Podcasts about Atreus

Episode 100 is here.For this milestone episode of Co-op Chronicles, Blacklabel and Geisha dive into one of gaming's most iconic franchises: God of War.From the brutal Greek era to the emotional Norse saga, God of War has evolved from a series built on rage, revenge, and chaos into one about grief, fatherhood, legacy, and whether someone like Kratos can actually become better.We talk about why Kratos became one of gaming's most recognizable characters, how the 2018 reboot changed everything, why Ragnarok pushed his story even further, and why Geisha connects with the series as a fan.Then we get into the current conversation around God of War: Laufey, the newly revealed PS5 entry focused on Faye/Laufey, Kratos' wife and Atreus' mother. PlayStation's official reveal describes Faye waking in the Everywhen, the afterlife of the gods, and fighting to protect the plans she left behind for Kratos and Atreus. Deborah Ann Woll is also returning as Faye, with no release date confirmed yet. And of course, we talk about the backlash.Is a Faye-focused God of War a bold new chapter? Is it a risk? Or is the internet doing what it always does and turning change into ragebait before the game even releases?This episode is about God of War's legacy, its evolution, and why fans fear change in the franchises they love most.Follow Co-op Chronicles everywhere:Spotify https://open.spotify.com/show/5SdKUmrjtUOB5y32Nd3gFeApple Podcasts https://podcasts.apple.com/us/podcast/co-op-chronicles/id1745794642YouTube https://www.youtube.com/@Co-op-ChroniclesInstagram https://www.instagram.com/co_op_chroniclesTikTok https://www.tiktok.com/@co_op_chroniclesLinktree https://linktr.ee/CoOpChronicles

Linktree: ⁠⁠https://linktr.ee/Analytic⁠⁠Join The Normandy For Ad-Free NME, Additional Bonus Audio And Visual Content For All Things Nme+! Join Here:⁠⁠ ⁠⁠https://ow.ly/msoH50WCu0K⁠⁠ In this segment of Notorious Mass Effect, Analytic Dreamz explores the powerful legacy of Laufey the Just, also known as Faye, one of the most influential characters in the God of War Norse saga. A Jötunn from Jötunheim, Faye lived secretly in Midgard as Kratos' second wife and Atreus' mother. She crafted intricate plans that shaped the events of God of War (2018) and Ragnarök, using her foresight, Jötunn magic, and unmatched strategic mind to oppose Aesir tyranny. As the Last Guardian of the Jötnar, she fought Thor to a standstill, wielded the Leviathan Axe, and prepared her family for the prophecies ahead.Analytic Dreamz breaks down Faye's agile combat style, soul manipulation abilities, and her role as the ultimate “Mama Bear” protector whose death launched the entire saga. The segment also covers the newly announced God of War: Laufey for PS5, revealed at State of Play in June 2026. In this upcoming title, players step into Faye's journey in the Everywhen, fighting across realms with fiery magic, a legendary talking sword, and new allies while protecting Kratos and Atreus.Join Analytic Dreamz for this deep dive into Faye's full story, family ties, and future in the God of War universe. Privacy & Opt-Out: https://redcircle.com/privacy

Today on Ascend: The Great Books Podcast, Dcn. Harrison Garlick is joined by Dr. Pavlos Papadopoulos of Wyoming Catholic College and Dr. Frank Grabowski of Holy Family Classical School to discuss BOOK ONE of the Odyssey--one of the greatest texts in the Western canon.Check out our NEW 12-WEEK STUDY OF THE ODYSSEY.Follow Ascend on X, Youtube, Facebook, Instagram, and more!Be sure to use our WRITTEN GUIDE to the Odyssey!They explore why the epic opens with “man” (not rage, not a god), the meaning of polytropos (“man of twists and turns”), Telemachus's urgent coming-of-age amid an absent father and predatory suitors, Athena's masterful mentoring, and Zeus' striking defense of human responsibility. Along the way they illuminate Homer's sophisticated anthropology, the poetic dialectic of Homer the philosopher, the haunting parallels with the House of Atreus, and why this ancient poem still speaks so powerfully to questions of masculinity, homecoming, virtue, and human greatness today. Witty, learned, and full of “blood on the floor” interpretive energy, this conversation will leave you hungry for the next eleven weeks—and convinced that Homer is one of the greatest teachers you'll ever encounter.Chapters00:00 Introduction to the Great Books Podcast03:39 The NEW Odyssey: A 12-Week Study09:29 The Importance of Reading Homer17:01 Exploring the Opening Lines of the Odyssey30:14 The Man of Twists and Turns: Understanding Odysseus35:28 Exploring Odysseus: The Complexity of a Hero39:26 Justice and Fate: The Role of Aegisthus42:28 Divine Intervention: Zeus and Human Responsibility55:30 The Journey Home: Odysseus and Telemachus01:03:12 Coming of Age: Telemachus's Transformation01:05:37 Exploring Penelope's Role01:11:44 Telemachus' Journey to Manhood01:24:56 Reflections on the OdysseyMore ResourcesIntro to the Odyssey with Dr. Patrick Deneen (2024)The Odyssey Book 1 with Dr. Frank Grabowski and Thomas Lackey (2024)Do Christians Owe a Debt to Homer? The Ascent.Understanding Homer as a Philosopher & Theologian. The Ascent.KeywordsOdyssey, Homer, Greek Literature, Great Books, Philosophy, Mythology, Education, Homer's Teachings, Classical Studies, Odyssey Analysis Odyssey, Homer, fate, divine justice, Odysseus, Telemachus, Greek mythology, divine intervention, hero's journey, philosophy

