Podcast appearances and mentions of dorian gray

One of the most anticipated West End productions of 2026 has finally arrived, as Dracula starring Cynthia Erivo opens tonight at the Noel Coward Theatre in London.The production, which has already been seen in Australia, will be adapted and directed by Kip Williams and comes on the heels of his previous staging of The Picture of Dorian Gray starring Sarah Snook.Check out this full review to find out more about the production, this adaptation of the Bram Stoker story, and Cynthia's performance as every one of its characters...•00:00 | introduction02:59 | how does the play work?11:30 | the material / adaptation16:24 | Cynthia's performance 24:57 | conclusion About Mickey-Jo:As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠MickeyJoTheatre⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 95,000 subscribers. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows in New York, London, Edinburgh, Hamburg, Toronto, Sao Pãolo, and Paris. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK, Musicals Magazine and LondonTheatre.co.uk. Instagram/TikTok/X: @MickeyJoTheatre Hosted on Acast. See acast.com/privacy for more information.

One of the most anticipated West End productions of 2026 has finally arrived, as Dracula starring Cynthia Erivo opened last night at the Noël Coward Theatre in London.The production, which has already been seen in Australia, has been adapted and directed by Kip Williams and comes on the heels of his previous staging of The Picture of Dorian Gray starring Sarah Snook.The production has divided critics, with some outlets giving 2* critiques while others delivered 4* praise. Check out a selection of the critical responses in this review roundup...•00:00 | introduction02:09 | The Stage07:52 | The Sunday Times 13:32 | WhatsOnStage18:18 | The Guardian23:48 | TimeOut London28:58 | The Standard33:27 | The IndependentAbout Mickey-Jo:As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠MickeyJoTheatre⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 95,000 subscribers. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows in New York, London, Edinburgh, Hamburg, Toronto, Sao Pãolo, and Paris. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK, Musicals Magazine and LondonTheatre.co.uk. Instagram/TikTok/X: @MickeyJoTheatre Hosted on Acast. See acast.com/privacy for more information.

In this episode, Dr. Jeremy Vinson returns to help us consider our present moment through classic literature. This time, he walks us through the Oscar Wilde novel The Picture of Dorian Gray and connects the dots for modern engagement on social media.To learn more, go to Crosspoint's Blog to read Jeremy's article entitled "The Social Media Account of Dorian Gray."

