Podcasts about Duchy

Prince William and Aunt Sophie's rare joint outing at the Royal Cornwall Show had everyone buzzing as they celebrated rural life with gin, farming initiatives, and plenty of laughs. Their appearance highlighted their shared commitment to the Duchy of Cornwall and their growing public bond. Meanwhile, Kate Middleton's return to royal duties after her half-term break brings fresh insight into her balanced approach to family and monarchy. Despite overwhelmingly positive press, Kate's “ruthless” discipline and stoic resilience sparked new royal commentary.Prince William also earned accolades from conservationists, including Robert Irwin, for his environmental advocacy. Yet, not all press was so glowing: Meghan Markle's infamous twerking video continues to dominate headlines, while the Sussexes are under fire for their inconsistent messaging. Is it a PR disaster? Or just another stunt?Finally, Buckingham Palace's release of royal gifts adds a quirky touch to this week's royal coverage, featuring everything from a £329,000 Rolls-Royce to an Amazonian feather crown. Join us as we break down the week's royal highs and lows—from farm visits to twerking, and everything in between.(For uninterrupted, ad-free access to this program, visit Caloroga.com/plus! Premium subscribers also get early access to Crown & Controversy, our deep dive into the Royals post-The Crown.)

This week on Talking Royals, Charlene, Chris and Lizzie check out Meghan and Harry's dance moves after the couple shared a video from hospital just before she gave birth to Lilibet four years ago.Meanwhile, Prince William has been setting out his vision for the Duchy of Cornwall and Queen Camilla is set for a surprising new role of her own.Plus, Chris reveals the surprising stories about how he celebrated the Silver Jubilee as a young boy.Want to get in touch with the team? Email talkingroyals@itv.com.

Mściwe zjawy, szamanki i boginie – kobiety z koreańskich legend odzyskują głos i domagają się sprawiedliwości. Zapraszam do rozmowy z dr Renatą Iwicką z Uniwersytetu Jagiellońskiego. Link do książki "Duchy i boginie" - Jeon Heyjin.https://wuj.pl/ksiazka/duchy-i-boginie#oprawa-miekka-ze-skrzydelkami

W pięćset pięćdziesiątym trzecim tygodniu nadawania Szymas wybiera się na sesję terapeutyczną do doktora Allana J. Hilla. Jak bardzo luźną adaptacją gry jest filmowe „Until Dawn” (2025) ze scenariuszem Daubermana i Butlera? Dlaczego uważam, że oryginalna gra jest nieadaptowalna? Czy mimo to David F. Sandberg dowiózł i zaoferował fanom grozy dobrą rozrywkę? Które elementy gry próbowano przenieść na wielki ekran, co zaś świadomie pominięto? Czy liczne sceny zgonów potrafią zaskoczyć? Jaka jest definicja szaleństwa? Na ile słuszne są porównania „Until Dawn” ze sławnym „Domem w głębi lasu” (2011)? Czy Peter Stormare powrócił? Co tak właściwie czyha na zdrowie i życie protagonistów? Dlaczego niekoniecznie przejmujemy się ich losem? Czy jest szansa na sequel, który będzie wierniejszy grze? Odpowiedzi poznacie już za chwilę. Tylko w Nawiedzonym Podcaście! Plik mp3 do pobrania (32 min 14 sek)STREFA SPOILEROWA: 19:47

Hooked FM #522 - Blades of Fire, Anno 117, Deliver At All Costs, Drop Duchy & mehr!

W pięćset pięćdziesiątym drugim tygodniu nadawania Mando i Szymas ledwo uchodzą z życiem z katastrofy budowlanej, a następnie wraz z rodziną Reyes próbują oszukać śmierć! Na ile znamy i lubimy franczyzę „Final Destination”? Które otwarcie z dotychczasowych sześciu oceniamy najlepiej? W jaki sposób "Oszukać przeznaczenie: Więzy krwi" (2025) nawiązuje i spaja pozostałe filmy z serii? Czy postawienie w centrum wydarzeń dwóch rodzin pozytywnie wpłynęło na emocje wywoływane w trakcie seansu? Jak Mando i Szymas reagują na szklane podłogi? Która śmierć zrobiła na nas największe wrażenie? Jak twórcy pożegnali Tony'ego Todda? Co sądzimy o posiadaniu kolczyków w różnych nietypowych miejscach? Jak oceniamy scenę na porodówce? Której postaci współczujemy najmocniej? Czy szukalibyśmy schronienia w domu Iris? Czego oczekujemy od ewentualnego sequela? Odpowiedzi poznacie już za chwilę. Tylko w Nawiedzonym Podcaście! Plik mp3 do pobrania (1 godz 16 min 14 sek)

After the death of Jane Seymour in 1537, Henry VIII was once again single and looking to mingle. But he was a man with a bit of reputation by then, and perhaps the daughters of England weren't in a hurry to roll those particular dice. Artist Hans Holbein was dispatched to Europe to paint the portraits of eligible royals and nobles for Henry's consideration. In the Duchy of Cleves (part of modern Germany), Henry found both his next bride and a Protestant ally against increasing pressure from a French-Spanish Catholic alliance. But it's Henry VIII, so you know the relationship didn't go as was expected. Though Anne of Cleves came to England and was wed to the king, she committed a faux pas in their first bizarre meeting, which hurt Henry's feelings. Henry never recovered, the marriage was annulled after six months, but for whatever reason, the famously vengeful king gave his would-be wife an extremely generous settlement. Anne of Cleves, notably among Henry's wives, was able to live her best single life well into the reign of Queen Mary I. Listen ad-free at patreon.com/trashyroyalspodcast. To advertise on this podcast, reach out to info@amplitudemediapartners.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

How does DOOM: The Dark Ages measure up? And what does compiling shaders mean, anyways? Drop Duchy combines the city builder genre with Tetris and deckbuilding, and we find out if the Halo games hold up. ADD THESE TO YOUR BACKLOG Halo: Reach, DOOM: The Dark Ages, Drop Duchy OTHER TOPICS Marathon, HUNGER, 9 Kings, ‘Helldivers 2' Studio's Next Game Will Be Free From PlayStation Partnership For more content, check out dlgaming.net. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week's show is a roguelike roundup, as I play some chilled out turn-based games as a Clair Obscur comedown. Reviewed: Star Vaders and Drop Duchy. In the roundup: To a T, Monster Train 2, Tainted Grail: Fall of Avalon.If you'd like more GITW episodes, there are 16 patron bonus episodes you can unlock for a couple of bucks at http://patreon.com/gaminginthewild.Watch the videos I make on YouTube: http://youtube.com/gaminginthewild.Follow the podcast's Steam curator page to see if games you're browsing come pod-recommended: https://store.steampowered.com/curator/43457463-Gaming-in-the-Wild-%2528unofficial%2529/.And thanks for listening, as always!

