Podcasts about Austen

Nick Cohen and Dr Bharat Tandon, academic, novelist & Booker Prize judge, discuss Jane Austen's astonishing legacy before delving into a detailed analysis of her enduring popularity and literary significance. They explored themes of claustrophobia in Austen's works, particularly how her novels depict the constraints of patriarchal structures and economic relations for women, while also examining the misinterpretation of her writing by modern figures like Milo Yiannopoulos. The discussion concluded with an analysis of Austen's subtle political commentary in "Mansfield Park" and her innovative narrative style, emphasising the importance of returning to the original texts for a deeper understanding of her work.Bharat and Nick discuss the theme of claustrophobia in the works of early 19th-century women writers, particularly focusing on Jane Austen. They explore how Austen's novels, such as "Sense and Sensibility" and "Pride and Prejudice," depict the inescapable constraints of patriarchal structures and economic relations for women. Bharat highlighted the significance of the number 27 in Austen's fiction, representing the age at which women might lose economic security and be forced into undesirable marriages.Nick compares Austen's portrayal of a claustrophobic society to modern experiences of social media, where individuals are constantly under scrutiny. They also discussed Austen's innovative narrative style, which allows readers to connect with marginalised female characters while highlighting their societal constraints.Slavery in Austen's 'Mansfield ParkBharat and Nick discuss the portrayal of slavery in Jane Austen's "Mansfield Park," analyzing whether the novel is complicit with the social injustices of its time. Bharat argues that while the novel acknowledges the economic and ethical presence of slavery, it does not easily draw the conclusion that Austen is complicit with it. Instead, he suggests that the novel highlights the socio-economic guilt of the early 19th century without offering a solution, reflecting the characters' anxious avoidance of discussing slavery.Read all about it! Dr Bharat Tandon is a writer and lecturer at the University of East Anglia's School of Literature, Drama and Creative Writing.A graduate in English literature from Trinity College, Cambridge, Bharat then taught at Cambridge from 1995 to 2006, and at Oxford from 2006-11, before joining the UEA in 2012. His research and teaching interests take in British literature from 1700 to the present day, and American literature from 1900. His doctoral research was on Jane Austen, and he has worked in detail on other nineteenth-century novelists such as Charles Dickens, George Eliot, and Thomas Hardy, as well as on British Modernist writers such as Henry Green. In addition to his academic research and teaching, he been active since 1994 as a commentator on contemporary British and American fiction and culture, writing regularly for publications such as The Times Literary Supplement and The Daily Telegraph.Nick Cohen's @NickCohen4 latest Substack column Writing from London on politics and culture from the UK and beyond. Hosted on Acast. See acast.com/privacy for more information.

It was at Chawton House, a cottage in rural Hampshire, that Jane Austen experienced one of the most fruitful episodes of her writing career. In this third instalment of our four-part series charting the novelist's life and work, Dr Lizzie Rogers tells Lauren Good about this creative flourishing, and explores the popular works that Austen published during the period. ––––– GO BEYOND THE PODCAST Want to go further into the world of Jane Austen and her literary creations? HistoryExtra's Lauren Good rounds up some essential reading, listening and viewing from the HistoryExtra and BBC History Magazine archive to deepen your understanding of Austen's life, her work and the Regency era in which she wrote: https://bit.ly/49F9oUk Learn more about your ad choices. Visit podcastchoices.com/adchoices

On Woman's Hour Christmas Day programme, Nuala McGovern and Anita Rani discussed the rituals and traditions that we do at Christmas. Some passed down across the generations and some adapted through in-laws or friends. With a recent YouGov poll saying that 89% of Brits celebrate Christmas and most of the preparation and work that goes into this festive season is done by women, what role do women play in the making and maintaining of these rituals? Nuala and Anita find out about the importance of nostalgia and why we love to do the same thing year after year. Dr Audrey Tang, author and a chartered psychologist with the British Psychological Society, explains the importance of the rituals we do and why we do them.Woman's Hour celebrates the 250th anniversary of Jane Austen's birth. Her novels have been translated into almost every major language and there are societies of Austen lovers and scholars in every corner of the globe, from Australia to Argentina and Iran to Italy. To tell us why Austen still captivates readers in their parts of the world, Nuala McGovern was joined by Laaleen Sukhera, founder of the Jane Austen Society of Pakistan and the founding member of the Austen Society of Japan, and researcher at the University of Southampton, Dr. Hatsuyo Shimazaki.We've just had the shortest day of the year, and the most amount of darkness. But how do women live their lives in the dark today? You might have to work at night, or find it the best time to be productive. Or you might harness darkness as a time to think and meditate. Anita Rani speaks to two people who have considered the pros and cons of darkness in very different ways. Lucy Edwards is a Blind Broadcaster, Journalist, Author, Content Creator and Disability Activist. Arifa Akbar is theatre critic for the Guardian whose investigations into the dark formed her book, Wolf Moon.Presenter: Anita Rani Producer: Annette Wells

Marianne and Elinor Dashwood are left near penniless after the death of their father. When they move to Devonshire, a new world of romantic possibility beckons. Starring Tamsin Greig, Madeleine Mantock and Rose Basista.Sense and Sensibility is a tale of two sisters with wildly different hearts: one ruled by reason, the other by passion. But when love, loss, and scandal strike, Elinor and Marianne will learn that heartbreak is best faced together.Radio 4 celebrates 250 years of Jane Austen with fresh, funny, and female-focused adaptations of Pride and Prejudice and Sense and Sensibility. Expect heartbreak, hilarity, and the enduring power of sisterhood. Both dramas are narrated by Tamsin Greig as Austen herself.CASTJane Austen ..... Tamsin Greig Elinor ..... Madeleine Mantock Marianne ..... Rose Basista John Willoughby ..... Ben Hardy Edward Ferrars ..... Enyi Okoronkwo Colonel Brandon ..... Richard Goulding Mrs Dashwood ..... Jasmine Hyde Margaret Dashwood ….. Ava Talbot Mrs Jennings ..... Carolyn Pickles Sir John ..... Clive Hayward Lucy Steele ..... Bethan Rose Young John Dashwood ..... Django Bevan Fanny Dashwood ..... Sasha McCabeProduction co-ordinator ..... Kate Gray Casting Manager ..... Alex Curran Sound ..... Andy Garratt, Neva Missirian and Sam Dickinson Dramatist ..... Claudine Toutoungi Director ..... Anne IsgerA BBC Studios ProductionClaudine Toutoungi is a poet and playwright. Claudine's latest poetry collection is Emotional Support Horse (2024). Her other poetry collections are Smoothie (2017) and Two Tongues (2020), which won the Ledbury Prize for Second Collection. Her poetry has been translated into Spanish and her live poetry contributions to festivals include Tongue Fu, Poetry East and appearances on BBC Radio 4. Her plays for theatre include Bit Part and Slipping and her many audio dramas for BBC Radio 4 include Deliverers, The Inheritors and The Voice in my Ear.

In this much-delayed episode (recorded months ago, but stuck in editing limbo), we look at Chapter 21, and the original version of Chapter 22, which Jane Austen rewrote before publication to become the Chapters 22 and 23 we now have. This cancelled chapter is available in many modern editions of the book. We talk about Mrs Smith's infodump about Mr Elliot, her change in tone, her patronising attitude towards Nurse Rooke, how in the cancelled chapter Anne was more of an observer (compared to the much better final version where she has regained her voice), and the fact that the cancelled chapter is unpolished, and even if Jane Austen had retained that, it would still have been improved before publication.The character we discuss is Mr Elliot. In the historical section, Michael talks about the engagements, and for popular culture Harriet reflects on the various film adaptations of Persuasion, considering some of the characters, as well as how each adaptation deals with three key scenes (presenting the backstory, Louisa's fall, and the scene at the White Hart Inn).Things we mention:General discussion:Janet Todd and Antje Blank [Editors], The Cambridge Edition of the Works of Jane Austen: Persuasion (2006)Paul Wray, ‘Persuasion: Why the Revised Ending Works So Well', Persuasions Online (2017), Volume 38, No. 1, Winter 2017.Historical discussion:Rory Muir, Love and Marriage in the Age of Jane Austen (2024)Popular culture discussion:Podcast Into the AustenverseBBC, Persuasion (1971) – starring Ann Firbank and Bryan Marshall. Watch on YouTube: Part 1 and Part 2TVE, Novela: Persuasión (1972) – starring Maite Blasco and Juan DiegoWatch on YouTubeBBC Film, Persuasion (1995) – starring Amanda Root and Ciarán HindsWatch on YouTubeClerkenwell Films, Persuasion (2007) – starring Sally Hawkins and Rupert Penry-JonesWatch on YouTubeNetflix, Persuasion (2022) – starring Dakota Johnson and Cosmo JarvisLouisa's fall from the Cobb (this YouTube video shows the same scene from the 1971, 1995, 2007 and 2022 adaptations of Persuasion) For a list of music used, see this episode on our website.  