What a delight to talk to laura thompson about Agatha Christie. Above all, this episode was fun. Laura really does know more than anyone about Agatha and we covered a lot. What did Agatha Christie read? What did she love about Shakespeare? Was she pro-hanging? Why so much more Poirot than Marple? Why was she so productive during the war? We also talked Wagner, modern art, the other Golden Age writers, nursery rhymes, TV adaptations, poshness, nostalgia, Mary Westmacott, and plenty more. TranscriptHENRY OLIVER: Today I am talking to the very splendid Laura Thompson. All of you will know Laura's Substack. She has also written books about the Mitfords, heiresses, Lord Lucan, many other subjects, and most importantly today, Agatha Christie, who died 50 years ago. And there's a new book coming from Laura about Agatha Christie's 1926 disappearance.Laura, welcome.LAURA THOMPSON: So lovely to be here, Henry. I'm such a fan of your Substack, as you know.OLIVER: Well, same. Same. This is a mutual admiration call.THOMPSON: Well, thank you. Well, that's what we like.Christie's Favorite WritersOLIVER: Now tell me, what did Agatha Christie like to read?THOMPSON: Oh, a lot the same as us. I discovered she was a huge fan of Elizabeth Bowen, as we are. And Nancy Mitford, Muriel Spark. But her big love really was Dickens. She absolutely adored Dickens. I mean, she grew up in a house full of books, you know, and she wrote a screenplay of Bleak House for which she was handsomely paid. And it was never—I know, don't you long to know what that was like? Can you imagine—OLIVER: We've lost it? We don't have the typescript?THOMPSON: I've never seen it. I mean, maybe—I don't know whether it exists somewhere. But I just wonder how she tackled it, what she did. But yes, so that happened. And of course, Shakespeare, as we know from her books, which are full of subliminal and—I mean, you kind of notice them, but you don't have to.OLIVER: Yes. There's Shakespeare in every book?THOMPSON: No, but it's there, particularly Macbeth, which I suppose figures.OLIVER: Yeah.THOMPSON: Like The Pale Horse is completely Macbeth themed. And when I was a kid reading them, I think she really—Tennyson she uses a lot—she affected my reading in a good way.OLIVER: She sent you back to Shakespeare and the poets?THOMPSON: Well, sent me to them as a kid, probably. And also, there's a lot of Bible in her books, as I'm sure you've noticed.OLIVER: Yes. Yes.THOMPSON: Very easy facility with quoting the Bible.Christie and ShakespeareOLIVER: Now, what did she learn from Shakespeare? Because she clearly knows the plays in detail. She sees them a lot. She reads them. She and he are, I think, quite good plotters.THOMPSON: Is she even better than he is?OLIVER: Well, let's not get into that. But there is a sort of, in a funny way, a kind of affinity between them as writers.THOMPSON: That's so interesting.OLIVER: What do you think she learned from him?THOMPSON: Tell me how you—how you see that.OLIVER: Well, do you know that Margaret Rutherford adaptation, which probably you don't like and I do—THOMPSON: Go on.OLIVER: It's called Murder Most Foul, isn't it?THOMPSON: Yes.OLIVER: And there's something about the way that they can both walk the line between the sort of dark and deadly and the histrionic. Margaret Rutherford can't walk that line, but Agatha Christie can, right?THOMPSON: That's really interesting.OLIVER: And Miss Marple could come onstage in a couple of the plays. She's not so far off from being a Queen Margaret or some—in her angry moments maybe, do you think?THOMPSON: More rational, maybe.OLIVER: Much more rational.THOMPSON: Not so mad. Well, she's not mad, Margaret, is she? But she's upset.OLIVER: She starts off as a much sort of nastier character—Murder at the Vicarage, right?THOMPSON: Yes, she does. She was more acidic and then gradually—OLIVER: Waspish.THOMPSON: Waspish, and sort of mellowed. I see what you mean. And almost in the way that she calls herself—although that's obviously not Shakespeare—calls herself Nemesis.OLIVER: And the sense of atmosphere.THOMPSON: Yes, and the way they're structured. That's not necessarily just true of Shakespeare, but there is this sort of act three entanglement and this beautiful act five resolution that goes on with a soliloquy, I suppose.OLIVER: And some people think they both get confused in act four, but that's obviously not true, that this is the real mess of the plot. I think she might have learned quite a lot from Shakespeare, right?THOMPSON: That's really interesting. But, you know, the way she writes about Shakespeare in her letters to her second husband, Max, because when she was living in London during the war and almost at her most productive—I mean, her productivity levels are insane. And hitting every ball for six, really, you know: Towards Zero, Five Little Pigs, a couple of Westmacotts, which I'm sure we'll talk about. But she spent a lot of time going on her own to see Shakespeare.She's very—I hope I'm right in saying this—she's very sort of Ernest Jones [CB1] in her approach. She doesn't regard them so much as the products of words on a page; she regards them as rounded characters. Why were Goneril and Regan the way they were? What's wrong with Ophelia? You feel like saying, “Well, whatever Shakespeare wanted it to be,” but she sees them in that way. And Iago particularly—OLIVER: Yes.THOMPSON: —is the one that gets her. Yes. In one of her, I better not say which, but a major, major novel.And the book that she wrote under the name Mary Westmacott, The Rose and the Yew Tree, which I think might well be her best book of all. I think—well, I'll just say she wrote these six books under a pseudonym, Mary Westmacott. People call them romantic novels; that's sort of the last thing they are. And they're very, very interesting mid-20th-century human condition novels, and they're full of lots of stuff that she had to distill for the detective fiction. And she talks a lot about Iago in The Rose and the Yew Tree really interestingly, I think.Christie on Shakespeare?OLIVER: Now, Max said she should just write a book about Shakespeare, all this Shakespeare all the time. But she didn't. Why?THOMPSON: No. I don't think she ever liked being told what to do.OLIVER: [laughs]THOMPSON: His letters to her are quite annoying, aren't they?OLIVER: Yes, yes. I've only read what's in your book, but yes, I didn't warm to him.THOMPSON: I'm glad because people do. He gets a really good press even though he was unfaithful. But it worked, the marriage, because they both got what they wanted from it. But he said that, yes, and she says, “Oh no, they're just thoughts for you.” I don't think she would've felt the need, somehow. I think she liked saying things in her own more oblique way.OLIVER: Save it for the novels.THOMPSON: Yes, she's a great mistress of the indirect, I think, really. The way she writes about Macbeth in The Pale Horse, which I think is a really underrated novel, including thoughts on how it should be staged, which are really interesting and very, very good. I think she would've preferred to do that and use it to her ends.And of course, she has an incredibly powerful sense of evil, which I suppose is also in Shakespeare. Hers is a Christian sensibility, I mean, no question. People never talk about that, but it really is.OLIVER: Was she pro hanging?THOMPSON: Well, I think she took a kind of utilitarian approach that the innocent must be protected. And she took a view that if you've killed once, it becomes very easy to kill again because something in you has shifted, so you become a danger to the community. So I suppose in that sense she was.I mean, Miss Marple was. She's quite—“I really feel quite glad to think of him being hanged.”OLIVER: It's one of her most striking lines.THOMPSON: It is, isn't it?OLIVER: Yes.THOMPSON: So I suppose she was. I mean, I suppose she was. You know, she's very modern, she's very subtle in her thinking, but at the same time, she is a late Victorian product of her society. Yes.Dickens and Christie's FamilyOLIVER: Now, you mentioned this Bleak House script. She loved Bleak House. Do we know what she loved about it? It's obviously the first detective novel. Are there other factors?THOMPSON: You are going to know—this is when I'm going to start coming across as an idiot. Is it written before The Moonstone? Yes, of course it is.OLIVER: I think so. Yes. Yes. It's the first time there's a police detective in a major English novel.THOMPSON: Okay. I think she—do you know, this is a really good question. I don't actually know why she loved Dickens so much. She grew up—she had that rather intriguing upbringing whereby she had two much older siblings, a sister who was 11 years older, a brother who was 10 years older. Father died when she was 11.So she grew up incredibly close with a really rather intriguing mother, Clara. This is in the house at Torquay. And her mother encouraged her in a way that, it seems to me, quite unusual for the time and for the class to which she belonged. Because it was never deemed that it would interfere with her marrying and leading a more conventional life. But she always wanted to express herself creatively. And I think her mother possibly was a frustrated creative. I don't know. She had a lot of go in her.And whether it was just something she read with—I think anything she did at an early age with her mother would've made a huge impression on her. I think what you read when you're that age, you never quite—I never read Dickens at that age, so I've never quite got the habit.OLIVER: But if she's born in 1890, presumably her mother is just about old enough to have been alive when Dickens was alive. And so she's got a somewhat direct—THOMPSON: Yes, she was.OLIVER: You know, it's sort of back to the original culture of it, as it were.THOMPSON: Yes. Isn't that extraordinary?OLIVER: Yes. Yes. It's crazy to think. So she must have taken it in maybe in a more original way, somehow?THOMPSON: Possibly. Certainly Tennyson, I get that feeling, because her mother wrote this rather leaden sub-Tennysonian poetry. [laughter] It's like Tennyson on the worst day he ever had, but worse than that.OLIVER: But worse, yes.THOMPSON: Yes. And she wrote poetry like that, the mother, which is really rather sweet and touching to read. And obviously she would've been alive at the same time as Tennyson. So, yes, I'd never, ever thought of that before. Isn't that extraordinary? I mean, they went to see Henry Irving.OLIVER: Yes.THOMPSON: Yes. And yet she feels—it just amazes me, this—so I'm leaping slightly here, but this 21st-century halo of cool that she has around her, Agatha Christie. [laughter] I know, it's awful in a way, but the way she can be reinterpreted—that is a bit Shakespearean, in a way.I don't mean to make extravagant claims, but there's a sort of translucent quality to what she writes that means that people can impose and pull it and twang it and know that she won't let them down, as we are seeing constantly at the moment.Art and MusicOLIVER: Yes. No, I agree. Other arts—we know about all this, she loves reading. What music did she enjoy, for example? Did she like paintings?THOMPSON: Yes, she loved paintings. She liked modern art. She was painted by Kokoschka. It's very good. And she writes about modern art. In Five Little Pigs, the painter in that is a modern artist.And then music was her grand passion. I mean, music was her original career choice, as you know, of course. She must have had a good voice. She thought she could make a career of it. And she could play the piano. Beautiful piano at Greenway, it's still there.And they used to do this thing—I think it's a lovely idea—as a family. They would fill in what they called the book of confessions, and it would be questions like, “What is your state of mind? If not yourself, who would you be?” And at the age of 63, which is the last time she filled it in, she wrote, “An opera singer.” So that was still what she would've dreamed of doing. She loved Wagner very, very deeply.OLIVER: Okay. Interesting.THOMPSON: And there's a Wagner theme in a very late book, Passenger to Frankfurt, the one that everybody hates except me. And music, I mean, as a girl when—so her voice wasn't strong enough for opera. I think her ultimate—same as I grew up wanting to be a ballet dancer, I think her ultimate would've been to sing Isolde at Covent Garden.And in some of her short stories and in her first Mary Westmacott, which is called Giant's Bread, which is about a musician—and she really inhabits this character, Vernon, and it's all about modern music. And somebody who knew about this stuff, which I don't, told me, “No, she knew. She knew what was going on. She knew about the trends.” This is in the late twenties.And she always went to Beirut, and that was her real, real, real passion. She was one of those restlessly creative people. And her mother, God bless her, encouraged it.Christie's UniquenessOLIVER: What is it that distinguishes her from the other detective fiction writers? Because she doesn't, to me, feel—she's obviously part of this whole generation, this whole golden age, whatever you want to call it, but she doesn't feel the same as them somehow.THOMPSON: No.OLIVER: What is that?THOMPSON: Do you think it's her simplicity, that distilled simplicity that she has? She doesn't write linear; she writes geometric, I always think.OLIVER: Tell me what you mean.THOMPSON: Well, if you think of a book, the one I admire the most, as I constantly go on about, which is Five Little Pigs—you think about the amount of stuff that's in that book. It's a meditation on art versus life. The solution is unbelievably intriguing, I think. There's a whole family psychodrama in there. And every move of the plot, she's also moving on a—every move of the plot is impelled by a revelation of character. So plot and character are utterly intertwined, distilled together.I don't think any of the others can do that. I think Dorothy Sayers would take twice as many pages. And she'd dot every i and cross every t, and she couldn't bear loose ends or anything, could she? And she liked to reveal her knowledge of other things, almost to—I think the others like you to know that they're a bit better than the genre, maybe. Their detectives are superhuman, almost; wish-fulfillment man, almost.She doesn't do that with Poirot. He's just pure omniscience, really, plus a few tics and traits and, you know, mustache. I think it's that distillation and simplicity and the way she inhabits the genre in a way that the others don't quite do. And at the same time, she's redefining it from within.OLIVER: There's something as well, I think, about—she gets past the kind of Sherlock Holmes model in a different way. They still all have a bit of an overreliance on that, maybe.THOMPSON: Yes.OLIVER: Whereas Poirot in, what is it? In something like, is it Murder in the Mews? Very sort of Sherlock and Watson—THOMPSON: Yes.OLIVER: —kind of dynamic. But within, I don't know, two or three novels, that's gone, and he's Poirot as we know him, as it were.THOMPSON: Yes, yes.OLIVER: And she kind of, as you say, makes it her own thing and goes off in new directions.Christie and the TheaterTHOMPSON: Yes. She's sort of conceptual and the others aren't quite, I think. She doesn't do—she does something completely different with the whole concept of what a solution is, it seems to me. She doesn't—it's not Cluedo, is it? It's not, there's six of them, and eventually it has to be one of them; however many tergiversations or however you say that word, you sort of know that. Whereas with her, it's: it's nobody, or it's everybody, or it's the policeman, or it's a child, or there's something bigger and bolder going on.And she writes—I think she writes very theatrically. I think she writes scenically. I think she's incredibly good at character and action. That scene where you know the girl's a thief because Poirot leaves out 23 pairs of silk stockings, and he goes back in the room and there's 19 or something like that, tells you everything. It's all in there.OLIVER: The solution to 4.50 from Paddington, which we shan't reveal, but—THOMPSON: That's Cards on the Table. But what I mean is, she's given us a little scene that tells us all we need to know about that person, really: a sort of timid thief who can't resist—OLIVER: Yes, but that's what I'm saying. At the end of 4.50, the solution is staged.THOMPSON: Oh, sorry. Yes.OLIVER: It is literally a little re-creation of the drama, if you see what I mean.THOMPSON: Yes, I do. Sorry, Henry. Yes, absolutely.OLIVER: No, no. We're crossed wires.THOMPSON: Yes, yes, yes.OLIVER: But she is very theatrical, yes.THOMPSON: No, you are absolutely right. That's a reenactment.OLIVER: Of something that was seen almost like in a—you know, the whole thing is very—THOMPSON: Yes, yes. Well, she was a great—I mean, obviously Shakespeare, but she was a great lover of the theater as a medium. And of course, she wrote plays, as we know, which I think are far weaker than her books, myself.OLIVER: Even The Mousetrap?THOMPSON: Especially. [laughter] When did you last see it? Or have you not—OLIVER: I've seen it once. I've seen it—you know, I don't know, before I had children, a long time ago. And I thought it was great. It was a lot of fun. The ending of act one, when someone opens a door and they say, “Oh, it's you.” It's very dramatic moments. You don't like it?THOMPSON: No, I think you're right. I wouldn't mind seeing it done really, really well. There's something strong at the heart of it, that theme that haunts a lot of her books about what happens to children who are unwanted.OLIVER: Yes.THOMPSON: Which is in loads of her—no, not loads. It's in Ordeal by Innocence. It's in Mrs. McGinty. That's, I think, because that happened to her mother. Her mother was given away as a child. Her own mother was a poor widow and gave up her daughter to be raised by her rich sister, which is not—it's not abandonment, but I think—OLIVER: Well, yes.THOMPSON: — it's not great. And I think all these things were absorbed by Agatha as a child. She grew up in what we would today call a house of—I hate this—strong women. I hate that “strong woman” thing, but they were strong women. Her mother was very, you know, as we've said, a sort of driving little person. And the rich grandmother, the poor sister, the dynamic there, they both fed into Miss Marple.And then her older sister, Madge, who was a big personality and actually had a play on in the West End before Agatha did, which I've always thought was extraordinary, just to write a play and have it on in the West End in 1924.And the men were—the father was feckless and charming and a rather grand New Yorker, he grew up as, and then settled in Torquay. And the brother was the Branwell Brontë. [laughter] He ended up a drug addict, which is also a type that feeds into her fiction: the man who could have made something of his life and goes wrong.The TV AdaptationsOLIVER: So all this theatricality in the books is obviously why she adapts so well to TV, and again, a lot of the others don't.THOMPSON: Yes, that's true.OLIVER: How famous would she be now without the TV adaptations?THOMPSON: Well, by 1990, so the centenary, she was a hell of a lot less—and that's really when the Poirots got going, which she never wanted. She never wanted—she didn't really want Murder on the Orient Express. It was only because it came via Lord Mountbatten. I don't know. I don't know because I think they're mostly not very good. I don't know what you think about the adaptations. But maybe that's deliberate, that they're less—if they drove you back to the books, you'd probably get quite a pleasant surprise.OLIVER: It's hard for me to say because I saw them all more or less after I'd finished reading her.THOMPSON: What did you think?OLIVER: I love Joan Aiken—not Joan Aiken, what's she called?THOMPSON: Yes, Joan Hickson is marvelous. Yes, absolutely.OLIVER: Hickson. I think she's just perfect because as you say, the simplicity, the not overstating. The “Pocketful of Rye” episode where she turns up and quotes the Bible, and the vicious older sister is there, and they have that moment. It's all so cleanly done.THOMPSON: Yes, I agree.OLIVER: David Suchet, I quite like him. I think he has those wonderful moments. “I cannot eat these eggs. They are not the same.” I think that's very good. It's very funny, you know, he gets it.THOMPSON: You prefer him in spats and art deco mode to when he became—he became like a de facto member of the House of Atreus by the end, hadn't he? It had gone very, very—OLIVER: I mean, I certainly didn't watch them all, no, no.THOMPSON: No. Well, I sort of had to.OLIVER: Yes, you did.THOMPSON: But I could never get through those short story ones. I don't think I've ever got—OLIVER: The moral sort of doom of it all, yes.THOMPSON: Well, the early ones, when they always had—you could see they'd hired a car for the day. [laughter] And I don't think I've ever got to the end of one of those.But I think—sorry, going back to your question, I think they probably did make a massive difference. You know, they're really, really popular. And whether she would have—what you think her—she might be read as much as somebody like Sayers if it weren't for all those adaptations. But then the fact of all those adaptations tells its own story in a way, because that wouldn't happen to one of the others, as you rightly said.Resurgence and PopularityOLIVER: No, they don't have that quality. And also, she was bigger than them. That's why they picked her, because she was bigger than them anyway.THOMPSON: And simpler. Because when I used to read them at university between the pages of Beowulf or whatever, like porn, [laughter] it was a bit mal vu. You read her for entertainment. But you certainly—I don't think—she's always been admired by a certain kind of French intellectual, hasn't she, for that subtextual quality that she has, that sort of fathomless quality that she has.But when I researched that biography, which I started in 2003, I can remember going on the radio. And names will not be named, but I was like a figure of fun with a couple of other detective writers, quite well known, who just sort of openly mocked me for taking her seriously and more or less said, “Oh yeah, we love her, but she's terrible” kind of thing. “Why are you taking her seriously?” I mean, it was regarded as a bit of a joke to take her seriously.I'm not saying I changed the game or anything like that, but I think there must have been a movement around that time in the early twenty-naughties—whatever the damn thing, decade's called—to start seeing that she is an interplay of text and subtext, facade and undercurrents, and these powerful foundations that underpin her books. Murder on the Orient Express is, you know, “Does human justice have the right to exert itself when legal justice has let it down?”There are these very strong—I think this is part of why she's survived the way she has. We intuit powerful truths underneath the Christie construct, if you like. I always say she's not real, she's true. I think she's incredibly wise about human nature, possibly more than any of them.You take a book like Evil Under the Sun, and there's a femme fatale who's murdered. “Oh, the femme fatale. No man can resist her.” Turns out she can't resist men. She's prey; she's not a predator. And of course, women who are so dependent on their looks and so on, that is what they are. They are prey. They're not predators. They're very, very vulnerable. Just a really small thing like that. And I just think, oh, you're very—there's so much easy wisdom in there somehow.And she deploys it perhaps differently—I mean, Ruth Rendell is wise, but it's very, “I am wise and you're going to pay attention to me.” You know what I mean? It's all very, “I'm very dark and very wise and very,” you know. I love her, but everything's so easy with Agatha. It's so, to coin a phrase, two tier. You can read them and have fun with them. You can read them and there's so much stuff going on underneath, and yet she presents this smooth face. I don't think any of the others are quite that resolved, if you like.Self-AdaptationsOLIVER: Now, you wrote that her own stage adaptations of The Hollow and Five Little Pigs lack the subtlety of the original books, quote, “almost as if Agatha herself did not realize what made them such good books.” How much of her talent do you think was unconscious in that way?THOMPSON: Yes. That's such a good question. I do think that, about those plays, it could have been that she just thought, “That's not what my audiences are going to want from me. They're just going to want to be entertained by”—we know she can do the other thing because of her Mary Westmacott books, where everything is laid out. They're not distilled at all; they're quite the opposite.I think they must have been such a pleasure for her to write because she didn't have to constantly—they're unresolved; they ask questions that don't have to be answered. She could have done that with those plays, I'm sure, but I think she would've thought people aren't coming to see them for that. I think she had a very good opinion of herself, in the best possible way.OLIVER: Hmm.THOMPSON: Like I said to you earlier, she didn't take a lot of notice of anything anybody said to her. Because it is like writing this other little book, the one I've just done about 1926. She was very acclaimed right from the start. I didn't emphasize that enough in the biography. And she was really recognized as very special right from the start.And I think it's extraordinary to me how—it's so difficult for us today, isn't it? We're so at the mercy of “That won't sell, don't do that, blah, blah, blah.” She really did not just plow her own furrow, but create that furrow in a way that you can only compare with, like, Lennon and McCartney. Or whether the time was absolutely right that they let her run, they trusted her to do what she wanted, and because she had the gift of pleasing readers . . .You do really feel, although those books are very tight and taut, you do feel an instinctive ease in what she's doing, an instinctive sort of—there's a kind of liberated—which sounds perverse because they are so controlled, the books. But I always feel she's doing exactly what she wants to do because she knows what it is and she knows how to do it. Because I think, would she be amazed that you and I are having this conversation now? I don't know that she would be, really. What do you think?OLIVER: No, I agree with you. I think she had what Johnson said, the felicity of rating herself properly. I think she knew she was really good.THOMPSON: You might know he'd say it right.OLIVER: Yes. [laughs] But there's a—I think there must have been something about—I think it's in Poirot's Christmas, one of those, where someone gets killed in the night in their bedroom, and they go up. And one of the women says, “Who would've thought the old man had so much blood in him?”And the quotation just sort of occurs to—I think there's quite a lot of that in Christie, right? Things are coming up and it fits. And she's good enough to run on instinct at times.THOMPSON: That's right. That's it. Exactly. That's absolutely right. Like the way she quotes from the—yes, I love the bit when she quotes from the Book of Saul in One, Two, Buckle My Shoe, which is really quite a profound novel about whether—I mean, it's terribly timely—whether it's better to be run by a corrupt capitalist or to let in the radicals. And as I said in the biography, the corrupt capitalist wins on points. But then another element enters, which is what power does to people. And that's when she quotes from the Book of Saul.And it's just like you said, this—an instinctive that she—I do always feel her as an instinctive writer, even though—her notebooks are intriguing because obviously some plots she really has to work away at. And yet they feel felicitous. A coup like The ABC Murders, and she's really—that went through lots and lots of iterations. But what she'll often do is scribble down a line of dialogue, a line of “There they are.” It's the whole—it's not bullet points, which is a loathsome concept. It reminds me of a bee going from flower to flower and knowing exactly which—and she's got this gift of knowing what flowers we're going to need.I sometimes fear I overdo it. I don't want be like one of those people who's writing a PhD on, what was the thing I said on Substack, gynocracy in St. Mary Mead or whatever. It's not—I do think that's a bit overdone these days, the rummaging in the subtext, because she's an interplay. And that's why I write that chapter in the book called “English Murder,” which is about the facade, you know, “smile and smile and be a villain.” And there's nothing more interesting. There's nothing more interesting than murder among classes who are trying to cover things up.And she does that—that's at the heart of golden age murder, I suppose. And I just think she does that better than anybody because she's so all the things we've been talking about. She's so distilled, she's so simple, she's so smooth, she's so instinctive. And she's doing it the way she wanted to do it because of your wonderful Dr. Johnson quote. She knew not to take notice of other people, including her—Quick Opinions on ChristieOLIVER: Should we have—THOMPSON: Yes. Go on.OLIVER: Sorry, sorry. Should we have a quick-fire round?THOMPSON: Please.OLIVER: I will say the name first of a few of her books—THOMPSON: Oh, god.OLIVER: —and then a few other detective writers, and you will just give us your unfiltered opinion: good, bad, ugly, indifferent.THOMPSON: Okay. What fun.OLIVER: You can “nothing” them if you want to.THOMPSON: Okay. [laughter]OLIVER: Hallowe'en Party.THOMPSON: Underrated. Very interesting on sixties counterculture and the effects of societal breakdown, et cetera. What do you think?OLIVER: I think it's a real page turner. I remember reading that for the first time. I loved it. Yes. Nemesis.THOMPSON: I can't keep saying the same thing. Underrated. [laughter] Very interesting philosophy of love in that book, I think. I think it harks back to her first marriage. However badly it turns out, it's better to have experienced it. It's quite a mournful novel.OLIVER: The Mr. Quin—THOMPSON: Oh.OLIVER: Oh, sorry.THOMPSON: No, no. Sorry. You carry on. Marvelous. So inventive, don't you think? Such a clever character.OLIVER: Why didn't she do more of him?THOMPSON: Yes, that would've been good. And she was always interested in the commedia dell'arte. She wrote poems about it as a girl. And the concept of Mr. Quin, yes, as this sort of evanescent figure who's also a moral force, isn't he really? Or—yes, I wish she'd done more. They're marvelous.OLIVER: Towards Zero.THOMPSON: Oh, top notch, don't you think?OLIVER: One of the best.THOMPSON: Yes, I agree. Frightening motive. Very Ruth Rendell.OLIVER: It's very distinct in her. I haven't read all of her novels, but it's very distinct.THOMPSON: But the plot is, again, typical of her because it redefines the word contingent. [laughs] I mean, Dorothy Sayers would be having palpitations. She's very bold and grand like that. “Oh, there's a loose end. Oh, who cares?” You know, I mean, it's so—it just drives along that book, doesn't it? Yes. But I agree with you, one of her best.OLIVER: Death on the Nile.THOMPSON: Quite moving, I think. I think it's one of those ones from the thirties that, again, is talking about love in a way that—I think it just strikes a personal note to me because she was very in love with her first husband, Archie Christie. And he did fall in love with another woman, and it did cause her extreme pain that some people said to me she never quite got over.And I feel that a little bit in that book. There's a shadow of something quite powerful in that book, I think. Again, very, very loose and lovely plot, but powerful. Would you agree? Very good on the place as well, I think, Egypt.OLIVER: I love it. I think the solution is great.THOMPSON: Yes.OLIVER: And it makes a really good film.THOMPSON: It's a great film, yes. Wonderful film.Other Mystery WritersOLIVER: Yes. Okay. A few other detective writers: Michael Innes.THOMPSON: You've got me. I haven't read him. Should I?OLIVER: Oh, I think you will like him. Yes. Try Hamlet, Revenge!THOMPSON: Okay. Okay. Oh, I like it already.OLIVER: Yes, yes, yes. Oh, this is exciting. Gladys Mitchell.THOMPSON: Can't get into her.OLIVER: No.THOMPSON: What do you think? Should I try a bit harder?OLIVER: I read two. I thought they were good. I was not intrigued.THOMPSON: No, somebody told—OLIVER: The ones I read—Spotted Hemlock is a wonderful, like, wow, that's great.THOMPSON: Okay. Okay. Somebody said to me, I know she really—no, I didn't—I read it in a book that she really hadn't liked Agatha Christie, but you know, who knows? All that Detection Club rivalry, you can imagine. But okay, Spotted Hemlock—if I'm going to read one, try that, yes?OLIVER: Yes, that's a great book. Margery Allingham.THOMPSON: Kind of love her, but I never understand her plots. I always feel I'm in a bit of a fog, but she's quite a good writer. Do you think? Or what do you think?OLIVER: She's good at the fog. She's good at that sort of whirligig sense that there's a lot going on—THOMPSON: Yes, whirligig.OLIVER: —and you've got to get to the end before they do, kind of thing.THOMPSON: Also, she had a pub in her sitting room. Now, I like a woman who has a pub in their sitting room.OLIVER: [laughs] E. C. Bentley.THOMPSON: You've got me again, Henry.OLIVER: Oh, The Blotting Book mystery. You'll like this.THOMPSON: Okay. Okay.OLIVER: The other one is not so good, but you'll like that a lot.THOMPSON: Okay.OLIVER: Edmund Crispin.THOMPSON: Didn't get on with him.OLIVER: Why not?THOMPSON: Don't know. Don't know. It sounds like I don't read the men, doesn't it? Which is not the truth at all.OLIVER: I think that's fair enough, isn't it?THOMPSON: Well, I don't know. I don't think anyone's ever come up with a really good reason why women have shone so brightly in this genre. I don't know. Why didn't I—I read that one, the toyshop one [The Moving Toyshop] or whatever. I don't know. I just didn't get on with it.OLIVER: Too glib?THOMPSON: Possibly.OLIVER: Bit flippant, bit sort of funny-funny?THOMPSON: Possibly. I just couldn't quite get hold of it in some way. I don't know.OLIVER: I quite like Edmund Crispin, but I do think he's got a bit of a “he's a very clever boy” about him.THOMPSON: Maybe that's what it was. Maybe that.OLIVER: Something, yes. G. K. Chesterton.THOMPSON: I haven't read Father Brown. Oh, this is awful, isn't it? I'm starting to sound like a radical feminist by accident.OLIVER: [laughs] Maybe that's what you are, Laura. Maybe you just need to admit it. [laughs]THOMPSON: No, it does. It sounds really bad because I do really love almost all the women. I just, I don't know why I haven't read him.Christie and NostalgiaOLIVER: Was Agatha a nostalgia writer?THOMPSON: No, I don't think so. I don't think so. I don't think anyone who was a nostalgia writer would've written At Bertram's Hotel, which is an entire spin on the riff of nostalgia. Really clever. I think that's such a clever book. The way she traps us in her golden age, you know, this phantasmagoria of the re-created golden age. And then she says, “Ha, really fooled you.”I've written about this. I think she moved with the 20th century far more than is realized. I love those Cold War novels she writes about her dislike of ideologies. I love her postwar books about the fragmentation of the hierarchical society. I think she's—well, she's an incidental social historian, as are, I think, P. D. James and Ruth Rendell, but they're much more underlined about it. Again, I'm intrigued what you think. Do you think she is?OLIVER: I think there's definitely some quality, particularly to the Miss Marple stories—as you say, the social history sort of becomes a way of preserving something that's disappearing. One of them, written in the sixties—you can tell me which one—it opens with that description of all the new houses in the village and the mothers who give their children cereal for breakfast. And what sort of a thing is that to give a child? They should have bacon and eggs. Bacon and eggs is a real—you know, and she does have a real something heartfelt and real sense that this part of England is going, and this new thing is coming in.THOMPSON: That's true. That's absolutely true. That's The Mirror Crack'd. And it's—OLIVER: The Mirror, yes, yes.THOMPSON: Yes, and that whole thing of Mrs. Bantry's house has now been bought by a film star and blah, blah, blah. Yes, no, you are absolutely right. I didn't think hard enough before I answered your question.OLIVER: But no, what you said is also true. I can't sort of work out to what extent she regrets it, to what extent it's just useful material for her, you know?THOMPSON: Both. I mean, some of her late books, including Endless Night, I think, which is an incredibly modern book—that whole “me, me, me” culture of “I want, therefore I will have now,” which is written when she was quite an old lady. And then a book like Passenger to Frankfurt, which is—it's a bit sub–Brave New World, but it's very honest and pessimistic about a future—well, the one we are living in, really—full of fear and uncertainty and almost dystopian.She was a realist. You know, she is Miss Marple in a lot of ways. She was a realist in a way that I think a lot of us would find it difficult to be. And her American publishers were often—would sort of say, can she tone this down? Can she not have a young person who's completely evil? Readers want to know, is she going get any therapy? [laughter] And it's so true. There's quite a lot of that going on.She's very clear-eyed. So if she—I'm a bit nostalgic for Blur, do you know what I mean? I mean, you can't help it, in a way, like that brilliant example you give at the start of The Mirror Crack'd. But I would say her image is quite at odds with the reality of her in that way. But the image—OLIVER: And the adaptations don't help with that.THOMPSON: No. No. But at the same time, that Christie image, you know, the gentlewoman, the tea or the eternal bridge party, blah, blah, blah, that has a huge power of its own. So just being too iconoclastic about her, I think, is also a lie. Because I think, again, it's that interplay. She used the image, and the image—I hate the word cozy. I loathe the word cozy, but there's no denying that any book of that kind does have that quality. So I suppose even that's nostalgic in a way.Christie's PoshnessOLIVER: In a way, yes. How posh was she?THOMPSON: Good question. I've been thinking about that a lot. Quite, I would say. Quite grand, with that confidence. Her father really was—as I said, he was a young blade in New York dancing with Jennie Jerome and blah, blah, blah. And then it so happened that he ended up in Torquay, which of course then was very posh. And the fact that when she disappears, she disappears to Harrogate, [laughs] which is like the Torquay of the north.I remember her grandson saying to me, “She dealt with her literary agent. To her, he was staff.” You know, that kind of thing. Her sister, there is a—well, her sister ended up very grand indeed with a huge house up in Cheshire.I think she just had that internal confidence, really. She wasn't—and that there wasn't much money. I mean, there was very little money when she was growing up, as of course you know, but that didn't matter. I mean, her voice is insane. Her voice is, [affecting a posh voice] “Oh, it's lucky it just happens.” [laughter] But yes, there's a part of her that is real late Victorian upper middle class that, again, underpins her books.It's amazing really how broad-minded and cosmopolitan she was. But possibly, I mean, possibly that does—she was—you know, when she disappeared, she was described in foreign newspapers as an Anglo-American, the embodiment of Englishness, and that's how she was described. And then of course she was genuinely cosmopolitan in her love of travel and her love of other cultures and all that obvious stuff. Yes.Inspirations for Miss MarpleOLIVER: How much of her grandmothers is in Miss Marple?THOMPSON: Quite a lot, I would say, particularly the—OLIVER: Drawn from life?THOMPSON: Well, in an essential way not, because Miss Marple has no real experience of life in that way. We're occasionally told about some chap who came calling who wasn't suitable or whatever, but she's almost defined by nonexperience of life in a sense, but observation of life. She's an observer. She's not an outsider in the way that Poirot is. She has a place within the social hierarchy and whatever, and that village has a reality to it. And the way it changes has a reality to it. But she is defined by being an observer, I would say.But Margaret Miller, who was the rich grandmother, who is the one who had the big house at Ealing and was—you know, she's the one who would go to the Army and Navy stores and all that stuff that's in At Bertram's Hotel. She was—there's a lot of her in Miss—I think, as I say in the book, she grew up with the sound of female wisdom in her ears. You know, her grandmother was the sort of—if she'd seen her up in Harrogate, she would've known exactly what was going on. You know, one of those kind of women who could spot an affair at a hundred paces, just a wise sort of woman, worldly, worldly woman.And Miss Marple is worldly in her thinking, but not in her experience, particularly in a book like A Caribbean Mystery, which I think is—she's a real sophisticate, Agatha. I mean, I'm reading The Hollow again at the moment. And it's really astounding to me how there's a love affair at the center of it with a young woman who's kind of a self-portrait and this married man. And not only, there's not—it's not only nonjudgmental; there's literally no concept of judgment being in the vicinity. It's really, really sophisticated, grown-up stuff, I think. And again, I think that's maybe not recognized about her that much.Nursery RhymesOLIVER: What are the importance of nursery rhymes to her?THOMPSON: Yes, that's interesting. They're part of that distilled quality she had, I suppose, that really simple ability to catch hold of something that is simple and familiar in itself and then subvert it. There's books where she—I don't think she needs it in Five Little Pigs. I think the book is almost too good for that.But is it not to do with that—like her titles, which are really, really simple with a faint frisson of the sinister about them. Is it not that ability she has to catch, to take something really, really simple and subvert it for her own ends? What do you think? Do you think that's right? Or do you think it's something more than that?OLIVER: No, I think the simplicity is the point, and I think it probably gives her a way of talking, of showing how fundamental the wickedness is. And as you say, the children can be evil, and it's part of the darkness in a way, but it gives the appearance of innocence and, oh, One, Two, Buckle My Shoe? You know, children do this. And so it leads you through and makes it worse somehow. [laughs]THOMPSON: Yes. Exactly. Exactly. But I know I've—how many times have I said the word simple? But I really do feel that's the heart of her. And I also feel it's the heart of why she was misunderstood when I was growing up reading her because it was mistaken for simplistic.Wartime ProductivityOLIVER: Why was she so productive during the war? I mean, there were four books one year.THOMPSON: Yes.OLIVER: And as you say, they're some of the best. I mean, what is it about the war that gets her so busy?THOMPSON: Well, she was on her own, which she had never been, really. Well, obviously she divorced her first husband in 1928. So there's a couple of very bleak, dead years before she met her second husband and married him in 1930. But she wasn't completely on her own because she had her friend Charlotte Fisher, who was a sort of secretary-companion, but much more than that—really, really good friend.But in the war, Max Mallowan was abroad. Her daughter—she had one child—her daughter was married and living in Wales. And she was living in the Isokon building in North London, which I love because that's like, “You think I'm chintzy and old fashioned. And here I am socializing with the sort of left-wing intelligentsia at the Isokon building.” And there's something about being in that adorable little flat—they're so fabulous, those flats—and being alone but not feeling abandoned, as she had after her first marriage.And I suppose also, you know, war is, you either cower in despair or you think, “Right, well, better get on with it.” War is stimulating in that way. I think it was to quite a few writers, maybe, or quite a few creatives. The shadow of death. But there was something about that solitude but not abandonment, plus the stimulation of not knowing whether it was your last day on earth that did—it did. I mean, it's absolutely insane how productive she is.And then she wrote—she had a week off. She was also working as a dispenser at a London hospital, and she had a week off. And she wrote a Mary Westmacott, Absent in the Spring, which is one of her best Westmacotts, I think. I mean, she's got a week off and she writes a book. I mean, Jesus, there's a challenge to us, Henry. [laughter]The Mary Westmacott NovelsOLIVER: What are those Mary Westmacotts like? Because I've never read them, but you seem very—THOMPSON: Oh, have you not?OLIVER: You're very up on them. You like them?THOMPSON: I am. I really am. Well, for a biographer, they were a treasure trove because they're very revealing. Unfinished Portrait is, I think, as close as you are ever going to come to a true autobiography, as opposed to the actual autobiography, which is charmingly disingenuous.OLIVER: And also dull. No? I mean, it's just so dull.THOMPSON: Do you think? It is a bit.OLIVER: I couldn't read it. I couldn't read it. No, it was so long and so leaden. I felt like she didn't really want to tell me the story of her life. Just couldn't.THOMPSON: Well, I think that's probably right. It was very heavily edited after her death. And her daughter was very, very protective of her. So, Max Mallowan as well. So maybe there was a much better book in there somewhere. Who knows?OLIVER: So we should read Mary Westmacott if we want the unfiltered Agatha?THOMPSON: I would say Unfinished Portrait. It really fascinates me because the worst time you've ever gone through in your life—so in 1926, she lost her mother and her husband in the space of four months. And I think an awful lot of people, even writers, would think, “I'm going to put that behind me and get on.” But she had to reopen the wound. She had to go through it all again eight years later. I find that really, in itself, incredibly revealing about her.Poirot vs. MarpleOLIVER: Why is there so much more Poirot than Marple?THOMPSON: Yes, I've wondered that because there is this little thing that she hated him, which I don't really think she did. It's just something people say, isn't it?OLIVER: Well, it's a common thing about artists. They're supposed to hate their most successful work, but—THOMPSON: Yes. Yes. All I could come up with was that he was easier to put in different places. He could conceivably be on the Nile or in Mesopotamia or—I mean, it would be a—she does manage to get Miss Marple to the West Indies, but it's certainly—OLIVER: There are only so many holidays your nephew can send you on.THOMPSON: He was really successful, that nephew, wasn't he? Who do you think he was like? Sort of Ian McEwan or—OLIVER: [laughs] I know. It was sort of crazy, isn't it?THOMPSON: And very kind to her.OLIVER: It might be to her credit that she doesn't do a Midsomer Murders thing and just sort of wave away and say, “Oh, we can just have as many of these murders as we want.” She says, “No, we can only fit—” Do you think maybe that's it?THOMPSON: I think there might be a bit of that. I mean, her notebooks sort of—some of the books were originally Marples, like Cat Among the Pigeons and Death on the Nile, in fact. And then they became Poirots. I just wonder whether he's a bit more malleable because she is a more rooted, fixed entity.And he is—I don't mean to denigrate David Suchet because he's a fantastic actor, but he does root him more than I think the written version. I think he is a sketch on the page. And one of her great skills, I think, is how she can sketch, and they've got that quality of aliveness on the page, which you just can't analyze, really. I don't—well, I can't. And that's how I see Poirot. So he was more movable in that sense.And she's incredibly good at certain—like Sleeping Murder, there's no way you could have him in that. And Miss Marple is—her qualities are so perfect for a book like that, which has suddenly reminded me of how she got me into John Webster. I never read John Webster until—OLIVER: [laughs] That's great.THOMPSON: The way she uses The Duchess of Malfi is so clever. Do you think that's right about Poirot? Do you think there's something more . . .Reader Preferences and SalesOLIVER: I can see that. I wondered if there was some reader's prejudice involved.THOMPSON: Oh.OLIVER: Poirot is the sort of exotic—Sherlock Holmes, one thing that makes him popular is that he's a bit wacky, you know. And Poirot—he's always talking about, “You English are so xenophobic. Excuse me, I am Belgian.” And with the eggs and all the little—whereas Miss Marple's just the kind of old lady that we all wish there were more of. And how much of that will readers take? I don't know.THOMPSON: Yes. Although, as I say, she, she did—I mean, I think her publishers did like her to do Poirot, but I don't know that she would've been influenced by that necessarily. I mean, maybe she was—maybe I'm overdoing her—OLIVER: Well, she had these terrible money problems. Didn't she have to be a little bit focused on the dollar?THOMPSON: She did. She did, but she didn't—well, I mean, the money problems are insane because they were absolutely no fault of her own. They were to do with test cases, and it was just this sort of accumulation of horror that put her in tax problems during the war. And she really never could dig her way out of them and was advised to go bankrupt twice, which is unbelievable, just as a way of clearing it. I mean, it's terrible.But I don't know that she—I think her attitude was a bit more, “Well, why should I even bother if they're just going to take it away from me?” In 1948 she didn't write anything at all because I think she thought, “What's the point?” But then, that wasn't her way. But I don't know that she thought of writing as a way of digging out of it necessarily. But I could be—OLIVER: The Marples, did they make less money? Were they, did they sell less?THOMPSON: Not really. I think they all sold. Even poor old Passenger to Frankfurt sold hugely, absolutely hugely. I think people—I mean, my parents would—it was like people just wanted them, the Christie for Christmas.Rereading ChristieOLIVER: How many times have you read these books? Do you ever get bored?THOMPSON: No.OLIVER: Really?THOMPSON: Well, I have them on rotation, and I don't—as you know, I do interleave them with our beloved Elizabeth Bowen, who's my passion at the moment, and other people. But they are consolatory, I suppose. They are—there's bits of—there is this kind of—there's bits of them that I just know completely off by heart, like the gramophone record in And Then There Were None and all that.But there's something—and maybe I should have said this earlier, when I say—I've said it on Substack—that they're fairy tales for adults. There's something about that. There's an almost physical sensation of pleasure, really, when the resolution comes. It is a bit like act five of Shakespeare. I'm not going to say she's quite on that level. Not even I am going to say that.But there is—and it is like being a child again and reading the end toward the happy-ever-after, even though her happy-ever-afters are sometimes compromised. And there is something almost primal in that pleasure. And it almost sounds borderline mad, me saying it like that, but I do think there's something in it because the resolution is so—because it's character based, and at her best, she's character and plot as one, as in Five Little Pigs or The Hollow or Murder on the Orient Express or blah, blah, blah.Her resolutions do tell you something about human nature. You do think, “Oh, yes, that is what that would be. Yes, it would be all about money. Yes. Yes, doctors are untrustworthy,” or something on a more profound level than that. There's something that is a satisfaction, both childlike and I'm experiencing it as an adult. In my defense, P. G. Wodehouse said you can never read them too many times. [laughs] It doesn't matter if you know who did it. There's so much pleasure in them.Thompson's CareerOLIVER: Now, I want to ask a little bit about your career.THOMPSON: Mm-hmm.OLIVER: You were at a sort of stage school, then you studied at Merton, and then you worked at The Times.THOMPSON: Yes. Very briefly. Yes.OLIVER: How does one therefore go from all of this to being the biographer?THOMPSON: Well, I did always think I would have a career in—I wanted to direct plays. I directed Hamlet after university, which is probably the thing I'm still proudest of. But what it was, was that I wrote a couple of books. I won an award when I was quite young.And then I had an agent who—I said to him, “I want to write a biography of Nancy Mitford.” And he wasn't very keen on the idea, but I must have written an okay proposal. Again, because I thought Nancy Mitford was a little bit undervalued, that she's a lot more than just a posh girl. And at the time her reputation was quite low. And so somebody bought into that idea, and it sort of went from there, really.But it's a bit—I sometimes look back at the books I've written, including a memoir of my publican grandmother, and I think, gosh, this is all quite scatter-gun, but maybe that's okay. Maybe you should just write the books you really want to write. But it was a passion for Nancy Mitford that sort of started that particular ball rolling.And then I had the idea of—oh, no. I was down in Devon with a boyfriend, and he said, “You never stop talking about Agatha Christie. Why don't you try and write her biography?” And that was just a luck of timing because her daughter was still alive. So I met her, and she liked me because I knew the Mary Westmacotts so well, and that sort of happened. I mean, quite often these things are very fortuitous, don't you think? Did you not find that with your book?OLIVER: Yes, yes. No, I did. I did. I think some writers, as you say—I don't think of it as scatter-gun. I think of it, it's sort of an emergent thing, and you happen to have these different interests, and you just follow your nose, and that's fine.THOMPSON: Yes, exactly.OLIVER: Tell us about this production of Hamlet.THOMPSON: Oh. Do you know, I think it was not bad. I had a very good Hamlet. I think if you've—well, you're in trouble without—who is now quite a successful actor. And we were all really young, but he was—I saw him in something and said, “Do you want to play Hamlet for me?” And he said, “Okay then.” And it was a room above a pub in Chelsea, and it was very spare and very quick.And it was about—I can't bear when people overanalyze the character of Hamlet, and why does he delay? He delays because Shakespeare wants him to, so that he can write all those incredible speeches. That's a bit simplified, but it was—he was so, he so understood the translucent power of those soliloquies, this actor. So it just sort of worked because we didn't do too much to it. And it was, yes, it was good. I think it was good. But then I did Macbeth, and that was much less good.Secretly Reading ChristieOLIVER: And you've said here, and I think you said it in your book, that when you were at Merton, you were reading Agatha Christie between the covers of what you were supposed to be reading.THOMPSON: Yes, yes, I was.OLIVER: That can't be—is that a slight exaggeration, or did you really not get on with the syllabus?THOMPSON: Well, hang on. I was a bit stuck in the first term. Can you imagine coming from a performing arts school—OLIVER: Yes.THOMPSON: —and then being told, “Read that bloody, you know.OLIVER: Yes, yes. No, it's intense.THOMPSON: All I knew was French. How I got in is a minor mystery, but there it was. I've tried to do it honor ever since by writing as best books I possibly can. But I was okay once I got over that bit. Once I got into my beloved Tennyson and all the people we've been talking about, Hardy and blah, blah, blah. Larkin, about whom the best thing I've ever read—the best thing I've ever read about Larkin is your Substack about him, without a shadow of a doubt.OLIVER: Oh, thank you.THOMPSON: Just wonderful. So I sort of winged it a bit, but I had a very nice don. And the autodidact side of me, which is very like Agatha Christie, who barely went to school, and Nancy Mitford—I think it can be a good thing in a way, because you have such a respect for learning and truth. I always try to be truthful in my biographies, which as we know, not everybody is. [laughter]And I think you carry on wanting to learn and carry on wanting to fill all the gaps because I only had half an education, because in the morning you would do ballet and drama and all that kind of thing. So it is a bit odd, but in some ways I think it's been a good thing.OLIVER: Now, the new book is about the 1926 disappearance. When can we expect it to be published?THOMPSON: It's only a short book—OLIVER: Yes.THOMPSON: —because obviously I covered it a lot in the biography, and it doesn't—but I have found out a couple of new things. And that will be out in August here and in November in America. And I have come up with a slightly different slant on it, but mainly—and I treat it a little bit like a cold case. And it was—I had to write—I wrote it in five weeks, but it was incredibly good fun. Oh, and I reenacted her journey, which was very interesting, to Harrogate.But mainly it's such a pleasure because I, you know, on Substack, and I think, “Oh, you can't write about Agatha Christie again.” There always seems to be quite a lot to say. I'm intrigued by how you, who I think of as a true intellectual, how you have clear regard for her.Henry on Agatha ChristieOLIVER: I started reading her when I was about 12, and I just thought she was great, and I went through most of them. But I read them at intervals. So I was reading her into my twenties, thirties. And before this interview I tried to—I thought, “Laura's always saying Five Little Pigs is the best one. I'm going to read it.” And I just sort of found that I've lost the taste, in a way.THOMPSON: Okay.OLIVER: Which I was quite, I don't know, just maybe—I feel like this is my failing. Maybe I should take a week off and sit by the pool and read it properly. But I've always thought she's really, really great, and very few people can do that many very compelling stories without you sort of thinking, “Oh, I've read this one. I know. Yes. It's the same as the other one, isn't it? Yes. Yes, it was the”—as you say, it's not Cluedo. Even Dorothy L. Sayers, I don't think I could read much more by her, frankly. Great, she's great, but it's enough. [laughs]THOMPSON: Well, I quite like her. The whole—most girls who went to Oxford are quite keen on Gaudy Night, and the character of Harriet Vane is quite satisfying, I think.OLIVER: Indeed, indeed. And Strong Poison is great. And there—but I just mean if she'd written as many books as Agatha, you can't imagine it would've sustained the level of quality.THOMPSON: No, no. There is that lightness in Agatha and that terrible cliché of, “I wrote a long book because it was too—I didn't have enough time to write a short book,” and all that kind of thing. The brevity amazes me. When I said at the start, most writers would take twice as many pages to get all that in.She has style—I don't know if you can call it a style, but there is something blindingly effective about it that nobody can imitate. And it does—there's something so fathomless about her, and that's what continues to compel me. But I think it's very lovely of you to do this if you are no longer an admirer because you've let me sort of—OLIVER: Well, it's not that I'm not an admirer. It's just that I don't—I had this with P. G. Wodehouse. I read quite a lot of it, and now, I don't know, somehow I've reached a point where it's—I sort of get it, but it's just not that funny anymore. I don't know, just need some time away.THOMPSON: Well, maybe. Maybe, but you know, I'm a bit—she's part of my life now. It's like if somebody said, “You can't read her anymore,” it would be like, “You can't listen to the Rolling Stones anymore.” I mean, it'd be like a kind of death. She's part of my life the same way they're part of my life. She's now inseparable from just the way I go on, as is Shakespeare. And if I had to lose one of them, trust me, it would be her, you'll be reassured to know. [laughter]OLIVER: Very good. Laura, this has been a lot of fun. Thank you very much.THOMPSON: Oh, I've really enjoyed it. I really have. And I was really looking forward to it, and it's been even nicer than I thought it would be. So thank you.OLIVER: Oh, it's been delightful.THOMPSON: Thank you so much, Henry.OLIVER: Thank you. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

