Podcasts about British Museum

Mo catches up with old friend Tamara Mosly who took over her mother's 38-year-old business: Fantasy Party. What began as a family venture has evolved into one of Saudi Arabia's most recognisable local brands, bringing joy to generations of children through events, gifts, toys, costumes, and celebrations. Tamara reflects on her mother's legacy of building and growing the business during a very different era in Saudi Arabia, in an industry that was once viewed rather unconventional. Together, Mo and Tamara explore the responsibilities of parenthood, the realities of burnout, and the ongoing journey of finding purpose, fulfillment, and joy in an ever-evolving world. 0:00 Intro3:16 Facing Tradition as Women in Business5:37 Lessons from a Strong Mother7:43 Growing Up Saudi & Lebanese9:41 School, Rebellion & Street Smarts12:02 Applying to the Ivy League… and Getting Rejected14:00 Growing Up Inside the Family Business15:37 The Golden Era of Children's Parties20:02 Returning to Saudi Arabia During Vision 203021:27 Building the F1 Jeddah Guest Experience22:26 Bringing the British Museum to Madinah24:00 Witnessing Saudi Arabia's Transformation Firsthand25:04 Training 300 Saudi Drivers for Formula 128:13 Why Saudi Teams Outperformed Expectations32:19 From Formula 1 to the Red Sea Film Festival34:42 Miscarriage, Burnout & Pushing Through41:24 Motherhood, Work & Hidden Struggles43:32 Saudi Arabia: Then vs. Now48:39 How E-Commerce Nearly Killed a 38-Year Legacy53:06 Taking Over the Family Business56:00 Choosing Gratitude Over Success58:27 Loss, Aging & Staying Connected1:02:06 Health, Motherhood & Losing Yourself1:04:13 The Truth About Work-Life Balance1:08:06 Guilty Pleasures1:10:12 The Dream She Had to Let Go Of1:15:21 Confidence, Emotions & Feeling Understood1:18:45 Final Reflections 

In this episode, we are uplifting some of the ideas in Elspeth Hay's remarkable book,   Feed Us with Trees: Nuts and the Future of Food.  After starting with Sara Jolena offering a summary of some of the big ideas in the book, we move into a conversation with author Elspeth Hay and a few of the many people whom Elspeth has mentioned in the book: Ron Reed, Karuk tribal member and cultural biologist; Joanna Brooks, settler scholar and author of Why We Left; and Gale Pettifer, commoner and scholar of the New Forest in England. Together they trace a set of histories that turn out to be deeply entangled: Indigenous land dispossession in California, the enclosure of the English commons, the suppression of cultural burning, the erasure of ancestral foodways — and the folk songs, forest laws, and buried memories that survived all of it. Timestamps0:00  —  Welcome & introduction: Sara Jolena introduces the episode, inspired by Elspeth Hay's book Feed Us with Trees, and the “no farm, no food” myth it challenges.2:51  —  Guest introductions: Elspeth introduces Ron Reed (Karuk Nation, cultural biologist), Joanna Brooks (Why We Left), and Gale Pettifer (New Forest commoner and commons scholar).5:44  —  Ron Reed's opening story: childhood memories of harvesting acorns, mushrooms, and salmon; the Klamath Dam removal; and the ongoing fight to restore Indigenous fire practices with public trust objectives.9:20  —  Gale Pettifer on the New Forest: a thousand years of contested common rights, Norman forest law, and what it means to still practice ancient commoning in the 21st century.12:58  —  Joanna Brooks on settler scholarship and song: tracing her European ancestry through folk ballads, a grandmother's lullaby, and a plate of hazelnuts at the British Museum that the curators couldn't explain.18:29  —  Fire across continents: Elspeth connects her experience of gorse burning debates in the New Forest to Ron's work on cultural burning — the same argument, on opposite sides of the Atlantic.30:58  —  Dragons, sacred fire, and colonial memory: a discussion of how fire moved from sacred to feared in Anglo-Saxon and English tradition, illustrated by the New Forest dragon legend and the introduction of Christianity.34:31  —  Songs of grief and displacement: Joanna traces the emotional record of enclosure through English murder ballads — songs about hazel trees, beaver hats, and families starving off the land — and what they reveal about why colonial settlers “lost their minds.”43:12  —  Magna Carta, common law, and the 1877 New Forest Act: Gale traces how brutal Norman forest law paradoxically became the foundation of commoners' rights, and how public outcry saved the New Forest from privatization.47:33  —  The allotment parallel: Elspeth draws a striking connection between English allotment gardens and the U.S. federal allotment system used to break up Indigenous tribal lands — the same word, the same colonial logic, on both sides of the ocean.1:10:42  —  Cycles of colonization and reverse transmission: Sara Jolena traces how colonial practices — from plantation timekeeping to fire suppression — were exported back to Europe, and the importance of distinguishing imperial forces from common people's forces within every culture.1:16:11  —  Closing round: guests share what is shifting now — prescribed fire training in Wellfleet, MA; intergenerational transfer of fire ecology knowledge; the joy of reconnecting with the New Forest through free-roaming ponies — and an invitation to listeners to bring these ideas into their communities.Elspeth HayBook: Feed us with treesWebsiteBioInstaRon ReedArticle about Ron Reed - How Karuk ceremonial leader Ron Reed used Western science to take down the Klamath damsInterview featuring Ron - Fire is Food: A Virtual Brown Bag Discussion with Ron Reed and Kari NorgaardJoanna BrooksBook: Why We Left WebsiteBioLinkedinGale Pettifer LinkedinBioSend us a messageSupport the showLearn more about Sara Jolena Wolcott and Sequoia SamanvayaMusic Title: Both of UsMusic by: madiRFAN Don't forget to "like" and share this episode! 

If you enjoy this episode, we're sure you will enjoy more content like this on The Occult Rejects.  In fact, we have curated playlists on occult topics like grimoires, esoteric concepts and phenomena, occult history, analyzing true crime and cults with an occult lens, Para politics, and occultism in music. Whether you enjoy consuming your content visually or via audio, we've got you covered - and it will always be provided free of charge.  So, if you enjoy what we do and want to support our work of providing accessible, free content on various platforms, please consider making a donation to the links provided below.  Thank you and enjoy the episode!Links For The Occult Rejectshttps://linktr.ee/theoccultrejectsOccult Research Institutehttps://www.occultresearchinstitute.org/Substackhttps://substack.com/@theoccultrejects?r=7auau0&utm_campaign=profile&utm_medium=profile-pageCash Apphttps://cash.app/$theoccultrejectsVenmo@TheOccultRejectsBuy Me A Coffeebuymeacoffee.com/TheOccultRejectsPatreonhttps://www.patreon.com/TheOccultRejectsBibliographyAelian. On the Characteristics of Animals. Translated by A. F. Scholfield. Loeb Classical Library. Cambridge, MA: Harvard University Press, 1958–1959.Assmann, Jan. The Search for God in Ancient Egypt. Translated by David Lorton. Ithaca: Cornell University Press, 2001.British Museum. “Papyrus of Nesmin; Bremner-Rhind Papyrus, EA10188.” Notes that the Book of Overthrowing Apep appears in columns 22–32, with the Names of Apep in columns 32–33, and gives a production date of 305 BCE.British Museum. Babylon Teachers' Resource. Notes Marduk's association with the snake-dragon or mušḫuššu.Burkert, Walter. Greek Religion. Translated by John Raffan. Cambridge, MA: Harvard University Press, 1985.Day, John. God's Conflict with the Dragon and the Sea: Echoes of a Canaanite Myth in the Old Testament. Cambridge: Cambridge University Press, 1985.Detroit Institute of Arts. “Mushhushshu-Dragon, Symbol of the God Marduk.”Eliade, Mircea. Patterns in Comparative Religion. Translated by Rosemary Sheed. Lincoln: University of Nebraska Press, 1996.Etymonline. “Draco.” Notes Greek drakon from derkesthai, “to see clearly.”Faulkner, R. O. “The Bremner-Rhind Papyrus—III: D. The Book of Overthrowing ‘Apep.” Journal of Egyptian Archaeology 23, no. 2 (1937): 166–185.Ferdowsi. Shahnameh: The Persian Book of Kings. Translated by Dick Davis. New York: Penguin Classics, 2016.Herodotus. The Histories. Translated by A. D. Godley. Loeb Classical Library. Cambridge, MA: Harvard University Press, 1920. See especially 2.75 on winged serpents and ibises, and 3.107 on frankincense-guarding serpents.Hornung, Erik. Conceptions of God in Ancient Egypt: The One and the Many. Translated by John Baines. Ithaca: Cornell University Press, 1982.Isbell, Lynne A. The Fruit, the Tree, and the Serpent: Why We See So Well. Cambridge, MA: Harvard University Press, 2009.Jacobus de Voragine. The Golden Legend: Readings on the Saints. Translated by William Granger Ryan. Princeton: Princeton University Press, 2012.Jones, David E. An Instinct for Dragons. New York: Routledge, 2000.Le, Quan Van, Lynne A. Isbell, Jumpei Matsumoto, Minh Nguyen, Hikari Hori, Mai Mai, Tomohiro Nishimaru, et al. “Pulvinar Neurons Reveal Neurobiological Evidence of Past Selection for Rapid Detection of Snakes.” Proceedings of the National Academy of Sciences 110, no. 47 (2013): 19000–19005. DOI: 10.1073/pnas.1312648110.LeDoux, Joseph. The Emotional Brain: The Mysterious Underpinnings of Emotional Life. New York: Simon & Schuster, 1996.Lincoln, Bruce. Theorizing Myth: Narrative, Ideology, and Scholarship. Chicago: University of Chicago Press, 1999.MacLean, Paul D. The Triune Brain in Evolution: Role in Paleocerebral Functions. New York: Plenum Press, 1990.Mayor, Adrienne. The First Fossil Hunters: Dinosaurs, Mammoths, and Myth in Greek and Roman Times. Princeton: Princeton University Press, 2000; revised edition, 2011.Öhman, Arne, and Susan Mineka. “Fears, Phobias, and Preparedness: Toward an Evolved Module of Fear and Fear Learning.” Psychological Review 108, no. 3 (2001): 483–522.Pessoa, Luiz. The Cognitive-Emotional Brain: From Interactions to Integration. Cambridge, MA: MIT Press, 2013.Pliny the Elder. Natural History. Translated by H. Rackham. Loeb Classical Library. Cambridge, MA: Harvard University Press, 1938–1962.Smith, Mark S. The Ugaritic Baal Cycle. 2 vols. Leiden: Brill, 1994–2009.Smith, Mark S. The Origins of Biblical Monotheism: Israel's Polytheistic Background and the Ugaritic Texts. Oxford: Oxford University Press, 2001.Varenne, Jean, trans. The Rig Veda. New York: Park Street Press, 1984.Yarshater, Ehsan, ed. “Aždahā.” Encyclopaedia Iranica. Defines aždahā as dragon-like, gigantic snake monsters found in air, earth, or sea, sometimes linked to rain and eclipses.Also want to remind people about the website, if you're into reading we have tons of information by multiple contributors, and we got t-shirts up on the site if you're interested. Fun fact, the art is all based on the eyeball. A

The Bayeux Tapestry is coming back to Britain, nearly 1,000 years after the Battle of Hastings, and naturally everyone is being very calm and sensible about it. By which we mean there are special crates, vibration tests, conservation reports, political speeches, nervous curators, and the faint sound of historians breathing into paper bags.In this episode of Mark and Pete, we look at the extraordinary plan to move the Bayeux Tapestry from France to the British Museum, where it is expected to go on display from September 2026 to July 2027. The famous 11th-century embroidery, more than 70 metres long, tells the story of William the Conqueror, King Harold, the Norman invasion, and the Battle of Hastings in 1066. It is one of the most important surviving artefacts of medieval European history. Also, awkwardly, it is very old, very delicate, and not terribly keen on being bundled into a lorry like a Victorian sideboard.The experts say the move can be done safely, using climate-controlled transport, shock absorption, vibration monitoring and careful conservation planning. Critics say that even with all the clever equipment in the world, light, movement, humidity changes and handling are still risks. Textiles are not like bronze statues. They fade. They fray. They suffer quietly, which is very British of them, even when they are French-held Norman propaganda.We ask whether this is a glorious cultural moment or a needless gamble with a priceless historical treasure. Should the Bayeux Tapestry travel at all? Does public access justify conservation risk? And what does this strange old strip of linen still tell us about power, conquest, memory, and the way nations tell stories about themselves?Battle of Hastings, Bayeux Tapestry, British Museum, William the Conqueror, King Harold, Norman conquest, medieval history, heritage, conservation and national memory. All stitched together. Rather carefully, one hopes.

Magazine de ocio, actualidad y cultura de Vigo.El Celta de Baloncesto ha renovado a Diana Cabrera y Maja Meraly de cara a su regreso a la Liga Femenina Endesa. En el ámbito cultural, Galicia acoge una exposición con 200 tesoros del British Museum sobre las islas del Pacífico, se anuncian las actividades de la Festa da Rosa y se avanza en la creación del museo municipal de Redondela para la obra de Ángel Barros. Por otro lado, la plataforma Loita critica que el hospital Álvaro Cunqueiro de Vigo aún no aplique las cesáreas humanizadas por falta de matronas, mientras que en Tui se aprueba un reconocimiento extrajudicial de crédito para pagar a proveedores. En educación, padres y alumnos protestan por la falta de claridad en la selectividad, y en el sector jurídico se analiza la complejidad legal de desheredar a un hijo por maltrato psicológico y un fallo judicial que anula una sanción urbanística en Vigo. Finalmente, se ofrecen consejos ecológicos para combatir plagas, se anuncia el inicio de la gira de Cadena Dial en la playa de Samil, Juan Tallón presenta su nueva novela y se destaca la necesidad de relevo generacional para los alfombristas del Corpus en Ponteareas.