Though Jane Austen went largely unrecognized in her own lifetime—four of her six novels were published anonymously, and the other two only after her death—her name is now synonymous with the period romance. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz choose their personal favorites from her œuvre—“Emma,” “Persuasion,” and “Mansfield Park”—and attempt to get to the heart of her appeal. Then they look at how Austen herself has been characterized by readers and critics. We know relatively little about Austen as a person, but that hasn't stopped us from trying to understand her psyche. It's a difficult task in part because of the double-edged quality to her writing: Austen, although renowned for her love stories, is also a keen satirist of the Regency society in which these relationships play out. “I think irony is so key, but also sincerity,” Schwartz says. “These books are about total realism and total fantasy meeting in a way that is endlessly alluring.”This episode originally aired on June 12, 2025. Read, watch, and listen with the critics:“Pride and Prejudice,” by Jane Austen“Persuasion,” by Jane Austen“Emma,” by Jane Austen“Mansfield Park,” by Jane Austen“Sense and Sensibility,” by Jane Austen“Northanger Abbey,” by Jane Austen“Virginia Woolf on Jane Austen” (The New Republic)Emily Nussbaum on “Breaking Bad” and the “Bad Fan” (The New Yorker)“How to Misread Jane Austen,” by Louis Menand (The New Yorker)“Miss Austen” (2025—)“Pride and Prejudice” (2005)Scenes Through Time's “Mr. Darcy Yearning for 10 Minutes” SupercutNew episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.Critics at Large is a weekly discussion from The New Yorker which explores the latest trends in books, television, film, and more. Join us every Thursday as we make unexpected connections between classic texts and pop culture. Learn about your ad choices: dovetail.prx.org/ad-choices

En este episodio especial de “Desde el Librero”, el podcast de Librerías Gandhi, celebramos los 250 años de Jane Austen, una de las autoras más influyentes de la literatura universal y una figura clave en la consolidación de la novela moderna.Desde la librería, Jorge Hernández conduce una conversación que explora la vida, la obra y la vigencia de Jane Austen. A lo largo del episodio, Magali T. Ortega (Nena Monstruo) y Gina Jaramillo dialogan sobre sus novelas, sus heroínas y el ingenio con el que Austen transformó la vida cotidiana en literatura. El programa también se detiene en la construcción del mito de la autora y en su visión moderna de la escritura, con la participación de Anita Mejía.El episodio dedica un espacio especial a “Jane Austen: la fashion icon de la Regencia”, presentado por Adriana Romero-Nieto, donde se analiza cómo la moda, la vestimenta y el estilo en la obra de Austen funcionan como un lenguaje social y cultural que revela clase, carácter e identidad, y por qué su mirada sigue influyendo en la cultura visual contemporánea.Más adelante, Gabriela Montero y Cintia García Soria presentan el trabajo de la Sociedad Jane Austen México, una iniciativa dedicada a promover la lectura, el estudio, las traducciones y la creación de comunidad en torno a la obra y la vida de Jane Austen.El recorrido se complementa con recomendaciones de lectura a cargo de Francisco Goñi, anécdotas y conexiones literarias compartidas por Rodrigo Morlesin, y una guía para acercarse a Jane Austen por primera vez o regresar a sus libros desde una nueva perspectiva.Encuentra “Orgullo y prejuicio”, “Sensatez y sentimientos” y otros libros de Jane Austen en librerías Gandhi y gandhi.com.mx.“Desde el librero”, el único talk show literario, donde las letras y las ideas son protagonistas.