I was delighted to talk to the historian Helen Castor (who writes The H Files by Helen Castor) about her new book The Eagle and the Hart. I found that book compulsive, and this is one of my favourite interviews so far. We covered so much: Dickens, Melville, Diana Wynne Jones, Hilary Mantel, whether Edward III is to blame for the Wars of the Roses, why Bolingbroke did the right thing, the Paston Letters, whether we should dig up old tombs for research, leaving academia, Elizabeth I, and, of course, lots of Shakespeare. There is a full transcript below.Henry: Is there anything that we fundamentally know about this episode in history that Shakespeare didn't know?Helen: That's an extremely good question, and I'm tempted now to say no.Helen told me what is hardest to imagine about life in the fourteenth century.I think it's relatively easy to imagine a small community or even a city, because we can imagine lots of human beings together, but how relationships between human beings happen at a distance, not just in terms of writing a letter to someone you know, but how a very effective power structure happens across hundreds of miles in the absence of those things is the thing that has always absolutely fascinated me about the late Middle Ages. I think that's because it's hard, for me at least, to imagine.Good news to any publishers reading this. Helen is ready and willing to produce a complete edition of the Paston Letters. They were a bestseller when they were published a hundred years ago, but we are crying out for a complete edition in modern English.Henry: If someone wants to read the Paston Letters, but they don't want to read Middle English, weird spelling, et cetera, is there a good edition that they can use?Helen: Yes, there is an Oxford World's Classic. They're all selected. There isn't a complete edition in modern spelling. If any publishers are listening, I would love to do one. Henry: Yes, let's have it.Helen: Let's have it. I would really, really love to do that.Full TranscriptHenry: Today I am talking to the historian, Helen Castor. Helen is a former fellow of Sydney Sussex College in Cambridge. She has written several books of history. She is now a public historian, and of course, she has a Substack. The H Files by Helen CastorWe are going to talk mostly about her book, The Eagle and the Hart, which is all about Richard II and Henry IV. I found this book compulsive, so I hope you will read it too. Helen, welcome.Helen: Thank you very much for having me, Henry.Henry: You recently read Bleak House.Helen: I did.Henry: What did you think?Helen: I absolutely loved it. It was a long time since I'd read any Dickens. I read quite a lot when I was young. I read quite a lot of everything when I was young and have fallen off that reader's perch, much to my shame. The first page, that description of the London fog, the London courts, and I thought, "Why have I not been doing it for all these years?"Then I remembered, as so often with Dickens, the bits I love and the bits I'm less fond of, the sentimentality, the grotesquerie I'm less fond of, but the humour and the writing. There was one bit that I have not been able to read then or any of the times I've tried since without physically sobbing. It's a long time since a book has done that to me. I don't want to spoil it for anyone who hasn't read it, but--Henry: I'm sure I know what you mean. That's quite a sentimental passage.Helen: It is, but not sentimental in the way that I find myself objecting to. I think I really respond viscerally to this sentimentalising of some of his young women characters. I find that really off-putting, but I think now I'm a parent, and particularly I'm a parent of a boy [laughter]. I think it's that sense of a child being completely alone with no one to look after them, and then finding some people, but too late for a happy ending.Henry: Too late.Helen: Yes.Henry: You've been reading other classic novels, I think, Moby Dick?Helen: I'm in the middle of Moby Dick as we speak. I'm going very slowly, partly because I'm trying to savour every sentence. I love the sentence so much as a form. Melville is just astonishing, and also very, very funny in a way I hadn't expected to keep laughing out loud, sometimes because there is such humour in a sentence.Sometimes I'm just laughing because the sentence itself seems to have such audacity and that willingness to go places with sentences that sometimes I feel we've lost in the sort of sense of rules-based sentences instead of just sticking a semicolon and keep going. Why not, because it's so gorgeous and full of the joy of language at that point? Anyway, I'm ranting now, but--Henry: No, I think a lot of rules were instituted in the early 20th century that said you can and cannot do all these things, and writers before that point had not often followed those rules. I think what it has led to is that writers now, they can't really control a long sentence, in the sense that Melville and Dickens will do a long sentence, and it is a syntactically coherent thing, even though it's 60, 70 longer words. It's not just lots of stuff, and then, and then. The whole thing has got a beautiful structure that makes sense as a unit. That's just not obvious in a lot of writing now.Helen: I think that's exactly right. Partly, I've been reading some of the Melville out loud, and having just got onto the classification of whales, you can see I'm going very slowly. Those sentences, which are so long, but it's exactly that. If you read them out loud, and you follow the sense, and the punctuation, however irregular it might be in modern terms, gives you the breathing, you just flow on it, and the excitement of that, even or perhaps especially when one is talking about the classification of whales. Just joyful.Henry: Will we be seeing more very long sentences in your next book?Helen: I think I have to get a bit better at it. The habit that I was conscious of anyway, but became acutely so when I had to read my own audiobook for the first time is that I think I write in a very visual way. That is how I read because mostly it's silent.I discovered or rediscovered that often what I do when I want to write a very long sentence is I start the sentence and then I put a diversion or extra information within em dashes in the middle of the sentence. That works on the page because you can see spatially. I love that way of reading, I love seeing words in space.A lot of different kinds of text, both prose and poetry, I read in space like that. If you're reading to be heard, then the difficulty of breaking into a sentence with, whether it's brackets or em dashes or whatever, and then rejoining the sentence further down has its own challenges. Perhaps I ought to try and do less of that and experiment more with a Melvillian Dickensian onward flow. I don't know what my editor will think.Henry: What has brought you back to reading novels like this?Helen: I was wondering that this morning, actually, because I'm very aware having joined Substack, and of course, your Substack is one of the ones that is leading me further in this direction, very inspiringly, is discovering that lots of other people are reading and reading long novels now too. It reminded me of that thing that anyone with children will know that you have a baby and you call it something that you think only you have thought of, and then four years later, you call and you discover half the class is called that name. You wonder what was in the water that led everybody in that direction.I've just seen someone tweet this morning about how inspired they are by the builder next door who, on the scaffolding, is blasting the audiobook Middlemarch to the whole neighborhood.Henry: Oh my god. Amazing.Helen: It's really happening. Insofar as I can work out what led me as opposed to following a group, which clearly I am in some sense, I think the world at the moment is so disquieting, and depressing, and unnerving, that I think for me, there was a wish to escape into another world and another world that would be very immersive, not removed from this world completely. One that is very recognizably human.I think when I was younger, when I was in my teens and 20s, I loved reading science fiction and fantasy before it was such a genre as it is now. I'm a huge fan of Diana Wynne Jones and people like that.Henry: Oh, my god, same. Which one is your favorite?Helen: Oh, that is an impossible question to answer, partly because I want to go back and read a lot of them. Actually, I've got something next to me, just to get some obscurity points. I want to go back to Everard's Ride because there is a story in here that is based on the King's square. I don't know if I'm saying that right, but early 15th century, the story of the imprisoned King of Scotland when he was in prison in England. That one's in my head.The Dalemark Quartet I love because of the sort of medieval, but then I love the ones that are pure, more science fantasy. Which is your favorite? Which should I go back to first?Henry: I haven't read them all because I only started a couple of years ago. I just read Deep Secret, and I thought that was really excellent. I was in Bristol when I read it quite unwittingly. That was wonderful.Helen: Surrounded by Diana Wynne Jones' land. I only discovered many years into an obsession that just meant that I would read every new one while there were still new ones coming out. I sat next to Colin Burrow at a dinner in--Henry: Oh my god.Helen: I did sort of know that he was her son, but monstered him for the whole time, the whole course of sitting together, because I couldn't quite imagine her in a domestic setting, if you like, because she came up with all these extraordinary worlds. I think in days gone by, I went into more obviously imaginary worlds. I think coming back to it now, I wanted something big and something that I really could disappear into. I've been told to read Bleak House for so many decades and felt so ashamed I hadn't. Having done that, I thought, "Well, the whale."Henry: Have you read Diana Wynne Jones' husband's books, John Burrow? Because that's more in your field.Helen: It is, although I'm ashamed to say how badly read I am in medieval literary scholarship. It's weird how these academic silos can operate, shouldn't, probably don't for many, many people. I always feel I'm on horribly thin ground, thin ice when I start talking about medieval literature because I know how much scholarship is out there, and I know how much I haven't read. I must put John Burrow on my list as well.Henry: He's very readable. He's excellent.Helen: I think I can imagine, but I must go into it.Henry: Also, his books are refreshingly short. Your husband is a poet, so there's a lot of literature in your life at the moment.Helen: There is. When we met, which was 10 years ago-- Again, I don't think of myself as knowledgeable about poetry in general, but what was wonderful was discovering how much we had in common in the writing process and how much I could learn from him. To me, one of the things that has always been extremely important in my writing is the sentence, the sound of a sentence, the rhythm of a sentence folded into a paragraph.I find it extremely hard to move on from a paragraph if it's not sitting right yet. The sitting right is as much to do with sound and rhythm as it is to do with content. The content has to be right. It means I'm a nightmare to edit because once I do move on from a paragraph, I think it's finished. Obviously, my editor might beg to differ.I'm very grateful to Thomas Penn, who's also a wonderful historian, who's my editor on this last book, for being so patient with my recalcitrance as an editee. Talking to my husband about words in space on the page, about the rhythm, about the sound, about how he goes about writing has been so valuable and illuminating.I hope that the reading I've been doing, the other thing I should say about going back to big 19th-century novels is that, of course, I had the enormous privilege and learning curve of being part of a Booker jury panel three years ago. That too was an enormous kick in terms of reading and thinking about reading because my co-judges were such phenomenal reading company, and I learned such a lot that year.I feel not only I hope growing as a historian, but I am really, really focusing on writing, reading, being forced out of my bunker where writing is all on the page, starting to think about sound more, think about hearing more, because I think more and more, we are reading that way as a culture, it seems to me, the growth of audiobooks. My mother is adjusting to audiobooks now, and it's so interesting to listen to her as a lifelong, voracious reader, adjusting to what it is to experience a book through sound rather than on the page. I just think it's all fascinating, and I'm trying to learn as I write.Henry: I've been experimenting with audiobooks, because I felt like I had to, and I sort of typically hate audio anything. Jonathan Swift is very good, and so is Diana Wynne Jones.Helen: Interesting. Those two specifically. Is there something that connects the two of them, or are they separately good?Henry: I think they both wrote in a plain, colloquial style. It was very capable of being quite intellectual and had capacity for ideas. Diana Wynne Jones certainly took care about the way it sounded because she read so much to her own children, and that was really when she first read all the children's classics. She had developed for many years an understanding of what would sound good when it was read to a child, I think.Helen: And so that's the voice in her head.Henry: Indeed. As you read her essays, she talks about living with her Welsh grandfather for a year. He was intoning in the chapel, and she sort of comes out of this culture as well.Helen: Then Swift, a much more oral culture.Henry: Swift, of course, is in a very print-heavy culture because he's in London in 1710. We've got coffee houses and all the examiner, and the spectator, and all these people scribbling about each other. I think he was very insistent on what he called proper words in proper places. He became famous for that plain style. It's very carefully done, and you can't go wrong reading that out loud. He's very considerate of the reader that you won't suddenly go, "Oh, I'm in the middle of this huge parenthesis. I don't know how--" As you were saying, Swift-- he would be very deliberate about the placement of everything.Helen: A lot of that has to do with rhythm.Henry: Yes.Helen: Doesn't it? I suppose what I'm wondering, being very ignorant about the 18th century is, in a print-saturated culture, but still one where literacy was less universal than now, are we to assume that that print-saturated culture also incorporated reading out loud —Henry: Yes, exactly so. Exactly so. If you are at home, letters are read out loud. This obviously gives the novelists great opportunities to write letters that have to sort of work both ways. Novels are read out loud. This goes on into the 19th century. Dickens had many illiterate fans who knew his work through it being read to them. Charles Darwin's wife read him novels. When he says, "I love novels," what he means is, "I love it when my wife reads me a novel." [laughs]You're absolutely right. A good part of your audience would come from those listening as well as those reading it.Helen: Maybe we're getting back towards a new version of that with audiobooks expanding in their reach.Henry: I don't know. I saw some interesting stuff. I can't remember who was saying this. Someone was saying, "It's not an oral culture if you're watching short videos. That's a different sort of culture." I think, for us, we can say, "Oh yes, we're like Jonathan Swift," but for the culture at large, I don't know. It is an interesting mixed picture at the moment.Helen: Yes, history never repeats, but we should be wary of writing off any part of culture to do with words.Henry: I think so. If people are reporting builders irritating the neighbourhood with George Eliot, then it's a very mixed picture, right?Helen: It is.Henry: Last literary question. Hilary Mantel has been a big influence on you. What have you taken from her?Helen: That's quite a hard question to answer because I feel I just sit at her feet in awe. If I could point to anything in my writing that could live up to her, I would be very happy. The word that's coming into my head when you phrase the question in that way, I suppose, might be an absolute commitment to precision. Precision in language matters to me so much. Her thought and her writing of whatever kind seems to me to be so precise.Listening to interviews with her is such an outrageous experience because these beautifully, entirely formed sentences come out of her mouth as though that's how thought and language work. They don't for me. [chuckles] I'm talking about her in the present tense because I didn't know her, but I find it hard to imagine that she's not out there somewhere.Henry: She liked ghosts. She might be with us.Helen: She might. I would like to think that. Her writing of whatever genre always seems to me to have that precision, and it's precision of language that mirrors precision of thought, including the ability to imagine herself into somebody else's mind. That's, I suppose, my project as a historian. I'm always trying to experience a lost world through the eyes of a lost person or people, which, of course, when you put it like that, is an impossible task, but she makes it seem possible for her anyway and that's the road I'm attempting to travel one way or another.Henry: What is it about the 14th and 15th centuries that is hardest for us to imagine?Helen: I think this speaks to something else that Hilary Mantel does so extraordinarily well, which is to show us entire human beings who live and breathe and think and feel just as we do in as complex and contradictory and three-dimensional a way as we do, and yet who live in a world that is stripped of so many of the things that we take so much for granted that we find it, I think, hard to imagine how one could function without them.What I've always loved about the late Middle Ages, as a political historian, which is what I think of myself as, is that it has in England such a complex and sophisticated system of government, but one that operates so overwhelmingly through human beings, rather than impersonal, institutionalized, technological structures.You have a king who is the fount of all authority, exercising an extraordinary degree of control over a whole country, but without telephones, without motorized transport, without a professional police service, without a standing army. If we strip away from our understanding of government, all those things, then how on earth does society happen, does rule happen, does government happen?I think it's relatively easy to imagine a small community or even a city, because we can imagine lots of human beings together, but how relationships between human beings happen at a distance, not just in terms of writing a letter to someone you know, but how a very effective power structure happens across hundreds of miles in the absence of those things is the thing that has always absolutely fascinated me about the late Middle Ages. I think that's because it's hard, for me at least, to imagine.Henry: Good. You went to the RSC to watch The Henriad in 2013.Helen: I did.Henry: Is Shakespeare a big influence on this book? How did that affect you?Helen: I suppose this is a long story because Richard II and The Henriad have been-- there is Richard II. Richard II is part of The Henriad, isn't it?Henry: Yes.Helen: Richard II. Henry, see, this is-Henry: The two Henry IVs.Helen: -I'm not Shakespearean. I am. [laughs]Henry: No, it's Richard II, the two Henry IVs, and Henry V. Because, of course, Henry Bolingbroke is in Richard II, and it--Helen: Yes, although I never think of him as really the same person as Henry IV in the Henry IV plays, because he changes so dramatically between the two.Henry: Very often, they have a young actor and an old actor, and of course, in real life, that's insane, right?Helen: It's absolutely insane. I always separate Henry IV, parts I and II, and Henry V off from Richard II because it feels to me as though they operate in rather different worlds, which they do in lots of ways. My story with the Henry ad, now that we've established that I actually know what we're talking about, goes back to when I was in my teens and Kenneth Branagh was playing Henry V in Stratford. I grew up very near Stratford.At 15, 16, watching the young Branagh play Henry V was mind-blowing. I went a whole number of times because, in those days, I don't know how it is now, but you could go and get standing tickets for a fiver on the day. More often than not, if there were spare seats, you would get moved into some extraordinary stall seats at-- I was about to say halftime, I'm a football fan, at the interval.Henry V was the play I knew best for a long time, but at the same time, I'd studied Richard II at school. The Henry IV plays are the ones I know least well. I'm interested now to reflect on the fact that they are the ones that depart most from history. I wonder whether that's why I find them hardest to love, because I'm always coming to the plays from the history. Richard II and Henry V actually have a lot to show us about those kings. They bear very close relationships with a lot of the contemporary chronicles, whereas the Henry IV ones is Shakespeare doing his own thing much more.Particularly, as you've just said, making Henry IV way too old, and/or depending which angle we're looking at it from, making Hotspur way too young, the real Hotspur was three years older than Henry IV. If you want to make Hotspur and how-- your young Turks, you have to make Henry IV old and grey and weary with Northumberland.Back in 2013, the really intense experience I had was being asked to go for a day to join the RSC company on a school trip to Westminster Hall and Westminster Abbey at the beginning of their rehearsal process, so when David Tennant was playing Richard II and Greg Doran was directing. That was absolutely fascinating. I'd been thinking about Richard and Henry for a very long time. Obviously, I was a long way away from writing the book I've just written.Talking to actors is an extraordinary thing for a historian because, of course, to them, these are living characters. They want to know what's in their character's mind. They want to know, quite rightly, the chronological progression of their character's thought. That is something that's become more and more and more and more important to me.The longer I go on writing history, the more intensely attached I am to the need for chronology because if it hasn't happened to your protagonist yet, what are you doing with it? Your protagonist doesn't yet know. We don't know. It's very dramatically clear to us at the moment that we don't know what's happening tomorrow. Any number of outrageous and unpredictable things might happen tomorrow.The same certainly was true in Richard II's reign, goes on being true in Henry IV's reign. That experience, in the wake of which I then went to see Henry IV, parts 1 and 2 in Stratford, was really thought-provoking. The extent to which, even though I'd been working on this period for a long time, and had taught this period, I still was struggling to answer some of those questions.Then I'd just had the similarly amazing experience of having a meeting with the Richard II cast and director at the Bridge Theatre before the Nicholas Heitner production with Jonathan Bailey as Richard went on stage. That was actually towards the end of their rehearsal process. I was so struck that the actor playing Bolingbroke in this production and the actor playing Bolingbroke in the production back in 2013 both asked the same excellent first question, which is so hard for a historian to answer, which is at what point does Bolingbroke decide that he's coming back to claim the crown, not just the Duchy of Lancaster?That is a key question for Bolingbroke in Richard II. Does he already know when he decides he's going to break his exile and come back? Is he challenging for the crown straight away, or is he just coming back for his rightful inheritance with the Duchy of Lancaster? That is the million-dollar question when you're writing about Bolingbroke in 1399.It's not possible to answer with a smoking gun. We don't have a letter or a diary entry from Henry Bolingbroke as he's about to step on board ship in Boulogne saying, "I'm saying I'm coming back for the Duchy of Lancaster." The unfolding logic of his situation is that if he's going to come back at all, he's going to have to claim the crown. When he admits that to himself, and when he admits that to anybody else, are questions we can argue about.It was so interesting to me that that's the question that Shakespeare's Richard II throws up for his Bolingbroke just as much as it does for the historical one.Henry: Is there anything that we fundamentally know about this episode in history that Shakespeare didn't know?Helen: That's an extremely good question, and I'm tempted now to say no.Henry: When I left your book, the one thing I thought was that in Shakespeare, the nobles turn against Richard because of his excesses. Obviously, he really dramatizes that around the death of Gaunt. From your book, you may disagree with this, I came away thinking, well, the nobles wanted more power all the time. They may not have wanted the king's power, but there was this constant thing of the nobles feeling like they were owed more authority.Helen: I think the nobles always want more power because they are ambitious, competitive men within a political structure that rewards ambition and competition. The crucial thing for them is that they can only safely pursue ambition and competition if they know that the structure they're competing within will hold.The thing that keeps that structure rooted and solidly in place is the crown and the things that the crown is there to uphold, namely, particularly, the rule of law because if the rule of law starts to crumble, then the risk is that the whole structure collapses into anarchy. Within anarchy, then a powerful man cannot safely compete for more power because an even more powerful man might be about to roll into his estates and take them over. There have to be rules. There has to be fair competition. The referee is there on a football pitch for a reason.The king, in some senses, whether you want to see him as the keystone in an arch that supports a building or whether he's a referee on a football pitch, there are reasons why powerful men need rules because rules uphold their power. What goes wrong with Richard is that instead of seeing that he and the nobles have a common interest in keeping this structure standing, and that actually he can become more powerful if he works with and through the nobles, he sees them as a threat to him.He's attempting to establish a power structure that will not be beholden to them. In so doing, he becomes a threat to them. This structure that is supposed to stand as one mutually supportive thing is beginning to tear itself apart. That is why Richard's treatment of Bolingbroke becomes such a crucial catalyst, because what Richard does to Bolingbroke is unlawful in a very real and very technical sense. Bolingbroke has not been convicted of any crime. He's not been properly tried. There's been this trial by combat, the duel with Mowbray, but it hasn't stopped arbitrarily, and an arbitrary punishment visited upon both of them. They're both being exiled without having been found guilty, without the judgment of God speaking through this duel.Richard then promises that Bolingbroke can have his inheritance, even though he's in exile. As soon as Gaunt dies, Richard says, "No, I'm having it." Now, all of that is unlawful treatment of Bolingbroke, but because Bolingbroke is the most powerful nobleman in the country, it is also a warning and a threat to every other member of the political classes that if the king takes against you, then his arbitrary will can override the law.That diagnosis is there in Shakespeare. It's the Duke of York, who in reality was just a completely hopeless, wet figure, but he says, and I've got it written down, keep it beside me.Henry: Very nice.Helen: Kind of ridiculous, but here it is. York says to Richard, "Take Herford's rights away and take from time his charters and his customary rights. Let not tomorrow then ensue today. Be not thyself, for how art