Alô criançada! Chegou o momento mais esperado do Mês! O Review está no ar!Neste episódio, os políticos Erick Fagundes e Dan Oliveira assumem o comando da bagaça enquanto Marko enfim rebola para os crias e André tira um merecido descanso.O mês de Março foi bem agitado, com anúncios inesperados, tretas corporativas, decisões polêmicas e aquela pitada clássica de caos criativo. Começamos discutindo a foto oficial da série de God of War da Amazon, que finalmente revelou Kratos e Atreus caracterizados já levantando o debate eterno: será que “parece o jogo”? Será que vai honrar a história? Ou vai ser só mais um careca barbudo genérico querendo fazer sucesso?Falando em Sony, comentamos a decisão inusitada da empresa ao desistir de trazer seus jogos single-player para o PC, reacendendo discussões sobre exclusividade, estratégia de mercado e aquele velho hábito de jogar contra a própria comunidade.Enquanto isso, a Bethesda comemorou discreta mas intensamente: Starfield se tornou o jogo mais comprado na pré-venda do PS5 no mês, um fato tão estranho que até o Todd Howard deve ter perguntado se era piada.No mundo do hardware, a NVIDIA decidiu que “quatro não era suficiente” e anunciou o DLSS 5, prometendo luzes, sombras e materiais tão realistas que você pode até sentir vergonha do seu próprio reflexo dentro do jogo.Do lado da Nintendo, uma raridade histórica: a gigante japonesa começou a vender mídias digitais por um preço mais baixo. Sim, você leu certo. Sim, é oficial. Não, não é tão bom quanto você pode imaginar.E claro, tivemos também os lançamentos de março, aquele momento em que a carteira chora, o backlog aumenta e todo mundo finge que vai jogar tudo “assim que der”.Mas o centro da nossa conversa foi a tão comentada “Lei Felca”. Debatemos seus impactos no mercado de games, o que realmente muda para as empresas, jogadores e estúdios, e se estamos diante de uma regulamentação necessária… ou de mais um obstáculo burocrático que deveria. Um papo completo, direto e cheio de informações úteis.Prepare-se para análises afiadas, indignações sinceras, risadas inevitáveis e aquele caos opinativo que só o Vai Logar Hoje sabe entregar.E aí, vai tirar uma selfie com a gente hoje?--------------------------------------------------------------------O Vai Logar Hoje? é um podcast dedicado ao universo dos videogames e ao cotidiano dos hosts Erick e Marko.Você pode acompanhar o podcast nas principais plataformas:Spotify: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://open.spotify.com/show/5FyK9NuRJnPIbwI7ncPSBB⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podcasts.apple.com/us/podcast/vai-logar-hoje/id1529269985⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Siga também as redes sociais do podcast e faça parte da comunidade:Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://instagram.com/vailogarhoje⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/@VaiLogarHoje⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Website oficial: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.vailogarhoje.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apoie o projeto e tenha acesso a conteúdos exclusivos:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://apoia.se/vaiapoiarhoje⁠⁠⁠⁠⁠⁠Para entrar em contato, enviar sugestões ou propostas, utilize o e-mail oficial: vailogarhoje@outlook.com