In a theological landscape that often softens sin into "brokenness," Episode 480 re-establishes the biblical category of sin as debt. Jesse Schwamb takes us into the house of Simon the Pharisee to analyze the Parable of the Two Debtors. The central argument is forensic: sin creates an objective liability against God's justice that no amount of human currency—tears, works, or religious heritage—can satisfy. We explore the critical distinction between the cause of justification (God's free grace) and the evidence of justification (love and repentance). This episode dismantles the self-righteous math of the Pharisee and points us to the only currency God accepts: the finished work of Christ. Key Takeaways Sin is Objective Debt: Sin is not merely a relational slight; it is a quantifiable liability on God's ledger that demands clearing. Universal Insolvency: Whether you owe 50 denarii (the moralist) or 500 denarii (the open sinner), the result is the same: total inability to pay. God Names the Claim: The debtor does not get to negotiate the terms of repayment; only the Creditor determines the acceptable currency. Love is Fruit, Not Root: The sinful woman's love was the evidence that she had been forgiven, not the payment to purchase forgiveness. The Danger of Horizontal Math: Simon's error was comparing his debt to the woman's, rather than comparing his assets to God's standard. Justification by Grace: Forgiveness is a free cancellation of the debt, based entirely on the benevolence of the Moneylender (God). Key Concepts The Definition of Money and Grace To understand Luke 7, we must understand money. Money is a system of credit accounts and their clearing. When we apply this to theology, we realize that "religious effort" is a currency that God does not accept. We are like travelers trying to pay a US debt with Zimbabwean dollars. The Gospel is the news that Christ has entered the market with the only currency that satisfies the Father—His own righteousness—and has cleared the accounts of those who are spiritually bankrupt. The Pharisee's Calculation Error Simon the Pharisee wasn't condemned because he wasn't a sinner; he was condemned because he thought his debt was manageable. He believed he had "surplus righteousness." This is the deadly error of legalism. By assuming he owed little, he loved little. He treated Jesus as a guest to be evaluated rather than a Savior to be worshipped. A low view of our own sin inevitably leads to a low view of Christ's glory. Evangelical Obedience The woman in the passage demonstrates what Reformed theologians call "evangelical obedience"—obedience that flows from faith and gratitude, not from a desire to earn merit. Her tears did not wash away her sins; the blood of Christ did that. Her tears were the overflow of a heart that realized the mortgage had been burned. We must never confuse the fruit of salvation with the root of salvation. Quotes Tears don't cancel the ledger. Christ does that. Tears are what debtors do when Mercy lands. Grace received produces love expressed. A creditor doesn't need to be convinced you did harm. The ledger already stands. Transcript [00:01:10] Welcome to The Reformed Brotherhood + Teasing the Parable [00:01:10] Jesse Schwamb: Welcome to episode 480 of The Reformed Brotherhood. I'm Jesse, and this is the podcast for those with ears to hear. Hey, brothers and sisters, how great is it that we have these incredible teachings of Jesus? Can we talk about that for a second? Tony and I have loved hanging out in these parables with you all, and Tony will be back next week. Don't you worry. But in the meantime, I've got another parable for us to consider, and I figured we would just get. Straight to the points, but I have to let you in in a little secret first, and that is not even Tony knows until he hears this, which parable I've selected for us to chat about. And I knew that there might come a time where I would be able to sneak in with this parable because I love. This parable, and I love it because it's so beautiful in communicating the full breadth and scope of the gospel of God's grace and his mercy for all of his children. And it just makes sense to me, and part of the reason why it makes so much sense to me is. The topic which is embedded in this is something that more or less I've kind of built my career around, and so it just resonates with me. It makes complete sense. I understand it inside and out. I feel a connection to what Jesus is saying here very predominantly because the topic at hand means so much to me, and I've seen it play out in the world over and over and over again. So if that wasn't enough buildup and you're not ready, I have no idea what will get you prepared, but we're going to go hang out in Luke chapter seven, and before I even give you a hint as to what this amazing, the really brief parable is, it does take a little bit of setup, but rather than me doing the setup. What do you say if we just go to the scriptures? Let's just let God's word set up the environment in which this parable is gonna unfold. And like a good movie or a good narrative, even as you hear this, you might be pulled in the direction of the topic that you know is coming. And so I say to you, wait for it. Wait for it is coming.  [00:03:20] Luke 7 Setup: Simon's Dinner & the "Sinful Woman" Arrives [00:03:20] Jesse Schwamb: So this is Luke's book, his gospel chapter seven, beginning in verse 36. Now one of the Pharisees was asking Jesus to eat with him, and Jesus entered the Pharisees house and reclined at the table. And behold, there was a woman in the city who was a sinner, and when she learned that he was reclining at the table in the Pharisees house, she brought an alabaster jar of perfume. And standing behind him at his feet crying. She began to wet his feet with her tears, and she kept wiping them with her hair over her head and kissing his feet and anointing them with perfume. Now, in the Pharisee, who had invited him, saw this, he said to himself saying, if this man were, he would know who and what sort of person this woman is who is touching him, that she is a sinner. Let's stop there for a second. So this incredible dinner party that Jesus attends and here is this woman. Well, all we're told is that she's a woman who's identified as a sinner. Clearly moved by the presence of Jesus clearly wanting to worship him in a very particular way. By the way, loved ones. Can we address the fact that this goes back to something Tony and I have been talking about, I dunno, for like seven episodes now, which is coming outta Luke chapter 15. This idea that sinners, the marginalized, the outcasts, the down and out, they were drawn to Jesus. Something about him, his presence, the power of his teaching drew them in, but in a way that invited vulnerability, this kind of overwhelming response to who he was. And what his mission was. And so here maybe is like any other occurrence that happened in Jesus' day, maybe like a million other accounts that are not recorded in the scriptures. But here's one for us to appreciate that. Here's this woman coming, and her response is to weep before him, and then with these tears, to use them to wash his feet and to anoint him with this precious perfume. Now, there's a lot of people at this dinner party. At least we're led to believe. There's many, and there's one Pharisee in particular whose home this was. It was Simon. And so out of this particular little vignette, there's so much we could probably talk about. But of course what we see here is that the Pharisee who invited him, Simon, he sees this going on. He does not address it verbally, but he has his own opinions, he's got thoughts and he's thinking them. And so out of all of that, then there's a pause. And I, I would imagine that if we were to find ourselves in that situation, maybe we'd be feeling the tension of this. It would be awkward, I think. And so here we have Jesus coming in and giving them this account, this parable, and I wanna read the parable in its entirety. It's very, very short, but it gives us a full sense of both. Like what's happening here? It's both what's happening, what's not happening, what's being. Presented plain for us to see what's below the surface that Jesus is going to reveal, which is both a reflection on Simon and a reflection on us as well. [00:06:18] The Two Debtors Parable (Read in Full) [00:06:18] Jesse Schwamb: So picking up in, in verse 40, and Jesus answered and said to him, Simon, I owe something to say to you. And he replied, say it, teacher a money lender had two debtors, one owned 500 in RI and the other 50. When they were unable to repay, he graciously forgave them both. So which of them will love him more? Simon answered and said, I suppose the one who he graciously forgave more, and he said to him, you have judged correctly and turning toward the woman. He said to Simon, do you see this woman? I entered your house? You gave me no water from my feet, but she has wet my feet with her tears and wiped them with her hair. You gave me no kiss, but she, since the time I came in, has not ceased to kiss my feet. You did not anoint my head with oil, but she anointed my feet with perfume. For this reason, I say to you her sins, which are many have been forgiven for. She loved much, but he who is forgiven, little loves little. Then he said to her, your sins have been forgiven, and those were reclining at the table. With him began to say to themselves, who is this man who even forgives sins? And he said to the woman, your faith has saved you. Go in peace.  [00:07:42] What This Scene Teaches: Sin, Forgiveness, Love as Fruit [00:07:42] Jesse Schwamb: What a beautiful, tiny, deep, amazing instruction from our Lord and Savior Jesus Christ. So in this just short 10 verses here, it's we're sitting inside. This dinner at Simon, the Pharisees house, and a woman known publicly only as a sinner, has shown some striking love toward Jesus, and Jesus explains her actions. Then through this mini parable of debt, two debtors, one creditor, neither can pay. Both are freely forgiven. Love flows. Then from that forgiveness. And so there's a lot within the reform theological spectrum here that helps us to really understand. I think the essential principles of what's going on here, and I just wanna hit on some of those and chat with you about those and hopefully encourage you in those as I'm trying to encourage myself. First, we get some sense about what sin really is like. We get a sense of the inability to cope with sin. We get the free forgiveness that's grounded in Christ, in Christ alone, and we get this idea of love and repentance as the fruit or the evidence, not the cause of justification. Now to set this whole thing up. [00:08:50] Why Talk About Money? Defining Money as Credit & Clearing [00:08:50] Jesse Schwamb: I do think it's so important for us to talk about money for a second, not money, like we're gonna have a budget talk, not what you spend on groceries or your vacation, not even what you do in terms of planning for your retirement or what you give to the church in way of tithe than offering none of that. I'm actually more interested to talk to you about money itself. One of the things I love to ask people. Especially when I was teaching students in money and finance is the question, what is money? And I bet you if you and I were hanging out across the kitchen table and I asked you, what is money? I'm guessing you would go in one or two directions. Either you would gimme examples of money, types of money. You might talk about the US dollar or the Zimbabwean dollar, or the Euro or the Yuan. That would be correct in a way, but really that's just symptomatic of money because that's just an example or a type of some money that you might use. And of course those definitions are not ubiquitous because if I take my US dollars and I go travel to see our Scott brothers and sisters, more than likely that money. That currency, those dollars will not be accepted in kind. There'd have to be some kind of translation because they're not acceptable in that parts of the world. That's true of most types of money. Or you might go to talking about precious metals and the price of gold or silver and how somehow these seem to be above and beyond the different types of currency or paper, currency in our communities and around our world. And of course, you'd be right as an example of a type of money, but. Gold itself, if you press on it, is not just money, it's describing as some kind of definition of what money is. The second direction you might take is you might describe for me all the things that money is like its attributes. Well, it must be accepted generally as a form of currency. It might must be used to discharge debt or to pay taxes, or it must have a store of value and be able to be used as a medium of exchange. And you would be correct about all of those things as well because. Probably, whether you know it or not, you're an expert in money because you have to use it in some way to transact in this lifetime. But even those are again, just attributes. It's not what money is in its essential first principle. So this is not like an economics lecture, I promise, but I think it is something that Jesus is actually truly drawing us to, and that is the best definition of money I can give, is money is a system of credit accounts and their clearing. It's a whole system of credit accounts and their clearing. So think of it like this, every time you need something from somebody else. Anytime you wanna buy something or you wanna sell something, what's happening there is somebody is creating a claim. So let's say that I go to the grocery store and I fill up the cart with all kinds of fruits and vegetables and meats, and I'm at the counter to check out. What I've just done is said that I have all of these things I would like to take from the grocery store, and now the grocery store has some kind of claim because they're handing them over to me and I need a way to settle that claim. And the way that I settle that claim is using money. It is the method that allows us to settle those transactions. And in my particular instance, it's going to be the US dollar, or maybe it's just ones and zeros electronically, of course representing US dollars. But in this case, the way I settle it is with money and a particular type of money. But, and I want you to keep this in mind 'cause we're gonna come back to it. This is my whole setup for this whole thing. The reason why this is important is because you have to have the type of money. That will settle the debt or settle the creditor. You have to have the thing itself that the creditor demands so that you can be a hundred percent released from the claim that they have on you. If you do not have exactly a. The type of money that they desire, then the debt will not be released. The creditor will not be satisfied. You will not go free, and that it's so critically important.  [00:12:52] Sin as Objective Debt: God Names the Claim [00:12:52] Jesse Schwamb: I think it's just like this really plain backdrop to what's happening here When Jesus addresses Simon with this whole parable. So he starts this whole idea by saying to Simon that he is something to say to him, which I think in a way is profound anyway, because Simon invites him to speak. But Jesus here is taking the initiative. Simon is the host. He socially, as it were, above this sinful woman. But Jesus becomes the true examiner of the heart in this parable. What we have is. Christ's word interrupts self-justifying narratives, and clearly there was a self-justifying narrative going on in Simon's head. We know this because we're privy to his thoughts in the text here. The gospel does not wait here for the Pharisee to figure it out, the gospel lovingly correct. Always goes in, always initiates, always intervenes as Christ intercedes. And here, before any accounting happens, Jesus sets the terms. God is the one who names the debt, not the debtor. And this really is probably the beating hearts, the center of gravity of this whole exchange. I love that Jesus goes to this parable. Of a money lender, a money lender who had two debtors, one owned, 500, one owned 50. Now of course, I would argue that really, you can put this in any currency, you can translate into modern terms, you can adjust it for inflation. It doesn't really matter. What we have here is one relatively small debt, another debt 10 times the size. So one small, one large, and that's the juxtaposition. That's the whole setup here. And I would submit to you something super important that Jesus does here, which flies in the face of a lot of kind of just general wishy-washy evangelicalism that teaches us somehow that sin is just not doing it quite right, or is just a little brokenness, or is just in some way just slightly suboptimal or missing the mark. It is those things, but it is not the entirety of those things because what's clear here is that Jesus frames sin as debt. In other words, it's an objective liability. A liability is just simply something of value that you owe to somebody else. And I am going to presume that almost everybody within an earshot of my voice here all over the world has at some point incurred debt. And I think there's, there's lots of great and productive reasons to incur debt. Debt itself is not pejorative. That would be a whole nother podcast. We could talk about. Maybe Tony and I sometime, but. What is true is that debt is an objective liability. The amounts differ, but both are genuinely in the red here. And what's critical about this is that because debt is this objective reality, whenever you enter into an arrangement of debt, let's say that you borrow some money to purchase a car or home or simply to make some kind of purchase in your life, that's unsecured debt. In all of those cases, the. The one lending you the money, the creditor now has a claim on you. What's important to understand here is that this kind of thing changes it. It provides way more color and contrast to really the effects of what sin is and what sin does in its natural accountability. And so in this way we have this nuance that there are differences in outward sin and its social consequences. That is for sure that's how life works, but all sin is ultimately against God and makes us debtors to divine justice. That is now God has a claim against us. And this shouldn't make sense because unless we are able to satisfy that claim, all have that claim against them all have sinned and fall short of the glory of God. And as a result of this, it's not just that we somehow have lived a way that is just slightly off the mark and suboptimal, but instead that we've heaped up or accumulated for ourselves an objective liability, which is truly. Owed to God and because it is truly owed him, he's the one who can only truly satisfy it. This is why the scripture speak of God as being both just and justifier. That is a just creditor ensures that the debt is paid before it is released, and the one who is justifier is the one who pays that debt to ensure it will be released. God does both of these things through Jesus Christ, our Lord. Praise be to his name. So here we have a really true understanding. Of what sin is. There's no mincing of words here. There's a ubiquity in all of our worlds about money lending and borrowing, and Christ leans into that heavily. We know for a fact that the ancient Mesopotamians learned how to calculate interests before they figured out to put wheels on car. And so this idea of lending and borrowing and indebtedness, this whole concept has an ancient pedigree, and Jesus leans into this. And so we have this really lovely and timeless example of drawing in the spiritual state into the very physical or financial state to help us understand truly what it means when we incur sin. Sin is not easily discharged, and just like debt, it stands over us, has a claim on us, and we need somebody to satisfy that claim on our behalf. By the way, this gets me back to this reoccurring theme of we need the right currency, we need the right money, as it were to satisfy this debt only that which is acceptable to God through Jesus Christ. Our Lord, by the power of the Holy Spirit is what will be acceptable in payment in full for this kind of debt. And so that's again, this whole setup, it's the spiritual realm being immediately kind of dragged into this corporal reality of the balance sheet, assets and liabilities, things of value that we owe to someone else. [00:18:50] Unable to Repay: Free Cancellation, Justification by Grace [00:18:50] Jesse Schwamb: Notice in Luke verse 42, that the reason why it's important to understand the full ferocity, the ferocious of sin and the weight of the debt that it incurs upon us, is that it cannot be repaid no matter what. So look at both of these borrowers. Neither could repay. Neither could repay. So think about that for a second. It doesn't even matter how much they owed. Both were way beyond their ability. It's not merely they didn't want to, but they didn't have the resources in the spiritual state. In other words, there was no surplus righteousness to pay God back and the creditor's action here is free cancellation grace, not a negotiated settlement, but free cancellation. So whether it was 50 or 500, it was irrelevant to the fact that these borrowers just like you and I, have nothing within our means, our wherewithal to actually satisfy the this cosmic debt that we have rightfully incurred against God. And so you should be hearing this align so closely with justification By Grace, God doesn't forgive because we eventually scraped together payment. He forgives because he's gracious and in the full biblical picture because Christ pays and bears that penalty. So this isn't, we have somehow, as you've heard, sometimes in kinda very again, wishy-washy, evangelical ways that we've somehow come forward at the right time. To receive from God some kind of gift or that we've somehow elevated ourself to the place of the deserving poor, or that we come with our own extended arms, empty, but outstretched so that we might receive something from God, in part because we make ourselves present before him, not loved ones. It's far better than that. It's not being able to pay and Christ saying, come and buy. Not being able to put food on the table and him saying, come and eat. It's him saying, you who are thirsty, come and drink from the fountain of life freely and unreservedly. Not because you have some way deserved it, because in fact you desperately do not. And because God has made a way in Christ a way that we could not make for ourselves, he's paid a debt that we just could not repay. It doesn't matter what it is that you think is outstanding against you. The fact of the matter is you cannot repay it. And so of course, that's why Paul writes in Ephesians, it's by grace through faith and not by works that you've been set free in the love of the Kingdom of Christ, that all of these things have been given to you by God because he loves you and because he's made a way for you. You may remember that when Tony and I spent some time in the Lord's Prayer. That we really settled, we sunk down into what we thought was the best translation of that portion where we come to forgiving debts and forgiving debtors, and we settled on that one because we feel it's the most accurate representation of the actual language there in the text. But two, because that language also comports with all this other teaching of Jesus, this teaching that. Emphasizes the debt nature of sin, and that when we think about the fact that we in fact have a giant loan or a lease or an outstanding obligation, something that has been that our souls ourselves in a way have been mortgaged. And we need a freedom that breaks that mortgage, that wants to take that paper and to satisfy the payment and then to throw it into the fire so that it's gone and no more upon us. That because of all of that, it's appropriate for us to pray that we be forgiven our debts, and that, that we, when we understand that there's been a great debt upon us, that we are willing to look at others and forgive our debtors as well. And so you'll see that in, I'd say it looks like verse 43 here, Simon answers. Jesus question appropriately. Jesus basically pegs him with this very simple, straightforward, and probably really only one answer question, which is, which one do you think loved the creditor more? Which of these borrowers was more ecstatic, which appreciated what had been done more? And of course he says, well, the one with the larger debt, that that seems absolutely obvious. And Jesus essentially here gets Simon to pronounce judgment and then turns that judgment into a mirror. This is brilliantly what Jesus often does with these parables, and to be honest, loved ones. I think he still is doing that today with us. Even those of us who are familiar with these parables, they're always being turned into a mirror so that when we look into the, the text we see ourselves, but like maybe whatever the opposite of like the picture of the Dorian Gray is like, well, maybe it's the same as the picture. You know, this idea that we're seeing the ugliness of ourselves in the beauty of Christ as he's presenting the gospel in this passage. And the issue of course here is not whether you and I or Simon can do math. It's whether Simon will accept the implication and you and I as well, that we are a debtor who cannot repay. That. That's just the reality of the situation.  [00:23:44] The Mirror Turns: Simon's Little Love vs Her Overflowing Gratitude [00:23:44] Jesse Schwamb: And so Jesus turns then, and this is remarkable, he turns toward the woman and he compares her actions with Simon's lack of hospitality, speaking to Simon while he stares intently at the woman. I mean, the drama unfolding in this quick small little passage is exceptional. It's extraordinary. And unlike some of the. Other teachings that we've already looked at here, there is something where Jesus is teaching and acting at the same time. That is the scripture is giving us some direct indication of his movements, of his direction, of his attentional focus. And here there's an attentional focus on the woman while he speaks to Simon the Pharisee. And first what we find is Jesus dignifies the woman by addressing Simon about her while looking at her. He makes the sinner central and the respectable man answerable. That's wild. And there's an angle here that still leads us back to debt, which is Simon behaves like someone who thinks that he is little debt. So he offers little love and the woman behaves like someone who knows she's been rescued from insolvency, and so she pours out gratitude. And then there's a whole host, a little list here, a litany of things that Jesus essentially accuses Simon of directly and pulls them back into this proper understanding of the outpouring of affection. That is a fruit of justification exemplified in the woman's behavior. For instance, Simon gave no kiss, and yet here's this woman. She has not stopped kissing Jesus' feet and then wiping her feet, washing his feet with her tears.  [00:25:19] Grace Received, Love Expressed (Not Earned) [00:25:19] Jesse Schwamb: Of course, in that culture, Simon withheld this ordinary honor and the woman lavish is extraordinary affection. You know, we would often call this an reformed theology, evangelical obedience. It's the kind that flows from faith and gratitude, not a plan to earn acceptance. And this is tough for us, loved ones because we want to conflate these two. It's easy to conflate these two, and we're well-meaning sometimes when we do that. But we have to be careful in understanding that there is an appropriate response of loving worship to one who has set you free. While at the same time understanding that that loving worship never should spill over and, and into any kind of self-proclaimed pride or meritorious earning. And this woman apparently does this so exceptionally well that Jesus calls it out, that all of this is flowing from her faith and her gratitude. Jesus says, Simon didn't anoint his head with oil and she anoints his feet with perfume again. Notice some really interesting juxtaposition in terms of the top and the bottom of the body here. Here's this woman's costly act, underscoring a pattern, grace received, produces love expressed. I love thinking of it that way. Grace, perceived, excuse me, grace received produces love expressed.  [00:26:39] Sin as Crushing Debt: Why It Must Be Paid [00:26:39] Jesse Schwamb: That is the point that Jesus is driving to here, that if we understand the gospel and the gospel tells us that there is a law. That we have transgressed and that this law has accumulated in all of this debt that we cannot pay. And so the weight of this means not just that, oh, it's, it's so hard to have debt in our lives. Oh, it's so annoying and inconvenient. No, instead it's oppressive. This debt itself, this grand burden is over our heads, pushing down on our necks, weighting us down in every way, and especially in the spiritual realm. And because of this, we would be without hope, unless there was one who could come and release us from this debt. And the releasing of this debt has to be, again, an A currency acceptable to the debtor, and it has to actually be paid. There's no wiping away. There's no just amnesty for the sake of absolve. Instead, it must be satisfied. And the woman here has received this kind of extraordinary grace has acknowledged, and by the power of the Holy Spirit, through opened eyes and unstopped ears and a clean heart, has been able to understand the severity of the situation. And then this produces in her love expressed, which again is not the means of her justification, but certainly is one of the fruit of it. And Jesus explains then the reason for her response.  [00:27:58] Forgiveness First: Clearing Up Luke 7's Logic [00:27:58] Jesse Schwamb: The reason why Grace received produces love expressed is because she and her many sins have been forgiven. Hence, her love is great, love the one forgiven, little forgives little. I think sometimes that verse is often misunderstood as if. Her love caused her forgiveness. But again, we want to hear clearly from Jesus on this. The logic he gives is forgiveness, leading to love. Love is evidence or fruits. And so her love is the sign that forgiveness has already been granted and is truly possessed, not the purchase price. And Simon's Lovelessness exposes a heart still clinging to self-righteousness, acting like a small debtor who doesn't even need mercy, like one who doesn't understand that they will never, ever be able to repay the thing that is over them. You know, I love that John Val is often quoted along the lines of something like this. Those forgiven much will love much. And in his writing to me, he captures so much of this moral psychology of grace and I think there is a psychology of grace here. There is a reasonable response. That moves us by the power of the Holy Spirit, from deep within this renewal of the man, such that we express our love to God in all kinds of ways. I think especially in our age, on the Lord's day, in acts of singing through worship and meditation, through worship, and listening through worship and application, through worship, all of these means in particular as our expression of what it means to have been received, having received grace, producing a loving response. [00:29:36] "Your Sins Are Forgiven": Jesus' Divine Authority [00:29:36] Jesse Schwamb: I love that all of this ends as it draws to a close. Jesus speaks these incredible words. He tells her that her sins are forgiven. You know, notice here that Christ speaks an authoritative verdict. This is justifying speech. It's God's court declaration. It's not some like mere the therapeutic. Like reassurance here. It's not like whistling in the dark. It's Jesus himself saying This woman has been forgiven. Blessed is the one whose sins are forgiven. And of course, like so many other times in Jesus' ministry, and I have to imagine by the way, loved ones that this question got asked all the time, and not just on the occasion in which it was a court of us in scripture, but the other guests ask the right question and that question is. Who is this? Who even forgives sins, and that is the right question. Only God can forgive sins against God. Jesus is implicitly claiming divine authority. Now, we finally arrived. This is God's currency. This is the currency or the money, so to speak, that is desperately needed, the only one acceptable to discharge the debt, the cosmic treason that has been done against God himself. So because of that, here's Jesus making the claim that the way that you are led out, the way that you are set free is through me. So even here in the course of just this confronting Simon speaking about sin, he's also providing the way he's saying, I am this way, I am this truth. I am this life. Come through me. [00:31:14] Jesus the Greater Moses: The Gospel as Exodus [00:31:14] Jesse Schwamb: What I find amazing about this is in the beginning. With Adam and Eve, they transgress God's law. And from that day in all days forth, we have been building this massive sin, debt that we cannot repay. And part of the, the repercussions of that debt were for Adam and Eve to be driven to be Exodus as it were, out of the garden. And ever since then, the grand narrative of the redemptive history of God's people has been an exodus instead. Not out of what is idyllic, not out of perfection, but instead. Out of sin, out of bondage, out of sin and death and the devil and the deaths that we have incurred. And so here we have Jesus representing. He is the, the new and better Moses, he is the exodus, so to speak, who comes and grabs us by the hand almost as in the same way that the angelic representations in the story of la. And Sonor grabbed his hand to pull him, maybe even kicking him, screaming. Out of that sinful place, into the glorious light, into safety and security out from underneath this grand debt that we cannot repay. I think of Jesus's acal meeting with Moses and Elijah on the mounts of transfiguration. That's also in Luke, right? And Luke tells us that they spoke of his deceased, which he was about to accomplish at Jerusalem. And the word deceased there literally means Exodus. In Jesus, God would affect an infinitely greater deliverance than he had under Moses. And then interestingly, we see that even in all the way back in Psalm 23, you know David, he's writing as a rescue sinner who has been brought out. Brought to the Heavenly Shepherd, into the security and freedom of a sheep hold in love ones I submit to you. That is what Jesus is after here. He's after it in your life and he's after in mind that there is death, and he wants to take us out from underneath that debt by paying it off that he is the rescuer, the one who is just and justifier that he's the greater Moses, and that he leads us into Exodus. So we are transferred into the kingdom of a light. And that kingdom of light is also a kingdom of lightness in the sense that what was once a burden on our back, like it was for Pilgrim, has now been taken off. And so we are free. In that freedom, in that financial freedom, in that spiritual freedom as it were, to use both of the sides of this metaphor. What we find is our response is appropriately one of worship, that we weep and we cry for who we were, that we rejoice for who God is, and that we come proudly into His kingdom because of what he has done. And this changes us. It messes us up. You know, I think we've said before that. The joy of the Christian life of Christian lives is that the transformation process that God undertakes in each of us is very different, and some honestly are more dramatic than others. But what I think is always dramatic is one, the scripture tells us that it is a miracle. That even one would be saved. So hardhearted are we, and again, so great this debt against us that when God intervenes all get what they deserve. But some get mercy. And if we have been the ones who have received mercy, how joyful ought we to be toward the one who has granted it to us? And so here we have Christ, the the one who delivers, the one who leads out, the one who pays off, the one who pays it all.  [00:34:45] Behold the Cross: What Sin Costs, What Love Pays [00:34:45] Jesse Schwamb: I think what's clear is that the cross gives us this sense when we look upon it of just how deep and dark and heavy sin is, and that there is no easy way out of it. That what we find is that sin constantly wants to drag us down. It constantly wants to take us farther than we wanted to go, and it certainly costs us way more than we were willing to pay. So I think if we come and we behold the wood, if we behold the nails, if we look on this crown pressed into the brow that knew no guilt or disobedience, if we, not in our mind's eye, but by faith, behold, the hands that open, the blind eyes now being opened by iron. If we see the feet. Walked toward the hurting, now fixed in place for the healing of the world. If we look at the thirst of the one who is living water and the hunger of the one who is the bread of life, we ought to see the one who here, even in this passage, is just and justifier, and he invites us to say with him, come witness the death of death in the death of Jesus Christ. That is the glorious mission, right? As as, um, Horatio Spafford said, my sin, oh, the bliss of this glorious thought. My sin not in part, but the whole is nailed to the cross, and I bear it no more. Praise the Lord. Praise the Lord. Oh my soul of ones. This is the beauty of, I think of what Jesus is, is teaching here. It's the lamb. It's the one promise on the mountain provided in place of Isaac. It's the Passover marked with Crimson death passing over doors that were covered. Here's the suffering. Servant despised and rejected a man of sorrows. Who here is one who is truly well acquainted with grief? When we see Jesus lifted up, lifted up on the cross, lifted up between heaven and earth. Here the instrument of exalted torment but also unexpected triumph, the perfect God man, lifted up between earth and heaven, lifted up in shame so that we might be lifted up in grace, lifted up in cursing. We might be lifted up in blessing lifted up in Forsakenness so that we might be lifted up in divine communion with God the father lifted up to be stared at as he presents himself here, so that we could finally see what sin costs and what love pays. That is everything that he's teaching us in this passage, and I hope that you are as encouraged about this as I am because. When I think about the gospel framed in this way with the full severity of its repercussions, thinking about sin as debt objectively as a liability, that must be satisfied. My heart is instantly warmed, and I think the warming of that is not because this manufactured some kind of sentimentality around this, but there is something about this that's so resonant to me that in my professional career, in my business, I'm intimately familiar with, with debt and understanding how to manage it, but also the dangers of it. And what a liability it truly is. And so when I hear that sin not just is like this, but is this way, it makes complete sense to me and I see that this is really the, the true way that we ought to understand, I think the gospel message.  [00:38:18] Key Takeaways: Debt, Currency, and Canceling the Ledger [00:38:18] Jesse Schwamb: So here's what we should remember. Debt highlights objective guilt. I think I've said that a bunch of times and I just feel like it's, it bears repeating one last time. Sin is not only damage, it is consequences, but it's also a liability. A creditor doesn't need to be convinced you did harm. The ledger already stands and the ledger against us is not on our side. Loved ones. We are deeply in the red, and it really doesn't matter what the balance is because we just cannot repay. So it's really about our lack of ability, our inability, the no, we have no capability to pay this, and so it doesn't matter. We find ourselves in a place of hopelessness no matter what, and this debt highlights that inability none of these particular borrowers could repay. It's devastating to moral pride. We lean on this in our reform theological perspective. Even our best works can't erase guilt or generate merit sufficient to square the accounts. It's impossible. It's impossible with two ways, and this is some, I think really like the beautiful nuance of what Jesus after here in the one way that we are enabled to do this. Is because we just actually cannot earn enough. So in other words, the debt is too big. So think of the biggest number in your head that you could possibly think of, and that's at least minimally the outstanding debt. But then think about this. You don't even have the right currency. So you might find that you spend your entire lifetime working to the bone. It's like finding out that you have a million dollar loan or lien against you, and you work hard all your life, 50, 60, 70 years. And finally, on your deathbed, you've assembled enough cash with all of your savings to put toward and finally satisfy. So you might die in peace with this $1 million free and clear from your account, and you turn over the money and the creditor says, what is this currency? I won't accept this. I can't accept this. How debilitating. So it's not even the size of the debt. It's also that we don't have, we cannot earn the right currency. Only. God. God. I think this debt also highlights grace as cancellation. Forgiveness is not God pretending the debt doesn't exist. It is God releasing the debtor. This is him in triumph, being the greater Moses who walks us out through the waters outside of the city into the glorious light and the broader New Testament explains how God can do that justly. The charge is dealt with through Christ. You can go check out Colossians two. Read the whole thing of Love it. It's fantastic. I think lastly, this debt explains love, as shall we say, like a downstream effect. People love a little when they imagine that they have little needs and people love much when they were spiritually bankrupt and then freely pardoned freely in that it didn't cost you and I anything, but of course it cost our Lord and Savior everything, and so. In this way, our hopes to frame the fact that our love should be an outpouring of gratitude, uh, for the grace that God has given us through Jesus Christ.  [00:41:28] Putting It Into Practice: Don't Compare Debts, Watch for "Simon Symptoms" [00:41:28] Jesse Schwamb: Here's some things I would say that we should all walk away with to help us then both process what we've talked about here, and also put some of this into action. First thing would be, don't measure your need by comparing debts horizontally. That's a fool's errand, whether 50 or 500. The point is we cannot pay. And this levels the Pharisee and the prostitute alike. That is like Tony talked about elsewhere in the previous Luke 15, where we're talking about the PR prodigal of the father, the prodigal of the two lost sons. How there's like a great insult against the Pharisee there. And here's the insult, it's also a little bit cutting to us, and again, that the Pharisee and the prostitute are alike. Can't repay. It Doesn't matter what debt you think you have in the corporal sense, or again in this horizontal means, but you cannot repay it. And so therefore, guess what? We're all like, we need to let forgiveness lead and we need to let love follow. If you reverse that order like I'll love so I can be forgiven. You crush assurance and you turn the gospel into wages and that's again exactly I think what Jesus is against in this. He's making that very clear. The, the beauty of the gospel is this receiving that Christ has done all these things that we, uh, find ourselves by his arresting, by again, his intervening by his coming forward. He does all this on our behalf. You've heard me say before, I always like take that old phrase, what would Jesus do? That question that was on everybody's bracelets and everybody's minds and what, two decades ago? And turn that answer into what would Jesus do? Everything And it's already done. We need to watch for Simon symptoms. That's my clever way of saying this, like low love, high judgment. A chilly heart toward Christ often signals a warm heart towards self justification. And so we wanna be about the kind of people that are closely king, clinging to Jesus Christ as all of our hope and stay that the strength for today and hope for tomorrow comes from what Christ has already accomplished on our behalf. And therefore, there is a dutiful and meaningful and appropriate response for us. But that response again, is not obedience for merit. It is obedience out of warm heartedness for our savior. And for a sincere repentance because a sincere repentance is not payment. It's agreement with God about the debt. Tears, don't cancel the ledger. Christ does that. Tears are what debtors do when Mercy lands, and I think in some way the challenge here is that have we really meditated on the life of this woman and then more personally on our own experiences on what it means to be saved? Well, I'm not asking you to get yourself worked up into an emotional state, but what I am asking all of us to do is. Have we spent enough time recently meditating on what it means that Christ has set us free, that we are incredible debtors, and that Christ in our own ledger in this way hasn't just wiped out the debt, but he's filled up the account with righteousness. And so we can exchange these horrible soiled garments for garments of praise. Now, have we thought about that recently? The call here is to be reminded. That sincere repentance is an agreement with God about the debt, and in that agreement we're sensing that weight. There should be a response.  [00:44:42] Final Charge + Community & Support (Telegram / Patreon) [00:44:42] Jesse Schwamb: So I leave it to you loved ones, you've heard it here, or at least you've heard me talk for a little while about this parable. And maybe one day, maybe there'll be an episode one day about Tony's perspective on this, which I can't imagine will be too much different. But again, I saw my opportunity, loved ones. I said, oh, I'm gonna sneak in hard on this one because this one is particularly meaningful and special to me, and I hope that even though it involved a little bit of economics and maybe a lot of finance, that it didn't lose its resonance with you. I think this is the great weight of the way in which Jesus teaches that he's not just using practical means. But he's using these things to give greater weight and flesh, as it were, to these concepts of a spiritual nature that sometimes feel ephemeral. Instead, he wants them to sink in heaviness upon us. And I wanna be clear that. This whole parable is both law and gospel. It is the weightiness and the sharp edge knife of the law which cuts against us. And Jesus throwing his weight around literally at this dinner party and in this parable, and you and I should feel that weight. It should knock us around a little bit. And then. And then comes the reminder that there is good news and that good news, which is the gospel of Jesus Christ, is that he has made a way that the debt that was incurred against us, that we ourselves added to, that we continue to want to try to borrow against, that Jesus has, in fact paid that debt in full and that he's done so in the currency of his own flesh and blood and his own passive and active obedience so that it may be paid in full. It's true what the hymn says. Jesus paid it all, all to him. I owe. So I hope loved ones that you'll be encouraged with that message that it is both law and gospel, but it ends in this high and elevated state, which is we have been made together alive with Christ for his own sake, for his glory, and for our good. So now that you know that go out into the world and live that way, meditate on that, enjoy that. Talk about it with a family member or a brother and sister, or you can talk about it with us. You didn't think that we'd get this far without me even a plug for telegram, did you? So if you. Haven't listened to us before, or if this is your 480th time, I say welcome and also come hang, hang out with us online. You can do that by going to your browser and putting in there. T me slash reformed brotherhood. T. Dummy slash reformed brotherhood, and that will take you to a little app called Telegram, which is just a messaging app. And we have a closed community in there, which you can preview and then become a part of. And there's lots of lovely brothers, sisters from all over the world interacting, talking about the conversations we're having here, sharing prayer requests, sharing memes, talking about life tasting foods on video. It's really. Absolutely delightful, and I know you want to be a part of it, so come hang out. It's one other thing you can do. If at any point you felt like this podcast, the conversations have been a blessing to you, may I ask a favor, something at least for you to consider, and that is there are all kinds of expenses to make sure that this thing keeps going on. Keeps going strong. And there are brothers and sisters who after they've satisfied their financial obligations, have said, I want to give a little bit to that. So if you've been blessed, I'm what I can I boldly ask that you might consider that it's so many people giving so many tiny little gifts because all of these things compound for God's glory in the kingdom. And if you're interested in giving to us one time or reoccurring, here's a website for you to check out. It's patreon.com. Reform Brotherhood, P-A-T-R-E-O n.com, reform slash reform brotherhood. Go check that out. Alright, that's it. Loved ones, you know what to do. Until next time, honor everyone. Love the brotherhood. 