thou a king, but by fair sequence and succession?" In other words, if you interfere with, and I know you've written about time in these plays, it's absolutely crucial.Part of the process of time in these plays is that the rules play out over time. Any one individual king must not break those rules so that the expected process of succession over time can take place. York's warning comes true, that Richard is unseating himself by seeking to unseat Bolingbroke from his inheritance.Henry: We give Shakespeare good marks as a historian.Helen: In this play, yes, absolutely. The things he tinkers with in Richard II are minor plot points. He compresses time in order to get it all on stage in a plausible sequence of events. He compresses two queens into one, given that Richard was married to, by the time he fell, a nine-year-old who he'd married when he was six. It's harder to have a six-year-old making speeches on stage, so he puts the two queens into one.Henry: You don't want to pay another actor.Helen: Exactly.Henry: It's expensive.Helen: You don't want children and animals on stage. Although there is a wonderful account of a production of Richard II on stage in the West End in 1901, with the Australian actor Oscar Asche in it, playing Bolingbroke. The duel scene, he had full armour and a horse, opening night. It was a different horse from the one he rehearsed with. He gives an account in his autobiography of this horse rearing and him somersaulting heroically off the horse.Henry: Oh my god.Helen: The curtain having to come down and then it going back up again to tumultuous applause. You think, "Oscar, I'm wondering whether you're over-egging this pudding." Anyway, I give Shakespeare very good marks in Richard II, not really in the Henry IV plays, but gets back on track.Henry: The Henry IV plays are so good, we're forgiven. Was Richard II a prototype Henry VIII?Helen: Yes. Although, of course, history doesn't work forwards like that. I always worry about being a historian, talking about prototypes, if you see what I mean, but--Henry: No, this is just some podcast, so we don't have to be too strict. He's over-mighty, his sense of his relationship to God. There are issues in parliament about, "How much can the Pope tell us what to do?" There are certain things that seem to be inherent in the way the British state conceives of itself at this point that become problematic in another way.Helen: Is this pushing it too far to say Richard is a second son who ends up being the lone precious heir to the throne who must be wrapped in cotton wool to ensure that his unique God-given authority is protected? Also describes Henry VIII.Henry: They both like fancy clothes.Helen: Both like fancy clothes. Charles I is also a second son who has to step up.Henry: With wonderful cuffs and collars. He's another big dresser.Helen: And great patrons of art. I think we're developing new historical--Henry: No, I think there's a whole thing here.Helen: I think there is. What Henry does, of course, in rather different, because a lot has changed thanks to the Wars of the Roses, the power of the nobility to stand up independently of the crown is significantly lessened by the political effects of the Wars of the Roses, not at least that a lot of them have had their heads cut off, or died in battle, and the Tudors are busy making sure that they remain in the newly subjected place that they find themselves in.Henry then finds to go back to Hilary Mantel, a very, very able political servant who works out how to use parliament for him in rejecting those extra English powers that might restrain him. I do always wonder what Richard thought he was going to do if he'd succeeded in becoming Holy Roman Emperor, which I take very seriously as a proposition from Richard.Most other historians, because it's so patently ridiculous, if you look at it from a European perspective, have just said, "Oh, he got this idea that he wanted to become Holy Roman Emperor," but, of course, it was never going to happen. In Richard's mind, I think it was extremely real. Whether he really would have tried to give the English crown to Rutland, his favorite by the end of the reign, while he went off in glory to be crowned by the Pope, I don't know what was in his head. The difference with Henry is that the ambitions he eventually conceives are very England-focused, and so he can make them happen.Henry: Is there some sort of argument that, if the king hadn't won the Wars of the Roses, and the nobility had flourished, and their sons hadn't been killed, the reformation would have just been much harder to pull off here?[silence]Helen: I wonder what that would have looked like, because in a sense, the king was always going to win the Wars of the Roses, in the sense that you have to have a king. The minute you had someone left standing after that mess, that protracted mess, if he knew what he was doing, and there are arguments about the extent to which Henry VII knew what he was doing, or was doing something very different, whether or not he knew it was different, but there was always going to be an opportunity for a king to assert himself after that.Particularly, the extent to which the lesser landowners, the gentry had realized they couldn't just rely on the nobility to protect them anymore. They couldn't just follow their lord into battle and abdicate responsibility.Henry: Okay.Helen: That's an interesting--Henry: How much should we blame Edward III for all of this?Helen: For living too long and having too many sons?Henry: My argument against Edward is the Hundred Years' War, it doesn't actually go that well by the end of his reign, and it's cost too much money. Too many dukes with too much power. It's not that he had too many sons, he elevates them all and creates this insane situation. The war itself starts to tip the balance between the king and parliament, and so now you've got it from the dukes, and from the other side, and he just didn't manage the succession at all.Even though his son has died, and it really needs some kind of-- He allowed. He should have known that he was allowing a vacuum to open up where there's competition from the nobles, and from parliament, and the finances are a mess, and this war isn't there. It's just… he just leaves a disaster, doesn't he?Helen: I think I'd want to reframe that a little bit. Perhaps, I'm too much the king's friend. I think the political, and in some senses, existential dilemma for a medieval king is that the best of all possible worlds is what Edward achieves in the 1340s and the 1350s, which is, fight a war for reasons that your subjects recognize as in the common interest, in the national interest. Fight it over there so that the lands that are being devastated and the villages and towns that are being burned are not yours. Bring back lots of plunder. Everybody's getting richer and feeling very victorious.You can harness parliament. When things are going well, a medieval king and a parliament are not rivals for power. An English king working with parliament is more powerful than an English king trying to work without parliament. If things are going well, he gets more money, he can pass laws, he can enforce his will more effectively. It's win-win-win if you're ticking all those boxes.As you're pointing out, the worst of all possible worlds is to be fighting a war that's going badly. To fight a war is a big risk because either you're going to end up winning and everything's great, or if it's going badly, then you'd rather be at peace. Of course, you're not necessarily in a position to negotiate peace, depending on the terms of the war you've established.Similarly, with sons, you want heirs. You want to know the succession is safe. I think Edward's younger sons would argue with you about setting up very powerful dukes because the younger ones really-- York and Gloucester, Edmund of Langley and Thomas of Woodstock, really didn't have much in the way of an estate given to them at all, and always felt very hard done by about that. John of Gaunt is set up very well because he's married off to the heir of the Duke of Lancaster who's handily died, leaving only daughters.Henry: That's the problem, isn't it, creating that sort of impact? John of Gaunt is far too rich and powerful.Helen: You say that, except he's unfeasibly loyal. Without Gaunt, disaster happens much, much, much earlier. Gaunt is putting all those resources into the project of propping up the English state and the English crown for way longer than Richard deserves, given that Richard's trying to murder him half the time in the 1380s.Henry: [laughs] For sure. No, I agree with you there, but from Edward III's point of view, it's a mistake to make one very powerful son another quite powerful son next to-- We still see this playing out in royal family dynamics.Helen: This is the problem. What is the perfect scenario in a hereditary system where you need an heir and a spare, but even there, the spare, if he doesn't get to be the heir, is often very disgruntled. [laughs] If he does get to be the heir, as we've just said, turns out to be overconvinced of his own-Henry: Oh, indeed, yes.Helen: -specialness. Then, if you have too many spares, you run into a different kind of problem. Equally, if you don't have a hereditary system, then you have an almighty battle, as the Anglo-Saxons often did, about who's actually going to get the crown in the next generation. It's a very tricky--Henry: Is England just inherently unstable? We've got the Black Death, France is going to be a problem, whatever happens. Who is really going to come to a good fiscal position in this situation? It's no one's fault. It's just there wasn't another way out.Helen: You could say that England's remarkably-- See, I'm just playing devil's advocate the whole time.Henry: No, good.Helen: You could say England is remarkably stable in the sense that England is very unusually centralized for a medieval state at this point. It's centralized in a way that works because it's small enough to govern. It's, broadly speaking, an island. You've got to deal with the Scotts border, but it's a relatively short border. Yes, you have powerful nobles, but they are powerful nobles who, by this stage, are locked into the state. They're locked into a unified system of law. The common law rules everyone. Everyone looks to Westminster.It's very different from what the King of France has been having to face, which has been having to push his authority outward from the Île-de-France, reconquer bits of France that the English have had for a long time, impose his authority over other princes of the realm in a context where there are different laws, there are different customs, there are different languages. You could say that France is in a much more difficult and unstable situation.Of course, what we see as the tide of the war turns again in the early 15th century is precisely that France collapses into civil war, and the English can make hay again in that situation. If Henry V had not died too young with not enough sons in 1423, and particularly, if he'd left a son who grew up to be any use at all, as opposed to absolutely none-- what am I saying? I'm saying that the structure of government in England could work astonishingly well given the luck of the right man at the helm. The right man at the helm had to understand his responsibilities at home, and he had to be capable of prosecuting a successful war abroad because that is how this state works best.As you've just pointed out, prosecuting a successful war abroad is an inherently unstable scenario because no war is ever going to go in your direction the entire time. That's what Richard, who has no interest in war at all is discovering, because once the tide of war is lapping at your own shores, instead of all happening over there, it's a very, very different prospect in terms of persuading parliament to pay for it, quite understandably.You talk about the Black Death. One of the extraordinary things is looking at England in 1348, 1349, when the Black Death hits. Probably, something approaching half the population dies in 18 months. If you're looking at the progress of the war, you barely notice it happened at all. What does the government do? It snaps into action and implements a maximum wage immediately, in case [chuckles] these uppity laborers start noticing there are fewer of them, and they can ask for more money.The amount of control, at that stage at least, that the government has over a country going through an extraordinary set of challenges is quite remarkable, really.Henry: Did Bolingbroke do the right thing?Helen: I think Bolingbroke did the only possible thing, which, in some senses, equates to the right thing. If he had not come back, he would not only have been abandoning his own family, his dynasty, his inheritance, everything he'd been brought up to believe was his responsibility, but also abandoning England to what was pretty much by that stage, clearly, a situation of tyranny.The big argument is always, well, we can identify a tyrant, we have a definition of tyranny. That is, if a legitimate king rules in the common interest and according to the law, then a tyrant rules not in the common interest, and not according to the law. But then the thing that the political theorists argue about is whether or not you can actively resist a tyrant, or whether you have to wait for God to act.Then, the question is, "Might God be acting through me if I'm Bolingbroke?" That's what Bolingbroke has to hope, because if he doesn't do what he does in 1399, he is abandoning everything his whole life has been devoted to maintaining and taking responsibility for. It's quite hard to see where England would then end up, other than with somebody else trying to challenge Richard in the way that Henry does.Henry: Why was he anointed with Thomas Becket's oil?Helen: Because Richard had found it in the tower, [chuckles] and was making great play of the claims that were made for Thomas. This is one of the interesting things about Richard. He is simultaneously very interested in history, and interested in his place in history, his place in the lineage of English kings, going all the way back, particularly to the confessor to whom he looks as not only a patron saint, but as in some sense, a point of identification.He's also seeking to stop time at himself. He doesn't like to think about the future beyond himself. He doesn't show any interest in fathering an heir. His will is all about how to make permanent the judgments that he's made on his nobles. It's not about realistically what's going to happen after his death.In the course of his interest in history, he has found this vial of oil in the tower somewhere in a locked drawer with a note that says, "The Virgin gave this to Thomas Becket, and whoever is anointed with this oil shall win all his battles and shall lead England to greatness," et cetera. Richard has tried to have himself re-anointed, and even his patsy Archbishop of Canterbury that he's put in place after exiling the original one who'd stood up to him a bit.Even the new Archbishop of Canterbury says, "Sire, anointing doesn't really work like that. I'm afraid we can't do it twice." Richard has been wearing this vial round his neck in an attempt to claim that he is not only the successor to the confessor, but he is now the inheritor of this holy oil. The French king has had a holy oil for a very long time in the Cathedral of Reims, which was supposedly given to Clovis, the first king of France, by an angel, et cetera.Richard, who is always very keen on emulating, or paralleling the crown of France, is very, very keen on this. If you were Henry coming in 1399 saying, "No, God has spoken through me. The country has rallied to me. I am now the rightful king of England. We won't look too closely at my justifications for that," and you are appropriating the ceremonial of the crown, you are having yourself crowned in Westminster Abbey on the 13th of October, which is the feast day of the confessor, you are handed that opportunity to use the symbolism of this oil that Richard has just unearthed, and was trying to claim for himself. You can then say, "No, I am the first king crowned with this oil," and you're showing it to the French ambassadors and so on.If we are to believe the chroniclers, it starts making his hair fall out, which might be a contrary sign from God. It's a situation where you are usurping the throne, and what is questionable is your right to be there. Then, any symbolic prop you can get, you're going to lean on as hard as you can.Henry: A few general questions to close. Should we be more willing to open up old tombs?Helen: Yes. [laughs]Henry: Good. [laughs]Helen: I'm afraid, for me, historical curiosity is-- Our forebears in the 18th and 19th century had very few qualms at all. One of the things I love about the endless series of scholarly antiquarian articles that are-- or not so scholarly, in some cases, that are written about all the various tomb openings that went on in the 18th and 19th century, I do love the moments, where just occasionally, they end up saying, "Do you know what, lads? Maybe we shouldn't do this bit." [chuckles]They get right to the brink with a couple of tombs and say, "Oh, do you know what? This one hasn't been disturbed since 1260, whatever. Maybe we won't. We'll put it back." Mostly, they just crowbar the lid off and see what they can find, which one might regret in terms of what we might now find with greater scientific know-how, and et cetera. Equally, we don't do that kind of thing anymore unless we're digging up a car park. We're not finding things out anyway. I just love the information that comes out, so yes, for me.Henry: Dig up more tombs.Helen: Yes.Henry: What is it that you love about the Paston Letters?Helen: More or less everything. I love the language. I love the way that, even though most of them are dictated to scribes, but you can hear the dictation. You can hear individual voices. Everything we were saying about sentences. You can hear the rhythm. You can hear the speech patterns. I'm no linguistic expert, but I love seeing the different forms of spelling and how that plays out on the page.I love how recognizable they are as a family. I love the fact that we hear women's voices in a way that we very rarely do in the public records. The government which is mainly what we have to work with. I love Margaret Paston, who arrives at 18 as a new bride, and becomes the matriarch of the family. I love her relationship with her two eldest boys, John and John, and their father, John.I do wish they hadn't done that because it doesn't help those of us who are trying to write about them. I love the view you get of late medieval of 15th-century politics from the point of view of a family trying to survive it. The fact that you get tiny drops in letters that are also about shopping, or also about your sisters fall in love with someone unsuitable. Unsuitable only, I hasten to add, because he's the family bailiff, not because he isn't a wonderful and extremely able man. They all know those two things. It's just that he's a family bailiff, and therefore, not socially acceptable.I love that experience of being immersed in the world of a 15th-century gentry family, so politically involved, but not powerful enough to protect themselves, who can protect themselves in the Wars of the Roses in any case.Henry: If someone wants to read the Paston Letters, but they don't want to read Middle English, weird spelling, et cetera, is there a good edition that they can use?Helen: Yes, there is an Oxford World's Classic. They're all selected. There isn't a complete edition in modern spelling. If any publishers are listening, I would love to do one. [chuckles]Henry: Yes, let's have it.Helen: Let's have it. I would really, really love to do that. There are some very good selections. Richard Barber did one many years ago, and, of course, self-advertising. There is also my book, now more than 20 years old, about the Paston family, where I was trying to put in as much of the letters as I could. I wanted to weave the voices through. Yes, please go and read the Paston Letters in selections, in whatever form you can get them, and let's start lobbying for a complete modernized Paston.Henry: That's right. Why did you leave academia? Because you did it before it was cool.Helen: [laughs] That's very kind of you to say. My academic life was, and is very important to me, and I hate saying this now, because the academic world is so difficult now. I ended up in it almost by accident, which is a terrible thing to say now, people having to-- I never intended to be an academic. My parents were academics, and I felt I'd seen enough and wasn't sure I wanted to do that.I couldn't bear to give up history, and put in a PhD application to work with Christine Carpenter, who'd been the most inspiring supervisor when I was an undergraduate, got the place, thought, "Right, I'm just going to do a PhD." Of course, once you're doing a PhD, and everyone you know is starting to apply for early career jobs, which weren't even called early career jobs in those days, because it was a million years ago.I applied for a research fellowship, was lucky enough to get it, and then applied for a teaching job, utterly convinced, and being told by the people around me that I stood no chance of getting it, because I was way too junior, and breezed through the whole process, because I knew I wasn't going to get it, and then turned up looking for someone very junior.I got this wonderful teaching job at Sidney Sussex in Cambridge and spent eight years there, learned so much, loved working with the students. I was working very closely with the students in various ways, but I wasn't-- I'm such a slow writer, and a writer that needs to be immersed in what I was doing, and I just wasn't managing to write, and also not managing to write in the way I wanted to write, because I was becoming clearer and clearer about the fact that I wanted to write narrative history.Certainly, at that point, it felt as though writing narrative history for a general audience and being an early career academic didn't go so easily together. I think lots of people are now showing how possible it is, but I wasn't convinced I could do it. Then, sorry, this is a very long answer to what's [crosstalk] your question.Henry: That's good.Helen: I also had my son, and my then partner was teaching at a very different university, I mean, geographically different, and we were living in a third place, and trying to put a baby into that geographical [chuckles] setup was not going to work. I thought, "Well, now or never, I'll write a proposal for a book, a narrative, a book for a general readership, a narrative book about the Paxton family, because that's what I really want to write, and I'll see if I can find an agent, and I'll see if I," and I did.I found the most wonderful agent, with whose help I wrote a huge proposal, and got a deal for it two weeks before my son was due. At that point, I thought, "Okay, if I don't jump now, now or never, the stars are aligned." I've been a freelance medieval historian ever since then, touching every wood I can find as it continues to be possible. I am very grateful for those years in Cambridge. They were the making of me in terms of training and in terms of teaching.I certainly think without teaching for those years, I wouldn't be anywhere near as good a writer, because you learn such a lot from talking to, and reading what students produce.Henry: How do you choose your subjects now? How do you choose what to write about?Helen: I follow my nose, really. It's not very scientific.Henry: Why should it be?Helen: Thank you. The book, bizarrely, the book that felt most contingent, was the one I wrote after the Paston book, because I knew I'd written about the Pastons in my PhD, and then again more of it in the monograph that was based on my PhD. I knew having written about the Pastons in a very academic, analytical way, contributing to my analysis of 15th-century politics. I knew I wanted to put them at the center and write about them. That was my beginning point.The big question was what to do next, and I was a bit bamboozled for a while. The next book I ended up writing was She-Wolves, which is probably, until now, my best-known book. It was the one that felt most uncertain to me, while I was putting it together, and that really started from having one scene in my head, and it's the scene with which the book opens. It's the scene of the young Edward VI in 1553, Henry VIII's only son, dying at the age of 15.Suddenly, me suddenly realizing that wherever you looked on the Tudor family tree at that point, there were only women left. The whole question of whether a woman could rule was going to have to be answered in some way at that point, and because I'm a medievalist, that made me start thinking backwards, and so I ended up choosing some medieval queens to write about, because they've got their hands on power one way or another.Until very close to finishing it, I was worried that it wouldn't hang together as a book, and the irony is that it's the one that people seem to have taken to most. The next book after that grew out of that one, because I found myself going around talking about She-Wolves, and saying repeatedly, "The problem these queens faced was that they couldn't lead an army on the battlefield."Women couldn't do that. The only medieval woman who did that was Joan of Arc, and look what happened to her. Gradually, I realized that I didn't really know what had happened to her. I mean, I did know what--Henry: Yes, indeed.Helen: I decided that I really wanted to write about her, so I did that. Then, having done that, and having then written a very short book about Elizabeth I, that I was asked to write for Penguin Monarchs, I realized I'd been haunted all this time by Richard and Henry, who I'd been thinking about and working on since the very beginning of my PhD, but I finally felt, perhaps, ready to have a go at them properly.It's all been pretty organic apart from She-Wolves, which was the big, "What am I writing about next?" That took shape slowly and gradually. Now, I'm going to write about Elizabeth I properly in a-Henry: Oh, exciting.Helen: -full-scale book, and I decided that, anyway, before I wrote this last one, but I-- It feels even righter now, because I Am Richard II, Know Ye Not That, feels even more intensely relevant having now written about Richard and Henry, and I'm quite intimidated because Elizabeth is quite intimidating, but I think it's good, related by your subjects.[laughter]Henry: Have you read the Elizabeth Jenkins biography?Helen: Many, many years ago. It's on my shelf here.Henry: Oh, good.Helen: In fact, so it's one of the things I will be going back to. Why do you ask particularly? I need--Henry: I'm a big Elizabeth Jenkins fan, and I like that book particularly.Helen: Wonderful. Well, I will be redoubled in my enthusiasm.Henry: I look forward to seeing what you say about it. What did you learn from Christine Carpenter?Helen: Ooh. Just as precision was the word that came into my head when you asked me about Hilary Mantel, the word that comes into my head when you ask about Christine is rigor. I think she is the most rigorous historical thinker that I have ever had the privilege of working with and talking to. I am never not on my toes when I am writing for, talking to, reading Christine. That was an experience that started from the first day I walked into her room for my first supervision in 1987.It was really that rigor that started opening up the medieval world to me, asking questions that at that stage I couldn't answer at all, but suddenly, made everything go into technicolor. Really, from the perspective that I had been failing to ask the most basic questions. I would sometimes have students say to me, "Oh, I didn't say that, because I thought it was too basic."I have always said, "No, there is no question that is too basic." Because what Christine started opening up for me was how does medieval government work? What are you talking about? There is the king at Westminster. There is that family there in Northumberland. What relates the two of them? How does this work? Think about it structurally. Think about it in human terms, but also in political structural terms, and then convince me that you understand how this all goes together. I try never to lose that.Henry: Helen Castor, thank you very much.Helen: Thank you so much. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

