Content Editing for Podcasts: Dialogue Cleanup, Time Cuts, and Better Guest Answers

Summary

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Buzzcast – Content Editing for Podcasts: Dialogue Cleanup, Time Cuts, and Better Guest Answers

Host(s): Jordan & Albin (Kevin on PTO)
Date: February 27, 2026
Episode Theme: Deep-dive practical strategies for content editing in podcasting—how to shape dialogue, cut for time and clarity, strengthen storytelling, and ethically “Frankenbite” guest answers for a compelling narrative.

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Overview of the Episode

This episode of Buzzcast breaks down the art and science of content editing for podcasts—focusing not on sound quality or mastering, but on shaping the narrative, enhancing clarity, removing distractions, and ensuring guests sound intelligent and compelling. Jordan and Albin guide listeners through hands-on advice, real-life examples (and some AI-generated ones!), and common pitfalls, making this a resource-packed conversation for podcasters aiming to make their episodes resonate and flow.

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Key Discussion Points & Insights

What Is Content Editing (vs. Sound Editing)?

• Content editing is about improving storytelling—making dialogue more concise, clear, and emotionally engaging (03:04).
• The focus is entirely not on audio cleanup but rather on “how do we make the story more compelling, how do we make the interview more interesting, how do we hook attention better?” (03:13 – Albin).

The Importance of Episode Preparation

• Preparation: Whether you script tightly or go in with just one goal, know why your guest is on your show. This defines the narrative direction (03:37 – Jordan, 04:37 – Albin).
• “At a minimum, you know why this person is on the podcast… you can't just say like, ‘Oh, people told me I should talk to them.’ Like, I'm the listener. You're recommending them to me.” (04:37 – Albin).

Active Hosting & Editing in Real Time

• Hosts must balance being present in the conversation with “listening as an editor”—to steer for value and clarity while maintaining authentic interaction (07:56 – Jordan, 09:45 – Albin).

Quote:
“There's a bit of being a host that is kind of being an editor in the moment so that you can make sure you get good tape.” (09:45 – Albin)

• Tip: Imagine your audience as “1,500 best friends who are going to be so excited to hear what I have to say” (10:38 – Jordan, referencing the Kardashians’ speech anxiety strategy).

Removing Distractions in Editing

• Verbal Distractions: Over-affirmations and back-channeling (“Yes, uh-huh, right”)—polite in conversation, distracting in podcasts (12:13–13:50).
  • Jordan: “This is probably the number one thing that I have to edit in my own tracks.” (12:52)
• Filler Words & Preambles: Edit out excessive “like, you know, um, so,” and especially cut meandering preambles that don’t add to the story (15:17–16:19, 16:19–17:52).
  • Albin: “Some of these phrases are like, ‘One thing I've noticed…’ None of that was really useful…” (16:19).
• Environmental Distractions: Pet interruptions, off-topic tangents, and breaks—cut unless they genuinely add context or ambiance (22:04–23:57; Casey Neistat/YouTube as example).

Quote:
“If the story is about your dog, and the dog walks in, you go, ‘Oh, hey, Kona, that's cool.’ …But if the dog is unrelated, now you've just kind of broken the illusion…” (23:27 – Albin)

Crafting a Strong Hook

• The Hook: First 30 seconds should create intrigue and stakes—make clear why listeners should care (17:52–20:06).
• Example hook written by Albin for a political podcast:
  “A man and his daughter collapse in a small UK city. Within days, it turns into a global fight. Accusations, denials… international sanctions. In this episode, we track the fallout…” (19:15).
• Tip: Hooks aren’t just promises—they set expectations and help craft the episode’s arc.

“Frankenbiting”: Rearranging for Clarity & Flow

• Frankenbiting = purposeful rearrangement of dialogue to improve clarity without altering intent (31:21–32:42).
  • Macro: Reordering large segments for logical flow;
  • Micro: Trimming or shuffling sentences/phrases for conciseness.
• Ethics Line: Don’t alter intent—never splice to make guests say something they didn’t mean (34:08–34:52).
  • Jordan: “You don't want to change what a person's actual thought is on a matter… That is where you've crossed the line.” (34:08)

Examples (with timestamps):

• Good Frankenbiting: Tighten an answer, cut repetition, keep emotional impact (40:08).
• Unethical Frankenbiting: Rearranged to twist intent (“It kind of gave me the ick…” as sole takeaway) (41:11–41:27).

Cutting for Time & Repetition

• Episodes should be “exactly as long as needed”—cut for tightness, not just to hit arbitrary length (25:01–27:16).
  • Remove tangents, repetitions, and multiple analogies of the same idea.
  • Jordan: “Sometimes I will just completely cut out what Kevin and I say, because Albin already got the point across…” (29:09).
  • Albin’s Rule: If you say “let me piggyback on that,” cut one (if not both) analogies (30:30–30:45).

Final Takeaways

• Content editing is storytelling: Every guest, every answer should serve the larger purpose and flow.
  • Albin: “You’re telling a story …and the edit is where you can save [the thread] and you can really do a wonderful job of writing a story. And often that means just cutting a lot of the extra stuff.” (42:22–43:27)
• Ethical editing: Enhance clarity, don’t distort meaning.

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Notable Quotes & Memorable Moments

Story-first Editing

“There are things that have really bad sound quality you want to listen to because the story is so compelling…”
— Albin (03:13)

On Audience-First Mindset

“1,500 of my best friends listen to this podcast, and they're gonna be so excited to hear what I have to say.”
— Jordan (10:38)

On Over-Affirming in Dialogue

“Polite in conversation, distracting in podcasts…”
— Jordan (12:52–13:50)

On Cutting Pretext/Preamble

“Some of these phrases are like, ‘One thing I've noticed…’ none of that was really useful…”
— Albin (16:19)

Frankenbiting Ethics

“When you start crossing into the audio splicing, changing what a speaker is intending to say… then it becomes bad.”
— Jordan (34:08)

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Timestamps for Key Segments

| Segment | Timestamp | |-----------------------------------|---------------| | Episode purpose & content editing intro | 01:03–03:04 | | Preparation and “good tape” | 03:37–07:22 | | Editing while hosting/live awareness | 08:18–11:38 | | Removing affirmations & filler words | 12:07–15:38 | | Preambles/context editing | 16:19–17:52 | | Designing a hook | 17:52–20:53 | | Frankenbiting—good & bad explained | 31:21–41:27 | | Cutting for time & repetition | 25:01–30:35 | | Environmental distractions | 22:04–24:50 | | Summary of editing principles | 42:22–43:27 |

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Listener Mailbag Highlights (43:27–50:57)

• Tech questions: On Riverside vs. other recording platforms, private podcasting on Buzzsprout (43:57–47:39).
• Shoutouts: Dave from the How to Podcast Series, and the power of “speed” and frequent podcasting (48:07–49:49).

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Conclusion

Jordan’s Takeaways (41:54–42:22):

• Preparation and goal-setting
• Remove listener distractions
• Cut excess for time and clarity
• Apply ethical Frankenbiting

Albin’s Wrap-Up (43:27):

• Editing shapes the story; be intentional from hook to conclusion
• Remove distractions, repetition, and only move dialogue ethically
• Don’t lose the thread—use editing to deliver the best story possible

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“Whether or not it’s fiction, you’re telling a story… The edit is where you can save that and you can really do a wonderful job of writing a story. And often that means just cutting a lot of the extra stuff.”
— Albin (42:22–43:27)

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Useful for:

• Podcasters wanting honest, actionable content editing strategies
• Editors looking to sharpen guests’ answers
• Anyone interested in the intersection of audio storytelling, clarity, and ethics

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(All timestamps are in MM:SS format and referenced per the original transcript content.)

Transcript

[Albin]

Kevin's not even here to back me up on it, but you just gotta ride with it. I've got a Apple podcast review to read you.

[Jordan]

Oh, okay.

[Albin]

It says Kevin is spreading misinformation. Jordan and Alvin, amazing job on the when not to publish an interview episode. You guys are killing it. Unfortunately, Kevin continues to spew misinformation.

[Jordan]

Wow.

[Albin]

According to the Apple Podcaster, user agreement on all non published podcasts require approval by Will Arnett. It's a simple form that should be witnessed and notarized before submission. You'd think someone who'd been in the industry this long would be aware of the fine print. Jordan and Alvin, keep up the great work. The podcasting space is better thanks to your efforts.

[Jordan]

What a bait and switch that is. Masterful.

[Albin]

I'm pretty sure this is one of our pickleball partners

[Kevin]

here.

[Albin]

We foreign

[Jordan]

welcome back to Buzzcast, the podcast about all things podcasting from the people at Buzzsprout. Today we have a really fun episode for you. We're going to be talking about content editing, which I know now that it has escaped my mouth. I don't think that sounds super fun, but trust me, this is going to be a really fun episode.

[Albin]

And one of the things that we've edited is our co host has been edited out of this episode entirely.

[Jordan]

Kevin's here, but you won't hear him throughout the entire epis.

[Albin]

And Kevin's on PTO enjoying some well deserved time off. And so it's just Jordan and I today and I'm excited about this. This is going to be good. It sounds like one of those episodes where we're promising something that. Ooh, content editing. I don't know how excited I am, but we went through the outline that you put together. I'm reading it. I think there's a lot of good stuff in here. Yeah, I think this would be valuable to start with though. We've done this in the past where we talked about workflows and I feel like when we talked about editing workflows, we talked a lot about audio editing as like cleanup and levels. And all of this stuff that's. Correct me if I'm wrong is also like related to mastering and how you're capturing the audio. It's what I would call like sound quality.

[Jordan]

And that's something that I actually really struggled with. Putting this outline together and doing the research for this episode is a lot of times when you look up content editing or editing a podcast and what you mean is editing the dialogue so that the narrative makes more Sense, it's more clean, it's more concise. It follows like a sequential order. Really, what comes up, especially in, like Google or LLMs, is going to be editing tips. Like, it's going to say mike technique and all this stuff. But we've. We've already covered that. We've covered all the things to get good, clean audio. And so this is going to be more about cleaning up the flow of dialog so that your guest sounds more intelligence, so that your audience isn't distracted by other things. So it's. It's more about that kind of stuff.

[Albin]

Yeah. So I'm thinking of this as we are talking more about storytelling and we're talking zero about audio cleanup.

[Jordan]

Yeah.

[Albin]

And so sound quality. There are things that have really bad sound quality you want to listen to because the story is so compelling. And so we're going to try to talk through how do we make the story more compelling, how do we make the interview more interesting, how do we hook attention better rather than getting into, hey, I recorded this really well in a professional environment and no one's listening. Yeah. Maybe because the story wasn't there to begin with.

[Jordan]

Yeah. And really where that stars is going to be in the preparation. Regardless of if you're a solo podcaster, an interviewer, or you're doing like a documentary style, you definitely need to go into every single interview or every single recording session with one primary goal in mind.

[Albin]

So I struggled with this when I read it in the outline. I've read things from different podcasters, some who like to go into the interviews kind of cold. They're like, no, I'm really going to figure out what the story is after the interview. I'll create the story based on what happened during the interview. And I remember listening to a journalist who said, I know that I'm doing all these interviews, and each interview I have one thing I need to get, and I know that it's there. So I need this person to say the thing that's true. But, like, that moves the story along. And the way I kind of aligned those two in my mind was, at a minimum, you know why this person is on the podcast.

[Jordan]

Yes.

[Albin]

Why are you interested in booking them in the first place? And you don't have to have the whole story of, like, I'm bringing on Elon Musk and I want to tell the story about Space X. I think you just need to know I find this person interesting because xyz and that's why they're on the show, and then go after those Things. There are times where I've listened to podcasts and almost sounds like people are like, showing up to the interview for the first time. And like, they weren't the one who booked the guests. Like, oh, people on Twitter were recommending I talk to you. Like, well, that's not. You're supposed to be vouching for this guest for being somewhat interesting. You can't just say like, oh, people told me I should talk to them. Like, I'm the listener. You're recommending them to me.

[Jordan]

Yeah, this is called getting good tape. You'll hear this a lot in journalism and where it originates from, because I'll obviously, like, we don't have tape right now. Everything's digital. It's just recorded directly into your computer. But back in the day, they used to record these interviews and then they would, like, physically cut the recording tape to piece together the audio. And so even if you are one of those interviewers who's like, I'm gonna figure out the story as it goes, maybe your goal is just to get one interesting story out of them. And so you have to come at it from different angles. I know with one of our podcasts, we had someone on who was talking about, like, marketing and campaigns. And one of the things that I really wanted our listeners to take from it was actionable steps to do their own campaign. And so we had the guest on and we asked them, what are some of the metrics that you can use to know that your ROI is good on this campaign? Like, how do you know if this was successful? And the response that we got was, well, your marketing strategist will know all this stuff. They, they have all that statistical knowledge. They'll be able to analyze the data and they can tell if it's successful. Well, for our listeners, that's kind of a non answer. We're not actually getting actionable steps on how to understand if something was successful. And so what I had to do was I had to stop and reframe the question without interrupting the line of thought. And I said, oh, that's really interesting. So for someone who is in a smaller business, and maybe they don't have a marketing strategist in house, what are some of the mile markers that you can recommend they look at to understand if this campaign was successful? And they go, oh, yeah, absolutely. You know, if you have a trackable link, you can see click through rates. If you get signups, make sure that you have a memo in the signup where they can say where they heard about you. And those are ways. And so we were able to get precise, direct answers from this guest.