Depois de milénios em que a invenção era cantada, os corpos se desdobravam e as formas de beleza estavam ligadas a um prazer e gozo gestuais, em que o ritmo dos relatos e das lendas estava submetido, não apenas à intensidade do que a imaginação capturava ou punha à solta, mas também ao corpo no seu modo de se balançar na simetria dos pés e dos braços aquando da proferição da palavra, de todo um engenho para gerar embalo e dar força aos rituais da rememoração, desde há uns séculos esses comportamentos orais foram-se perdendo, e isto na mesma medida em que, “à pressa, veloz, a tradição do livro, muito mais breve e quase recente, impôs a própria autonomia como concorrente”, diz-nos Pascal Quignard. E logo adianta que “a sua individualização progressiva é tão estranha quanto a que extraiu aos poucos a individualidade singular de um homem – inquieta e ciumenta desse sentimento de singularidade – da individualidade mais específica, mais nitidamente agrupada, em que tomou forma”. “Ainda não se insistiu o suficiente sobre este facto: o que pontua o texto nitidamente individualizado – e que dirige por outro lado a invenção relativamente tardia dos sinais de pontuação – acompanha essa espécie de progressão da vergonha do corpo e já não o ardor ou a urgência da exteriorização.” Assim, a cultura livresca está ligada a um certo acanhamento, a um ensimesmamento, a uma pressão interiorizadora que, muitas vezes, torna os literatos um tanto ineptos para uma convivência e capacidade de expansão dos seus entusiasmos, de serem os cicerones dos seus mundos interiores. Não é de estranhar que a própria língua se tenha reforçado na abstracção categorial das suas estruturas, construindo modos de recriação cada vez mais desvinculados do plano de participação ou enredamento colectivo. Não é de estranhar, por isso, esta sensação de que algo de profundo se quebrou, se inverteu. Se a literatura foi um suporte dos audaciosos gestos praticados em comum, hoje, tantos pressentem como a maioria dos textos não inventam verdadeiramente saídas face à narcose solipsista contemporânea. Cada ser deve fornecer insistentemente as provas da sua existência, e tornamo-nos, assim, os nossos próprios publicitários porque já não encontramos esse apoio nas grandes narrativas, nas ficções que nos irmanavam, nesse fundo conspirativo que animava certos grupos. O problema é que, como assinalou Georges Braque, “as provas cansam a verdade”. Às tantas, de tanto insistirmos na representação cada vez mais enfática dos dramas que apenas nos situam face à nossa identidade, o vigor existencial esvazia-se. Daí esta angústia que anda à solta, em que cada indivíduo parece empenhado em coagir os demais a reconhecerem a sua importância, o seu protagonismo ou valor, de modo a reforçar para si mesmo a sensação de pertencer ao mundo, de estar imerso nele. Todos estão, de algum modo, industriados para organizarem à sua volta algum circo, uma agência de eventos, uma incessante campanha eleitoral. A literatura cada vez menos aponta no sentido oposto, para que cada um se disponha à superação da existência individual, essa a que chamamos experiência da poesia e das artes, que procurava sempre guardar uma memória de esforços de alegria, mesmo em contexto de luta. E, antes de mais, quando hoje falamos de textos literários, devemos começar por salientar a falta de satisfação, aquela busca de prazer na leitura que a maior parte das vezes sai inteiramente gorada. Não se sente grande urgência nem necessidade nos textos que nos chegam, e apenas somos levados a admirar o talento particular para a vigarice deste ou daquele sujeito que fazem por convencer-nos da qualidade técnica com que vêm bulindo a sua intriga. De resto, cedo se mostram podres as esperanças nutridas por seres que vivem afeitos a um tempo arrasado pela base, no elemento de sentido de onde tudo parte: a linguagem. Com o prevalecer de enredos culturais voltados para a representação de si, para que cada indivíduo se entregue a uma competição pela evidência, por obter avanços no jogo do estatuto, com a pressão de um quadro em que todos sonham com o favor da vedetarização, tudo se volve um mero pretexto, todos os valores são apenas máscaras. Industriados para manifestações que não manifestam nada, recaímos na condição de monstros sem interioridade, como se estivéssemos vestidos do avesso. Assim, poderíamos subverter a noção que defende Mabel Moraña no livro “O Monstro como máquina de guerra” – “o corpo monstruoso é aquele que foi progressivamente despojado da sua condição de sujeito até se converter num resto administrável, um corpo disponível para a marca, o castigo ou a eliminação, sem que esse gesto produza uma interrupção significativa da ordem social” –, e pensar como a nossa sociedade nos vincula a projecções impossíveis, a um desolador enredo em que cada um compete para fixar imagens falsas de si mesmo, enquanto se vai desfigurando intimamente. Neste pacto à Dorian Gray, se julgamos conquistar um certo estatuto, na sombra da imagem projectada, no verso dessa ridícula vedeta que cada um representa para os outros, emergem esses seres que nós próprios escondemos e humilhamos. Neste episódio, tivemos connosco o casal responsável pela revista e agora editora Limoeiro Real. Hospedeiros de monstros à antiga, esses que preferem optar pela deserção das lógicas competitivas que tomaram conta do campo das artes e da literatura, preferindo trabalhar a partir do resíduo, do inassimilável. Em vez de se apostar nas figuras que produzem uma estranheza para serem integradas no panteão dos casos dignos de estudo, há ainda essa vida que faz a sua festa no escuro. É um princípio de rejeição das dinâmicas de afirmação a qualquer custo, de modo a ser possível regressar ao ponto cego do conhecimento, aquele espaço que se permite esquecer de si, libertando uma temporalidade diversa e resistindo a ser completamente entendido.

