Podcasts about British Museum

It's time for another BIG and BRILLIANT adventure into the world of science on this week’s Science Quest! In Science in the News, NASA is preparing to launch the Artemis 2 mission, sending astronauts around the Moon for the first time in 50 years. UK beekeepers report worrying losses this winter, and Elena Hoicka from the University of Bristol joins Dan to explore the surprising news that babies may begin learning to lie from a very young age! It’s time for your questions too. Clem wants to know how weather forecasts work, and Cait Newport from Oxford University answers Apolline’s question about whether or not Goldfish really do have a three-second memory. Dangerous Dan introduces the Oak Processionary Caterpillar, a creature you definitely do not want to get too close to. And in Battle of the Sciences, Dr Christopher Terrell-Nield takes us deep into the fascinating world of cave biology and the life that thrives in total darkness. Plus, Kareena and K-Mistry head to the British Museum to discover the chemistry behind prehistoric cave art. What we learn about: • Whether goldfish really have a three-second memory• How weather forecasts are made• NASA’s Artemis 2 mission to the Moon• Why bees are disappearing in the UK• Whether babies can learn to lie• The oak processionary caterpillar• How animals survive in caves• The chemistry behind prehistoric cave art All that and more on this week’s Science Quest!Join Fun Kids Podcasts+: https://funkidslive.com/plusSee omnystudio.com/listener for privacy information.

The prince Kha-em-Waset (lived c.1260 BCE) was a learned man, and an accomplished priest. Centuries after his death, storytellers remembered the prince as a sage and magician. They told tales of his adventures, including one where Khaemwaset stole a magical book, belonging to the great god Djehuty/Thoth. In a tale of gothic horror, the prince must wrangle with the consequences of his greed... CONTENT WARNING: Story contains themes of suicide, murder, and sexual horror. Please listen with discretion. Music: Matt Uelman, "Tristram;" Keith Zizza, "Dissatisfaction," "Memories of Thebes," and "Beloved of Ma'at;" Ray Noble & His Orchestra, "Midnight with the Stars and You (Instrumental);" TableTop Audio "The Mummy's Tomb." Logo image: Statue of Khaemwaset from Asyut, now in British Museum (photo Dominic Perry); painting of Tabubue, by M. Lalau (1932). The Tale of Khaemwaset and the Book of Thoth: Griffith, F. L. (1900). Stories of the high priests of Memphis: The Sethon of Herodotus and the Demotic tales of Khamuas. Available at Internet Archive. Lichtheim, M. (1980). Ancient Egyptian Literature Volume III: The Late Period, 125—151. Ritner, R. K. (2003b). The Romance of Setna Khaemuas and the Mummies (Setna I). In W. K. Simpson (Ed.), The Literature of Ancient Egypt: An Anthology of Stories, Instructions, Stelae, Autobiographies, and Poetry (3rd ed., pp. 453--469). Vinson, S. (2018). The Craft of a Good scribe: History, Narrative and Meaning in the First tale of Setne Khaemwas. Learn more about your ad choices. Visit megaphone.fm/adchoices