Magazine de ocio, actualidad y cultura de Vigo.La actualidad de Vigo y el Baixo Miño, destacando la celebración del congreso "Industria do Mar" en el Real Club Náutico de Vigo sobre innovación y sostenibilidad, y la exposición de tesoros del British Museum en la Ciudad de la Cultura de Galicia. Asimismo, se detalló la investigación del archivero de la catedral de Tui, Abelino Bouzón, sobre las raíces gallegas del Papa en San Salvador de Torneiros ante su visita a España, y se repasó la previsión del tiempo con la llegada de nubes y posibles lluvias antes de una mejoría. El programa recogió quejas de los oyentes por citas médicas y semáforos inoperativos en la calle Tomás Alonso, repasó la lucha del Celta de Vigo por el ascenso y el debut de la selección en el Mundial, y cerró con entrevistas a Carolina Jiménez sobre efectos visuales e inteligencia artificial, y a Andrea González sobre el festival de música "IKFEM" en Tui.

This week we're re-airing a favorite episode featuring Kate Brown interviewing Ben Davis about the “Raphael: Sublime Poetry” blockbuster at the Metropolitan Museum of Art. The show is the first comprehensive international loan exhibition ever dedicated to him in the United States. There are 237 works in total—33 paintings, 142 drawings—and his Sistine Chapel tapestries. There are loans from the Louvre, the Vatican Museums, the Prado, the Uffizi, and the British Museum. Many of these works, according to the Met, have never been shown together, and some have never previously left Europe. Curated by Carmen C. Bambach, it took 17 years to assemble. No one quite captured divine beauty like Raphael did. But what is the story within the story of this artist who left indelible mark on western art? This week, we find out.

This week we look the Murrell/Sturgeon scandal in Scotland;  Ireland and Iran;  The British Museum cancels Israel; Country of the Week - Cambodia;  Australian Sex Discrimination Commissioner wants to protect pregnant men;  Pride returns to Sodom and Gomorrah;  The racist death of Henry Novak;  Transgender Extremist who plants bomb in Melbourne spared jail;  the Pope on AI; Newcastle Knights; Married at First Sight;  Top ten guitarists - no. 6 Jimmy Page;  Feedback; Iain McGilchrist on the need for Christianity; Jesus turns up on the Gold Coast; and the Final Word - Genesis 11:5-9 -   with Bachman Turner Overdrive;  Sinn Sisamouth; Preah Ang La Hor; Mike Zito; Kraftwerk;  Led Zeppelin and Dave Henderson 

durée : 00:07:05 - Les journaux de France Culture - Une conférence de presse du ministère de la Culture s'est voulue rassurante hier sur le prêt très critiqué de ce chef-d'oeuvre au British Museum. D'après la rue de Valois, sa caisse de transport pourra absorber "96% de la force d'un choc important" sur l'ensemble d'un périple minutieusement étudié. - réalisation : Éric Chaverou, Flore Caron Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

This week we're re-airing a favorite episode featuring Kate Brown interviewing Ben Davis about the “Raphael: Sublime Poetry” blockbuster at the Metropolitan Museum of Art. The show is the first comprehensive international loan exhibition ever dedicated to him in the United States. There are 237 works in total—33 paintings, 142 drawings—and his Sistine Chapel tapestries. There are loans from the Louvre, the Vatican Museums, the Prado, the Uffizi, and the British Museum. Many of these works, according to the Met, have never been shown together, and some have never previously left Europe. Curated by Carmen C. Bambach, it took 17 years to assemble. No one quite captured divine beauty like Raphael did. But what is the story within the story of this artist who left indelible mark on western art? This week, we find out.

Un mois avant son grand départ vers le British Museum de Londres, le ministère de la Culture a présenté un avis favorable pour le transport de la précieuse tapisserie brodée au IXe siècle.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

L'image la plus forte des J.O. de Paris, c'est Céline Dion. Comment aurait-il pu en être autrement ? Il n'y a et il n'y aura jamais qu'une Céline Dion. Et s'il y a eu un Colonel Parker derrière Elvis Presley, un Brian Epstein derrière les Beatles, le nom de René Angelil est encore bien plus célèbre. L'histoire de ce triomphe unique dans l'histoire du showbiz est tellement folle qu'elle commence même avant la naissance de Céline, quand René, ex-chanteur d'un groupe pop canadien s'était retrouvé sans rien et avait bifurqué vers le métier d'impresario.Le voilà en effet, tenant les rênes d'un jeune prodige de 13 ans pour le compte d'un autre agent. Il vit sa réussite mais comprend également tout ce qu'il ne faut pas faire dans un cas aussi particulier que celui d'un artiste pré adolescent.Les années passent, mais au début des années 80, René a perdu ses poulains et, à part des espoirs de tapis vert au casino, il ne lui reste pas grand-chose comme perspective quand dans son bureau, à Montréal, nous le retrouvons au téléphone avec à l'autre bout du fil, un dénommé Michel qui lui dit : je sais que vous n'avez pas écouté la cassette de ma sœur car si vous l'aviez fait, vous m'auriez déjà appelé.Ce n'est pas tous les jours qu'on entend ça, même si la ville de Montréal est remplie de mecs qui disent s'occuper du nouveau Johnny Hallyday, ou de la nouvelle Kate Bush.C'est vrai que des cassettes, on en reçoit des centaines au bureau, dit René. Celle de ma sœur n'est pas comme les autres, Monsieur Angélil, écoutez-la, c'est une chanson originale interprétée par une voix comme vous n'en n'avez jamais entendue. Et elle n'a que douze ans.Douze ans ! Voilà qui lui rappelle quelque chose. Les débuts de sa carrière d'agent avec René Simard, jeune chanteur de 11 ans à peine, Prix Frank Sinatra à Tokyo qui lui vaut de faire toutes les émissions de télé américaines et même de mener la grande vie à Paris alors que quelques temps auparavant, il ramait encore avec son groupe.Mais bon, on n'est ni dans un conte ni dans un film hollywoodien, c'est sans enthousiasme particulier que René cherche dans son courrier la fameuse cassette, se préparant à entendre une voix criarde de gamine pour laquelle des parents aimants n'ont pas assez de recul de jugement.Et ben dis donc, ils l'ont bien emballée ! René met de longues secondes à détacher les nombreuses couches, comme une précieuse découverte envoyée par des archéologues au British Museum pour y être exposée. C'est le moment de se souvenir ou de visualiser les lecteurs cassettes de ces années-là, l'ampli et les baffles en bois, un peu classe, pour le bureau d'un professionnel de la musique.Mais la voix qu'il entend n'est pas celle d'une enfant, ni d'une ado. Si ce n'est pas un canular, et cela n'en avait pas l'air au téléphone, quelques minutes plus tôt, qu'est-ce que c'est que cette histoire ? René cherche le mot d'accompagnement à la cassette, perdu dans les enveloppes, pour y trouver le numéro de téléphone de la famille de cette fameuse Céline Dion qui n'aurait que douze ans. Ainsi commence une histoire improbable de star enfant qui deviendra méga-star adulte.

Après neuf ans d'hésitation, les députés et sénateurs français ont fini, le 7 mai 2026, par voter à l'unanimité une loi-cadre sur la restitution des objets pillés pendant la colonisation. C'est une victoire pour les anciennes colonies françaises comme le Bénin. Mais le retour en Afrique de ces biens culturels ne risque-t-il pas d'être stoppé l'année prochaine s'il y a un changement de majorité en France ? C'est l'une des questions que Christophe Boisbouvier a posées à l'historienne franco-béninoise Marie-Cécile Zinsou, qui préside la Fondation Zinsou à Ouidah, près de Cotonou. RFI : Avec tous ces lieux de mémoire, avec tous ces musées, quelles sont les ambitions du Bénin de Romuald Wadagni ? Marie-Cécile Zinsou : Alors écoutez, le Bénin s'est engagé depuis quelques années dans une préservation de son patrimoine et dans une nouvelle politique qui est totalement axée à la fois sur son histoire et sur l'avenir. Donc, je crois que le nouveau président va s'inscrire dans le chemin qu'il avait tracé aux côtés de Patrice Talon, notre précédent président, ces dernières années. On est un peu dans la continuité, c'est ça ? Il me semble qu'on est effectivement dans la continuité je pense, le président Wadagni était notre ministre des Finances pendant les dix dernières années. Donc, il me semble qu'on est dans quelque chose qui ressemble à une continuité. À l'origine de ce renouveau mémoriel, il y a l'action initiale du ministre Aurélien Agbenonci, il y a dix ans déjà, quand il a réclamé à la France de François Hollande la restitution des trésors royaux du Bénin. Est-ce que la loi-cadre votée par la France répond à vos attentes ? Ce qui est absolument fondamental, c'est ce que le courrier du Bénin a déclenché en France. Et la réponse qu'Emmanuel Macron y a apportée à Ouagadougou en 2017. Puisqu'on peut vraiment dater le début du processus de restitution à partir de ce discours. Donc aujourd'hui, la loi-cadre, après neuf ans d'attente, arrive pour donner une forme à ces restitutions et pour éviter les lois d'exception qui avaient eu lieu jusqu'alors pour à la fois le Bénin, le Sénégal et la Côte d'Ivoire. Oui, c'est-à-dire que jusqu'à présent il fallait une loi par restitution ? Oui, il fallait des lois spécifiques. Et la loi-cadre, elle va être efficace très rapidement puisque le gouvernement français est motivé et l'a fait savoir. Les parlementaires ont voté à l'unanimité cette loi, ce qui montre bien que la représentation nationale française est tout aussi concernée par les questions de restitution. Et il y a de nombreuses demandes en cours du côté du continent. Donc, c'est une loi qui, avec un gouvernement et une représentation nationale française motivés, peut être extrêmement efficace. Est-ce qu'il y a des failles malgré tout dans cette loi ? Alors cette loi, elle propose qu'il y ait des commissions bi-nationales, donc entre l'État demandeur et l'État français pour examiner le cas des biens qui ont été pillés illicitement. Evidemment, si la France est motivée, elle met en place une commission qui regarde avec intérêt, objectivité et bienveillance les demandes de restitutions. Si le prochain gouvernement était moins motivé par les restitutions, ces commissions pourraient être nettement plus dures et pourraient bloquer certains processus. Je pense que c'est pour ça que c'est très important qu'il y ait des premières restitutions assez rapidement, parce que, après, ce sera un phénomène inarrêtable. Et le président français l'a dit à Nairobi, a priori, c'est une loi irréversible. On ne reviendra pas sur les restitutions. Il faut créer une dynamique ? Il faut créer une dynamique et il faut créer des précédents pendant cette année où toutes les étoiles semblent alignées. Quels sont les pays développés les plus réticents à restituer les œuvres qui ont été pillées au 19ᵉ et au XXᵉ siècle ? Alors chaque pays est complexe. En Europe, le plus réticent est peut-être celui qui a le plus restitué, et les gens ne s'en rendent pas forcément compte. Mais aujourd'hui, on peut dire que le Royaume-Uni est celui qui se protège le plus. Notamment parce que les Britanniques sont face à des demandes de restitutions européennes, et notamment des Grecs qui réclament les frises du Parthénon, qui sont au British Museum. Et donc, à la fois, le Royaume-Uni refuse de légiférer et bloque une partie des demandes. Et en même temps, c'est le Royaume-Uni qui a restitué plus de 70 biens déjà à travers ses musées non nationaux, donc à travers ses musées universitaires et ses musées régionaux. Donc, le Royaume-Uni est peut-être celui qui, dans la loi, est le moins ambitieux, mais qui restitue le plus. Alors qu'il y a des pays comme la Belgique qui ont restitué officiellement, massivement, puisqu'il y a plus de 1 200 objets qui sont déjà concernés par la loi belge, et en même temps, il y a un seul masque qui a fait le voyage de retour au Congo. Est-ce que les différentes institutions béninoises qui ont été créées ces derniers mois, notamment le Comité scientifique national auquel vous appartenez… Est-ce que tout cela peut encourager les pays qui détiennent des biens culturels et qui ne veulent pas s'en séparer ? Est-ce que cela peut les encourager à les restituer à des pays demandeurs comme le vôtre ? Il me semble que l'exemple du Bénin a été important, notamment avec la première restitution, avec la première loi d'exception de la France, quand les 26 objets du Trésor royal d'Abomey sont revenus, le Bénin a fait une démonstration assez éclatante de ce que pouvait être le retour du patrimoine et le partage à tous de ces collections. Donc, je pense que ça a aussi permis de faire sauter des verrous qui étaient bien souvent des préjugés sur une base raciste, ou sur juste une base de se dire que l'Afrique n'était pas intéressée à son patrimoine, que les Africains n'allaient pas au musée. Ça, c'était des propos qu'on entendait dans la société française. Tout à coup, à partir du moment où on a fait la démonstration que les gens se sont passionnés pour cette exposition, qu'elle a été ouverte à tous en grand, je crois que les gens ont réalisé ce que c'était, en fait, que d'être privé de son patrimoine depuis des dizaines ou des centaines d'années, et d'y avoir enfin un accès. Donc, je crois qu'évidemment certains pays, qui prenaient la question très à la légère, ont vu la preuve devant leurs yeux que c'étaient des questions fondamentales et qu'on ne pouvait pas rester sur des préjugés souvent racistes qui étaient prédominants.

In this episode, we speak with Tendayi about the importance of flexibility in career planning. He shares his journey from academia to innovation consulting, emphasizing the value of seizing opportunities and staying open to new directions. Tendayi differentiates between incremental, adjacent, and transformative career innovation, highlighting the risks of rigid planning and the need to adapt to changing environments. He also stresses the importance of reputation and storytelling, and introduces the concepts of “career theater” and “innovation theater.”Tendayi Viki is an author and advisor to corporate leaders. He specializes in creating buy-in for innovation, transformation and breakthrough ideas. He holds a PhD in Psychology and an MBA. As Partner at Strategyzer, he has worked with leaders and teams to navigate the human elements of innovation, ensuring their initiatives gain the trust, support, and active participation from stakeholders. He has delivered keynotes, led workshops, and advised global organizations including Novartis, Standard Bank, Unilever, Airbus, Pearson, Pfizer, Lufthansa-Airplus and The British Museum.Links from the episode: Tendayi's booksTendayi's personal websiteTendayi's LinkedIn profileThanks for listening!Visit our homepage at https://disrupt-your-career.comIf you like the podcast, please take a moment to rate it and leave a review in Apple Podcast

Robert Bremner: Duke of Perth's Reel, Capt. Ross's Reel, Short Apron, Hoptoun House, Lady Hariot Hope's Reel, The Highlandman Kiss'd His Mother, Miss Murray's Reel, Drummore's Rant, He Hirpl'd till her, Had the Lass till I winn at her, Cadgers of the Cannongate, Jeremy Kingsbury Sets: Colonel MacBain's Fancy, Brenda Stubbert's Reel, The Gravel Walk, Highlandman Kissed His Mother & Jenny Sutton From Bannocks of Barley Meal. Paddy Cary, Jigg Poltage, Ryan's Rant from Pay the Pipemaker. Dark-eyed one of the Night, Lady Seaforth, Dark Girl of the White Feet, Lady Mary Mackay, Mary Gray, Sweet Molly From Rowly Powly. J. Johnson: The Lads of Boot, William Ross: Miss Victoria Ross Iain MacInnes: Miss Victoria Ross, Lady Doll Sinclair, A'Chubhag (The Cuckoo), McFarlane's from Album Tryst Anselm Lingnau: (Traditional Tune Archive) Lady Susan Stewart's Reel John Walsh: Susan Stewart's Reel, Big thank you to Iain MacInnes for his blessing to include his track from Tryst. Tryst was published by Greentrax Label: https://greentrax.com/product/iain-macinnes-tryst-cd/ But is available on most streaming platforms as well. +X+ Cover Art is a Receipt from Robert Bremner's Shop in London courtesy of the British Museum: https://www.britishmuseum.org/collection/image/1544287001 +X+X+ I played tracks from Pay the Pipemaker: https://jeremykingsbury.bandcamp.com/album/pay-the-pipemaker Bannocks of Barley Meal: https://jeremykingsbury.bandcamp.com/album/bannocks-of-barley-meal and Rowly Powly: https://jeremykingsbury.bandcamp.com/album/rowly-powly +X+X+ Nearly all of the tunes this week come from Robert Bremner's 1757(ish) publication: A Collection of Scots Reels or Country Dances https://digital.nls.uk/special-collections-of-printed-music/archive/105002262 +X+X+ 1750: Lads of Boot From J Johnson's Country Dances (Via Traditional Tune Archive) https://tunearch.org/wiki/Lads_of_Boot +X+X+ 1869: Miss Victoria Ross: from William Ross's Collection of Pipe Music: https://ceolsean.net/content/WRoss/WRoss_TOC.html +X+X+ Susan Stewart's Reel From Traditional Tune Archive: https://tunearch.org/wiki/Lady_Susan_Stewart%27s_Reel +X+X+ 1758 (I've also seen 1760): Lady Susan Stewart's Reel from John Walsh's Caledonian Country Dances Vol 2 part IV https://archive.org/details/walsh4caledonian/ +X+X+ For may Hihland Man Kissed His Mother Episode Listen here: https://www.wetootwaag.com/s5e28 +X+X+ FIN Here are some ways you can support the show: You can support the Podcast by joining the Patreon page at https://www.patreon.com/wetootwaag You can also take a minute to leave a review of the podcast if you listen on Itunes! Tell your piping and history friends about the podcast! Checkout my Merch Store on Bagpipeswag: https://www.bagpipeswag.com/wetootwaag You can also support me by Buying my Albums on Bandcamp: https://jeremykingsbury.bandcamp.com/ You can now buy physical CDs of my albums using this Kunaki link: https://kunaki.com/msales.asp?PublisherId=166528&pp=1 You can just send me an email at wetootwaag@gmail.com letting me know what you thought of the episode! Listener mail keeps me going! Finally I have some other support options here: https://www.wetootwaag.com/support Thanks! Listen on Itunes/Apple Podcasts: https://podcasts.apple.com/us/podcast/wetootwaags-bagpipe-and-history-podcast/id129776677 Listen on Spotify: https://open.spotify.com/show/5QxzqrSm0pu6v8y8pLsv5j?si=QLiG0L1pT1eu7B5_FDmgGA

A US-Iran deal appears to be taking shape — and Israel isn't in the room. As diplomatic back-channels buzz and American strikes on Iran continue under a ceasefire that apparently requires bombing to maintain, Netanyahu finds himself watching from the outside: no seat at the table, no answers on the nuclear file, no movement on proxies. Meanwhile, two hostage parents — whose sons were held in Gaza at the same time — are entering Israeli politics from opposite ends of the spectrum, a story that says more about where the country is heading than any poll. Plus: the Caroline Glick appointment, the Israel Solidarity Parade in New York, antisemitism in London's British Museum, and a Chutzpah award for a congressman whose concession speech managed to be both funny and deeply troubling. This week's Mensch of the Week will leave you wanting to move to Tel Aviv. Note: The name of the Republican congressman challenged by Dan Bilzerian in Florida is, in fact, Randy Fine. Watch us on Youtube: https://youtu.be/HB5rkBNCeEY

Welcome to Greek News Global for 28 May 2026, with legendary Greek-Australian journalist, John Mangos. In this bulletin; Turkey tells the UK “there was never a firman for the Parthenon Marbles." Lupita Nyongo pushes back on Odyssey casting criticism. The Greek Herald turns 100... and Olympiacos wins the Eurloeague Basketball title.Send us Fan MailSupport the showEmail us at ouzotalk@outlook.comSubscribe to our Youtube: https://www.youtube.com/@OuzoTalkFollow us on Facebook: https://www.facebook.com/OuzoTalkFollow us on Instagram: https://www.instagram.com/ouzo_talk/

I want to tell you about a clay mask. It sits in a glass case at the British Museum, in the Mesopotamian galleries. The mask is approximately three thousand eight hundred years old, made in southern Iraq during the Old Babylonian period. Its face was made to terrify. The hair tangles into serpentine coils across the brow. The grin is bared, with one tooth chipped on the left side. Hooded sockets sink the eyes into darkness. Time has cracked the surface of the clay in seven places that I have counted. That mask was paid for. Someone took silver from a temple administrator's hand and walked it across the city to a workshop, where a craftsman took clay and pigment and several days of his working life and converted them into a monster. The monster was a job. The figure left the workshop on the back of a delivery cart, settled by an invoice that the temple's accountants logged in their cuneiform ledgers. We do not know who the patron was. The artisan is also anonymous to us. The tablets that recorded the rate structures of the Old Babylonian craft economy survive in archives in London and Chicago and Berlin, and those tablets establish that the transaction happened, even though the specific contract for this specific mask has not survived.

Diese Quellen untersuchen die vielschichtigen Darstellungsformen der menschlichen Seele in verschiedenen Epochen und Kulturen, wobei ein besonderer Schwerpunkt auf der altägyptischen Mythologie liegt. Konzepte wie der Ba-Vogel, die Lebenskraft Ka und der verklärte Geist Ach werden als wesentliche Bestandteile des antiken Jenseitsglaubens detailliert analysiert. Darüber hinaus beleuchten die Texte philosophische Modelle der Antike, wie Platons Seelenwagen, sowie christliche Ikonographien und moderne literarische Verarbeitungen wie Michal Snunits „Der Seelenvogel“. Die Sammlung verdeutlicht, wie abstraktes Erleben durch tierische Symbole, mechanische Allegorien oder Personifikationen für den Menschen begreifbar gemacht wird. Ein begleitendes Ausstellungsprojekt des British Museum ergänzt diese theoretischen Ansätze durch die Betrachtung konkreter kunsthistorischer Artefakte. Somit bieten die Quellen einen umfassenden Überblick über die Visualisierung des Immateriellen von der Antike bis in die Gegenwart.

Diese Quellen untersuchen die vielschichtigen Darstellungsformen der menschlichen Seele in verschiedenen Epochen und Kulturen, wobei ein besonderer Schwerpunkt auf der altägyptischen Mythologie liegt. Konzepte wie der Ba-Vogel, die Lebenskraft Ka und der verklärte Geist Ach werden als wesentliche Bestandteile des antiken Jenseitsglaubens detailliert analysiert. Darüber hinaus beleuchten die Texte philosophische Modelle der Antike, wie Platons Seelenwagen, sowie christliche Ikonographien und moderne literarische Verarbeitungen wie Michal Snunits „Der Seelenvogel“. Die Sammlung verdeutlicht, wie abstraktes Erleben durch tierische Symbole, mechanische Allegorien oder Personifikationen für den Menschen begreifbar gemacht wird. Ein begleitendes Ausstellungsprojekt des British Museum ergänzt diese theoretischen Ansätze durch die Betrachtung konkreter kunsthistorischer Artefakte. Somit bieten die Quellen einen umfassenden Überblick über die Visualisierung des Immateriellen von der Antike bis in die Gegenwart.

London's Dracula Connections: Victorian Vampires, Penny Dreadfuls & the Lyceum Theatre (World Dracula Day Special)On World Dracula Day (26 May), London History Podcast host Hazel Baker speaks with Lambeth tour guide and Gothic novelist David Turnbull about how a century of Gothic writing and London locations shaped Bram Stoker's Dracula. They trace early vampire traits through Coleridge's Christabel, Byron's circle and the Villa Diodati summer, Polidori's The Vampyre, and the influence of penny dreadfuls like Varney the Vampire and Lloyd's publications, before moving to Fleet Street magazines and Sheridan Le Fanu's Carmilla. The conversation highlights Stoker's Lyceum Theatre work under Henry Irving, the Beefsteak Room's literary influences (including Burton and Vambéry), Stoker's research at the British Museum and London Library, and Dracula's London settings from Piccadilly and King's Cross to Hampstead. They discuss Dracula's slow initial success, rivalry with The Beetle, and its 20th-century rise via Hamilton Deane and Bela Lugosi, ending with Turnbull's Dracula-influenced novel The Hurdy Gurdy Man and related London tours.00:00 Introduction05:39 The Romantic Poets & Vampire Origins17:17 Penny Dreadfuls & Fleet Street31:57 Dracula's London Locations36:19 Dracula's Rise to FameSee Show Notes

The Conversation looks back on a groundbreaking exhibit organized by the British Museum called “Hawaiʻi: A Kingdom Crossing Oceans.”

Welcome to Greek News Global for 21 May 2026, with legendary Greek-Australian journalist, John Mangos. In this bulletin; French Parthenon Marbles to be returned. PM Mitsotakis praises Greek-ANZAC connection. Greek cheese takes top global honour. And Australia beats both Greece and Cyprus in Eurovision.Send us Fan MailSupport the showEmail us at ouzotalk@outlook.comSubscribe to our Youtube: https://www.youtube.com/@OuzoTalkFollow us on Facebook: https://www.facebook.com/OuzoTalkFollow us on Instagram: https://www.instagram.com/ouzo_talk/

This episode draws on experimental and review literature on mirror-gazing, strange-face illusions, anomalous self-experience, dissociation, agency, face pareidolia, and face-distortion disorders, especially the work of Giovanni B. Caputo, Caputo/Lynn/Houran, Mash et al., Bregman-Hai and Soffer-Dudek, Derome et al., Palmer and Clifford, and Blom et al. Historical and occult context comes from research on catoptromancy, John Dee's angelic scrying records, the British Museum's “Dr Dee's Magical Mirror,” Campbell et al.'s Antiquity study on the mirror's Mexican/Aztec obsidian origin, and Mesoamerican material on Tezcatlipoca and the “Smoking Mirror.”Links For The Occult Rejectshttps://linktr.ee/theoccultrejectsOccult Research Institutehttps://www.occultresearchinstitute.org/Cash Apphttps://cash.app/$theoccultrejectsVenmo@TheOccultRejectsBuy Me A Coffeebuymeacoffee.com/TheOccultRejectsPatreonhttps://www.patreon.com/TheOccultRejectsCore Scientific Sources: Mirror-Gazing, Strange Faces, and Altered Self-ExperienceCaputo, Giovanni B. “Strange-Face-in-the-Mirror Illusion.” Perception 39, no. 7, 2010, 1007–1008.Key use: This is the main science anchor for the episode. Caputo showed that prolonged mirror-gazing under low illumination can produce strange-face apparitions, including distortions, unknown faces, monstrous faces, animal-like faces, archetypal faces, and faces of relatives or deceased people.Caputo, Giovanni B., Steven Jay Lynn, and James Houran. “Mirror- and Eye-Gazing: An Integrative Review of Induced Altered and Anomalous Experiences.” Imagination, Cognition and Personality 40, no. 4, 2021, 418–457.Key use: This is one of the strongest overview sources. It reviews empirical studies on mirror-gazing, psychomanteum work, and eye-to-eye gazing, especially in relation to altered perception, anomalous experiences, bodily experience, and self-identity.Mash, Joanna, Paul M. Jenkinson, Charlotte E. Dean, and Keith R. Laws. “Strange Face Illusions: A Systematic Review and Quality Analysis.” Consciousness and Cognition 109, 2023, article 103480.Key use: Newer review source. Useful because it supports strange-face illusions as a reliable phenomenon in both mirror-gazing and interpersonal gazing, while also warning that stronger research is still needed on mechanisms and prevalence.Bregman-Hai, Noa, and Nirit Soffer-Dudek. “Mirror-Gazing-Induced Dissociation Impairs Self-Reported and Implicit Sense of Agency: A Causal Investigation of Dissociation and Agency Under Controlled Laboratory Conditions.” PLOS ONE 21, no. 2, 2026, e0341316.Key use: Excellent source for the agency section. This connects mirror-gazing-induced dissociation with weakened sense of agency, which pairs well with mediumship, possession, automatic writing, and the feeling that “something else” is present.Derome, Mélodie, Eduardo Fonseca-Pedrero, Giovanni Battista Caputo, and Martin Debbané. “A Developmental Study of Mirror-Gazing-Induced Anomalous Self-Experiences and Self-Reported Schizotypy from 7 to 28 Years of Age.” Psychopathology 55, no. 1, 2022, 49–61.Key use: Useful developmental source. It connects mirror-gazing-induced anomalous self-experiences with age, self-perception, and schizotypal traits.Caputo, Giovanni B. “Visual Perception During Mirror-Gazing at One's Own Face in Patients with Depression.” The Scientific World Journal, 2014.Key use: Useful for the emotion/self-face relationship section. Caputo found that strange-face apparitions were reduced in patients with depression compared with healthy controls, including shorter duration, fewer strange faces, weaker intensity, and lower emotional response.Tramacere, Antonella. “Face Yourself: The Social Neuroscience of Mirror Gazing.” Frontiers in Psychology 13, 2022, article 949211.Key use: Strong support for the idea that mirror-gazing is like seeing yourself as another. It connects self-face perception with social neuroscience and the overlap between how we perceive our own face and the faces of others.Chakraborty, Anya C., and Bhismadev Chakrabarti. “Looking at My Own Face: Visual Processing Strategies in Self–Other Face Recognition.” Frontiers in Psychology 9, 2018.Key use: Useful for the self-face recognition section. This study looks at how people process their own face compared with other faces.Conty, Laurence, Nathalie George, and Jari K. Hietanen. “Watching Eyes Effects: When Others Meet the Self.” Consciousness and Cognition 45, 2016, 184–197.Key use: Best support for the gaze/presence section. It argues that direct gaze captures attention and triggers self-referential processing, which helps explain why a mirror can make the viewer feel watched.Face Perception, Pareidolia, and Monstrous DistortionPalmer, Colin J., and Colin W. G. Clifford. “Face Pareidolia Recruits Mechanisms for Detecting Human Social Attention.” Psychological Science 31, no. 8, 2020, 1001–1012.Key use: Best source for the “face-making brain” section. It supports the idea that illusory faces are not treated as meaningless noise; they can recruit mechanisms involved in social attention.Blom, Jan Dirk, Bastiaan C. ter Meulen, Jitze Dool, and Dominic H. ffytche. “A Century of Prosopometamorphopsia Studies.” Cortex 139, 2021, 298–308.Key use: Use carefully as a comparison source, not as a direct explanation for all scrying. Prosopometamorphopsia is a rare condition where faces appear distorted, showing that face-processing systems can produce frightening facial distortions under certain conditions.Psychomanteum, Grief, and Seeing the DeadHastings, Arthur, Michael Hutton, William Braud, et al. “Psychomanteum Research: Experiences and Effects on Bereavement.” OMEGA: Journal of Death and Dying 45, no. 3, 2002, 211–228.Key use: Main grief / dead-in-the-mirror source. Use carefully. It does not prove afterlife contact, but it supports the idea that mirror-gazing, darkness, memory, and grief can produce powerful experiences interpreted as contact.Moody, Raymond A. Reunions: Visionary Encounters with Departed Loved Ones. New York: Villard, 1993.Key use: Main modern popular source for the psychomanteum as a grief-contact chamber. Use as practitioner/popular context, not as the strongest academic evidence.Terhune, Devin B., and Matthew D. Smith. “The Induction of Anomalous Experiences in a Mirror-Gazing Facility: Suggestion, Cognitive Perceptual Personality Traits and Phenomenological State Effects.” The Journal of Nervous and Mental Disease 194, no. 6, 2006, 415–421.Key use: Good supporting source for anomalous experiences in a mirror-gazing facility. Pairs well with Hastings and the Caputo review.Kamp, K. S., Evgenia Steffen, Louis A. Kasket, and others. “Sensory and Quasi-Sensory Experiences of the Deceased in Bereavement: An Interdisciplinary and Integrative Review.” Schizophrenia Bulletin 46, no. 6, 2020, 1367–1381.Key use: Strong source for the grief section. It supports the point that bereaved people often report sensory or quasi-sensory experiences of the deceased, including feeling a presence, seeing, hearing, smelling, or sensing the dead.Hewson, Helen, and colleagues. “The Impact of Continuing Bonds Following Bereavement: A Systematic Review.” Death Studies, 2024.Key use: Useful for continuing bonds. It helps frame ongoing inner relationships with the dead as part of bereavement rather than automatically pathological.Historical, Religious, and Occult Mirror DivinationJohnston, Sarah Iles. Ancient Greek Divination. Wiley-Blackwell, 2008.Key use: Broad academic background for ancient divination systems. Not only mirror scrying, but very useful for framing divination as a serious religious and cultural practice.“Technical Divination and Mechanics of Sacred Space.” In Technologies of the Marvellous in Ancient Greek Religion. Cambridge University Press.Key use: Useful for ancient catoptromancy. This chapter discusses mirror divination as a technical mode of ancient divination involving reflective/catoptric knowledge and assumptions about divine intervention in human knowledge.Lee, Mireille M. “The Gendered Economics of Greek Bronze Mirrors.” Hesperia 86, no. 1, 2017.Key use: Useful for Greek bronze mirrors as social, gendered, material, and possibly magical/divinatory objects.Pitt Rivers Museum. “Mirrors.” Body Arts Collection Resource.Key use: Good museum-level source for folklore around mirrors and catoptromancy. Useful for basic show-note support on the traditional belief that mirrors could reveal the future.John Dee, Black Mirrors, and ObsidianBritish Museum. “Dr Dee's Magical Mirror / Dr Dee's Magical Speculum.” Collection object 1966,1001.1.Key use: Essential object source. The British Museum identifies the object as Dr. Dee's magical mirror or magical speculum, made of obsidian, catalogued as Aztec, and broadly dated to the 14th–16th century.Campbell, Stuart, Elizabeth Healey, Jago Cooper, Naomi Speakman, and others. “The Mirror, the Magus and More: Reflections on John Dee's Obsidian Mirror.” Antiquity 95, 2021.Key use: Essential academic source for Dee's mirror. The study uses geochemical analysis to show that the British Museum obsidian mirrors are Mexican in origin, with Dee's mirror matching the Pachuca obsidian source.Nature. “A ‘Spirit Mirror' Used in Elizabeth I's Court Had Aztec Roots.” 2021.Key use: Short science-news summary of the Antiquity findings. Useful for quickly explaining that Dee's mirror was traced to a source near Pachuca, Mexico.Smithsonian Magazine. “Obsidian ‘Spirit Mirror' Used by Elizabeth I's Court Astrologer Has Aztec Origins.” 2021.Key use: Useful public-facing summary of Dee's mirror, its Aztec/Mexican origin, and its connection to Elizabethan occult culture.Dee, John, and Meric Casaubon, ed. A True & Faithful Relation of What Passed for Many YeaAlso want to remind people about the website, if you're into reading we have tons of information by multiple contributors, and we got t-shirts up on the site if you're interested. Fun fact, the art is all based on the eyeball. A

This week on Mel & Floyd: Smarty Pants' visit to the British Museum and the “dear leader's” visit to China; Multiple data centers being considered in Alliant Energy territory; 1890's now referred to as the “First Gilded Age”; Absurd hantavirus conspiracy theories; And other random topics; Notice something missing?  For the complete Mel and Floyd Experience, buy the CD “The Very Best of James Brown” and play it on your Hi-Fi while listening to this podcast!  Or listen live at 89.9 FM or wortfm.org/listen-live/ every Friday from 1 to 2 PM Central Time. Photo courtesy Rapha Wilde on Unsplash Did you enjoy this story? Your funding makes great, local journalism like this possible. Donate hereThe post Why Mosquitos Prefer SmartyPants appeared first on WORT-FM 89.9.

Hoy me acompaña Carla Tarruella, directora de Exposiciones de Arte de la Fundació ”la Caixa”, para hablar de la red de centros CaixaForum.La misión de la fundación en el ámbito cultural es promover la cultura como motor de transformación social, garantizando su alcance a todos los públicos. Actualmente, la red de centros CaixaForum está presente en nueve ciudades de España: Barcelona, Madrid, Palma, Zaragoza, Sevilla, Valencia, Girona, Tarragona y Lleida. Durante la conversación, Carla me explica cómo nació en 2002 el primer CaixaForum en Barcelona y qué significa liderar el área de contenidos y exposiciones. Hablamos de cómo trabaja un equipo formado por perfiles muy diversos y de cómo se planifica la programación de exposiciones y actividades de los nueve centros.También comentamos cómo deciden qué exposiciones producir, dónde programarlas y cómo conviven con la oferta cultural ya existente en cada ciudad. Reflexionamos sobre la importancia de construir una programación heterogénea y accesible, capaz de conectar con públicos muy distintos.Además, hablamos de las colaboraciones internacionales con instituciones como el British Museum, el Museo del Prado o el Centre Pompidou, con quienes coproducen algunas de sus grandes exposiciones.Carla comparte también un dato muy revelador: el 85% del público de CaixaForum es local, mayoritariamente nacional y repetitivo.Terminamos hablando sobre la sostenibilidad de las exposiciones temporales y sobre ArtStudio CaixaForum, el nuevo proyecto de la fundación en L'Hospitalet que albergará la colección de arte de la Fundació ”la Caixa”.

Dr Ittai Gradel, the Danish antiquities dealer who uncovered the theft of hundreds of artefacts from the British Museum. Katie Razzall recalls how he helped her report the story.Dame Shirley Porter, the Conservative leader of Westminster Council who had a spectacular fall from grace over the 'homes for votes' scandal.Professor Nigel Dunnett, the horticulturalist and garden designer, known for his ambitious public planting displays at the Olympic Park in East London and the moat of the Tower of London. His friend and fellow gardener Arit Anderson pays tribute.Maria Nieves Rego, the dancer who took the tango from Argentina to the rest of the world. Presenter: Matthew Bannister Producer: Ben Mitchell Assistant Producer: Catherine Powell Researcher: Jesse Edwards Editor: Andrea KennedyArchive: BBC One, News at Ten, 16/08/2023; BBC Radio 4, Front Row, 11/09/2023; BBC Parliament, House of Commons Culture Media and Sport Select Committee, 23/10/2023; BBC Radio 4, Shadow World: Thief at the British Museum 31/05/2024; BBC Radio 4, Desert Island Discs, 28/04/1991; BBC, Radio 4, The Report, 10/05/1996; BBC One, News at Six, 05/07/2004; BBC Radio 4, Costing the Earth: Where Have all our Gardens Gone?, 29/09/2015; The Man from Atlanta, 23/08/1982; Our Last Tango: Official Trailer, Uploaded to YouTube, 31/05/2016

In Ancient Mesopotamia, the boundary between the living and the dead was not always fixed... some even believed it could be crossed. But why would the living seek counsel from the dead? How common were these practices? And what answers did people hope the spirits might reveal?In this episode, Anthony is joined by the brilliant Dr. Irving Finkel! Irving is a returning guest and Curator in the Department of Middle East at the British Museum. Be sure to check out our other episode with Irving, Earliest Evidence of Ghosts... Edited by Hannah Feodorov and Anna Brant. Produced by Tomos Delargy. Senior Producer is Freddy Chick.For tickets to see Anthony and Maddy talking about her new book, Hoax, click here: https://www.conwayhall.org.uk/whats-on/event/hoax/Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe.  You can take part in our listener survey here.All music from Epidemic Sounds.After Dark: Myths, Misdeeds & the Paranormal is a History Hit podcast. Hosted on Acast. See acast.com/privacy for more information.

Casey Baltes led the effort to build the Tribeca Games Festival from the ground up—and she'll tell you the hardest part wasn't the games. It was building internal credibility. In this episode, we talk about curation, community, and why institutions that try to do everything in games end up doing nothing well.For more insights, signup for my newsletter.Jamin Warren founded Gameplayarts, an advisory that helps museums and cultural organizations engage with the world of gaming. He provides them with the research, strategy, and execution they need to reach gamers for the first–or millionth–time. Gameplayarts' past and present clients organizations like MoMA, the Getty Research Institute, Tribeca Enterprises, and PBS.

This week on Paranormal Activity: Monday Mailtime, Producer Dom dives into two deeply unsettling listener encounters that don't just feel paranormal… they feel deliberate.First, Tom shares something that began not on his travels across South America, but weeks before he even left the UK. The same dream, repeating. The same square, the same tile, the same pull toward a turning he couldn't bring himself to take. Until he arrived in Cusco… and found every detail already waiting for him. Exactly as he'd seen it. And then it happened again in La Paz. And now, months later, back home — the dream has returned. But this time, the location is somewhere new. Somewhere he hasn't been yet.Then, Hannah recounts a quiet afternoon alone at the British Museum that became something far harder to explain. Standing before a display of fragments linked to the Book of Enoch, the room sealed itself of sound, a page moved without being touched, and the text she had been reading… changed. A line she has never been able to find in any translation, in any archive, anywhere: "To be seen is to be chosen."These aren't your typical ghost stories.No apparitions. No cold spots. No sudden crashes in the night.Instead, something far more unsettling: foreknowledge, recognition, and the creeping sense that something ancient is still very much paying attention to who comes looking.What happens when the paranormal doesn't haunt a place… but uses it?And what does it mean when you're shown something that isn't supposed to exist anymore?Producer Dom reacts, unpacks, and explores the deeper theories behind these encounters.Where precognition, forbidden texts, and forces far older than either traveller may have stepped directly into their path.Not by accident, but by design.A Create Podcast Hosted on Acast. See acast.com/privacy for more information.

Part one of this quarter's edition of Unearthed! includes animals, artwork, edibles and potables, shipwrecks, potpourri. Research: Abdallah, Hannah. “Analysis of charred food in pot reveals that prehistoric Europeans had surprisingly complex cuisines.” EurekAlert. 3/4/2025. https://www.eurekalert.org/news-releases/1117763 Almeroth-Williams, Thomas. “British redcoat’s lost memoir reveals harsh realities of life as a disabled veteran.” EurekAlert. 1/14/2026. https://www.eurekalert.org/news-releases/1111595 Anderson, Sonja. “Does This Skeleton Found Beneath a Dutch Church Belong to D’Artagnan, the Man Who Inspired ‘The Three Musketeers’?” Smithsonian. 3/27/2026. https://www.smithsonianmag.com/smart-news/this-skeleton-found-beneath-the-floor-of-a-dutch-church-may-belong-to-dartagnan-the-fourth-musketeer-180988448/ Anderson, Sonja. “Historians Thought This Rare Renaissance Portrait by One of the First Famous Female Artists Was Lost to History—Until It Surfaced in North Carolina.” 2/3/2026. https://www.smithsonianmag.com/smart-news/historians-thought-this-rare-renaissance-portrait-by-one-of-the-first-famous-female-artists-was-lost-to-history-until-it-surfaced-in-north-carolina-180988120/ Anderson, Sonja. “Hundreds of Ancient Roman Blade Sharpeners Emerge From a Riverbank in England, Revealing the Ruins of a 2,000-Year-Old Whetstone Factory.” Smithsonian. 1/20/2026. https://www.smithsonianmag.com/smart-news/hundreds-of-ancient-roman-blade-sharpeners-emerge-from-a-riverbank-in-england-revealing-the-ruins-of-a-2000-year-old-whetstone-factory-180988016/ Anderson, Sonja. “The Italian Government Just Paid Nearly $35 Million for a Rare Caravaggio Portrait—One of the Most Expensive Artworks It’s Ever Acquired.” Smithsonian. 3/16/2026. https://www.smithsonianmag.com/smart-news/the-italian-government-just-paid-nearly-35-million-for-a-rare-Caravaggio-portrait-one-of-the-most-expensive-artworks-its-ever-acquired-180988344/ Arnold, Paul. “Poop as medicine? A Roman vial's chemistry backs up ancient medical texts.” Phys.org. 2/4/2026. https://phys.org/news/2026-02-poop-medicine-roman-vial-chemistry.html Arnold, Paul. “Scents of the afterlife: Identifying embalming recipes by 'sniffing' the air around Egyptian mummies.” Phys.org. 2/5/2026. https://phys.org/news/2026-02-scents-afterlife-embalming-recipes-sniffing.html#google_vignette Bacon, Jordan. “English history’s biggest march is a myth – King Harold sailed to the Battle of Hastings.” EurekAlert. 3/20/2026. https://www.eurekalert.org/news-releases/1120082 Bastola, Kunjal. “A Groundskeeper Noticed a Sinkhole on a Golf Course. It Turned Out to Be a Wine Cellar Full of Empty Bottles, Untouched for More Than 100 Years.” Smithsonian. 3/19/2026. https://www.smithsonianmag.com/smart-news/a-groundskeeper-noticed-a-sinkhole-on-a-golf-course-it-turned-out-to-be-a-wine-cellar-full-of-empty-bottles-untouched-for-more-than-100-years-180988379/ Bastola, Kunjal. “A Little Boy’s Library Book Was Due in 1989. Thirty-Six Years Later, He Realized His Parents Had Never Returned It.” Smithsonian. 1/26/2026. https://www.smithsonianmag.com/smart-news/a-little-boys-library-book-was-due-in-1989-thirty-six-years-later-he-realized-his-parents-had-never-returned-it-180988046/ Baum, Stephanie. “Ancient parrot DNA reveals sophisticated, long-distance animal trade network pre-dating the Inca Empire.” 3/10/2026. https://phys.org/news/2026-03-ancient-parrot-dna-reveals-sophisticated.html Baum, Stephanie. “From the Late Bronze Age to today, the Old Irish Goat carries 3,000 years of Irish history.” 2/26/2026. https://phys.org/news/2026-02-late-bronze-age-today-irish.html Benzine, Vittoria. “What Did Pompeii Smell Like? A New Study Analyzes Its Ancient Incense.” Artnet. 3/31/2026. https://news.artnet.com/art-world/pompeii-ritual-incense-study-2760240 Brooks, James. “Danish warship sunk by Nelson’s British fleet discovered after 225 years.” Associated Press. 4/2/2026. https://apnews.com/article/denmark-archaeologists-warship-nelson-copenhagen-dannebroge-lynetteholm-4519533d9e774a490f6020e893634e09 Carvajal, Guillermo. “Archaeologists achieve a historic milestone by dating French cave paintings with carbon-14 for the first time.” 3/10/2025. https://www.labrujulaverde.com/en/2026/03/archaeologists-achieve-a-historic-milestone-by-dating-french-cave-paintings-with-carbon-14-for-the-first-time/ Clayworth, Liv. “Bird poop powered the rise of the Chincha Kingdom, archaeologists find.” EurekAlert. 2/11/2026. https://www.eurekalert.org/news-releases/1115214 “Lost page of the Archimedes Palimpsest identified in Blois, central France.” Phys.org. 3/9/2026. https://phys.org/news/2026-03-lost-page-archimedes-palimpsest-blois.html Ehrlich, Claudia. “Signs on Stone Age objects: Precursor to written language dates back 40,000 years.” EurekAlert. 2/23/2026. https://www.eurekalert.org/news-releases/1117179 Ferrer, Isabel. “Is d’Artagnan lying beneath a church in Maastricht? DNA will determine if remains found are those of the famous musketeer.” El Pais. 3/25/2025. https://english.elpais.com/international/2026-03-25/is-dartagnan-lying-beneath-a-church-in-maastricht-dna-will-determine-if-remains-found-are-that-of-the-famous-musketeer.html?outputType=amp Gebauer, Kathryn. “Groundbreaking discovery reveals Africa’s oldest cremation pyre and complex ritual practices.” EurekAlert. 1/1/2016. https://www.eurekalert.org/news-releases/1111191 Harley, Sadie. “Iron Age dental plaque reveals Scythians consumed milk from horses and ruminants.” Phys.org. 1/21/2026. https://phys.org/news/2026-01-iron-age-dental-plaque-reveals.html He, Ye. “Singapore’s first ancient shipwreck reveals record cargo of Yuan dynasty blue-and-white porcelain.” EurekAlert. 2/12/2026. https://www.eurekalert.org/news-releases/1116512 Johansen, Rikke Tørnsø. “Archaeologists reveal a medieval super ship: "It's the World’s largest cog".” Vikingeskibs Museet. 12/22/2025. https://www.vikingeskibsmuseet.dk/en/news/archaeologists-reveal-a-medieval-super-ship-its-the-worlds-largest-cog Kasal, Krystal. “Hannibal's famous war elephants: Single bone in Spain offers first direct evidence.” Phys.org. 2/5/2026. https://phys.org/news/2026-02-hannibal-famous-war-elephants-bone.html Kasal, Krystal. “Oldest known sewn hide and other artifacts from Oregon caves shed light on early clothing in harsh climates.” Phys.org. 2/10/2026. https://phys.org/news/2026-02-oldest-sewn-artifacts-oregon-caves.html Killgrove, Kristina. “Romans used human feces as medicine 1,900 years ago — and used thyme to mask the smell.” 1/29/2026. https://www.livescience.com/archaeology/romans/romans-used-human-feces-as-medicine-1-900-years-ago-and-used-thyme-to-mask-the-smell Killgrove, Kristina. “Stone Age woman was buried like a man, revealing flexible gender roles 7,000 years ago in Hungary.” LiveScience. 3/3/2026. https://www.livescience.com/archaeology/stone-age-woman-was-buried-like-a-man-revealing-flexible-gender-roles-7-000-years-ago-in-hungary Koc University. “Earliest evidence of indigo-dyed textiles and single-needle knitting discovered in Bronze Age Anatolia.” Phys.org. 2/21/2026. https://phys.org/news/2026-02-earliest-evidence-indigo-dyed-textiles.html Kuta, Sarah. “Did Neanderthals Use Birch Bark Tar as an Antibiotic to Treat Wounds and Infections?” Smithsonian. 3/30/2026. https://www.smithsonianmag.com/smart-news/did-neanderthals-use-birch-bark-tar-as-an-antibiotic-to-treat-wounds-and-infections-180988393/ Kuta, Sarah. “Ostrich Eggshells Suggest Our Ancestors May Have Understood Basic Geometry 60,000 Years Ago.” Smithsonian. 3/9/2026. https://www.smithsonianmag.com/smart-news/these-intricately-decorated-ostrich-eggshells-suggest-our-ancestors-may-have-understood-basic-geometry-60000-years-ago-180988315/ Kuta, Sarah. “Ötzi the Iceman May Have Carried a Cancer-Causing Strain of HPV, a Common Virus Still Plaguing Humans Today.” Smithsonian. 1/20/2026. https://www.smithsonianmag.com/smart-news/otzi-the-iceman-may-have-carried-a-cancer-causing-strain-of-hpv-a-common-virus-still-plaguing-humans-today-180988024/ Kuta, Sarah. “Shipwreck Timbers Appeared on a Beach After a Storm. They Had Been Buried Beneath the Sand Since the 17th Century.” Smithsonian. 3/2/2026. https://www.smithsonianmag.com/smart-news/shipwreck-timbers-appeared-on-a-beach-after-a-storm-they-had-been-buried-beneath-the-sand-since-the-17th-century-180988260/ Lawson-Tancred, Jo. “Salvador Dalí’s Largest Work Snapped Up by Florida Museum.” Artnet. 3/27/2026. https://news.artnet.com/market/salvador-dali-largest-work-bonhams-sale-2749246 Lock, Lisa. “Ancient DNA finds 15,800-year-old dogs in Anatolia, buried like humans.” Phys.org. 3/28/2026. https://phys.org/news/2026-03-ancient-dna-year-dogs-anatolia.html Lock, Lisa. “Are one in 200 men really related to Genghis Khan? Maybe not, according to a new study.” Phys.org. 2/21/2026. https://phys.org/news/2026-02-men-genghis-khan.html Lucibella, Michael. “Prehistoric tool made from elephant bone is the oldest discovered in Europe.” EurekAlert. 1/26/2026. https://www.eurekalert.org/news-releases/1113140 Luscombe, Richard. “Mass grave in Jordan sheds new light on world’s earliest recorded pandemic.” The Guardian. 1/31/2026. https://www.theguardian.com/science/2026/jan/31/plague-of-justinian-pandemic net. “Did King Harold Sail to Hastings? New Study Sparks Debate Among Historians.” 3/2026. https://www.medievalists.net/2026/03/did-king-harold-sail-to-hastings-new-study-sparks-debate-among-historians/ net. “Viking-Age Woman Buried with Her Dog in Norway.” 3/2026. https://www.medievalists.net/2026/03/viking-age-woman-buried-with-her-dog-in-norway/ Newcastle University Press Office. “5,300-year-old ‘bow drill’ rewrites story of ancient Egyptian tools.” 2/9/2026. https://www.ncl.ac.uk/press/articles/latest/2026/02/ancientegyptiandrillbit/ Noraz, R., Chauvey, L., Wagner, S. et al. Ancient DNA reveals 4000 years of grapevine diversity, viticulture and clonal propagation in France. Nat Commun 17, 2494 (2026). https://doi.org/10.1038/s41467-026-70166-z Nordin, Gunilla. “World’s oldest arrow poison – 60,000-year-old traces reveal early advanced hunting techniques.” 1/7/2026. https://www.eurekalert.org/news-releases/1111624 Parco Archaeologico de Ercolano. “Archaeology: New precious decorations discovered at Villa Sora in the Herculaneum Park.” 2/5/2026. https://ercolano.cultura.gov.it/archaeology-new-precious-decorations-discovered-at-villa-sora-in-the-herculaneum-park/?lang=en Paul, Andrew. “Hiker finds 3,000-year-old bull sculpture in Spain.” Popular Science. 3/17/2026. https://www.popsci.com/science/hiker-finds-bronze-age-bull-spain/ Potter, Lisa. “A wild potato that changed the story of agriculture in the American Southwest.” EurekAlert. 1/21/2026. https://www.eurekalert.org/news-releases/1113056 “Digital scans unveil new love notes and sketches on ancient Pompeii wall.” 1/19/2026. https://www.reuters.com/science/digital-scans-unveil-new-love-notes-sketches-ancient-pompeii-wall-2026-01-19/ Richard L. Rosencrance et al. ,Complex perishable technologies from the North American Great Basin reveal specialized Late Pleistocene adaptations. Sci. Adv. 12, eaec2916(2026).DOI:10.1126/sciadv.aec2916 Ruse, Amy. “Tasmanian tiger lives on in Arnhem Land rock art.” EurekAlert. 3/30/2026. https://www.eurekalert.org/news-releases/1121955 Ruse, Amy. “World’s oldest rock art holds clues to early human migration to Australia.” EurekAlert. 1/21/2026. https://www.eurekalert.org/news-releases/1112900 Siehoff, Jonas. “Hygienic conditions in Pompeii's early baths were poor.” 1/12/2026. https://www.eurekalert.org/news-releases/1112403 Taçon, P. S. C., A.Jalandoni, S. K.May, J.Nganjmirra, and C.Mungulda. 2026. “The Devil Is in the Detail: Tasmanian Devil and Tasmanian Tiger Paintings From Awunbarna and Injalak Hill, Northern Territory, Australia.” Archaeology in Oceania. https://doi.org/10.1002/arco.70024 The History Blog. “$40 estate sale find by early African-American silversmith sells for $24,000.” 2/4/2026. https://www.thehistoryblog.com/archives/75294 The History Blog. “43,000 ostraca found at one site shed light on social history of Egypt.” 5/15/2026. https://www.thehistoryblog.com/archives/75609 The History Blog. “British Museum acquires Tudor Heart.” 2/10/2026. https://www.thehistoryblog.com/archives/75343 The History Blog. “Exceptional Roman cargo shipwreck found in Lake Neuchâtel.” 3/29/2026. https://www.thehistoryblog.com/archives/75705 The History Blog. “Extraordinary find: 10th c. bronze wheel cross matches mold found 43 years ago.” 1/24/2026. https://www.thehistoryblog.com/archives/75220 The History Blog. “Previously unknown Hans Baldung Grien portrait emerges after 500 years in the sitter’s family.” 1/17/2026. https://www.thehistoryblog.com/archives/75161 The History Blog. “Roman wooden writing tablets from Belgium deciphered.” 1/22/2206. https://www.thehistoryblog.com/archives/75207 Thomas, Laura. “A century-old Stonehenge mystery may finally be solved.” Science Daily. 1/27/2026. https://www.sciencedaily.com/releases/2026/01/260127010208.htm Thorsberg, Christian. “The National Gallery of Art Acquires 17th-Century Masterpiece by Baroque Painter Artemisia Gentileschi.” Smithsonian. 2/7/2026. https://www.smithsonianmag.com/smart-news/the-national-gallery-of-art-acquired-17th-century-masterpiece-by-baroque-painter-artemisia-gentileschi-180988147/ Thorsberg, Christian. “This Luxury Steamer Disappeared on a Stormy Night in 1872. Nearly 150 Years Later to the Day, It Was Found at the Bottom of Lake Michigan.” Smithsonian. 2/18/2026. https://www.smithsonianmag.com/smart-news/this-luxury-steamer-disappeared-on-a-stormy-night-in-1872-nearly-150-years-to-the-day-it-was-found-in-the-bottom-of-lake-michigan-180988204/ Unibo Magazine. “Humanity’s oldest geometries, engraved on ostrich eggs.” https://magazine.unibo.it/en/articles/humanitys-oldest-geometries-engraved-on-ostrich-eggs University of Tübingen. “Earliest hand-held wooden tools found in Greece date back 430,000 years.” Phys.org. 1/1/2026. https://phys.org/news/2026-01-earliest-held-wooden-tools-greece.html Villotte, S., T.Szeniczey, S.Kacki, and A.Anders. 2026. “Fixed and Fluid: The Two Faces of Gender Roles—A Combined Study of Activity Patterns and Burial Practices in the European Neolithic.” American Journal of Biological Anthropology189, no. 2: e70217. https://doi.org/10.1002/ajpa.70217. Whiddington, Richard. “3,300-Year-Old Papyrus Reveals How Ancient Egyptians Fixed Drawing Mistakes.” ArtNet. 3/9/2026. https://news.artnet.com/art-world/ancient-egyptian-papyrus-white-out-fluid-2752125 Whiddington, Richard. “Long-Lost Archimedes Text Resurfaces in French Museum.” Artnet. 3/11/2026. https://news.artnet.com/art-world/lost-page-of-archimedes-palimpsest-found-2753005 Whiddington, Richard. “Lost Parthenon Piece Unearthed From Lord Elgin’s Shipwreck.” ArtNet. 3/19/2026. https://news.artnet.com/art-world/parthenon-fragment-lord-elgin-shipwreck-2755894 Zeilsgtra, Andrew. “Breathing in the past: How museums can use biomolecular archaeology to bring ancient scents to life.” EurekAlert. 2/5/2026. https://www.eurekalert.org/news-releases/1114918 Zinin, Andrew. “600-year-old pinot noir grape found in medieval French toilet.” Phys.org. 3/24/2026. https://phys.org/news/2026-03-year-pinot-noir-grape-medieval.html#google_vignette See omnystudio.com/listener for privacy information.

Part one of this quarter's edition of Unearthed! features updates, medical things, books and letters, oldest known things, and smells. Research: Abdallah, Hannah. “Analysis of charred food in pot reveals that prehistoric Europeans had surprisingly complex cuisines.” EurekAlert. 3/4/2025. https://www.eurekalert.org/news-releases/1117763 Almeroth-Williams, Thomas. “British redcoat’s lost memoir reveals harsh realities of life as a disabled veteran.” EurekAlert. 1/14/2026. https://www.eurekalert.org/news-releases/1111595 Anderson, Sonja. “Does This Skeleton Found Beneath a Dutch Church Belong to D’Artagnan, the Man Who Inspired ‘The Three Musketeers’?” Smithsonian. 3/27/2026. https://www.smithsonianmag.com/smart-news/this-skeleton-found-beneath-the-floor-of-a-dutch-church-may-belong-to-dartagnan-the-fourth-musketeer-180988448/ Anderson, Sonja. “Historians Thought This Rare Renaissance Portrait by One of the First Famous Female Artists Was Lost to History—Until It Surfaced in North Carolina.” 2/3/2026. https://www.smithsonianmag.com/smart-news/historians-thought-this-rare-renaissance-portrait-by-one-of-the-first-famous-female-artists-was-lost-to-history-until-it-surfaced-in-north-carolina-180988120/ Anderson, Sonja. “Hundreds of Ancient Roman Blade Sharpeners Emerge From a Riverbank in England, Revealing the Ruins of a 2,000-Year-Old Whetstone Factory.” Smithsonian. 1/20/2026. https://www.smithsonianmag.com/smart-news/hundreds-of-ancient-roman-blade-sharpeners-emerge-from-a-riverbank-in-england-revealing-the-ruins-of-a-2000-year-old-whetstone-factory-180988016/ Anderson, Sonja. “The Italian Government Just Paid Nearly $35 Million for a Rare Caravaggio Portrait—One of the Most Expensive Artworks It’s Ever Acquired.” Smithsonian. 3/16/2026. https://www.smithsonianmag.com/smart-news/the-italian-government-just-paid-nearly-35-million-for-a-rare-Caravaggio-portrait-one-of-the-most-expensive-artworks-its-ever-acquired-180988344/ Arnold, Paul. “Poop as medicine? A Roman vial's chemistry backs up ancient medical texts.” Phys.org. 2/4/2026. https://phys.org/news/2026-02-poop-medicine-roman-vial-chemistry.html Arnold, Paul. “Scents of the afterlife: Identifying embalming recipes by 'sniffing' the air around Egyptian mummies.” Phys.org. 2/5/2026. https://phys.org/news/2026-02-scents-afterlife-embalming-recipes-sniffing.html#google_vignette Bacon, Jordan. “English history’s biggest march is a myth – King Harold sailed to the Battle of Hastings.” EurekAlert. 3/20/2026. https://www.eurekalert.org/news-releases/1120082 Bastola, Kunjal. “A Groundskeeper Noticed a Sinkhole on a Golf Course. It Turned Out to Be a Wine Cellar Full of Empty Bottles, Untouched for More Than 100 Years.” Smithsonian. 3/19/2026. https://www.smithsonianmag.com/smart-news/a-groundskeeper-noticed-a-sinkhole-on-a-golf-course-it-turned-out-to-be-a-wine-cellar-full-of-empty-bottles-untouched-for-more-than-100-years-180988379/ Bastola, Kunjal. “A Little Boy’s Library Book Was Due in 1989. Thirty-Six Years Later, He Realized His Parents Had Never Returned It.” Smithsonian. 1/26/2026. https://www.smithsonianmag.com/smart-news/a-little-boys-library-book-was-due-in-1989-thirty-six-years-later-he-realized-his-parents-had-never-returned-it-180988046/ Baum, Stephanie. “Ancient parrot DNA reveals sophisticated, long-distance animal trade network pre-dating the Inca Empire.” 3/10/2026. https://phys.org/news/2026-03-ancient-parrot-dna-reveals-sophisticated.html Baum, Stephanie. “From the Late Bronze Age to today, the Old Irish Goat carries 3,000 years of Irish history.” 2/26/2026. https://phys.org/news/2026-02-late-bronze-age-today-irish.html Benzine, Vittoria. “What Did Pompeii Smell Like? A New Study Analyzes Its Ancient Incense.” Artnet. 3/31/2026. https://news.artnet.com/art-world/pompeii-ritual-incense-study-2760240 Brooks, James. “Danish warship sunk by Nelson’s British fleet discovered after 225 years.” Associated Press. 4/2/2026. https://apnews.com/article/denmark-archaeologists-warship-nelson-copenhagen-dannebroge-lynetteholm-4519533d9e774a490f6020e893634e09 Carvajal, Guillermo. “Archaeologists achieve a historic milestone by dating French cave paintings with carbon-14 for the first time.” 3/10/2025. https://www.labrujulaverde.com/en/2026/03/archaeologists-achieve-a-historic-milestone-by-dating-french-cave-paintings-with-carbon-14-for-the-first-time/ Clayworth, Liv. “Bird poop powered the rise of the Chincha Kingdom, archaeologists find.” EurekAlert. 2/11/2026. https://www.eurekalert.org/news-releases/1115214 “Lost page of the Archimedes Palimpsest identified in Blois, central France.” Phys.org. 3/9/2026. https://phys.org/news/2026-03-lost-page-archimedes-palimpsest-blois.html Ehrlich, Claudia. “Signs on Stone Age objects: Precursor to written language dates back 40,000 years.” EurekAlert. 2/23/2026. https://www.eurekalert.org/news-releases/1117179 Ferrer, Isabel. “Is d’Artagnan lying beneath a church in Maastricht? DNA will determine if remains found are those of the famous musketeer.” El Pais. 3/25/2025. https://english.elpais.com/international/2026-03-25/is-dartagnan-lying-beneath-a-church-in-maastricht-dna-will-determine-if-remains-found-are-that-of-the-famous-musketeer.html?outputType=amp Gebauer, Kathryn. “Groundbreaking discovery reveals Africa’s oldest cremation pyre and complex ritual practices.” EurekAlert. 1/1/2016. https://www.eurekalert.org/news-releases/1111191 Harley, Sadie. “Iron Age dental plaque reveals Scythians consumed milk from horses and ruminants.” Phys.org. 1/21/2026. https://phys.org/news/2026-01-iron-age-dental-plaque-reveals.html He, Ye. “Singapore’s first ancient shipwreck reveals record cargo of Yuan dynasty blue-and-white porcelain.” EurekAlert. 2/12/2026. https://www.eurekalert.org/news-releases/1116512 Johansen, Rikke Tørnsø. “Archaeologists reveal a medieval super ship: "It's the World’s largest cog".” Vikingeskibs Museet. 12/22/2025. https://www.vikingeskibsmuseet.dk/en/news/archaeologists-reveal-a-medieval-super-ship-its-the-worlds-largest-cog Kasal, Krystal. “Hannibal's famous war elephants: Single bone in Spain offers first direct evidence.” Phys.org. 2/5/2026. https://phys.org/news/2026-02-hannibal-famous-war-elephants-bone.html Kasal, Krystal. “Oldest known sewn hide and other artifacts from Oregon caves shed light on early clothing in harsh climates.” Phys.org. 2/10/2026. https://phys.org/news/2026-02-oldest-sewn-artifacts-oregon-caves.html Killgrove, Kristina. “Romans used human feces as medicine 1,900 years ago — and used thyme to mask the smell.” 1/29/2026. https://www.livescience.com/archaeology/romans/romans-used-human-feces-as-medicine-1-900-years-ago-and-used-thyme-to-mask-the-smell Killgrove, Kristina. “Stone Age woman was buried like a man, revealing flexible gender roles 7,000 years ago in Hungary.” LiveScience. 3/3/2026. https://www.livescience.com/archaeology/stone-age-woman-was-buried-like-a-man-revealing-flexible-gender-roles-7-000-years-ago-in-hungary Koc University. “Earliest evidence of indigo-dyed textiles and single-needle knitting discovered in Bronze Age Anatolia.” Phys.org. 2/21/2026. https://phys.org/news/2026-02-earliest-evidence-indigo-dyed-textiles.html Kuta, Sarah. “Did Neanderthals Use Birch Bark Tar as an Antibiotic to Treat Wounds and Infections?” Smithsonian. 3/30/2026. https://www.smithsonianmag.com/smart-news/did-neanderthals-use-birch-bark-tar-as-an-antibiotic-to-treat-wounds-and-infections-180988393/ Kuta, Sarah. “Ostrich Eggshells Suggest Our Ancestors May Have Understood Basic Geometry 60,000 Years Ago.” Smithsonian. 3/9/2026. https://www.smithsonianmag.com/smart-news/these-intricately-decorated-ostrich-eggshells-suggest-our-ancestors-may-have-understood-basic-geometry-60000-years-ago-180988315/ Kuta, Sarah. “Ötzi the Iceman May Have Carried a Cancer-Causing Strain of HPV, a Common Virus Still Plaguing Humans Today.” Smithsonian. 1/20/2026. https://www.smithsonianmag.com/smart-news/otzi-the-iceman-may-have-carried-a-cancer-causing-strain-of-hpv-a-common-virus-still-plaguing-humans-today-180988024/ Kuta, Sarah. “Shipwreck Timbers Appeared on a Beach After a Storm. They Had Been Buried Beneath the Sand Since the 17th Century.” Smithsonian. 3/2/2026. https://www.smithsonianmag.com/smart-news/shipwreck-timbers-appeared-on-a-beach-after-a-storm-they-had-been-buried-beneath-the-sand-since-the-17th-century-180988260/ Lawson-Tancred, Jo. “Salvador Dalí’s Largest Work Snapped Up by Florida Museum.” Artnet. 3/27/2026. https://news.artnet.com/market/salvador-dali-largest-work-bonhams-sale-2749246 Lock, Lisa. “Ancient DNA finds 15,800-year-old dogs in Anatolia, buried like humans.” Phys.org. 3/28/2026. https://phys.org/news/2026-03-ancient-dna-year-dogs-anatolia.html Lock, Lisa. “Are one in 200 men really related to Genghis Khan? Maybe not, according to a new study.” Phys.org. 2/21/2026. https://phys.org/news/2026-02-men-genghis-khan.html Lucibella, Michael. “Prehistoric tool made from elephant bone is the oldest discovered in Europe.” EurekAlert. 1/26/2026. https://www.eurekalert.org/news-releases/1113140 Luscombe, Richard. “Mass grave in Jordan sheds new light on world’s earliest recorded pandemic.” The Guardian. 1/31/2026. https://www.theguardian.com/science/2026/jan/31/plague-of-justinian-pandemic net. “Did King Harold Sail to Hastings? New Study Sparks Debate Among Historians.” 3/2026. https://www.medievalists.net/2026/03/did-king-harold-sail-to-hastings-new-study-sparks-debate-among-historians/ net. “Viking-Age Woman Buried with Her Dog in Norway.” 3/2026. https://www.medievalists.net/2026/03/viking-age-woman-buried-with-her-dog-in-norway/ Newcastle University Press Office. “5,300-year-old ‘bow drill’ rewrites story of ancient Egyptian tools.” 2/9/2026. https://www.ncl.ac.uk/press/articles/latest/2026/02/ancientegyptiandrillbit/ Noraz, R., Chauvey, L., Wagner, S. et al. Ancient DNA reveals 4000 years of grapevine diversity, viticulture and clonal propagation in France. Nat Commun 17, 2494 (2026). https://doi.org/10.1038/s41467-026-70166-z Nordin, Gunilla. “World’s oldest arrow poison – 60,000-year-old traces reveal early advanced hunting techniques.” 1/7/2026. https://www.eurekalert.org/news-releases/1111624 Parco Archaeologico de Ercolano. “Archaeology: New precious decorations discovered at Villa Sora in the Herculaneum Park.” 2/5/2026. https://ercolano.cultura.gov.it/archaeology-new-precious-decorations-discovered-at-villa-sora-in-the-herculaneum-park/?lang=en Paul, Andrew. “Hiker finds 3,000-year-old bull sculpture in Spain.” Popular Science. 3/17/2026. https://www.popsci.com/science/hiker-finds-bronze-age-bull-spain/ Potter, Lisa. “A wild potato that changed the story of agriculture in the American Southwest.” EurekAlert. 1/21/2026. https://www.eurekalert.org/news-releases/1113056 “Digital scans unveil new love notes and sketches on ancient Pompeii wall.” 1/19/2026. https://www.reuters.com/science/digital-scans-unveil-new-love-notes-sketches-ancient-pompeii-wall-2026-01-19/ Richard L. Rosencrance et al. ,Complex perishable technologies from the North American Great Basin reveal specialized Late Pleistocene adaptations. Sci. Adv. 12, eaec2916(2026).DOI:10.1126/sciadv.aec2916 Ruse, Amy. “Tasmanian tiger lives on in Arnhem Land rock art.” EurekAlert. 3/30/2026. https://www.eurekalert.org/news-releases/1121955 Ruse, Amy. “World’s oldest rock art holds clues to early human migration to Australia.” EurekAlert. 1/21/2026. https://www.eurekalert.org/news-releases/1112900 Siehoff, Jonas. “Hygienic conditions in Pompeii's early baths were poor.” 1/12/2026. https://www.eurekalert.org/news-releases/1112403 Taçon, P. S. C., A.Jalandoni, S. K.May, J.Nganjmirra, and C.Mungulda. 2026. “The Devil Is in the Detail: Tasmanian Devil and Tasmanian Tiger Paintings From Awunbarna and Injalak Hill, Northern Territory, Australia.” Archaeology in Oceania. https://doi.org/10.1002/arco.70024 The History Blog. “$40 estate sale find by early African-American silversmith sells for $24,000.” 2/4/2026. https://www.thehistoryblog.com/archives/75294 The History Blog. “43,000 ostraca found at one site shed light on social history of Egypt.” 5/15/2026. https://www.thehistoryblog.com/archives/75609 The History Blog. “British Museum acquires Tudor Heart.” 2/10/2026. https://www.thehistoryblog.com/archives/75343 The History Blog. “Exceptional Roman cargo shipwreck found in Lake Neuchâtel.” 3/29/2026. https://www.thehistoryblog.com/archives/75705 The History Blog. “Extraordinary find: 10th c. bronze wheel cross matches mold found 43 years ago.” 1/24/2026. https://www.thehistoryblog.com/archives/75220 The History Blog. “Previously unknown Hans Baldung Grien portrait emerges after 500 years in the sitter’s family.” 1/17/2026. https://www.thehistoryblog.com/archives/75161 The History Blog. “Roman wooden writing tablets from Belgium deciphered.” 1/22/2206. https://www.thehistoryblog.com/archives/75207 Thomas, Laura. “A century-old Stonehenge mystery may finally be solved.” Science Daily. 1/27/2026. https://www.sciencedaily.com/releases/2026/01/260127010208.htm Thorsberg, Christian. “The National Gallery of Art Acquires 17th-Century Masterpiece by Baroque Painter Artemisia Gentileschi.” Smithsonian. 2/7/2026. https://www.smithsonianmag.com/smart-news/the-national-gallery-of-art-acquired-17th-century-masterpiece-by-baroque-painter-artemisia-gentileschi-180988147/ Thorsberg, Christian. “This Luxury Steamer Disappeared on a Stormy Night in 1872. Nearly 150 Years Later to the Day, It Was Found at the Bottom of Lake Michigan.” Smithsonian. 2/18/2026. https://www.smithsonianmag.com/smart-news/this-luxury-steamer-disappeared-on-a-stormy-night-in-1872-nearly-150-years-to-the-day-it-was-found-in-the-bottom-of-lake-michigan-180988204/ Unibo Magazine. “Humanity’s oldest geometries, engraved on ostrich eggs.” https://magazine.unibo.it/en/articles/humanitys-oldest-geometries-engraved-on-ostrich-eggs University of Tübingen. “Earliest hand-held wooden tools found in Greece date back 430,000 years.” Phys.org. 1/1/2026. https://phys.org/news/2026-01-earliest-held-wooden-tools-greece.html Villotte, S., T.Szeniczey, S.Kacki, and A.Anders. 2026. “Fixed and Fluid: The Two Faces of Gender Roles—A Combined Study of Activity Patterns and Burial Practices in the European Neolithic.” American Journal of Biological Anthropology189, no. 2: e70217. https://doi.org/10.1002/ajpa.70217. Whiddington, Richard. “3,300-Year-Old Papyrus Reveals How Ancient Egyptians Fixed Drawing Mistakes.” ArtNet. 3/9/2026. https://news.artnet.com/art-world/ancient-egyptian-papyrus-white-out-fluid-2752125 Whiddington, Richard. “Long-Lost Archimedes Text Resurfaces in French Museum.” Artnet. 3/11/2026. https://news.artnet.com/art-world/lost-page-of-archimedes-palimpsest-found-2753005 Whiddington, Richard. “Lost Parthenon Piece Unearthed From Lord Elgin’s Shipwreck.” ArtNet. 3/19/2026. https://news.artnet.com/art-world/parthenon-fragment-lord-elgin-shipwreck-2755894 Zeilsgtra, Andrew. “Breathing in the past: How museums can use biomolecular archaeology to bring ancient scents to life.” EurekAlert. 2/5/2026. https://www.eurekalert.org/news-releases/1114918 Zinin, Andrew. “600-year-old pinot noir grape found in medieval French toilet.” Phys.org. 3/24/2026. https://phys.org/news/2026-03-year-pinot-noir-grape-medieval.html#google_vignette See omnystudio.com/listener for privacy information.

What can the things we create, keep and bury tell us about who we are? On Radio 4's weekly discussion programme, Adam Rutherford explores material culture – the power of objects you can touch – and how they connect us to the past.Classicist Mary Beard discusses her book Talking Classics: The Shock of the Old, arguing that everyday remnants of antiquity, from bread to paint pots abandoned at Pompeii, still matter. And that Ancient Greece and Rome continue to shape how we see our own world.Theatre director Greg Doran set himself the task of tracking down the surviving copies of Shakespeare's First folio, after the death of his husband the actor Antony Sher. He recounts his worldwide quest in Walking Shadow: Love, Loss and Shakespeare, which also reveals the importance of the enduring physical presence of Shakespeare's work.Dr Sophia Adams, curator at the British Museum, discusses the extraordinary Melsonby Hoard, the largest collection of Iron Age metalwork ever found in Britain, and what its burnt and buried objects reveal about power, ritual and life before the Roman conquest. The exhibition, Chariots, Treasure and Power: Secrets of the Melsonby Hoard, will go on display at the Yorkshire Museum, York from 15th May 2026.Producer: Katy HickmanAssistant Producer: Natalia Fernandez

SCHEDULE JOHN BATCHELOR SHOW, 4-17-20261944 DOUGLAS AIRCRAFT, LONG BEACH, CAJeff Bliss discusses President Biden's Las Vegas visit to promote "no tax on tips," reviews local developments like hotel balconies and the futuristic In-N-Out, and mentions California's controversial, high-cost animal crossing bridge project. (1)Jeff Bliss surveys the California gubernatorial landscape, profiling candidates like Tom Steyer and Steve Hilton before the "jungle primary" and revealing Governor Gavin Newsom's $1.5 million self-funded book tour to inflate his sales numbers. (2)Professor Richard Epstein critiques Senator Bernie Sanders' proposed AI moratorium, arguing that Sanders' rhetoric ignores "creative destruction," fails to understand innovation, and risks national security while stifling growth for small, decentralized startup companies. (3)Professor Richard Epstein discusses a legal stay against President Trump's White House ballroom project, condemning the "unitary executive" theory and criticizing Trump's disregard for historical preservation laws as erratic, lawless, and dangerously dictatorial. (4)Jim McTague describes the traffic "nightmare" on Lancaster County's Route 30 due to bridge construction, while also sharing observations on the local Amish community and personal shopping anecdotes from a regional Costco location. (5)Lorenzo Fiori highlights Italian political support for the Pope following Donald Trump's criticisms, while also recommending that tourists explore the rich history, food, and Lambrusco wine found in Parma and Reggio Emilia. (6)Professor Luke Foster analyzes the 18th-century parliamentary rivalry between Edmund Burke and Charles James Fox, focusing on their conflicting views regarding the French Revolution and the supreme importance of high-level political rhetoric. (7)Professor Luke Foster laments the decline of persuasive speech in the United States Congress, contrasting today's partisan anger with the prestigious, policy-shaping parliamentary debates of the 18th century that required sophisticated classical education. (8)Professor Eric Cline recounts the 1886 discovery of the Amarna tablets, describing how Archibald Henry Sayce initially witnessed the excavation of ancient foundations that would later reveal a massive archive of Bronze Age diplomatic records. (9)Professor Eric Cline details the dramatic race to acquire the Amarna letters, recounting how Wallace Budge smuggled 81 tablets to the British Museum and competed with Archibald Sayce to publish the first translations. (10)Professor Eric Cline explores the massive fragmentation of the Amarna archive across global museums and highlights Hugo Winckler's pivotal role in categorizing the diplomatic letters exchanged between great Bronze Age kings and petty tyrants. (11)Professor Eric Cline discusses the search for Biblical evidence in the Amarna tablets, specifically identifying early mentions of Jerusalem and describing the "kid-like" squabbles between Canaanite vassal kings writing to the EgyptianPharaoh. (12)Gene Marks analyzes the resilient American economy, noting strong manufacturing expansion and banking stability despite global turmoil, while highlighting sustained consumer spending and the positive impact of 2025 tax refunds on small businesses. (13)Gene Marks examines the shift from federal deregulation to active state-level labor laws, citing job losses from California's fast-food minimum wage hike and recommending a strategic business switch from ChatGPT to Claude. (14)Conrad Black critiques the diplomatic rift between Canada and the United States, arguing that Prime Minister Carney's anti-Trump rhetoric serves as a political substitute for substantive policy achievements and effective housing solutions. (15)Mariam Wahba outlines the brutal civil war in Sudan, explaining how foreign actors like Russia and Iran intervene for Red Sea port access and resources while prolonging the conflict through the supply of advanced weaponry. (16)Jeff Bliss discusses President Biden's Las Vegas visit to promote "no tax on tips," reviews local developments like hotel balconies and the futuristic In-N-Out, and mentions California's controversial, high-cost animal crossing bridge project. (1)Jeff Bliss surveys the California gubernatorial landscape, profiling candidates like Tom Steyer and Steve Hilton before the "jungle primary" and revealing Governor Gavin Newsom's $1.5 million self-funded book tour to inflate his sales numbers. (2)Professor Richard Epstein critiques Senator Bernie Sanders' proposed AI moratorium, arguing that Sanders' rhetoric ignores "creative destruction," fails to understand innovation, and risks national security while stifling growth for small, decentralized startup companies. (3)Professor Richard Epstein discusses a legal stay against President Trump's White House ballroom project, condemning the "unitary executive" theory and criticizing Trump's disregard for historical preservation laws as erratic, lawless, and dangerously dictatorial. (4)Jim McTague describes the traffic "nightmare" on Lancaster County's Route 30 due to bridge construction, while also sharing observations on the local Amish community and personal shopping anecdotes from a regional Costco location. (5)Lorenzo Fiori highlights Italian political support for the Pope following Donald Trump's criticisms, while also recommending that tourists explore the rich history, food, and Lambrusco wine found in Parma and Reggio Emilia. (6)Professor Luke Foster analyzes the 18th-century parliamentary rivalry between Edmund Burke and Charles James Fox, focusing on their conflicting views regarding the French Revolution and the supreme importance of high-level political rhetoric. (7)Professor Luke Foster laments the decline of persuasive speech in the United States Congress, contrasting today's partisan anger with the prestigious, policy-shaping parliamentary debates of the 18th century that required sophisticated classical education. (8)Professor Eric Cline recounts the 1886 discovery of the Amarna tablets, describing how Archibald Henry Sayce initially witnessed the excavation of ancient foundations that would later reveal a massive archive of Bronze Age diplomatic records. (9)Professor Eric Cline details the dramatic race to acquire the Amarna letters, recounting how Wallace Budge smuggled 81 tablets to the British Museum and competed with Archibald Sayce to publish the first translations. (10)Professor Eric Cline explores the massive fragmentation of the Amarna archive across global museums and highlights Hugo Winckler's pivotal role in categorizing the diplomatic letters exchanged between great Bronze Age kings and petty tyrants. (11)Professor Eric Cline discusses the search for Biblical evidence in the Amarna tablets, specifically identifying early mentions of Jerusalem and describing the "kid-like" squabbles between Canaanite vassal kings writing to the EgyptianPharaoh. (12)Gene Marks analyzes the resilient American economy, noting strong manufacturing expansion and banking stability despite global turmoil, while highlighting sustained consumer spending and the positive impact of 2025 tax refunds on small businesses. (13)Gene Marks examines the shift from federal deregulation to active state-level labor laws, citing job losses from California's fast-food minimum wage hike and recommending a strategic business switch from ChatGPT to Claude. (14)Conrad Black critiques the diplomatic rift between Canada and the United States, arguing that Prime Minister Carney's anti-Trump rhetoric serves as a political substitute for substantive policy achievements and effective housing solutions. (15)Mariam Wahba outlines the brutal civil war in Sudan, explaining how foreign actors like Russia and Iran intervene for Red Sea port access and resources while prolonging the conflict through the supply of advanced weaponry. (16)

Professor Eric Cline details the dramatic race to acquire the Amarna letters, recounting how Wallace Budge smuggled 81 tablets to the British Museum and competed with Archibald Sayce to publish the first translations. (10)1947

Annie Elliot has always been around words. She worked in local government, taught communication, as a newspaper reporter, which taught her the importance of being able to get the words down on time. She's written short-stories and flash-fiction which have been successful in competitions, and was longlisted for Mxslexia Magazine's Novel Award.Her new novel is 'Mr & Mrs Charles Dickens: Her Story'. It's a self-portrait of Catherine, Charles Dickens' wife, and the marriage that nearly destroyed her. After 22 years of marriage, she was banished from the home and their nine children, with her reputation destroyed, when her husband fell in love with an 18 year old actress. On her deathbed, Kate asked her daughter to give Charles' letters to the British Museum, 'so the world may know he loved me once'. Annie's novel fulfills her dying wish, and restores Kate to history as more than a famous author's discarded wife.We talk about Annie's career, and what that taught her about communication and precision. You can hear why she went back to school, and what Annie learned from a masters degree. We discuss her thorough research, why she is in the best place to write, and how 'Hamnet' inspired her story.You can get a copy of the book at uk.bookshop.org/shop/writersroutineSupport the show - patreon.com/writersroutineko-fi.com/writersroutineThis week's episode is sponsored by Philippa Hall's 'Quick Book Reviews' podcast, take a listen wherever you've got this show.Get the newsletter - writersroutine.substack.com@writerspodwritersroutine.com Hosted on Acast. See acast.com/privacy for more information.

The British Museum is one of the world's greatest treasure houses—home to over eight million artifacts spanning human history. But behind its incredible collection lies a complicated legacy of empire, conquest, and controversy that raises a difficult question: who should really own the past? For Merch and everything else Bad Magic related, head to: https://www.badmagicproductions.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Des guerriers de deux mètres et demi, aux visages féroces, cachés dans les cols de montagne du Canaan. Cette description ne vient pas d'un roman fantastique. Elle est gravée sur un papyrus vieux de 3 300 ans, conservé aujourd'hui au British Museum de Londres. Alors — vérité historique ou fantasme antique ? Démêlons tout ça.Le Papyrus Anastasi ILe document s'appelle le Papyrus Anastasi I. Il date du XIIIe siècle avant notre ère, sous le règne de Ramsès II, en pleine XIXe dynastie égyptienne. Il a été acquis par le British Museum en 1839 auprès du collectionneur Giovanni Anastasi. Ce n'est donc pas une découverte récente — les égyptologues le connaissent depuis près de deux siècles.Dans ce texte, un scribe militaire nommé Hori écrit à son confrère Amenemope pour le ridiculiser sur sa méconnaissance de la géographie militaire du Levant. Il décrit les dangers d'un col de montagne en Canaan, et mentionne un peuple appelé les Shosu, des nomades semi-guerriers du sud du Levant. La phrase qui a mis le feu aux poudres est celle-ci : ces guerriers mesurent "de quatre à cinq coudées, du pied à la tête, avec des visages féroces et un cœur sans pitié." Une coudée royale égyptienne valant environ 50 centimètres, cela donne des hommes de 2 à 2,5 mètres. Pour les Égyptiens de l'époque, dont la taille moyenne oscillait autour d'1,55 mètre — c'était effectivement colossal.Le lien avec la BibleL'Association for Biblical Research, basée en Pennsylvanie, a relancé l'affaire en voyant dans ce texte une confirmation externe des géants de l'Ancien Testament — les Nephilim, les Réfaïm, les Anakim. Le rapprochement est tentant : même époque, même région géographique, même démesure physique.Ce que disent vraiment les chercheursMais les égyptologues sont formels : le Papyrus Anastasi I est avant tout une lettre satirique et pédagogique. Hori ne rédige pas un rapport militaire objectif — il exagère, dramatise, théâtralise pour impressionner son lecteur et démontrer la dangerosité du terrain. C'est de la rhétorique, pas du journalisme. Et surtout — aucun squelette de taille démesurée, aucune structure architecturale adaptée à de tels corps n'a jamais été mis au jour dans toute la région du Levant.Des hommes de grande stature ont bien existé — certaines populations du Proche-Orient ancien pouvaient atteindre 1,90 mètre, ce qui suffisait à impressionner des contemporains plus petits. Mais une race de géants ? Non. Ce que ce papyrus documente, c'est quelque chose de plus précieux encore : la façon dont les anciens transformaient la peur en légende — et dont nous faisons exactement la même chose, 3 300 ans plus tard. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Raphael is one of those names that everyone knows. He is the prince of painters, a master of the High Renaissance. And the Metropolitan Museum of Art has given him the full blockbuster treatment in a highly anticipated exhibition called "Raphael: Sublime Poetry." The show is the first comprehensive international loan exhibition ever dedicated to him in the United States. There are 237 works in total—33 paintings, 142 drawings—and his Sistine Chapel tapestries. There are loans from the Louvre, the Vatican Museums, the Prado, the Uffizi, and the British Museum. Many of these works, according to the Met, have never been shown together, and some have never previously left Europe. Curated by Carmen C. Bambach, it took 17 years to assemble. No one quite captured divine beauty like Raphael did. But what is the story within the story of this artist who left indelible mark on western art? Kate Brown is joined by art critic and podcast co-host Ben Davis, who has just published a review of the exhibition, to dive into that question. Register for the live discussion: ⁠The Intelligence Report, Year Ahead 2026 Edition

Vous avez déjà écrit un avis négatif sur Google, envoyé un mail furieux à un service client, ou posté une réclamation sur les réseaux sociaux ? Félicitations — vous perpétuez une tradition vieille de près de 4 000 ans. Parce que le premier client mécontent de l'Histoire s'appelait Nanni. Et il était babylonien.La tablette qui traverse les millénairesNous sommes vers 1750 avant Jésus-Christ, en Mésopotamie, dans ce qui est aujourd'hui l'Irak. Nanni, un marchand babylonien, vient de recevoir une livraison de lingots de cuivre commandés à un certain Ea-nasir, négociant en métaux de la ville d'Ur. Le problème : le cuivre est de qualité catastrophique. Rien à voir avec ce qui avait été convenu. Nanni est furieux. Alors il fait ce que tout bon client lésé ferait — il rédige une plainte formelle. Sauf qu'à Babylone, on n'écrit pas sur papier. On grave sur une tablette d'argile, en cunéiforme. Et c'est précisément ce qui a permis à ce texte de survivre jusqu'à nous.Le contenu : étonnamment moderneCe qui frappe à la lecture de cette tablette, conservée aujourd'hui au British Museum de Londres, c'est son ton. Nanni ne mâche pas ses mots. Il dénonce la mauvaise qualité des lingots livrés, les retards de livraison à répétition, et — détail savoureux — le mépris avec lequel Ea-nasir a traité son envoyé personnel. Il écrit, en substance : "Tu m'as traité avec mépris. Qui parmi les marchands t'a traité ainsi ?" Une indignation totale, un sens aigu de l'honneur bafoué, et une exigence claire de remboursement ou de remplacement. Remplacez le cunéiforme par un email, et ce texte pourrait être envoyé aujourd'hui même.Ea-nasir : l'escroc professionnelMais l'histoire ne s'arrête pas là — parce que lors des fouilles archéologiques de la maison d'Ea-nasir à Ur, les chercheurs ont fait une découverte stupéfiante : des dizaines d'autres tablettes similaires, émanant de clients différents, tous furieux pour les mêmes raisons. Mauvaise qualité, retards, arrogance. Ea-nasir n'était pas un commerçant malchanceux. C'était un escroc en série, dont la réputation désastreuse était visiblement bien établie dans tout le commerce mésopotamien de l'époque.Ce que ça dit de nousCette tablette vieille de 3 750 ans nous offre un miroir saisissant. Les hommes changent, les civilisations s'effondrent, les langues meurent — mais l'indignation du client floué, elle, est éternelle. Nanni voulait être entendu, respecté, remboursé. Comme vous. Comme moi. Comme n'importe quel humain qui a payé pour quelque chose qui ne valait rien.Le service client a beau avoir inventé les chatbots — il n'a pas vraiment progressé depuis Babylone. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Vous avez déjà écrit un avis négatif sur Google, envoyé un mail furieux à un service client, ou posté une réclamation sur les réseaux sociaux ? Félicitations — vous perpétuez une tradition vieille de près de 4 000 ans. Parce que le premier client mécontent de l'Histoire s'appelait Nanni. Et il était babylonien.La tablette qui traverse les millénairesNous sommes vers 1750 avant Jésus-Christ, en Mésopotamie, dans ce qui est aujourd'hui l'Irak. Nanni, un marchand babylonien, vient de recevoir une livraison de lingots de cuivre commandés à un certain Ea-nasir, négociant en métaux de la ville d'Ur. Le problème : le cuivre est de qualité catastrophique. Rien à voir avec ce qui avait été convenu. Nanni est furieux. Alors il fait ce que tout bon client lésé ferait — il rédige une plainte formelle. Sauf qu'à Babylone, on n'écrit pas sur papier. On grave sur une tablette d'argile, en cunéiforme. Et c'est précisément ce qui a permis à ce texte de survivre jusqu'à nous.Le contenu : étonnamment moderneCe qui frappe à la lecture de cette tablette, conservée aujourd'hui au British Museum de Londres, c'est son ton. Nanni ne mâche pas ses mots. Il dénonce la mauvaise qualité des lingots livrés, les retards de livraison à répétition, et — détail savoureux — le mépris avec lequel Ea-nasir a traité son envoyé personnel. Il écrit, en substance : "Tu m'as traité avec mépris. Qui parmi les marchands t'a traité ainsi ?" Une indignation totale, un sens aigu de l'honneur bafoué, et une exigence claire de remboursement ou de remplacement. Remplacez le cunéiforme par un email, et ce texte pourrait être envoyé aujourd'hui même.Ea-nasir : l'escroc professionnelMais l'histoire ne s'arrête pas là — parce que lors des fouilles archéologiques de la maison d'Ea-nasir à Ur, les chercheurs ont fait une découverte stupéfiante : des dizaines d'autres tablettes similaires, émanant de clients différents, tous furieux pour les mêmes raisons. Mauvaise qualité, retards, arrogance. Ea-nasir n'était pas un commerçant malchanceux. C'était un escroc en série, dont la réputation désastreuse était visiblement bien établie dans tout le commerce mésopotamien de l'époque.Ce que ça dit de nousCette tablette vieille de 3 750 ans nous offre un miroir saisissant. Les hommes changent, les civilisations s'effondrent, les langues meurent — mais l'indignation du client floué, elle, est éternelle. Nanni voulait être entendu, respecté, remboursé. Comme vous. Comme moi. Comme n'importe quel humain qui a payé pour quelque chose qui ne valait rien.Le service client a beau avoir inventé les chatbots — il n'a pas vraiment progressé depuis Babylone. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Des guerriers de deux mètres et demi, aux visages féroces, cachés dans les cols de montagne du Canaan. Cette description ne vient pas d'un roman fantastique. Elle est gravée sur un papyrus vieux de 3 300 ans, conservé aujourd'hui au British Museum de Londres. Et depuis quelques mois, elle enflamme Internet. Alors — vérité historique ou fantasme antique ? Démêlons tout ça.Le Papyrus Anastasi ILe document s'appelle le Papyrus Anastasi I. Il date du XIIIe siècle avant notre ère, sous le règne de Ramsès II, en pleine XIXe dynastie égyptienne. Il a été acquis par le British Museum en 1839 auprès du collectionneur Giovanni Anastasi. Ce n'est donc pas une découverte récente — les égyptologues le connaissent depuis près de deux siècles.Dans ce texte, un scribe militaire nommé Hori écrit à son confrère Amenemope pour le ridiculiser sur sa méconnaissance de la géographie militaire du Levant. Il décrit les dangers d'un col de montagne en Canaan, et mentionne un peuple appelé les Shosu, des nomades semi-guerriers du sud du Levant. La phrase qui a mis le feu aux poudres est celle-ci : ces guerriers mesurent "de quatre à cinq coudées, du pied à la tête, avec des visages féroces et un cœur sans pitié." Une coudée royale égyptienne valant environ 50 centimètres, cela donne des hommes de 2 à 2,5 mètres. Pour les Égyptiens de l'époque, dont la taille moyenne oscillait autour d'1,55 mètre — c'était effectivement colossal.Le lien avec la BibleL'Association for Biblical Research, basée en Pennsylvanie, a relancé l'affaire en voyant dans ce texte une confirmation externe des géants de l'Ancien Testament — les Nephilim, les Réfaïm, les Anakim. Le rapprochement est tentant : même époque, même région géographique, même démesure physique.Ce que disent vraiment les chercheursMais les égyptologues sont formels : le Papyrus Anastasi I est avant tout une lettre satirique et pédagogique. Hori ne rédige pas un rapport militaire objectif — il exagère, dramatise, théâtralise pour impressionner son lecteur et démontrer la dangerosité du terrain. C'est de la rhétorique, pas du journalisme. Et surtout — aucun squelette de taille démesurée, aucune structure architecturale adaptée à de tels corps n'a jamais été mis au jour dans toute la région du Levant.Des hommes de grande stature ont bien existé — certaines populations du Proche-Orient ancien pouvaient atteindre 1,90 mètre, ce qui suffisait à impressionner des contemporains plus petits. Mais une race de géants ? Non. Ce que ce papyrus documente, c'est quelque chose de plus précieux encore : la façon dont les anciens transformaient la peur en légende — et dont nous faisons exactement la même chose, 3 300 ans plus tard. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Hear about visiting the hidden gems of London, England, as the Amateur Traveler talks to Jonty Crane from Jonty Travels about this city he once called home. This week's show is supported by the new Smart Travel Podcast. Travel smarter — and spend less — with help from NerdWallet. Check out Smart Travel ⁠here⁠. Why visit London? London is one of the world's great cities, and it can easily fill a week, if not two, exploring the city. Everyone has heard of Buckingham Palace, Big Ben, Tower of London, Tate Modern, Changing of the Guard, British Museum, and the London Eye, but there are so many more sights that are arguably as interesting and less busy. Jonty lived in the UK for the first 29 years of his life, worked in London for 5 years, and visited London almost every year for 15 years after moving to New Zealand. ... https://amateurtraveler.com/hidden-gems-of-london/ Learn more about your ad choices. Visit megaphone.fm/adchoices

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.

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

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

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