W pięćset pięćdziesiątym pierwszym tygodniu nadawania Marta, Sev i Szymas wyruszają do Clarksdale roku pańskiego 1932, by uczestniczyć w otwarciu knajpy Smoke'a i Stacka! Jakie były nasze oczekiwania wobec nowego filmu Ryana Cooglera? Ile horroru znajdziemy w „Grzesznikach” (2025)? Czy Sev wyszedł z kina w trakcie seansu „Longlegs” (2024)? W jaki sposób Coogler wykorzystuje dźwięk przestrzenny? Jak oceniamy scenę z muzyką łączącą przeszłość, teraźniejszość i przyszłość? Czy jest to film o rasizmie? Co sądzimy o scenach batalistycznych i choreografii walk? W jakim kontekście wspomnimy o „Ganja & Hess” (1973)? Jak oceniamy symbolikę w finale? Kto z naszego trio nie obejrzał obu scen na/po napisach? Co łączy bluesa i religię? Czy wszyscy jesteśmy grzesznikami? Odpowiedzi poznacie już za chwilę. Tylko w Nawiedzonym Podcaście! Plik mp3 do pobrania (1 godz 34 min 44 sek)31:08 STREFA SPOILEROWA

Episode Notes: Welcome back to Arcade Cozy! This week, we're catching up with a little bit of what we've been playing. On both of our ends? Clair Obscur: Expedition 33. We finished it so we talk about it a little. Then, Chris talks South of Midnight, Corey talks Drop Duchy, Citizen Sleeper 2, and Elder Scrolls 4: Oblivion too? Wow! It's a good episode, so cozy up -- we hope you enjoy it!Games discussed include Clair Obscur: Expedition 33, South of Midnight, The Elder Scrolls IV: Oblivion, Drop Duchy, Citizen Sleeper 2, and more!Do you have thoughts on what we talked about today? Are there things that we missed? Or do you have a few games you'd like us to check out? Hit us up on one of the avenues below—we would love to connect with you.Email us at arcadecozy@gmail.comTwitter at us (@arcade_cozy)Follow us on IG (@arcadecozy)Intro & outro music by Johnnybgood89

Der neue GTA-6-Trailer will von Manu, Michi und Basti geradezu auseinandergenommen werden, und das wird er. Außerdem bespricht das Trio das Doom-Like Wizordum, mehr Expedition 33 und Drop Duchy, einen wohligen Mix aus Tetris und Dorfromantik.

Keir Starmer has said that “nothing less than the complete re-wiring of the British state” is needed for the public sector – and in particular the civil service – to deliver the government's agenda. So what should this transformation look like – and how can it be made to last?   As the government's former lead Non-Executive Director, Michael Jary CBE worked closely with the Chancellor of the Duchy of Lancaster, the Cabinet Secretary, the Civil Service Chief Operating Officer, as well as other senior civil servants across government, and has an unparalleled view on what works in Whitehall – and beyond – and what needs to change. In a speech at the IfG, he set out his views on what needs to change – and how this change can be embedded throughout the civil service – before taking part in a panel conversation.   Alongside Michael, we were be joined by: Josie Cluer, Partner, People Advisory Services at Ernst & Young LLP Alex Thomas, Programme Director at the Institute for Government Rt Hon Sir Jeremy Quin, former Paymaster General and Minister for the Cabinet Office   The event was chaired by Emma Norris, Deputy Director of the Institute for Government. Learn more about your ad choices. Visit podcastchoices.com/adchoices

W pięćset pięćdziesiątym tygodniu nadawania Ghost Face™ goni Szymasa, Mando i Rycha po łąkach pod Licheniem. Dlaczego siedzimy w altance, a w tle śpiewają ptaszki? Czym tak właściwie jest „Scream The Game” od Funko? Co zawiera pudełko i jak prezentują się nóż oraz figurka mordercy? Dlaczego gra planszowa wymaga specjalnej aplikacji na telefon lub tablet? Co dzieje się, gdy w trakcie rozgrywki zadzwoni do nas Ghost Face™? Czym różni się tryb normal od trybu hard? Jak do tego doszło, że na kingowej majówce niekingowa gra zrobiła furorę? Ile razy przegraliśmy i dlaczego nie zepsuło nam to zabawy? Czy Face™ to nazwisko Ghosta? Odpowiedzi poznacie już za chwilę. Tylko w Nawiedzonym Podcaście! Plik mp3 do pobrania (45 min 13 sek)

W Polsce znajdziemy tysiące rzekomo nawiedzonych miejsc. Zwykle są to opuszczone zamki, pałace, domy, fabryki, sierocińce czy szpitale. Do niewyjaśnionych zjawisk może jednak dochodzić także w miejscach ciągle zamieszkanych. Wszystkie te lokalizacje zwykle łączy tragiczna historia, niemal zawsze związana z cierpieniem ludzi. Po czym można rozpoznać, że jakieś miejsce może być nawiedzone? Dlaczego zjawy, duchy pokazują się tylko wybranym, co chcą im przekazać? W jaki sposób, bezpiecznie i fachowo rejestrować ich obecność? Czym może skończyć się igranie z duchami, ich wywoływanie, zakłócanie im spokoju? Dlaczego badanie zjawisk paranormalnych nie jest dla wszystkich? Skąd bierze się tak wielkie nimi zainteresowanie? Kiedy zjawiska paranormalne mogą być groźne dla zdrowia i życia? Gośćmi Michała Poklękowskiego w tej edycji Drogowskazów są Piotr Chojnacki i Radosław Czajkowski z Mystery Hunters.

W pięćset czterdziestym dziewiątym tygodniu nadawania Szymas wypożycza kasetę VHS, której obejrzenie grozi śmiercią, natomiast Jerry filmuje lustra w domu znajomych. Czym tak właściwie jest „Fake Documentary Q” (2021-)? Co wyróżnia ten serial na tle innych mockumentów? W jaki sposób osiąga on skrajny wręcz realizm, a jednocześnie wywołuje efekt doliny niesamowitości? Czym jest pareidolia? Kto z nas oglądał fragmenty serialu na stopklatkach? Które epizody pierwszego sezonu wywarły na nas największe wrażenie? Jak bardzo absurdalne zlecenie może dostać fotograf i grafik w Japonii? Czy Jerry'emu zdarzyło się zastać noc na szlaku, a Szymasowi utknąć w zabetonowanym budynku? Jak staruszek z demencją spędza wolne popołudnia? Kto „zjadł tapiokę”? Co łączy operę Aida i nieistniejące jaskinie? Czy dziwna nuda może budzić fascynację lub prowadzić do paranoi? Odpowiedzi poznacie już za chwilę. Tylko w Nawiedzonym Podcaście! Plik mp3 do pobrania (1 godz 13 min 32 sek)

Keir Starmer has said that “nothing less than the complete re-wiring of the British state” is needed for the public sector – and in particular the civil service – to deliver the government's agenda. So what should this transformation look like – and how can it be made to last? As the government's former lead Non-Executive Director, Michael Jary CBE worked closely with the Chancellor of the Duchy of Lancaster, the Cabinet Secretary, the Civil Service Chief Operating Officer, as well as other senior civil servants across government, and has an unparalleled view on what works in Whitehall – and beyond – and what needs to change. In a speech at the IfG, he set out his views on what needs to change – and how this change can be embedded throughout the civil service – before taking part in a panel conversation. Alongside Michael, we were be joined by: Josie Cluer, Partner, People Advisory Services at Ernst & Young LLP Alex Thomas, Programme Director at the Institute for Government Rt Hon Sir Jeremy Quin, former Paymaster General and Minister for the Cabinet Office The event was chaired by Emma Norris, Deputy Director of the Institute for Government.

fWotD Episode 2917: Initial campaign of the Breton Civil War Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Wednesday, 30 April 2025, is Initial campaign of the Breton Civil War.The initial campaign of the Breton Civil War took place in 1341 when a French royal army intervened in a dynastic dispute between two claimants to the Duchy of Brittany. Brittany was a province of France, but although the dukes of Brittany were vassals of the French kings they governed the duchy as independent rulers. When Duke John III (r. 1312–1341) died on 30 April 1341, title to the duchy was claimed by both his niece, Joan of Penthièvre, and his younger half-brother, John of Montfort. Joan's claim was exercised through her husband, Charles of Blois, a nephew of the king of France, Philip VI (r. 1328–1350). A complicating factor was the ongoing Hundred Years' War between France and England that had broken out in 1337. A truce was in place which was due to expire in June 1341 but was extended to June 1342.It was generally assumed that Joan's claim would prevail and that Charles would become the new duke. But John acted quickly and installed friendly garrisons in most of the towns and castles of Brittany by August. He discussed the possibility of a military treaty with English emissaries but made no move towards effecting one. Rumours of these discussions reached Philip, causing him to turn against John and in September Charles was recognised as the new duke. John refused to give way and Philip sent an army to Brittany to impose Charles.Within a month John had been defeated and was a prisoner. His wife, Joanna of Flanders, sent the ducal treasury west to Brest, took command of her husband's field army, stormed the town of Redon and moved to the small but strongly walled town of Hennebont. She despatched a senior counsellor to encourage English military intervention, set up her two-year-old son, also named John, as the faction's figurehead and heir to his father's claim to the duchy, and waited on events. The war lasted 24 years, frequently as a part of the Hundred Years' War.This recording reflects the Wikipedia text as of 00:48 UTC on Wednesday, 30 April 2025.For the full current version of the article, see Initial campaign of the Breton Civil War 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 neural Gregory.