Merry Christmas! In between looking at houses to rent and packing up the Granger house in Oklahoma City, Nick and John put together this yuletide conversation about perhaps the most neglected of Rowling's influences, Dodie Smith's I Capture the Castle. John was a reluctant reader, but, while listening to the audio book, reading the Gutenberg.com file on his computer, and digging the codex out of his packed boxes of books, the author of Harry Potter's Bookshelf was totally won over to Nick's enthusiasm for Castle.In fact, John now argues that, even if Rowling didn't read it until she was writing Goblet of Fire as some have claimed, I Capture the Castle may be the best single book to understand what it is that Rowling-Galbraith attempts to do in her fiction. Just as Dodie Smith has her characters explain overtly and the story itself delivers covertly, When Rowling writes a story, like Smith it is inevitably one that is a marriage of Bronte and Austen, wonderfully accessible and engaging, but with important touches in the ‘Enigmatist' style of Joyce and Nabokov, full of puzzles and twists in the fashion of God's creative work (from the Estecean logos within every man [John 1:9] continuous with the Logos) rather than a portrait of creation per se. Can you say ‘non liturgical Sacred Art'?And if you accept, per Nick's cogent argument, that Rowling read Castle many times as a young wannabe writer? Then this book becomes a touchstone of both Lake and Shed readings of Rowling's work — and Smith one of the the most important influences on The Presence.Merry Christmas, again, to all our faithful readers and listeners! Thank you for your prayers and notes of support and encouragement to John and for making 2025 a benchmark year at Hogwarts Professor. And just you wait for the exciting surprises we have in hand for 2026!Hogwarts Professor is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.The Twelve Questions and ‘Links Down Below' Referred to in Nick and John's I Capture the Castle Conversation:Question 1. So, Nick, we spoke during our Aurora Leigh recording about your long term project to read all the books that Rowling has admitted to have read (link down below!), first question why? and secondly how is that going?Rowling's Admitted Literary InfluencesWhat I want is a single internet page reference, frankly, of ‘Rowling's Admitted Literary Influences' or ‘Confessed Favorites' or just ‘Books I have Read and Liked' for my thesis writing so I needn't do an information dump that will add fifty-plus citations to my Works Cited pages and do nothing for the argument I'm making.Here, then, is my best attempt at a collection, one in alphabetical order by last name of author cited, with a link to at least one source or interview in which Rowling is quoted as liking that writer. It is not meant as anything like a comprehensive gathering of Rowling's comments about any author; the Austen entry alone would be longer than the whole list should be if I went that route. Each author gets one, maybe two notes just to justify their entry on the list.‘A Rowling Reading of Aurora Leigh' Nick Jeffery Talking about ‘A Rowling Reading of Aurora Leigh' Question 2. ... which has led me to three works that she has read from the point of view of writers starting out, and growing in their craft. Which leads us to this series of three chats covering Aurora Leigh by Elizabeth Barrett Browning, I Capture the Castle by Dodie Smith and the Little Women series by Louisa May Alcott. I read Castle during the summer. Amid all the disruptions at Granger Towers, have you managed to read it yet? How did you find it?Capturing Dodie Smith's I Capture the Castle: Elizabeth Baird-Hardy (October 2011)Certain elements of the story will certainly resonate with those of us who have been to Hogwarts a fair few times: a castle with an odd combination of ancient and modern elements, but no electricity; eccentric family members who are all loved despite their individual oddities (including Topaz's resemblance to Fleur Delacour); travel by train; a character named Rose who may have been one of the reasons Rowling chose the name for Ron and Hermione's daughter; descriptions of food that make even somewhat questionable British cuisine sound tasty; and inanimate objects that have their own personalities (the old dress frame, which Rose and Cassandra call Miss Blossom, is voiced by Cassandra and sounds much like the talking mirror in Harry's room at the Leaky Caldron).But far more than some similar pieces, I Capture the Castle lends something less tangible to Rowling's writing. The novel has a tone that, like the Hogwarts adventures, seamlessly winds together the comic and the crushing in a way that is reflective of life, particularly life as we see it when we are younger. Cassandra's voice is, indeed, engaging, and readers will no doubt see how the narrative voice of Harry's story has some of the same features.A J. K. Rowling Reading of I Capture the Castle: Nick Jeffery (December 2025)Parallels abound for Potter fans. The Mortmain's eccentric household mirrors the Weasleys' chaotic warmth: loved despite quirks, from Topaz's nude communing with nature (evoking a less veiled Fleur Delacour) to Mortmain's intellectual withdrawal. Food descriptions—meagre yet tantalising—prefigure Hogwarts feasts, turning humble meals into sensory delights. Inanimate objects gain voice: the family dress-frame “Miss Blossom” offers advice, akin to the chatty mirrors or portraits in Rowling's world. Even names resonate—Rose Mortmain perhaps inspiring Ron and Hermione's daughter—and train journeys punctuate the plot.The Blocked Writer: James Mortmain, a father who spent his fame early and now reads detective novels in an irritable stupor, mirrors the “faded glory” or “lost genius” archetypes seen in Rowling's secondary characters, such as Xenophilius Lovegood and Jasper Chiswell.The Bohemian Stepmother: Topaz, who strides through the countryside in only wellington boots, shares the whimsical, slightly unhinged energy of a character like Luna Lovegood or Fleur Delacour.Material Yearning: The desperate desire of Cassandra's sister, Rose, to marry into wealth reflects the very real, non-magical pressures of class and poverty that Rowling weaves into Harry Potter, Casual Vacancy, Strike and The Ickabog.Leda Strike parallels: Leda Fox-Cotton the bohemian London photographer, adopts Stephen, the working-class orphan, and saves him from both unrequited love and the responsibility that comes with the Mortmain family.Question 3. [story of finishing the book last night by candle light in my electricity free castle] So, in short Nick, I thought it astonishing! I didn't read your piece until I'd finished reading Capture, of course, but I see there is some dispute about when Rowling first read it and its consequent influence on her as a writer. Can you bring us up to speed on the subject and where you land on this controversy?* She First Read It on her Prisoner of Azkaban Tour of United States?tom saysOctober 21, 2011 at 4:00 amIf I recall correctly, Rowling did not encounter this book until 1999 (between PoA & Goblet) when, on a book tour, a fan gave her a copy. This is pertinent to any speculation about how ‘Castle' might have influenced the Potter series.* Rowling Website: “Books I Read and Re-Read as a Child”Question 4. Which, when you consider the other books on that virtual bookshelf -- works by Colette, Austen, Shakespeare, Goudge, Nesbit, and Sewell's Black Beauty, something of a ‘Rowling's Favorite Books and Authors as a Young Reader' collection, I think we have to assume she is saying, “I read this book as a child or adolescent and loved it.” Taking that as our jumping off place, John, and having read my piece, do you wish you had read it before writing Harry Potter's Bookshelf?Harry Potter's Bookshelf: The Great Books behind the Hogwarts Adventures John Granger 2009Literary Allusion in Harry Potter Beatrice Groves 2017Question 5. So, yes, I certainly do think it belongs -- with Aurora Leigh and Little Women -- on the ‘Rowling Reader Essential Reading List.' The part I thought most interesting in your piece was, of course, the Shed elements I missed. Rowling famously said that she loved Jo Marsh in Little Women because, in addition to the shared name and the character being a wannabe writer, she was plain, a characteristic with which the young, plain Jane Rowling easily identified. What correspondences do you think Little Jo would have found between her life and Cassandra Mortmain's?* Nick Jeffery's Kanreki discussion of Rowling's House on Edge of Estate with Two Children, Bad Dad ‘Golden Thread' (Lethal White)Question 6. Have I missed any, John?* Rockefeller Chapel, University of ChicagoQuestion 7. Forgive me for thinking, Nick, that Cassandra's time in church taking in the silence there with all her senses may be the biggest take-away for the young Rowling; if the Church of England left their chapel doors open in the 70s as churches I grew up in did in the US, it's hard to imagine Jo the Reader not running next door to see what she felt there after reading that passage. (Chapter 13, conversation with vicar, pp 234-238). The correspondence with Beatrice Groves' favorite scene in the Strike novels was fairly plain, no? What other scenes and characters do you see in Rowling's work that echo those in Castle?* Chapter 13, I Capture the Castle: Cassandra's Conversation with the Vicar and time in the Chapel vis a vis Strike in the Chapel after Charlotte's Death* Beatrice Groves on Running Grave's Chapel Scene: ‘Strike's Church Going'Question 8. I'm guessing, John, you found some I have overlooked?Question 9. The Mortmain, Colly, and Cotton cryptonyms as well as Topaz and Cassandra, the embedded text complete with intratextuual references (Simon on psycho-analysis), the angelic servant-orphan living under the stairs (or Dobby's lair!) an orphan with a secret power he cannot see in himself, the great Transformation spell the children cast on their father, an experiment in psychomachia a la the Shrieking Shack or Chamber of Secrets, the hand-kiss we see at story's end from Smith, love delayed but expressed (Silkworm finish?), the haunting sense of the supernatural everywhere especially in the invocation that Rose makes to the gargoyle and Cassandra's Midsummer Night's Eve ritual with Simon, the parallels abound. Ghosts!* Please note that John gave “cotton” a different idiomatic meaning than it has; the correct meaning is at least as interesting given the Cotton family's remarkable fondness for all of the Mortmains!* Kanreki ‘Embedded Text' Golden Thread discussion 1: Crimes of Grindelwald* Kanreki ‘Embedded Text' Golden Thread discussion 2: Golden Thread Survey, Part II* Rose makes an elevated Faustian prayer to a Gargoyle Devil: Chapter IV, pp 43-46* Cassandra and Simon celebrate Midsummer Night's Eve: Chapter XII, pp 199-224Let's talk about the intersection of Lake and Shed, though, the shared space of Rowling's bibliography, works that shaped her core beliefs and act as springs in her Lake of inspiration and which give her many, even most of the tools of intentional artistry she deploys in the Shed. What did you make of the Bronte-Austen challenge that Rose makes explicitly in the story to her sister, the writer and avid reader?“How I wish I lived in a Jane Austen novel.” [said Rose]I said I'd rather be in a Charlotte Bronte.“Which would be nicest—Jane with a touch of Charlotte, or Charlotte with a touch of Jane?”This is the kind of discussion I like very much but I wanted to get on with my journal, so I just said: “Fifty percent each way would be perfect,” and started to write determinedly.Question 10. So, I'm deferring to both Elizabeth Barrett Browning and J. K Rowling. Elizabeth Barrett Browning valued intense emotion, social commentary, and a grand scope in literature, which led her to favour the passionate depth of the Brontës over the more restrained, ironical style of Jane Austen. Rowling about her two dogs: “Emma? She's a bundle of love and joy. Her sister, Bronte, is a bundle of opinions, stubbornness and hard boundaries.”Set in the 30s, written in the early 40s, but it seems astonishingly modern. Because her father is a writer, a literary novelist of the modern school, do you think there are other more contemporary novelists Dodie Smith was engaging than Austen and Bronte?Question 11. Mortmain is definitely Joyce, then, though Proust gets the call-out, and perhaps the most important possible take-away Rowling the attentive young reader would have made would have been Smith's embedded admiration for Joyce the “Enigmatist” she puts in Simon's mouth at story's end (Chapter XVI, pp 336-337) and her implicit criticism of literary novels and correction of that failing. Rowling's re-invention of the Schoolboy novel with its hidden alchemical, chiastic, soul-in-crisis-allegories and embedded Christian symbolism can all be seen as her brilliant interpretation of Simon's explanation of art to Cassandra and her dedication to writing a book like I Capture the Castle.* Reference to James Joyce by Simon Cotton, Chapter IX, p 139:* The Simon and Cassandra conversation about her father's novels, call it ‘The Writer as Enigmatist imitating God in His Work:' Chapter XVI, pp 331-334* On Imagination as Transpersonal Faculty and Non-Liturgical Sacred ArtSacred art differs from modern and postmodern conceptions of art most specifically, though, in what it is representing. Sacred art is not representing the natural world as the senses perceive it or abstractions of what the individual and subjective mind “sees,” but is an imitation of the Divine art of creation. The artist “therefore imitates nature not in its external forms but in its manner of operation as asserted so categorically by St. Thomas Aquinas [who] insists that the artist must not imitate nature but must be accomplished in ‘imitating nature in her manner of operation'” (Nasr 2007, 206, cf. “Art is the imitation of Nature in her manner of operation: Art is the principle of manufacture” (Summa Theologia Q. 117, a. I). Schuon described naturalist art which imitates God's creation in nature by faithful depiction of it, consequently, as “clearly luciferian.” “Man must imitate the creative act, not the thing created,” Aquinas' “manner of operation” rather than God's operation manifested in created things in order to produce ‘creations'which are not would-be duplications of those of God, but rather a reflection of them according to a real analogy, revealing the transcendental aspect of things; and this revelation is the only sufficient reason of art, apart from any practical uses such and such objects may serve. There is here a metaphysical inversion of relation [the inverse analogy connecting the principial and manifested orders in consequence of which the highest realities are manifested in their remotest reflections[1]]: for God, His creature is a reflection or an ‘exteriorized' aspect of Himself; for the artist, on the contrary, the work is a reflection of an inner reality of which he himself is only an outward aspect; God creates His own image, while man, so to speak, fashions his own essence, at least symbolically. On the principial plane, the inner manifests the outer, but on the manifested plane, the outer fashions the inner (Schuon 1953, 81, 96).The traditional artist, then, in imitation of God's “exteriorizing” His interior Logos in the manifested space-time plane, that is, nature, instead of depicting imitations of nature in his craft, submits to creating within the revealed forms of his craft, which forms qua intellections correspond to his inner essence or logos.[2] The work produced in imitation of God's “manner of operation” then resembles the symbolic or iconographic quality of everything existent in being a transparency whose allegorical and anagogical content within its traditional forms is relatively easy to access and a consequent support and edifying shock-reminder to man on his spiritual journey. The spiritual function of art is that “it exteriorizes truths and beauties in view of our interiorization… or simply, so that the human soul might, through given phenomena, make contact with the heavenly archetypes, and thereby with its own archetype” (Schuon 1995a, 45-46).Rowling in her novels, crafted with tools all taken from the chest of a traditional Sacred Artist, is writing non-liturgical Sacred Art. Films and all the story experiences derived of adaptations of imaginative literature to screened images, are by necessity Profane Art, which is to say per the meaning of “profane,” outside the temple or not edifying spiritually. Film making is the depiction of how human beings encounter the time-space world through the senses, not an imitation of how God creates and a depiction of the spiritual aspect of the world, a liminal point of entry to its spiritual dimension. Whence my describing it as a “neo-iconoclasm.”I want to close this off with our sharing our favorite scene or conversation in Castle with the hope that our Serious Reader audience will read Capture and share their favorites. You go first, Nick.* Cassandra and Rose Mortmain, country hicks in the Big City of London: Chapter VI, pp 76-77Question 12. And yours, John?* Cassandra Mortmain ‘Moat Swimming' with Neil Cotton, Chapter X, 170-174* Cassandra seeing her dead mother (think Harry before the Mirror of Erised at Christmas time?): Chapter XV, pp 306-308Hogwarts Professor is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit hogwartsprofessor.substack.com/subscribe

On this week's video episode, Dylan sits down with Southern Charm star Molly O'Connell to talk about stepping into her sophomore season and finding her footing in Charleston. She reflects on her time on America's Next Top Model and explains how wildly different filming Southern Charm has been. Molly opens up about navigating drama for the first time, the Craig and Austen dynamic now that Craig and Paige are broken up, and how group dynamics shift when new cast members enter the mix. She also gets real about sharing her mental health journey, body image struggles, and why being a little weird might be her superpower. Go to the BravoByBetches YouTube page to watch full length episodes every Tuesday: Youtube.com/@BravoByBetches Learn more about your ad choices. Visit megaphone.fm/adchoices

You can be surrounded by people and still feel deeply alone. Laurel, Hạ, and Austen unpack how loneliness shows up in medical training and practice—not as physical isolation, but as emotional and social disconnection. They reflect on when loneliness hits hardest, when it eases, and what helps them feel seen in high-pressure environments. The conversation also explores how disconnection among clinicians shapes the care we give and the relationships we build with patients.

The Lionheart of Avalon story ends with a new Captain Britain on the team, and then we begin Austen's second (and last) storyline, which introduces a new Invaders team!