[Albin]

One of the things you wrote in the outline was avoid asking questions that will get the same answer as other questions.

[Jordan]

Yeah.

[Albin]

And I think what you're talking about now is like the opposite. It's the ask different questions to get different answers. And it's not that you didn't like the answer and so you're trying to trick them. It's just a realization. Yeah, I know my listeners, and I just heard that, and that wasn't very helpful. Let me ask a question where the interviewee will feel empowered to give a really great answer that actually will be useful for the audience. So that's actually a really good example. Jordan.

[Jordan]

This is kind of the hard thing about being a podcast host, is you have to be in the moment with your guest to give them, like, that human interaction so that they feel comfortable in the interview. But at the same time, in the back of your mind, you need to be listening to it from an editor's perspective, from a producer's perspective of is this actually getting the response that I want?

[Albin]

But before we got on here, unrelated to podcasting, you told me that when you were taking acting classes, the whole idea was you need to just be in a state of play where you're not overanalyzing. The worst thing you can be doing on stage is to be thinking about how your face looks. So how are you doing this, too? Are any of the lessons that you have from acting where you're trying to be in the moment, do those translate to Editor Jordan, or are these just totally different recommendation for different roles?

[Jordan]

I think that there is a little bit of a difference between Editor Jordan and in recording Jordan. I think it's definitely a lot harder when you are in a recording and you're a podcast host and you're like, face to space with somebody to block out how many people are going to be listening to the conversation, to block out what the guest is going to think about you. If you pause and kind of like, gather your thoughts for a second, like, you have to just block all of that out in order to be at ease and to be able to think clearly when you're recording and just making sure that your focus is entirely on the interview. Instead of like, oh, do I look okay? Is my hair crazy right now? Like, you know, I think for me,

[Albin]

it's not a blocking something out. It's like being in the moment so much that I've kind of forgotten that this is being recorded. You know, the, like, if you try to say, don't think of a white polar bear, like, all you do is think about a white polar bear.

[Jordan]

Yeah.

[Albin]

And if I think don't think about the 1500 people who listen to this episode, then I think about it, and that starts being an intimidating number. But when I'm just thinking about what I'm interested in and what I would want to ask you, then I think I do quite a bit better because I'm not running this second thing in my mind on top going like, oh, that's kind of a weird way to say that. Oh, maybe say that again so that it sounds a little bit cleaner. So I'm having a hard time of, like, pulling these two together, because the lesson I've had to learn is, don't stress it. Be in the moment. And you're saying there's a bit of being a host that is kind of being an editor in the moment so that you can make sure you get good tape.

[Jordan]

You know, this actually reminds me, I think, that what might resonate more with you, I was watching the Kardashians, and,

[Albin]

yes, that resonates with me.

[Jordan]

No, you're going to be surprised.

[Albin]

Okay.

[Jordan]

There's this scene where Khloe Kardashian, who hates public speaking, like, it is, like, one of her greatest fears. She has to go accept an award. And so she goes to this thing, and she realizes she has to get on stage, she has to do a speech. And she asked them how many people are in the audience? And the assistant says, there's about 300 people. And she pauses and she goes, okay, I'm about to go out in front of 300 of my best friends, and they're gonna be so happy for me. And I thought to myself, wow, I wish I had that insight when I was, like, getting on stage at, like, podcast movement, because there's just something about being like, oh, 1500 of my best friends listen to this podcast, and they're gonna be so excited to hear what I have to say. And I hope they find it, like, really fun this week.

[Albin]

Yeah, there's quite a bit of imagining. Goodwill does help you get out of your own brain quite a bit. If you're imagining why you're gonna get in trouble for something or why you're gonna get pushback or why you're gonna, you know, mess up, then, like, you've got one hand tied behind your back. It's much more difficult.

[Jordan]

Yeah. All right. And so after you get your good tape, where you have all the points of the interview that you the narrative to get all the answers for your listeners to put together this episode, it's really important to remove distractions. And I know that when we were doing the audio editing episode, we talked a lot about removing like background noise and coughing and dog barks and things like that. And that's not necessarily what I'm talking about.

[Albin]

Yes. Okay. So the one you have to do and you edit it because I know I do it and I know that you do it.

[Kevin]

Oh yeah.

[Albin]

Kevin does not do. This is over affirming. When one of us is talking, there's just something in polite, you're going to drive me nuts. There's something you do, like in a polite conversation where you nod and you're like, you let people know I'm with you. Keep going. These are good points. But on a podcast, it is not good audio to have one person going, oh, yeah, good job. Mm, yes, yes, yes. Over and over and constantly. Yeah, uh huh. Right underneath, it sends the opposite signal than what you're trying to send. It actually says like, okay, wrap it up, rather than, oh, I'm here with you. This is so good. I want to keep listening.

[Jordan]

This is probably the number one thing that I have to edit in my own tracks when we do buzzcast recordings. Because you're totally right. Throughout the entire thing, whenever Kevin is going off on like some rant, I'm like, yep.

[Albin]

Huh?

[Jordan]

Oh, yep. The entire time. Which if I left that in, that would be so distracting. People would be like, sure, shut Jordan up. Make her stop. And what I realized, especially guesting on other podcasts, is that is like a really bad habit because other people are not as good at cutting that out as I am. And a lot of them are not as like cognizant of how annoying the over affirming can actually be to a listener. And so something that I've learned to do, I don't do it here. I still over affirm all over the place. But when I go on other podcasts, for the most part, I just do the silent nod and then wait to speak on video.

[Albin]

You even have to watch the silent nod because I'm doing more of these short form videos. I'm seeing a lot of clips that are podcasts where they film the wide shot with both guest and host, then they go to guest, then they go to host, and the guest is now answering something and this is the clip. And there's some where they keep switching back because they know they want to have some visual interest, so they switch back to the host who isn't saying anything in the clip, but they're aggressively nodding away. It feels very strange, and it feels distracting. But I also know I. I don't know what the answer is because, like, if I sit here and I don't nod and try to show you that I'm paying attention, if I look at my own camera angle for a second, I just look, like, bored. And so it's a tough balance, Something that we really don't have to worry about because we're not on video. But I do appreciate, like, how it feels like it's affirming, and at some point, it ends up kind of undermining what the person's saying.

[Jordan]

You know, there's actually a psychology to those kind of visual cues. If you want someone to wrap up what they're saying, you will nod quickly, and it kind of gives them this subconscious cue that they need to wrap up what they're saying. But if you do, like, a slow nod, it actually is like a coaxing to get them to give more information and put them at ease, that they have the time available to them to complete what their thought is. So it's really interesting you say that.

[Albin]

So we're editing out these over affirmations. What level are you editing out? Filler words, because you don't want to edit them all out. Sometimes that can end up with very choppy sentences. Sometimes that can just mean you sound a little bit robotic, like you ran your entire podcast through an 11 laps voice. So how do you balance that?