Schöner, jünger, gesünder: Äußerliche Perfektion ist gefragter denn je. Wilke Weermann überschreibt dazu den Romanklassiker von Oscar Wilde - neu und überdreht.

“Não é que sejam favoritos, são livros que marcaram fases da minha vida.” Que livros são esses, e em que fases? O Filipe foi um convidado generoso: leva-nos da ficção à realidade, do passado ao presente. Mais uma conversa que vale a pena.Os livros que o actor escolheu:Os Maias, Eça de Queiroz;Bruce Chatwin (biografia), Nicholas Shakespeare;Trilogia A Preparação do Actor, Konstantin Stanislavski;Sair da Nossa Impotência Política, Geoffroy de Lagasnerie.Outras referências:Cândido, Voltaire;O Retrato de Dorian Gray, Oscar Wilde;Na Patagónia, Bruce Chatwin;Songs my Mother Taught Me, Marlon Brando;Peças de teatro:Harold Pinter;Tchechov;Colecção Livrinhos de teatro da Companhia Artistas Unidos.Edouard Louis.Livro (e filme) referido:The dancer upstairs (O Dançarino), Nicholas Shakespeare.O que ofereci:O Sr. Wilder e Eu, Jonathan Coe.Podcast: “E tua semana, como correu?”;A peça que estreia no Verão 2026: The Swimming Pool Party.Os livros aqui:www.wook.pt

The graphic designer John Morgan passed away last September at the age of 52.His final book, Baskerville's Teardrop Explodes, was published this week, and to mark the occasion we've collected som reflections on Morgan and his work from some of his collaborators. These include, in order of appearance, Tom Weaver former editor of the AA files, Shumi Bose and Kieran Long, who both worked with Morgan on the 2012 Venice architecture Biennale, Ros Barr, who worked with Morgan on a altar design for St Augustine's Church, Nick Hill, who was designing Morgan's new studio before he passed away, and Tom Emerson, a director of 6a architects whose collaborations with Morgan extend across many years and projects. You'll note this list is relatively narrow and hews closely to the world of architecture. The more interviews we collected, the more we realised the scope of this memorial episode risked expanding into an entire series - there are so many people who've been changed by Morgan and his work, to say nothing of his students and studio colleagues and publishers, none of whom are featured here. This following voices are just a drop in the bucket in terms of conveying who John was and the influence he had. Scaffold is an Architecture Foundation production, hosted by Matthew Blunderfield. Download the London Architecture Guide App via the App Store or Google PlayBecome an Architecture Foundation Patreon member and be a part of a growing coalition of architects and built environment professionals supporting our vital and independent work. Image credit: The Picture of Dorian Gray, Four Corners Books, 2007Photo: Michael Harvey © John Morgan studio Hosted on Acast. See acast.com/privacy for more information.

Han pasado casi trece años desde que, voluntariamente, José Mourinho abandonó el Madrid y España, pero aún no lo han superado. Disfrazan su rencor vistiéndolo de crítica a la persona, pero la realidad es otra. Lo que no le perdonan, ni jamás le perdonarán, es que gritase a los cuatro vientos que el periodismo estaba desnudo. No le perdonan que les pusiese delante del espejo y que vieran que no eran otra cosa que el retrato de Dorian Gray, un ser avejentado, purulento y podrido que ya no iba a engañar a muchos aficionados. Min. 01 Seg. 50 – Intro Min. 07 Seg. 45 - Su concepto del periodismo Min. 20 Seg. 54 - Comparaciones que son odiosas Min. 31 Seg. 06 - Los (supuestos) valores del Real Madrid Min. 40 Seg. 24 - El heredero de Mou Min. 49 Seg. 36 – Sentó las bases del futuro Min. 56 Seg. 07 - Una época maravillosa Min. 62 Seg. 19 - Demasiados elogios para no hablar de fútbol Min. 71 Seg. 22 - Despedida Bonny Light Horseman (Minneapolis, MN 09/09/2025) The Roving Jane Jane Old Dutch Singing To The Mandolin Exile Magpie's Nest Rock The Cradle Bonny Light Horseman Deep In Love See You Free Fleur de Lis When I Was Younger Billy Joel - Lullabye (Goodnight, My Angel) (New York 16-18/07/2008)

Cerezos en flor de Luis Fercán y el álbum homónimo de Bicicleta. En el recorrido por la historia del pop español rescatamos ediciones discográficas de, entre otros, Los Shakers (1965), Seres Vacíos (1983), Último Clan (1990), Dorian Gray (2001), Los Vengadores (2013) o Shinova (2024).

durée : 00:59:19 - Le Book Club - par : Marie Richeux - La musicienne et productrice Yael Naim déballe pour nous ses rayonnages littéraires dans lesquels nous trouvons Le Portrait de Dorian Gray d'Oscar Wilde, Un lieu à soi de Virginia Woolf en passant par Le deuxième Sexe de Simone de Beauvoir. - réalisation : Vivien Demeyère - invités : Yael Naim Chanteuse

Marg Horwell is one of Australia's most acclaimed costume designers, whose work spans opera, theatre and large-scale international productions.Her work on The Picture of Dorian Gray – which toured the West End and Broadway – earned both an Olivier Award and a Tony Award, marking a rare double recognition across the UK and US stages. Marg's designs currently feature across two Academy Travel programs: New York Theatre April 2026 with Giant starring John Lithgow as Roald Dahl, and Sydney Theatre April 2026 with My Brilliant Career, where costume plays a defining role in shaping this new stage adaptation.In this special conversation, brought to us by STAGES – the podcast of our Tour Leader Peter Eyers – Marg reflects on designing for actors, narrative and historical context, the transition of productions between continents, and the craft of costume as a vital storytelling language.Academy Travel is a leading specialist in small-group cultural tours, allowing you to travel with like-minded companions and learn from internationally renowned experts. Like our podcast, our tours are designed to appeal to travellers with a strong interest in history, archaeology, architecture, the visual arts and the performing arts.Learn more here - https://academytravel.com.au/

Neste episódio, Arthur Marchetto e Cecilia Garcia Marcon investigam como as narrativas literárias se relacionam com os pecados católicos. Os dois partem da definição clássica dos sete pecados capitais, traçando uma rota que passa pela estrutura moral da Divina Comédia, de Dante, encosta em Katábasis, de Kuang, e depois indicam um livro que discute sobre cada um dos pecados.Então, aperta o play e conta pra gente: qual seria sua lista de livros para pecados capitais?---Livros citadosFrankenstein, ou O Prometeu Moderno, de Mary ShelleyO retrato de Dorian Gray, de Oscar WildeTetralogia Napolitana, de Elena FerranteO Talentoso Ripley, de Patricia HighsmithViúva de Ferro, de Xiran Jay ZhaoO cobrador, de Rubem FonsecaO Bem Amado, de Dias GomesA morte e a morte de Quincas Berro D'Água, de Jorge AmadoParábola do Filho PródigoUm conto de Natal, de Charles DickensO Hobbit, de J.R.R. TolkienA Fantástica Fábrica de Chocolate, de Roald DahlJoão e MariaLuxúria, de Raven LeilaniO Amante de Lady Chatterley, de D.H. LawrenceO Perfume: história de um assassino, de Patrick Süskind---Links⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apoie o 30:MIN⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Siga a gente nas redes⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Já apoia? Acesse suas recompensas⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Confira todos os títulos do clube!