We might assume that Jane Austen led a quiet existence, writing dramatic plots instead of experiencing them herself – but that presumption is far from the truth. In this second episode of our four-part series on Austen's life and writing, Dr Lizzie Rogers and Lauren Good chart the author's tumultuous twenties, an eventful period of her life during which she faced everything from a fleeting romance to sudden loss. ––––– GO BEYOND THE PODCAST Want to go further into the world of Jane Austen and her literary creations? HistoryExtra's Lauren Good rounds up some essential reading, listening and viewing from the HistoryExtra and BBC History Magazine archive to deepen your understanding of Austen's life, her work and the Regency era in which she wrote: https://bit.ly/49F9oUk Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jane Austen is one of the most enduring novelists of all time. But what do we know about the woman behind the stories? To celebrate Austen's 250th birthday, we're revisiting Eleanor Wachtel's conversation with Carol Shields about her 2001 biography, Jane Austen: A Life. Carol Shields herself was a writer and a lifelong Austen fan, and she talks about how Austen's stories about marriage, money and family offer insight into who the novelist really was. Check out the rest of the Writers & Company archive: https://digital.lib.sfu.ca/writers-company

Jane Austen Birthday Celebration The Lesbian Historic Motif Podcast - Episode 331 with Heather Rose Jones In this episode we talk about: The social structures in Jane Austen's novels in which same-sex relationships could develop A tour through the sapphic potential in each of Austen's works A survey of Austen-inspired sapphic historical fiction, demonstrating some of that potential Austen-based fiction mentioned in the episode ”Margaret” by Eleanor Musgrove in A Certain Persuasion (The LHMP audio version can be found here. After this podcast was recorded, the author has also made the story available as an ebook stand-alone.) ”Eleanor and Ada” by Julie Bozza in A Certain Persuasion (Not currently in print? The link is to the author's website.) Lucas by Elna Holst Gay Pride and Prejudice by Kate Christie The Heiress: The Revelations of Anne de Bourgh by Molly Greeley ”Father Doesn't Dance” by Eleanor Musgrove in A Certain Persuasion (Not currently in print.) Frederica and the Viscountess by Barbara Davies Her Particular Friend by J.L. Merrow in A Certain Persuasion (Link is to a stand-alone reprint of the story.) Kissing Emma by Gemma Harborne (out of print) “One Half of the World” by Adam Fitzroy in A Certain Persuasion (Not currently in print?) A Certain Persuasion: Modern LGBTQ+ fiction inspired by Jane Austen's novels edited by Julie Bozza. Manifold Press, 2016. (Unfortunately Manifold Press has gone out of business. Used hard copies may be available at this link. Stories that have been made available in other venues have links in the individual listings. Books new to this updated version of the episode The Unlikely Pursuit of Mary Bennet by Lindz McLeod Interview with Lindz McLeod The Miseducation of Caroline Bingley by Lindz McLeod The Scandal at Pemberley by Mara Brooks The Lady's Wager by Olivia Hampton The Shocking Experiments of Miss Mary Bennet by Melinda Taub The Unruly Heart of Miss Darcy by Erin Edwards Kitty (The Bennet Sisters #1) by T.J. Ryan Emma: A Secret Lesbian by Garnet Marriott (out of print) Emma: Restraint and Presumption by Garnet Marriott (out of print) Sanditon: The Lesbian Solution by Garnet Marriott (out of print) Emma: The Nature of a Lady by Kate Christie I Shall Never Fall in Love by Hari Connor A transcript of this podcast is available here. (Interview transcripts added when available.) Links to the Lesbian Historic Motif Project Online Website: http://alpennia.com/lhmp Blog: http://alpennia.com/blog RSS: http://alpennia.com/blog/feed/ Twitter: @LesbianMotif Discord: Contact Heather for an invitation to the Alpennia/LHMP Discord server The Lesbian Historic Motif Project Patreon Links to Heather Online Website: http://alpennia.com Email: Heather Rose Jones Mastodon: @heatherrosejones@Wandering.Shop Bluesky: @heatherrosejones Facebook: Heather Rose Jones (author page)