[Jordan]

I actually wrote this sentence out as an example for when to cut filler words. So some filler words are totally fine. But if, like, you know, it gets in, like, the way of, you know, kind of, like completing a single sentence, then it's best to cut some of those out.

[Albin]

Yeah, okay. I'd cut most of those out.

[Jordan]

Yes. So I'm gonna leave it in just for the example. But the thing is, is it took me so long just to say one sentence because there's so many. And I think a lot of people use these filler words a little too much. And so if it takes a little too long to get to the point of your sentence, maybe you can cut a few of those out and still leave one or two to keep it natural.

[Albin]

So in editing my own audio, what I see are a lot of preambles that don't do anything. It's a way of trying to grab the conversation and say, I'm talking now, but I haven't thought of what I want to say. But I'M afraid that if I stop, you or Kevin will jump in. Some of these phrases are like, one thing I've noticed. I was thinking about this the other day, and it's like, none of that was really useful to the point that, can one be edited out? I could come across as more confident and the audio could be improved by removing some of that preamble. And when I'm editing myself, I'm noticing a lot of opportunities to edit out preamble.

[Jordan]

I think that to even do a subcategory of preambles might be like, pre. Context. A lot of times people will provide context for a story that doesn't actually need to be there in order to get the moral of the story out of it. For example, you know, this actually reminds me of the time that I had this dog. You know, my parents got me this dog back in fourth grade because I had such good grades. And they were really excited. Like, it was a great time in my life. But I had a dog where he would come out to the bus stop, and it just made me feel so great. The point of that story is I had a dog who would come to the bus stop every single day, and it made me feel good. The point of the story is not I got good grades in fourth grade, and so my parents got me a dog, and it was a great thing. That doesn't matter. The audience doesn't care about that.

[Albin]

All right, this is not in our outline, but it is related to what we're talking about. The concept of having a good hook in your edit. And this is just brutal on video, especially YouTube. Short form, it's even more intense, but it's like, you've got two seconds to hook people. Podcasts were saying things like, in the first 30 seconds, get to the point so people know what you're talking about. But a good hook one is opening some interest in the person's mind. It's creating a bit of interest, and then it lets you know what's at stake. And you don't have to be so explicit. Like in this episode, 1, 2, 3 will happen. You just need, need to create, like, there's something here for you. And so people know what they're listening for. And I had an example today from Reddit. Somebody said they're a student and they're working on a political podcast. And the podcast, it's about the Skripal case. You know what this is? Apparently Russia tried to assassinate somebody in the UK and got two people really sick, and they almost died. And it caused this Kind of huge political turmoil. And in this spread, they said, I have no idea how to make something eye catching or. Or in this case, ear catching. I had some quotes. I really want to get a good grade. What could I do? And so I sat down a few hours ago and I was like, all right, how would I do this? And so I wrote, okay. The idea that I want to set up is like, there's a human element. There's two people who. Something bad happens to them. I want to create some intrigue. So you don't know exactly what's happening in this case. And then I want to show you where we're going. And so here's what I wrote. A man and his daughter collapse in a small UK city. Within days, it turns into a global fight. Accusations, denials, and media frenzy and international sanctions. In this episode, we track the fallout of the blah, blah, blah case. Yeah, as soon as you hear the collapse, you don't know why we're kind of opening the intrigue and then what's at stake. It goes all the way to international sanctions and a global fight. There's something at stake here. And I think this is like, we could improve this probably even with this podcast in our cold opens. You really want to think, like, how do you hook the listener a little bit so that they know why they've showed up for this episode?

[Jordan]

This is actually a great use of a topic that we're going to touch on in just a little bit, which is Frankenbiting, which is like rearranging the dialogue to kind of structure the narrative in a different way. And I think that creating a hook is a great use of Frankenbiting, especially if you have someone say, I think of Hamilton, the opening song. Aaron Burr says he's the fool that shot him. We don't know why he shot him, unless you're a historian. But I didn't know the story yet. Thank you, Hamilton. But the opening song is talking about his death. And then they're gonna, like, walk us through the life story. And so it creates that hook. And I think it's very similar to, like, when you restructure the story. Be thinking about that. What. What kind of thing is going to give a little bit more intrigue or a little suspense for the listener?

[Albin]

The cheap way to do this that I'm seeing become more prevalent is maybe they're using like, opus clip or something to find, like, what are the clippable moments. And they do like five to seven seconds of a clip at the very front, and then it goes. And then they do five seconds from a different segment in the podcast, five seconds from another, and then they do the intro, and it's so disorienting for me. Yeah, I'm hearing it, and I'm like, that's kind of interesting. I don't really understand the point yet. And then there's a sound effect, which I know on video probably worked a little bit better.

[Kevin]

Mm.

[Albin]

But to me, it just feels like you kind of didn't come up with a hook. You kind of went, there's, like, three good parts. And he threw all of them in there. What's at stake in this episode? Why is this person on the podcast? Why are we doing this episode about this particular political event and set the stage for the next 30 minutes? Why should I commit the next 30 minutes, the next hour, next three hours to listening? And the process of writing a good hook to accomplish that is also the same process as crafting the episode, because you have to come up with, why should they listen to this episode? And that is the same as creating the hook that tells them why they should listen to the episode. Does that make sense?

[Jordan]

Yes, I think that's a really good point. And actually, part of what you said segues nicely into my last point about environmental distractions. So you're talking about, like, audio distractions of, like, a whoosh, kind of breaking up the information that you're wanting to have. But there's other things that can be distracting to your listeners. This example comes directly from my experience listening to a very, very popular podcast. And in the first five minutes, the podcast host stopped and started talking to their dog that had just walked in while they were recording. And it completely took me out of it. And I thought to myself, why would you leave that in? And so there's certain, like, environmental distractions where if you are stopping the recording to talk to something, to interact with something outside of your interview of your podc, then that's probably a good indicator that that's something that you should cut so that it's not distracting to the listeners. You don't want to take them out of the whole thing.

[Albin]

Casey Neistat, one of the OG YouTubers, often had distractions in his videos. You know, he's filming on the streets of New York, and someone would yell out to him, or, like, you'd see that someone picking up the trash and make a big noise, and he'd leave some of it in because it added to the ambiance of New York, and it made it feel more real, because the Stories are really often about New York. That makes sense.

[Jordan]

Yeah.

[Albin]

If the story is about your dog, and the dog walks in, you go, oh, hey, Kona, that's cool. That's totally fine. But if the dog is unrelated now, you've just kind of broken the illusion that you're talking to your audience. You've now created a very clear. No, I recorded this while I sat in my house, and I was half recording, but also half, like, playing with the dog or whatever else was happening. So definitely an opportunity to remove environmental distractions.

[Jordan]

Absolutely. And I do think there's times where the environmental distractions can actually add to the flavor or to the comedy of the podcast. Like you were saying.

[Albin]

Do you remember the CNN interview?

[Kevin]

Yes.

[Albin]

During COVID Yeah. For anyone who hasn't seen it, it's a guy who's talking about, like, U.S. china relations, and then a young child walks in the room and starts talking, and he's just, like, tried to ignore the kid, but he, like, in frame, and he's talking to his dad. Well, then the mom comes in and realizes he's being recorded and sort of trying to grab the one kid out.

[Kevin]

And then.

[Albin]

Then. Then the baby comes in and the bouncer.

[Jordan]

Yeah.

[Albin]

Which turned out to be very cute. Mostly. That would be a distraction. It'd be less funny. It would more be. I mean, it did take you out at the moment.

[Jordan]

Oh, yeah.

[Albin]

Maybe what it accomplished was all of us being like. Like, yep, been there. Just not on cnn. But I've been there when I was doing a work meeting and, you know, a kid walked in. Because during COVID we were all at home.

[Jordan]

I don't even remember what he was talking about. All I remember is the children, and I don't think that was his goal. Another form of content editing is going to be cutting for time. We always say that a podcast should be exactly as long as it needs to be. And so this goes a little bit against that. But there's some situations where you want things to be a little bit more tight. For example, podcasting Q and A, the podcast that Kara hosts, she likes to keep those really short. And so sometimes, for example, I was in an interview with her, and our recording went 30 minutes. But podcasting Q&A episodes are not 30 minutes, and so she had to cut that down to 12 minutes. And so this can be a really difficult aspect of content editing for a lot of people because they can kind of get stuck on what do I leave? What things are okay to cut. Will the guest be upset if I cut things for Time will they feel like I've slided them? And so I definitely want to go over some tips that we have about how to shorten the length of dialogue and stuff like that. And Albin, I know that you have an excessive amount of experience with this recently, especially doing all these shorts.

[Albin]

With the shorts, I'm constantly surprising myself with how much I can cut and keep the main point. Part of it is just I have a bad habit of repeating myself or over explaining or adding the. I got the dog because I was a really good boy in fourth grade and my parents gave me the dog. You know, I'm like, I had too much extra stuff. But if you listen to each sentence and ask, why is this sentence here? How is this moving the story forward? How's this moving his answer forward? You'll often realize this sentence didn't do anything. I can cut that. I don't think you have to be like aggressive, like, oh, they're always 45 minutes. So this one's 53. And I thought it was all good. I have to go cut eight. I don't think you have to be so rigid because we're not making network tv. But if you ask every word, why are you here? And every sentence, this is definitely what I do with writing every sentence, every word, every clause, why are you here? And how do you move the conversation forward? There are way more opportunities to cut than you would imagine.

[Jordan]

I have a lot of experience with cutting for time, with Buzzcast specifically, especially because there's some episodes where, gosh, we have a lot to say, or we get off on a side tangent. Maybe we want to talk about something else. There's. There's so many situations that I've encountered in my years editing Buzzcast where I have to take a two hour recording and cut it down to one hour. And it's not because we are so strict on this one hour restriction, but what it is, it's more us being courteous to our listeners that they're not gonna get all of the fluff, just every single unedited aspect of it. Like, we're not doing like Lord of the Rings director's cut. We're trying to do like the tight version of that, right? And so some of the things that I have to cut all the time are if we rabbit trail, so we'll be talking about a subject and especially if we have an extra long recording, if one of us gets off on a tangent where we go, oh, you know what? I actually have an experience with this. I had a boss, you know, back in 2001. And if it doesn't add a whole lot of value other than just some context for our life experience, then I will cut it.

[Albin]

So this is the corollary to being in the moment. If you're in the moment and you feel like, oh, this is an interesting story, I think it relates. You might say it. We do this sometimes in the recording where Kevin will say something and he goes, honestly, I don't know if that fits. He could get that feedback for something I say or something he says. It's useful to give the story a try, and if it works out, you keep it. And if it doesn't, it can get cut for time.

[Jordan]

Yep.

[Albin]

But you get good stories when you get out of your head and you're not watching the clock the whole time, but you pay for it on the edit, where you're going, I. I am going to pay attention. Like, did this actually accomplish what I wanted? Was the story good? If not, I'm going to cut it so we have a better final episode.

[Jordan]

Yeah. One of the other things that I encounter a lot with Buzzcast, especially if I am, like, just being ruthless in cutting for time is going to be unnecessary, like, repetition. So this happens a lot when we kind of get on our anecdote or metaphor trains where we're just, like, piling them on. It's like scoops of ice cream on a Sunday. There's so many times where, like, Albin, you will give a really good analogy explaining something in a different way. And then Kevin piggyback, and he'll be like, yeah, it's kind of like this analogy. And he's basically saying the exact same thing as you did originally. And then I'll come in, I'll be like, oh. Or it's like this, and I'll give another analogy. And sometimes when I go back and listen to it, I'm like, you know what? Alvin explained that perfectly the first time. And we don't actually need Kevin and Jordan to be piling on additional analogies, because I think the listeners got the point. I think they understand what we were trying to say. And so sometimes I will just completely cut out what Kevin and I say, because Alvin already got the point across. Or maybe one of us had a better analogy. Like, if I have an analogy that almost gets the point across, but it's not quite there, and then Kevin or Alvin come in and they're like, well, actually, I think it's more like this. And then they provide another analogy. I'll go, you know what? That's actually way better. And I'll just cut mine out completely.

[Albin]

Yeah. So we're cleaning up. Unnecessary repetition.

[Jordan]

Yeah.

[Albin]

Jordan, you used the phrase piggyback. Can I give a hot take?

[Jordan]

Yeah.

[Albin]

Tell me if this sounds right. Let's give this one a try. Whenever you use the phrase, let me piggyback on that, just cut everything that comes after.

[Jordan]

You know what? That's actually a really good tip, because

[Albin]

when I say it, I basically thinking, oh, man, I wish I said that I'm gonna say it. And I go, let me piggyback on that, and immediately just say the same thing. Maybe I say it slightly differently. Yeah, maybe it's possible the second person was a little bit more clear. But if the phrase piggyback on that is in there, you get to cut one of the two, but probably both of them don't need to be there.

[Jordan]

I think that's really good. So I alluded to this a little bit earlier. I actually want to move on to

[Albin]

Frankenbiting, because, okay, Frankenbiting is Frankenstein, so it's some sort of, like, combination. But what's the biting part?

[Jordan]

It's sound bites. So basically, isn't this just called editing?

[Albin]

I don't understand what.