Today, we're taking a look back at some of the key moments and themes from series 4, exploring what we've learned and what it all means for the future of farming. Joining Peter is Emily Norton, a farmer and independent strategic adviser based in Norfolk. Emily works with farmers, investors, politicians and businesses on rural policy and emerging trends, with expertise in natural capital influences on land, food and farming. She writes a regular opinion column in Farmers Weekly and holds non-executive board positions at various organisations including the Duchy of Cornwall. Farming Focus is the podcast for farmers in the South West of England, but is relevant for farmers outside of the region or indeed anyone in the wider industry or who has an interest in food and farming. For more information on Cornish Mutual visit cornishmutual.co.ukFor our podcast disclaimer click here. If you'd like to send us an email you can contact us at podcast@cornishmutual.co.uk Timestamps00:15 Peter introduces the episode.01:25 Emily introduces herself. 02:55 CLIP 1 Izak van Heerden talks about working on the business. 04:13 Emily reflects on the key challenges that prevent farmers from working on the business rather than being 'in' it all the time. 07:07 CLIP 2 on rewilding with Jim Bliss08:01 Emily reflects on nature recovery and the future of nature in the UK.15:46 Working off the farm CLIP 3 with Rhian Marchant.16:36 Emily reflects on the definition of what it means to be a farmer today. 20:46 CLIP 4 with Ben Mortimer talking about farm clusters. 21:30 Emily reflects on collaboration and clusters. How can we encourage more collaboration in future?25:40 Beaver anecdotes from Peter.27:00 'Educating' people28:54 CLIP 5 with John Gilliland looking at farm data and baselining projects in Northern Ireland. 31:02 Emily reflects on the importance of baselining when it comes to influencing policy and investment. Are we doing enough to make this data useful and accessible for farmers?38:11 Where do the opportunities sit for farmers right now?41:54 Peter closes the episode and the series. 

W pięćset czterdziestym ósmym tygodniu nadawania Szymas chwyta za miotacz ognia i wraz z sierżantem Rockiem oraz jego Easy Company wyrusza skopać tyłki nazi-zombie i potwooornie się wynudzić! Jak prezentuje się polskie wydanie komiksu „Sierżant Rock i armia trupów”? Dlaczego znowu śpiewam w podcaście? Jakimi uczuciami darzę Bruce'a Campbella? Czy Bruce sprawdził się jako scenarzysta? Ile tutaj humoru, ile horroru, a ile akcji? Co powstanie z połączenia Paulo Coelho oraz Sun Tzu? Jak oceniam wstawki niemieckojęzyczne? Dlaczego raczej nigdy nie polubię się z rysunkami Eduardo Risso? Czy lepiej sięgnąć po ten komiks, czy może po „Zombie Army Trilogy” lub „Heavy Fire: Afghanistan”? Co tu tak śmierdzi naftaliną? Odpowiedzi poznacie już za chwilę. Tylko w Nawiedzonym Podcaście! Plik mp3 do pobrania (23 min 28 sek)

Tajemnice Południa: Legendy, Duchy i Potwory z Bagien Alabamy, Georgii i FlorydyZapraszamy w podróż do mrocznego serca amerykańskiego Południa, krainy przesiąkniętej historią, magią i… niewyjaśnionymi zjawiskami. W tym odcinku zagłębiamy się w bogaty świat południowego folkloru, od pradawnych indiańskich mitów po opowieści z czasów niewolnictwa i wojny secesyjnej.Opowiemy legendy o:Altamaha-ha: Gigantycznym wężu z rzeki Altamaha, strzegącym wód i bagien.Two-Toed Tom (Dwu-palczasty Tom): Straszliwym aligatorze o dwóch pazurach, postrachu farmerów i myśliwych na pograniczu Alabamy i Florydy.Huggin' Molly: Wysokiej, czarnej postaci nawiedzającej Abbeville w Alabamie, znanej z lodowatego uścisku i paraliżującego krzyku.Skunk Ape: Cuchnącej małpie z bagien Everglades, florydzkim odpowiedniku Bigfoota.Haintach i Boo Hag: Złowrogich duchach i nocnych zmorach z opowieści zniewolonych Afroamerykanów.Błędnych Ognikach: Złudnych światełkach wabiących podróżnych w pułapki bagien.Duchach plantacji, pól bitewnych i nawiedzonych miejsc.Diable na rozstajach dróg, który kusi talentem i bogactwem.Posłuchaj opowieści, które przekazywane są z pokolenia na pokolenie, zaczerpnięte z mętnych wód bagien, cichych cmentarzy i zapomnianych dróg. Czy prawda miesza się tu z legendą? Zdecydujcie sami…#PołudniowyFolklor #Legendy #Duchy #Potwory #Alabama #Georgia #Floryda #BagienneLegendy #OpowieściGrozy #Altamahaha #TwoToedTom #HugginMolly #SkunkApe #Hoodoo #Hainty #BooHag #Spearfinger #BlędneOgniki #Kryptyda #MrocznyPołudnie #CreepyPasta #UrbanLegends #Nadprzyrodzone #Mystery #Tajemnice #southofmidnight

W pięćset czterdziestym siódmym tygodniu nadawania Mando, Jerry i Szymas dosiadają królika z porożem i wyruszają na świąteczny festyn do Walburga, by nagrać DZIESIĄTY już odcinek Horrorów Wielkanocnych! Z jak dużym entuzjazmem powitamy Was w tej audycji? Kto z nas z wyprzedzeniem umył okna dla zajączka? Czy „Easter Killing 2” / „Easter Bunny Massacre The Bloody Trail” (2022) to sequel czy remake „Easter Killing” / „Easter Bunny Massacre” (2021)? Ile w tej produkcji nawiązań do „Krzyku” (1996), a ile do „Terroru w pociągu” (1980)? Co stało się ze strojem królika wykorzystanym w tym filmie? Jak Mando ocenia soundtrack nagrany przez woźnego na pianinie? Ile gier studia Piranha Bytes zostanie wymienionych w tym podcaście? Jaka kryptyda nawiedza miasteczko w „Easter Bloody Easter” (2024)? Do czego w wielkanocnym horrorze mogą służyć shurikeny? Ile świątecznych zwyczajów prezentuje ta produkcja? Czym jest Easter Palooza? Jak to jest, że Mando łyka świąteczne horrory w grudniu jak pelikan rybki, a na wiosnę marudzi jak stereotypowa stara baba? Co tam zostało nam na dnie wielkanocnego gara z wytworami filmopodobnymi? Czy to już koniec, nie ma już nic? Jesteśmy wolni, możemy iść? Odpowiedzi poznacie już za chwilę. Tylko w Nawiedzonym Podcaście! Plik mp3 do pobrania (1 godz 17 min 49 sek)

W pięćset czterdziestym szóstym tygodniu nadawania Szymas schodzi włazem do tokijskich kanałów i zaraża się tropikalną chorobą zakaźną, byle tylko nagrać relację z pewnego śledztwa. Jak gatunkowo zaklasyfikować drugą mangę w karierze Tetsuyi Tsutsuia, tj. „Manhole”? Co łączy ją fabularnie z omawianym tutaj przed tygodniem „Duds Hunt”? Ile horroru serwuje nam japoński mangaka? Dlaczego podkreślam, że to tytuł dla dorosłego czytelnika? Czy lektura może przywołać wspomnienia z ostatniej pandemii? Jak oceniam chemię między okładkowymi detektywami, Mizoguchim i Inoue? Na ile warsztat Tsutsuia ewoluował od czasu debiutu? Które ilustracje mocniej zapadają w pamięć? W jakich okolicznościach manga „Manhole” trafiła na indeks ksiąg zakazanych i czym zakończyła się ta historia? Odpowiedzi poznacie już za chwilę. Tylko w Nawiedzonym Podcaście! Plik mp3 do pobrania (22 min 41 sek)

W pięćset czterdziestym piątym tygodniu nadawania Szymas napoczyna swoją kolekcję tysiąca mang i kupuje ubezpieczenie na życie od Nakanishiego, czołowego gracza „Dud's Hunt”. Czym tak właściwie jest tytułowa gra z debiutanckiej mangi Tetsuyi Tsutsuia? Ile jego komiksów wydały w Polsce Hanami i Studio JG? Jak los Nakanishiego ma się do przygód Nanahary z „Battle Royale” Takamiego? Co wyróżnia kreskę Tsutsuia? Ile razy błędnie odmienię jego nazwisko w tym podcaście? Jak bardzo dziwaczna i niepokojąca jest dodatkowa nowela o tytule „Wielopoziomowe sny”? Którą mangusię omówię w kolejnym odcinku? Odpowiedzi poznacie już za chwilę. Tylko w Nawiedzonym Podcaście! Plik mp3 do pobrania (19 min 19 sek)

This episode has cows!

W pięćset czterdziestym czwartym tygodniu nadawania Szymas zawiera pakt z diabłem, by sprawdzić, czy James Tynion IV zamierza doprowadzić historię Koryntczyka do końca. W jaki sposób „Kraina Koszmarów. Szklany dom” kontynuuje wydarzenia z pierwszego tomu? Kim jest nowy główny, śmiertelny bohater? Ile horroru cielesnego i grozy otrzymamy tym razem? Czym odrzuciły mnie ilustracje Estherrena a.k.a. Hieronima Boscha i Llovet? Jak to możliwe, że lektura sprawiła mi frajdę, a tyle narzekam? Czy w końcu poznamy rozwiązanie zagadki Uśmiechniętego Człowieka? Kto się boi gadającego kota? Odpowiedzi poznacie już za chwilę. Tylko w Nawiedzonym Podcaście! Plik mp3 do pobrania (17 min 57 sek)

Born into a world of treachery, violence and death, William of Normandy defied all expectations, forging a legacy that lasts to this day. Born out of wedlock and dismissed as an upstart, he was originally known as William the Bastard. Inheriting the Duchy of Normandy at just eight years old, William was faced with betrayal, bloodshed, and anarchy. From the restless Normans, who expanded across Europe as mercenaries and horsemen, to the growing threat of Anjou, the early years of his reign were blighted by power struggles. Following the brutal murder of his guardians, and with Normandy on the brink of collapse, William was forced to survive in a world without loyalty, where ambition was the ultimate currency. Meanwhile, across the Channel, the English throne was in turmoil, as the sons of Æthelred the Unready fought for survival and power… Join Tom and Dominic as they trace William's rise from a vulnerable child to a formidable young duke, setting the stage for the ultimate confrontation: his claim to the English crown. _______ Twitter: @TheRestHistory @holland_tom @dcsandbrook Producer: Theo Young-Smith Assistant Producer: Tabby Syrett + Aaliyah Akude Executive Producers: Jack Davenport + Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices

W pięćset czterdziestym trzecim tygodniu nadawania Jerry zabiera Szymasa do piekła i z powrotem, by wspólnie prześledzić oryginalne przygody Franka Cottona! Kiedy ukazał się „Powrót z piekła” Clive'a Barkera? Za co doceniamy pomysł na kostkę LeMarchanda? Czy literacki splatterpunk sprzed blisko 40 lat nadal potrafi zaszokować fana horroru? Jak oceniamy koncept skrajnej rozkoszy jako bólu? Co Barker mówi nam o BDSM, a co o ludziach bez zahamowań moralnych? Ile miejsca poświecił Teologom Obrządku Blizny, a więc Cenobitom? Czy zamierzamy sięgnąć w przyszłości po „Szkarłatne Ewangelie”? A co z filmami? Odpowiedzi poznacie już za chwilę. Tylko w Nawiedzonym Podcaście!

On Nick Ferrari at Breakfast, Hundreds of people are reported to have been killed after Israel launched 'extensive' strikes on Gaza. Thousands of government credit cards will be cancelled to crack down on wasteful spending. Nick speaks to Chancellor of the Duchy of Lancaster Pat McFadden. President Donald Trump and Russian leader Vladimir Putin are set to speak in a phone call to discuss ending the war in Ukraine.All of this and more on Nick Ferrari - The Whole Show podcast.