John Granger Attempts to Convince Nick (and You!) That The Hallmarked Man will be Considered the Best of the Series.We review our take-away impressions from our initial reading of The Hallmarked Man. Although we enjoyed it, especially John's incredible prediction of Robin's ectopic pregnancy, neither of us came away thinking this was the finest book in the series. For Nick, this was a surprise, as enthusiastic J. K. Rowling fan that he is other than Career of Evil every book he has read has been his favourite. Using an innovative analysis of the character pairs surrounding both Cormoran and Robin, John argues that we can't really appreciate the artistry of book number eight until we consider its place in the series. Join John and Nick as they review the mysteries that remain to be resolved and how The Hallmarked Man sets readers up for shocking reveals in Strike 9 and 10!Why Troubled Blood is the Best Strike Novel:* The Pillar Post Collection of Troubled Blood Posts at HogwartsProfessor by John Granger, Elizabeth Baird-Hardy, Louise Freeman, Beatrice Groves, and Nick JefferyTroubled Blood and Faerie Queene: The Kanreki ConversationBut What If We Judge Strike Novels by a Different Standard than Shed Artifice? What About Setting Up the ‘Biggest Twist' in Detective Fiction History?* If Rowling is to be judged by the ‘shock' of the reveals in Strike 10, then The Hallmarked Man, the most disappointing book in the series even to many Serious Strikers, will almost certainly be remembered as the book that set up the finale with the greatest technical misdirection while playing fair.* The ending must be a shock, one that readers do not see coming, BUT* The author must provide the necessary clues and pointers repeatedly and emphatically lest the reader feel cheated at the point of revelation.* If the Big Mysteries of the series are to be solved with the necessary shock per both Russian Formalist and Perennialist understanding, then the answers to be revealed in the final two Strike novels, Books Two and Three of the finale trilogy, should be embedded in The Hallmarked Man.* Rowling on Playing Fair with Readers:The writer says that she wanted to extend the shelf of detective fiction without breaking it. “Part of the appeal and fascination of the genre is that it has clear rules. I'm intrigued by those rules and I like playing with them. Your detective should always lay out the information fairly for the reader, but he will always be ahead of the game. In terms of creating a character, I think Cormoran Strike conforms to certain universal rules but he is very much of this time.* On the Virtue of ‘Penetration' in Austen, Dickens, and Rowling* Rowling on the Big Twist' in Austen's Emma:“I have never set up a surprise ending in a Harry Potter book without knowing I can never, and will never, do it anywhere near as well as Austen did in Emma.”What are the Key Mysteries of the Strike series?Nancarrow FamilyWhy did Leda and Ted leave home in Cornwall as they did?Why did Ted and Joan not “save” Strike and Lucy?Was Leda murdered or did she commit suicide?If she was murdered, who dunit?If she commited suicide, why did she do it?What happened to Switch Whittaker?Cormoran StrikeIs Jonny Rokeby his biological father?What SIB case was he investigating when he was blown up?Was he the father of Charlotte's lost baby? If not, then who was?Why has he been so unstable in his relations with women post Charlotte Campbell?Charlotte CampbellWhy did her mother hate her so much?What was her relationship with her three step-fathers? Especially Dino LongcasterWho was the father of her lost child?Was the child intentionally aborted or was it a miscarriage?What was written in her “suicide note”?Was Charlotte murdered or did she commit suicide?If she was murdered, who done it?If she committed suicide, why did she do it?What happened to the billionaire lover?What clues do we get in Hallmarked Man that would answer these questions?- Strike 8 - Greatest Hits of Strikes 1-7: compilation, concentration of perumbration in series as whole* Decima/Lion - incest* Rupert's biological father not his father of record (Dino)* Sacha Legard a liar with secrets* Ryan Murphy working a plan off-stage - Charlotte's long gameStrike about ‘Pairings' in Lethal WhiteStrike continued to pore over the list of names as though he might suddenly see something emerging out of his dense, spiky handwriting, the way unfocused eyes may spot the 3D image hidden in a series of brightly colored dots. All that occurred to him, however, was the fact that there was an unusual number of pairs connected to Chiswell's death: couples—Geraint and Della, Jimmy and Flick; pairs of full siblings—Izzy and Fizzy, Jimmy and Billy; the duo of blackmailing collaborators—Jimmy and Geraint; and the subsets of each blackmailer and his deputy—Flick and Aamir. There was even the quasi-parental pairing of Della and Aamir. This left two people who formed a pair in being isolated within the otherwise close-knit family: the widowed Kinvara and Raphael, the unsatisfactory, outsider son.Strike tapped his pen unconsciously against the notebook, thinking. Pairs. The whole business had begun with a pair of crimes: Chiswell's blackmail and Billy's allegation of infanticide. He had been trying to find the connection between them from the start, unable to believe that they could be entirely separate cases, even if on the face of it their only link was in the blood tie between the Knight brothers.Part Two, Chapter 52Key Relationship Pairings in Cormoran Strike:Who Killed Leda Strike?To Rowling-Galbraith's credit, credible arguments in dedicated posts have been made that every person in the list below was the one who murdered Leda Strike. Who do you think did it?* Jonny Rokeby and the Harringay Crime Syndicate (Heroin Dark Lord 2.0),* Ted Nancarrow (Uncle Ted Did It),* Dave Polworth,* Leda Strike (!),* Lucy Fantoni (Lucy and Joan Did It and here),* Sir Randolph Whittaker,* Nick Herbert,* Peter Gillespie, and* Charlotte Campbell-RossScripted Ten Questions:1. So, Nick, back when we first read Hallmarked Man we said that there were four things we knew for sure would be said about Strike 8 in the future. Do you remember what they were?2. And, John, you've been thinking about the ‘Set-Up' idea and how future Rowling Readers will think of Hallmarked Man, even that they will think of it as the best Strike novel. I thought that was Troubled Blood by consensus. What's made you change your mind?3. So, Nick, yes, Troubled Blood I suspect will be ranked as the best of series, even best book written by Rowling ever, but, if looked at as the book that served the most critical place in setting up the finale, I think Hallmarked Man has to be considered better in that crucial way than Strike 5, better than any Strike novel. Can you think of another Strike mystery that reviews specific plot points and raises new aspects of characters and relationships the way Strike 8 does?4. Are you giving Hallmarked Man a specific function with respect to the last three books than any of the others? If so, John, what is that exactly and what evidence do we have that in Rowling's comments about reader-writer obligations and writer ambitions?5. Nick, I think Hallmarked Man sets us up to answer the Key mysteries that remain, that the first seven books left for the final three to answer. I'm going to organize those unresolved questions into three groups and challenge you to think of the ones I'm missing, especially if I'm missing a category.6. If I understand the intention of your listing these remaining questions, John, your saying that the restatement of specific plot points and characters from the first seven Strike novels in Hallmarked Man points to the possible, even probable answers to those questions. What specifically are the hallmarks in this respect of Hallmarked Man?7. If you take those four points, Nick, and revisit the mysteries lists in three categories, do you see how Rowling hits a fairness point with respect to clueing readers into what will no doubt be shocking answers to them if they're not looking for the set-ups?8. That's fun, Nick, but there's another way at reaching the same conclusions, namely, charting the key relationships of Strike and Ellacott to the key family, friends, and foes in their lives and how they run in pairs or parallel couplets (cue PPoint slides).9. Can we review incest and violence against or trafficking of young women in the Strike series? Are those the underpinning of the majority of the mysteries that remain in the books?10. Many Serious Strikers and Gonzo Galbraithians hated Striuke 8 because Hallmarked Man failed to meet expectations. In conclusion, do you think, Nick, that this argument that the most recent Strike-Ellacott adventure is the best because of how it sets us up for the wild finish to come will be persuasive -- or just annoying?On Imagination as Transpersonal Faculty and Non-Liturgical Sacred ArtThe Neo-Iconoclasm of Film (and Other Screened Adaptations): Justin requested within his question for an expansion of my allusion to story adaptations into screened media as a “neo-iconoclasm.” I can do that here briefly in two parts. First, by urging you to read my review of the first Hunger Games movie adaptation, ‘Gamesmakers Hijack Story: Capitol Wins Again,' in which I discussed at post's end how ‘Watching Movies is a a Near Sure Means to Being Hijacked by Movie Makers.' In that, I explain via an excerpt from Jerry Mander's Four Arguments for the Elimination of Television, the soul corrosive effects of screened images.Second, here is a brief introduction to the substance of the book I am working on.Rowling is a woman of profound contradictions. On the one hand, like all of us she is the walking incarnation of her Freudian family romance per Paglia, the ideas and blindspots of the age in which we live, with the peculiar individual prejudices and preferences and politics of her upbringing, education, and life experiences, especially the experiences we can call crises and consequent core beliefs, aversions, and desires. Rowling acknowledges all this, and, due to her CBT exercises and one assumes further talking therapy, she is more conscious of the elephant she is riding and pretending to steer than most of her readers.She points to this both in asides she make in her tweets and public comments but also in her descriptive metaphor of how she writes. The ‘Lake' of that metaphor, the alocal place within her from her story ideas and inspiration spring, is her “muse,” the word for superconscious rather than subconscious ideas that she used in her 2007 de la Cruz interview. She consciously recognizes that, despite her deliberate reflection on her PTSD, daddy drama, and idiosyncratic likes and dislikes, she still has unresolved issues that her non-conscious mind presents to her as story conflict for imaginative resolution.Her Lake is her persona well, the depths of her individual identity and a mask she wears.The Shed, in contrast, is the metaphorical place where Rowling takes the “stuff” given her by the creature in her Lake, the blobs of molten glass inspiration, to work it into proper story. The tools in this Shed are unusual, to say the least, and are the great markers of what makes Rowling unique among contemporary writers and a departure from, close to a contradiction of the artist you would expect to be born of her life experiences, formative crises, and education.Out of a cauldron potion made from listening to the Smiths, Siouxie and the Banshees, and The Clash, reading and loving Val McDermid, Roddy Doyle, and Jessica Mitford, and surviving a lower middle class upbringing with an emotionally barren homelife and Comprehensive education on the England-Wales border, you'd expect a Voldemort figure at Goblet of Fire's climax to rise rather than a writer who weaves archetypally rich myths of the soul's journey to perfection in the spirit with alchemical coloring and sequences, ornate chiastic structures, and a bevy of symbols visible only to the eye of the Heart.To understand Rowling, as she all but says in her Lake and Shed metaphor, one has to know her life story and experiences to “get” from where her inspiration bubbles up and, as important, you need a strong grasp of the traditionalist worldview and place of literature in it to appreciate the power of the tools she uses, especially how she uses them in combination.The biggest part of that is understanding the Perennialist definition of “Sacred Art.” I touched on this in a post about Rowling's beloved Christmas story, ‘Dante, Sacred Art, and The Christmas Pig.'Rowling has been publicly modest about the aims of her work, allowing that it would be nice to think that readers will be more empathetic after reading her imaginative fiction. Dante was anything but modest or secretive in sharing his self-understanding in the letter he wrote to Cangrande about The Divine Comedy: “The purpose of the whole work is to remove those living in this life from the state of wretchedness and to lead them to the state of blessedness.” His aim, point blank, was to create a work of sacred art, a category of writing and experience that largely exists outside our understanding as profane postmoderns, but, given Rowling's esoteric artistry and clear debts to Dante, deserves serious consideration as what she is writing as well.Sacred art, in brief, is representational work — painting, statuary, liturgical vessels and instruments, and the folk art of theocentric cultures in which even cutlery and furniture are means to reflection and transcendence of the world — that employ revealed forms and symbols to bring the noetic faculty or heart into contact with the supra-sensible realities each depicts. It is not synonymous with religious art; most of the art today that has a religious subject is naturalist and sentimental rather than noetic and iconographic, which is to say, contemporary artists imitate the creation of God as perceived by human senses rather than the operation of God in creation or, worse, create abstractions of their own internally or infernally generated ideas.Story as sacred art, in black to white contrast, is edifying literature and drama in which the soul's journey to spiritual perfection is portrayed for the reader or the audience's participation within for transformation from wretchedness to blessedness, as Dante said. As with the plastic arts, these stories employ traditional symbols of the revealed traditions in conformity with their understanding of cosmology, soteriology, and spiritual anthropology. The myths and folklore of the world's various traditions, ancient Greek drama, the epic poetry of Greece, Rome, and Medieval Europe, the parables of Christ, the plays of Shakespeare's later period, and the English high fantasy tradition from Coleridge to the Inklings speak this same symbolic language and relay the psychomachia experience of the human victory over death.Dante is a sacred artist of this type. As difficult as it may be to understand Rowling as a writer akin to Dante, Shakespeare, Homer, Virgil, Aeschylus, Spenser, Lewis, and Tolkien, her deployment of traditional symbolism and the success she enjoys almost uniquely in engaging and edifying readers of all ages, beliefs, and circumstances suggests this is the best way of understanding her work. Christmas Pig is the most obviously sacred art piece that Rowling has created to date. It is the marriage of Dantean depths and the Estecean lightness of Lewis Carroll's Alice books, about which more later.[For an introduction to reading poems, plays, and stories as sacred art, that is, allegorical depictions of the soul's journey to spiritual perfection that are rich in traditional symbolism, Ray Livingston's The Traditional Theory of Literature is the only book length text in print. Kenneth Oldmeadow's ‘Symbolism and Sacred Art' in his Traditionalism: Religion in the light of the Perennial Philosophy(102-113), ‘Traditional Art' in The Essential Seyyed Hossein Nasr(203-214), and ‘The Christian and Oriental, or True Philosophy of Art' in The Essential Ananda K. Coomaraswamy(123-152) explain in depth the distinctions between sacred and religious, natural, and humanist art. Martin Lings' The Sacred Art of Shakespeare: To Take Upon Us the Mystery of Things and Jennifer Doane Upton's two books on The Divine Comedy, Dark Way to Paradise and The Ordeal of Mercy are the best examples I know of reading specific works of literature as sacred art rather than as ‘stories with symbolic meaning' read through a profane and analytic lens.]‘Profane Art' from this view is “art for art's sake,” an expression of individual genius and subjective meaning that is more or less powerful. The Perennialist concern with art is less about gauging an artist's success in expressing his or her perception or its audience's response than with its conformity to traditional rules and its utility, both in the sense of practical everyday use and in being a means by which to be more human. Insofar as a work of art is good with respect to this conformity and edifying utility, it is “sacred art;” so much as it fails, it is “profane.” The best of modern art, even that with religious subject matter or superficially beautiful and in that respect edifying, is from this view necessarily profane.Sacred art differs from modern and postmodern conceptions of art most specifically, though, in what it is representing. Sacred art is not representing the natural world as the senses perceive it or abstractions of what the individual and subjective mind “sees,” but is an imitation of the Divine art of creation. The artist “therefore imitates nature not in its external forms but in its manner of operation as asserted so categorically by St. Thomas Aquinas [who] insists that the artist must not imitate nature but must be accomplished in ‘imitating nature in her manner of operation'” (Nasr 2007, 206, cf. “Art is the imitation of Nature in her manner of operation: Art is the principle of manufacture” (Summa Theologia Q. 117, a. I). Schuon described naturalist art which imitates God's creation in nature by faithful depiction of it, consequently, as “clearly luciferian.” “Man must imitate the creative act, not the thing created,” Aquinas' “manner of operation” rather than God's operation manifested in created things in order to produce ‘creations'which are not would-be duplications of those of God, but rather a reflection of them according to a real analogy, revealing the transcendental aspect of things; and this revelation is the only sufficient reason of art, apart from any practical uses such and such objects may serve. There is here a metaphysical inversion of relation [the inverse analogy connecting the principial and manifested orders in consequence of which the highest realities are manifested in their remotest reflections[1]]: for God, His creature is a reflection or an ‘exteriorized' aspect of Himself; for the artist, on the contrary, the work is a reflection of an inner reality of which he himself is only an outward aspect; God creates His own image, while man, so to speak, fashions his own essence, at least symbolically. On the principial plane, the inner manifests the outer, but on the manifested plane, the outer fashions the inner (Schuon 1953, 81, 96).The traditional artist, then, in imitation of God's “exteriorizing” His interior Logos in the manifested space-time plane, that is, nature, instead of depicting imitations of nature in his craft, submits to creating within the revealed forms of his craft, which forms qua intellections correspond to his inner essence or logos.[2] The work produced in imitation of God's “manner of operation” then resembles the symbolic or iconographic quality of everything existent in being a transparency whose allegorical and anagogical content within its traditional forms is relatively easy to access and a consequent support and edifying shock-reminder to man on his spiritual journey. The spiritual function of art is that “it exteriorizes truths and beauties in view of our interiorization… or simply, so that the human soul might, through given phenomena, make contact with the heavenly archetypes, and thereby with its own archetype” (Schuon 1995a, 45-46).Rowling in her novels, crafted with tools all taken from the chest of a traditional Sacred Artist, is writing non-liturgical Sacred Art. Films and all the story experiences derived of adaptations of imaginative literature to screened images, are by necessity Profane Art, which is to say per the meaning of “profane,” outside the temple or not edifying spiritually. Film making is the depiction of how human beings encounter the time-space world through the senses, not an imitation of how God creates and a depiction of the spiritual aspect of the world, a liminal point of entry to its spiritual dimension. Whence my describing it as a “neo-iconoclasm.”The original iconoclasts or “icon bashers” were believers who treasured sacred art but did not believe it could use images of what is divine without necessarily being blasphemous; after the incarnation of God as Man, this was no longer true, but traditional Christian iconography is anything but naturalistic. It could not be without becoming subjective and profane rather than being a means to spiritual growth and encounters. Western religious art from the Renaissance and Reformation forward, however, embraces profane imitation of the sense perceived world, which is to say naturalistic and as such the antithesis of sacred art. Film making, on religious and non-religious subjects, is the apogee of this profane art which is a denial of any and all of the parameters of Sacred art per Aquinas, traditional civilizations, and the Perennialists.It is a neo-iconoclasm and a much more pervasive and successful destruction of the traditional world-view, so much so that to even point out the profanity inherent to film making is to insure dismissal as some kind of “fundamentalist,” “Puritan,” or “religious fanatic.”Screened images, then, are a type of iconoclasm, albeit the inverse and much more subtle kind than the relatively traditional and theocentric denial of sacred images (the iconoclasm still prevalent in certain Reform Church cults, Judaism, and Islam). This neo-iconoclasm of moving pictures depicts everything in realistic, life-like images, everything, that is, except the sacred which cannot be depicted as we see and experience things. This exclusion of the sacred turns upside down the anti-naturalistic depictions of sacred persons and events in iconography and sacred art. The effect of this flood of natural pictures akin to what we see with our eyes is to compel the flooded mind to accept time and space created nature as the ‘most real,' even ‘the only real.' The sacred, by never being depicted in conformity with accepted supernatural forms, is effectively denied.Few of us spend much time in live drama theaters today. Everyone watches screened images on cineplex screens, home computers, and smart phones. And we are all, consequently, iconoclasts and de facto agnostics, I'm afraid, to greater and lesser degrees because of this immersion and repetitive learning from the predominant art of our secular culture and its implicit atheism.Contrast that with the imaginative experience of a novel that is not pornographic or primarily a vehicle of perversion and violence. We are obliged to generate images of the story in the transpersonal faculty within each of us called the imagination, one I think that is very much akin to conscience or the biblical ‘heart.' This is in essence an edifying exercise, unlike viewing photographic images on screens. That the novel appears at the dawn of the Modern Age and the beginning of the end of Western corporate spirituality, I think is no accident but a providential advent. Moving pictures, the de facto regime artistry of the materialist civilization in which we live, are the counter-blow to the novel's spiritual oxygen.That's the best I can manage tonight to offer something to Justin in response to more about the “neo-iconoclasm” of film This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit hogwartsprofessor.substack.com/subscribe

