial killer nurses to psychic scammers – The Binge is your home for true crime stories that pull you in and never let go. The Binge – feed your true crime obsession. Watching You is brought to you by Sony Music Entertainment. Find out more about The Binge and other podcasts from Sony Music Entertainment at sonymusic.com/podcasts and follow us @sonypodcasts. Learn more about your ad choices. Visit podcastchoices.com/adchoices Learn more about your ad choices. Visit podcastchoices.com/adchoices

Cody and Jonathan discuss our national parks' new passes; why president Trump pardoned a trail runner; the Most Canadian News; they rate your takes; and share what they've been reading & watching.Note: We Want to Hear From You!We'd love for you to share with us the stories or topics you'd like us to cover next month on Reviewing the News; ask your most pressing mountain town advice questions, or offer your hot takes for us to rate. You can email those to us here.RELATED LINKS: BLISTER+ Get Yourself CoveredGet Our 25/26 Winter Buyer's GuideDiscounted Summit Registration for BLISTER+ MembersNon-Member Registration: Blister Summit 2026Get Our Newsletter & Weekly Gear GiveawaysCHECK OUT OUR YOUTUBE CHANNELS:Blister Studios (our new channel)Blister Review (our original channel)TOPICS & TIMES:Why JE Froze While Skiing Yesterday (00:49)New BLISTER+ Members (2:38)Cody's Travel Updates (3:45)FIFTY+ Talk & A Near Fatal Rappel!! (8:26)New National Park Passes (17:38)Trump Pardons Trail Runner?? (28:45)Most Canadian News (41:44)Rate My Take: Backcountry Licenses (44:59)Blevins' Corner: Keep Colorado Wild Pass (51:45) Mountain Town Advice? (55:49)What We're Reading & Watching (56:28)NFL Talk (1:10:32)CHECK OUT OUR OTHER PODCASTS:Blister CinematicCRAFTEDBikes & Big IdeasGEAR:30 Hosted on Acast. See acast.com/privacy for more information.

Laurence & Spiegs listened and reacted to Bears Head Coach Ben Johnson weighing in today on what he saw on tape from the Bears in their 28-21 loss to the Packers.

This episode covers everything from relationship changes and internet drama to Ivan receiving some heat over the weekend. The crew breaks down Black funeral etiquette, reacts to the Diddy documentary, and debates whether 50 Cent crossed the line. We wrap by asking who else should speak up — and which celebrity truly had the biggest fall from fame.

How much porn is too much? Should men stop watching porn all together, or is it okay in moderation? Can women tell when a man masturbates on a regular basis and does releasing frequently drop your attraction level? Walt Factual and 4C hold it down to discuss all things porn related...Let's Pod!

We've finally made it to the final four. Come with us as we crown the greatest show from the 80s or 90s. 

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

December 6, 2025 - A big week with the World Cup Draw and schedule being released and Andy Swift attending MLS Cup. Lars Sivertsen joins from Norway to work through the groups & discuss the US' outlook. Plus a review of the day in the PL, including some surprising (or not so surprising) results. See omnystudio.com/listener for privacy information.

(an error in the 1st upload of this episode caused us to pull it and repost it) December 6, 2025 - A big week with the World Cup Draw and schedule being released and Andy Swift attending MLS Cup. Lars Sivertsen joins from Norway to work through the groups & discuss the US' outlook. Plus a review of the day in the PL, including some surprising (or not so surprising) results. See omnystudio.com/listener for privacy information.

Those involved in leadership spend a lot of time talking about leadership in the abstract.  But Christian leadership can't be spoken of without Christ.  Which begs the question, “How did Jesus lead?”.  While this subject is vast and can be approached from many angles perhaps the easiest way to understanding how Jesus leads is by watching how He actually led and His leadership begins with His choice of His twelve apostles.  Join us in this first of our next series, “Watching Jesus Lead – The Choice Of The Twelve”.

(an error in the 1st upload of this episode caused us to pull it and repost it) December 6, 2025 - A big week with the World Cup Draw and schedule being released and Andy Swift attending MLS Cup. Lars Sivertsen joins from Norway to work through the groups & discuss the US' outlook. Plus a review of the day in the PL, including some surprising (or not so surprising) results. See omnystudio.com/listener for privacy information.

December 5th, 2025 Follow us on Facebook, Instagram and X Listen to past episodes on The Ticket’s Website And follow The Ticket Top 10 on Apple, Spotify or Amazon MusicSee omnystudio.com/listener for privacy information.