Encore! Encore! This January Janet, John, (and Pen) wanted to revist the astounding life this actress with her 80-year long career in film, television, and the stage... Angela Lansbury. This English-born, though Irish-bred actress began her career, after escaping the Blitz by moving to United States, at the age of eighteen by playing a cheeky Cockeny servant to Charles Boyer in the thriller Gaslight (1944). This role brought her a contract with MGM and her first Academy Award nominaton for best supporting actress. At the time, she was seen as a b-list actor, but her role in The Manchirian Candidate (1962) put her on the map and is often considered, to this day, one of her best perfomances. She also quickly gained stardom for her lead role in the Broadway musical Mame in 1966, a catergory of performance she absoluted dominated. This role lead to her winning her fist every Tony Award. However, this starlet didn't stop only at theatrical appearances. In fact, she made her way to worldwide fame after playing the sleuth, Jessica Flecther, in the American whodunit series Murder She Wrote. The show ran for 12 seasons until 1966. Earning it the title of one of the longest-running and most popular detective dramas in television history. Some of Lansbury's projects include, Dear World, Gypsy, Sweeney Todd, National Velvet (1944), The Picture of Dorian Gray (1945), Nanny McPhee (2005), and Mary Poppins Returns (2018). She also acheived many acolades such as 6 Tony Awards, 6 Golden Globes, 2 honorary BAFTA Awards and many more. So join us and relax as we revist Tribute 9 Mini-Sode: Angela Lansbury!    To learn more about this episode and others, visit the official Cinema Sounds & Secrets website!  

According to Star Trek, space is the final frontier. I disagree. Yes, space is vast beyond comprehension. We will never completely know what lies amongst the stars, let alone understand a mere 0.0001% of the billions of galaxies comprising the solar system. The final frontier, in more ways than one, is death, the mysterious realm where all men and women have or will go when the life force decides to exit and find new vessels to inhabit. Death is a state of nonliving that has fascinated or terrified, possibly both, every person who has lived long enough to be consciously aware that they are an ephemeral being. Near the end, some do crave death as a release from debilitating physical pain, emotional agony, or are simply too exhausted to function another day. Some grow to accept, possibly welcome, release from their mortal coil. Others, such as the literary Dorian Gray, are willing...

Send us a textIn this third annual Christmas tradition, I welcome Eric back to the show for a wide-ranging conversation about books, reading, and the lifelong pursuit of understanding. We talk about his ambitious “great books” journey—now stretching toward what may become a 40-year project—covering everything from Greek tragedies and Plato's dialogues to Confucius, Viktor Frankl, and modern classics.We dig into Eric's disciplined reading habits, his yearly practice of starting January and February by reading the Bible (including his experience with the King James Version this year), and how he structures his reading year to stay motivated without burning out. We also explore big ideas like Plato's theory of forms, the difference between philosophers and sophists, how ancient texts continue to shape modern thinking, and how AI can be used responsibly to deepen understanding—after you've done the hard work of reading.Eric shares the books that stood out most to him this year, including The Picture of Dorian Gray, Man's Search for Meaning, The Analects of Confucius, and The Idea Machine, along with the powerful concept of finding a “single thread” that ties together everything you read. We close with practical, encouraging advice for anyone who wants to read more: start with what you love, and let curiosity do the rest.This is a thoughtful, inspiring conversation for readers, thinkers, and anyone looking to build a richer reading life—perfect for closing out the year and setting the tone for the next one.Click here to see Erik's list of books read in 2025 https://books.booksoftitans.com/2025-reading-list/ Support the showI ♥ my podcast host @Buzzsprout. This link will get us both a $20 credit if you upgrade! https://www.buzzsprout.com/?referrer_id=1087190 The Scott Townsend Show Merchandise https://teespring.com/stores/tsts-2Resources and Links--------------------------------------------My contact info:LinkedIn https://bit.ly/2ZZ4qweTwitter https://bit.ly/3enLDQaFacebook https://bit.ly/2Od4ItOInstagram https://bit.ly/2ClncWlSend me a text: 918-397-0327Executive Producer: Ben TownsendCreative Consultant: Matthew Blue TownsendShot with a 1080P Webcam with Microphone, https://amzn.to/32gfgAuSamson Technologies Q2U USB/XLR Dynamic Microphone Recording and Podcasting Pack https://amzn.to/3TIbACeVoice Actor: Britney McCulloughLogo by Angie Jordan https://blog.angiejordan.com/contact/Theme Song by Androzguitar https://www.fiverr.com/inbox/androzguitar

Racism and hate shows up on your face.

Recorded October 7th, 2025. A seminar by Prof Jarlath Killeen (School of English, TCD) as part of the English Staff-Postgraduate Seminar Series. "Time is jealous of you, and wars against your lilies and your roses."  The Picture of Dorian Gray opens in the studio of Basil Hallward in which the smells of an English garden at the start of summer mingle with the smoke of Lord Henry Wotton's opium-tinged cigarettes. This scent puts Dorian into a trance in which it is difficult, if not impossible for him, to resist the temptations offered: one located in Basil entrancing portrait, the other in Lord Henry's mind-numbing peons to ever-blossoming youth and beauty. In this noxious atmosphere a new plant will grow, one even more dangerous than those that Hallward already has in the garden: the plant that is Dorian Gray. This talk will look at the ways in which Wilde has carefully used a Victorian language of the flowers throughout his novel as a way to dramatise the struggle between the forces of good and evil over Dorian's soul.  English Staff-Postgraduate Seminar Series is a fortnightly meeting which has been integral to the School of English research community since the 1990s. The aim of the seminar series is to provide a relaxed and convivial atmosphere for staff and students to present their research to their peers. The series also welcomes distinguished guest lecturers from the academic community outside Trinity College to present on their work. It is a fantastic opportunity to share ideas and engage with the diverse research taking place within the School.  Learn more at www.tcd.ie/trinitylongroomhub

In this episode of Window Dressing's Gothic Romance series, I talk about the 1945 adaptation of Oscar Wilde's The Picture of Dorian Grey, published in 1890. The story is as classic as a fairy tale or fable. The film features Angela Lansbury in her second film role, following her debut in the topic of the last episode in this series, Gaslight. She plays Sybil Vain in Dorian Gray—a kind of snow white type minus the aid of woodland creatures. She is remarkable in this movie and becomes the most memorable part of the film, except for the special effects that use color in an otherwise black-and-white film to depict the horrific changes to Dorian Gray's soul. Donna Reed plays Gladys Hallard, another Snow White type, but of the more advantaged variety, one with the grace of a family name and the incorruptible innocence afforded to societally valued women. The fewer options a woman has, the more likely she is to choose survival over socially decreed morality. She is also more susceptible to becoming prey for the sport of those more optioned gentlemen who come a calling.

President Trump is rehearsing ways to undermine next year's midterm elections; we unpack Trump's anti-democratic ambitions and how Americans should prepare for them; Rep. Jahana Hayes of Connecticut explains why a lapse in SNAP benefits matters to all Americans; Abdi Nazemian discusses Oscar Wilde's “The Picture of Dorian Gray” in this week's meeting of the Velshi Banned Book Club Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

At long last Shannon gets to talk about the book she's been planning on since the last Halloween episode — The Picture of Dorian Gray by Oscar Wilde. We first discuss the Aesthetic Movement of the 19th century and a tiny bit of the life of Oscar Wilde before we jump into the book itself. Then Bryce gifts you with an abbreviated history of metal music. Get a notepad ready to take notes because he gives you a LOT of information! Happy Halloween! Show Notes: The Picture of Dorian Gray by Oscar Wilde: Oscar Wilde Official Website: http://www.cmgww.com/historic/wilde/ Oscar Wilde: https://en.wikipedia.org/wiki/Oscar_Wilde Aestheticism: https://en.wikipedia.org/wiki/Aestheticism Decadent Movement: https://en.wikipedia.org/wiki/Decadent_movement The Aesthetic Movement by Fiona McCarthy: https://www.theguardian.com/artanddesign/2011/mar/26/aestheticism-exhibition-victoria-albert-museum Aesthetic Movement in England by Walter Hamilton: https://archive.org/details/aestheticmovemen00hamiuoft Oscar WIlde's Cello Coat: https://oscarwilde.blog/2018/01/04/oscar-wildes-cello-coat/ The Picture of Dorian Gray: https://en.wikipedia.org/wiki/The_Picture_of_Dorian_Gray# Metal music: VH1 Documentary https://www.youtube.com/watch?v=AR78XBi_nAE&t=13s https://en.wikipedia.org/wiki/Rock_and_roll https://en.wikipedia.org/wiki/The_Beatles https://en.wikipedia.org/wiki/Birmingham#History https://en.wikipedia.org/wiki/Black_Sabbath#History https://en.wikipedia.org/wiki/Led_Zeppelin This is Spinal Tap amps go to 11 https://www.youtube.com/watch?v=uMSV4OteqBE https://en.wikipedia.org/wiki/Psychedelic_rock https://en.wikipedia.org/wiki/Satanic_panic https://en.wikipedia.org/wiki/Parents_Music_Resource_Center https://en.wikipedia.org/wiki/Heavy_metal_genres https://en.wikipedia.org/wiki/Dimebag_Darrell https://www.rollingstone.com/feature/behind-the-murder-of-dimebag-darrell-233541/ Songs list: Little Richard, Tutti Frutti - Here's Little Richard 1957 James Brown, Shout and Shimmy - Good, Good Twistin' With James Brown 1962 Chuck Berry, School Day - After School Session 1957 The Beatles, Love Me Do - Please Please Me 1963 Black Sabbath, Wasp/Behind the Wall of Sleep/Bassically/N.I.B. - Black Sabbath 1970 Led Zeppelin, Good TImes Bad TImes - Led Zeppelin I 1969 Led Zeppelin, Dazed and Confused - Led Zeppelin I 1969 Tenacious D, Karate - Tenacious D 2001 Worm Shepherd, The Anguished Throne - Hunger 2024 Humble Pie, As Safe As Yesterday Is - As Safe As Yesterday Is 1969 Deep Purple, Smoke on the Water - Machine Head 1972 Back Sabbath, Black Sabbath - Black Sabbath 1970 Black Sabbath, War Pigs - Paranoid 1970 Steppenwolf, Born to be Wild - self titled 1968 Alice Cooper, Poison - Trash 1989 KISS, Sure Know Something - Dynasty 1979 AC/DC, TNT - High Voltage 1976 Judas Priest, Realms of Death - Stained Class 1978 Motorhead, Ace of Spades - Ace of Spades 1980 13th Floor Elevators, You're Gonna Miss Me - 7th Heaven Music of the Spheres 1966 Chelsea Grin, Cursed - My Damnation 2011 The Damned, New Rose - Damned Damned Damned 1977 Judas Priest, Breaking the Law - British Steel 1980 Candlemass, Solitude - Epicus Doomicus Metallicus 1986 Venom, Black Metal - In League With Satan 1981 Van Halen, You Really Got Me - Van Halen 1978 Black Sabbath, Neon Knights - Heaven and Hell 1980 Black Sabbath, Sabbath Bloody Sabbath - Sabbath Bloody Sabbath 1973 Def Leppard, Photograph - Pyromania 1983 Quiet Riot, Cum on Feel the Noize - Metal Health 1983 Mercyful Fate, Evil - Melissa 1983 Frank Zappa, We're Turning Again - Frank Zappa Meets the Mothers of Prevention 1985 Cannibal Corpse, Hammer Smashed Face - Tomb of the Mutilated 1992 Kreator, People of the Lie - Coma of Souls 1990 Napalm Death, Suffer the Children - Harmony Corruption 1990 Helloween, I Want Out - Keeper of the Seven Keys, Pt. 2 1988 TOOL, Sober - Undertow 1993 Linkin Park, One Step Closer - Hybrid Theory 2000 Pantera, Walk - Vulgar Display of Power 1992 Finntroll, Jaktens Tid - Jaktens Tid 2001 Slaughter to Prevail, Demolisher - Kostolom 2019 Other appearances: Chris Shelton interviewed us in the beginning of a series on Mormonism on his Speaking of Cults series. He has had MANY different fascinating people on so go take a look! Here is the whole playlist: https://www.youtube.com/watch?v=OpGuS7GcsgA&list=PLGrPM1Pg2h72ADIuv8eYmzrJ-ppLOlw_g Email: glassboxpodcast@gmail.com Patreon: https://www.patreon.com/GlassBoxPod Patreon page for documentary: https://www.patreon.com/SeerStonedProductions BlueSky: @glassboxpodcast.bsky.social Other BlueSky: @bryceblankenagel.bsky.social and @shannongrover.bsky.social Instagram: https://www.instagram.com/glassboxpodcast/ Merch store: https://www.redbubble.com/people/exmoapparel/shop Or find the merch store by clicking on "Store" here: https://glassboxpodcast.com/index.html One time Paypal donation: bryceblankenagel@gmail.com Venmo: @Shannon-Grover-10

Welcome, my ghoulish fiends! Join me as I sink my teeth into the dark allure of vampires and the eternal obsession with youth. From Countess Elizabeth Bathory's infamous legend to Roman and early modern rituals of blood and renewal, I explore how the vampire became the ultimate beauty icon and how our own thirst for ageless perfection mirrors their seductive, deadly world. *Listener Discretion is Strongly Advised*************Sources & References:Groom, Nick. The Vampire: A New History (Oxford University Press, 2018)Auerbach, Nina. Our Vampires, Ourselves (University of Chicago Press, 1995)Sugg, Richard. Mummies, Cannibals and Vampires (Routledge, 2011)Wilde, Oscar. The Picture of Dorian Gray (1890)Polidori, John. The Vampyre (1819)Le Fanu, Sheridan. Carmilla (1872)Stoker, Bram. Dracula (1897)Historical references: Pliny the Elder, Juvenal, Marsilio Ficino, and accounts from the Bathory trial (1609–1610)Day, Doris. Commentary on PRP “vampire facial” (2015–2019)Regalado, Antonio. “Young Blood Transfusions: Silicon Valley's Obsession with Youth.” MIT Technology Review (2019)Lepore, Jill. “The Cult of Youth in Modern Science.” The New Yorker (2019)GlobalData (2027 projection for anti-aging skincare market)JAMA Facial Plastic Surgery (2018–2020) studies on “Snapchat dysmorphia”****************Leave Us a 5* Rating, it really helps the show!Apple Podcast:https://podcasts.apple.com/us/podcast/beauty-unlocked-the-podcast/id1522636282Spotify Podcast:https://open.spotify.com/show/37MLxC8eRob1D0ZcgcCorA****************Follow Us on Social Media & Subscribe to our YouTube Channel!YouTube:@beautyunlockedspodcasthourTikTok:tiktok.com/@beautyunlockedthepod****************MUSIC & SOUND FX:"Alleys of Darkness" Phoenix Tail"Rain Light 6" SFX Producer Epidemic SoundFind the perfect track on Epidemic Sound for your content and take it to the next level! See what the hype is all about!