Welcome to Watch. Review. Repeat. Colton and Andrew return with the first installment of "Brews, News, & Previews" in 2026 to celebrate the lives and careers of those we've lost over the past few months and catch up on news and previews! 00:00:00 - Episode Teaser/Intro Music/Opening 00:04:29 - Andrew's Mythology Trivia Question of the Episode! 00:07:01 - 'Mortal Kombat' Actor Cary-Hiroyuki Tagawa Dead at Age 75 00:11:59 - 'Pulp Fiction' and 'The Mask' Actor Peter Greene Dead at Age 60 00:13:47 - 'It' and 'The Wire' Actor James Ransone Dead at Age 46 00:15:40 - 'Schitt's Creek' and 'Home Alone' Actress Catherine O'Hara Dead at Age 71 00:18:39 - 'Dawson's Creek' Star James Van Der Beek Dead at Age 48 00:24:58 - 'The Godfather' and 'Apocalypse Now' Actor Robert Duvall Dead at Age 95 00:27:58 - Eric Dane, "McSteamy" on 'Grey's Anatomy', Dead at Age 53 00:33:14 - Paramount Skydance Poised to Acquire Warner Bros. Discovery After Netflix Bows Out of Bidding War 00:48:07 - Lucasfilm Announces Leadership Transition 00:56:36 - Original 'Star Wars' Theatrical Edition Returning to Theaters in 2027 01:00:07 - '28 Years Later III' Moving Forward at Sony, Alex Garland to Return as Writer 01:07:14 - Lars Eidinger Cast as Brainiac in James Gunn's 'Man of Tomorrow' 01:08:53 - Sebastian Stan in Talks to Join 'The Batman: Part II' 01:14:54 - 83rd Annual Golden Globes Winners 01:18:05 - Prime Video Unveils First Look at Sophie Turner as Lara Croft in 'Tomb Raider' Series 01:21:09 - Apple TV Lands Rights to Brandon Sanderson's 'Cosmere' Fantasy Universe 01:33:33 - 'The Last of Us' Co-Creator Craig Mazin Developing 'Baldur's Gate' HBO Series 01:36:29 - Sony Reveals First Look at the Fab Four in 'The Beatles – A Four-Film Cinematic Event' as Production Begins 01:43:39 - Kristen Bell to Voice Amy Rose in 'Sonic the Hedgehog 4' 01:45:39 - 'Venom' Animated Movie in the Works at Sony 01:48:49 - Amazon Releases First Look at Kratos and Atreus in Live-Action 'God of War' Series 01:53:19 - 'Andor' Writer Beau Willimon to Write 'Game of Thrones' Movie 01:57:28 - 'Jury Duty Presents: Company Retreat' Official Trailer 02:02:44 - 'Pretty Lethal' Official Trailer 02:05:21 - 'Mike & Nick & Nick & Alice' Official Trailer 02:07:17 - 'The Drama' Official Trailer 02:09:46 - 'Lee Cronin's The Mummy' Official Trailer 02:13:42 - 'Mortal Kombat II' Official Trailer II 02:16:54 - 'The Mandalorian and Grogu' Official Trailer 02:21:00 - 'House of the Dragon' Season 3 Official Teaser 02:24:44 - Catching Up With Andrew (Magic: The Gathering, 'Task', 'Predator: Badlands', 'The Pitt' Season 2, Redecorating House) 02:38:04 - Catching Up With Colton ('28 Years Later: The Bone Temple', 'Send Help', 'The Muppet Show' (2026 TV Special), 'Scrubs', Hades II, The Battle of the Labyrinth by Rick Riordan, Indie Music Recommendations - Dead Pony, Momma, Die Spitz, Nine Inch Nails - Tron Ares: Divergence)  02:52:28 - Conclusion/Outro Music Visit our website! Support us on Patreon! Thank you for listening! Got something to say? Send it our way to watchreviewrepeat@gmail.com! Produced by: Anna Mattis Intro/Outro Music: Mechanolith Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