Ben Lindbergh, Sam Miller, and podcast scorekeeper Chris Hanel review the results of an under-25-pitchers draft Ben and Sam conducted a decade ago. Then (13:38) Ben and Sam banter about Ben’s physique, answer listener emails about doing a The Only Rule-style experiment 10 years later, discuss Sam’s revamped, unique approach to writing about baseball this year, and consider some possibilities for what we’ll remember about baseball in 2025. After that (1:05:57), Ben continues the sporadic “Baseball Jobs” series by interviewing 71-year-old John Yandle, the Giants’ left-handed batting-practice pitcher since 1985, about his transition from pitcher to BP pitcher, the keys to good BP, balancing his day job and his baseball side gig, anticipating starting-pitcher matchups, fending off advanced pitching machines, his incredible longevity, arm care in his 70s, the hitters who’ve complained the most, throwing BP to Barry Bonds, and more, followed by (2:01:20) a postscript. Audio intro: Gabriel-Ernest, “Effectively Wild Theme” Audio interstitial: Sam Miller, “Effectively Wild Theme (Ken Maeda’s Nice ‘n’ Easy Remix)” Audio outro: Jimmy Kramer, “Effectively Wild Theme” Link to EW Episode 669 Link to competitions/drafts sheet Link to EWStats site Link to The Only Rule Link to Ben’s Vince Gilligan video Link to Pebble Hunting Link to Sam on tripping Link to Sam on non-highlight highlights Link to Sam on the CI challenge Link to Sam on dropped third strikes Link to piece about first pitches Link to How To with John Wilson Link to Sam on remembering past years Link to Sam on Ohtani in 2024 Link to Sam on the World Series Link to Sam on the Hall Link to titular Yogi-ism Link to John’s B-Ref page Link to John’s Newmark bio Link to 2024 article on John Link to 2012 article on John Link to 2007 article on John Link to Johnson’s first pitch Link to Bonds TTO splits Link to Giants Trajekt machine Link to Cooney/Wharton Link to Cooney’s LinkedIn Link to Byrnes wiki Link to Wrapped post Link to Patreon gift subs Link to Secret Santa sign-up Sponsor Us on Patreon Give a Gift Subscription Email Us: podcast@fangraphs.com Effectively Wild Subreddit Effectively Wild Wiki Apple Podcasts Feed Spotify Feed YouTube Playlist Facebook Group Bluesky Account Twitter Account Get Our Merch! var SERVER_DATA = Object.assign(SERVER_DATA || {}); Source

For the full episode (in audio only OR video) sign up at http://patreon.com/c/thiswreckage!&y and &ers J. Lee talk about Zohran's walkbacks, meeting with Trump, and relationship with the Satmar community. Then we watch and comment on a few old Conan monologues and interviews with Marc Maron, Kevin Spacey, and Jay Leno.

[0:00:00] What We're Watching [0:02:20] Stranger Things S5 [0:26:15] Out Now [0:42:49] NEWS [1:09:14] Plugs VIDEO EPISODE on  YOUTUBE  www.youtube.com/@itseriknagel AUDIO EPISODE: IHeartRadio | Apple | Spotify Socials: @itseriknage

Beat Migs! Tune in for some great show recommendations!

Former NFL GM Mike Mayock joins the WIP Afternoon Show to discuss what he's seen on tape from the Eagles as they look to turn things around vs the Chargers.

News with Sean 12-5-2025 …Watching Short Form Videos Will Kill You

Papa, Hans, and Harry have a lot to say about two films that recently dropped on Netflix: Train Dreams and Guillermo de Toro's Frankenstein.

Find out which movie and why they cried

One of the standout characters of the muck-man invasion of the seventies, Swamp Thing has been many things to many people over the years. He was a monster, an environmental activist, but most importantly a plant. Watching him punch monsters, punch goons, and punch scientists, I couldn't help but think to myself...what incredibly plant-like behavior. Matt and Tristan answer the eternal question, is Swamp Thing a rubber suit who dreamed he was a man, or a man who dreamed he was a rubber suit? 

This edition of Parent Perspectives features returning guest, Michele Abraham-Montgomery, who specializes in Family Services, Autism Resources & Advocacy, Peer Family Coaching, Youth and Young Adult Programming, Peer Best Practices, Modeling Play Therapy Techniques and IEP Reviews and Preparations. Her and her Autistic son, Khylil, created Spectrum Success 911--a nonprofit organization connecting families with programming, community resources, and organizations of support. Chele shares her reflections on watching a new generation of siblings navigate Autism in ways that echo her own children's early years.Link to the show notes with links to key discussion points and other ways to view or hear the episode here: ⁠https://affectautism.com/2025/12/05/siblings/⁠Consider joining our DIR® Parent Network or becoming an Affect Autism member for bonus content and support from a like-minded community of Floortimers here: ⁠⁠https://affectautism.com/support/

Are you looking to save time, make money, and start winning with less risk? Then head to https://www.ovtlyr.com.Today's session inside the OVTLYR Trading Room was the kind of wild, high-energy day traders wait weeks for. You know those stretches where nothing is happening and you're just sitting in cash, protecting your account and waiting for real momentum? Well… this was the opposite of that. Today the market actually rewarded patience. Trades were firing, rolls were happening, exits were hit right on time, and new opportunities were opening up faster than anyone expected.What made the day so powerful wasn't luck. It was watching exactly how a trading plan behaves when everything is finally aligned. Strong market trend, strong sector, strong stock, clean signals, and zero hesitation. When that combination shows up, gains that normally take months can hit in just a few days. And the coolest part? It all came from simply following the OVTLYR rules step by step.Here's a quick hit list of what we covered today:✅ Rolling positions to reduce risk while keeping upside alive✅ Spotting OVTLYR order blocks and reading the reactions correctly✅ Using Plan M during high-momentum conditions✅ Position sizing like a professional fund manager✅ Screening sectors, filtering stocks, and selecting only the strongest setupsA huge highlight was watching the class go through rolling trades live. Instead of closing winners early or randomly trimming, everyone learned how rolling locks in partial profits, frees up capital, and keeps the original trade working with far less risk. Some positions instantly removed 20 to 40 percent of their exposure while still keeping nearly the same delta. That's the kind of move that separates casual traders from people who trade with intention.We also dove deep into OVTLYR order blocks, and this part was eye-opening. Several charts ran straight into multi-year blocks and immediately reversed, which perfectly validated why those exit signals matter so much. Even smaller, younger blocks showed meaningful reactions. When you see that happen live, it becomes pretty hard to ignore how powerful those areas are.After cleaning up the existing trades and reducing risk across the board, we shifted into offense. The market, sector, and breadth filters narrowed the entire universe of stocks down to exactly one sector worth touching today. From there, the screener surfaced the strongest names, and we walked through each strike, each contract count, and each entry using the same portfolio math used by real fund managers. Watching those numbers line up in real time hit differently.By the end of the session, the portfolio looked like a perfect snapshot of disciplined trading: lower risk, higher buying power, and a fresh batch of strong, plan-approved trades ready to work. No guessing. No chasing. Just clear execution.If sessions like this help you make smarter, more confident trading decisions, make sure you're subscribed. There's a lot more coming.Gain instant access to the AI-powered tools and behavioral insights top traders use to spot big moves before the crowd. Start trading smarter today

The mystery of the "milk" is finally solved in Pluribus Episode 6, "HDP," and the twist is absolutely horrifying. We're talking Human Derived Protein, yes, we are now officially in the cannibal cult genre. Beyond the insanity of that reveal (and the wild John Cena cameo!), we have to talk about Carol. She was officially cut off from the only people left who understand her, and honestly? Watching her isolation play out, we can't help but feel she brought this on herself. Join us as we deep dive into the grossest, most deserved moment of the season.

In the blink of an eye, the year is almost over - and that means only one thing: Christmas is upon us once more. Alongside all the playing of board games, eating of turkey and unwrapping of presents, there's one other thing that remains a mainstay in most British festive households: the telly. Nothing quite beats the feeling of sitting in front of the TV, sliding into a post-feast food coma and drowsily watching the year's collection of festive specials.And this year, there's plenty to look forward to on TV over Christmas, from Will Sharpe donning a white wig to Walton Goggins and Ella Purnell reuniting. The Standard's Commissioning Editor and Culture Writer Vicky Jessop joins us to discuss the best Christmas TV to watch this festive season. Hosted on Acast. See acast.com/privacy for more information.

Send us a textAaron unloads on the Air Force Special Warfare leadership with the fury of a thousand ignored NCOs. If you're wondering why morale is in the toilet and retention's circling the drain, look no further than the clown show running the pipeline overhaul. Instructors? Ignored. Functional managers? Ghosted. Messaging? Nonexistent. This isn't just poor leadership—it's sabotage disguised as progress. If you're in charge and this episode hits a nerve… maybe that's the point. Fix it—or get out of the way.