What makes a character so compelling that readers will forgive almost anything about the plot? How do you move beyond vague flaws and generic descriptions to create people who feel pulled from real life? In this solo episode, I share 15 actionable tips for writing deep characters, curated from past interviews on the podcast. In the intro, thoughts from London Book Fair [Instagram reel @jfpennauthor; Publishing Perspectives; Audible; Spotify]; Insights from a 7-figure author business [BookBub]. This show is supported by my Patrons. Join my Community and get articles, discounts, and extra audio and video tutorials on writing craft, author business, and AI tools, at Patreon.com/thecreativepenn This episode has been created from previous episodes of The Creative Penn Podcast, curated by Joanna Penn, as well as chapters from How to Write a Novel: From Idea to Book. Links to the individual episodes are included in the transcript below. In this episode: Master the ‘Believe, Care, Invest' trifecta, how to hook readers on the very first page Define the Dramatic Question: Who is your character when the chips are down? Absolute specificity. Why “she's controlling” isn't good enough Understand the Heroine's Journey, strength through connection, not solo action Use ‘Metaphor Families' to anchor dialogue and give every character a distinctive voice Find the Diagnostic Detail, the moments that prove a character is real Writing pain onto the page without writing memoir Write diverse characters as real people, not stereotypes or plot devices Give your protagonist a morally neutral ‘hero' status. Compelling beats likeable. Build vibrant side characters for series longevity and spin-off potential Use voice as a rhythmic tool Link character and plot until they're inseparable Why discovery writers can write out of order and still build deep character Find the sensory details that make characters live and breathe More help with how to write fiction here, or in my book, How to Write a Novel. Writing Characters: 15 Tips for Writing Deep Character in Your Fiction In today's episode, I'm sharing fifteen tips for writing deep characters, synthesised from some of the most insightful interviews on The Creative Penn Podcast over the past few years, combined with what I've learned across more than forty books of my own. I'll be referencing episodes with Matt Bird, Will Storr, Gail Carriger, Barbara Nickless, and Sarah Elisabeth Sawyer. I'll also draw on my own book, How to Write a Novel, which covers these fundamentals in detail. Whether you're writing your first novel or your fiftieth, whether you're a plotter or a discovery writer like me, these tips will help you create characters that readers believe in, care about, and invest in—and keep coming back for more. Let's get into it. 1. Master the ‘Believe, Care, Invest' Trifecta When I spoke with Matt Bird on episode 624, he laid out the three things you need to achieve on the very first page of your book or in the first ten minutes of a film. He calls it “Believe, Care, and Invest.” First, the reader must believe the character is a real person, somehow proving they are not a cardboard imitation of a human being, not just a generic type walking through a generic plot. Second, the reader must care about the character's circumstances. And third, the reader must invest in the character's ability to solve the story's central problem. Matt used The Hunger Games as his primary example, and it's brilliant. On the very first page, we believe Katniss's voice. Suzanne Collins writes in first person with a staccato rhythm—lots of periods, short declarative sentences—that immediately grounds us in a survivalist mentality. We care because Katniss is starving. She's protecting her little sister. And we invest because she is out there bow hunting, which Matt pointed out is one of the most badass things a character can do. She even kills a lynx two pages in and sells the pelt. We invest in her resourcefulness and grit before the plot has even begun. Matt was very clear that this has nothing to do with the character being “likable.” He said his subtitle, Writing a Hero Anyone Will Love, doesn't mean the character has to be a good person. He described “hero” as both gender-neutral and morally neutral. A hero can be totally evil or totally good. What matters is that we believe, care, and invest. He demonstrated this beautifully by breaking down the first ten minutes of WeCrashed, where the characters of Adam and Rebekah Neumann are absolutely not likable, but we are completely hooked. Adam steals his neighbour's Chinese food through a carefully orchestrated con involving an imaginary beer. It's not admirable behaviour, but the tradecraft involved, as Matt put it—using a term from spy movies—makes us invest in him. We see a character trying to solve the big problem of his life, which is that he's poor and wants to be rich, and we want to see if he can pull it off. Actionable step: Go to the first page of your current work in progress. Does it achieve all three? Does the reader believe this is a real person with a distinctive voice? Do they care about the character's circumstances? And do they invest in the character's ability to handle what's coming? If even one of those three is missing, that's your revision priority. 2. Define the Dramatic Question: Who Are They Really? Will Storr, author of The Science of Storytelling, came on episode 490 and gave one of the most powerful frameworks I've ever heard for character-driven fiction. He explained that the human brain evolved language primarily to swap social information—in other words, to gossip. We are wired to monitor other people, to ask the question: who is this person when the chips are down? That's what Will calls the Dramatic Question, and it's what he believes lies at the heart of all compelling storytelling. It's not a question about plot. It's a question about the character's soul. And every scene in your novel should force the character to answer it. His example of Lawrence of Arabia is unforgettable. The Dramatic Question for the entire film is: who are you, Lawrence? Are you ordinary or are you extraordinary? At the beginning, Lawrence is a cocky, rebellious young soldier who believes his rebelliousness makes him superior. Every iconic scene in that three-hour film tests that belief. Sometimes Lawrence acts as though he truly is extraordinary—leading the Arabs into battle, being hailed as a god—and sometimes the world strips him bare and he sees himself as ordinary. Because it's a tragedy, he never overcomes his flaw. He doubles down on his belief that he's extraordinary until he becomes monstrous, culminating in that iconic scene where he lifts a bloody dagger and sees his own reflection with horror. Will also used Jaws to demonstrate how this works in a pure action thriller. Brody's dramatic question is simple: are you going to be old Brody who is terrified of the water, or new Brody who can overcome that fear? Every scene where the shark appears is really asking that question. And the last moment of the film isn't the shark blowing up. It's Brody swimming back through the water, saying he used to be scared of the water and he can't imagine why. Actionable step: Write down the Dramatic Question for your protagonist in a single sentence. Is it “Are you ordinary or extraordinary?” or “Are you brave enough to love again?” or “Will you sacrifice your principles for survival?” If you can't answer this with specificity, your character might still be a sketch rather than a person. 3. Get rid of Vague Flaws, and use Absolute Specificity This was one of Will Storr's most important points. He said that vague thinking about characters is really the enemy. When he teaches workshops and asks writers to describe their character's flaw, most of them say something like “they're very controlling.” And Will's response is: that's not good enough. Everyone is controlling. How are they controlling? What's the specific mechanism? He gave the example of a profile he read of Theresa May during the UK's Brexit chaos. Someone who knew her said that Theresa May's problem was that she always thinks she's the only adult in every room she goes into. Will said that stopped him in his tracks because it's so precise. If you define a character with that level of specificity, you can take them and put them in any genre, any situation—a spaceship, a Victorian drawing room, a school playground—and you will know exactly how they're going to behave. The same applies to Arthur Miller's Willy Loman in Death of a Salesman, as Will described it: a man who believes absolutely in capitalistic success and the idea that when you die, you're going to be weighed on a scale, just as God weighs you for sin, but now you're weighed for success. That's not a vague flaw. That's a worldview you can drop into any story and watch it combust. Will made another counterintuitive point that I found really valuable: writers often think that piling on multiple traits will create a complex character, but the opposite is true. Starting with one highly specific flaw and running it through the demands of a relentless plot is what generates complexity. You end up with a far more nuanced, original character than if you'd started with a laundry list of vague attributes. Actionable step: Take your protagonist's flaw and pressure-test it. Is it specific enough that you could place this character in any situation and predict their behaviour? If you're stuck at “she's stubborn” or “he's insecure,” keep pushing. What kind of stubborn? What kind of insecure? Find the diagnostic sentence—the Theresa May level of precision. 4. Understand the Heroine's Journey: Strength Through Connection Gail Carriger came on episode 550 to discuss her nonfiction book, The Heroine's Journey, and it completely reframed how I think about some of my own fiction. Gail explained that the core difference between the Hero's Journey and the Heroine's Journey comes down to how strength and victory are defined. The Hero's Journey is about strength through solo action. The hero must be continually isolated to get stronger. He goes out of civilisation, faces strife alone, and achieves victory through physical prowess and self-actualisation. The Heroine's Journey is the opposite. The heroine achieves her goals by activating a network. She's a delegator, a general. She identifies where she can't do something alone, finds the people who can help, and portions out the work for mutual gain. Gail put it simply: the heroine is very good at asking for help, which our culture tends to devalue but which is actually a powerful form of strength. Crucially, Gail stressed that gender is irrelevant to which journey you're writing. Her go-to examples are striking: the recent Wonder Woman film is practically a beat-for-beat hero's journey—Gilgamesh on screen, as Gail described it. Meanwhile, Harry Potter, both the first book and the series as a whole, is a classic heroine's journey. Harry's power comes from his network—Dumbledore's Army, the Order of the Phoenix, his friendships with Ron and Hermione. He doesn't defeat Voldemort alone. He defeats Voldemort because of love and connection. This distinction has real practical consequences for writers. If you're writing a hero's journey and you hit writer's block, Gail said, the solution is usually to isolate your hero further and pile on more strife. But if you're writing a heroine's journey, the solution is probably to throw a new character into the scene—someone who has advice to offer or a skill the heroine lacks. The actual solutions to writer's block are different depending on which narrative you're writing. As I reflected on my own work, I realised that my ARKANE thriller protagonist, Morgan Sierra, follows a hero's journey—she's a solo operative, a lone wolf like Jack Reacher or James Bond. But my Mapwalker fantasy series follows a heroine's journey, with Sienna and her group of friends working together. I hadn't consciously chosen those paths; the stories led me there. But understanding the framework helps me write more intentionally now. Actionable step: Identify which journey your protagonist is on. Does your character gain strength by being alone (hero) or by building connections (heroine)? This will inform every plot decision you make, from how they face obstacles to how your story ends. 5. Use ‘Metaphor Families' to Anchor Dialogue and Voice One of the most practical techniques Matt Bird shared on episode 624 is the idea of assigning each character a “metaphor family”—a specific well of language that they draw from. This gives each character a distinctive voice that goes beyond accent or dialect. Matt explained how in The Wire, one of the most beloved TV shows of all time, every character has a different metaphor family. What struck him was that Omar, this iconic character, never utters a single curse word in the entire series. His metaphor family is pirate. He talks about parlays, uses language that feels like it belongs in Pirates of the Caribbean, and it creates this incredible ironic counterpoint against his urban setting. It tells us immediately that this is a character who sees himself in a tradition of people that doesn't match his immediate surroundings. Matt also referenced the UK version of The Office, where Gareth works at a paper company but aspires to the military. So all of his language is drawn from a military metaphor family. He doesn't talk about filing and photocopying; he talks about tactics and discipline and being on the front line. This tells us that the character has a life and dreams beyond the immediate scene—and it's the gap between aspiration and reality that makes him both funny and believable. He pointed out that a metaphor family sometimes comes from a character's background, but it's often more interesting when it comes from their aspirations. What does your character want to be? What world do they fantasise about inhabiting? That's where their language should come from. In Star Wars, Obi-Wan Kenobi is a spiritual hermit, but his metaphor family is military. He uses the language of generals and commanders, and that ironic counterpoint is part of what makes him feel so rich. Actionable step: Assign each of your main characters a metaphor family. It could be based on their job, their background, or—more interestingly—their secret aspirations. Then go through your dialogue and make sure each character is consistently drawing from that well of language. If two characters sound the same when you strip away the dialogue tags, this is the fix. 6. Find the Diagnostic Detail: The Diagonal Toast Avoid clichéd character tags—the random scar, the eye patch, the mysterious limp—unless they serve a deep narrative purpose. Matt Bird on episode 624 was very funny about this: he pointed out that Nick Fury, Odin, and eventually Thor all have eye patches in the Marvel Cinematic Universe. Eye patches are done, he said. You cannot do eye patches anymore. Instead, look for what I'm calling the “diagonal toast” detail, after a scene Matt described from Captain Marvel. In the film, Captain Marvel is trying to determine whether Nick Fury is who he says he is. She asks him to prove he isn't a shapeshifting alien. Fury shares biographical details—his history, his mother—but then she pushes further and says, name one more thing you couldn't possibly have made up about yourself. And Fury says: if toast is cut diagonally, I can't eat it. Matt said that detail is gold for a writer because it feels pulled from a real life. You can pull it from your own life and gift it to your characters, and the reader can tell it's not manufactured. He gave another example from The Sopranos: Tony Soprano's mother won't answer the phone after dark. The show's creator, David Chase, confirmed on the DVD commentary that this came from his own mother, who genuinely would not answer the phone after dark and couldn't explain why. Matt's practical advice was to keep a journal. Write down the strange, specific things that people do or say. Mine your own life for those hyper-specific details. You just need one per book. In my own writing, I've used this approach. In my ARKANE thrillers, my character Morgan Sierra has always been Angelina Jolie in my mind—specifically Jolie in Lara Croft or Mr and Mrs Smith. And Blake Daniel in my crime thriller series was based on Jesse Williams from Grey's Anatomy. I paste pictures of actors into my Scrivener projects. It helps with visuals, but also with the sense of the character, their energy and physicality. But visual details only take you so far. It's the behavioural quirks—the diagonal toast moments—that make a character feel genuinely alive. That said, physical character tags can work brilliantly when they serve the story. As I discuss in How to Write a Novel, Robert Galbraith's Cormoran Strike is an amputee, and his pain and the physical challenges of his prosthesis are a key part of every story—it's not a cosmetic detail, it's woven into the action and the character's psychology. My character Blake Daniel always wears gloves to cover the scars on his hands, which provides an angle into his wounded past as well as a visual cue for the reader. And of course, Harry Potter's lightning-shaped scar isn't just a mark—it's a direct connection to his nemesis and the mythology of the entire series. The rule of thumb is: if the tag tells us something about the character's interior life or connects to the plot, it's earning its place. If it's just there to make the character visually distinctive, it's probably a crutch. Game of Thrones takes character tags further with the family houses, each with their own mottos and sigils. The Starks say “Winter is coming” and their sigil is a dire wolf. Those aren't just labels—they're worldview made visible. Actionable step: Start a “diagonal toast” notebook. Every time you notice something strange and specific about someone's behaviour—something that feels too real to be made up—write it down. Then gift it to a character who needs more texture. 7. Displace Your Own Trauma into the Work Barbara Nickless shared something deeply personal on episode 732 that fundamentally changed how I think about putting pain onto the page. While starting At First Light, the first book in her Dr. Evan Wilding series, she lost her son to epilepsy—something called SUDEP, Sudden Unexplained Death in Epilepsy. One day he was there, and the next day he was gone. Barbara said that writing helped her cope with the trauma, that doing a deep dive into Old English literature and the Viking Age for the book's research became a lifeline. But here's what's important: she didn't give Dr. Evan Wilding her exact trauma. Evan Wilding is four feet five inches, and Barbara described how he has to walk through a world that won't adjust to him. That's its own form of learning to cope when circumstances are beyond your control. She displaced her genuine grief into the character's different but parallel struggle. When I asked her about the difference between writing for therapy and writing for an audience, she drew on her experience teaching creative writing to veterans through a collaboration between the US Department of Defense and the National Endowment for the Arts. She said she's found that she can pour her heartache into her characters and process it through them, even when writing professionally, and that the genuine emotion is what touches readers. We've all been through our own losses and griefs, so seeing how a character copes can be deeply meaningful. I've always found that putting my own pain onto the page is the most direct way to connect with a reader's soul. My character Morgan Sierra's musings on religion and the supernatural are often my own. Her restlessness, her fascination with the darker edges of faith—those come from me. But her Krav Maga fighting skills and her ability to kill the bad guys are definitely her own. That gap between what's mine and what's hers is where the fiction lives. Barbara also said something on that episode that I wrote down and stuck on my wall. She said the act of producing itself is a balm to the soul. I've been thinking about that ever since. On my own wall, I have “Measure your life by what you create.” Different words, same truth. Actionable step: If you're carrying something heavy—grief, anger, fear, regret—consider how you might displace it into a character's different but emotionally parallel struggle. Don't copy your exact situation; transform it. The emotion will be genuine, and the reader will feel it. 8. Write Diverse Characters as Real People When I spoke with Sarah Elisabeth Sawyer on episode 673—Sarah is Choctaw and a historical fiction author honoured by the Smithsonian's National Museum of the American Indian—she offered a perspective that every fiction writer needs to hear. The key message was to move away from stereotypes. Don't write your American Indian character as the “Wise Guide” who exists solely to dispense mystic wisdom to the white protagonist. Don't limit diverse characters to historical settings, as though they only exist in the past. Place them in normal, contemporary roles. Your spaceship captain, your forensic scientist, your small-town baker—any of them can be American Indian, or Nigerian, or Japanese, and their heritage should be a lived-in part of their identity, not the sole reason they exist in the story. I write international thrillers and dark fantasy, and my fiction is populated with characters from all over the world. I have a multi-cultural family and I've lived in many places and travelled widely, so I've met, worked with, and had relationships with people from different cultures. I find story ideas through travel, and if I set my books in a certain place, then the story is naturally populated with the people who live there. As I discuss in my book, How to Write a Novel, the world is a diverse place, so your fiction needs to be populated with all kinds of people. If I only populated my fiction with characters like me, they would be boring novels. There are many dimensions of difference—race, nationality, sex, age, body type, ability, religion, gender, sexual orientation, socio-economic status, class, culture, education level—and even then, don't assume that similar types of people think the same way. Some authors worry they will make mistakes. We live in a time of outrage, and some authors have been criticised for writing outside their own experience. So is it too dangerous to try? Of course not. The media amplifies outliers, and most authors include diverse characters in every book without causing offence because they work hard to get it right. It's about awareness, research, and intent. Actionable step: Audit the cast of your current work in progress. Have you written a mono-cultural perspective for all of them? If so, consider who could bring a different background, perspective, or set of cultural specifics to the story. Not as a token addition, but as a real person with a real life. 9. Respect Tribal and Cultural Specificity Sarah Elisabeth Sawyer on episode 673 was emphatic about one thing: never treat diverse groups as monolithic. If you're writing a Native American character, you must research the specific nation. Choctaw is not Navajo, just as British is not French. Sarah described the distinct cultural markers of the Choctaw people—the diamond pattern you'll see on traditional shirts and dresses, which represents the diamondback rattlesnake. They have distinct dances and songs. She said that if she saw someone in traditional dress at a distance, she would know whether they were Choctaw based on what they were wearing. She encouraged writers who want to write specifically about a nation to get to know those people. Go to events, go to a powwow, learn about the individual culture. She noted that a big misconception is that American Indians exist only in the past—she stressed that they are still here, still living their cultures, and fiction should reflect that present reality. I took a similar approach when writing Destroyer of Worlds, which is set mostly in India. I read books about Hindu myth, watched documentaries about the sadhus, and had one of my Indian readers from Mumbai check my cultural references. For Risen Gods, set in New Zealand with a young Maori protagonist, I studied books about Maori mythology and fiction by Maori authors, and had a male Maori reader check for cultural issues. Research is simply an act of empathy. The practical takeaway is this: if you're going to include a character from a specific cultural background, do the work. Use specific cultural details rather than generic signifiers. Sarah talked about how even she fell into stereotypes when she was first writing, until her mother pointed them out. If someone from within a culture can fall into those traps, the rest of us certainly can. Do the research, try your best, ask for help, and apologise if you need to. Actionable step: If you're writing a character from a specific culture, identify three to five sensory or behavioural details that are particular to that culture—not the generic version, but the real, researched, lived-in version. Consider hiring a sensitivity reader from that community to check your work. 10. Give Your Protagonist a Morally Neutral ‘Hero' Status Matt Bird was clear about this on episode 624: the word “hero” simply means the protagonist, the person we follow through the story. It's a functional role, not a moral label. We don't have to like them. We don't even have to root for their goals in a moral sense. We just have to find them compelling enough to invest our attention in their problem-solving. Think of Succession, where every member of the Roy family is varying degrees of awful, and yet the show was utterly compelling. Or WeCrashed, where Adam Neumann is a narcissistic con artist, but we can't look away because he's trying to solve the enormous problem of building an empire from nothing, and the tradecraft he employs is fascinating. As I wrote in How to Write a Novel, readers must want to spend time with your characters. They don't have to be lovable or even likable—that will depend on your genre and story choices—but they have to be captivating enough that we want to spend time with them. A character who is trying to solve a massive problem will naturally draw investment from the audience, even if we wouldn't want to have tea with them. Will Storr extended this idea by pointing out that the audience will actually root for a character to solve their problem even if the audience doesn't actually want the character's goal to be achieved in the real world. We don't really want more billionaires, but we invested in Adam Neumann's rise because that was the problem the story posed, and our brains are wired to invest in problem-solving. This connects to something deeper: what does your character want, and why? As I explore in How to Write a Novel, desire operates on multiple levels. Take a character like Phil, who joins the military during wartime. On the surface, she wants to serve her country. But she also wants to escape her dead-end town and learn new skills. Deeper still, her father and grandfather served, and by joining up, she hopes to finally earn their respect. And perhaps deepest of all, her father died on a mission under mysterious circumstances, and she wants to find out what happened from the inside. That layering of motivation is what turns a flat character into a three-dimensional one. The audience doesn't need to be told all of this explicitly. It can emerge through action, dialogue, and the choices the character makes under pressure. But you, the writer, need to know it. You need to know what your character really wants deep down, because that desire—more than any external plot device—is what drives the story forward. And your antagonist needs the same depth. They also want something, often diametrically opposed to your protagonist, and they need a reason that makes sense to them. In my ARKANE thriller Tree of Life, my antagonist is the heiress of a Brazilian mining empire who wants to restore the Earth to its original state to atone for the destruction caused by her father's company. She's part of a radical ecological group who believe the only way to restore Nature is to end all human life. It's extreme, but in an era of climate change, it's a motivation readers can understand—even if they disagree with the solution. Actionable step: If you're struggling to make a morally grey character work, make sure their problem is big enough and their methods are specific and interesting enough that we invest in the how, even if we're ambivalent about the what. 11. Build Vibrant Side Characters Gail Carriger made a point on episode 550 that was equal parts craft advice and business strategy. In a Heroine's Journey model, side characters aren't just fodder to be killed off to motivate the hero. They form a network. And because you don't have to kill them—unlike in a hero's journey, where allies are often betrayed or removed so the hero can be further isolated—you can pick up those side characters and give them their own books. Gail said this creates a really voracious reader base. You write one series with vivid side characters, and then readers fall in love with those side characters and want their stories. So you write spin-offs. The romance genre does this brilliantly—think of the Bridgerton books, where each sibling gets their own novel. The side character in one book becomes the protagonist in the next. Barbara Nickless experienced this firsthand with her Dr. Evan Wilding series. She has River Wilding, Evan's adventurous brother, and Diana, the axe-throwing research assistant, and her editor has already expressed interest in a spin-off series with those characters. Barbara described creating characters she wants to spend time with, or characters who give her nightmares but also intrigue her. That's the dual test: are they interesting enough for you to write, and interesting enough for readers to demand more? As I wrote in How to Write a Novel, characters that span series can deepen the reader's relationship with them as you expand their backstory into new plots. Readers will remember the character more than the plot or the book title, and look forward to the next instalment because they want more time with those people. British crime author Angela Marsons described it as readers feeling like returning to her characters is like putting on a pair of old slippers. Actionable step: Look at your supporting cast. Is there a side character who is vivid enough to carry their own story? If not, what could you add—a specific hobby, a distinct voice, a compelling backstory—that would make readers want more of them? 12. Use Voice as a Rhythmic Tool Voice is one of the most important elements of novel writing, and Matt Bird helped me think about it in a technical, mechanical way that I found really useful. He pointed out that the ratio of periods to commas defines a character's internal reality. A staccato rhythm—lots of periods, short sentences—suggests a character who is certain, grounded, or perhaps survivalist and traumatised. Katniss in The Hunger Games has a period-heavy voice. She's in survival mode. She doesn't have time for complexity or qualification. A flowing, comma-heavy style suggests someone more academic, more nuanced, or possibly more scattered and manipulative. The character who qualifies everything, who adds sub-clauses and digressions, is a different kind of person from the character who speaks in declarations. This is something you can actually measure. Pull up a passage of your character's dialogue or internal monologue and count the periods versus the commas. If the rhythm doesn't match who the character is supposed to be, you've found a mismatch you can fix. Sentence length is the heartbeat of your character's persona. And voice extends beyond rhythm to the words themselves. As I discussed in the metaphor families tip, each character should draw from a distinctive well of language. But voice also encompasses their relationship to silence. Some characters talk around the thing they mean; others say it straight. Some are self-deprecating; others are blunt to the point of rudeness. All of these choices are character choices, not just style choices. I find it useful to read my dialogue aloud—and not just to check for naturalness, but to hear whether each character sounds distinct. If you could swap dialogue lines between two characters and nobody would notice, you have a voice problem. One practical test: cover the dialogue tags and see if you can tell who's speaking from the words alone. Actionable step: Choose a key passage from your protagonist's point of view and read it aloud. Does the rhythm match the character? A soldier under fire should not sound like a philosophy professor at a wine tasting. Adjust the ratio of periods to commas until the voice feels right. 13. Link Character and Plot Until They're Inseparable Will Storr made the case on episode 490 that the number one problem he sees in the writing he encounters—in workshops, in submissions, even in published books—is that the characters and the plots are unconnected. There's a story happening, and there are people in it, but the story isn't a product of who those people are. He said a story should be like life. In our lives, the plots are intimately connected to who we are as characters. The goals we pursue, the obstacles we face, the same problems that keep recurring—these are products of our personalities, our flaws, our specific ways of being in the world. His framework is that your plot should be designed specifically to plot against your character. You've got a character with a particular flaw; the plot exists to test that flaw over and over until the character either transforms or doubles down and explodes. Jaws is the perfect example. Brody is afraid of water. A shark shows up in the coastal town he's responsible for protecting. The entire plot is engineered to force him to confront the one thing he cannot face. Will pointed out that the whole plot of Jaws is structured around Brody's flaw. It begins with the shark arriving, the midpoint is when Brody finally gets the courage to go into the water, and the very final scene isn't the shark blowing up—it's Brody swimming back through the water. Even a film that's ninety-eight percent action is, at its core, structured around a character with a character flaw. This is the standard I aspire to in my own work, even in my action-heavy thrillers. The external plot should be a mirror of the internal struggle. When those two are aligned, the story becomes irresistible. Will also made an important point about series fiction, which is where most commercial authors live. I asked him how this works when your character can't be transformed at the end of every book because there has to be a next book. His answer was elegant: you don't cure them. Episodic TV characters like Fleabag or David Brent or Basil Fawlty never truly change—and the fact that they don't change is actually the source of the comedy. But every episode throws a new story event at them that tests and exposes their flaw. You just keep throwing story events at them again and again. That's a soap opera, a sitcom, and a book series. As I wrote in How to Write a Novel, character flaws are aspects of personality that affect the person so much that facing and overcoming them becomes central to the plot. In Jaws, the protagonist Brody is afraid of the water, but he has to overcome that flaw to destroy the killer shark and save the town. But remember, your characters should feel like real people, so never define them purely by their flaws. The character addicted to painkillers might also be a brilliant and successful female lawyer who gets up at four in the morning to work out at the gym, likes eighties music, and volunteers at the local dog shelter at weekends. Character wounds are different from flaws. They're formed from life experience and are part of your character's backstory—traumatic events that happened before the events of your novel but shape the character's reactions in the present. In my ARKANE thrillers, Morgan Sierra's husband Elian died in her arms during a military operation. This happened before the series begins, but her memories of it recur when she faces a firefight, and she struggles to find happiness again for fear of losing someone she loves once more. And then there's the perennial advice: show, don't tell. Most writers have heard this so many times that it's easy to nod and then promptly write scenes that tell rather than show. Basically, you need to reveal your character through action and dialogue, rather than explanation. In my thriller Day of the Vikings, Morgan Sierra fights a Neo-Viking in the halls of the British Museum and brings him down with Krav Maga. That fight scene isn't just about showing action. It opens up questions about her backstory, demonstrates character, and moves the plot forward. Telling would be something like: “Morgan was an expert in Krav Maga.” Showing is the reader discovering it through the scene itself. Actionable step: Look at the main plot events of your novel. For each major turning point, ask: does this scene specifically test my protagonist's flaw? If not, can you redesign the scene so that it does? The tighter the connection between character and plot, the more powerful the story. 14. The ‘Maestra' Approach: Write Out of Order If you're a discovery writer like me, you may feel like the deep character work I've been describing sounds more suited to plotters. But Barbara Nickless gave me a beautiful metaphor on episode 732 that reframes it entirely. Barbara described her evolving writing process as being like a maestra standing in front of an orchestra. Sometimes you bring in the horns—a certain theme—and sometimes you bring in the strings—a certain character—and sometimes you turn to the soloist. It's a more organic and jumping-around process than linear writing, and Barbara said she's only recently given herself permission to work this way. When I told her that I use Scrivener to write in scenes out of order and then drag and drop them into a structure later, she was genuinely intrigued. And this is how I've always worked. I'll see the story in my mind like a movie trailer—flashes of the big emotional scenes, the pivotal confrontations, the moments of revelation—and I write those first. I don't know how they hang together until quite late in the process. Then I'll move scenes around, print the whole thing out, and figure out the connective tissue. The point is that discovery writers can absolutely build deep characters. Sometimes writing the big emotional scenes first is how you discover who the character is before you fill in the rest. You don't need a twenty-page character worksheet or a 200-page outline like Jeffery Deaver. You need to be willing to follow the character into the unknown and trust that the structure will emerge. As Barbara said, she writes to know what she's thinking. That's the discovery writer's credo. And I would add: I write to know who my characters are. Actionable step: If you're stuck on your current chapter, skip it. Write the scene that's burning in your imagination, even if it's from the middle or the end. That scene might be the key to unlocking who your character really is. 15. Use Research to Help with Empathy Research shouldn't just be about factual accuracy—it's a tool for finding the sensory details that create empathy. Barbara Nickless described research as almost an excuse to explore things that fascinate her, and I feel exactly the same way. I would go so far as to say that writing is an excuse for me to explore the things that interest me. Barbara and I both travel for our stories. For her Dr. Evan Wilding books, she did deep research into Old English literature and the Viking Age. For my thriller End of Days, I transcribed hours of video from Appalachian snake-handling churches on YouTube to understand the worldview of the worshippers, because my antagonist was brought up in that tradition. I couldn't just make that up. I had to hear their language, feel their conviction, understand why they would hold venomous serpents as an act of faith. Barbara also mentioned getting to Israel and the West Bank for research, and I've been to both places too. Finding that one specific sensory detail—the smell of a particular location, the specific way an expert handles a tool, the sound of a particular kind of music—makes the character's life feel lived-in. It's the difference between a character who is described as living in a place and a character who inhabits it. As I wrote in How to Write a Novel, don't write what you know. Write what you want to learn about. I love research. It's part of why I'm an author in the first place. I take any excuse to dive into a world different from my own. Research using books, films, podcasts, and travel, and focus particularly on sources produced by people from the worldview you want to understand. Actionable step: For your next piece of character research, go beyond reading. Watch a documentary, visit a location, talk to someone who lives the experience. Find one sensory detail—a smell, a sound, a texture—that you couldn't have invented. That detail will make your character feel real. Bonus: Measure Your Life by What You Create In an age of AI and a tsunami of content, your ultimate brand protection is the quality of your human creation. Barbara Nickless said that the act of producing itself is a balm to the soul, and I believe that with every fibre of my being. Don't be afraid to take that step back, like I did with my deadlifting. Take the time to master these deeper craft skills. It might feel like you're slowing down or going backwards by not chasing the latest marketing trend, but it's the only way to step forward into a sustainable, high-quality career. Your characters are your signature. No AI can replicate the specificity of your lived experience, the emotional truth of your displaced trauma, or the sensory details you've gathered from a life of curiosity and travel. Those are yours. Pour them into your characters, and they will resonate for years to come. Actionable Takeaway: Identify the Dramatic Question for your current protagonist. Can you state it in a single sentence with the kind of specificity Will Storr described? Is it as clear as “Are you ordinary or extraordinary?” or “Are you the only adult in the room?” If you can't answer it with that kind of precision, your character might still be a sketch. Give them a diagonal toast moment today. Find the one hyper-specific detail that proves they are not an imitation of life. And then ask yourself: does your plot test your character's flaw in every major scene? If you can align those two things—a precisely defined character and a plot that exists to test them—you will have a story that readers cannot put down. References and Deep Dives The episodes I've referenced today are all available with full transcripts at TheCreativePenn.com: Episode 732 — Facing Fears, and Writing Unique Characters with Barbara Nickless Episode 673 — Writing Choctaw Characters and Diversity in Fiction with Sarah Elisabeth Sawyer Episode 624 — Writing Characters with Matt Bird Episode 550 — The Heroine's Journey with Gail Carriger Episode 490 — How Character Flaws Shape Story with Will Storr Books mentioned: The Secrets of Character: Writing a Hero Anyone Will Love by Matt Bird The Science of Storytelling by Will Storr The Heroine's Journey by Gail Carriger How to Write a Novel: From Idea to Book by Joanna Penn You can find all my books for authors at CreativePennBooks.com and my fiction and memoir at JFPennBooks.com Happy writing! How was this episode created? This episode was initiated created by NotebookLM based on YouTube videos of the episodes linked above from YouTube/TheCreativePenn, plus my text chapters on character from How to Write a Novel. NotebookLM created a blog post from the material and then I expanded it and fact checked it with Claude.ai 4.6 Opus, and then I used my voice clone at ElevenLabs to narrate it. The post Writing Characters: 15 Actionable Tips For Writing Deep Character first appeared on The Creative Penn.

In this episode of Midnight, On Earth, I sit down with bestselling British author and historical investigator Graham Phillips to explore his latest book, 'The Original Zodiac: What Ancient Astrology Reveals About You'. Our conversation dives deep into a forgotten chapter of astrological history - The discovery of the earliest known zodiac system, which contained eighteen signs rather than the twelve most people are familiar with today.Phillips explains how the roots of astrology stretch back to ancient Mesopotamia, emerging from the same mysterious cultural horizon that produced monumental sites like Göbekli Tepe. In those early systems, astrology appears to have functioned through generations of observation, almost like a form of reverse engineering. Instead of starting with a rigid symbolic framework, early astrologers observed patterns in human behavior, personality traits, and life outcomes, then connected those traits back to the time, place, and conditions of a person's birth. Over centuries, these observations became encoded into symbolic archetypes that eventually formed the earliest zodiac signs.At the center of Phillips' research is a mysterious clay tablet held in the British Museum, cataloged as BM 86378. The artifact lists an ancient zodiac system composed of eighteen constellations, many of which are completely absent from the modern Western and Vedic zodiacs. Instead of only the familiar signs, this earlier sky map included figures such as the Serpent, Swan, Crane, Horse, Wolf, and Eagle—symbols that suggest a very different way of interpreting cosmic influence and human identity.Because the tablet preserved the names of the constellations but not their meanings, Phillips attempted to reconstruct the psychological and behavioral traits associated with each sign. Through an extensive survey of hundreds of volunteers from different backgrounds, he analyzed patterns in personality, interests, occupations, habits, and even health tendencies. From this data, he began to piece together what the original zodiac may have signified thousands of years ago.During our conversation we explore how this eighteen-sign system offers an expanded lens through which to view astrology - not as a replacement for the familiar twelve-sign zodiac, but as a deeper layer of symbolic understanding. Phillips explains how the ancient framework may enrich our interpretation of personality, relationships, and destiny by adding additional archetypes that were gradually lost as astrology evolved through later Greek, and Vedic traditions.We also discuss the broader historical mystery surrounding the origins of astrology itself, the possibility that these systems emerged from extremely ancient sky-watching cultures, and how early civilizations attempted to map human experience onto the movements of the heavens. Along the way we touch on archaeology, myth, ancient symbolism, and the enduring human quest to understand who we are and how the cosmos might shape our lives.It's a wide-ranging exploration of forgotten astrology, ancient civilizations, and the archetypal patterns that have guided human thinking about the stars for thousands of years. Drop in!www.grahamphillips.netGraham Phillips Bio:Graham Phillips is one of Britain's bestselling non-fiction authors. A former radio journalist and broadcaster for the BBC, and founder of Strange Phenomena magazine, he is a historical investigator of unsolved mysteries. The author of many books, including The Templars and the Ark of the Covenant, The Lost Tomb of King Arthur, The End of Eden, and Atlantis and the Ten Plagues of Egypt, Graham lives in the Midlands of England. Hosted on Acast. See acast.com/privacy for more information.

Amuse-Bouche: US Scientific Progress in 2026: Clumps of disembodied brain matter "learn" to "play" first-person shooter games. We remember that the state of healthcare in the US is still not exactly ideal. Mangione's lawyers are sticking it to that wildly dangerous quasi-sentient mash-up of the distilled essence of Mar-a-Lago and the closeted physiognomy of Lindsey Graham (i.e. Pammys Bondis).  L'entrée de l'enfer: The United States Israeli Occupying Force never met a girl's elementary school that they didn't obliterate. The ICE must flow & The Philes must  continue to captivate and boggle the mind. A possible rare Joe Biden sighting on a commercial flight, though some skeptics disagree and say the British Museum was simply transporting another stolen artifact of Egyptian antiquity. Mike Penis Johnson: accountability brother in arms? Just how bad could a little climate cataclysm really be anyway? And if you really wanna know how I feel just look at my posting history of late.Please don't kill yourself. Join a labor union. P.S. Credit to @citiesbydiana for some repurposed audio elements from her videos in the introduction.Recorded on Sunday, March 2nd, 2569 around 12.30 PM Korea Standard Time. Commiserate on Discord: discord.gg/aDf4Yv9PrYNever Forget: standwithdanielhale.orgGenral RecommendationsJosh's Recommendations: 1) Krabi, Thailand 2) Budgeted travelTim's Recommendation: The Sound of MetalFurther Reading, Viewing, ListeningShow notes + Full list of links, sources, etcMore From Timothy Robert BuechnerPodcast: Q&T ARE / violentpeople.co Tweets: @ROHDUTCHLocationless Locationsheatdeathpod.comEvery show-related link is corralled and available here.Twitter: @heatdeathpodPlease send all Letters of Derision, Indifference, Inquiry, Mild Elation, et cetera to: heatdeathoftheuniversepodcast@gmail.comSend a textSupport the showSupport: patreon / buzzsprout

Enid Baxter Ryce has built a fascinating career as an artist and university professor, but her unique living situation presents a very different challenge: navigating life on a massive, decommissioned, and potentially haunted military base. She knows how to uncover the historical art left behind in the empty barracks, but the leap to understanding and confronting the supernatural entities that might linger there feels intimidating and out of reach. On this episode: How To!'s Mike Pesca brings on Dr. Irving Finkel, a renowned British Museum curator, Assyriologist, and author of The First Ghosts. Irving offers Enid guidance on bypassing modern skepticism to view hauntings through an ancient Mesopotamian lens, the power of using precise incantations to address spirits—and why dealing with a ghost should be treated as practically as catching a mouse in the kitchen. Executive Producer Corey Wara Edited by Geoff Craig Booking by Lya Yanne Do you have a burning question or a problem you need help with? Email us at howto@mikepesca.com and we will consider your topic for the show. For full Pesca content and updates, check out our website at https://www.mikepesca.com/⁠⁠⁠⁠⁠⁠⁠⁠ To receive ad-free content, become a Pesca Plus subscriber at ⁠⁠⁠⁠https://subscribe.mikepesca.com/ For Mike's daily takes on Substack, subscribe to The Gist List https://mikepesca.substack.com/ Follow us on Social Media:⁠⁠⁠⁠ Instagram https://www.instagram.com/pescagist/ X https://x.com/pescami YouTube https://www.youtube.com/@pescagist⁠⁠⁠⁠ TikTok https://www.tiktok.com/@pescagist To advertise on the show, contact ⁠⁠⁠⁠ad-sales@libsyn.com⁠⁠⁠⁠ or visit ⁠⁠⁠⁠https://advertising.libsyn.com/howto Marketing and promotional assistance by The Podglomerate

Veronica Ryan talks to Ben Luke about her influences—from writers to musicians and, of course, other artists—and the cultural experiences that have shaped her life and work.Ryan was born in 1956 in Plymouth on the Caribbean island of Montserrat and came to the UK as an infant. She now lives between London and New York. She explores personal, collective and historical memory through a range of sculptural materials and processes. Her installations and individual sculptures combine a wealth of things and techniques, often all at once, from found objects to time-honoured sculptural materials like bronze and marble; and from carving to casting and crocheting. Colour plays a vital role in her work, in the varied hues of textiles or plaster. And she creates forms as diverse as seeds and fruits, mats and nets, pillows and blankets and architectural structures. Through arresting and often multilayered arrangements, she evokes the minutiae of everyday experience (often with a profoundly personal meaning), makes reference to resonant historical events and their legacies, and addresses major human themes and rites of passage. She reflects on the meanings embedded in her materials, her relationship with psychoanalysis and unconscious processes, and her distinctive approach to displaying her work. She discusses the early influence of her mother's textiles, her visits to the British Museum and her epiphanic encounter with the work of Eva Hesse and Louise Bourgeois. She reflects on the importance of the poetry of Maya Angelou and chamber music and reggae, and she answers our usual questions, including the ultimate: what is art for?Veronica Ryan: Multiple Conversations, Whitechapel Gallery, London, 1 April – 14 June 2026 Hosted on Acast. See acast.com/privacy for more information.

The British Museum has removed the word “Palestine” from some of its displays, saying the term was used inaccurately and is no longer historically neutral. Maps and information panels in the museum’s ancient Middle East galleries had referred to the eastern Mediterranean coast as Palestine, with some people described as being “of Palestinian descent”. The decision came after concerns were raised by UK Lawyers for Israel. KAn's Mark Weiss spoke with the Chief Executive of the organization, Johnathan Turner. (Photo: Reuters)See omnystudio.com/listener for privacy information.

Should the Parthenon (often called the “Elgin”) Marbles be returned to Greece? In this episode of Kids Law, Alma-Constance and Lucinda explore one of the biggest cultural and legal debates in the UK. The ancient sculptures were taken from the Parthenon temple in Athens over 200 years ago and are now displayed in the British Museum. Some people believe they were legally acquired. Others argue they should be reunited with the rest of the temple in Greece. So what does the law say? And can the law change?We're joined by solicitor Mark Stephens CBE, consultant at Howard Kennedy and a long-time campaigner for the reunification of the Parthenon Marbles. Mark explains:How Museum laws developed over timeWhy national museums in the UK currently cannot return objects, even if they want toWhy some countries say cultural objects are more than “museum pieces” — they are part of identityWhat “provenance checking” means and why it matters todayWhether returning objects would empty museums — or make them fairerWe also explore:Why learning from the past isn't the same as judging itWhether the age of criminal responsibility (currently 10 in England and Wales) is too youngWhy lowering the voting age to 16 could strengthen democracyHow the law evolves as society grows upMark shares his belief that the law is strongest when it protects the smallest voices — and that asking questions is often where change begins.When he was 10, Mark says he was very curious, asked a lot of questions and cared about fairness a lot.As always, Kids Law helps young people understand how laws affect them — and how they can shape the future.If you have worries or need support:Childline: 0800 1111 (free confidential advice for under 18)Visit: www.kidslaw.infoPlease subscribe, rate and share the podcast — and keep your brilliant questions coming. Referenceshttps://www.britishmuseum.org/about-us/british-museum-story/contested-objects-collectionhttps://www.lawgazette.co.uk/news/time-to-rethink-our-museums-and-return-stolen-goods-says-high-profile-lawyer/5110128.articleThe British Committee for the Reunification of the Parthenon Marbleshttps://www.parthenonuk.com/component/tags/tag/mark-stephens-cbehttps://en.wikipedia.org/wiki/Mark_Stephens_(solicitor) The Art NewspaperHoward KennedyIf you've got any questions, ideas about a topic or someone to interview, get in touch, we'd love to hear from you!! You can email us at kidslaw@spark21.org, contact us through the website: www.kidslaw.info or through social media: Facebook, X and Instagram @KidsLawInfo Please subscribe, rate, and share the podcast with your friends. See you soon in the next episode!

(00:32) «Eine Hymne an das Leben» - Mit ihrem Buch will Gisèle Pelicot Hoffnung stiften. Weitere Themen: (05:52) Nachruf: Charakterdarsteller Robert Duvall schaffte es, ganz in seiner Rolle zu verschwinden. (09:53) British Museum entfernt das Wort «Palästina» von Ausstellungen. (10:37) US-Richterin ordnet Wiederaufnahme von einer Ausstellung über Sklaverei an. (11:35) US-Dokumentarfilmer Frederick Wiseman im Alter von 96 Jahren gestorben. (16:26) Roman «Die Welt im Rücken» von Thomas Melle auf der Bühne des Kurtheaters Baden: Regisseurin Johanna Böckli will psychische Krankheiten entstigmatisieren. (21:05) «Kasimir und Karoline und der Tanz mit dem Tod»: Der Horvath-Doppelabend am Theater Basel verliert durch Aktualisierungen an Spannung. (25:40) Nachruf: Der vielseitige französische Musiker Michel Portal vereinte Klassik und Jazz – ein typisch europäischer Musiker.

Broadcasting from London (while Ireland slowly sinks into the sea), Darragh reports back from the British Museum's stunning Samurai exhibition — from 12th-century armour to pop culture dominance… culminating in the original 1977 Darth Vader costume. Back on the gaming front, Kev dives into The Séance of Blake Manor, a brilliantly designed Irish mystery set in 1890s Connemara that blends spiritualism, folklore, and detective work. Then things level up as both lads gush over Indiana Jones and the Great Circle, possibly the best Indiana Jones story in 20 years. Punching Nazis, Vatican conspiracies, and actually feeling like Indy? It exists. Somehow. And finall we descend into fog, with a brutal verdict on Return to Silent Hill, a shot-for-shot adaptation that completely misses the point of Silent Hill 2. A packed episode about history, adaptation, jank, redemption arcs, and why some remakes understand the assignment… and others absolutely do not.

COFFEE MOANING the PODCAST ON APPLE PODCASTS: https://podcasts.apple.com/gb/podcast/coffee-moaning/id1689250679ON SPOTIFY: https://open.spotify.com/show/3p6z4A1RbhidO0pnOGGZl2?si=IqwD7REzTwWdwsbn2gzWCg&nd=1HOW TO STAY MARRIED (SO FAR) the PODCASTON SPOTIFY: https://open.spotify.com/show/57MT4cv2c3i06ryQlIpUXc?si=1b5ed24f40c54ebaON APPLE PODCASTS: https://podcasts.apple.com/gb/podcast/how-to-stay-married-so-far/id1294257563 Hosted on Acast. See acast.com/privacy for more information.

On 4 July 2026 the US will mark the 250th anniversary of the Declaration of Independence, the nation's founding document. But huge divisions in US society and culture are symbolised in a number of disputes relating to its history and the representation of its people. The latest furore came this week, when it emerged that the Trump administration had removed the rainbow Pride flag from the Stonewall Monument, the landmark for LGBTQ+ rights in New York. Ben Luke speaks to Ben Sutton, The Art Newspaper's editor-in-chief, Americas, about this and other flashpoints as the US grapples with its history, and we explore the cultural initiatives that are marking the semiquincentennial. One of London's best known and longest-established art dealers, Stephen Friedman, has announced the closure of his London gallery, following that of his New York space last year. Ben speaks to our contributing art market editor, Anny Shaw, about the fallout from the closure and the significance for the wider London art market. And this episode's Work of the Week is the Tudor Heart, an intricately decorated golden pendant with links to Henry VIII and his first wife, Katherine of Aragon. The British Museum has raised £3.5m to acquire the work, following a four-month fundraising campaign. Our digital editor, Alexander Morrison, talks to Rachel King, the curator of Renaissance Europe and the Waddesdon Bequest at the museum, about the pendant.The Tudor Heart pendant is now on view at the British Museum. Hosted on Acast. See acast.com/privacy for more information.

Imagine that you’re so angry about a business deal gone wrong that you grab a chisel, find a slab of stone, and spend hours carving your complaint. That’s exactly what a Mesopotamian merchant did in 1750 and made sales history.  The merchant was furious because he’d been promised high-grade copper, but the final product was subpar. That angry customer complaint is now sitting in the British Museum, 4,000 years later. The tablet reads: “What do you take me for? That you treat someone like me with such contempt?” If you think dealing with issues in the sales process is a modern problem, you’re off by about four millennia. Sales Hustle Is Ancient We talk about sales like it’s a modern corporate invention. CRMs and automated sequences are new, but the art of the deal and dealing with angry customers? That's been around since humans started trading. The copper merchant in 1750 BCE wasn’t just selling copper. He was managing client expectations, handling logistics, and clearly failing at quality control. The core practices of B2B sales—promise, delivery, and relationship management—haven’t changed. 1600s: Sales Becomes a Profession Fast forward to 1600, and you see the founding of the East India Trading Companies. They were some of the first corporations that allowed people to buy shares in a business. One of the East India Trading Companies was owned by “the 17 gentlemen”—a group of wealthy investors who funded global trade expeditions. They kept spices like nutmeg, pepper, and cinnamon flowing across continents. The spices were so valuable that they were practically currency. This was B2B sales at scale. Shareholders’ expected returns. Merchants negotiated deals across continents. The stakes were massive, and so were the profits. This era established something critical to modern sellers: the separation between ownership and operation. The 17 gentlemen didn’t sail the ships or negotiate every spice deal. They hired people to do it. Sales stopped being a personal trade and became a repeatable profession with accountability structures built in. 1851: Visibility and Competition Arrive The Great Exhibition in London in 1851 was the world’s first massive B2B trade show in sales history. Thousands of exhibitors. Hundreds of thousands of attendees. A giant glass building called the Crystal Palace. Nearly 200 years later, sales pros still pack convention centers, set up booths, and fight to stand out in a sea of competitors. This is where B2B sales became visible. You weren’t just competing against one or two local merchants anymore. You were standing next to dozens of alternatives, all promising similar value. Differentiation became mandatory. Following up meant writing a letter and waiting weeks for a response. Today, if you’re not following up within 24 hours, you’re losing to competitors who are. 1957: Reach and Leverage Scale Up The first inside sales team was formed at a company called Dial America in 1957. Before that, if you wanted to sell, you hit the road. Door-to-door, city-to-city, face-to-face. Every single deal required physical presence. The telephone changed everything. Suddenly, salespeople could work virtually, reach more prospects, and close deals without leaving the office. One seller could now have 20 conversations in a day instead of three. The math of sales productivity fundamentally shifted. Fast forward to today, and inside sales is the dominant model. The tools have evolved—Zoom calls, screen shares, digital demos—but the core principle remains: you don’t need to be in the same room to build trust and close deals. From Stone Tablets to Instant Messages: Why Speed Matters Now Think about the effort that the merchant put into carving his complaint into stone. He didn’t fire off a quick email. He didn’t leave a one-star Google review. He created a permanent record that would outlive both him and the seller by thousands of years. Today, complaints are easy. Maybe too easy. A customer can blast you on LinkedIn, tank your review scores, or CC your entire executive team on an email thread—all before lunch.  Every major shift in B2B sales increased speed. Trade shows multiplied visibility. Telephones let sellers reach 20 prospects a day instead of three. Email collapsed follow-up from weeks to hours. Social media made reputation instant and permanent. In 1750 BCE, you had time to respond. Now, you have hours—maybe minutes. Each acceleration rewarded the sellers who could execute fast without sacrificing quality. The ones who couldn’t keep up disappeared. Why This Timeline Matters More Than You Think We're in another massive shift in sales history. AI, automation, predictive analytics—the pace is relentless. It's easy to think everything has changed. Zoom out 4,000 years, and the pattern emerges: speed accelerates, but the core practices stay the same. So the next time you get a harsh email from a customer, remember that stone tablet. You don't have to worry about your failure being displayed in a museum 4,000 years from now. But you do have to worry about your reputation spreading across the internet in hours. The tools change, the pace accelerates, but the rule is simple: earn trust, deliver value, and handle problems before they handle you. You just saw how history teaches that speed and execution have always mattered — and now AI is the biggest shift we've seen yet. If you want to turn the disruption into an advantage, download The FREE AI Edge Book Club Guide. 

Imagine that you're so angry about a business deal gone wrong that you grab a chisel, find a slab of stone, and spend hours carving your complaint. That's exactly what a Mesopotamian merchant did in 1750 and made sales history.  The merchant was furious because he'd been promised high-grade copper, but the final product was subpar. That angry customer complaint is now sitting in the British Museum, 4,000 years later. The tablet reads: "What do you take me for? That you treat someone like me with such contempt?" If you think dealing with issues in the sales process is a modern problem, you're off by about four millennia. Sales Hustle Is Ancient We talk about sales like it's a modern corporate invention. CRMs and automated sequences are new, but the art of the deal and dealing with angry customers? That's been around since humans started trading. The copper merchant in 1750 BCE wasn't just selling copper. He was managing client expectations, handling logistics, and clearly failing at quality control. The core practices of B2B sales—promise, delivery, and relationship management—haven't changed. 1600s: Sales Becomes a Profession Fast forward to 1600, and you see the founding of the East India Trading Companies. They were some of the first corporations that allowed people to buy shares in a business. One of the East India Trading Companies was owned by "the 17 gentlemen"—a group of wealthy investors who funded global trade expeditions. They kept spices like nutmeg, pepper, and cinnamon flowing across continents. The spices were so valuable that they were practically currency. This was B2B sales at scale. Shareholders' expected returns. Merchants negotiated deals across continents. The stakes were massive, and so were the profits. This era established something critical to modern sellers: the separation between ownership and operation. The 17 gentlemen didn't sail the ships or negotiate every spice deal. They hired people to do it. Sales stopped being a personal trade and became a repeatable profession with accountability structures built in. 1851: Visibility and Competition Arrive The Great Exhibition in London in 1851 was the world's first massive B2B trade show in sales history. Thousands of exhibitors. Hundreds of thousands of attendees. A giant glass building called the Crystal Palace. Nearly 200 years later, sales pros still pack convention centers, set up booths, and fight to stand out in a sea of competitors. This is where B2B sales became visible. You weren't just competing against one or two local merchants anymore. You were standing next to dozens of alternatives, all promising similar value. Differentiation became mandatory. Following up meant writing a letter and waiting weeks for a response. Today, if you're not following up within 24 hours, you're losing to competitors who are. 1957: Reach and Leverage Scale Up The first inside sales team was formed at a company called Dial America in 1957. Before that, if you wanted to sell, you hit the road. Door-to-door, city-to-city, face-to-face. Every single deal required physical presence. The telephone changed everything. Suddenly, salespeople could work virtually, reach more prospects, and close deals without leaving the office. One seller could now have 20 conversations in a day instead of three. The math of sales productivity fundamentally shifted. Fast forward to today, and inside sales is the dominant model. The tools have evolved—Zoom calls, screen shares, digital demos—but the core principle remains: you don't need to be in the same room to build trust and close deals. From Stone Tablets to Instant Messages: Why Speed Matters Now Think about the effort that the merchant put into carving his complaint into stone. He didn't fire off a quick email. He didn't leave a one-star Google review. He created a permanent record that would outlive both him and the seller by thousands of years. Today, complaints are easy. Maybe too easy. A customer can blast you on LinkedIn, tank your review scores, or CC your entire executive team on an email thread—all before lunch.  Every major shift in B2B sales increased speed. Trade shows multiplied visibility. Telephones let sellers reach 20 prospects a day instead of three. Email collapsed follow-up from weeks to hours. Social media made reputation instant and permanent. In 1750 BCE, you had time to respond. Now, you have hours—maybe minutes. Each acceleration rewarded the sellers who could execute fast without sacrificing quality. The ones who couldn't keep up disappeared. Why This Timeline Matters More Than You Think We're in another massive shift in sales history. AI, automation, predictive analytics—the pace is relentless. It's easy to think everything has changed. Zoom out 4,000 years, and the pattern emerges: speed accelerates, but the core practices stay the same. So the next time you get a harsh email from a customer, remember that stone tablet. You don't have to worry about your failure being displayed in a museum 4,000 years from now. But you do have to worry about your reputation spreading across the internet in hours. The tools change, the pace accelerates, but the rule is simple: earn trust, deliver value, and handle problems before they handle you. You just saw how history teaches that speed and execution have always mattered — and now AI is the biggest shift we've seen yet. If you want to turn the disruption into an advantage, download The FREE AI Edge Book Club Guide.

Lots of folks would like you to believe that only ignorant, backward people reject evolution. But is that really the case? The fact is that the case for evolution is so weak that many scientists who cannot even be called friends of Christianity reject it on scientific grounds!Back in 1981, Dr. Colin Patterson of the prestigious British Museum of Natural History shocked the scientific world. He told scientists at the famed American Museum of Natural History in New York that he'd been examining anti‑evolutionary ideas for about 18 months. It finally struck him that, although he had been working on evolution for 20 years, he could not find one fact about evolution that he really knew.Dr. Patterson said he had asked scientific colleagues at other institutions whether they knew anything about evolution to be actually true. After a lot of silence at several meetings, one fellow scientist finally spoke up at one meeting and said, "I do know one thing—it ought not to be taught in high school."Dr. Patterson concluded his talk at the American Museum of Natural History by saying that he finally "woke up and realized that all my life I had been duped into taking evolution as revealed truth in some way." You see, those who reject evolution are in a lot of good, educated company!Job 21: 7,14"Wherefore do the wicked live, become old, yea, are mighty in power?... Therefore they say unto God, Depart from us; for we desire not the knowledge of thy ways."Prayer: Lord, I mourn for the many who try to avoid You by hiding in stories about evolution, especially since I know that they cannot avoid coming face to face with You at the judgment. Even though many of them have set themselves as enemies of Your people, I pray for them and ask that they may not avoid coming in repentance to You before it is too late. Amen.Image: Museum of Natural History, London, Diego Delso, CC BY-SA 4.0, Wikimedia Commons. To support this ministry financially, visit: https://www.oneplace.com/donate/1232/29?v=20251111

Morse code transcription: vvv vvv Island near Portmeirion is for sale but you may need waders to reach it Macron urges Europe to start acting like world power Chappell Roan leaves talent agency led by Casey Wasserman after Epstein fallout British Museum to keep pendant linked to Henry VIII after campaign Munich Security Conference Trumps world order hangs over Europe Instagram and YouTube owners built addiction machines, trial told More solar farms on the way after record renewables auction Sepsis mistakes killed our daughter we fear it could happen again Ghislaine Maxwell refuses to answer questions about Epstein from Congress Izabela Zablocka death Skilled butcher guilty of murdering, cutting up and burying partner

Morse code transcription: vvv vvv Izabela Zablocka death Skilled butcher guilty of murdering, cutting up and burying partner British Museum to keep pendant linked to Henry VIII after campaign Instagram and YouTube owners built addiction machines, trial told Macron urges Europe to start acting like world power Island near Portmeirion is for sale but you may need waders to reach it Chappell Roan leaves talent agency led by Casey Wasserman after Epstein fallout Munich Security Conference Trumps world order hangs over Europe Sepsis mistakes killed our daughter we fear it could happen again More solar farms on the way after record renewables auction Ghislaine Maxwell refuses to answer questions about Epstein from Congress

Morse code transcription: vvv vvv Munich Security Conference Trumps world order hangs over Europe More solar farms on the way after record renewables auction Instagram and YouTube owners built addiction machines, trial told Ghislaine Maxwell refuses to answer questions about Epstein from Congress British Museum to keep pendant linked to Henry VIII after campaign Chappell Roan leaves talent agency led by Casey Wasserman after Epstein fallout Sepsis mistakes killed our daughter we fear it could happen again Island near Portmeirion is for sale but you may need waders to reach it Macron urges Europe to start acting like world power Izabela Zablocka death Skilled butcher guilty of murdering, cutting up and burying partner

Morse code transcription: vvv vvv Macron urges Europe to start acting like world power Chappell Roan leaves talent agency led by Casey Wasserman after Epstein fallout Ghislaine Maxwell refuses to answer questions about Epstein from Congress More solar farms on the way after record renewables auction Sepsis mistakes killed our daughter we fear it could happen again Munich Security Conference Trumps world order hangs over Europe Izabela Zablocka death Skilled butcher guilty of murdering, cutting up and burying partner Instagram and YouTube owners built addiction machines, trial told Island near Portmeirion is for sale but you may need waders to reach it British Museum to keep pendant linked to Henry VIII after campaign

The head of New South Wales police says officers "did what they needed to do" at a pro-Palestinian rally in Sydney. Video shows police punching protestors at the event, held to oppose a visit by Israeli President Isaac Herzog in the wake of the antisemitic Bondi Beach attack. Also, the watchdog Transparency International says public sector corruption is worsening around the world, with the US and UK getting their worst-ever ratings in the group's annual Corruption Perceptions Index. Nairobi condemns Russia for recruiting Kenyan citizens to fight in the war in Ukraine. And the British Museum pays $4.8m for a piece of jewellery from the reign of Henry VIII, found by a metal detectorist. The Global News Podcast brings you the breaking news you need to hear, as it happens. Listen for the latest headlines and current affairs from around the world. Politics, economics, climate, business, technology, health – we cover it all with expert analysis and insight. Get the news that matters, delivered twice a day on weekdays and daily at weekends, plus special bonus episodes reacting to urgent breaking stories. Follow or subscribe now and never miss a moment. Get in touch: globalpodcast@bbc.co.uk

Incogni advertisementUse code “https://nordvpn.com/earthancients at the link below to get an exclusive 60% off an anual Incogni plan.Your URL is: https://incogni.com/earthancientsThe Discovery of a Chinese Imperial Seal in Northern Australia:Preliminary Report and AnalysisBy Dr Luk Yu-ping (British Museum), Ed Liu (Chinese Scholar) & Geological Analyst (AA+Industry)AbstractIn May 2022, a copper-alloy seal bearing early Chinese inscriptions was discovered nearTortilla Flats, Northern Territory, Australia. Preliminary metallurgical and epigraphicanalyses suggest the object predates any known modern or colonial Chinese presence in theregion. The artefact, associated with Daoist deity worship, may indicate ancient maritimeconnections between Asia and northern Australia. This paper summarises the discovery,expert opinions, initial analyses, and recommendations for future study and preservation.What Has Been FoundA square-shaped cast metal seal (90mm2, 20g) with eight Chinese characters and two sidemarkings, believed to represent the “Tiger-tamer Marshal Zhao of the Dark Altar” (玄壇伏虎趙公元帥)—a Daoist deity linked to wealth, protection, and navigation. The artefact bearsthe hallmarks of imperial-level craftsmanship, including a nine-fold casting method andcomplex copper-zinc alloy composition consistent with early high-temperature metallurgy.2. Who Found ItThe seal was discovered by John Miltenburg in collaboration with local researchers. Theinitial academic interpretation and contextual analysis were later undertaken by Ed Liu(Chinese scholar) and Ian Hudson and team, with external review and correspondence withDr Luk Yu-ping, Curator of Chinese Paintings and Prints at the British Museum.3. When It Was FoundThe discovery occurred in early May 2022 during surface exploration of the wetlands areasurrounding Tortilla Flats, Northern Territory, approximately 110 km south of Darwin.4. Where It Was Found and in What CircumstancesThe seal was recovered from wetlands heavily embedded in clay, located between twocreek systems near Tortilla Flats. The location's hydrological conditions likely preserved theartefact by limiting exposure to air and corrosive elements. There is no evidence of modernhabitation, trade, or military activity in the immediate vicinity that would explain the seal'spresence through known historical channels.https://forgottenorigin.com/Become a supporter of this podcast: https://www.spreaker.com/podcast/earth-ancients--2790919/support.

Samurai (British Museum Press 2026) is a richly illustrated volume co-authored by exhibition curator Rosina Buckland (British Museum) and Oleg Benesch (York) to accompany the special exhibition "Samurai" at the British Museum 3 Feb - 4 May 2026. More than a catalogue, Samurai uses the exhibit to explore the overlapping and diverging myths and histories of the samurai from medieval warriors to bureaucrats to global pop culture phenomena. As the exhibition website observes, "The samurai is an iconic figure, evoking images of formidable fighters possessing ideals of courage, honour and self-sacrifice. Yet much of what we think we know about samurai is invented tradition." Samurai is the kind of book that epitomizes how rigorous academic work can be transformed into effective public communication. The museum encourages listeners, readers, and guests of the exhibit to explore more of the collection here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Samurai (British Museum Press 2026) is a richly illustrated volume co-authored by exhibition curator Rosina Buckland (British Museum) and Oleg Benesch (York) to accompany the special exhibition "Samurai" at the British Museum 3 Feb - 4 May 2026. More than a catalogue, Samurai uses the exhibit to explore the overlapping and diverging myths and histories of the samurai from medieval warriors to bureaucrats to global pop culture phenomena. As the exhibition website observes, "The samurai is an iconic figure, evoking images of formidable fighters possessing ideals of courage, honour and self-sacrifice. Yet much of what we think we know about samurai is invented tradition." Samurai is the kind of book that epitomizes how rigorous academic work can be transformed into effective public communication. The museum encourages listeners, readers, and guests of the exhibit to explore more of the collection here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Samurai (British Museum Press 2026) is a richly illustrated volume co-authored by exhibition curator Rosina Buckland (British Museum) and Oleg Benesch (York) to accompany the special exhibition "Samurai" at the British Museum 3 Feb - 4 May 2026. More than a catalogue, Samurai uses the exhibit to explore the overlapping and diverging myths and histories of the samurai from medieval warriors to bureaucrats to global pop culture phenomena. As the exhibition website observes, "The samurai is an iconic figure, evoking images of formidable fighters possessing ideals of courage, honour and self-sacrifice. Yet much of what we think we know about samurai is invented tradition." Samurai is the kind of book that epitomizes how rigorous academic work can be transformed into effective public communication. The museum encourages listeners, readers, and guests of the exhibit to explore more of the collection here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history

Samurai (British Museum Press 2026) is a richly illustrated volume co-authored by exhibition curator Rosina Buckland (British Museum) and Oleg Benesch (York) to accompany the special exhibition "Samurai" at the British Museum 3 Feb - 4 May 2026. More than a catalogue, Samurai uses the exhibit to explore the overlapping and diverging myths and histories of the samurai from medieval warriors to bureaucrats to global pop culture phenomena. As the exhibition website observes, "The samurai is an iconic figure, evoking images of formidable fighters possessing ideals of courage, honour and self-sacrifice. Yet much of what we think we know about samurai is invented tradition." Samurai is the kind of book that epitomizes how rigorous academic work can be transformed into effective public communication. The museum encourages listeners, readers, and guests of the exhibit to explore more of the collection here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies

Historians are scratching their heads at a resurfaced ancient Egyptian scroll held by the British Museum that might support the claim that biblical giants were, in fact, real. The 3,300-year-old document has been in the museum's collection since 1839 and has recently resurfaced due to a group of researchers who claim that it links to biblical giant accounts. In this episode I will read directly from the segment of this controversial ancient scroll that mentions a mysterious large tribe known as the “Shosu.” I will also provide many other examples of what many believe to be giants of ancient Egypt that were either depicted or written about. From the Bible, to the Book of Enoch, to other historical non-biblical sources - I will also breakdown the endless mentions and legends of ancient hybrids.JOIN ME ON A TOURGiants of Ancient Egypt article

A lawyer, artist and curator discuss different examples of censorship and self censorship in Radio 4's weekly discussion of ideas to kick off the week. Tom Sutcliffe's guests are: Ai Weiwei: a major name in contemporary art and for decades a leading voice for freedom of expression in his native China – and the wider world. In 2011 he was detained for eighty-one days in a secret location, unable to communicate with the outside world. His new book, On Censorship moves from authoritarian regimes to the pervasive influence of corporate power, social media and dominant interest groups in democracies. Baroness Helena Kennedy has written the introduction to collected writings of Anna Politkovskaya, the Russian journalist who was murdered outside her home in Moscow twenty years ago. With continued attacks in Russia on press freedom, the way she spoke truth to power remains inspirational for Baroness Kennedy. The figure of the Samurai is often associated with ideas about discipline, sacrifice and war but a new exhibition at the British Museum (on until May 4th) looks at the way this warrior class became consumers and patrons of culture. Rosina Buckland has co-curated the show. Producer: Ruth Watts

Author Rachel Rachel Joyce and musician Passenger discuss the new musical based on Rachel's hit book The Unlikely Pilgrimage of Harold Fry.Eric Schlosser's book Fast Food Nation has been republished after 25 years as a Penguin Classic. Samira Ahmed talks to the author about the impact of the book.Emily Itami and comedian Iszi Lawrence review the British Museum's new exhibition "Samurai".Critic Tim Robey on the work of Catherine O'Hara, following news of her death.

A rapidly intensifying bomb cyclone buried parts of North Carolina in record snow, knocked out power, halted travel, and canceled flights, as bitter Arctic air pushed rare freezing temperatures and snow flurries into Florida. The U.S. government is partially shut down, and House Speaker Mike John (R-La.) said he's confident that he has enough republican votes to end it by at least Feb. 3. An American envoy arrived in Caracas as plans moved forward to reopen the U.S. embassy. President Donald Trump signaled warmer ties, and possible oil cooperation after the capture of Venezuelan leader Nicolás Maduro. It's America's most consumed beverage: according to a 2025 report, Americans drink more coffee than they do bottled water. However, is coffee ultimately good for our health? Vital Signs' Brendon Fallon presents the views of two nutrition-specialist doctors on coffee. A new exhibition at the British Museum is rethinking the samurai: from warriors to artists and leaders. The surprising history is being revealed, including the powerful role of women.

In this episode we talk with Thomas Flynn, a digital heritage specialist with deep experience in 3D digitisation, open access, and online publishing. Thomas has worked with UNESCO, Europeana, Oxford University, Creative Commons, and served as cultural heritage lead at Sketchfab, where he helped launch the British Museum's first open 3D collection. In this conversation, he explains how museums and cultural organisations think about 3D capture, what Gaussian splatting can and cannot do for heritage workflows, and why long term storage, metadata, and interoperability matter just as much as scanning quality. He breaks down real examples of 3D printing for visitor engagement, web based publishing options, VR use cases, and the growing challenge of managing massive data sets.Subscribe to XR AI Spotlight weekly newsletter

This week I'm uncovering a lost city that was left out of my lost cities two parter (episodes 131 and 132). Nineveh, the capital of the ancient Assyrian Empire, is mentioned in the Bible no less than 19 times. But, for millennia we weren't sure if it was a fictional setting or a real place. All of that changed in the 1840s when British explorer Austen Henry Layard discovered the ruins of a vast metropolis on the banks of the Tigris River that could only be Nineveh. Within those ruins he found a palace and within that palace a library, the Library of Ashurbanipal. The information held within Ashurbanipal's library told us everything we never knew about the Assyrian Empire, once the largest empire in the world. So, what did those clay tablets say? Join me to find out! Support the show! Join the Patreon (patreon.com/historyfixpodcast)Buy some merchBuy Me a CoffeeVenmo @Shea-LaFountaineSources: British Museum "Sparking the imagination: the rediscovery of Assyria's great lost city"British Museum "Historical city travel guide: Nineveh, 7th century BC"British Museum "A library fit for a king"British Museum "Who was Ashurbanipal?"Got Questions "What is the significance of the city of Nineveh in the Bible?"Shoot me a message! Join me January 28th at 6 pm at College of the Albemarle in Manteo, North Carolina for the first ever History Fix live show! Support the show

Episode: It's go time for Amy's favorite tablet, tablet 11 of the Epic of Gilgamesh!! It's flood time, or at least, it's time to learn about the great flood, caused by Enlil. This episode will cover the events related to the great flood, as reported by Utnapishtim. Gilgamesh seeks immortality, but ultimately, learns about his human limitations and the need for a good nap.  Hosts: Chris McKinny and Amy Balogh Resources: We've been reading from the Penguin Classic edition of the Epic of Gilgamesh.  Image Attribution: 7th century version of the 11th Tablet. Wikimedia Commons, accessed 1/21/2026 - https://commons.wikimedia.org/wiki/File:Tablet_XI_or_the_Flood_Tablet_of_the_Epic_of_Gilgamesh,_currently_housed_in_the_British_Museum_in_London.jpg

The second part of the discussion of embroidery history covers blackwork and Opus Anglicanum, then embroidery samplers and beetle-wing embroidery. Research: Абильда, Айжан. “Scythians are creators of embroidery art.” Qazaqstan Tarihy. May 24, 2019. https://e-history.kz/en/news/show/7178#:~:text=Embroidery%20is%20a%20traditional%20East,a%20wedding%20or%20a%20party. Angus, Jennifer. “Nature’s Sequins.” Cooper Hewitt. Sept. 14, 2018. https://www.cooperhewitt.org/2018/09/14/natures-sequins/ “The art of printing textile.” Musee de L’Impression sur Etoffes. https://www.musee-impression.com/en/the-collection/ Badshah, Nadeem. “Bayeux tapestry to be insured for £800m for British Museum exhibition.” The Guardian. Dec. 27. 2025. https://www.theguardian.com/world/2025/dec/27/bayeux-tapestry-to-be-insured-for-800m-for-british-museum-exhibition “Bayeux Tapestry.” UNESCO. https://www.unesco.org/en/memory-world/bayeux-tapestry “The Bayeux Tapestry.” La Tapisserie de Bayeux. Bayeux Museum. https://www.bayeuxmuseum.com/en/the-bayeux-tapestry/ Binswanger, Julia. “These Delicate Needles Made From Animal Bones May Have Helped Prehistoric Humans Sew Warm Winter Clothing.” Smithsonian. Dec. 11, 2024. https://www.smithsonianmag.com/smart-news/these-delicate-needles-made-from-animal-bones-may-have-helped-prehistoric-humans-sew-warm-winter-clothing-180985601/ Britannica Editors. "Scythian art". Encyclopedia Britannica, 27 May. 2018, https://www.britannica.com/art/Scythian-art “Chasuble (Opus Anglicanum).” The Met. https://www.metmuseum.org/art/collection/search/466660 Chung, Young Yang. “Silken Threads: A History of Embroidery in China, Korea, Japan, and Vietnam.” Abrams. 2005. Daniels, Margaret Harrington. “Early Pattern Books for Lace and Embroidery.” Bulletin of the Needle and Bobbin Club. https://www2.cs.arizona.edu/patterns/weaving/articles/nb33_lac.pdf “DMC.” Textile Research Center Leiden. https://trc-leiden.nl/trc-needles/organisations-and-movements/companies/dmc “Dragon Robe Decoded.” Sotheby’s. May 23, 2019. https://www.sothebys.com/en/articles/dragon-robe-decoded Embroiderers’ Guild. https://embroiderersguild.com/ Embroiderers’ Guild of America. https://egausa.org/ “Embroidery Techniques from Around the World: Crewel.” Embroiderer’ Guild of America. Oct. 28, 2024. https://egausa.org/embroidery-techniques-from-around-the-world-crewel/ Francfort, H.-P., 2020, “Scythians, Persians, Greeks and Horses: Reflections on Art, Culture Power and Empires in the Light of Frozen Burials and other Excavations”, in: , Londres, British Museum, p. 134-155. https://www.academia.edu/44417916/Francfort_H_P_2020_Scythians_Persians_Greeks_and_Horses_Reflections_on_Art_Culture_Power_and_Empires_in_the_Light_of_Frozen_Burials_and_other_Excavations_in_Londres_British_Museum_p_134_155 “Girlhood Embroidery.” Pilgrim Hall Museum. https://www.pilgrimhall.org/girlhood_embroidery.htm Gower, John G., and G.C. Macaulay, ed. “The Complete Works of John Gower.” Clarendon Press. 1901. https://www.gutenberg.org/files/71162/71162-h/71162-h.htm#Page_1 “Introducing Opus Anglicanum.” Victoria and Albert Museum. https://www.vam.ac.uk/articles/about-opus-anglicanum?srsltid=AfmBOor2pOTddjxaPC9AXHvvQuGXD4Tyx9N3zBeISzMSDHX1KnaUnfnL “Introducing the Scythians.” British Museum. May 30, 2017. https://www.britishmuseum.org/blog/introducing-scythians Nazarova, Yevhenia. “Ukraine's Ancient 'River Guardians.'” Radio Free Europe. Oct. 17, 2021. https://www.rferl.org/a/scythian-dig-ukraine-river-guardians-discovery/31507187.html "Ancient Peruvian Textiles." The Museum Journal XI, no. 3 (September, 1920): 140-147. Accessed December 22, 2025. https://www.penn.museum/sites/journal/843/ “Embroidery – a history of needlework samplers.” Victoria & Albery Museum. https://www.vam.ac.uk/articles/embroidery-a-history-of-needlework-samplers “History of The Broderers.” The Worshipful Company of Broderers. https://broderers.co.uk/history-broderers “The History of Britain's Bayeux Tapestry.” Reading Museum. https://www.readingmuseum.org.uk/collections/britains-bayeux-tapestry/history-britains-bayeux-tapestry Kennedy, Maev. “British Museum to go more than skin deep with Scythian exhibition.” The Guardian. May 30, 2017. https://www.theguardian.com/culture/2017/may/30/british-museum-skin-scythian-exhibition-tattoo-empire Lattanzio, Giaga. “Byzantine.” Fashion History Timeline. FITNYC. https://fashionhistory.fitnyc.edu/byzantine/ Leslie, Catherine Amoroso. “Needlework Through History: An Encyclopedia.” Greenwood Press. 2007. Libes, Kenna. “Beetle-Wing Embroidery in Nineteenth-Century Fashion.” Fashion History Timeline. FITNYC. https://fashionhistory.fitnyc.edu/beetle-wing-19thcentury/ Liu Y, Li Y, Li X, Qin L. The origin and dispersal of the domesticated Chinese oak silkworm, Antheraea pernyi, in China: a reconstruction based on ancient texts. J Insect Sci. 2010;10:180. doi: 10.1673/031.010.14140 “Mrs. Jacob Wendell (Mary Barrett, 1832–1912).” The New York Historical. https://emuseum.nyhistory.org/objects/68658/mrs-jacob-wendell-mary-barrett-18321912 Muntz, Eugene and Louisa J. Davis. “A short history of tapestry. From the earliest times to the end of the 18th century.” London. Cassel & Co. 1885. Accessed online: https://archive.org/details/shorthistoryofta00mntz/page/n3/mode/2up Pohl, Benjamin. “Chewing over the Norman Conquest: the Bayeux Tapestryas monastic mealtime reading.” Historical Research. 2025. https://academic.oup.com/histres/advance-article/doi/10.1093/hisres/htaf029/8377922 Puiu, Tibi. “Pristine 2,300-year-old Scythian woman’s boot found in frozen Altai mountains.” ZME Science. Dec. 29, 2021. https://www.zmescience.com/science/scythian-boots-0532/ Razzall, Katie. “Bayeux Tapestry to return to UK on loan after 900 years.” BBC. July 8, 2025. https://www.bbc.com/news/articles/c14ev1z6d5go Royal School of Needlework. https://royal-needlework.org.uk/ Salmony, Alfred. “The Archaeological Background of textile Production in Soviet Russia Territory.” The Bulletin of the Needle and Bobbin Club. Volume 26. No. 2. 1942. https://www2.cs.arizona.edu/patterns/weaving/periodicals/nb_42_2.pdf “Sampler.” Victoria & Albert Museum. https://collections.vam.ac.uk/item/O46183/sampler-jane-bostocke/ Schӧnsperger, Johann. “Ein ney Furmbüchlein. 1525-1528. Met Museum Collection. https://www.metmuseum.org/art/collection/search/354716 Schӧnsperger, Johann. “Ein new Modelbuch … “ 1524. https://www.metmuseum.org/art/collection/search/354660 Shrader, Dustin. “Embroidery Through the Ages.” Impressions. July 28, 2023. https://impressionsmagazine.com/process-technique/embroidery-through-the-ages/39234/#:~:text=The%20Age%2DOld%20Beginning&text=We%20tend%20to%20typically%20think,to%20generation%20across%20the%20millennia. “Silk Roads Programme.” UNESCO. https://en.unesco.org/silkroad/silkroad-interactive-map Sons of Norway's Cultural Skills Program. “Unit 8: Hardanger Embroidery.” 2018. https://www.sofn.com/wp-content/uploads/2018/11/unit8hardanger_rev8.11.pdf “Suzhou Embroidery.” Smithsonian National Museum of Asian Art.” https://asia-archive.si.edu/learn/for-educators/teaching-china-with-the-smithsonian/videos/suzhou-embroidery/ Teall, John L., Nicol, Donald MacGillivray. "Byzantine Empire". Encyclopedia Britannica, 5 Dec. 2025, https://www.britannica.com/place/Byzantine-Empire Warner, Pamela. “Embroidery: A History.” B.T. Bedford, Ltd. 1991. Watt, James C. Y., and Anne E. Wardwell. “When Silk Was Gold: Central Asian and Chinese Textiles.” Metropolitan Museum of Art. Harry N. Abrams. New York. 1997. https://cdn.sanity.io/files/cctd4ker/production/d781d44d3048d49257072d610034400182246d3e.pdf Watt, Melinda. “Textile Production in Europe: Embroidery, 1600–1800.” The Met. Oct. 1, 2003. https://www.metmuseum.org/essays/textile-production-in-europe-embroidery-1600-1800 See omnystudio.com/listener for privacy information.

Daniel chapter 5 and the handwriting on the wall have long been criticized as legend. But an ancient clay tablet tells a different story. Discovered in the mid-1800s in modern-day Iraq and dating to 549–486 BC, the Nabonidus Chronicle records key events surrounding the fall of Babylon. Purchased by the British Museum in 1879 and later translated by Sir Henry Rawlinson, this fragment contains historical details that closely align with the account of King Belshazzar in the Book of Daniel. Explore with us as we examine how archaeology and Scripture intersect in one remarkable artifact.-------------------------------------------------------------------------------------DONATE: https://evidence4faith.org/give/WEBSITE: https://evidence4faith.org/NEWSLETTER: http://eepurl.com/hpazV5BOOKINGS: https://evidence4faith.org/bookings/CONTACT: Evidence 4 Faith, 349 Knights Ave Kewaskum WI 53040 , info@evidence4faith.orgMy goal is that their hearts, having been knit together in love, may be encouraged, and that they may have all the riches that assurance brings in their understanding of the knowledge of the mystery of God, namely, Christ, in whom are hidden all the treasures of wisdom and knowledge. - Colossians 2:2-3CREDITS: Developed & Hosted by Michael Lane. Produced & Edited by Isabel Kolste. Graphics & Publication by Isabel Kolste. Additional Art, Film, & Photography Credits: Stock media “Memories” provided by mv_production / Pond5 | Logo Stinger: Unsplash.com: Leinstravelier, Logan Moreno Gutierrez, Meggyn Pomerieau, Jaredd Craig, NASA, NOASS, USGS, Sam Carter, Junior REIS, Luka Vovk, Calvin Craig, Mario La Pergola, Timothy Eberly, Priscilla Du Preez, Ismael Paramo, Tingey Injury Law Firm, Dan Cristian Pădureț, Jakob Owens | Wikimedia: Darmouth University Public Domain, Kelvinsong CC0 | Stock media “A stately Story (Stiner02)” provided by lynnepublishing / Pond5

The first installment of this two-parter covers ancient embroidery around the world, and then focuses on European embroidery, Chinese dragon robes, and the Bayeux Tapestry. Research: Абильда, Айжан. “Scythians are creators of embroidery art.” Qazaqstan Tarihy. May 24, 2019. https://e-history.kz/en/news/show/7178#:~:text=Embroidery%20is%20a%20traditional%20East,a%20wedding%20or%20a%20party. Angus, Jennifer. “Nature’s Sequins.” Cooper Hewitt. Sept. 14, 2018. https://www.cooperhewitt.org/2018/09/14/natures-sequins/ “The art of printing textile.” Musee de L’Impression sur Etoffes. https://www.musee-impression.com/en/the-collection/ Badshah, Nadeem. “Bayeux tapestry to be insured for £800m for British Museum exhibition.” The Guardian. Dec. 27. 2025. https://www.theguardian.com/world/2025/dec/27/bayeux-tapestry-to-be-insured-for-800m-for-british-museum-exhibition “Bayeux Tapestry.” UNESCO. https://www.unesco.org/en/memory-world/bayeux-tapestry “The Bayeux Tapestry.” La Tapisserie de Bayeux. Bayeux Museum. https://www.bayeuxmuseum.com/en/the-bayeux-tapestry/ Binswanger, Julia. “These Delicate Needles Made From Animal Bones May Have Helped Prehistoric Humans Sew Warm Winter Clothing.” Smithsonian. Dec. 11, 2024. https://www.smithsonianmag.com/smart-news/these-delicate-needles-made-from-animal-bones-may-have-helped-prehistoric-humans-sew-warm-winter-clothing-180985601/ Britannica Editors. "Scythian art". Encyclopedia Britannica, 27 May. 2018, https://www.britannica.com/art/Scythian-art “Chasuble (Opus Anglicanum).” The Met. https://www.metmuseum.org/art/collection/search/466660 Chung, Young Yang. “Silken Threads: A History of Embroidery in China, Korea, Japan, and Vietnam.” Abrams. 2005. Daniels, Margaret Harrington. “Early Pattern Books for Lace and Embroidery.” Bulletin of the Needle and Bobbin Club. https://www2.cs.arizona.edu/patterns/weaving/articles/nb33_lac.pdf “DMC.” Textile Research Center Leiden. https://trc-leiden.nl/trc-needles/organisations-and-movements/companies/dmc “Dragon Robe Decoded.” Sotheby’s. May 23, 2019. https://www.sothebys.com/en/articles/dragon-robe-decoded Embroiderers’ Guild. https://embroiderersguild.com/ Embroiderers’ Guild of America. https://egausa.org/ “Embroidery Techniques from Around the World: Crewel.” Embroiderer’ Guild of America. Oct. 28, 2024. https://egausa.org/embroidery-techniques-from-around-the-world-crewel/ Francfort, H.-P., 2020, “Scythians, Persians, Greeks and Horses: Reflections on Art, Culture Power and Empires in the Light of Frozen Burials and other Excavations”, in: , Londres, British Museum, p. 134-155. https://www.academia.edu/44417916/Francfort_H_P_2020_Scythians_Persians_Greeks_and_Horses_Reflections_on_Art_Culture_Power_and_Empires_in_the_Light_of_Frozen_Burials_and_other_Excavations_in_Londres_British_Museum_p_134_155 “Girlhood Embroidery.” Pilgrim Hall Museum. https://www.pilgrimhall.org/girlhood_embroidery.htm Gower, John G., and G.C. Macaulay, ed. “The Complete Works of John Gower.” Clarendon Press. 1901. https://www.gutenberg.org/files/71162/71162-h/71162-h.htm#Page_1 “Introducing Opus Anglicanum.” Victoria and Albert Museum. https://www.vam.ac.uk/articles/about-opus-anglicanum?srsltid=AfmBOor2pOTddjxaPC9AXHvvQuGXD4Tyx9N3zBeISzMSDHX1KnaUnfnL “Introducing the Scythians.” British Museum. May 30, 2017. https://www.britishmuseum.org/blog/introducing-scythians Nazarova, Yevhenia. “Ukraine's Ancient 'River Guardians.'” Radio Free Europe. Oct. 17, 2021. https://www.rferl.org/a/scythian-dig-ukraine-river-guardians-discovery/31507187.html "Ancient Peruvian Textiles." The Museum Journal XI, no. 3 (September, 1920): 140-147. Accessed December 22, 2025. https://www.penn.museum/sites/journal/843/ “Embroidery – a history of needlework samplers.” Victoria & Albery Museum. https://www.vam.ac.uk/articles/embroidery-a-history-of-needlework-samplers “History of The Broderers.” The Worshipful Company of Broderers. https://broderers.co.uk/history-broderers “The History of Britain's Bayeux Tapestry.” Reading Museum. https://www.readingmuseum.org.uk/collections/britains-bayeux-tapestry/history-britains-bayeux-tapestry Kennedy, Maev. “British Museum to go more than skin deep with Scythian exhibition.” The Guardian. May 30, 2017. https://www.theguardian.com/culture/2017/may/30/british-museum-skin-scythian-exhibition-tattoo-empire Lattanzio, Giaga. “Byzantine.” Fashion History Timeline. FITNYC. https://fashionhistory.fitnyc.edu/byzantine/ Leslie, Catherine Amoroso. “Needlework Through History: An Encyclopedia.” Greenwood Press. 2007. Libes, Kenna. “Beetle-Wing Embroidery in Nineteenth-Century Fashion.” Fashion History Timeline. FITNYC. https://fashionhistory.fitnyc.edu/beetle-wing-19thcentury/ Liu Y, Li Y, Li X, Qin L. The origin and dispersal of the domesticated Chinese oak silkworm, Antheraea pernyi, in China: a reconstruction based on ancient texts. J Insect Sci. 2010;10:180. doi: 10.1673/031.010.14140 “Mrs. Jacob Wendell (Mary Barrett, 1832–1912).” The New York Historical. https://emuseum.nyhistory.org/objects/68658/mrs-jacob-wendell-mary-barrett-18321912 Muntz, Eugene and Louisa J. Davis. “A short history of tapestry. From the earliest times to the end of the 18th century.” London. Cassel & Co. 1885. Accessed online: https://archive.org/details/shorthistoryofta00mntz/page/n3/mode/2up Pohl, Benjamin. “Chewing over the Norman Conquest: the Bayeux Tapestryas monastic mealtime reading.” Historical Research. 2025. https://academic.oup.com/histres/advance-article/doi/10.1093/hisres/htaf029/8377922 Puiu, Tibi. “Pristine 2,300-year-old Scythian woman’s boot found in frozen Altai mountains.” ZME Science. Dec. 29, 2021. https://www.zmescience.com/science/scythian-boots-0532/ Razzall, Katie. “Bayeux Tapestry to return to UK on loan after 900 years.” BBC. July 8, 2025. https://www.bbc.com/news/articles/c14ev1z6d5go Royal School of Needlework. https://royal-needlework.org.uk/ Salmony, Alfred. “The Archaeological Background of textile Production in Soviet Russia Territory.” The Bulletin of the Needle and Bobbin Club. Volume 26. No. 2. 1942. https://www2.cs.arizona.edu/patterns/weaving/periodicals/nb_42_2.pdf “Sampler.” Victoria & Albert Museum. https://collections.vam.ac.uk/item/O46183/sampler-jane-bostocke/ Schӧnsperger, Johann. “Ein ney Furmbüchlein. 1525-1528. Met Museum Collection. https://www.metmuseum.org/art/collection/search/354716 Schӧnsperger, Johann. “Ein new Modelbuch … “ 1524. https://www.metmuseum.org/art/collection/search/354660 Shrader, Dustin. “Embroidery Through the Ages.” Impressions. July 28, 2023. https://impressionsmagazine.com/process-technique/embroidery-through-the-ages/39234/#:~:text=The%20Age%2DOld%20Beginning&text=We%20tend%20to%20typically%20think,to%20generation%20across%20the%20millennia. “Silk Roads Programme.” UNESCO. https://en.unesco.org/silkroad/silkroad-interactive-map Sons of Norway's Cultural Skills Program. “Unit 8: Hardanger Embroidery.” 2018. https://www.sofn.com/wp-content/uploads/2018/11/unit8hardanger_rev8.11.pdf “Suzhou Embroidery.” Smithsonian National Museum of Asian Art.” https://asia-archive.si.edu/learn/for-educators/teaching-china-with-the-smithsonian/videos/suzhou-embroidery/ Teall, John L., Nicol, Donald MacGillivray. "Byzantine Empire". Encyclopedia Britannica, 5 Dec. 2025, https://www.britannica.com/place/Byzantine-Empire Warner, Pamela. “Embroidery: A History.” B.T. Bedford, Ltd. 1991. Watt, James C. Y., and Anne E. Wardwell. “When Silk Was Gold: Central Asian and Chinese Textiles.” Metropolitan Museum of Art. Harry N. Abrams. New York. 1997. https://cdn.sanity.io/files/cctd4ker/production/d781d44d3048d49257072d610034400182246d3e.pdf Watt, Melinda. “Textile Production in Europe: Embroidery, 1600–1800.” The Met. Oct. 1, 2003. https://www.metmuseum.org/essays/textile-production-in-europe-embroidery-1600-1800 See omnystudio.com/listener for privacy information.

As the British Museum opens Hawaiʻi: a kingdom crossing oceans, Ben Luke takes a tour of the exhibition with the museum's head of Oceania, Alice Christophe. We also hear about the museum's fresh approach to the stewardship of its collection of Hawaiian objects and materials. In Venice, one of the most famous palazzi on the Grand Canal, the Ca' Dario, is up for sale and we discuss the building, its history and its supposed curse with the founder of The Art Newspaper and former chair of the Venice in Peril charity, Anna Somers Cocks. And this episode's Work of the Week is Bathtub (1961-87), a late work made by Joseph Beuys, cast in bronze after his death in 1986. It is at the centre of a new show of Beuys's work at the Thaddaeus Ropac gallery in London, and I speak to Thaddaeus Ropac about the sculpture and its long journey to completion.Hawaiʻi: a kingdom crossing oceans, British Museum, London, until 25 May 2026.Joseph Beuys: Bathtub for a Heroine, Thaddaeus Ropac, London, until 21 March. Hosted on Acast. See acast.com/privacy for more information.

In the Front Row review programme, author Emily Itami and critic Tim Robey assess the steamy Canadian drama Heated Rivalry, which has caused a sensation in North America. Also, The British Museum's new exhibition Hawaiʻi: a kingdom crossing oceans, and Jose Ando's novel about racial and sexual identity in Japan, Jackson Alone.Are contemporary art prizes favouring identity politics over artistic quality? Guardian art critic Jonathan Jones and artist/editor Veronica Simpson are on to discuss.Presenter: Samira Ahmed

London would never be the same again.

A iynx is a bird or a spinning love charm. But before that Iynx was an Arcadian nymph, seeking revenge… Written and narrated by Bibi Jacob. Original music composed and performed by Chloe Dunn. Sound and production by Geoff Chong. Listen to Chloe's EP Blossom on Spotify Check out our post about Iynx on Buymeacoffee: buymeacoffee.com/mythhead/iynx Sources for this episode: Pindar's, Pythian Ode 4; Sarah Iles Johnston, The Song of the Iynx: Magic and Rhetoric in Pythian 4; Theocritus, Idyll 2. Thumbnail image - Gold ear ornament - The Trustees of the British Museum

[NOTE: This new version features improved audio] Synopsis: The impacts of the Aridification Event lead to Akkadian collapse. Gudea of Lagash asserts independence and shepherds the south through the aftermath. The brief period of Guti domination is terminated by the Elamite invasion of Kutik-Inshushinak and the Sumerian revolt of Utu-Hegal of Uruk. “They placed fetters on (Tirigan's) hands and put a cloth over his eyes. Utu-Hegal made him lie at Utu's feet and on his neck he set his foot. Gutium, the fanged snake of the mountain ranges, he made drink from the cracks in the earth.” – Victory Stele of Utu-Hegal of Uruk Episode Image: Statue of Gudea, Ensi of Lagash, on display at the British Museum, 2025. My photo. Map of the Near East c. 2200 BC: https://audio.ancientworldpodcast.com/2200BC.jpg Map of the Near East c. 2112 BC: https://audio.ancientworldpodcast.com/2112BC.jpg Episode Images: https://www.flickr.com/photos/75506172@N07/albums/72177720331179161/ References and Further Reading: https://audio.ancientworldpodcast.com/A8_References.pdf Please contact advertising@airwavemedia.com if you would like to advertise on this podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Discover the world's earliest known system of astrology• Explores ancient Mesopotamian astrology, which originated with those who created Göbekli Tepe, and details the system's eighteen zodiac signs• Shares the author's decades-long research to decipher the meanings and characteristics behind each of the original eighteen signs• Shows how the original zodiac can enrich and expand our understanding of astrology, personal relationships, and our sense of self and destinyToday the zodiac is divided into twelve signs through which the sun appears to travel in a year. A person's sign can influence their personality, physical characteristics, and fate. However, in ancient Mesopotamia, the first zodiac was divided into eighteen signs—different from the Western and Vedic systems in use today. The Original Zodiac reveals, for the first time in more than 4,000 years, this earliest known system of astrology.The original Mesopotamian zodiac offered very different birth signs, including the Serpent, Swan, Crane, Horse, Wolf, and Eagle. This zodiac was recorded on a clay tablet that is now housed in the British Museum, cataloged as BM 86378, but there is no written record of how these signs were interpreted. Now, after decades of intensive research, Graham Phillips reveals the meanings of these mysterious signs and their relevance for our times.To determine what traits might be shared by those born in each sign of the original zodiac, Phillips comprehensively surveyed hundreds of volunteers from diverse backgrounds. He measured each participant's likes, dislikes, hobbies, habits, employment, health information, and other pertinent aspects of their lives and identities. Not intended to replace or challenge our traditional understanding of astrology, his findings offer an original system to enrich our current knowledge of the personality, character, and destiny of those born in each of its enigmatic signs.Graham Phillips is one of Britain's bestselling nonfiction authors. A former radio journalist and broadcaster for the BBC, and founder of Strange Phenomena magazine, he is a historical investigator of unsolved mysteries. The author of many books, including The Templars and the Ark of the Covenant, The Lost Tomb of King Arthur, The End of Eden, and Atlantis and the Ten Plagues of Egypt, he lives in the Midlands of England.https://www.grahamphillips.net/Become a supporter of this podcast: https://www.spreaker.com/podcast/earth-ancients--2790919/support.

Meditation preached by Fr. Eric Nicolai at Kintore College, Toronto,on January 7, 2026.Mark 6, 45-52: "When it was evening, the boat was far out on the sea and he was alone on shore. Then he saw that they were tossed about while rowing, for the wind was against them. About the fourth watch of the night, he came toward them walking on the sea. He meant to pass by them. But when they saw him walking on the sea, they thought it was a ghost and cried out. They had all seen him and were terrified. But at once he spoke with them, “Take courage, it is I, do not be afraid!”We cannot let Jesus become for us just a phantom. Something seemingly spiritual, but that we don't really connect with. Don't really relate to. This is what happens when our prayer is devoid of a real relational, dialogue aspect.Thumbnail: Rembrandt's Drawing “Christ Walking on the Water” 1638, from the British Museum.Music: Angelic Choir Library with license, Vienna Phiharmonic Orchestra.

Par Hawaiʻi plans to provide sustainable fuel to Alaska and Hawaiian Airlines; The British Museum has a new exhibition highlighting the Hawaiian Kingdom's diplomatic ties to Great Britain

Synopsis: The impacts of the Aridification Event lead to Akkadian collapse. Gudea of Lagash asserts independence and shepherds the south through the aftermath. The brief period of Guti domination is terminated by the Elamite invasion of Kutik-Inshushinak and the Sumerian revolt of Utu-Hegal of Uruk. “They placed fetters on (Tirigan's) hands and put a cloth over his eyes. Utu-Hegal made him lie at Utu's feet and on his neck he set his foot. Gutium, the fanged snake of the mountain ranges, he made drink from the cracks in the earth.” – Victory Stele of Utu-Hegal of Uruk Episode Image: Statue of Gudea, Ensi of Lagash, on display at the British Museum, 2025. My photo. Map of the Near East c. 2200 BC: https://audio.ancientworldpodcast.com/2200BC.jpg Map of the Near East c. 2112 BC: https://audio.ancientworldpodcast.com/2112BC.jpg Episode Images: https://www.flickr.com/photos/75506172@N07/albums/72177720331179161/ References and Further Reading: https://audio.ancientworldpodcast.com/A8_References.pdf Please contact advertising@airwavemedia.com if you would like to advertise on this podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the early 1900s, Dorothy Eady suffered a fall that led her to recall memories of a past life in ancient Egypt. Afterwards, she dedicated her life to studying Egyptology and seemed to know of many archaeological finds and information well before they were officially discovered.For a full list of sources, please visit: sosupernaturalpodcast.com/mystical-dorothy-eadySo Supernatural is an Audiochuck and Crime House production. Find us on social!Instagram: @sosupernatualpodTwitter: @_sosupernaturalFacebook: /sosupernaturalpod Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

One of the legacies of the Holy roman empire is that Germany does not have just one place where everything happens, where politicians, entrepreneurs, bankers, artists, and actors travel on the same underground trains and eat at the same restaurants. Berlin is the capital with its political class of members of the Bundestag, journalists and lobbyist and at the same time a major gathering place for artists, musicians and thespians of all stripes and home to many tech startups. But the bankers are in Frankfurt, the headquarters of the major companies are in Stuttgart, Munich, Düsseldorf and spread around everywhere. Several of the major publishing houses are in Hamburg, the private TV stations in Munich, but none of these places have a monopoly on any of these activities. There are banks headquartered in Munich and major corporates in Frankfurt, there is great theater in Düsseldorf, Dresden and Schwerin, there are world leading companies headquartered in tiny towns like Künzelsau.And that cuts through to the major cultural sites. Though the quip that there were 365 states in the Holy Roman empire is vastly exaggerated, there were once a hundred capital cities, from splendid Dresden to tiny Hohenzollern-Hechingen, each with its princely residence, cathedral, grand monastery and theater. The great artists either travelled from court to court, leaving behind their works here or there, or stayed in one of the free imperial cities, operating large workshops.Therefore what you cannot do in Germany is to go to one city and see all the major treasures the country has “collected” over the centuries, as you can do in the Louvre or the British Museum and the National Gallery. In Germany you have to move around, see one thing at the time, always in the knowledge that its significant counterpart is a few hundred miles north, south, east or west of you. This is one of the legacies of the medieval empire that Germany has in common with Italy.And hence we are going through each of the Bundesländer trying to pick out one absolute must-see and one place where you are likely to encounter fewer people. And as we have covered 9 Bundesländer up to Mecklenburg-Vorpommern already, the next location we will have to get to is Nordrhein-Westfalen, Germany's most populous state.

In part 2 of my conversation with Desta Haile, we explore how Spanish con Salsa got started, how learning languages can provide relief from the stress of daily life, and the many benefits of learning with music (beyond just having an amazing playlist

Join us for an epic European adventure as frequent guest Bryan returns to share his family’s incredible 7-night repositioning cruise aboard the Disney Fantasy. From exploring the historic streets of London, Paris, and Barcelona by train to sailing the stunning Strait of Gibraltar, this episode is packed with essential Disney Cruise Line planning tips for Europe. Discover the unique charm of sailing from Barcelona to Southampton, including unforgettable port stops in Lisbon, Vigo, and A Coruña. Whether you are looking for advice on booking European excursions or navigating international travel with teens, this deep dive into a bucket-list Disney Cruise itinerary has everything you need to plan your own magical voyage.Topics Discussed in the Main Segment-Pre-Cruise Travel: Planning a multi-city pre-stay in London, Paris, and Barcelona using high-speed trains like the Eurostar and TGV.-European Sightseeing: Reviews of major attractions including the London Eye, British Museum, Ghost Bus Tour, Eiffel Tower, and La Sagrada Familia.-Onboard the Fantasy: Differences between European and Caribbean sailings, including food variations, international demographics, and unique merchandise.-Strait of Gibraltar: The unique experience of sailing past the Rock of Gibraltar at sunrise.-Port Adventures: Detailed breakdowns of a Tuk Tuk tour in Lisbon, exploring Vigo on foot, and a Segway tour of the Tower of Hercules in A Coruña. Episode Cruise Summary-Sailed Out Of: Barcelona, Spain.-Ports of Call:Lisbon, Portugal.Vigo, Spain.A Coruña (La Coruña), Spain.-Debarkation Port: Southampton, England. Want to be on the show? Fill out this form, and we'll be in contact with you real soon!https://dclpodcast.com/want-to-be-on-the-show/Support our show via Patreon:http://www.patreon.com/dclpodcastUse Christy's Travel Services:https://dclpodcast.com/book-with-christy/Follow the DCL Podcast via:http://www.facebook.com/dclpodcasthttp://www.instagram.com/dcl_podcastFollow Lake at:https://www.instagram.com/mouse.genhttps://www.youtube.com/@MouseGenFollow Christy at:http://www.packyourpixiedust.comhttps://www.instagram.com/packyourpixiedust 

Irving Finkel is a scholar of ancient languages and a longtime curator at the British Museum, renowned for his expertise in Mesopotamian history and cuneiform writing. He specializes in reading and interpreting cuneiform inscriptions, including tablets from Sumerian, Akkadian, Babylonian, and Assyrian contexts. He became widely known for studying a tablet with a Mesopotamian flood story that predates the biblical Noah narrative, which he presented in his book “The Ark Before Noah” and in a documentary that involved building a circular ark based on the tablet’s technical instructions. Thank you for listening ❤ Check out our sponsors: https://lexfridman.com/sponsors/ep487-sc See below for timestamps, transcript, and to give feedback, submit questions, contact Lex, etc. Transcript: https://lexfridman.com/irving-finkel-transcript CONTACT LEX: Feedback – give feedback to Lex: https://lexfridman.com/survey AMA – submit questions, videos or call-in: https://lexfridman.com/ama Hiring – join our team: https://lexfridman.com/hiring Other – other ways to get in touch: https://lexfridman.com/contact EPISODE LINKS: Irving’s Instagram: https://www.instagram.com/drirvingfinkel/ The Ark Before Noah (book): https://amzn.to/4j2U0DW Irving Lectures Playlist: https://www.youtube.com/playlist?list=PLYXwZvOwHjVcFUi9iEqirkXRaCUJdXGha British Museum Video Playlist: https://www.youtube.com/playlist?list=PL0LQM0SAx603A6p5EJ9DVcESqQReT7QyK British Museum Website: https://www.britishmuseum.org/ The Great Diary Project: https://thegreatdiaryproject.co.uk/ SPONSORS: To support this podcast, check out our sponsors & get discounts: Shopify: Sell stuff online. Go to https://shopify.com/lex Miro: Online collaborative whiteboard platform. Go to https://miro.com/ Chevron: Reliable energy for data centers. Go to https://chevron.com/power LMNT: Zero-sugar electrolyte drink mix. Go to https://drinkLMNT.com/lex AG1: All-in-one daily nutrition drink. Go to https://drinkag1.com/lex OUTLINE: (00:00) – Introduction (00:43) – Sponsors, Comments, and Reflections (09:53) – Origins of human language (15:59) – Cuneiform (23:12) – Controversial theory about Göbekli Tepe (34:23) – How to write and speak Cuneiform (39:42) – Primitive human language (41:26) – Development of writing systems (42:20) – Decipherment of Cuneiform (54:51) – Limits of language (59:51) – Art of translation (1:05:01) – Gods (1:10:25) – Ghosts (1:20:13) – Ancient flood stories (1:30:21) – Noah’s Ark (1:41:44) – The Royal Game of Ur (1:54:43) – British Museum (2:02:08) – Evolution of human civilization