Last episode we dove into the beginnings of the Trojan War- namely centred around Helen of Sparta and her legendary, divine beauty that changed the world forever. However, more threads of fate were being woven together than just in the House of Sparta. The Trojan royal family had many secrets of their own....as did the House of Atreus...things are about to get a lot more messy before we can step into the war itself. So back in time we go!  Weaving through Homer's Iliad & Odyssey, the Cyrpia and countless histories, plays and poems, we bring you part two on the House of Troy and the Curse of the Atreides.  Show notes can be found on our website at: www.talesfromtheenchantedforest.com You can also find us on: Bluesky Mastodon Instagram   TikTok

Wie finden Unternehmen heute die richtigen Führungspersönlichkeiten für Transformation, Wachstum und Turnaround – und wie werden diese systematisch weiterentwickelt? Darüber spricht Franz Kubbilum in dieser Episode von „Behind the C“ mit Dr. Nicolas von Rosty, Managing Partner von Heidrick & Struggles in Deutschland. Heidrick & Struggles besetzt weltweit Vorstands- und Geschäftsführungspositionen und ergänzt dieses Kerngeschäft durch Leadership-Consulting – von Management Appraisals und Kulturdiagnostik bis hin zur Organisationsentwicklung. Gemeinsam mit Atreus als Teil der Gruppe entsteht so ein integriertes Angebot aus Executive Search, Beratung und Interim Management, das Unternehmen insbesondere in Transformationsphasen schnell handlungsfähig macht. Dr. Nicolas von Rosty zeichnet seinen Weg vom Rechtsanwalt über Managementrollen bei ThyssenKrupp in Mexiko und als Corporate Vice President HR bei Siemens bis hin zu Führungspositionen bei Egon Zehnder, Spencer Stuart und schließlich Heidrick & Struggles nach, wo er heute als Managing Partner weiterhin selbst C‑Level-Positionen besetzt. Er erklärt, warum persönlicher und kultureller Fit karriere- und erfolgsentscheidend sind, wie Neutralität und „Übersetzungsarbeit“ zwischen Kandidat:innen und Auftraggebern funktionieren und weshalb Energielevel, Resilienz, Kommunikation und persönliche Routinen für nachhaltigen Erfolg im C‑Level unverzichtbar sind. Weitere Fragen, die von Rosty in dieser Episode beantwortet, sind: - Wie unterscheidet sich professionelle Executive Search von klassischem Headhunting – insbesondere beim Vergütungsmodell, der neutralen Beratungsrolle und der langfristigen Verantwortung für Besetzungen? - Welche Chancen und Risiken sieht er in einer Zeit massiver Transformation durch KI, Digitalisierung und geopolitische Umbrüche – und wie können Führungskräfte mit Tempo, lebenslangem Lernen und Gelassenheit darauf reagieren? Themen: - C-level - Executive Search - Consulting ----- Über Atreus – A Heidrick & Struggles Company Atreus garantiert die perfekte Interim-Ressource (m/w/d) für Missionen, die nur eine einzige Option erlauben: nachhaltigen Erfolg! Unser globales Netzwerk aus erfahrenen Managern auf Zeit zählt weltweit zu den besten. In engem Schulterschluss mit den Atreus Direktoren setzen unsere Interim Manager vor Ort Kräfte frei, die Ihr Unternehmen zukunftssicher auf das nächste Level katapultieren. ▶️ Besuchen Sie unsere Website: https://www.atreus.de/ ▶️ Interim Management: https://www.atreus.de/kompetenzen/service/interim-management/ ▶️ Für Interim Manager: https://www.atreus.de/interim-manager/ ▶️ LinkedIn-Profil von Dr. Nicolas von Rosty: https://www.linkedin.com/in/nicolas-von-rosty/ ▶️ Profil von Franz Kubbillum: https://www.atreus.de/team/franz-kubbillum/

Nesse episódio, Edu Aurrai, Felipe Mesquita e Rodrigo Cunha falam sobre o Project Helix, vindouro novo hardware Xbox anunciado pela Microsoft; o surgimento de uma nova unidade do Nintendo Playstation, adquirido pelo National Videogame Museum dos EUA; os eventos de Pokémon, Capcom e Nintendo; o Switch Online baixando de preço no Brasil; a primeira imagem de Kratos e Atreus na série de God of War da Amazon; e mais! Duração: 120 min Comentados: Especificações do Project Helix na GDC 2026 Nintendo Playstation do National Videogame Museum Imagem da série de God of War divulgada pela Amazon COMPRE O MARS 2120, METROIDVANIA BRASILEIRO: PC (STEAM) PLAYSTATION 4, PLAYSTATION 5 XBOX ONE, XBOX SERIES S|X NINTENDO SWITCH Vídeos: [Brasil] Pokémon Presents | 27/2/2026 STAGE TOUR • Official Game Reveal Indie World Showcase 3.3.2026 Black Ops Royale Launch Trailer | Call of Duty: Warzone Capcom Spotlight – Março de 2026 The Super Mario Galaxy Movie – Final Trailer MARVEL MaXimum Collection | Release Date Reveal