The Chancellor of the Duchy of Lancaster tells us about his plan to shake up the state, by incentivising under-performing civil servants to leave their jobs. Plus: a world exclusive play of a new scene from James Graham's Dear England.

It's Steam Next Fest and we're checking out some new games! Bobby plays Monster Train 2 and Monaco 2 while Christian checks out Drop Duchy, but Taylor and Amanda are too busy playing getting sucked into Avowed's Eora. TOPICS Monster Train 2, Avowed, Drop Duchy, Monaco 2, Midnight Murder Club, HASTE: Broken Worlds, Mudborne: Frog Management Sim TIMESTAMPS 00:00 - Intro 1:35 - AMD Reveals new GPUs 3:40 - GAME NIGHT 5:53 - DLGcon! 7:50 - Anno 117 on IGN FanFest 9:20 - Monster Train 2

Jeff and Christian welcome freelance reviewer Veerender Singh Jubbal to the show this week to discuss the announcements of Nintendo's latest Pokemom Day, Warner Bros shutting down historic developers, a delay for Fable, and more! The Playlist: Veerender:  Pokemon TCG Pocket, AFK Journey, Pokemon Sleep, Infinity Nikki, Monster Hunter Wilds, Marvel Rivals Christian: Grid Legends; more Avowed  Jeff: Steam Next Fest demos: Wheel World, Hyperslice, Haste: Broken Worlds, Drop Duchy, Deliver at all Costs, Wanderstop, Is This Seat Taken? Shape of Dreams Parting Gifts!

Welcome to ohmTown. The Non Sequitur News Show is held live via Twitch and Youtube every day. We, Mayor Watt and the AI that runs ohmTown, cover a selection of aggregated news articles and discuss them briefly with a perspective merging Science, Technology, and Society. You can visit https://www.youtube.com/ohmtown for the complete history since 2022.Articles Discussed during the three shows that make up the Non Sequitur News - Weekend Edition for 3/2/2025 (WarCrafters, TechnologyToday, FourWheelTech):WarCrafters:Spy Game Festhttps://www.ohmtown.com/groups/warcrafters/f/d/this-post-will-self-destruct-in-5-seconds-steams-first-ever-spy-game-festival-is-kicking-off-in-may/Kaizenhttps://www.ohmtown.com/groups/warcrafters/f/d/one-of-the-best-puzzle-game-designers-is-back-with-kaizen-a-factory-story-a-game-about-manufacturing-japanese-consumer-goods-during-the-largest-economic-bubble-in-history/Breakout Reboothttps://www.ohmtown.com/groups/technologytoday/f/d/ataris-side-scrolling-breakout-reboot-arrives-on-march-25/Deckbuilder Roguelikeshttps://www.ohmtown.com/groups/warcrafters/f/d/youve-got-to-try-these-five-brilliant-free-roguelike-deckbuilder-game-demos-before-steam-nextfest-ends-on-march-3/Drop Duchyhttps://www.ohmtown.com/groups/warcrafters/f/d/drop-duchy-is-an-unholy-fusion-of-city-builder-roguelike-deckbuilder-and-tetris-and-you-can-try-it-for-free-right-now/TechnologyToday:Tiny 6 Gram Robothttps://www.ohmtown.com/groups/technologytoday/f/d/scientists-develop-tiny-6-gram-robot-that-swims-through-tight-spaces-with-ease/Bioflourescence in Paradisehttps://www.ohmtown.com/forums/d/scientists-discover-biofluorescence-in-birds-of-paradise-revealing-a-hidden-layer-of-mating-displays/Twisting and Stacking in 2Dhttps://www.ohmtown.com/groups/technologytoday/f/d/scientists-just-cracked-the-code-for-twisting-and-stacking-2d-materials/The Tiny Nano Antenna

Zapoznaj się z trendami rynkowymi na 2025 rok według OANDA TMS Brokers:https://go.tms.pl/UkladOtwarty(0:00) Wstęp (1:46) AfD to sygnał, że Niemcy się zmieniają? (7:42) Podstawowe hasła AfD (18:56) Środowiska w AfD (26:28) Elon Musk na wiecu wyborczym AfD – co chce osiągnąć? (31:52) Wywiad liderki AfD dla American Conservativ – dlaczego Polska powinna się nim zainteresować? (37:58) Nieprzychylne opinie o Polsce (41:16) 80 lecie wyzwolenia Auschwitz – reakcja niemieckich polityków (48:06) Co zrobić z AfD? Potępić czy uznać?

The Isles of Scilly were part of one of the longest wars in human history, but the main reason for the length of the very mild conflict was lagging paperwork. Research: “335-year-old War Ends for Scilly Isles.” Star Tribune. April 18, 1986. https://www.newspapers.com/image/188704902/?match=1 “The breakdown of 1641-2.” UK Parliament. https://www.parliament.uk/about/living-heritage/evolutionofparliament/parliamentaryauthority/civilwar/overview/the-breakdown/ Britannica, The Editors of Encyclopaedia. "Isles of Scilly". Encyclopedia Britannica, 7 Dec. 2024, https://www.britannica.com/place/Isles-of-Scilly-islands-England-United-Kingdom Britannica, The Editors of Encyclopaedia. "Bishops’ Wars". Encyclopedia Britannica, 23 Jun. 2019, https://www.britannica.com/event/Bishops-Wars Britannica, The Editors of Encyclopaedia. "Long Parliament". Encyclopedia Britannica, 23 Jun. 2019, https://www.britannica.com/topic/Long-Parliament Daniel Lysons, Samuel Lysons, 'The Scilly Islands', in Magna Britannia: Volume 3, Cornwall( London, 1814), British History Online https://www.british-history.ac.uk/magna-britannia/vol3/pp330-337 Davids, R.L. and A.D.K. Hawkyard. “SEYMOUR, Sir Thomas II.” The History of Parliament: the House of Commons 1509-155. 1982. Accessed online: https://www.historyofparliamentonline.org/volume/1509-1558/member/seymour-sir-thomas-ii-1509-49 “Dutch Proclaim End of War Against Britain's Scilly Isles.” New York Times. April 18, 1986. https://www.nytimes.com/1986/04/18/world/dutch-proclaim-end-of-war-against-britain-s-scilly-isles.html “The Execution of Charles I.” Historic Royal Places. https://www.hrp.org.uk/banqueting-house/history-and-stories/the-execution-of-charles-i/ “History of the Duchy.” Duchy of Cornwall. https://duchyofcornwall.org/history-of-the-duchy.html “The History of the Islands.” The Islands’ Partnership. https://www.visitislesofscilly.com/experience/things-to-do/history-and-heritage/the-history-of-the-islands “Holidays in the Isles of Scilly.” Manchester Evening News. Jan. 24, 1984. https://www.newspapers.com/image/927198725/?match=1&terms=isles%20of%20scilly “Isles of Scilly.” Duchy of Cornwall. https://duchyofcornwall.org/newton-park-estate.html#:~:text=A%20group%20of%20over%20200,residential%20buildings%20on%20the%20islands. Johnson, Ben. “The 335 Year War – The Isles of Scilly vs the Netherlands.” Historic UK. March 11, 2015. https://www.historic-uk.com/HistoryUK/HistoryofEngland/The-335-Year-War-the-Longest-War-in-History/ Ohlmeyer, Jane H.. "English Civil Wars". Encyclopedia Britannica, 6 Dec. 2024, https://www.britannica.com/event/English-Civil-Wars “Roy Duncan 1948 – 2014.” Council of the Isles of Scilly. Aug. 25, 2014. “Prehistoric communities off the coast of Britain embraced rising seas- what this means for today's island nations.” Bangor University. November 5, 2020. https://www.bangor.ac.uk/news/archive/prehistoric-communities-off-the-coast-of-britain-embraced-rising-seas-what-this-means-for-today-s-island-nations-44529#:~:text=By%2012%2C000%20years%20ago%2C%20the,smaller%2C%20engulfed%20by%20rising%20seas. Lysons, Daniel and Samuel Lysons, 'The Scilly Islands', in Magna Britannia: Volume 3, Cornwall( London, 1814), British History Online https://www.british-history.ac.uk/magna-britannia/vol3/pp330-337 Penhallurick, R.D. “Ancient and Early Medieval Coins from Cornwall & Scilly.” ROYAL NUMISMATIC SOCIETY SPECIAL PUBLICATION NO. 45. London. 2010. https://www.academia.edu/355282/Ancient_and_Early_Medieval_Coins_from_Cornwall_and_Scilly Sawyer, Katherine, PhD. “Scilly’s Hidden History.” Isles of Scilly. https://www.visitislesofscilly.com/home/blog/scillys-hidden-history#:~:text=Scilly%20was%20first%20visited%20by,as%20a%20lack%20of%20predators. Young-Brown, Fiona. “The World’s Longest War Only Ended in 1986.” Atlas Obscura. Jan. 19, 2016. https://www.atlasobscura.com/articles/the-worlds-longest-war-only-ended-in-1985 See omnystudio.com/listener for privacy information.

How have the Conservative party adapted to opposition? What lessons has it taken from its 14 years in power – and its big defeat at the general election? And what is it thinking about the way government should work – and could work better? Shadow chancellor of the Duchy of Lancaster Alex Burghart was in conversation with Hannah White. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Alex Burghart MP was in conversation with Dr Hannah White OBE, Director and CEO of the Institute for Government

After Tali fought for Eurovision success in 2024, the Grand Duchy is back with another edition of the Luxembourg Song Contest. Michael, Io and Icelandic queen Hera Björk preview the... LEARN MORE The post Previewing Luxembourg Song Contest 2025: Let the Duchy decide appeared first on JOY Eurovision.

#065 There's no guidebook for BDSM - but what if you could learn from experienced kinksters?

Alex BurghartPolitics. History. Food.What more do you want for Christmas?Alex Burghart is the Shadow Chancellor of the Duchy of Lancaster and fills in for Kemi Badenoch at PMQs.More importantly, he has a deep fat fryer and he's keen to experiment.This is the indulgent Christmas special we all needed. FOLLOW Alex on X: @alexburghartTHE POLITICAL PARTY IS BACK ON STAGE!Get tickets for all shows here: https://nimaxtheatres.com/shows/the-political-party-with-matt-forde/SEE Matt at on tour until March 2025, including his extra date at The Bloomsbury Theatre: https://www.mattforde.com/live-shows29 January: Norwich, Playhouse - EXTRA DATE2 February: Salford, Lowry4 February: Leeds, City Varieties5 February: Sheffield, The Leadmill6 February: Chelmsford Theatre7 February: Bedford, The Quarry Theatre12 February: Bath, Komedia13 February: Southend, Palace Theatre16 February: Cambridge, The Junction20 February: Nottingham, Lakeside Arts23 February: Brighton, Komedia25 February: Cardiff, Glee Club26 February: Bury St Edmunds, Theatre Royal28 February: Chelmsford Theatre - EXTRA DATE2 March: Bristol, Tobacco Factory4 March: Colchester Arts Centre - EXTRA DATE6 March: Birmingham, Glee Club - EXTRA DATE7 March: Maidenhead, Norden Farm - EXTRA DATE11 March: Aberdeen, Lemon Tree12 March: Glasgow, Glee Club27 March: Oxford, Glee Club - EXTRA DATE28 March: Nottingham, Lakeside Arts Centre - EXTRA DATE4 April: London, Bloomsbury Theatre - EXTRA DATE Hosted on Acast. See acast.com/privacy for more information.

Ho! Ho! Ho! To jest odcinek specjalny Allegro Tech Podcast. W przedświątecznej atmosferze rozmawiamy o pracy developerów, podróży powietrznej pewnego balonu i dobrych duchach Allegro, czyli ludziach, którzy na co dzień tworzą naszą platformę. Wzruszająca reklama świąteczna, wzmożony ruch na platformie czy wyzwanie Advent of Code? Z czym najbardziej zespołom developerskim w Allegro kojarzy się grudzień? Co składa się na inżynierię w kontekście Allegro i jak skala działania czasem pomaga nam sięgać po (nie)typowe rozwiązania? Co dobrze jest wiedzieć o developer experience w Allegro, czyli jak dbamy o to, aby naszym developer(k)om dobrze się kodowało? Czym poza programowaniem zajmują się dobre duchy Allegro? Jak dzielą się wiedzą i swoimi pasjami, spędzają razem czas oraz udzielają się społecznie? Jak automatyzacja wspiera codzienną pracę programistek i programistów w Allegro? Jak wykorzystaliśmy ją w testach regresji wizualnej, wdrażaniu kontraktu mikrousługowego oraz przy migracji kodu? O inicjatywach i projektach, w których spotkacie Bartka, blaskach i cieniach sztucznej inteligencji oraz narzędziach bez których nie wyobrażamy sobie już pracy posłuchacie w Allegro Tech Podcast. Allegro Tech Blog - https://allegro.tech/ Allegro Tech Meeting - prezentacja “baloon” Bartosz Gałek - Tak jak Obelix nie potrzebował magicznego napoju do bycia silnym, tak Bartosz nie potrzebuje kawy do tego, aby tryskać energią i zarażać nią Allegro jako Principal Engineer w obszarze Developer Experience. Prywatnie, fan gier planszowych, zwolennik i współtwórca otwartego oprogramowania.

Ho! Ho! Ho! To jest odcinek specjalny Allegro Tech Podcast. W przedświątecznej atmosferze rozmawiamy o tym, jak bezpiecznie i pewnie kupować prezenty, jak w Allegro definiujemy bezpieczeństwo i zaufanie oraz czego w Allegro pilnuje piesek Azorro. Z czym Allegrowiczkom i Allegrowiczom kojarzy się świąteczna gorączka zakupów? Na czym polega phishing i jego różne odmiany? Na co uważać, aby nie paść ofiarą oszustwa? Czym jest zaufanie w kontekście Allegro i jak budujemy je z myślą o użytkownikach naszej platformy? Jak wyglądają akcje security awareness dla pracowników oraz użytkowników Allegro i dlaczego warto odwiedzać stronę Allegro CERT (https://allegro.pl/cert)? O działaniach, w których w Allegro spotkacie Michała i Konrada oraz roli automatyzacji w ich codziennej pracy posłuchacie w Allegro Tech Podcast. Michał Krzyżan - Senior Information Security Specialist Zawodowo związany z bezpieczeństwem informacji, na co dzień dba o bezpieczeństwo w Allegro współpracując z różnymi obszarami biznesu. Szkoli i edukuje pracowników oraz - przy okazji różnych wydarzeń zewnętrznych - osoby spoza Allegro, przekazując wiedzę z zakresu cyberzagrożeń i bezpiecznych praktyk. Po godzinach z chęcią oddaje się wirtualnym przygodom w świecie gier Action RPG. Konrad Synoradzki - Director, Group Product & Engineering Od ponad 15 lat działa na styku produktu, UX i technologii, skutecznie zarządzając zespołami i tworząc rozwiązania, które realnie zmieniają doświadczenia milionów użytkowników. Specjalizuje się w rynkach polskim i CEE, koncentrując się na akwizycji użytkowników, budowaniu zaangażowania i zaufania. Prywatnie pasjonat książek, a po włosku bez problemu poradzi sobie przy kawie.

On Nick Ferrari at Breakfast,Ousted Syrian president Bashar al Assad has been 'granted asylum' in Moscow after his government fell following a lightning offensive. Nick speaks to former head of MI6 Sir Richard Dearlove. Angela Rayner says newts can't be more protected than people who need housing. Chancellor of the Duchy of Lancaster Pat McFadden joins live. Rapper Jay-Z has been accused of raping a 13-year-old girl after the MTV Video Music Awards in 2000.All of this and more on Nick Ferrari - The Whole Show Podcast.

Ho! Ho! Ho! To jest odcinek specjalny Allegro Tech Podcast. W przedświątecznej atmosferze rozmawiamy o badaniach UX, doświadczeniach użytkowników, świątecznych zwyczajach kupujących i dobrych duchach Allegro, czyli ludziach, którzy na co dzień tworzą naszą platformę. Jak wytłumaczyć rodzinie lub znajomym, czym zajmuje się UX Researcher i jak ta rola wygląda w Allegro? Jak przekładamy doświadczenia i opinie naszych użytkowników na nowe rozwiązania? Kto jeszcze, poza badacz(k)ami, angażuje się w ten proces? Kiedy faktycznie się zaczyna, a kiedy kończy sezon świąteczny w Allegro? Jak ułatwiamy kupującym poszukiwanie świątecznych prezentów i co użytkownicy Allegro doceniają w tym czasie najbardziej? Jak już teraz automatyzacja wspiera badaczy w codziennej pracy i czy kiedyś zastąpi człowieka? O projektach, w których w Allegro spotkacie Basię i Anię oraz odkryciach naszych badaczy na czeskim rynku e-commerce posłuchacie w Allegro Tech Podcast. #dobrzetubyć Barbara Kolber-Bugajska - Managerka, UX Research UX Research Managerka w Allegro, gdzie kieruje dwoma zespołami utalentowanych badaczy, koncentrujących się na zrozumieniu i doskonaleniu doświadczeń kupujących. Dzięki solidnemu wykształceniu w dziedzinie ekonomii behawioralnej i psychologii, wnosi głębokie zrozumienie ludzkiego zachowania do swojej pracy. Specjalizuje się w podejściu mixed-method, przekładając wyniki badań na strategię biznesową, która kształtuje kierunek rozwoju produktu. Jako mentorka Basia angażuje się w rozwijanie wiedzy swojego zespołu i regularnie dzieli się swoją wiedzą jako wykładowczyni akademicka. Występuje jako prelegentka na konferencjach, takich jak Ways Conf i UX Research Confetti. Anna Ostrowska - UX Researcherka Od 2020 roku w Allegro zajmuje się badaniami nad rozwiązaniami dla kupujących. Posiada naturalny talent do uważnego zbierania i organizowania danych (nie tylko tych badawczych). Jest przekonana, że zawsze warto zadawać kolejne pytania. Otwartość i zaangażowanie to kluczowe elementy jej zawodowej filozofii.

Following weeks of interviews and much speculation, Sir Chris Wormald has been confirmed as the new cabinet secretary. After a long civil service career, including stints as permanent secretary at the Department of Health and Social Care and the Department for Education and Skills, Wormald will succeed Simon Case and begin work as the country's most senior civil servant. Keir Starmer has said that it “will require nothing less than the complete rewiring of the British state to deliver bold and ambitious long-term reforms” – so how can Wormald meet that challenge? What is the best way for the new cabinet secretary to work with Keir Starmer and other senior ministers? How does a strong cabinet secretary add to the effectiveness of a government? How can Wormald change the way the civil service works so that it can best deliver the government's priorities? What steps can he take to restore civil service morale? And how might his experiences leading government departments help him approach the job of cabinet secretary? This special IfG webinar answered these questions – and yours – with a brilliant panel featuring: Dr Catherine Haddon, Programme Director at the Institute for Government Sir David Lidington, Cabinet Office minister and Chancellor of the Duchy of Lancaster, 2018–19 Alex Thomas, Programme Director at the Institute for Government The event was chaired by Emma Norris, Deputy Director of the Institute for Government.

This is Talking Royals - our weekly podcast about the royal family - with presenter, Charlene White and ITV News' Royal Editor Chris Ship and Royal Producer Lizzie Robinson.This week, Chris and Lizzie are joined by Channel 4's Alistair Jackson to discuss Channel 4's Dispatches on The King, The Prince & Their Secret Millions...The Duchy of Lancaster comments: “Over 87% of all duchy-let properties are rated E or above. The remainder are either awaiting scheduled improvement works or are exempted under UK legislation." And that “His majesty the king voluntarily pays tax on all income received from the duchy.”

On Nick Ferrari at Breakfast,Kamala Harris has said she is "proud" of her Presidential election campaign after losing to Donald Trump. Sir Keir Starmer has been urged by Kemi Badenoch to apologise for comments David Lammy previously made about Trump.Nick speaks to Chancellor of the Duchy of Lancaster Pat McFadden and Shadow Chancellor Mel Stride. All of this and more on the Nick Ferrari Whole Show Podcast.

Charles and Prince William's estates are under scrutiny after a report revealed they're raking in millions from public services and charities through the Duchies of Lancaster and Cornwall. The estates are expected to earn millions from leasing land to UK public services and charities. Together, the estates control over 5,400 leases and, with exemptions from business taxes, are projected to bring in at least £50 million. This includes revenue from the NHS, schools, and the Ministry of Justice, such as an £11.4 million lease to the Guy's and St Thomas' NHS Trust and £37 million from Dartmoor Prison.Notably, some estate properties rented to charities, like Marie Curie and Macmillan, are now vacant due to rising costs. Despite a focus on environmental concerns, about 13-14% of residential properties under the duchies have low energy ratings, below the legal rental minimum of E. This has fueled calls for increased transparency and tax compliance, with critics urging that the estates pay corporation tax and operate similarly to the Crown Estate, which redirects its profits to the government.The investigation has cast a chilly spotlight on Prince William's inherited estate, revealing that dozens of his rental properties reportedly fail to meet minimum legal energy standards. The probe, conducted with Channel 4's Dispatches, found that 1 in 7 rentals in the Duchy of Cornwall estate are at the lowest Energy Performance Certificate ratings, F or G, which fall below legal requirements. Tenants in these properties reported struggling with mould, damp, and inefficient heating systems, pushing many into fuel poverty.One tenant shared that they can only afford to heat two rooms in their home with coal and wood, explaining, “It gets miserably cold, especially in the winter.” Another described drafts so severe that curtains move with the wind. Despite the Duchy's £91 million in recent profits, the report found that necessary upgrades like double glazing and insulation were largely neglected, with some tenants fearing eviction or steep rent hikes if they asked for improvements.Prince William, now the Duke of Cornwall, inherited management of the estate from his father, King Charles, a staunch environmental advocate, who oversaw it until 2022. In response, the Duchy asserts its commitment to improving properties and pursuing net-zero status by 2032. But critics argue this royal estate's policies on energy efficiency have left tenants in untenable conditions, exposing them to undue health risks and highlighting broader flaws in the UK rental system.Unlock an ad-free podcast experience with Caloroga Shark Media! Get all our shows on any player you love, hassle free! For Apple users, hit the banner on your Apple podcasts app. For Spotify or other players, visit caloroga.com/plus. No plug-ins needed!  You also get 20+ other shows on the network ad-free!   

Usłyszałam kiedyś od koleżanki, że duchowość jest dla niej niezwykle ważna. Było to zanim zaczęłam zajmować się psychologią. Skojarzyłam to wyznanie dość jednoznacznie, z religią. A potem, z biegiem czasu (i na różnych polach obserwowalnym kryzysem związanym z np. odchodzeniem od praktyk religijnych) zaobserwowałam, że duchowość ma przeróżne formy. W psychologii, jak to w psychologii - jest wymiarem i przedmiotem badań.Po co nam duchowość? Kto i dlaczego jej potrzebuje? Czy duchowość new age to nowy trend a może kompensacyjna próba przywrócenia… no właśnie, czego?O tym porozmawiam z moją i Waszą dzisiejszą Gościnią!Za możliwość realizacji, produkcji i dystrybucji tego podcastu kłaniam się nisko Patronom i Patronkom!Beata Urbańska - Psycholożka społeczna. W ramach doktoratu prowadzi badania dotyczące tego, w jaki sposób ludzie rozumieją wolność oraz jakie ma to konsekwencje dla zachowań prospołecznych i pro-ekologicznych. Interesuje się też tym, w jaki sposób religijność i duchowość wpływają na dobrostan i gotowość do pomagania innym. Zawodowo związana z Uniwersytetem SWPS, gdzie pracuje w Katedrze Psychologii Społecznej w Warszawie i prowadzi zajęcia ze studentami.……………………………….