[Jordan]

No, it's not. This is called Frankenbinding. This is when you purposefully chop up dialogue and then rearrange the structure or rearrange some of the words for content, clarity. And it is my favorite tool in my tool belt. I honestly use it almost every single buzzcast episode. I mean, our last episode with Botter Milligan, I had actually, like, done sort of, like a macro version of Frankenbiting, where he's so personable. He's got so many great stories. I didn't want to, like, interrupt what he was talking about, but sometimes we had to, like, circle back, you know, after 20, 30 minutes in our recording and be like, okay, well, we actually need to get an answer for this thing too. And so we ask the question, then we talk about it, but it's well after where we should have been. So we take that segment and we move it to the front of the episode where it should have been. And so that's kind of like a big version of it. But a Franken biting is just taking, like, two or three sentences and chopping it up, taking out the excess, and then rearranging it so it makes a little bit more sense. And there's different. Different reasons why you would do Frankenbiting. And there's a good way to do Frankenbiting. And a bad way.

[Albin]

What's the line between just good editing and, like, hit piece journalism or something? Like, so extreme case, at some point, this is just lying. Like you're creating something that's not true. One of the law firms I worked at as a paralegal, we had a case where a guy who had a bunch of debt but also had a big life insurance policy was down in, like, Central America and died. And we, I believe, were retained by the life insurance company was like, we don't know if this guy's dead. It just seems a little bit like, little convenient that he died with this giant policy when everything was about to crumble. And so there was like, a report about his death in. We went down to get it, and it had been entered into the court case saying, hey, after all this stuff. And it's in Spanish, after all this, this investigation, we presumed he has died. And when we sent someone down there to go retrieve the document, it had been edited. One word. And the one word was that they removed not because it said, we believe he is not dead.

[Jordan]

Oh, my gosh.

[Albin]

And so at some point, editing is just like, I don't.

[Jordan]

Yeah.

[Albin]

Long way of telling it. I thought a funny story. It was just, like, so shocking that it was like, that it actually happened. That somebody was willing to be that bold in their lie. At what level do you start passing over from like, oh, I cleaned it up and I took out a couple ums and ahs, and I got into something totally unethical.

[Jordan]

When you start crossing into the audio splicing, changing what a speaker is intending to say, or creating, like, a false narrative around what happened, then it becomes bad. Like, you don't. You don't want to change what a person's actual thought is on a matter. You don't want to change that. That is where you've crossed the line. But Frankenbiting can be really good for, like, arranging things into a more comprehensive sequence of events. So some things that indicate to me I need to Frankenbite, like a segment or a monologue or some dialogue is when I hear false starts. So this is when someone is starting to give a response, and then they pause and they backtrack to, like, provide some context, and then they jump to the original answer.

[Albin]

The false starts let you know there's some Frankenbiting to be done here. Make the first thing first and the second thing second.

[Jordan]

Yeah.

[Albin]

And it actually clarifies the answer. It improves the answer.

[Jordan]

Exactly. Yes. Because there are some stories that need to have context in order for them to, like, really land or for them to have the impact that the guest or the speaker wants them to have. Second one is same answer, but different delivery. Sometimes people will have a really strong start in the initial response, but a much stronger middle and finish on the second response. And so you'll cut out the stuff in the middle and just Frankenbite it together so it sounds like it's just one cohesive response. I've done that a whole bunch. Or maybe they use a word that sounded a lot better in the first version of it than the second version and rearrange sort of things.

[Albin]

Yeah, I get this with editing myself. I'll often say the same thing two or three times. And I don't mean to, but the first I just said it. The second I gave an example. The third one, I tried to come up with an analogy, and then I said in conclusion and said it a fourth time. And the in conclusion, everything before that could have just been cut because now I've got it once and it was concise and clear.

[Jordan]

Exactly. Part of that, too, is with Talking in Circles. This is another example of a time that I have to Frankenbite things together. Sometimes people have to talk out loud to piece together what exactly they're trying to say. I get this a lot when an interviewer is asking a question and they're trying to piece together how they want to approach the question. And then so they'll say things like, okay, so earlier talked about this thing. So I guess what I'm trying to say is, when you started that job. Well, okay, so you said this thing. What did you mean by that? What I can Frankenbite out of that segment is all of the hesitancy or the kind of like circling around a thought before kind of like landing the plane. And that is going to be okay. So back when you started this job, what was the reason for this? And it's just kind of cutting out all the circling around, you know, Jordan,

[Albin]

you're using the phrase land the plane circling around.

[Jordan]

Yeah.

[Albin]

The story of how you traveled somewhere. You don't need to tell them, hey, we flew the plane around the airport for a bit and finally landed. Let me tell you the whole bit of flying around the airplane. They just need to know you, you got here.

[Jordan]

Yeah, exactly.

[Albin]

It's actually, those are the perfect phrases for it.

[Jordan]

Yeah. When you're giving a response or when your guest is giving a response, they're going to sound so much more concise and clear and intelligent. If you are able to put the response together where the plane takes off, they're up in the air and they're giving the point, and then they land it, and then you move on to the next part that is just going to make everything sound. Sound so much better. Your audience is going to be happy about it. Your guest is going to be happy about it, because, trust me, a guest is not going to be angry if you make them sound smarter. So I put together some examples for this using AI, because I have examples from internal buzzsprout podcasts, but I didn't feel comfortable Frankenbiting our responses to mean something bad or something wrong. So I used AI to generate a response to. Would you recommend the latest season of Severance? So this is the original sound bite that we're going to edit?

[Kevin]

Yes. Well, sorry, I didn't mean to hesitate. It's a fantastic show and you should absolutely watch it. I'm a huge fan of the show's tone, this eerie, fluorescent, corporate nightmare vibe, and I think the cast is ridiculous in the best way. But I went into the season with really high expectations, and that matters. Here's the honest version. I love the ideas this season. I love the ambition. I loved what it was reaching for, and at the same time, it kind of gave me the ick. But I think that speaks to the artistry of severance, too. Evoke such emotion. It's incredible.

[Albin]

I hate this guy. Jordan, that. That was terrible. I'm losing. You're losing me.

[Jordan]

This is why content editing is so important. It felt like it dragged. He was, like, circling around the response a little bit.

[Albin]

The audio was AI generated.

[Jordan]

The audio was AI generated. I used 11 labs for it. I wanted it to drag a little bit. So this is an example of having a guest on that. You ask a question. There's pregnant pauses between some of the sentences because they're thinking about what they want to say. There's, like, hesitancy, and so it makes the guest sound like they're not as confident as they should be, when really they're just thinking about their answer out loud and really, like, you can hear this guest is confident that, yes, this is actually an important piece of work. And so I'm going to show you what it sounds like after I Frankenbite it so that the response is more clear, it's more concise, it's getting to the point.

[Kevin]

I love the ideas this season. I love the ambition. I loved what it was reaching for, and at the same time, it kind of gave me the ick. But I think that speaks to the artistry of severance to evoke such emotion. It's incredible. You should absolutely watch it.