Son tiempos extraños en los que la realidad está bajo asedio y el mundo se enreda en la conspiración de Jim Carrey: ¿lo clonaron, es una broma elaborada o solo un caso extremo de cirugía estética? Además: el desenlace del pleito Netflix-Paramount por Warner, los primeros vistazos a Lanterns del DCU de James Gunn, el avance oficial de la temporada final de The Boys, Bronca T2 de Netflix y Kratos y Atreus en la nueva God of War de Amazon MGM.¡El HYP3 es el podcast de cultura pop y anécdotas gafapasta!Esta es la segunda parte del episodio 623, la primera se subió el viernes pasado. Puedes escuchar este podcast completo y sin anuncios en ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. También estamos en ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ y ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

Welcome to Multiverse News, Your source for Information about all your favorite fictional universesNetflix has walked away from its bid to buy Warner Brothers, refusing to raise an initial offer after a counter offer from Paramount Skydance at $31 dollars a share, its largest push to buy the studio to this point. This move sets up Paramount as the favorite to acquire Netflix with no real competitor left in the field. The Ellison family has made an extended political push, as well as a financial push to raise the offer enough to secure the chance to purchase the studio and all the intellectual property included. Netflix is also expected to walk away with a $2.8 billion dollar termination fee, paid by Paramount. On an investor call on Monday, David Ellison confirmed that eventually, HBOMax and Paramount+ will merge into one streaming platform.‘Twas two weeks before the Oscars and during awards season, Sinners took a surprise award home and we don't care for what reason! The awards show formerly known as the SAG Awards, now called the Actor Awards, livestreamed on Netflix this past Sunday, hosted by Kristen Bell. The biggest surprise of the night was Michael B. Jordan winning the lead actor award for his roles in Sinners, which Viola Davis announced in a way that went viral. In other horror film news, Amy Madigan took home her second award this season for best supporting actress in Weapons.Scream 7 blew past all expectations at the weekend box office, where it opened to a franchise-best $64.1 million domestically and $33.1 million overseas for a global start of $97.2 million, the best opening weekend in the franchise's history. It's a quiet time otherwise at the movies, as we look to May for the beginning of a hot summer season, with Sony Picture's GOAT pulling ahead of Wuthering Heights, both of which are in their third weekends.Amazon has unveiled a first look at the live-action “God of War” TV series, with production on the show now underway in Vancouver. The image offers fans their first glimpse of Ryan Hurst as Kratos, the titular god of war, and Callum Vinson as his young son, Atreus. On Saturday, David Jaffe, the creator of the “God of War” video games, took to his YouTube channel to criticize the first look, calling it a “dumb fucking image," and saying "could you find a picture that doesn't look like he's shitting in the woods? Cause that's what the picture looks like.”Paramount has tapped screenwriter Max Landis to pen the script for an upcoming GI Joe feature, sources tell the Hollywood Reporter. At the same time, the studio has also hired The Righteous Gemstones star and creator Danny McBride to work on a separate script for GI Joe, although it is unclear if these are two separate projects or not. Notably, Landis' career imploded in 2019 during the Me Too Movement after an expose in the Daily Beast in which several women accused him of sexual and emotional abuse.A24 has released the first trailer for Kane Parsons' upcoming horror film The Backrooms, starring Chiwetel Ejiofor. The film, which is a directorial debut for Parsons, is based on his viral YouTube horror series that has amassed more than 190 million views.The first trailer has been released for the Wayans brothers' upcoming Scary Movie 6, which releases in theaters on June 12th. The trailer has begun appropriately playing in front of Scream 7.Warner Brothers is officially developing a Game of Thrones movie with Andor writer and House of Cards showrunner Beau Willimon attached to write the script. The movie is believed to be about Aegon I Targaryen's conquest of Westeros, which would serve as a prequel to the mainline HBO series.

It's adaptation time on this week's Moviecast. We get our first look at Amazon's live action Kratos and Atreus for their upcoming series. Prime is also casting a Life is Strange series. Sonic 4 is officially filming with a March 2027 release window. In other news, Netflix lets Paramount take WB, and  Game of Thrones gets spinoffs rather than an ending. #godofwarseries #paramount #sonicmovie4 #netflix #amazon #wb #prime #aegonconquest #got #tv #streaming #film #allyoucangeek #aycg #podcast 

Efter att första bilderna från inspelningen av serien baserat på populära God of War-spelen släppts rasar fansen över hur Kratos och Atreus ser ut. Lyssna på alla avsnitt i Sveriges Radios app.

THIS WEEK: We take the time to remember Akira Toriyama's life and legacy. We also get a first look at Kratos and Atreus in the God of War series on Prime Video. I talk about the latest Mortal Kombat 2 trailer and a new MMA movie set to arrive soon. Then, in our TALK TOPIC of the WEEK, I review BAKI-DOU on Netflix.

Bring on the sweetness with new 5-hour ENERGY® shots, available right here:https://click2cart.com/274100bu?utm_campaign=swtflvr&utm_medium=paid_video&utm_source=kf&utm_content=rels Thank you for the support! Run of Show - - Start - First Look at Kratos and Atreus in Amazon's God of War TV Show - Netflix isn't going to buy Warner Bros after all, meaning Paramount is set to take HBO, Warner Bros Games, and the rest - Ad - Guitar Hero studio RedOctane returns with spiritual successor Stage Tour - Highguard Reportedly Has Less Than 20 Devs Working on It Following Mass Layoffs at Wildlight - BE AWARE: Videogamer.com has gone full AI Slop - Wee News! - SuperChats & You‘re Wrong Learn more about your ad choices. Visit megaphone.fm/adchoices

In today's Daily Fix:Amazon Prime Video has revealed the first image from the upcoming live-action God of War series. The image features Ryan Hurst's Kratos and Callum Vinson's Atreus in what looks like game-accurate attire (although some fans online have criticized the 'cosplay' look). The show does not yet have a release date. In other news, Nintendo revealed the upcoming Gen 10 games Pokémon Winds and Pokémon Waves, and to celebrate the franchise's 30th anniversary, The Pokémon Company is releasing a miniature Game Boy that's actually a retro jukebox. The device plays music from the original Game Boy games, but unfortunately it appears to be sold out (for now). And finally, take a peek at the five immersive worlds of the all-new Universal Epic Universe, and one of its featured attractions – Stardust Racers, all at Universal Orlando Resort.Presented by Universal Orlando Resort.

Welcome to Multiverse News, Your source for Information about all your favorite fictional universesSo many trailers premiered on and around the Super Bowl that we're going to make a meal of it for today's episode! Let's break down every new trailer that recently dropped.Starting with a not-trailer, The Mandalorian & Grogu subverted expectations with a shorter advertisement rather than a full trailer.Illumination's new trailer for The Super Mario Galaxy Movie showed longer looks at Bowser, Jr. and Yoshi.James Gunn and DC Studios released a new trailer for Supergirl.Project Hail Mary gave us another heartfelt look with a different trailer starring Ryan Gosling.Universal continues to go hard in the Minionverse, releasing a trailer for Minions and Monsters.Last week, a trailer for Scream 7 was released and was shown before the Super Bowl.Finally, another look at Steven Spielberg's Disclosure Day dropped during the Super Bowl.After a competitive bidding situation that unfolded over the past few months, A24 has landed rights to horror franchise The Texas Chainsaw Massacre. The indie studio will first tackle a series based on the franchise with Glen Powell among the executive producers and The Long Walk writer JT Mollner attached to direct. Powell, it's noted, will only have a producing role in the project and isn't slated to appear on screen.HBO is developing Baldur's Gate, a drama series based on Wizards of the Coast's video game franchise set in the world of Dungeons and Dragons with The Last of Us showrunner Craig Mazin attached to create, write, executive produce and showrun the TV adaptation. Unlike HBO's The Last Of Us, which retold the story from the PlayStation games, the Baldur's Gate TV series will be a continuation to the games, telling a story that takes place immediately after the events of Baldur's Gate 3.Callum Vinson has been cast in Prime Video's God of War adaptation series as Atreus, the 10 year old son of the main character Kratos.Chiwetel Ejiofor has joined the cast of Mike Flanagan's reboot of The Exorcist for Blumhouse alongside Scarlett Johansson.Ted Lasso star Phil Dunster is set to join the cast of Universal Pictures' live-action How to Train Your Dragon 2 in the role of Eret.The David Fincher-directed follow-up to Quentin Tarantino's Once Upon a Time in Hollywood called The Adventures of Cliff Booth delivered a surprise trailer during the Super Bowl this weekend. Currently a release date on Netflix is unknown, although the trailer did end with 'Coming Soon.'Netflix has released the first trailer for season 2 of One Piece and set a release date of March 10th for the series.Warner Bros. Pictures is reuniting frequent collaborators Mike Flanagan and Stephen King on a new adaptation of The Mist, based on King's 1980 novella.Universal has set a release date of May 19, 2028 for The Mummy 4, which is set to return Brendan Fraser and Rachel Weisz to the franchise.

In this quick Geek Freaks Headlines update, we talk about the casting of Atreus for the upcoming live-action God of War series and why his age matters for the character's story. Frank also highlights Callum Vinson's recent run of roles (including horror) and shares a bit of personal preference on which version of Atreus he hopes the show builds toward. You'll also hear why the broader casting has him feeling confident, and he throws it to you for your take before the next Game Fix.00:00 Atreus casting news for the God of War series00:08 Why Callum Vinson is a familiar face (recent roles and what's next)00:19 The age question: does this Atreus fit the best story arc?00:32 Big-picture confidence in the cast (including Kratos)00:38 Listener prompt: your thoughts on the Atreus castingAtreus has officially been cast, and it's already sparking debate about what era of the games the adaptation is aiming for.Frank's biggest concern is whether a younger Atreus can fully sell the coming-of-age push and pull that defines the character's best moments.Callum Vinson's momentum is worth noting, especially with his work in genre projects.Even with questions about Atreus' age, the overall casting has Frank feeling optimistic about the direction of the series.“My favorite version of Atreus is from the second game when he's a little bit older.”“That coming of age push pull with your dad…”“In the end of the day, I have to look at the casting of the whole and they have been killing it…”If you enjoyed the update, subscribe to Geek Freaks Headlines, leave a review, and share the episode with #GeekFreaksHeadlines so more fans can jump into the conversation.GeekFreaksPodcast.com (source of all news discussed on our shows)Facebook: facebook.com/thegeekfreakspodcastInstagram: instagram.com/geekfreakspodcastTwitter: twitter.com/geekfreakspodThreads: threads.net/@geekfreakspodcastPatreon: patreon.com/GeekFreakspodcastWhat do you think about Callum Vinson playing Atreus? Are you hoping the adaptation starts with a younger Atreus, or do you want the story to skew a bit older sooner?Sources: Variety, Deadline, The Hollywood Reporter , The Verge , Deadline (Crystal Lake casting) , Transcript Apple Podcast Tags: God of War, Prime Video, Callum Vinson, Atreus, Kratos, Ryan Hurst, PlayStation Productions, Video Game Adaptations, Friday the 13th, Crystal Lake, Geek Freaks Headline

Another Marvel character, Simon Williams (aka Wonder Man), got his own streaming series. This "review" isn't just going to re-read the Wikipedia entry; we're diving deep into the ionic-powered deep end to figure out if this show is a legit hit or just another forgettable piece of spandex-clad filler. Introduction: Wonder Man? Is That a Store Brand Hero?For those of you who just know Captain America and the one with the hammer, Simon Williams is basically the MCU's resident struggling actor/stuntman who also happens to be a walking ball of pink energy. He's an Avenger sometimes, but mainly he's the guy who has to deal with his super-villain brother, Grim Reaper, who probably still shows up uninvited to Thanksgiving. We're setting the scene for how Hollywood turned this surprisingly messy comic book star into a prestige TV series—and if they remembered to include the ego.Episode-by-Episode: The Roller Coaster of "What Is Happening?"Starfleet Academy - Episode 4 Analysis: This week, we offer an in-depth review and analysis of the fourth episode of Starfleet Academy. The discussion will cover the critical developments within the main storyline, the character arcs of the new cadet class, and the implications of the latest twist for the future of the Star Trek universe. We'll explore the technical merits, thematic resonance, and Easter eggs planted throughout the episode, debating whether it met fan expectations and where the season is heading next.The Future of God of War: Rumors and confirmed details about the next installment in the critically acclaimed God of War franchise are heating up. We examine the current information stream, speculating on the new mythology the game will explore following the Norse saga. Will Kratos and Atreus venture to ancient Egypt, Japan, or another mythological pantheon? We discuss potential gameplay innovations, the evolving relationship between Kratos and his son, and the monumental expectations surrounding the follow-up to Ragnarök.Highlander Reimagining Update: The long-awaited Highlander reboot/reimagining, starring Henry Cavill, has new details emerging. We cover the latest production updates, the creative direction being taken by director Chad Stahelski (of John Wick fame), and how the new film intends to honor the classic 1986 original while introducing the "Immortal" concept to a new generation. There can be only one—but what will this new iteration look like?And MUCH MORE! We'll cover a rapid-fire rundown of other significant news, including:Updates on the next season of popular streaming shows.New trailers and release dates for major motion pictures.Key announcements from the world of comic books, graphic novels & special guests.Stay tuned for a full-spectrum analysis of everything happening in pop culture, sci-fi, fantasy, and geekdom!#marvel #marvelstudios #wonderman #starfleetacademy #mcu #startrek