Video version available to the public for FREE at http://patreon.com/theawakespaceFor astrological consultations and courses go to wokeastrology.comLooking for "What's in the Headlines?" Laurie Rivers weekly mundane predictions from The Awake Space Astrology Magazine? Go to https://www.patreon.com/posts/whats-in-oct-28-142132500In S5 Ep 47 of the popular talkshow, The Awake Space Astrology Podcast, your host Laurie Rivers guides you through diving soul deep with the Grand Water Trine as Mars in Scorpio, Jupiter in Cancer and Saturn/Neptune in Pisces form one of the most mystical aspects of 2025.Yes, the outer world is intense, and it won't get less intense for some time to come, yet each individual is part of the collective and we do our work on the inside we can make a greater contribution in the outer world.Rivers discusses her own process in deciding how to bring her astrological understandings to you going forward and why the change is necessary to meet the current world needs. Laurie's special guest is Maverick Joyce, a holistic therapist and coach who has designed a program designed for neurodivergent people seeking to live beyond their labels. In this uplifting conversation the two explore how to dive deep and come up with a fresh perspective and skills.You can find out more about Maverick's work here: Discover more about Maverick's program ⁠https://unlock-your-inner-genius.neuroqueerwellness.com/⁠A mini-course video on rejection sensitivity and Unlock Your Inner Genius: ⁠https://neuroqueerwellness.com/rejection-sensitive-dysphoria/⁠⁠Follow Maverick on Instagrame: https://www.instagram.com/the.neuroqueer.therapist/⁠ @⁠the.neuroqueer.therapist⁠Laurie gives you a sneak peek of the Spooky Season treat discussing the astrology of Oscar Wilde. Laurie reads from Wilde's preface of the Portrait of Dorian Gray. Later in the week Laurie will do a reading for patrons and point out Wilde's placements and why his writing style or descriptive prose displays his placements. Rivers winds up the podcast explaining why this week's intense water grand trine is perfect for doing soul deep work to identify and operate from your individual strengths which is the antidote of despair.Chapters00:00 Introduction and Format Changes05:01 monologue: introspection is important20:06 Interview with Maverick Joyce50:32 Patron Shoutouts54:03 Astrology of Oscar Wild01:05:51 Soul Deep Astrology: Using the Water Grand Trine

Mrparka's Weekly Reviews and Update Week 441 (10.25.2025) (In the Mouth of Madness 4K, #shakespeare's shitstorm) www.youtube.com/mrparkahttps://www.instagram.com/mrparka/https://twitter.com/mrparka00https://www.facebook.com/mrparkahttps://letterboxd.com/mrparka/https://www.patreon.com/mrparkahttps://open.spotify.com/show/2oJbmHxOPfYIl92x5g6ogKhttps://anchor.fm/mrparkahttps://podcasts.apple.com/us/podcast/mrparkas-weekly-reviews-and-update-the-secret-top-10/id1615278571 Time Stamps 0:00“#Shakespeare's Shitstorm” 4K Review - 0:14“In the Mouth of Madness” 4K Review- 10:45“The Island” Blu-Ray Review - 20:53“King Eagle” Blu-Ray Review - 27:08“Iron Bodyguard” Blu-Ray Review - 30:27“Creep” Blu-Ray Review - 33:48“Freckled Max and the Spooks” Blu-Ray Review - 39:241983 “Dracula of Exarcheia” Review - 45:491983 “The Sins of Dorian Gray” Review - 48:511983 “The Bleeder” Review - 53:291983 “The Lost Tribe” Review - 56:14Patreon Pick 1983 “Macumba Sexual” Blu-Ray Review - 59:13Questions/Answers/ Comments- 1:02:20Update - 1:06:1122 Shots of Moodz and Horror – https://www.22shotsofmoodzandhorror.com/Podcast Under the Stairs – https://tputscast.com/podcastVideo Version – https://youtu.be/8-UzanZLsHMLinks Troma Films - https://www.troma.com/#Shakespeare's Shitstorm 4K - https://mvdshop.com/products/shakespearesshitstorm-4k-ultra-hd-special-edition-blu-ray-4k-ultra-hdArrow Video - https://www.arrowfilms.com/In the Mouth of Madness 4K - https://mvdshop.com/products/in-the-mouth-of-madness-limited-edition-4k-ultra-hdEureka Films - https://eurekavideo.co.uk/The Island Blu-Ray - https://mvdshop.com/products/the-island-limited-edition-blu-ray Furious Swords and Fantastic Warriors Blu-Ray - https://mvdshop.com/products/furious-swords-and-fantastic-warriors-the-heroic-cinema-of-chang-cheh-5-disc-limited-edition-collection-blu-raySRS - https://srscinemastore.com/Tim Ritter SOV Collection - https://mvdshop.com/products/the-tim-ritter-collection-the-sov-years-blu-rayDeaf Crocodile - https://deafcrocodile.com/Freckled Max and the Spooks Blu-Ray - https://mvdshop.com/products/freckled-max-and-the-spooks-blu-ray Dracula of Exarcheia IMdb - https://www.imdb.com/title/tt0191097/The Sins of Dorian Gray YouTube - https://youtu.be/Nr1LJjPE2xE?si=B8YZ69fAQHCyvz-1The Bleeder IMdb - https://www.imdb.com/title/tt0302356/The Lost Tribe IMdb - https://www.imdb.com/title/tt0139432Macumba Sexual Blu-ray - https://severinfilms.com/products/macumba-sexual-bluUpdate Blu-Ray Bring Me the Head of Alfredo Garcia 4KNight of the Juggler 4KHack-O-Lantern 4KGirl Hell 1999Horrible High HeelsRed Neck MillerShaw Classics Vol. 5 - The Silent Swordsman / Rape of the Sword / The Fastest Sword / Twin Blades of Doom / Twelve Deadly Coins / Vengeance is a Golden Blade / A Taste of Cold Steel / The Iron Buddha / The Jade Faced Assassin / Mission Impossible / Six AssassinsFilm Notes#Shakespeare's Shitstorm 2020 Directed by Lloyd KaufmanIn the Mouth of Madness 1994 Directed by John CarpenterThe Island 1985 Directed by Leong Po-ChihKing Eagle 1971 Directed by Chang ChehIron Bodyguard 1973 Directed by Chang Cheh, Pao Hsueh-LiCreep 1995 Directed by Tim RitterFreckled Max and the Spooks 1987 Directed by Juraj JakubiskoDracula of Exarcheia 1983 Directed by Nikos ZervosThe Sins of Dorian Gray 1983 Directed by Tony MaylamThe Bleeder 1983 Directed by Hans HatwigThe Lost Tribe 1983 Directed by John LaingMacumba Sexual 1983 Directed by Jesús Franco

Caleb's podcast: The Natural State of WineFilm Discussed: Velvet Buzzsaw (2019), directed by Dan GilroyCast: Jake Gyllenhaal, Rene Russo, John Malkovich, Toni Collette, Zawe Ashton, Tom SturridgeWines Featured:Lovehammer Cabernet 2020, Pine Mountain, Slow Jam's VineyardDominique Renard Rosé ChampagneJordan Chardonnay 2022Key Discussion Topics:The pretension and exploitation in the contemporary art worldAuthenticity vs. hype in wine, art, and cultureHaunted/cursed art as a horror subgenre (references to The Picture of Dorian Gray, Pickman's Model)Why visual art gets more latitude for bullshit than other art formsThe film's morality play about respecting an artist's final wishesMemorable deaths: the sphere, Hobo Man, paintings that literally killReferences: HP Lovecraft's "Pickman's Model," The Devil's Candy, Candyman (2021), Nightcrawler, It's Always Sunny in Philadelphia's Ongo Gablogian 

C'est l'un des plus grands écrivains d'Irlande, Oscar Wilde est mis à l'honneur dans son pays, à l'occasion des 125 ans de sa mort. Plus d'un siècle après sa disparition, le festival Oscariana célèbre le dandy sulfureux dans sa ville natale, Dublin, où son héritage continue de vibrer. De notre correspondante à Dublin, « Voici sa statue parlante'', qui donne vie à Oscar Wilde, grâce à la voix de l'acteur irlandais Andrew Scott, dans un style très flamboyant, typique de l'écrivain ! » Mary Phelan, guide touristique, se trouve devant la statue d'Oscar Wilde. À son image : Wilde est allongé avec sa légendaire nonchalance, sourire en coin. Gravées tout autour, quelques-unes de ses citations les plus célèbres : « Nous sommes tous dans le caniveau, mais certains d'entre nous regardent les étoiles… » « Je peux résister à tout, sauf à la tentation ! » « Ce suspense est terrible. J'espère qu'il va durer… » Juste en face, nous retrouvons Martin Burns, qui est à l'origine du festival Oscariana : « Bienvenue à la maison d'Oscar Wilde ! » C'est ici qu'a grandi l'écrivain. « Il a compris ce qu'était le culte de la célébrité avant tout le monde ! Le mouvement esthétique était tourné en ridicule dans les journaux, mais Oscar a commencé à s'habiller comme les caricatures qui se moquaient de lui. Alors que d'autres artistes fuyaient cela parce qu'ils étaient raillés, Oscar a compris qu'il vaut mieux qu'on parle de vous, même en mal, que pas du tout ! » Érigé en martyr  Et son chef-d'œuvre, « Le portrait de Dorian Gray », suscita l'indignation dès sa parution. Le roman raconte l'histoire d'un homme, qui reste éternellement jeune, tandis que son portrait se défigure. Jarlath Killeen, directeur du département d'anglais à l'université Trinity, explique : « Le tableau commence à vieillir à sa place, tandis qu'il conserve sa beauté extraordinaire pendant des années, et à cause de cela, il pense pouvoir faire tout ce qu'il veut ! Il peut céder à toutes ses passions et à toutes les tentations. Cela déclenche de violentes campagnes de lettres de protestation, dans lesquelles on accuse Oscar Wilde de dépravation et d'immoralité. » Peu de temps après, Oscar Wilde est condamné à deux ans de prison pour « indécence grossière ». « Essentiellement, la prison l'a tué. Elle a brisé sa carrière, et il est décédé trois ans après sa libération. Longtemps après sa mort, le nom d'Oscar Wilde resta imprononçable, synonyme de scandale. Mais peu à peu, Wilde devint une figure utile au mouvement des premiers droits homosexuels. Comme il avait été emprisonné pour sa vie sexuelle, il fut érigé en martyr. » Derrière les barreaux, Oscar Wilde écrivit une lettre à l'homme de sa vie, À l'occasion du festival, ses mots résonnent à nouveau interprétés avec force par des artistes LGBTQ+. À lire aussiOscar Wilde, raconté par son petit-fils Merlin Holland et l'acteur Rupert Everett