[Albin]

It.

[Jordan]

Sometimes you want to kind of tighten up what the response is, because the guy said in, like, so many different ways that it's a cool concept, it's interesting, it's atmospheric. But what I did was condense it down into the most important parts where he's just saying, I like the idea. I like the execution. It was ambitious. It was creepy, but it was so cool, and you should watch it. So I gave you the original audio, and I also provided the good version of Frankenbiting to really tighten it up. Let me show you what a bad use of Frankenbiting is.

[Albin]

This is Jordan's unethical frankenbiting.

[Jordan]

This is my unethical Frankenbiting. Does this person recommend severance?

[Kevin]

Well, here's the honest version. I went into the season with really high expectations and this eerie, fluorescent, corporate nightmare vibe. It kind of gave me the ick.

[Jordan]

That doesn't sound like they recommended at all.

[Albin]

No, not a fan.

[Jordan]

Yeah, not a fan. They didn't like it. It gave them the ick. It was a nightmare vibe.

[Albin]

The delivery of gave me the ick.

[Kevin]

You know what?

[Jordan]

I'm using AI. I did my best.

[Albin]

Oh, man. You. You just reassured, like, 80% of our audience that the. Some of that notebook LM stuff sounded pretty good. This. This isn't scaring me.

[Jordan]

Yep. Yep. So if that's the one thing you take away from this episode, don't be scared of AI.

[Albin]

Don't be scared. The voice that Jordan just used.

[Jordan]

All right, so our big takeaways. Content editing relies heavily on preparation. So making sure that you go into it, knowing what your goal is for the episode helps immensely. Removing distractions that take away from what you're trying to portray in your episode. Cutting for time. Anything that is excess that can be cut, how to identify it and get rid of it for your episode. And then also Frankenbiting, appropriately, ethically.

[Albin]

Yeah. The main takeaway I have is you're telling a story. Whether or not it's fiction. You're telling a story, and the story could be. I have this interesting guest, but, like, what is interesting about them? You're crafting a story with this edit, and it's going to happen whether it's intentional or unintentional. And so from hook to conclusion, try to draw a line through that. Some of that will be making out the over affirmations, which kind of distract. Clean up these Stories where people tell the same thing two or three times. You don't need to have the segment where they started talking to their dog because that wasn't part of the overall story. And how much can you move around what they say? Well, only in an ethical way, but we're telling a story and so let's try to be intentional about it. There's a point where podcasts get so open ended and rambling that they've lost the threat. You know, they've lost the thread of the story and the edit is where you can save that and you can really do a wonderful job of writing a story. And often that means just cutting a lot of the extra stuff.

[Jordan]

Totally agree. Let's get into fan mail. Albin. Our first one we have is from South Carolina saying, I've not released a podcast yet, but I'm hoping to very soon with that. I am 55, not the most tech savvy. We'll have a Rodecaster duo next week. I have a camera and I've signed up for Riverside. The question what are your thoughts on Riverside and if you don't recommend them, which service do you recommend?

[Albin]

Totally depends on what you're trying to do. So if you're trying to do remote interview recordings with video and you have this kind of restriction where you need to be in a web browser, then Riverside is at the top of the list, if not the top. So very good for that. I think one of the themes of this podcast is at the beginning, video is tough. Video is tough for me now, years and years in. So the idea that you have to start with video, I might challenge that assumption. If you're not doing interviews, then the main piece of what a Riverside or Descript Rooms or Streamyard is doing for you, it's not as important. You might be looking at maybe recording with like obs, which would just be on your computer. You're getting a capture of your video, a capture of your audio, and then you're going to sync those up yourself. So there's lots of options. I think I might just want a little bit more context or what the goals are for this podcast. Yeah, I do have to say, starting a podcast at 55, that is so good. Yeah. I can't tell you how much creating stuff, how healthy it is, and it's so much fun, whether it's for you or it's for millions of people, it's really valuable. And I love that this person in South Carolina is getting into it down in Boca Raton, Florida. Apologies if this issue has Been beaten to death already. But I'm lamenting the lack of private podcasting feature on buzzfeed route. I've wanted to use your platform for my family history private podcast, but I can't. Is it in the feature development pipeline at all? I might take this one, Jordan, because I am working on some podcasts that would only be distributed for family. When people talk about private podcasting, they can mean different levels of privacy. Some people are doing a podcast for internal medical company and there's like DHI in here and if it gets out, I've got legal issues. Yeah, Buzzsprout doesn't have some sort of single sign on solution for you that could solve that. Then you've got people who are like, I really, really, really don't want this to get out. But like, legally it's not going to blow my life up. Depending on where you are around that area is whether or not what Buzzsprout has will be good for you. With what I'm working on, it's stories from family members about all of us going in. This house was my great grandfather's house and was my grandfather's and everyone has memories there. And so it's just like family members telling that story. So there's, you know, there's kids, there's adults, there's people who've passed away, there's names in there. I'm not going to put that out to the world, but I'm comfortable putting it on buzz route because I know you're going to get a podcast id. That is if you say, I don't want this to be in Google, it's not going to be in Google and it's unlikely people will find it. And so YouTube has a version of this is called Unlisted. Like, like if someone knew the URL, they could get to it, but there's not a good way for them to find it unless someone in, you know, the intended audience leaked it and sent it out.

[Jordan]

Yeah.

[Albin]

So if you're comfortable with that level of people could find it or someone in your family could share it outside the family, then you're good to go. If you need like everyone's got their own username and password, then we don't have a great solution for that. And I think that some of our competitors do. I want to say Transistor was trying to get into it, but it might be more expensive because this is kind of billed as like a corporate feature. Totally depends on, you know, how private of a private family history podcast. Are we talking?

[Jordan]

Yeah, that's what I was thinking. Albin is just making sure that you check off that you do not want to be listed in Google and then just don't submit your podcast to the directories and that's really totally fine. For a private family podcast.

[Albin]

Dave from the how to podcast series wrote in Kevin and Albert, I was able to have your amazing co host drop by and guest on my how to podcast series show. We talked about podcasting, Socks, Buzzcast, Dreamful, and how amazing the buzzsprout team is. Thanks for allowing me to borrow your amazingly talented co host from Buzzcast. Jordan is the best. All right, save the best for last because I wasn't sure. I was like, okay, so this is about Jordan, right?

[Jordan]

Yeah.

[Albin]

Yes, Dave, I agree. Jordan is a wonderful co host, a wonderful host of this show. I'm glad you were able to be on there. Jordan, tell me about being on Dave's podcast.

[Jordan]

Oh, man, Dave is just the best we have. Like, like, I don't know what, we're so lucky. We have the nicest listeners. It's nuts. But yeah, so I was on, they had a podcast series and I had actually looked at his podcast a bit before I went on. I was doing some research and I noticed that this year he is doing a 365 episodes in 365 days. He has a job, by the way, and he has like a bunch of other podcasts. And then I told him, I was like, how on earth are you doing that? Like, that's just nuts. And he said, oh, that's nothing. For Valentine's Day he did a 24 hour podcast THON, where he recorded like 24 episodes in 24 hours. And so Dave is a passionate podcaster. It shows that he has the reps in. He is so good at it. And so, yeah, I think, I think Dave's pretty awesome.

[Albin]

I've talked about it before. One of my favorite blog posts, Speed Matters. If there's things that you want to be able to do in your life, you've got to start fast and you've got to be able to do them fast, fast, because you're going to get better. And if you think, oh, I'd love to do an episode on that, but your mind instantly goes to, well, I've got five ideas and every one of these takes two weeks. Then you just kind of tap out because you don't, you know, you don't have the space to do a two week episode on whatever this topic is when you've got so many other ideas. But if you're like Dave, and you've got in your mind, I'm going to do a podcast every day. I'm going to do multiple podcasts in a day. Might do a 24 hour marathon on. Then that voice in your mind says, oh, I can't do it because it takes two weeks. It's gone.

[Jordan]

Yeah.

[Albin]

And eventually you're going to be good enough that you will be doing more in a day than I will do in two weeks when I'm actually taking all that extra time.

[Jordan]

I love that. Even if you just do, like, a smaller version of it, like, a week of a podcast every day would make a huge difference in your practice. All right, so for our next episode, Albany, we could talk about how to craft a good call to action. Call to action placement, how to analyze if it's doing well, putting call to actions in dynamic content, things like that.

[Albin]

Yeah, I think that's something we could definitely touch on. There's lots of different pieces to this.

[Jordan]

Yeah.

[Albin]

How do you figure out what they should be? How do you structure them when you put them in?

[Jordan]

Yep.

[Albin]

What tools are available? I think that's really good. All right, so if you have experience, if you have thoughts, if you have questions, we would like it all. So send us anything related to calls to action. What has worked for you, what has not, what questions you have. I want to hear it all. Click the text, the show button in the description and send it in to us. We'd really love to hear it and we'd love to feature you and your show and your call to action on our podcast.

[Jordan]

Love it. Until next time, thanks for listening and keep podcasting.

[Albin]

Jordan, how much of the Olympics have you been watching?

[Jordan]

I did turn on the figure skating for about a day and then got tired of it, and I haven't watched anything since. But I have been keeping up on some of the posts and stuff, and people seem very excited about the US Teams, both in figure skating and in hockey. And, oh, we had an Idaho skier that won a gold, so.

[Albin]

Well, the hockey story has been kind of awesome.

[Jordan]

Yeah.

[Albin]

The women's hockey team won gold.

[Jordan]

Amazing.

[Albin]

I think the men's team was not supposed to win. They have not won gold in my lifetime. They won in, like, 1980. And it's the Miracle on Ice, where the US beats the Soviet Union.

[Jordan]

Really?

[Albin]

And they won on Sunday. And it was at 8am so we go, okay, well, we're gonna go to, like, later church service. I want to watch this. And it's like, something about hockey. I'm not all that interested in a sport. You know, grew up in Florida, so I've never seen ice. And then as soon as it's coming down to the, of any big hockey thing, you go to any hockey event, it's so energizing.

[Jordan]

Yeah.

[Albin]

And there's just some of the most incredible stories that are made during the Olympic season. And this guy gets hit in the mouth, like breaks his teeth.

[Jordan]

Oh no.

[Albin]

Like bleeding mouth. And there's like these critical saves by the goalie. Goalie for his NHL team had a history of being like a top goalie who always crumbles under pressure.

[Jordan]

Oh.

[Albin]

And so people were like, he's playing well now, but just wait because like we all know he crumbles under pressure. And he played like the greatest game that I've ever seen from a goalie. And I, I mean I don't watch much hockey, but it looked like incredible. And then we go to overtime and the guy who gets hit in the mouth and his teeth crack scores this game winning goal and gives in my mind one of the most emotional and like cool speeches. And he's to trying just living his best life in the moment. And he's so happy. It is enough to get you excited about hockey. The sweetest moment, which like almost would bring tears to your eyes if you hear the story. One of the people who pushed really hard for the US apparently passed away a few years ago in like a bike accident. And he would have been on the team and he passed away while his wife was pregnant.

[Kevin]

Oh.

[Albin]

He at least had had two kids, if not more so. It's just a really sad story. And guys on the team are like holding his jersey, remembering him and they get together for like the big moment on ice where they're all going to take this celebratory photo and two of the guys skate off and they skate back with his kids. And these are like, like, you know, less than 2. And they went off and they got the kids from the moment and they're out there like in their dad's spot getting the team photos. And it was just the like improbable victory. This incredible moment of, you know, guy getting hit in the mouth and he's still in it. The goalie who was supposed to crumble under pressure, but he doesn't. He plays the best game of his life. And then for these, I mean, they're all pretty much kids, you know, they're in their 20s.

[Jordan]

Yeah.

[Albin]

To go. You know who I really want to remember right now is this guy who passed away and we want to honor his family. It was incredible. I mean, I went from knowing nothing about hockey to knowing almost nothing about hockey. But it was a really cool moment. And really some of the most beautiful sports photography I've seen in years came out of that game. So definitely worth looking up.

[Jordan]

Oh, that sounds amazing. I don't know if my heart can take it. There's just been so many stories in, like, the last, like, week or two, especially with the Olympics, where it's just like, heartbreaking, yet triumphant. I mean, this is so stupid. Did you hear about Punch the monkey?

[Albin]

Those ads from, like, 1995?

[Jordan]

No. There's this little monkey in Japan. There's this little monkey in Japan named Punch, and he was abandoned by his mother, and he had, like, this little Ikea orangutan plushie that he used as, like, a comfort sort of thing. And he was getting pushed away by the other macaques and they were bullying him and being mean to him. And he went, like, super viral because he. He would just be sad and cuddle this cute little monkey and like, I can't take any of these stories anymore. I can't do it. No more. No more.

[Albin]

The only reason I know that story is because it was sent around in, like, my, you know, extended family group chat.

[Kevin]

Yeah.

[Albin]

Because the monkey is the same monkey that my niece carries around the IKEA one. Like, so if it. If you're saying it's an IKEA monkey, that's where she got it. So her is Namor Grease. And like, they said the photo. And everyone in the family knows because my niece carries this monkey everywhere and travels with it. And we're like, I can't believe it's the exact same stuffed animal.

[Jordan]

All right, well, I think this could be like a new miniseries. We have of, like, tear jerking moments this week.

[Albin]

Why did you almost cry this week?