„Die Karriere kommt mit dem Spaß an der Sache.“ Dieses Führungsverständnis prägt Karin Till, kaufmännische Leitung der Kreutzpointner Gruppe. In dieser Episode sprechen Franz Kubbillum und Kristin Nagel von Atreus mit Karin Till über die Entwicklung der Kreutzpointner Gruppe – ein familiengeführtes Unternehmen, das komplexe Elektro- und Informationstechnik realisiert. Der Fokus liegt auf Industriekunden sowie auf moderner Gebäudetechnik. Besonders stark ist das Unternehmen in der Chemieindustrie positioniert und zugleich international aufgestellt. Karin Till verantwortet gruppenweit die Bereiche Finanzen, Materialwirtschaft und Supply Chain und gestaltet aktiv das Wachstum der Unternehmensgruppe. Sie beantwortet folgende Fragen in dieser Episode: - Wie trifft sie value-based Entscheidungen – auch in komplexen Unternehmensstrukturen? - Wie ist die Kreutzpointner Gruppe als Familienunternehmen gewachsen und professionell skaliert? - Was hat sich seit ihrem MBA verändert – und welche Karrieretipps gibt sie heute weiter? Hören Sie rein für praxisnahe Einblicke in strategische Entscheidungsfindung, persönliches Wachstum und moderne Führung. Zudem spricht Karin Till offen über ihren inneren Antrieb und darüber, wie sie Leistung und persönliche Balance in Einklang bringt. Themen: - C-Level - Elektronik - Karriere - Value-Based-Decisions ----- Über Atreus – A Heidrick & Struggles Company Atreus garantiert die perfekte Interim-Ressource (m/w/d) für Missionen, die nur eine einzige Option erlauben: nachhaltigen Erfolg! Unser globales Netzwerk aus erfahrenen Managern auf Zeit zählt weltweit zu den besten. In engem Schulterschluss mit den Atreus Direktoren setzen unsere Interim Manager vor Ort Kräfte frei, die Ihr Unternehmen zukunftssicher auf das nächste Level katapultieren. ▶️ Besuchen Sie unsere Website: https://www.atreus.de/ ▶️ Interim Management: https://www.atreus.de/kompetenzen/service/interim-management/ ▶️ Für Interim Manager: https://www.atreus.de/interim-manager/ ▶️ LinkedIn-Profil von Karin Till: https://www.linkedin.com/in/karin-till/ ▶️ LinkedIn-Profil von Dr, Kristin Nagel: https://www.linkedin.com/in/dr-kristin-nagel-0451aa116/ ▶️ Profil von Franz Kubbillum: https://www.atreus.de/team/franz-kubbillum/

Prime Video's live action God of War series just made a major casting move: Ólafur Darri Ólafsson is stepping into the role of Thor. Frank and Squeaks break down why this version of Thor matters, what Ólafsson brings to the table, and what this casting suggests about how quickly the show might move into the Norse era story beats fans know from the games. We also touch on the wider cast shaping up around Kratos, and why this adaptation is starting to feel very real.00:00 Intro00:40 The news: Ólafur Darri Ólafsson cast as Thor02:25 Why Thor is such a big deal in the God of War Norse saga05:10 What Ólafsson brings as a performer and why he fits this take on Thor08:20 The cast so far and what it tells us about the show's direction11:15 How the series might approach the 2018 game vs Ragnarök timeline13:45 What we want from the show's tone, scale, and character focus15:20 Wrap up and what to watch for nextThis casting signals the show is serious about the darker, more intimidating Norse-era Thor.Thor is not a side character in this era, he is a pressure point for Kratos and Atreus.The growing cast list hints the series could pull in elements beyond the 2018 game sooner than expected.Prime Video's track record with game adaptations makes this one worth watching closely.“This is the kind of Thor casting that feels heavy before he even speaks.”“If they nail Thor, the whole Norse era tone snaps into place.”“The cast tells you what story they want to tell, even before we see a trailer.”If you enjoyed the breakdown, subscribe to Geek Freaks Headlines, leave a review, and share the episode using #GeekFreaks.GeekFreaksPodcast.com (our source for all news discussed on the show)Facebook: https://www.facebook.com/thegeekfreakspodcastThreads: https://www.threads.net/@geekfreakspodcastPatreon: https://www.patreon.com/GeekFreakspodcastTwitter: https://twitter.com/geekfreakspodInstagram: https://www.instagram.com/geekfreakspodcast/Send us your questions and takes for a future episode: Who is your dream casting for Odin, Atreus, or Freya, and what do you want the show to keep or change from the games?Geek Freaks Headlines, God of War, Prime Video, PlayStation Productions, Sony Pictures Television, Video Game Adaptations, TV News, Casting News, Norse Mythology, Thor, Kratos, AtreusTimestamps and TopicsKey TakeawaysMemorable QuotesCall to ActionLinks and ResourcesListener QuestionsApple Podcast Tags

We break down the latest casting update for the upcoming God of War live action series, with Max Parker stepping in as Heimdall. We also share Christopher Judge's thoughts on the actor chosen to play Kratos, and why that endorsement matters for fans who care about getting the character right.00:00 Max Parker cast as Heimdall, what kind of Heimdall this needs to be00:15 Christopher Judge weighs in on the Kratos casting and what he wanted most00:32 Remaining big casting hopes: Atreus and Odin, closing thoughtsHeimdall should land as a character you love to hate, not a softened version.The show needs Heimdall to feel sharp, condescending, and dangerous, not just flashy.Christopher Judge's support frames the Kratos casting as respect-first, not just name recognition.Two missing puzzle pieces that will define the vibe fast are Atreus and Odin casting.“Don't get this Heimdall confused with the MCU version. This guy is a jerk.”“All I wanted for whoever was cast as Kratos was that they love and respect Kratos as much as we all do.”“It's a magnificent choice, not only a great actor, but a great person.”If you enjoyed this quick update, subscribe to Geek Freaks Headlines, leave a review, and share this episode with #GeekFreaksHeadlines. It helps more fans find the show.We pull our stories from GeekFreaksPodcast.com.Twitter: @geekfreakspodInstagram: @geekfreakspodcastThreads: @geekfreakspodcastFacebook: The Geek Freaks PodcastPatreon: GeekFreaksPodcastGot a take on Heimdall casting, or a dream pick for Atreus and Odin? Send it in and we might feature it on an upcoming episode.Timestamps and TopicsKey TakeawaysMemorable QuotesCall to ActionOur News SourceFollow UsListener Questions

Support the show Patreon: https://www.patreon.com/PSTrophyroom Discord: https://discord.gg/wPNp3kC  BSYK: https://tinyurl.com/3e24bn7y  Store: https://tinyurl.com/ktbsdw3s  This week on The Trophy Room:  A PlayStation Podcast hosts Teegan, Kyle, and Joe talk about  This week on The Trophy Room: A PlayStation Podcast, we square up the news and break down the biggest stories shaping PlayStation, Xbox, and the wider gaming industry. We start with the reveal that Ryan Hurst has been cast as Kratos in Amazon Prime Video's upcoming God of War TV series. Best known to PlayStation fans as Thor in God of War Ragnarök, Hurst steps into the role of Kratos as the show adapts the 2018 reboot, focusing on the emotional journey between Kratos and Atreus. We discuss whether this casting choice makes sense and what it signals for the tone of the series. Next, we cover reports suggesting Forza Horizon 6 is set to release in May, with early access for Premium Edition players. With rumors pointing to a Japan setting, we debate whether this Xbox racing juggernaut could eventually make its way to PS5, following Microsoft's expanding multiplatform strategy. We also discuss confirmation that Avowed is coming to PlayStation 5 on February 17, priced at $49.99, with a Premium Edition offering bonus cosmetics, an artbook, and soundtrack. We break down what this means for Xbox exclusivity and PlayStation's growing third-party lineup. It's also time for the Platties, our PlayStation awards show celebrating the best games of the year, including Ghost of Yotei, Death Stranding 2, Clair Obscur: Expedition 33, and other major Game of the Year contenders. From more Xbox games heading to PS5, to major franchise adaptations and award-season debates, this episode is packed with discussion, speculation, and PlayStation-focused analysis.

In this episode, we begin our final game for the current season, Santa Monica Studio's 2018 reboot of God of War. Thankfully we have Mads, our very own resident Norse God, to guide us along the way. As Kratos and Atreus travel across realms on their journey to Alfheim, they'll discover trolls, ogres, world serpents, and even a few pigeons.

This quick update breaks down the big casting news for Amazon's live-action God of War series: Ryan Hurst is set to play Kratos. We talk about why the pick feels so spot on, especially with Hurst already having God of War DNA from voicing Thor in the most recent game. We also get into what fans will want from Kratos' on-screen look, and the next big question that's still hanging out there: who's playing Atreus, and how close to the classic design will the show go?00:00 Casting reaction: Ryan Hurst as Kratos00:08 Why it works: Hurst's connection to the franchise and his acting resume00:19 The big unknown: Atreus casting00:24 Kratos look talk: bald head, red markings, and makeup choices00:31 Final verdict on the casting, fan question, and sign-offRyan Hurst is cast as Kratos for Amazon's live-action God of War series.The episode highlights Hurst's franchise connection, since he previously played Thor in the latest game.There's real curiosity about how the show handles Kratos' iconic design, especially the markings and overall realism.Atreus casting is framed as the next major question fans are waiting to hear.“Perfect casting is possible.”“Really this is the best casting we probably could have asked for.”“Ryan is going to nail this.”If you enjoyed the update, make sure you're subscribed to Geek Freaks Headlines. Leave a quick review if you've got a minute, and share this episode with a fellow God of War fan using #GeekFreaksHeadlines.Instagram: @geekfreakspodcastTwitter: @geekfreakspodThreads: @geekfreakspodcastFacebook: Geek Freaks PodcastPatreon: Geek Freaks PodcastGot a take on the Kratos casting, the look you want for the show, or who you think should play Atreus? Send in your questions and we might feature them in an upcoming episode.God of War, God of War TV Series, Amazon Prime Video, Kratos, Ryan Hurst, Atreus, Video Game Adaptations, Gaming News, Entertainment News, Casting News, Geek Culture, Geek Freaks HeadlinesTimestamps and TopicsKey TakeawaysMemorable QuotesCall to ActionFollow UsListener QuestionsApple Podcast Tags

Follow The Trophy Room Patreon: https://www.patreon.com/PStrophyroom Apple Podcast: https://apple.co/2PglU1a Discord: https://discord.gg/wPNp3kC Twitter: https://twitter.com/PSTrophyRoom ****** This episode covers a wide range of major gaming and entertainment industry updates, including new adaptations, studio developments, and ongoing industry conversations. Justin Lin, known for his work on the Fast and Furious franchise, is officially set to direct Sony Pictures and PlayStation Productions' live-action Helldivers movie. With a script from Gary Dauberman, Lin is reportedly focusing on character, world-building, and thematic depth as he brings the popular Arrowhead Game Studios franchise to film. The long-anticipated Amazon God of War TV series is now moving into pre-production, with Frederick E.O. Toye directing the first two episodes. Casting has begun for Kratos and Atreus, putting to rest ongoing speculation about who will take on the lead roles. Toye's previous work on Shogun, The Boys, Westworld, and Watchmen signals a high-quality adaptation. Meanwhile, recent rumors linking Christopher Judge to the role have been dismissed. A mysterious statue discovered in the Mojave Desert, tied to a teaser from Geoff Keighley, has sparked intense speculation about what game it represents. Fans have theorized connections to God of War, Diablo, Fallout, Doom, Baldur's Gate, and even Half-Life due to nearby road names, but multiple insiders have ruled out several of these possibilities. The statue continues to generate discussion as more clues appear. Industry commentary also includes discussion around claims from HipHopGamer regarding a new PlayStation experience that could feature elements from all generations of PlayStation hardware and include a social component reminiscent of PlayStation Home. This speculation opens broader conversations about what PlayStation, Xbox, and PC gaming may look like in the next hardware cycle. The controversy involving Bungie's Marathon art dispute has reached a resolution, with artist Fern “4nt1r34l” Hook stating that the issue has been resolved to her satisfaction. Bungie previously acknowledged that a former employee had used her work without permission during the game's early development and removed the affected assets from the project. Yacht Club Games, the studio behind Shovel Knight, is facing a critical moment as it prepares for the release of Mina the Hollower. According to Bloomberg, the studio's future stability depends heavily on the game's sales performance. With the team having downsized and paused work on a separate 3D Shovel Knight project, the success of Mina the Hollower may determine the direction of the studio moving forward. Additional updates include a significant reduction to Helldivers 2's PC install size, a new limited-edition Genshin Impact DualSense controller for PS5, the soft launch of MLB The Show Mobile on iOS and Android, and new accusations that Sony used generative AI artwork for its PlayStation Advent Calendar promotional campaign. This episode brings together the biggest stories shaping PlayStation, Xbox, PC, and the wider gaming industry, with insight into upcoming adaptations, studio challenges, production reveals, and the future direction of gaming.