This week, we have an all-tea episode. It's been coming in by the truckload. The Real Housewives Road Trip will film in January, and we have intel on the cast and even where two of the stops will be during the trip. After a slight tangent about Buc-ees, we share our latest tea about Real Housewives of Orange County. Rumors have been swirling about an unexpected departure of a full-time housewife. Who is it? Listen to find out more. As you all know, we have eyes everywhere, and we had a Cocktailer send us tea after attending Craig Conover and Austen Kroll's restaurant, By the Way's one year anniversary party. We're hearing that Molly from Southern Charm is dating someone, which brings us to the question - is it unfair that the men on this show tend to get more scrutiny when it comes to their relationships? And we have an update for you about Real Housewives of New Jersey. Some of the news we aren't loving, to be honest.  This week's episode of Cocktails and Gossip is brought to you by our sponsor, Quince. Find gifts so good you'll want to keep them at Quince. Cocktailers get free shipping and 365 day returns when they go to Quince.com/cocktails.

Austen es una de las escritoras más importantes de la lengua inglesa, pero se sabe relativamente poco sobre ella, en parte debido a lo que hizo su hermana.

This week on Southern Charm, Craig gets left by Austen at his stars and stripes party, Venita reveals a personal surgery Molly had, Charley's pick me petals begin to bloom and more plus in pop culture, I discuss the upcoming 20th anniversary of housewives and the return of several OGs, and a shocking story about Elvis and John Travolta (pop culture roundup begins around 24 minute mark)!Follow me on social media, find links to merch, Patreon and more here! Hosted on Acast. See acast.com/privacy for more information.

In this episode, Abby and Vanessa recap the latest in Southern Charm including:  -Austen continual issues with Craig  -Venita's pot stirring  -Craig's backyard void  -And more  When you're done listening, please don't forget to check out our ad sponsors. Go to ARTICLE.COM/realmoms for $50 off your first purchase of $100 or more ASPCA Pet Insurance: To explore coverage, visit aspcapetnsurance.com/REALMOMS  Live it Up: Subscribe at LETSLIVEITUP.com/REALMOMS and use code REALMOMS for 30% off your first order   Go to Quince.com/realmoms for free shipping on your order and 365 days returns!  Go to Rula.com/realmoms and take the first step towards better mental health today!  Join the millions who are already banking free today. Head to Chime.com/realmoms   Go to Sundaysfordogs.com/realmoms  and get 50% off your first order. Or you can use Code REALMOMS at checkout.   Go to chewpanions.chewy.com/REALMOMSOFBRAVO  to get $20 off your first order!  Go to goldbelly.com and get 20% off your first order with promo code REALMOMS Learn more about your ad choices. Visit megaphone.fm/adchoices

What's up Bros? This season of Southern Charm is chaos. Which is exactly what we want. Salley and Charley are both clearly into Craig, but Salley is being a little (a lotta) more forthcoming about her intentions. Venita checks in on Austen who has separated himself from the group, much to Craig's dismay. Madison's concern about Craig leads to a conversation to check on how he is holding up. It's the first time we've been able to see Craig acknowledge that he's in a bit of a spiral. Shep and Austen take steps towards reuniting. Oh yeah, Kory's there too. Learn more about your ad choices. Visit megaphone.fm/adchoices

Craig throws a Memorial Day party on a Wednesday and Austen is a no show. Salley and Charley are competing for Craig's heart. But have Salley and Craig already hooked up after a hot tub night sleepover? Molly and Salley get into it about a down there surgery, all because Venita spread the gossip. Madison has a heart to heart with Craig and Shep wears a speedo! Come judge with us!You can find us:Instagram & Threads: @twojudgeygirlsTikTok: @marytwojudgeygirls & @courtneytjgFacebook: www.facebook.com/twojudgeygirlsPodcast: ACast, iTunes, Spotify, wherever you listen!Merch: www.etsy.com/shop/twojudgeygirlsPatreon: www.patreon.com/twojudgeygirls Hosted on Acast. See acast.com/privacy for more information.

Our next installment in the Book Case Classics series comes from listeners like you.  Many of you asked for Austen…you wanted it?  You got it!  We sat down with two of the world's foremost Austen Scholars, Claudia L. Johnson, Murray Professor of English at Princeton and Devoney Looser, Regents Professor at Arizona State University (both of which have great Austen books on the market) to discuss the facts and fiction surround the great Jane Austen and her unique works.  Join us! Find books mentioned on The Book Case: https://www.goodmorningamerica.com/shop/story/book-case-podcast-reading-list-118433302 Books mentioned in this week's episode: Pride and Prejudice by Jane Austen Sense and Sensibility by Jane Austen Mansfield Park by Jane Austen Emma by Jane Austen Northanger Abbey by Jane Austen Persuasion by Jane Austen 30 Great Myths about Jane Austen by Claudia L. Johnson Jane Austen: Women, Politics and the Novel by Claudia L. Johnson Wild for Austen: A Rebellious, Subversive, and Untamed Jane by Devoney Looser Learn more about your ad choices. Visit podcastchoices.com/adchoices

33 Place Brugmann opens with a list of the residents of a Brussels apartment building. The year is 1939 and Germany's invasion of Belgium is on the horizon. Alice Austen's debut novel winds together the fates of these residents under Nazi occupation. In today's episode, Austen joins NPR's Scott Simon for a conversation that touches on the backstory of the building's address, how she balanced the novel's many narrative voices, and the questions that consumed her as she wrote the book.To listen to Book of the Day sponsor-free and support NPR's book coverage, sign up for Book of the Day+ at plus.npr.org/bookofthedayLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Michael Gove and Madeline Grant confront the horror of the Bondi Beach massacre and ask why anti-Semitic violence now provokes despair rather than shock. As Jewish communities are once again targeted on holy days, they examine the roots of Islamist ideology and the failure of political leaders to name it. Why has anti-Semitism metastasised across the radical left, the Islamist world, and the far right – and why does the West seem so reluctant to grapple with its causes?Then, on the 250th anniversary of Jane Austen's birth, Michael and Maddie ask why Austen is endlessly repurposed, politicised and rewritten by modern adaptors? Was she an abolitionist, a moralist, or something far subtler – and why do her novels continue to resist ideological shoehorning two centuries on?And finally: what makes the perfect whodunit? From Agatha Christie and Dorothy L. Sayers to Midsomer Murders and modern television crime, the pair explore puzzles, red herrings, atmosphere – and why readers feel cheated when justice doesn't quite add up.Produced by Oscar Edmondson.To submit your urgent questions to Michael and Maddie, visit spectator.co.uk/quiteright. Hosted on Acast. See acast.com/privacy for more information.

We talk all things Jane Austen in celebration of the 250th anniversary of her birth. First, Iowa City-based artist Sonja Strathearn began making Regency-era attire three years ago to attend The Jane Austen Fest and the obsession has only grown from there. Strathearn invites us into her closet to show off her Regency attire. Then, Nebbe speaks with author Curtis Sittenfeld, an Austen fan and the author of the 'Pride & Prejudice' reimagining, 'Eligible.' Finally, musicologist Marian Wilson Kimber talks about Austen's musical inclinations, the pieces in her playbook and the ways music influenced her books.

This week on The Upstate Golf Guys Podcast, we're joined by Andrew Austen, also known as your favorite one-armed golfer. Andrew was most recently featured in the Internet Invitational put on by Barstool Sports and Bob Does Sports, and he didn't just show up — he made a serious run and delivered some truly epic golf content along the way. We dive deep into Andrew's journey in adaptive golf, the unforgettable moment he got the call from Frankie at Barstool, and how everything went from zero to real fast. From landing at Big Cedar Lodge to seeing the Good Good boys and Paige Spiranac in person, Andrew talks about the exact moment it hit him — this was real. We got into each round and what it was like playing with the Duke where he walked away with some cheddar! Andrew also played with one of the winners at one point, Brad Dalke! Plus, you won't want to miss the hilarious Andrew Santino mix-up when the Andrews arrived at Big Cedar, an all-time story that had us rolling. We can't thank Andrew enough for taking time out of his busy schedule to come chop it up with The Upstate Golf Guys. His story, mindset, and love for the game are straight-up inspiring. Check out Andrew on Instagram at Jimmythekiiid and follow his journey! https://www.instagram.com/jimmythekiiid?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw== Huge shoutout to our sponsors: 88 Links Golf 88Links Golf Hudson Valley Indoor Golf HOME | Hudson Valley Golf This is an episode you don't want to miss. Learn more about your ad choices. Visit megaphone.fm/adchoices

December 16, 2025 marks a special day in the world of arts and culture; the 250th anniversary of the birth of Jane Austen. Here at MASTERPIECE, we are admirers of Jane Austen. Through interviews with historian and television presenter Lucy Worsley, Miss Austen novelist Gill Hornby, screenwriter Andrew Davies, and MASTERPIECE's Senior Series Producer, Erin Delaney, we're looking back at Austen's life, her legacy, and what her novels mean to us. Now join us in the drawing room as we gather round to celebrate our beloved Jane Austen in this special episode.

What's up Bros? Austen and Craig's feud is still going strong. Sally cozies up to Craig despite his behavior at Whitner's party. Charley is also feeling Craig when she drops off some paintings at his house. Austen adopts 2 cats and Rod and Madison sit down with him about the Craig/ Shep situation. Shep looks like a lost puppy as he is reeling from Craig throwing him under the bus. Meanwhile, Venita and Whitner seem to be getting comfy with one another... n Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:58:25 - Toute une vie - par : Catherine Pont-Humbert - Contemporaine de Walter Scott, le père du roman historique britannique, Jane Austen fut l'autre grande plume de son temps. Formidable peintre des mœurs de son époque, elle décrivit avec un esprit d'une remarquable indépendance, les amours, les déboires, les ambitions de la gentry. - réalisation : Françoise Camar - invités : Ariane Hudelet Professeure de culture visuelle des pays anglophones à l'université Paris Cité ; Alain Jumeau Alain Jumeau, professeur émérite à la Sorbonne, spécialiste de la civilisation victorienne.; Marie-Laure Massei-Chamayou Maîtresse de conférences en études anglophones à l'Université Paris 1 Panthéon-Sorbonne, membre du Centre d'histoire du XIXᵉ siècle

Jane Austen is often seen as an isolated genius who appeared from nowhere, or she is treated with a simplistic cult-like reverance which overlooks the complexities of her work. In this special edition of Front Row, exactly 250 years after Austen's birth, we take a close critical eye to a writer who innovated the novel as a form and revolutionised a literary style rarely seen before.Fellow novelists Tessa Hadley and Kamila Shamsie join Samira, alongside academics Professor John Mullan and Dr. Sophie Coulombeau, to deeply delve into the texts themselves, revealing a witty writer herself steeped in the literature of her day, discussing how she contsantly evolved her craft and why her status has fluctuated with trends across the last two centuries.With readings by Dame Harriet WalterPresenter: Samira Ahmed Producer: Ciaran Bermingham

2025 marks 250 years since the birth of Jane Austen, the English writer whose finely tuned observations of Regency life shaped the modern novel. But perhaps more notably for Screenshot, it's also 30 years since Colin Firth walked out of a lake and straight into the nation's hearts, in the BBC's Pride and Prejudice miniseries.Three decades on from the ‘Austenmania' of 1995, Ellen E Jones and Mark Kermode explore Jane Austen adaptations past and present. Do screen versions of novels like Emma and Sense and Sensibility offer a cosy retreat from the modern world - or do they still have something to say in the present moment? Mark speaks to film writer and researcher Lillian Crawford about various Austen triumphs and missteps on screen, from numerous incarnations of Emma, to Netflix's recent update on her last novel, Persuasion. He also speaks to playwright Nick Dear about an adaptation many Austen experts consider a high-water mark - the 1995 version of Persuasion, written by Dear and directed by Roger Michell for the BBC's Screen Two strand. Meanwhile, Ellen talks to Amy Heckerling, writer and director of the classic 1995 comedy Clueless, which transplants Austen's novel Emma to a Beverly Hills high school. And she also speaks to writer-director Celine Song, whose recent film Materialists stars Dakota Johnson as a professional matchmaker - and unmistakably bears the influence of Austen. Producer: Jane Long A Prospect Street production for BBC Radio 4

durée : 00:59:55 - Les Nuits de France Culture - par : Philippe Garbit - Contemporaine de Walter Scott, le père du roman historique britannique, Jane Austen fut l'autre grande plume de son temps. Formidable peintre des mœurs de son époque, elle décrivit avec un esprit d'une remarquable indépendance, les amours, les déboires, les ambitions de la gentry. - réalisation : Virginie Mourthé - invités : Ariane Hudelet Professeure de culture visuelle des pays anglophones à l'université Paris Cité ; Alain Jumeau Alain Jumeau, professeur émérite à la Sorbonne, spécialiste de la civilisation victorienne.; Marie-Laure Massei-Chamayou Maîtresse de conférences en études anglophones à l'Université Paris 1 Panthéon-Sorbonne, membre du Centre d'histoire du XIXᵉ siècle

Tuesday is the 250th anniversary of Jane Austen's birth. This hour, we celebrate the beloved author's work, and look at why her six novels have endured for centuries. Plus, we hear from a horticulturalist about her love of gardens, and talk with a local historical clothing expert about fashion in Austen's time. GUESTS: Barbara Benedict: Charles A. Dana Professor of English at Trinity College Tara Key: Manager of Reference and Instruction at the New Canaan Library Jana Milbocker: Garden designer, lecturer, and writer Kandie Carle: Known as “The Victorian Lady,” is an actress and historian Support the show: http://wnpr.org/donateSee omnystudio.com/listener for privacy information.

For our special celebration of Jane Austen's 250th birthday, we welcome editors Jenny Davidson (Pride and Prejudice, 2023), Stephanie Insley Hershinow (Sense and Sensibility, 2024; Emma, 2022), and Patricia Matthew (Mansfield Park, 2026). In this extended roundtable episode, the editors discuss their personal favorites among Austen's books (and where to start as an Austen beginner), the differences between modern adaptations and Austen's original writing, and Austen's enduring legacy in the twenty-first century. Jenny Davidson is Professor of English and comparative literature at Columbia University. She has published four books of literary criticism, four novels, several other editions, and numerous articles and essays. She is currently at work on two book projects: a handbook on career pathways for humanities doctoral students and an intellectually wide-ranging and highly personal account of what it means to read Edward Gibbon's History of the Decline and Fall of the Roman Empire (originally published between 1776 and 1789) from the vantage point of the twenty-first century.Stephanie Insley Hershinow is an associate professor of English at Baruch College, CUNY, where she specializes in novel theory and eighteenth-century culture. She is the author of Born Yesterday: Inexperience and the Early Realist Novel. She lives with her family in Jersey City, New Jersey.Patricia A. Matthew is Associate Professor of English at Montclair State Unviersity. She has been published widely and is the editor of Written/Unwritten: Diversity and the Hidden Truths of Tenure (2016). She is the co-editor of the Oxford University Press series Race in Nineteenth-Century Literature and Culture. To learn more or purchase copies of the Norton Library editions of Jane Austen's books, go to https://wwnorton.com/. Learn more about the Norton Library series at https://wwnorton.com/norton-library.Have questions or suggestions for the podcast? Email us at nortonlibrary@wwnorton.com or find us on Twitter at @TNL_WWN and Bluesky at @nortonlibrary.bsky.social. 

What inspired the daughter of a rural reverend to write about eligible bachelors and drunken misadventure? In this first episode of our four-part series on Jane Austen's life and work, Dr Lizzie Rogers and Lauren Good step back into the influential Regency novelist's formative years, and explore her earliest writings that show how she began to find her voice. ––––– GO BEYOND THE PODCAST Want to go further into the world of Jane Austen and her literary creations? HistoryExtra's Lauren Good rounds up some essential reading, listening and viewing from the HistoryExtra and BBC History Magazine archive to deepen your understanding of Austen's life, her work and the Regency era in which she wrote: https://bit.ly/49F9oUk Learn more about your ad choices. Visit podcastchoices.com/adchoices

Una Jane Austen divertida, aguda, sin filtros, creadora irreverente de personajes. Es la que descubrimos a través de los textos que la escritora británica redactó entre los doce y los diecisiete años, reunidos en un volumen titulado 'Juvenilia' que acaba de ver la luz en España con motivo del 250 aniversario del nacimiento de la autora. Nosotros vamos a celebrarlo charlando con Ana Isabel Sánchez, traductora al español de esas obras de juventud de Austen, que nos describe su estilo y su contexto y nos hace conscientes de las dificultades que conlleva trasladar este tipo de textos al castellano. 'Juvenilia' está publicado por la editorial Gran Travesía.Escuchar audio

Greg Jenner is joined in Regency England by historian Dr Lucy Worsley and actor Sally Phillips to learn all about the life and works of literary legend Jane Austen on the 250th anniversary of her birth in December 1775.It is a truth universally acknowledged that Jane Austen is one of England's best-loved authors, and the creator of such indelible characters as Elizabeth Bennet, Mr Darcy, Emma Woodhouse and Elinor and Marianne Dashwood. Whether you have read one of her six books – Pride and Prejudice, Sense and Sensibility, Persuasion, Emma, Northanger Abbey and Mansfield Park – or seen one of the many adaptations, most of us have some experience with Austen. But her life story and how it influenced her writing is perhaps less well-known. This episode explores her early life as the daughter of a rural clergyman, takes a peek inside the books a teenage Jane was reading, and delves into her romantic and familial relationships to see what shaped Austen into the formidable literary talent she was. And it asks a key question: was Jane Austen, who wrote such wonderful women characters, a feminist?This is a radio edit of the original podcast episode. For the full-length version, please look further back in the feed.Hosted by: Greg Jenner Research by: Clara Chamberlain and Charlotte Emily Edgeshaw Written by: Emmie Rose Price-Goodfellow, Emma Nagouse, and Greg Jenner Produced by: Emmie Rose Price-Goodfellow and Greg Jenner Audio Producer: Steve Hankey Production Coordinator: Ben Hollands Senior Producer: Emma Nagouse Executive Editor: Philip Sellars

This week on Southern Charm, the twisted love triangle of Shep, Austen and Craig continues with rumors about Austen's fidelity, Salley's reign as Queen Pick Me continues and more, plus a pop culture roundup! Jen Shah is free from prison, Bronwyn is free from Todd and will Amanda free herself from Kyle? (Pop culture roundup begins around 24 minute mark). Enjoy! Follow me on social media, find links to merch, Patreon and more here! Hosted on Acast. See acast.com/privacy for more information.

This is part 1 of 2Craig forces a rumor about Shep to light on the latest Southern Charm. Meanwhile, Austen welcomes two kittens to his home, and Whitney wakes up early. To watch this recap on video, listen to our bonus episodes, and participate in live episode threads, go to Patreon.com/watchwhatcrappens. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This is part 2 of 2Craig forces a rumor about Shep to light on the latest Southern Charm. Meanwhile, Austen welcomes two kittens to his home, and Whitney wakes up early. To watch this recap on video, listen to our bonus episodes, and participate in live episode threads, go to Patreon.com/watchwhatcrappens. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Matt Laughery joins Tamra to talk about this “explosive” Southern Charm episode! Tamra’s come to the realization that she may be the female version of Craig… Do they like this whole “throuple” storyline that’s being pushed? Is it obvious who Craig’s front runner is? Plus, the straight men are the pot stirrers in this show and they think Shep’s moves were calculated! Was his story about Austen real?! See omnystudio.com/listener for privacy information.

We pick back up at Whitner's Literary Party. What would you dress as if you were invited? Austen and Craig continue to duke it out in the kitchen as Craig tells Austen that Austen isn't scared of him! Although Austen is scared of Craig... Meanwhile, Shep feels horrible for giving light to this not noteworthy gossip and would do anything to get back in Austen's good graces. He even tries to make Molly call Austen and pretend he isn't there. Is Salley a pick me? Is Whitner a mama's boy? How many more episodes till Audrey and Austen break up? Will the boys be able to get back together? Come judge with us! You can find us:Instagram & Threads: @twojudgeygirlsTikTok: @marytwojudgeygirls & @courtneytjgFacebook: www.facebook.com/twojudgeygirlsPodcast: ACast, iTunes, Spotify, wherever you listen!Merch: www.etsy.com/shop/twojudgeygirlsPatreon: www.patreon.com/twojudgeygirls Hosted on Acast. See acast.com/privacy for more information.

In this episode Abby and Vanessa recap the latest Southern Charm episode. They discuss… -Craig's cringey pick up lines -Salley and Craig -Craig vs. Austen -Molly vs. Salley -Charley & Craig -Austen the cat daddy When you're done listening, please don't forget to check out our ad sponsors. The best way to cook just got better. Go to HelloFresh.com/REALMOMS10FM now to Get 10 Free Meals + a Free breakfast for Life! One per box with active subscription. Free meals applied as discount on first box, new subscribers only, varies by plan.  ASPCA Pet Insurance: To explore coverage, visit aspcapetnsurance.com/REALMOMS  Live it Up: Subscribe at LETSLIVEITUP.com/REALMOMS and use code REALMOMS for 30% off your first order   Go to Quince.com/realmoms for free shipping on your order and 365 days returns!  Go to Rula.com/realmoms and take the first step towards better mental health today!  Join the millions who are already banking free today. Head to Chime.com/realmoms   Go to Sundaysfordogs.com/realmoms  and get 50% off your first order. Or you can use Code REALMOMS at checkout.   Go to chewpanions.chewy.com/REALMOMSOFBRAVO  to get $20 off your first order!  Go to goldbelly.com and get 20% off your first order with promo code REALMOMS Learn more about your ad choices. Visit megaphone.fm/adchoices

Sherri Shepherd, Kym Whitley, back in your lives two weeks in a row! This time with actor and comedian, Austen Jaye. You can catch Austen in the Lifetime Holiday favorite, "The Christmas Campaign" alongside Jackee Harry and Vivica A. Fox. Austen was also the recipient of a watch party thrown by one, Kym Whitley. You'll also hear about purses, addictions, and blood sugar. Follow our friend Austen on Instagram @AustenJaye https://instagram.com/austenjaye You can see Sherri on tour all of 2026 in a city near you: https://sherrishepherd.com/ Kym Whitley is at The Toledo Funny Bone 12/13/25 https://toledo.funnybone.com/event/ky... Support "Walk in the Light" https://walkinthelightmovie.com Follow Two Funny Mamas on Instagram https://instagram.com/twofunnymamashttps://instagram.com/kymwhitleyhttps://instagram.com/sherrieshepherd Follow Chris Denman on Instagram https://instagram.com/instadenman Kym's product store: http://whitleyproducts.store/index.html TFM merch: http://byjack.com/twofunnymamas Learn more about your ad choices. Visit megaphone.fm/adchoices

Today, Josh is joined by Mythical Kitcheneer Vee to discuss the meals that you need to skip on leg day and the ones you might want to go for. Thank you to Oura for sponsoring a portion of today's episode. Discover how Oura can help you better understand your health and sleep.ouraring.com/hotdog Leave us a voicemail at (833) DOG-POD1 Check out the video version of this podcast: http://youtube.com/@mythicalkitchen To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

This week on Southern Charm, Whitner hosts a birthday party and Austen and Shep continue to be jealous of Craig, Venita worries about Salley's loyalty and more, plus this week in pop culture Todd is officially scheming against Kandi and my thoughts on Britani Bateman's live show!Follow me on social media, find links to merch, Patreon and more here! Hosted on Acast. See acast.com/privacy for more information.

This is part 2 of 2The Southern Charm gang throws a literature party, where Craig wears a lot of guyliner and works himself into a hissy fit after no one knows who his Lost Boy hero is. Also, Austen gets cats to use as an “aw shucks” crush as he gets ready to dump his girlfriend. To watch this recap on video, listen to our bonus episodes, and participate in live episode threads, go to Patreon.com/watchwhatcrappens. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This is part one of a two-part recap!The Southern Charm gang throws a literature party, where Craig wears a lot of guyliner and works himself into a hissy fit after no one knows who his Lost Boy hero is. Also, Austen gets cats to use as an “aw shucks” crush as he gets ready to dump his girlfriend. To watch this recap on video, listen to our bonus episodes, and participate in live episode threads, go to Patreon.com/watchwhatcrappens. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Ba ba doooo! The boys are fighting this time and its Austen vs Craig on being in a relationship vs being single, while dressed as Hermione and Rufio. Is the grass greener for each other? We learn a bit more about Whitner and we are charmed to say the least. Austen gets some cats, Shep gets some of his parents furniture and we get to see Madison's new house. Come judge with us!You can find us:Instagram & Threads: @twojudgeygirlsTikTok: @marytwojudgeygirls & @courtneytjgFacebook: www.facebook.com/twojudgeygirlsPodcast: ACast, iTunes, Spotify, wherever you listen!Merch: www.etsy.com/shop/twojudgeygirlsPatreon: www.patreon.com/twojudgeygirls Hosted on Acast. See acast.com/privacy for more information.