Né en 1854 à Dublin, Oscar Wilde s'impose à Londres grâce à son esprit brillant et son style flamboyant. Auteur du célèbre « Portrait de Dorian Gray », il devient l'emblème du raffinement et de la provocation. Mais, en 1895, il est condamné pour homosexualité, alors illégale. À sa libération, il s'exile à Paris où il s'éteindra, solitaire, en génie incompris. Revivez la chute inexorable d'un éternel dandy qui fit de sa vie une œuvre d'art. Crédits : Lorànt Deutsch, Bruno Deltombe. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

fWotD Episode 3086: Angela Lansbury Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Thursday, 16 October 2025, is Angela Lansbury.Dame Angela Brigid Lansbury (October 16, 1925 – October 11, 2022) was a British-American-Irish actress, producer, and comedian. In a career spanning 80 years, she played various roles across film, stage, and television. Although based for much of her life in the United States, her work attracted international attention.Lansbury was born into an upper-middle-class family in central London, the daughter of Irish actress Moyna Macgill and English politician Edgar Lansbury. To escape the Blitz, she moved to the United States in 1940, studying acting in New York City. Proceeding to Hollywood in 1942, she signed with Metro-Goldwyn-Mayer (MGM) and obtained her first film roles, in Gaslight (1944), National Velvet (1944), and The Picture of Dorian Gray (1945). She appeared in 11 further MGM films, mostly in minor roles, and after her contract ended in 1952, she began to supplement her cinematic work with theatrical appearances. Lansbury was largely seen as a B-list star during this period, but her role in The Manchurian Candidate (1962) received widespread acclaim and is frequently ranked as one of her best performances. Moving into musical theatre, Lansbury gained stardom for playing the leading role in the Broadway musical Mame (1966), winning her first Tony Award and becoming a gay icon.Amid difficulties in her personal life, Lansbury moved from California to Ireland's County Cork in 1970. She continued to make theatrical and cinematic appearances throughout that decade, including leading roles in the stage musicals Dear World, Gypsy, and Sweeney Todd, as well as in the Disney film Bedknobs and Broomsticks (1971). Moving into television in 1984, she achieved worldwide fame as the sleuth Jessica Fletcher in the American whodunit series Murder, She Wrote, which ran for twelve seasons until 1996, becoming one of the longest-running and most popular detective drama series in television history. Through Corymore Productions, a company that she co-owned with her husband Peter Shaw, Lansbury assumed ownership of the series and was its executive producer during its final four seasons. She also moved into voice work, contributing to animated films like Beauty and the Beast (1991) and Anastasia (1997). In the 21st century, she toured in several theatrical productions and appeared in family films such as Nanny McPhee (2005) and Mary Poppins Returns (2018).Among Lansbury's numerous accolades were six Tony Awards (including a Lifetime Achievement Award), six Golden Globe Awards, two honorary BAFTA Awards, a Laurence Olivier Award, an honorary SAG Award, and the Academy Honorary Award; in addition to nominations for three Academy Awards, eighteen Primetime Emmy Awards, and a Grammy Award.This recording reflects the Wikipedia text as of 01:24 UTC on Thursday, 16 October 2025.For the full current version of the article, see Angela Lansbury on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm generative Joanna.

Um quadro, um pacto e a eterna juventude. Neste episódio Andreia D'Oliveira e Gabi Idealli mergulham nas páginas de O Retrato de Dorian Gray, o único e inesquecível romance de Oscar Wilde. Entre espelhos, hedonismo e corrupção moral, vamos discutir o charme venenoso de Lord Henry, a inocência perdida de Dorian e o reflexo distorcido da alma que o tempo insiste em esconder. Será que Dorian é vítima da sociedade ou apenas o retrato mais sincero de seus desejos?

Hello and welcome listeners to Episode 310 of Journey with a Cinephile: A Horror Movie Podcast. In this episode, your tour guide, David Garrett Jr., will celebrate this milestone episode with a list of ranking the films from 1935, worst to first. I also give what information I could find on the lost films and my stats for the year. I also got to see these films for Mini-Reviews: Embrace of the Vampire (1995), The Picture of Dorian Gray (1945), Forgive Us All (2025), A Serbian Film (2010) and Shaman (2025). I also have a documentary of Chain Reactions (2024) and one episode of American Horror Story: Delicate. I hope you enjoy coming on this journey with me!Time Codes:Intro: 0:00 - 4:22Mini-Reviews: 5:47 - 33:16Top Horror Films - 1935 - Stats, Lost Films and 25 - 21: 34:16 - 55:24Top Horror Films - 1935 - 20 to 11: 56:26 - 1:19:59Top Horror Films - 1935 - 10 to 1: 1:21:59 - 1:42:44Outro: 1:43:05 - 1:45:35Social Media:Email: ⁠journeywithacinephile@gmail.com⁠Written Reviews: ⁠https://horrorreview.webnode.com/⁠Facebook: ⁠https://www.facebook.com/dgarrettjr⁠Twitter: ⁠https://www.twitter.com/buckeyefrommich⁠Letterboxd: ⁠https://letterboxd.com/davidosu/⁠Instagram: ⁠davidosu87⁠Threads: ⁠davidosu87⁠Journey with a Cinephile Instagram: ⁠journeywithacinephile⁠The Night Club Discord: ⁠Journey with a Cinephile⁠Promos:Shimmerwood Beverages: ⁠https://shimmerwood.com/discount/CINEPHILE1⁠ - Click this link for 30% off!Old Glory: ⁠https://oldglory.com/discount/CINEPHILE1⁠ - Click this link for 15% off!

Eine extralange Folge aus Gründen (wait til the end) mit einem wunderbaren Interview-Gast: Caroline Wahl spricht über Shitstorms und wie man sie bewältigt, die Sitzqualität von Stofftieren, beste Gönnungen - und natürlich über ihr neues Buch "Die Assistentin". In der Bestseller-Challenge geht's um den neuen Roman von Rebecca Gablé ("Bist du Typ Mittelaltermarkt?") inklusive Met- und Cidre-Verkostung. Außerdem gibt‘s metaphernreiche Neuerscheinungen, einen lang ersehnten All Time Favourite und eine kleine Oktopus-Überraschung. Alle Infos zum Podcast: https://ndr.de/eatreadsleep Mail gern an: eatreadsleep@ndr.de Alle Lesekreise: https://ndr.de/eatreadsleep-lesekreise Unseren Newsletter gibt es hier: https://ndr.de/eatreadsleep-newsletter Podcast-Tipps: Deutschland3000 mit Caro Wahl: https://1.ard.de/D3000_Caroline_Wahl Alles in Butter: https://1.ard.de/alles-in-butter Die Bücher der Folge: (00:08:49) Rebecca Gablé: „Rabenthron“, Lübbe (Bestseller-Challenge) (00:26:38) Barbara Kingsolver: „Die Unbehausten“; übersetzt von Dirk van Gunsteren (Tipp von Daniel) (00:36:27) Emma Pattee: „Auf der Kippe“, übersetzt von Stefanie Jacobs, Piper (Tipp von Katharina) (00:49:09) Caroline Wahl: „Die Assistentin“, Rowohlt (Interview-Gast) (01:13:18) Oscar Wilde: „Das Bildnis des Dorian Gray“, diverse Ausgaben - wir hatten die Schmuckausgabe von Coppenrath Unser Gast in dieser Folge: Caroline Wahl, Autorin Rezept für Cidre nach Normannenart https://www.ndr.de/kultur/buch/eatreadsleep-149-met-cidre-und-mittelalter-drama,ersfolge-120.html eat.READ.sleep. ist der Bücherpodcast, der das Lesen feiert. Jan Ehlert, Daniel Kaiser und Katharina Mahrenholtz diskutieren über Bestseller, stellen aktuelle Romane vor und präsentieren die All Time Favorites der Community. Egal ob Krimis, Klassiker, Fantasy, Science Fiction, Kinder- und Jugendbücher, Urlaubsbücher, Gesellschafts- und Familienromane - hier hat jedes Buch seinen Platz. Und auch kulinarisch (literarische Vorspeise!) wird etwas geboten und beim Quiz am Ende können alle ihr Buch-Wissen testen und Fun Facts für den nächsten Smalltalk mitnehmen.

Dorian Gray becomes engaged.

We Love You, Bunny by Mona Awad is the long-awaited return to the world of the sickeningly sweet (and maniacally maddening) clique in Bunny. Mona joined us live at B&N Union Square to talk about revisiting the Bunnies, Frankenstein, writing delusional characters, hyperfemininity, the myth of the outsider, surrealism and more with host Miwa Messer.  This episode of Poured Over was hosted by Miwa Messer and mixed by Harry Liang.                     New episodes land Tuesdays and Thursdays (with occasional Saturdays) here and on your favorite podcast app. Featured Books (Episode): We Love You, Bunny by Mona Awad Bunny by Mona Awad Rouge by Mona Awad Frankenstein by Mary Shelley All's Well by Mona Awad 13 Ways of Looking at a Fat Girl by Mona Awad A Clockwork Orange by Anthony Burgess Jane Eyre by Charlotte Brontë Wide Sargasso Sea by Jean Rhys Lady Oracle by Margaret Atwood The Edible Woman by Margaret Atwood The Bloody Chamber by Angela Carter The Picture of Dorian Gray by Oscar Wilde Twelfth Night by William Shakespeare  

We're back for SPOOPTOBER 2025 and this time we've brought along our friend, Armand (THE CINEDICATE) to talk about a little movie we mentioned during our FIRST SPOOPTOBER, Brian de Palma's horror musical PHANTOM OF THE PARADISE.Part ROCKY HORROR, part auteur art film, and part Faustian horror, PHANTOM combines the talents of de Palma's vision, actor and composer Paul Williams' musical talents, and a fearless cast including SUSPIRIA's Jessica Harper for an incomparable movie experience perfect to watch this Halloween season.Be sure to follow Armand on THE CINEDICATE: Film & TV Podcast here:Check out Brit's collab on CINEDICATE here: Next week we're covering one of Brit's favorite Halloween movies: LADY IN WHITE.Stay spoopy ya'll!Timestamps:00:00:49 Intro00:02:26 Hellos 00:07:45 Faust, Dorian Gray, Phantom of the Opera, and Frankenstein00:10:27 What came first: Rocky Horror or Phantom of the Paradise?00:13:10 How the hell did we get this cast? (MINOR SPOILERS)00:32:07 The Real Life Horrors of Phil Spector (Rest in Piss)00:40:16 Literary and Musical Inspirations 00:55:37 Rundown/SPOILERS BEGIN01:36:21 The Impact of PHANTOM on modern films01:38:31 Ratings01:41:27 CINEDICATE Updates/Upcoming REDACTED ENTERTAINMENT News01:45:03 Brit's Pick : LADY IN WHITE01:52:19 GoodbyesThe Grindhouse Girls Podcast is created by Katie Dale and Brit Ray. This week's episode is edited by Katie Dale.Part of the Redacted Entertainment Network.Royalty free music used: Ready Set Go and Outro White SmokeCopyright 2020 Grindhouse Girls PodcastThis podcast uses the following third-party services for analysis: Podcorn - https://podcorn.com/privacy

We're joined by Graham today to answer YOUR questions for our season finale!Topics discussed include our Persuasion dream adaptation, the theme of persuasion in other Austen novels, the way Taylor Swift defined our lives, Persuasion's message to modern audiences, chronic illness in Austen, our Persuasion murder mystery, our Mansfield Park predictions (and some spoilers), the Wuthering Heights remake, our Austen superlatives, and marzipan.Glossary of People, Places, and Things: Anne of Avenue A, Sarah Snook, Succession, The Picture of Dorian Gray, Pedro Pascal, Viggo Mortensen, Orlando Bloom, The Last of Us, David Corenswet, Fleetwood Mac - Silver Springs, Mad Men, Agatha Christie, Wuthering Heights, Emerald FennellNext episode: Becoming JaneTeepublic is now Dashery! Check out our new merch store at https://podandprejudice.dashery.com.Our show art was created by Torrence Browne, and our audio is produced by Graham Cook. For bios and transcripts, check out our website at podandprejudice.com. Pod and Prejudice is transcribed by speechdocs.com. To support the show, check out our Patreon!Instagram: @podandprejudiceTwitter: @podandprejudiceFacebook: Pod and PrejudiceYoutube: Pod and PrejudiceMerch store: https://podandprejudice.dashery.com/

Does your face match your name? Surprisingly, researchers have scientifically proven that an Emma will never resemble a Sophie, or a Jack or an Oliver.  They stem from a Franco-Israeli study published in July 2024, a collaboration between HEC Paris and the Hebrew University of Jerusalem. Participants were shown a photograph of a person and asked to choose their first name from four options. How can a first name influence our appearance? What is the Dorian Gray effect? In under 3 minutes, we answer your questions! To listen to the last episodes, you can click here: ⁠Who was the real Count of Monte Cristo?⁠ ⁠What is microwork?⁠ ⁠How can I beat my smartphone addiction?⁠ A podcast written and realised by Amber Minogue. First Broadcast: 17/10/2024 Learn more about your ad choices. Visit megaphone.fm/adchoices