Helena, die schönste Frau der Welt wird geboren und noch als Kind von Theseus entführt. Ihre Brüder, die Dioskuren, Kastor und Pollux (oder Polydeukes) retten ihre Schwester. Und Agamemnon, Menelaos und Odysseus bekommen jeweils eine Braut. Hinweis: Diese Folge thematisiert sexuelle Gewalt und Mord im mythologischen Kontext. Personen Nyx, Chaos, Erebos, Thanatos, Moros, Hypnos, Oineroi, Hekate, Erinnyen, Hesperiden, Moiren, Keren, Momos, Oizys, Apate, Philotes, Geras, Eris, Nemesis, Zeus, Okeanos, Aphrodite, Hermes, Leda, Helena, Tyndareus, Klytaimnestra, Kastor, Pollux (Polydeukes) = Tyndariden / Dioskuren, Herakles, Theseus, Ariadne, Peirithoos, Aithra, Idas, Lynkeus, Aias der Große, Aias der Kleine (Sohn des Oileus), Odysseus, Laertes, Diomedes, Tydeus, Sthenelos, Kapaneus, Antilochos, Nestor, Menestheus, Peteos, Patroklos, Achilles, Atreus, Thyestes, Agamemnon, Menelaos, Penelope, Telemachos, Eros Orte Okeanos, Sparta, Athen, Aphidna, Mykene, Ithaka, Troja, Theben, Taygetos Sonstiges kosmisches Ei, Argonauten, Kalydonische Jagd, Kalydonischer Eber, Amazonen, Tyndariden (Dioskuren), Sternbild Zwillinge, Musen, Die Odyssee, Der trojanische Krieg, Homer LINKS:Stammbäume & Schaubilder Literatur Musik Französische Version „Le Chaos et ses enfants“: Spotify Instagram: @chaos.kinder Mail: chaoskinderkontakt@gmail.com Unterstützung

Hach ja... die Tantaliden. Es wird weiter gemordet, gestohlen, fremdgegangen, vergewaltigt, Inzest betrieben, Menschen werden gekocht und gegessen... das volle Tantaliden-Programm. Bon appétit. Hinweis: Diese Folge thematisiert Suizid, Mord, sowie körperliche u. sexualisierte Gewalt im mythologischen Kontext. Stammbäume zu dieser und zu vielen anderen Folgen findest du hier. Personen: Pelops, Tantalos, Poseidon, Hippodameia, Myrtilos, Atreus, Thyestes, Chrysippos, Laios, Ödipus, Aerope, Zeus, Hermes, Artemis, Pelopeia, Agamemnon, Menelaos, Thesprotus, Aigisthos, Athene, Tyndareos Orte: Olymp, Pisa, Griechenland, Peloponnes, Mykene, Kreta, Theben, Sikyon, Sparta Sonstiges: Tantaliden, Fluch der Tantaliden, Atriden, Fluch der Atriden, Orakel, goldenes Lamm LINKS:Stammbäume & Schaubilder Literatur Musik Französische Version „Le Chaos et ses enfants“: Spotify Instagram: @chaos.kinder Mail: chaoskinderkontakt@gmail.com Unterstützung

Family strife is nothing new in this world. The Greeks had a number of horrible stories about fighting families: from Oedipus killing his father so he could marry his mother, to the Atreus family, who routinely served their children to the gods (much to their chagrin). The Bible has much of this as well: the first four people mentioned all had their issues with one another, ending in a story of murder. Our story today continues the thread of family problems. Conflicts over our sin arise, and there is one clear solution: loving the Lord. 1. The conflict of coveting 2. The conflict of cash 3. The conflict of conceit

BOY! Lazz and Cody sit down to review Cody's new God of War deck led by Kratos and Atreus. They also discuss their feelings on Universes Beyond in Magic. Deck list: https://moxfield.com/decks/nm7_sWsroUGqubLjiQ1XZQCuts and adds: https://moxfield.com/decks/fZIdk1CJ-UmB0y8I2goVDgjoin the discord: https://discord.gg/FkGyWC26email us at Brewitorscrewit@gmail.comBe sure to follow and leave a review.

Giga Bytes Podcast #372: Hoy hablamos de la demanda de PS, el empleo multiplataformas de PS y Mucho más!!! Sony buscando para posición Multiplataforma Sony demanda a Tencent por clon de Horizon (Light of Motiram) Horizon vende 38m de unidades COD HQ elimina MW2 y 3 del launcher, serán Downloads separados Sony FlexStrike detallado (Arcade Stick) 2026 Xbox Update Julio, selección de juegos de tu catalogo en Cloud PSN Plus Agosto 2025: Lies of P DayZ My Hero One's Justice 2 Serie God of War de Amazon recibe update, Detalles: Adaptara Era Nordica con Atreus y Kratos como protagonistas, emulando el tono del juego S1 10 episodios, 2 temporadas confirmadas hasta el momento Cory Barlog envuelto en el proyecto Comenzaran a filmar como temprano en el 2026, libretos aun no completados Ronald D Moore showrunner (Battlestar Galactica, For All Mankind, Star Trek Generations/First Contact) Battlefield 6 MP ser mostrado julio 31 Metroid Prime 4 recibe clasificación Fantastic Four y Superman dominan la taquilla Season 2 de Hawkeye? Avatar Fire and Ash trailer Dic 19 2025 Coyote vs ACME a cines 8-28-26   Sigueme y Suscribete: Facebook.com/elgiga Youtube.com/elgiga947 Instagram.com/elgiga947                                                                                                                                    Twitch.tv/elgiga947 Twitter.com/elgiga947 Giga Bytes Podcast   #monsterenergypr @monsterenergy @Stephreyesmarketing @caribbeanxsports @eriberto213 #gigabytespodcast #NintendoSwitch2 #PS5 #DeathStranding2 #Multiplatform #Forza #Capcom #Superman #FantasticFour #Avatar #DeathStranding2 #GhostofYotei #Switch #Xbox #PSSR #PS5Pro #Xbox #Switch2 #Review #Playstation #COD #Switch2 #LanzamientoSwitch2 @tiendasmesalve #gigabytespodcast

In this episode of Geek Freaks Headlines, we break down the latest updates on the upcoming God of War live-action series for Prime Video. Based on a Collider report and recent SDCC coverage, we dive into what's confirmed so far, including the show's timeline, characters, production details, and what fans can expect in terms of tone and storytelling. The show will adapt the Norse era from the 2018 game and feature Kratos and Atreus. With Cory Barlog involved and a two-season order already in place, the series is shaping up to be one of Amazon's biggest game-to-screen adaptations yet.Timestamps and Topics:00:00 Intro and quick headline00:05 Series will follow Norse era storyline (2018 game)00:10 Kratos and Atreus confirmed as leads00:15 Show's tone will match the game's balance of seriousness and spectacle00:22 Cory Barlog joins production team00:28 Two seasons already greenlit, Season 1 will be 10 episodes00:33 Series is coming to Prime Video00:37 Scripts in progress, filming starts early 202600:40 Host reflects on why Norse era is the right choice00:48 Importance of visuals in pulling it offKey Takeaways:The live-action God of War series will focus on the Norse mythology arc, not the original Greek-era games.Kratos and Atreus will be central to the story, staying true to the emotional tone of the 2018 reboot.The show aims to capture the mix of intimate storytelling and large-scale mythological action.Game director Cory Barlog is actively involved in production.Amazon has committed to two seasons, with Season 1 consisting of ten episodes.Scripts are being written now, and filming is scheduled for 2026.Memorable Quotes:“They want to emulate the tone of the game as much as possible... serious dialog, then suddenly big grandiose fights.”“This is the era I wanted them to do. Greek God of War, misplaced out of Greece into Norse mythology — learning the story of his fallen wife and this trickster son.”Call to Action:If you're as hyped for this God of War series as we are, make sure to subscribe to Geek Freaks Headlines wherever you listen to podcasts. Drop us a review, share this episode, and use the hashtag #GeekFreaksPod to join the conversation online.Links and Resources:All our news comes from GeekFreaksPodcast.comFollow Us:Facebook: https://www.facebook.com/thegeekfreakspodcastInstagram: https://www.instagram.com/geekfreakspodcast/Threads: https://www.threads.net/@geekfreakspodcastTwitter: https://twitter.com/geekfreakspodPatreon: https://www.patreon.com/GeekFreakspodcastListener Questions:Got thoughts about the God of War series? Send us a message or voice memo, and we might feature you in an upcoming episode.Apple Podcast Tags:God of War, Prime Video, Kratos, Atreus, video game adaptations, Norse mythology, Amazon series, Geek Freaks, SDCC 2025, Cory Barlog, PlayStation Productions, game-to-TV adaptations, geek news, pop culture podcast, 2025 TV shows

Dormammu I've come to Podcast… Join Marie-Claire ( @mariecgould ) , Kyle, Robin and Wil as we talk about The Fantastic Four: First Steps. Look shortly for an Additional Patreon Post on the Mythic motifs in the story especially on the House of Atreus and the Divine Child Motifs. Patreon: https://www.patreon.com/whattheforce What the force?Website: https://Whattheforce.ca […]

Send us a textWay back last year Lauren caught wind that an author was finally doing a retelling about Ipheginia. Fastforward to now.... Lauren gets into sources, character choices and things that seem totally implausible with Jenny around this pivotal moment that leads up to the Trojan War. The Death and Life of Ipheginia also turns her story from a fullstop into a semi-colon.... what if her story didn't end at Aulis?They also touch on Jennys short story about Aerope and learn where the curse of the House of Atreus came from.Find Jenny online: instagram - @jsusannewilson 

This week on MYTH, we're going to cover one of the most famous stories from Greek mythology - Perseus and Medusa. You'll discover that a wooden chest makes a dangerous boat, that heroing is all about the right accessories, and that prophecies are tricky. Then, in Gods and Monsters, no really, prophecy is very, very tricky. Source: Greek Mythology

Dcn. Harrison Garlick is once again joined by Dr. Frank Grabowski and Mr. Thomas Lackey to discuss the first part of the Eumenides, the third play in Aeschylus' Oresteia.Check out thegreatbookspodcast.com for more information.Check out our written guide to the Oresteia.The final play of Aeschylus' Oresteia, The Eumenides, sets forth the transformation of justice from the familial mechanics of the blood avenger to a more mature procedural justice set within the polis. It is a story of civilizational maturation. Whereas Agamemnon and the Libation Bearers dealt with the house of Atreus, the Eumenides deals with Athens—a movement from family to polis in consideration of justice.The first half of the Eumenides establishes the groundwork for the plays central conflict: the trial of Orestes with the Furies and Apollo vying against each under with Athena as the judge. The play seeks to find a resolution between two warring worldviews: the more primordial justice of the Furies and the more rational Olympian sensibilities represented by Apollo. What is brought forth by Athena is a new answer to the question: what is justice? To the degree her answer is new, however, is a topic to discuss.Lean more by checking out our guide!

Let's ride hoverboards into the sun with Echo Point Nova! Then run on some diagonal walls in Diesel Knights! Let's boo League of Legends for being scabs! Then run out of water in Forever Winter! Let's fall on some pipes in Lorn's Lure! Then God on some War! Let's Mork on some Borg with Mork Borg! Then finally, let's talk about the latest Sony State of Play!   Echo Point Nova - Echo Point Nova is an open-world FPS that offers unparalleled freedom and thrilling speed. Designed for both singleplayer and coop. From the creators of Severed Steel. - Greylock Studio (Steam, Available Now) Diesel Knights - Diesel Knights is a 6-v-6, Mech/Movement Shooter set in a pulp-inspired, dieselpunk world. - Xavier B. Johnson (Steam, TBA) SAG-AFTRA Strikes League Of Legends Due To "Secret" Shell Company - Article by Gamespot The Forever Winter - The Forever Winter is a co-op tactical survival horror shooter where you and your squad must loot the dead to survive under the shadow of terrifying and gargantuan war machines locked in a never-ending conflict. - Fun Dog Studios (Steam, Early Access) Lorn's Lure - An android is led through a vast structure by a glitch in his visual system. Lorn's Lure is an atmospheric narrative first-person platformer with novel climb-anything mechanics and modernized retro 3D graphics. - Rubeki Games (Steam, Demo Available) God of War Ragnarök - Kratos and Atreus embark on a mythic journey for answers before Ragnarök arrives – now on PC. - Santa Monica Studio, Jetpack Interactive (Steam, Available Now) God of War Ragnarok Mod Removes Controversial PSN Requirement — and Its Creator Has Vowed to Maintain It - Article by IGN God Of War Ragnarök's PC Port Is A Worse Version Of An Excellent Game - Article by Kotaku Sony Blog for State of Play: https://blog.playstation.com/2024/09/24/everything-revealed-in-state-of-play-september-2024/   State of Play trailers featured on the show: Ghost of Yotei Horizon Zero Dawn Remaster Fantasian Neo Dimension Fear the Spotlight Hell is Us Legacy of Kain Soul Reaver 1&2 Remastered The Midnight Walk  

The PS5 Pro has landed, but not upright unless you pay 25 dollars! Xeno's abound in Space Marine 2! God of War: Ragnarok makes its debut on the PC but unfortunately Josh has plans that day! We can't get no satisfaction, but definitely get Satisfactory! Squeenix isn't messing around with Playstation's nonsense any more. And finally, the Switch 2 has been leaked! PS5 Pro Technical Presentation: PS5 Pro Technical Presentation hosted by Mark Cerny PS5 Pro Gives Massive Boost to Final Fantasy 7 Rebirth - Article by GameRant Square Enix Confirms New Release Strategy for Final Fantasy Series - Article by GameRant Nintendo Switch 2 to be revealed this month following another huge leak - Article by Express.co.uk Nintendo Switch 2 first game officially announced - Article by Gaming Bible Images of the Switch 2: https://gamerant.com/nintendo-switch-2-leaked-images/ / https://www.reddit.com/r/GamingLeaksAndRumours/comments/1fjp352/photos_of_switch_2_factory_prototypes_have_leaked/?share_id=crRUWVQR6VaXSqSyU1HnA&utm_content=2&utm_medium=android_app&utm_name=androidcss&utm_source=share&utm_term=1 Accessory maker claims switch 2 photo leak is real: Article by GameRant God of War Ragnarok's PC port is getting two new features before the PS5 version, and one of them stops companions from spoiling puzzles - Article by GamesRadar Warhammer 40,000: Space Marine 2 - Embody the superhuman skill and brutality of a Space Marine. Unleash deadly abilities and devastating weaponry to obliterate the relentless Tyranid swarms. Defend the Imperium in spectacular third-person action in solo or multiplayer modes. - Saber Interactive (Steam, PS5, XBOX Series, Available Now) Satisfactory - Satisfactory is a first-person open-world factory building game with a dash of exploration and combat. Play alone or with friends, explore an alien planet, create multi-story factories, and enter conveyor belt heaven! - Coffee Stain Studios (Steam, Consoles TBA) God of War Ragnarök - Kratos and Atreus embark on a mythic journey for answers before Ragnarök arrives – now on PC. (Santa Monica Studio, Jetpack Interactive (Steam, Available Now)  

As Seneca's Thyests continues, Atreus finalizes his plan for revenge and Thyestes returns home to Argolis with his beloved children. Help keep LTAMB going by subscribing to Liv's Patreon for bonus content! CW/TW: far too many Greek myths involve assault. And this one features infanticide and cannibalism... Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Sources: Seneca's Thyestes, primarily the version translation by Emily Wilson with long passages quoted from the Frank Justus Miller; Hyginus' Fabulae; Theoi.com entry on Erinyes and quote from Ovid's Metamorphoses. Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions.See omnystudio.com/listener for privacy information.