(00:00-3:33) Jim Montgomery making his glorious return to Boston tonight. Audio of Monty talking about the mixed emotions of going back to Boston. Big road trip, Doug, here we go. Why are the Blues favored tonight?(3:41-12:22) Those are Jackson's words, not mine. Can't get anything past Movie Boi. I'm just Pervert Boi. Oh, these people. Watching people watch movies.(12:32-22:45) Visit Pine Lawn with a keen observation in the YouTube chat. Can't afford to lose a catcher. Audio of Harold Reynolds giving his thoughts on Wilson Contreras. Tim's Cowherdian take on the upcoming Cardinal season. Ultimate vs Penultimate.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Today's live coaching session is all about fixing the real problem behind low clicks on YouTube — your titles and thumbnails. In this episode, Virginia walks through a student's video thumbnail, title, and intro script and shows you exactly how to identify why a video isn't getting clicked… and how to turn it into something your ideal viewer can't scroll past. You'll learn: ✨ How to know if your title is confusing your viewer ✨ What makes a thumbnail instantly clickable ✨ The biggest mistakes creators make with messaging ✨ How to craft a title + thumbnail+ intro that work together ✨ The simple test I use to know if a video will get clicks If you want to leanr how to get live coaching like this inside Story-Driven YouTube School, click here. Grab my 10 Minute B-Roll Plan with 40+ b-roll ideas here.

College football National Signing Day is here! Austin Nace @devydeets, Matt Powell @BigWRguy, Matt Bruening @sportsfanaticMB, and the rest of the recruiting team from Campus2Canton break down the 2026 recruiting class from a college fantasy prospective! Join this one of kind broadcast covering National Signing Day like no one else!

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

In this episode of the Flyover Film podcast, the hosts discuss their recent movie-watching experiences over the Thanksgiving holiday, share funny anecdotes from their movie outings, and delve into the significance of movie preferences in understanding personality traits. They explore the concept of 'red flags' in movie choices, particularly focusing on films that are often favored by men, and debate the merits of various directors, especially Quentin Tarantino. The conversation is light-hearted and filled with personal stories, making it relatable for movie enthusiasts. In this episode, the hosts discuss a variety of topics ranging from their favorite movie experiences, the aesthetic appeal of steelbooks, and their mixed feelings about the film adaptation of Frankenstein. They also delve into classic films like The Towering Inferno, share their thoughts on the upcoming film Wake Up Deadman, and explore themes of faith and atheism in cinema. The conversation shifts to their excitement for the Kill Bill screening, their YouTube interests, and the dynamics of college football coaching changes. Finally, they provide a review of Wicked for Good, highlighting its strengths and weaknesses.

Austin Nace @devydeets, Chris Kay @RealestChrisKay, and Matt Bruening @sportsfanaticMB discuss the recent Lane Kiffin chaos and the coaching fallout in the college football carousel. Plus Top 25 and playoff brackets Help us get to 5,000! SUBSCRIBE Get into a Campus2Canton college fantasy football league: https://campus2canton....

People in Tennessee are voting to fill a vacant seat in the U.S. House. The BBC’s Anthony Zurcher explains why the GOP-leaning district is competitive this year. More than 150 people are confirmed dead after a fire ripped through a Hong Kong apartment building. The Washington Post’s Christian Shepherd joins to discuss the major questions facing authorities. Basketball legend Michael Jordan's racing team is suing NASCAR. The Athletic reports on how the case could alter NASCAR in big ways. Plus, an appeals court upheld the disqualification of one of the White House’s judicial nominees, Costco is suing the Trump administration, and the angry meaning behind the 2025 Oxford Word of the Year. Today’s episode was hosted by Shumita Basu.

If you've ever felt like raising kids and staying healthy are competing priorities, this episode will change how you think about both.We're bringing together six of our most powerful conversations on parenting — from applying the Five Factors to family life, to helping kids navigate adversity, to designing environments where healthy choices happen naturally.Last week, we published an essay called Your Ceiling Becomes Their Starting Point **— a complete guide to building healthy family habits.This compilation episode is the raw material behind that essay: years of conversations about how to raise resilient kids while maintaining your own health.We explore the frameworks, tactics, and daily practices that transform abstract principles into real family culture.

A medical crisis eight years ago pushed Kody's family into a complete lifestyle overhaul that ultimately transformed her husband's health, reshaped their home life, and sparked the creation of Homestead Science.  In this conversation, we chat about moving from overwhelm and trial-and-error to raising capable kids, building a hands-on homeschool, and developing a curriculum that serves families whether on acreage or in a subdivision.  Kody shares what she learned about practical skills, real-food living, large family dynamics, and the surprising joy of watching teens step into responsibility while still getting to be teenagers.  Her story is a reminder that you don't have to do everything at once, and that meaningful learning can happen right alongside real life! In this episode, we cover: - Kody reflects on her husband's sudden end-stage liver disease diagnosis and how it reshaped their entire family direction - The early overwhelm of shifting from a typical American lifestyle to true whole-food, toxin-free living - Rethinking low-fat diets, salts, and dairy, and discovering how traditional foods supported healing - Finding a holistic doctor who affirmed the very changes they felt drawn to make - Watching her husband's labs steadily improve until he finally received a clean bill of health - Navigating blended family dynamics, homeschooling, homesteading, and medical crises all at once - Realizing there was no curriculum that taught kids homesteading, agriculture, or practical home skills in a real-life way - Beginning to write Homestead Science by creating hands-on lessons for her own kids, from milking routines to budgeting and food safety - How the curriculum grows with children— early ages learning concepts playfully, older students tackling tools, measurements, planning, and economics - Why the program works even for families without land, using store-bought ingredients and small-scale projects - The role of strewing, entrepreneurship, and true responsibility in helping kids discover skills and confidence - Kody's encouragement to new homeschoolers: drop the pressure, honor what feels realistic in your season, and prioritize relationship over rigid expectations - The surprising dynamic of teens in large families—how they can be incredibly helpful and still fully enjoy being teenagers, despite common misconceptions View full show notes on the blog + watch this episode on YouTube. Thank you for supporting the sponsors that make this show possible! RESOURCES MENTIONED Check out Kody's parenting book, Raising Self-Sufficient Kids: An Honest Mom's Guide to Intentional Parenting  Explore her homeschool curriculum and resources: Homestead Science Join my FREE masterclass to learn my 4-step framework for making money on YouTube Master the rhythm of sourdough with confidence in my Simple Sourdough course Gain the sewing knowledge and skills every homemaker needs in my Simple Sewing series Turn your content creation dreams into a profitable business with my YouTube Success Academy Keep all my favorite sourdough recipes at your fingertips in my Daily Sourdough cookbook CONNECT Kody Hanner of Homestead Education | Website | Facebook | Instagram | Pinterest | YouTube Lisa Bass of Farmhouse on Boone | Blog | YouTube | Instagram | TikTok | Facebook | Pinterest Do you have a question you'd like me to answer on the podcast?  A guest you'd like me to interview?  Submit your questions and ideas here: bit.ly/SFLquestions.

Nick doesn't do that very often.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On this episode of Project Big Screen, we're joined by Robbie Fox and Kelly Keegs to review two major releases: ‘ZOOTOPIA 2' and Season 5 of ‘STRANGER THINGS'. What makes Zootopia 2 stand out from the slew of animated sequels from the house of the mouse? And has the 5th season of Stranger Things justified the enormous wait between seasons? We also dive into some of the bigger news stories of the week including a surprising new trailer featuring Glen Powell, plus reactions to movies and series we were watching for the past week… We finish the episode with a ranking of the 10 Best Talking Animals Movies — what do you think deserves to go #1? Make sure to like and subscribe — and if you want to be a part of our fan rankings, listen for Gooch's instructions in this episode on how to join! Timecodes: || Intro - (0:00) || Zootopia 2 Review - (2:44) || Zootopia 2 SPOILERS - (10:31) || Stranger Things Review - (24:49) || Ad - (51:13) || Glen Powell's Next Movie - (52:37) || The Strangers Is Still Going - (57:06) || Box Office Roundup - (58:43) || Avatar 3 Might Be The End - (1:02:42) || Fast X's Ditched Ending - (1:10:49) || Culkin's Home Alone Pitch - (1:13:48) || Oscars Odds Movement - (1:16:57) || What We're Watching - (1:18:47) || Ad - (1:31:30) || Top 10 Talking Animal Movies - (1:32:41) Follow us on Social Media: barstool.link/pbs X | Twitter | Letterboxd: @ProjBigScreen IG | Tik Tok: @ProjectBigScreen Our Personal Letterboxds: Jeff: @JeffDLowe Gooch: @Bobby_Gooch Kenjac: @Kenjac Klemmer: @ChrisKlemmer Kirk: @KirkMinihaneYou can find every episode of this show on Apple Podcasts, Spotify or YouTube. Prime Members can listen ad-free on Amazon Music. For more, visit barstool.link/lightscamerabarstool