Join the DARKNESS SYNDICATE for the ad-free version: https://weirddarkness.com/syndicateFred Lambert wakes up in the hospital after an accident at home the previous night, where his business partner, Joe Tucker, accidentally hit him on the head with a golf club during practice swings. Upon regaining consciousness, Fred discovers he has gained the supernatural ability to read minds. When his wife arrives with his favorite dessert, a jelly roll, Fred (“The Man Who Loved Jellyroll”) reads her thoughts and realizes she has poisoned it in an attempt to kill him, following the failed attempt by his partner. | #RetroRadio EP0513CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Show Open00:01:30.028 = CBS Radio Mystery Theater, “The Awakening” (November 23, 1976)00:45:44.575 = Theater Five, “Man Who Loved Jellyroll” (October 20, 1964)01:06:33.698 = 2000 Plus, “Brooklyn Brain” (June 21, 1950) ***WD01:35:14.391 = The Unexpected, “Museum” (October 01, 1947)01:49:51.860 = Unsolved Mysteries, “Rue Morgue Mystery” (June 17, 1942) ***WD02:04:45.553 = Dark Venture, “Elizabeth Is Frightened” (July 22, 1947)02:34:43.670 = The Weird Circle, “Wooden Ghost” (December 03,1944)03:02:08.105 = The Whistler, “Finders Weepers” (October 09, 1944)03:30:54.981 = Witch's Tale, “Happy Ending” (September 28, 1934) ***WD04:00:08.198 = X Minus One, “Project Trojan” (June 19, 1956)04:23:48.881 = ABC Mystery Time, “Picture of Dorian Gray” (1957) ***WD (LQ)04:47:49.116 = Strange Adventure, “Island Below the Wind” (1945)04:51:06.624 = Show Close(ADU) = Air Date Unknown(LQ) = Low Quality***WD = Remastered, edited, or cleaned up by Weird Darkness to make the episode more listenable. Audio may not be pristine, but it will be better than the original file which may have been unusable or more difficult to hear without editing.Weird Darkness theme by Alibi Music LibraryABOUT WEIRD DARKNESS: Weird Darkness is a true crime and paranormal podcast narrated by professional award-winning voice actor, Darren Marlar. Seven days per week, Weird Darkness focuses on all thing strange and macabre such as haunted locations, unsolved mysteries, true ghost stories, supernatural manifestations, urban legends, unsolved or cold case murders, conspiracy theories, and more. On Thursdays, this scary stories podcast features horror fiction along with the occasional creepypasta. Weird Darkness has been named one of the “Best 20 Storytellers in Podcasting” by Podcast Business Journal. Listeners have described the show as a cross between “Coast to Coast” with Art Bell, “The Twilight Zone” with Rod Serling, “Unsolved Mysteries” with Robert Stack, and “In Search Of” with Leonard Nimoy.= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2025, Weird Darkness.= = = = =#ParanormalRadio #ScienceFiction #OldTimeRadio #OTR #OTRHorror #ClassicRadioShows #HorrorRadioShows #VintageRadioDramasCUSTOM WEBPAGE: https://weirddarkness.com/WDRR0513

This week we watched for the very first time the 1974 cult classic Phantom of the Paradise, a Faust meets The Picture of Dorian Gray meets meets cocaine rock opera with original music by the guy who wrote Rainbow Connection.Tune in next week when our movie will be... Repo Man-----Come see Matt do stand up at the Ice House in Pasadena on Weds October 1st!Watch Good Mythical Weekend every Saturday!See Jordan Morris at LA ComicCon Sept 26-28, tabling at JO7!

¿Y si te dijera que en los laboratorios más secretos del mundo se está cocinando algo que haría palidecer al mismísimo Dorian Gray? Esta semana en DÍAS EXTRAÑOS destapamos el mayor negocio que jamás ha existido: la batalla contra el envejecimiento. Hablamos de los senolíticos, esas moléculas milagrosas que prometen barrer de nuestro cuerpo las células zombie que nos hacen envejecer. Jeff Bezos ya ha puesto su pasta. Peter Thiel también. Y las farmacéuticas se frotan las manos ante un mercado de billones de dólares. Ratones rejuvenecidos, gobiernos desesperados por ahorrar en sanidad y la promesa de llegar a los 100 años como si tuvieras 50. ¿Estamos ante el mayor avance médico de la historia o ante la mayor estafa del siglo? Entre 5 y 12 años para saberlo. Tic, tac, tic, tac... el reloj biológico tiene los días contados. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Hailo and her ex-boyfriend discussing The Picture of Dorian Gray by Oscar Wilde.Shop reading guides and more at hotliterati.com

Arvind Ethan David is a writer and producer whose career began when he adapted Dirk Gently's Holistic Detective Agency as his high school play, catching the attention of creator Douglas Adams. As an author, he has written seven graphic novels, including Raymond Chandler's Trouble is My Business (Pantheon, 2025) and the Stoker-nominated Darkness Visible. His debut novel, The Dread & The Envy will be released by Thomas & Mercer in 2026.In audio, he has written multiple chart Originals, the anthology science fiction series Earworms and The Crimes of Dorian Gray.  His original non-fiction audiobook Douglas Adams: The Ends of the Earth, was released in June 2025 and is now available..On stage, he produced the Grammy and Tony-winning Jagged Little Pill on Broadway and his musical play The Boy With Wings based on Lenny Henry's children's book has opened and is currently on stage in London.His television work includes  Anansi Boys (Amazon) and Dirk Gently's Holistic Detective Agency (Netflix/AMC). In film, he has produced 9 features including the Asian Academy award winning The Garden of Evening Mists (HBO). He is also a principal of the production company Prodigal. Make sure to connect on Instagram with Avrind @arvind.davidYou can listen to the podcast on Apple Podcast, Spotify, Google Podcast, or visit my website ⁠www.drkatherinehayes.com⁠•••#authors #podcast #interview #apple #spotify #google #authorsofinstagram #books #read #reader #writerscommunity #listen #writer #write #mayhem #authorlife #author #bookstagram #blog #book #booklover #authorssupportingauthors #writersofinstagram #writers #readersofinstagram #readersofig #readersgonnaread #mystery #diversebooksmatter #AvrindDavid #The Infidel #Dirk Gently's Holistic Detective Agency#JaggedLittlePill #RaymondChandler #TroubleIsMyBusiness #THE BOY WITH WINGS

Could you walk away from a life you were good at to chase the one you were meant for? Dara Woo did exactly that, trading software engineering for the bright lights of Broadway. In this inspiring conversation, she shares how a tech job lunch break turned into a career-changing audition, and the mindset shifts that made it possible. Sometimes the most strategic move isn't doubling down on what's safe. It's daring to step into the unknown.   What You'll Learn: 2:44 Balancing auditions with a full-time tech job 5:09 Weighing stability vs. pursuing passion 8:09 The reality of performing eight shows a week 12:18 A simple daily habit to build a creative career 16:59 The kind of roles Dara wants for Asian American actors Today, Ginni welcomes Broadway actor Dara Woo, whose precision on stage rivals the demanding tech projects she once led as a software engineer. Dara reveals what it's really like to perform in the elaborate multimedia Broadway production The Picture of Dorian Gray.  You'll hear how she overcame Silicon Valley-bred imposter syndrome, why she swears by her “one thing a day” rule to keep momentum, and how she applies the same strategic thinking from coding to navigating the unpredictable world of acting. Dara also shares her vision for more nuanced Asian American representation on stage and screen, and her dream of one day merging her tech and creative worlds. Connect with Dara Woo: Website: https://darawoo.com/ Instagram: https://www.instagram.com/silverdare/?hl=en TikTok: https://www.tiktok.com/@silverdare Connect with Ginni: Website: https://ginnisaraswati.com/ Instagram: https://www.instagram.com/theginnishow/ LinkedIn: https://www.linkedin.com/in/ginnisaraswati Ginni Media: www.ginnimedia.com Got a great show topic idea? A guest you'd love to see on the Ginni Show? Tell us about it: (844) 543-1772

This week on The Broski Report, Fearless Leader Brittany Broski discusses The Picture of Dorian Gray by Oscar Wilde and the history of the macabre. The OFFICIAL Songs of The Week Playlist: https://open.spotify.com/playlist/3ULrcEqO2JafGZPeonyuje?si=061c5c0dd4664f01

When four aging guests drink from a mysterious fountain promising youth, their second chance at life reveals they've learned nothing from the first. | #RetroRadio EP0453Join the DARKNESS SYNDICATE: https://weirddarkness.com/syndicateCHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Show Open00:01:50.000 = CBS Radio Mystery Theater, “Free The Beast” (June 10, 1976)00:46:14.259 = Dark Venture, “Coverup” (February 24, 1947)01:16:13.453 = The Weird Circle, “Phantom Picture” (1944)01:43:47.664 = The Whistler, “Blind Alley” (September 24, 1943)02:13:14.789 = Witch's Tale, “King Shark God” (August 14, 1935) ***WD02:38:30.692 = X Minus One, “A Pail of Air” (March 28, 1956)03:06:45.763 = ABC Mystery Time, “The Picture of Dorian Gray” (1957) ***WD (LQ)03:30:58.121 = Strange Adventure, “Thin Ice” (1945) ***WD03:34:17.064 = Appointment With Fear, “The Deep Shuddered” (November 20, 1945) ***WD04:00:12.620 = BBC's Ghost Story, “The Boat Hook” (April 15, 1992)04:44:29.341 = Beyond The Green Door, “Morton Gale, Vacation in Maine” (1966) ***WD04:48:02.708 = Box 13, “Death Is No Joke” (May 22, 1949)05:14:43.583 = CBC Mystery Theater, “Dr. Heidegger's Experiment” (1968) ***WD05:44:12.528 = Chet Chetter's Tales From The Morgue, “Highway of Death” (1990-1992)06:12:36.491 = The Clock, “Gus Fowler” (July 21, 1947)06:39:26.444 = Confession, “Anna Carlson” (July 19, 1953)07:09:14.802 = Creeps By Night, “The Final Reckoning” (July 12, 1944) ***WD07:37:25.188 = The Crime Club, “Fear Came First” (March 13, 1947) ***WD08:07:33.842 = Sounds of Darkness, “Big Track” (August 18, 1970)08:32:40.923 = The Devil and Mr. O, “Vacation With Death” (November 26, 1971) ***WD09:01:34.570 = Dimension X, “Universe” (August 02, 1951)09:31:22.801 = The Strange Dr. Weird, “Tiger Cat” (January 02, 1945)09:42:40.534 = Show Close(ADU) = Air Date Unknown(LQ) = Low Quality***WD = Remastered, edited, or cleaned up by Weird Darkness to make the episode more listenable. Audio may not be pristine, but it will be better than the original file which may have been unusable or more difficult to hear without editing.Weird Darkness theme by Alibi Music LibraryABOUT WEIRD DARKNESS: Weird Darkness is a true crime and paranormal podcast narrated by professional award-winning voice actor, Darren Marlar. Seven days per week, Weird Darkness focuses on all thing strange and macabre such as haunted locations, unsolved mysteries, true ghost stories, supernatural manifestations, urban legends, unsolved or cold case murders, conspiracy theories, and more. On Thursdays, this scary stories podcast features horror fiction along with the occasional creepypasta. Weird Darkness has been named one of the “Best 20 Storytellers in Podcasting” by Podcast Business Journal. Listeners have described the show as a cross between “Coast to Coast” with Art Bell, “The Twilight Zone” with Rod Serling, “Unsolved Mysteries” with Robert Stack, and “In Search Of” with Leonard Nimoy.= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2025, Weird Darkness.= = = = =CUSTOM WEBPAGE: https://weirddarkness.com/WDRR0453

Seven Broadway standouts — nominated for 'Maybe Happy Ending,' 'Oh, Mary!,' 'Just in Time,' 'Stranger Things: The First Shadow,' 'Gypsy,' 'Sunset Blvd.' and 'The Picture of Dorian Gray,' respectively — discuss the challenges and rewards of working on the Great White Way. Learn more about your ad choices. Visit megaphone.fm/adchoices

We discuss how creating before-and-after photo books of renovations or improvements can bring satisfaction and preserve memories. Our happiness hack suggests visiting your local library (or museum) for the first time; that first visit can be surprising to make. We also share listeners’ strategies for handling a spouse who asks too many questions at inopportune times. Resources & links related to this episode: Order your copy of Secrets of Adulthood Read 25 in 25 Bookshop Pledge to Read 25 on June 25th Visit The Happiness Project shop for Father's Day gifts Elizabeth is reading: All the Way to the River: Love, Loss, and Liberation by Elizabeth Gilbert (Amazon, Bookshop) Gretchen is reading: The Picture of Dorian Gray by Oscar Wilde (Amazon, Bookshop) Get in touch: podcast@gretchenrubin.com Visit Gretchen's website to learn more about Gretchen's best-selling books, products from The Happiness Project Collection, and the Happier app. Find the transcript for this episode on the episode details page in the Apple Podcasts app. See omnystudio.com/listener for privacy information.

After Pres. Donald Trump veered into partisan politics in a Memorial Day speech and while addressing the next generation of America's armed forces at West Point, the co-hosts weigh in. The co-hosts discuss French Pres. Emmanuel Macron downplaying a shove in the face from his wife Brigitte caught on camera. Emmy-winner and Tony-nominee Sarah Snook tells us about going wild on Broadway playing 26 different characters in "The Picture of Dorian Gray" and keeping up family ties from "Succession." Learn more about your ad choices. Visit podcastchoices.com/adchoices

Seth takes a closer look at Republicans disapproving of Trump's plan to accept a $400 million luxury jet from Qatar before speaking with guests Sarah Snook and Glenn Howerton.Then, Sarah Snook talks about how physically taxing it is to play 26 characters in her one-woman Broadway show The Picture of Dorian Gray and reuniting with her Succession co-star Kieran Culkin before sharing a story about the time she thought she saw a ghost in a London theater.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Michelle Williams talks about starring in Dying For Sex — a dark but funny TV series based on a true story about a woman with stage four cancer who, facing death, decides to take ownership of her sexual pleasure. Also, we hear from Sarah Snook. She's best known for her role on HBO's Succession as Shiv Roy. She tells us why she almost didn't audition for the part. Snook was recently nominated for a Tony for her performance on Broadway in the stage adaptation of The Picture of Dorian Gray.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Snook, who played Shiv Roy on Succession, was just nominated for a Tony for playing all the characters in The Picture of Dorian Gray on Broadway. "I don't know what comes after this," she says. She talks about playing 26 different parts in Dorian, why she almost didn't audition for Succession, and the word she could never quite say in an American accent. Also, Ken Tucker shares a remembrance of the leader of Pere Ubu, David Thomas.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy