Podcasts about Four Weddings

Mark Zucker is the Co-Founder of MCVO Talent Outsourcing. He is based in Chicago, Illinois. Mark shares his journey from founding a wedding album manufacturing company (almost 30 years ago) to starting MCVO, which specializes in helping small businesses in North America. He highlights the benefits of the Philippines as a BPO destination, citing its respectful culture, strong English proficiency, and service-oriented mindset. Zucker emphasizes the importance of understanding client needs, maintaining client relationships, and providing simplified pricing models. He advises entrepreneurs to seek knowledgeable, involved partners and to consider the feasibility of outsourcing tasks. Mark talked to Peter Ryan about his journey as an entrepreneur and the specific needs of smaller companies when outsourcing. https://www.linkedin.com/in/markzucker/ https://www.mcvotalent.com/

This week, we hope you have a box of tissues handy, because here come the waterworks and the epic highs and lows of Four Weddings and a Funeral (1994). After a brief contemplation on whether Madison's one-eyed step-cat can wink, our hosts make a mad dash to the chapel alongside a star-studded cast including Hugh Grant, Andie MacDowell, John Hannah, Rowan Atkinson, and even more "Oh, wait, I know them!"-Brits. Between the laughs are genuine tear-jerker moments that lead to another thoughtful discussion on grief and how love inevitably comes with loss. (We promise it's not a downer, but you don't have to take our word for it...just press play!)Connect With UsFollow us on Instagram @loveatfirstscreening or send an email to loveatfirstscreening@gmail.comProduction Hosts: Chelsea Ciccone and Madison HillMusic: Good StephArtwork: Chelsea CicconeSocial Media: Marissa CicconeAbout the ShowAn examination of classic tropes and iconic characters pits connoisseur against cynic—one romantic comedy at a time. The cinematic world of love and laughter had rom-com enthusiast Madison head over heels from the time Harry met Sally. For genre skeptic Chelsea, however, it's been a grueling enemies-to-lovers plot. In Love at First Screening, Madison introduces Chelsea to all the fan-favorite love stories she's never wanted to watch. One friend's passion might be the other's displeasure, but doesn't love conquer all? Tune in every Wednesday to find out.

Vera gaat trouwen, en probeert Sander uit te leggen waarom dat een goed idee is. Ondertussen is Sander in zijn jaarlijkse nieuwsdepressie geschoten. Plus, we also talk about anglicisms.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

00:00 Intro and rules 02:50 Four Weddings and a Funeral 13:17 Impact Winter S1-3 24:51 Superhero Movie 35:32 Tails Noir 46:38 Tremors 59:19 Spy Family S1-2 + Code White 1:07:13 Joe's Quick Picks (Fiddler On the Roof, The Pianist, 12 Angry Men)FACEBOOK: https://www.facebook.com/profile.php?id=100085031226698TIKTOK: https://www.tiktok.com/@thoughtplanemediaWEBSITE: https://www.thoughtplane.ca/JUSTIN'S SOCIAL MEDIA https://www.instagram.com/jchurchtpm/Recorded by Joseph Morin and Justin ChurchEdited by Joseph MorinClose Up cover art by Justin Church#superheromovie #spyfamily #tremors #impactwinter #closeup

Joel Morris is a multi-award winning comedy writer, and a contributor to the widely beloved Paddington films. One of the best regarded comedic talents in Britain, during the past two decades he has written for everyone from David Mitchell to Miranda Hart to Ronnie Corbett. A long-time collaborator with Charlie Brooker, he was a key part of the BAFTA-winning Wipe shows, and co-creator of the comedy character Philomena Cunk, whose dim-witted documentaries are beloved around the world. A busy author, he wrote The Framley Examiner, a spoof on local British newspapers, as well as the multi-million selling series of Ladybird Books for Grown-Ups. In 2024 he published, ‘Be Funny or Die: How Comedy Works and Why It Matters,' analysing everything from stand-up to slapstick. He has also worked as a writer for video games, collaborating on projects for Microsoft and Ubisoft. Whatever he turns his hand to, comedy remains at the core. As Richard Curtis, the writer of ‘Four Weddings and a Funeral' once put it, my guest “gets to the heart of comedy.”  Be attitude for gains. https://plus.acast.com/s/my-perfect-console. Hosted on Acast. See acast.com/privacy for more information.

A reader wrote to Trish Murphy's Tell Me About It column looking for advice for a problem that she says is driving her crazy and taking over her life. In the past two years, she has been invited to eight weddings, eight hen parties and now baby showers too.Her main issue is the expense - her spending on average for a hen party and wedding tips €3,000 and she is trying to save for a house. And as a single person she finds the cost really difficult.And her friends are constantly trying to fix her up with a partner – which is more annoying than helpful.But why doesn't she simply say no. Can her friend group handle the truth? And why are Irish weddings so extravagant?Is the ability to say ‘no' a part of our Irish character? Why are we so reluctant to speak plainly?Murphy is a psychotherapist and she tells In the News how she answered the reader and why weddings are such a flashpoint for friendships.Presented by Bernice Harrison. Produced by Suzanne Brennan. Hosted on Acast. See acast.com/privacy for more information.

Season FIVE, Episode TWO! Before we get stuck in… Have you signed up for LTO COMMUNITY yet? It's our very occasional, non-spammy, actually-quite-useful newsletter packed with behind-the-scenes stories, first dibs on live show tickets, and the chance to suggest topics for our new LTO BRIEF episodes. SIGN UP HERE!  (Go on...Susie's waiting for you to do it...)   And now, to this week's episode! With just under 16,000 downloads, we've made a few upgrades to celebrate the fact that you keep listening and joining in: Slick new logo Mini fortnightly episodes – LTO BRIEF A brand-new newsletter – LTO COMMUNITY Same lovely sillies, comedy sketches, and brilliant guests! And speaking of brilliant guests… Our special guest is the legendary EMMA FREUD OBE  – a true powerhouse in broadcasting, film, and fundraising. Emma is a broadcaster, cultural commentator, script editor, and producer behind some of the most iconic films of our time—think Four Weddings and a Funeral, Notting Hill, Love Actually. She's also a driving force behind Comic Relief, helping to raise millions for important causes. Over her incredible career, Emma has interviewed everyone from David Attenborough to Mary Berry to Al Pacino, hosted arts shows, written for top publications, and shaped some of the most beloved stories in British cinema. She also happens to come from one of the most famous family lineages—she is the great-granddaughter of Sigmund Freud. We recorded this episode a couple of weeks ago, on the 40th anniversary of Comic Relief, making it the perfect time to reflect on Emma's incredible contribution to fundraising and entertainment. In this conversation, we talk to Emma about how she got started in broadcasting, her approach to living in the present and staying open to new opportunities, and her latest role as host of The Archers Podcast—plus, just how much The Archers means to her. We also dive into parenting, the fascinating history of her family name, and some of the most surreal moments of her career. And as an added bonus, we're joined by her husband, Richard Curtis, and—much to our delight—their kittens make an appearance too! Featuring chats, comedy sketches, and plenty of lovely surprises, LTO truly is a pick-me-up in podcast form. We're delighted to have you with us! Please share this episode with anyone you think would enjoy it. And if you haven't already rated and reviewed LTO, we'd be eternally grateful!   Instagram @limitedtimeonlypodcast Facebook Limited Time Only Podcast Email: limitedtimepodcast@gmail.com   LTO is created & written by, produced, edited & hosted by: SUSIE RIDDELL & ESTHER STANFORD It is a Limited Time Only Production   LOGO designed by: IAN STANFORD THEME TUNE composed by: JOEL WHITE ADDITIONAL SOUND:  https://freesound.org    

Betsy and Greg look back at FOUR WEDDINGS AND A FUNERAL

Love Is Blind season 8 came to a close with an impressive four weddings .... and a slightly less impressive rate of people actually saying "I do." Were you surprised? Happy? Sliding into Virginia's DMs? Let's recap episode 13 and we'll see you again tomorrow for the reunion! Subscribe to our Patreon for just $5 a month to get an additional full-length episode every single week! You have found your people. Join us

The finale is upon us! Four out of five engaged couples make it to the altar, but will any of them actually get married? We discuss the telltale signs that someone is going to say “no” at the altar, some egregious fashion misses from the men, and who we're rooting for in the aftermath of the season. Plus, we get into some tidbits of gossip ahead of the reunion and our penultimate Friends to Enemies scale!  To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

In this episode, James Marriott and I discuss who we think are the best twenty English poets. This is not the best poets who wrote in English, but the best British poets (though James snuck Sylvia Plath onto his list…). We did it like that to make it easier, not least so we could base a lot of our discussion on extracts in The Oxford Book of English Verse (Ricks edition). Most of what we read out is from there. We read Wordsworth, Keats, Hardy, Milton, and Pope. We both love Pope! (He should be regarded as one of the very best English poets, like Milton.) There are also readings of Herrick, Bronte, Cowper, and MacNiece. I plan to record the whole of ‘The Eve of St. Agnes' at some point soon.Here are our lists and below is the transcript (which may have more errors than usual, sorry!)HOGod Tier* Shakespeare“if not first, in the very first line”* Chaucer* Spenser* Milton* Wordsworth* Eliot—argue for Pope here, not usually includedSecond Tier* Donne* Herbert* Keats* Dryden* Gawain poet* Tom O'Bedlam poetThird Tier* Yeats* Tennyson* Hopkins* Coleridge* Auden* Shelley* MarvellJMShakespeareTier* ShakespeareTier 1* Chaucer* Milton* WordsworthTier 2* Donne* Eliot* Keats* Tennyson* Spencer* Marvell* PopeTier 3* Yeats* Hopkins* Blake* Coleridge* Auden* Shelley* Thomas Hardy* Larkin* PlathHenry: Today I'm talking to James Marriott, Times columnist, and more importantly, the writer of the Substack Cultural Capital. And we are going to argue about who are the best poets in the English language. James, welcome.James: Thanks very much for having me. I feel I should preface my appearance so that I don't bring your podcast and disrepute saying that I'm maybe here less as an expert of poetry and more as somebody who's willing to have strong and potentially species opinions. I'm more of a lover of poetry than I would claim to be any kind of academic expert, just in case anybody thinks that I'm trying to produce any definitive answer to the question that we're tackling.Henry: Yeah, no, I mean that's the same for me. We're not professors, we're just very opinionated boys. So we have lists.James: We do.Henry: And we're going to debate our lists, but what we do agree is that if we're having a top 20 English poets, Shakespeare is automatically in the God Tier and there's nothing to discuss.James: Yeah, he's in a category of his own. I think the way of, because I guess the plan we've gone for is to rather than to rank them 1, 2, 3, 4, 5, 6, 7 into sort of, what is it, three or four broad categories that we're competing over.Henry: Yes, yes. TiersJames: I think is a more kind of reasonable way to approach it rather than trying to argue exactly why it should be one place above Shelly or I don't know, whatever.Henry: It's also just an excuse to talk about poets.James: Yes.Henry: Good. So then we have a sort of top tier, if not the first, in the very first line as it were, and you've got different people. To me, you've got Chaucer, Milton, and Wordsworth. I would also add Spenser and T.S. Eliot. So what's your problem with Spenser?James: Well, my problem is ignorance in that it's a while since I've read the Fairy Queen, which I did at university. Partly is just that looking back through it now and from what I remember of university, I mean it is not so much that I have anything against Spenser. It's quite how much I have in favour of Milton and Wordsworth and Chaucer, and I'm totally willing to be argued against on this, but I just can't think that Spenser is in quite the same league as lovely as many passages of the Fairy Queen are.Henry: So my case for Spenser is firstly, if you go through something like the Oxford Book of English Verse or some other comparable anthology, he's getting a similar page count to Shakespeare and Milton, he is important in that way. Second, it's not just the fairy queen, there's the Shepherd's Calendar, the sonnets, the wedding poems, and they're all highly accomplished. The Shepherd's Calendar particularly is really, really brilliant work. I think I enjoyed that more as an undergraduate, actually, much as I love the Fairy Queen. And the third thing is that the Fairy Queen is a very, very great epic. I mean, it's a tremendous accomplishment. There were lots of other epics knocking around in the 16th century that nobody wants to read now or I mean, obviously specialists want to read, but if we could persuade a few more people, a few more ordinary readers to pick up the fairy queen, they would love it.James: Yes, and I was rereading before he came on air, the Bower of Bliss episode, which I think is from the second book, which is just a beautifully lush passage, passage of writing. It was really, I mean, you can see why Keats was so much influenced by it. The point about Spenser's breadth is an interesting one because Milton is in my top category below Shakespeare, but I think I'm placing him there pretty much only on the basis of Paradise Lost. I think if we didn't have Paradise Lost, Milton may not even be in this competition at all for me, very little. I know. I don't know if this is a heresy, I've got much less time for Milton's minor works. There's Samuel Johnson pretty much summed up my feelings on Lycidas when he said there was nothing new. Whatever images it can supply are long ago, exhausted, and I do feel there's a certain sort of dryness to Milton's minor stuff. I mean, I can find things like Il Penseroso and L'Allegro pretty enough, but I mean, I think really the central achievement is Paradise Lost, whereas Spenser might be in contention, as you say, from if you didn't have the Fairy Queen, you've got Shepherd's Calendar, and all this other sort of other stuff, but Paradise Lost is just so massive for me.Henry: But if someone just tomorrow came out and said, oh, we found a whole book of minor poetry by Virgil and it's all pretty average, you wouldn't say, oh, well Virgil's less of a great poet.James: No, absolutely, and that's why I've stuck Milton right at the top. It's just sort of interesting how unbelievably good Paradise Lost is and how, in my opinion, how much less inspiring the stuff that comes after it is Samson Agonistes and Paradise Regained I really much pleasure out of at all and how, I mean the early I think slightly dry Milton is unbelievably accomplished, but Samuel Johnson seems to say in that quote is a very accomplished use of ancient slightly worn out tropes, and he's of putting together these old ideas in a brilliant manner and he has this sort of, I mean I guess he's one of your late bloomers. I can't quite remember how old he is when he publishes Paradise Lost.Henry: Oh, he is. Oh, writing it in his fifties. Yeah.James: Yeah, this just extraordinary thing that's totally unlike anything else in English literature and of all the poems that we're going to talk about, I think is the one that has probably given me most pleasure in my life and the one that I probably return to most often if not to read all the way through then to just go over my favourite bits and pieces of it.Henry: A lot of people will think Milton is heavy and full of weird references to the ancient world and learned and biblical and not very readable for want of a better word. Can you talk us out of that? To be one of the great poets, they do have to have some readability, right?James: Yeah, I think so, and it's certainly how I felt. I mean I think it's not a trivial objection to have to Milton. It's certainly how I found him. He was my special author paper at university and I totally didn't get on with him. There was something about his massive brilliance that I felt. I remember feeling like trying to write about Paradise Lost was trying to kind of scratch a huge block of marble with your nails. There's no way to get a handle on it. I just couldn't work out what to get ahold of, and it's only I think later in adulthood maybe reading him under a little less pressure that I've come to really love him. I mean, the thing I would always say to people to look out for in Milton, but it's his most immediate pleasure and the thing that still is what sends shivers done my spine about him is the kind of cosmic scale of Paradise Lost, and it's almost got this sort of sci-fi massiveness to it. One of my very favourite passages, which I may inflict on you, we did agree that we could inflict poetry on one another.Henry: Please, pleaseJames: It's a detail from the first book of Paradise Lost. Milton's talking about Satan's architect in hell Mulciber, and this is a little explanation of who or part of his explanation of who Mulciber is, and he says, Nor was his name unheard or unadoredIn ancient Greece; and in Ausonian landMen called him Mulciber; and how he fellFrom Heaven they fabled, thrown by angry JoveSheer o'er the crystal battlements: from mornTo noon he fell, from noon to dewy eve,A summer's day, and with the setting sunDropt from the zenith, like a falling star,On Lemnos, th' Aegaean isle. Thus they relate,ErringI just think it's the sort of total massiveness of that universe that “from the zenith to like a falling star”. I just can't think of any other poet in English or that I've ever read in any language, frankly, even in translation, who has that sort of scale about it, and I think that's what can most give immediate pleasure. The other thing I love about that passage is this is part of the kind of grandeur of Milton is that you get this extraordinary passage about an angel falling from heaven down to th' Aegean Isle who's then going to go to hell and the little parenthetic remark at the end, the perm just rolls on, thus they relate erring and paradise lost is such this massive grand thing that it can contain this enormous cosmic tragedy as a kind of little parenthetical thing. I also think the crystal battlements are lovely, so wonderful kind of sci-fi detail.Henry: Yes, I think that's right, and I think it's under appreciated that Milton was a hugely important influence on Charles Darwin who was a bit like you always rereading it when he was young, especially on the beagle voyage. He took it with him and quotes it in his letters sometimes, and it is not insignificant the way that paradise loss affects him in terms of when he writes his own epic thinking at this level, thinking at this scale, thinking at the level of the whole universe, how does the whole thing fit together? What's the order behind the little movements of everything? So Milton's reach I think is actually quite far into the culture even beyond the poets.James: That's fascinating. Do you have a particular favourite bit of Paradise Lost?Henry: I do, but I don't have it with me because I disorganised and couldn't find my copy.James: That's fair.Henry: What I want to do is to read one of the sonnets because I do think he's a very, very good sonnet writer, even if I'm going to let the Lycidas thing go, because I'm not going to publicly argue against Samuel Johnson.When I consider how my light is spent,Ere half my days, in this dark world and wide,And that one Talent which is death to hideLodged with me useless, though my Soul more bentTo serve therewith my Maker, and presentMy true account, lest he returning chide;“Doth God exact day-labour, light denied?”I fondly ask. But patience, to preventThat murmur, soon replies, “God doth not needEither man's work or his own gifts; who bestBear his mild yoke, they serve him best. His stateIs Kingly. Thousands at his bidding speedAnd post o'er Land and Ocean without rest:They also serve who only stand and wait.”I think that's great.James: Yeah. Okay. It is good.Henry: Yeah. I think the minor poems are very uneven, but there are lots of gems.James: Yeah, I mean he is a genius. It would be very weird if all the minor poems were s**t, which is not really what I'm trying… I guess I have a sort of slightly austere category too. I just do Chaucer, Milton, Wordsworth, but we are agreed on Wordsworth, aren't we? That he belongs here.Henry: So my feeling is that the story of English poetry is something like Chaucer Spenser, Shakespeare, Milton, Wordsworth, T.S. Eliot create a kind of spine. These are the great innovators. They're writing the major works, they're the most influential. All the cliches are true. Chaucer invented iambic pentameter. Shakespeare didn't single handedly invent modern English, but he did more than all the rest of them put together. Milton is the English Homer. Wordsworth is the English Homer, but of the speech of the ordinary man. All these old things, these are all true and these are all colossal achievements and I don't really feel that we should be picking between them. I think Spenser wrote an epic that stands alongside the works of Shakespeare and Milton in words with T.S. Eliot whose poetry, frankly I do not love in the way that I love some of the other great English writers cannot be denied his position as one of the great inventors.James: Yeah, I completely agree. It's funny, I think, I mean I really do love T.S. Eliot. Someone else had spent a lot of time rereading. I'm not quite sure why he hasn't gone into quite my top category, but I think I had this—Henry: Is it because he didn't like Milton and you're not having it?James: Maybe that's part of it. I think my thought something went more along the lines of if I cut, I don't quite feel like I'm going to put John Donne in the same league as Milton, but then it seems weird to put Eliot above Donne and then I don't know that, I mean there's not a very particularly fleshed out thought, but on Wordsworth, why is Wordsworth there for you? What do you think, what do you think are the perms that make the argument for Wordsworth having his place at the very top?Henry: Well, I think the Lyrical Ballads, Poems in Two Volumes and the Prelude are all of it, aren't they? I'm not a lover of the rest, and I think the preface to the Lyrical Ballads is one of the great works of literary criticism, which is another coin in his jar if you like, but in a funny way, he's much more revolutionary than T.S. Eliot. We think of modernism as the great revolution and the great sort of bringing of all the newness, but modernism relies on Wordsworth so much, relies on the idea that tradition can be subsumed into ordinary voice, ordinary speech, the passage in the Wasteland where he has all of them talking in the bar. Closing time please, closing time please. You can't have that without Wordsworth and—James: I think I completely agree with what you're saying.Henry: Yeah, so I think that's for me is the basis of it that he might be the great innovator of English poetry.James: Yeah, I think you're right because I've got, I mean again, waiting someone out of my depth here, but I can't think of anybody else who had sort of specifically and perhaps even ideologically set out to write a kind of high poetry that sounded like ordinary speech, I guess. I mean, Wordsworth again is somebody who I didn't particularly like at university and I think it's precisely about plainness that can make him initially off-putting. There's a Matthew Arnold quote where he says of Wordsworth something like He has no style. Henry: Such a Matthew Arnold thing to say.James: I mean think it's the beginning of an appreciation, but there's a real blankness to words with I think again can almost mislead you into thinking there's nothing there when you first encounter him. But yeah, I think for me, Tintern Abbey is maybe the best poem in the English language.Henry: Tintern Abbey is great. The Intimations of Immortality Ode is superb. Again, I don't have it with me, but the Poems in Two Volumes. There are so many wonderful things in there. I had a real, when I was an undergraduate, I had read some Wordsworth, but I hadn't really read a lot and I thought of I as you do as the daffodils poet, and so I read Lyrical Ballads and Poems in Two Volumes, and I had one of these electrical conversion moments like, oh, the daffodils, that is nothing. The worst possible thing for Wordsworth is that he's remembered as this daffodils poet. When you read the Intimations of Immortality, do you just think of all the things he could have been remembered for? It's diminishing.James: It's so easy to get into him wrong because the other slightly wrong way in is through, I mean maybe this is a prejudice that isn't widely shared, but the stuff that I've never particularly managed to really enjoy is all the slightly worthy stuff about beggars and deformed people and maimed soldiers. Wandering around on roads in the lake district has always been less appealing to me, and that was maybe why I didn't totally get on with 'em at first, and I mean, there's some bad words with poetry. I was looking up the infamous lines from the form that were mocked even at the time where you know the lines that go, You see a little muddy pond Of water never dry. I've measured it from side to side, 'Tis three feet long and two feet wide, and the sort of plainness condescend into banality at Wordsworth's worst moments, which come more frequently later in his career.Henry: Yes, yes. I'm going to read a little bit of the Intimations ode because I want to share some of this so-called plainness at its best. This is the third section. They're all very short Now, while the birds thus sing a joyous song,And while the young lambs boundAs to the tabor's sound,To me alone there came a thought of grief:A timely utterance gave that thought relief,And I again am strong:The cataracts blow their trumpets from the steep;No more shall grief of mine the season wrong;I hear the Echoes through the mountains throng,The Winds come to me from the fields of sleep,And all the earth is gay;Land and seaGive themselves up to jollity,And with the heart of MayDoth every Beast keep holiday;—Thou Child of Joy,Shout round me, let me hear thy shouts, thou happy Shepherd-boy.And I think it's unthinkable that someone would write like this today. It would be cringe, but we're going to have a new sincerity. It's coming. It's in some ways it's already here and I think Wordsworth will maybe get a different sort of attention when that happens because that's a really high level of writing to be able to do that without it descending into what you just read. In the late Wordsworth there's a lot of that really bad stuff.James: Yeah, I mean the fact that he wrote some of that bad stuff I guess is a sign of quite how carefully the early stuff is treading that knife edge of tripping into banality. Can I read you my favourite bit of Tintern Abbey?Henry: Oh yes. That is one of the great poems.James: Yeah, I just think one of mean I, the most profound poem ever, probably for me. So this is him looking out over the landscape of Tinton Abbey. I mean these are unbelievably famous lines, so I'm sure everybody listening will know them, but they are so good And I have feltA presence that disturbs me with the joyOf elevated thoughts; a sense sublimeOf something far more deeply interfused,Whose dwelling is the light of setting suns,And the round ocean and the living air,And the blue sky, and in the mind of man:A motion and a spirit, that impelsAll thinking things, all objects of all thought,And rolls through all things. Therefore am I stillA lover of the meadows and the woodsAnd mountains; and of all that we beholdFrom this green earth; of all the mighty worldOf eye, and ear,—both what they half create,And what perceive; well pleased to recogniseIn nature and the language of the senseThe anchor of my purest thoughts, the nurse,The guide, the guardian of my heart, and soulOf all my moral being.I mean in a poem, it's just that is mind blowingly good to me?Henry: Yeah. I'm going to look up another section from the Prelude, which used to be in the Oxford Book, but it isn't in the Ricks edition and I don't really know whyJames: He doesn't have much of the Prelude does he?Henry: I don't think he has any…James: Yeah.Henry: So this is from an early section when the young Wordsworth is a young boy and he's going off, I think he's sneaking out at night to row on the lake as you do when you with Wordsworth, and the initial description is of a mountain. She was an elfin pinnace; lustilyI dipped my oars into the silent lake,And, as I rose upon the stroke, my boatWent heaving through the water like a swan;When, from behind that craggy steep till thenThe horizon's bound, a huge peak, black and huge,As if with voluntary power instinct,Upreared its head. I struck and struck again,And growing still in stature the grim shapeTowered up between me and the stars, and still,For so it seemed, with purpose of its ownAnd measured motion like a living thing,Strode after me. With trembling oars I turned,And through the silent water stole my wayBack to the covert of the willow tree;It's so much like that in Wordsworth. It's just,James: Yeah, I mean, yeah, the Prelude is full of things like that. I think that is probably one of the best moments, possibly the best moments of the prelude. But yeah, I mean it's just total genius isn't it?Henry: I think he's very, very important and yeah, much more important than T.S. Eliot who is, I put him in the same category, but I can see why you didn't.James: You do have a little note saying Pope, question mark or something I think, don't you, in the document.Henry: So the six I gave as the spine of English literature and everything, that's an uncontroversial view. I think Pope should be one of those people. I think we should see Pope as being on a level with Milton and Wordsworth, and I think he's got a very mixed reputation, but I think he was just as inventive, just as important. I think you are a Pope fan, just as clever, just as moving, and it baffles me that he's not more commonly regarded as part of this great spine running through the history of English literature and between Milton and Wordsworth. If you don't have Pope, I think it's a missing link if you like.James: I mean, I wouldn't maybe go as far as you, I love Pope. Pope was really the first perch I ever loved. I remember finding a little volume of Pope in a box of books. My school library was chucking out, and that was the first book of poetry I read and took seriously. I guess he sort of suffers by the fact that we are seeing all of this through the lens of the romantics. All our taste about Shakespeare and Milton and Spenser has been formed by the romantics and hope's way of writing the Satires. This sort of society poetry I think is just totally doesn't conform to our idea of what poetry should be doing or what poetry is. Is there absolutely or virtually nobody reads Dryden nowadays. It's just not what we think poetry is for that whole Augustine 18th century idea that poetry is for writing epistles to people to explain philosophical concepts to them or to diss your enemies and rivals or to write a kind of Duncia explaining why everyone you know is a moron. That's just really, I guess Byron is the last major, is the only of figure who is in that tradition who would be a popular figure nowadays with things like English bards and scotch reviewers. But that whole idea of poetry I think was really alien to us. And I mean I'm probably formed by that prejudice because I really do love Pope, but I don't love him as much as the other people we've discussed.Henry: I think part of his problem is that he's clever and rational and we want our poems always to be about moods, which may be, I think why George Herbert, who we've both got reasonably high is also quite underrated. He's very clever. He's always think George Herbert's always thinking, and when someone like Shakespeare or Milton is thinking, they do it in such a way that you might not notice and that you might just carry on with the story. And if you do see that they're thinking you can enjoy that as well. Whereas Pope is just explicitly always thinking and maybe lecturing, hectoring, being very grand with you and as you say, calling you an idiot. But there are so many excellent bits of Pope and I just think technically he can sustain a thought or an argument over half a dozen or a dozen lines and keep the rhyme scheme moving and it's never forced, and he never has to do that thing where he puts the words in a stupid order just to make the rhyme work. He's got such an elegance and a balance of composition, which again, as you say, we live under romantic ideals, not classical ones. But that doesn't mean we should be blind to the level of his accomplishment, which is really, really very high. I mean, Samuel Johnson basically thought that Alexander Pope had finished English poetry. We have the end of history. He had the end of English poetry. Pope, he's brought us to the mightiest of the heroic couplers and he's done it. It's all over.James: The other thing about Pope that I think makes us underrate him is that he's very charming. And I think charm is a quality we're not big on is that sort of, but I think some of Pope's charm is so moving. One of my favourite poems of his is, do you know the Epistle to Miss Blount on going into the country? The poem to the young girl who's been having a fashionable season in London then is sent to the boring countryside to stay with an aunt. And it's this, it's not like a romantic love poem, it's not distraught or hectic. It's just a sort of wonderful act of sympathy with this potentially slightly airheaded young girl who's been sent to the countryside, which you'd rather go to operas and plays and flirt with people. And there's a real sort of delicate in it that isn't overblown and isn't dramatic, but is extremely charming. And I think that's again, another quality that perhaps we're prone not to totally appreciate in the 21st century. It's almost the kind of highest form of politeness and sympathyHenry: And the prevailing quality in Pope is wit: “True wit is nature to advantage dressed/ What often was thought, but ne'er so well expressed”. And I think wit can be quite alienating for an audience because it is a kind of superior form of literary art. This is why people don't read as much Swift as he deserves because he's so witty and so scornful that a lot of people will read him and think, well, I don't like you.James: And that point about what oft was thought and ne'er so well expressed again, is a very classical idea. The poet who puts not quite conventional wisdom, but something that's been thought before in the best possible words, really suffers with the romantic idea of originality. The poet has to say something utterly new. Whereas for Pope, the sort of ideas that he express, some of the philosophical ideas are not as profound in original perhaps as words with, but he's very elegant proponent of them.Henry: And we love b******g people in our culture, and I feel like the Dunciad should be more popular because it is just, I can't remember who said this, but someone said it's probably the most under appreciated great poem in English, and that's got to be true. It's full of absolute zingers. There's one moment where he's described the whole crowd of them or all these poets who he considers to be deeply inferior, and it turns out he was right because no one reads them anymore. And you need footnotes to know who they are. I mean, no one cares. And he says, “equal your merits, equal is your din”. This kind of abuse is a really high art, and we ought to love that. We love that on Twitter. And I think things like the Rape of the Lock also could be more popular.James: I love the Rape of the Lock . I mean, I think anybody is not reading Pope and is looking for a way in, I think the Rape of the Lock is the way in, isn't it? Because it's just such a charming, lovely, funny poem.Henry: It is. And probably it suffers because the whole idea of mock heroic now is lost to us. But it's a bit like it's the literary equivalent of people writing a sort of mini epic about someone like Elon Musk or some other very prominent figure in the culture and using lots of heroic imagery from the great epics of Homer and Virgil and from the Bible and all these things, but putting them into a very diminished state. So instead of being grand, it becomes comic. It's like turning a God into a cartoon. And Pope is easily the best writer that we have for that kind of thing. Dryden, but he's the genius on it.James: Yeah, no, he totally is. I guess it's another reason he's under appreciated is that our culture is just much less worshipful of epic than the 18th century culture was. The 18th century was obsessed with trying to write epics and trying to imitate epics. I mean, I think to a lot of Pope's contemporaries, the achievement they might've been expecting people to talk about in 300 years time would be his translations of the Iliad and the Odyssey and the other stuff might've seen more minor in comparison, whereas it's the mock epic that we're remembering him for, which again is perhaps another symptom of our sort of post romantic perspective.Henry: I think this is why Spenser suffers as well, because everything in Spenser is magical. The knights are fairies, not the little fairies that live in buttercups, but big human sized fairies or even bigger than that. And there are magical women and saucers and the whole thing is a sort of hodgepodge of romance and fairy tale and legend and all this stuff. And it's often said, oh, he was old fashioned in his own time. But those things still had a lot of currency in the 16th century. And a lot of those things are in Shakespeare, for example.But to us, that's like a fantasy novel. Now, I love fantasy and I read fantasy, and I think some of it's a very high accomplishment, but to a lot of people, fantasy just means kind of trash. Why am I going to read something with fairies and a wizard? And I think a lot of people just see Spenser and they're like, what is this? This is so weird. They don't realise how Protestant they're being, but they're like, this is so weird.James: And Pope has a little, I mean, the Rape of the Lock even has a little of the same because the rape of the lock has this attendant army of good spirits called selfs and evil spirits called gnomes. I mean, I find that just totally funny and charming. I really love it.Henry: I'm going to read, there's an extract from the Rape of the Lock in the Oxford Book, and I'm going to read a few lines to give people an idea of how he can be at once mocking something but also quite charming about it. It's quite a difficult line to draw. The Rape of the Lock is all about a scandalous incident where a young man took a lock of a lady's hair. Rape doesn't mean what we think it means. It means an offence. And so because he stole a lock of her hair, it'd become obviously this huge problem and everyone's in a flurry. And to sort of calm everyone down, Pope took it so seriously that he made it into a tremendous joke. So here he is describing the sort of dressing table if you like.And now, unveil'd, the Toilet stands display'd,Each silver Vase in mystic order laid.First, rob'd in white, the Nymph intent adores,With head uncover'd, the Cosmetic pow'rs.A heav'nly image in the glass appears,To that she bends, to that her eyes she rears;Th' inferior Priestess, at her altar's side,Trembling begins the sacred rites of Pride.What a way to describe someone putting on their makeup. It's fantastic.James: It's funny. I can continue that because the little passage of Pope I picked to read begins exactly where yours ended. It only gets better as it goes on, I think. So after trembling begins the sacred rites of pride, Unnumber'd treasures ope at once, and hereThe various off'rings of the world appear;From each she nicely culls with curious toil,And decks the Goddess with the glitt'ring spoil.This casket India's glowing gems unlocks,And all Arabia breathes from yonder box.The Tortoise here and Elephant unite,Transformed to combs, the speckled, and the white.Here files of pins extend their shining rows,Puffs, Powders, Patches, Bibles, Billet-doux.It's just so lovely. I love a thing about the tortoise and the elephant unite because you've got a tortoise shell and an ivory comb. And the stuff about India's glowing gems and Arabia breathing from yonder box, I mean that's a, realistic is not quite the word, but that's a reference to Milton because Milton is continually having all the stones of Arabia and India's pearls and things all screwed through paradise lost. Yeah, it's just so lovely, isn't it?Henry: And for someone who's so classical and composed and elegant, there's something very Dickensian about things like the toilet, the tortoise and the elephant here unite, transform to combs. There's something a little bit surreal and the puffs, powders, patches, bibles, it has that sort of slightly hectic, frantic,James: That's sort of Victorian materialism, wealth of material objects,Henry: But also that famous thing that was said of Dickens, that the people are furniture and the furniture's like people. He can bring to life all the little bits and bobs of the ordinary day and turn it into something not quite ridiculous, not quite charming.James: And there is a kind of charm in the fact that it wasn't the sort of thing that poets would necessarily expect to pay attention to the 18th century. I don't think the sort of powders and ointments on a woman's dressing table. And there's something very sort of charming in his condescension to notice or what might've once seemed his condescension to notice those things, to find a new thing to take seriously, which is what poetry or not quite to take seriously, but to pay attention to, which I guess is one of the things that great perch should always be doing.Henry: When Swift, who was Pope's great friend, wrote about this, he wrote a poem called A Beautiful Young Lady Going to Bed, which is not as good, and I would love to claim Swift on our list, but I really can't.James: It's quite a horrible perm as well, that one, isn't it?Henry: It is. But it shows you how other people would treat the idea of the woman in front of her toilet, her mirror. And Swift uses an opportunity, as he said, to “lash the vice” because he hated all this adornment and what he would think of as the fakery of a woman painting herself. And so he talks about Corina pride of Drury Lane, which is obviously an ironic reference to her being a Lady of the Night, coming back and there's no drunken rake with her. Returning at the midnight hour;Four stories climbing to her bow'r;Then, seated on a three-legged chair,Takes off her artificial hair:Now, picking out a crystal eye,She wipes it clean, and lays it by.Her eye-brows from a mouse's hide,Stuck on with art on either side,Pulls off with care, and first displays 'em,Then in a play-book smoothly lays 'em.Now dexterously her plumpers draws,That serve to fill her hollow jaws.And it goes on like this. I mean, line after this is sort of raw doll quality to it, Pope, I think in contrast, it only illuminates him more to see where others are taking this kind of crude, very, very funny and witty, but very crude approach. He's able to really have the classical art of balance.James: Yes. And it's precisely his charm that he can mock it and sympathise and love it at the same time, which I think is just a more sort of complex suite of poetic emotions to have about that thing.Henry: So we want more people to read Pope and to love Pope.James: Yes. Even if I'm not letting him into my top.Henry: You are locking him out of the garden. Now, for the second tier, I want to argue for two anonymous poets. One of the things we did when we were talking about this was we asked chatGPT to see if it could give us a good answer. And if you use o1 or o1 Pro, it gives you a pretty good answer as to who the best poets in English are. But it has to be told that it's forgotten about the anonymous poets. And then it says, oh, that was stupid. There are quite a lot of good anonymous poets in English, but I suspect a lot of us, a lot of non artificial intelligence when thinking about this question overlook the anonymous poets. But I would think the Gawain poet and the Tom O' Bedlam poet deserve to be in here. I don't know what you think about that.James: I'm not competent to provide an opinion. I'm purely here to be educated on the subject of these anonymous poets. Henry: The Gawain poet, he's a mediaeval, assume it's a he, a mediaeval writer, obviously may well not be a man, a mediaeval writer. And he wrote Sir Gawain and The Green Knight, which is, if you haven't read it, you should really read it in translation first, I think because it's written at the same time as Chaucer. But Chaucer was written in a kind of London dialect, which is what became the English we speak. And so you can read quite a lot of Chaucer and the words look pretty similar and sometimes you need the footnotes, but when you read Gawain and The Green Knight, it's in a Northwestern dialect, which very much did not become modern day English. And so it's a bit more baffling, but it is a poem of tremendous imaginative power and weirdness. It's a very compelling story. We have a children's version here written by Selena Hastings who's a very accomplished biographer. And every now and then my son remembers it and he just reads it again and again and again. It's one of the best tales of King Arthur in his knights. And there's a wonderful book by John Burrow. It's a very short book, but that is such a loving piece of criticism that explicates the way in which that poem promotes virtue and all the nightly goodness that you would expect, but also is a very strange and unreal piece of work. And I think it has all the qualities of great poetry, but because it's written in this weird dialect, I remember as an undergraduate thinking, why is this so bloody difficult to read? But it is just marvellous. And I see people on Twitter, the few people who've read it, they read it again and they just say, God, it's so good. And I think there was a film of it a couple of years ago, but we will gloss lightly over that and not encourage you to do the film instead of the book.James: Yeah, you're now triggering a memory that I was at least set to read and perhaps did at least read part of Gawain and the Green Knight at University, but has not stuck to any brain cells at all.Henry: Well, you must try it again and tell me what you think. I mean, I find it easily to be one of the best poems in English.James: Yeah, no, I should. I had a little Chaucer kick recently actually, so maybe I'm prepared to rediscover mediaeval per after years of neglect since my degree,Henry: And it's quite short, which I always think is worth knowing. And then the Tom Bedlam is an anonymous poem from I think the 17th century, and it's one of the mad songs, so it's a bit like the Fool from King Lear. And again, it is a very mysterious, very strange and weird piece of work. Try and find it in and read the first few lines. And I think because it's anonymous, it's got slightly less of a reputation because it can't get picked up with some big name, but it is full of tremendous power. And again, I think it would be sad if it wasn't more well known.From the hag and hungry goblinThat into rags would rend ye,The spirit that stands by the naked manIn the Book of Moons defend ye,That of your five sound sensesYou never be forsaken,Nor wander from your selves with TomAbroad to beg your bacon,While I do sing, Any food, any feeding,Feeding, drink, or clothing;Come dame or maid, be not afraid,Poor Tom will injure nothing.Anyway, so you get the sense of it and it's got many stanzas and it's full of this kind of energy and it's again, very accomplished. It can carry the thought across these long lines and these long stanzas.James: When was it written? I'm aware of only if there's a name in the back of my mind.Henry: Oh, it's from the 17th century. So it's not from such a different time as King Lear, but it's written in the voice of a madman. And again, you think of that as the sort of thing a romantic poet would do. And it's strange to find it almost strange to find it displaced. There were these other mad songs. But I think because it's anonymous, it gets less well known, it gets less attention. It's not part of a bigger body of work, but it's absolutely, I think it's wonderful.James: I shall read it.Henry: So who have you got? Who else? Who are you putting in instead of these two?James: Hang on. So we're down to tier two now.Henry: Tier two.James: Yeah. So my tier two is: Donne, Elliot, Keats, Tennyson. I've put Spenser in tier two, Marvell and Pope, who we've already discussed. I mean, I think Eliot, we've talked about, I mean Donne just speaks for himself and there's probably a case that some people would make to bump him up a tier. Henry: Anybody can read that case in Katherine Rudell's book. We don't need to…James: Yes, exactly. If anybody's punching perhaps in tier two, it's Tennyson who I wasn't totally sure belonged there. Putting Tenon in the same tier as Donne and Spenser and Keets. I wonder if that's a little ambitious. I think that might raise eyebrows because there is a school of thought, which I'm not totally unsympathetic to this. What's the Auden quote about Tennyson? I really like it. I expressed very harshly, but I sort of get what he means. Auden said that Tennyson “had the finest ear perhaps of any English poet who was also undoubtedly the stupidest. There was little that he didn't know. There was little else that he did.” Which is far too harsh. But I mentioned to you earlier that I think was earlier this year, a friend and I had a project where we were going to memorise a perva week was a plan. We ended up basically getting, I think three quarters of the way through.And if there's a criticism of Tennyson that you could make, it's that the word music and the sheer lushness of phrases sometimes becomes its own momentum. And you can end up with these extremely lovely but sometimes slightly empty beautiful phrases, which is what I ended up feeling about Tithonus. And I sort of slightly felt I was memorising this unbelievably beautiful but ever so slightly hollow thing. And that was slightly why the project fell apart, I should say. Of course, they absolutely love Tennyson. He's one of my all time favourite poets, which is why my personal favouritism has bumped him up into that category. But I can see there's a case, and I think to a lot of people, he's just the kind of Victorian establishment gloom man, which is totally unfair, but there's not no case against Tennyson.Henry: Yeah, the common thing is that he has no ideas. I don't know if that's true or not. I'm also, I'm not sure how desperately important it is. It should be possible to be a great poet without ideas being at the centre of your work. If you accept the idea that the essence of poetry is invention, i.e. to say old things in a fantastically new way, then I think he qualifies very well as a great poet.James: Yes..Henry: Well, very well. I think Auden said what he said because he was anxious that it was true of himself.James: Yeah, I mean there's a strong argument that Auden had far too many ideas and the sorts of mad schemes and fantastical theories about history that Auden spent his spare time chasing after is certainly a kind of argument that poets maybe shouldn't have as many ideas, although it's just reading. Seamus Perry's got a very good little book on Tennyson, and the opening chapter is all about arguments about people who have tended to dislike Tennyson. And there are all kinds of embarrassing anecdotes about the elderly Tennyson trying to sort of go around dinner parties saying profound and sage-like things and totally putting his foot in it and saying things are completely banal. I should have made a note that this was sort of slightly, again, intensifying my alarm about is there occasionally a tinsely hollowness about Tennyson. I'm now being way too harsh about one of my favourite poets—Henry: I think it depends what you mean by ideas. He is more than just a poet of moods. He gives great expression, deep and strongly felt expression to a whole way of being and a whole way of conceiving of things. And it really was a huge part of why people became interested in the middle ages in the 19th century. I think there's Walter Scott and there's Tennyson who are really leading that work, and that became a dominant cultural force and it became something that meant a lot to people. And whether or not, I don't know whether it's the sort of idea that we're talking about, but I think that sort of thing, I think that qualifies as having ideas and think again, I think he's one of the best writers about the Arthurian legend. Now that work doesn't get into the Oxford Book of English Verse, maybe that's fair. But I think it was very important and I love it. I love it. And I find Tennyson easy to memorise, which is another point in his favour.James: Yeah.Henry: I'm going to read a little bit of Ulysses, which everyone knows the last five or six lines of that poem because it gets put into James Bond films and other such things. I'm going to read it from a little bit from earlier on. I am become a name;For always roaming with a hungry heartMuch have I seen and known; cities of menAnd manners, climates, councils, governments,Myself not least, but honour'd of them all;And drunk delight of battle with my peers,Far on the ringing plains of windy Troy.I am a part of all that I have met;Yet all experience is an arch wherethro'Gleams that untravell'd world, whose margin fadesFor ever and for ever when I move.I think that's amazing. And he can do that. He can do lots and lots and lots of that.James: Yeah, he really can. It's stunning. “Far on the ringing planes of windy Troy” is such an unbelievably evocative phrase.Henry: And that's what I mean. He's got this ability to bring back a sort of a whole mood of history. It's not just personal mood poetry. He can take you into these places and that is in the space of a line. In the space of a line. I think Matthew Arnold said of the last bit of what I just read is that he had this ability in Ulysses to make the lines seem very long and slow and to give them this kind of epic quality that far goes far beyond the actual length of that poem. Ulysses feels like this huge poem that's capturing so much of Homer and it's a few dozen lines.James: Yeah, no, I completely agree. Can I read a little bit of slightly more domestic Tennyson, from In Memoriam, I think his best poem and one of my all time favourite poems and it's got, there are many sort of famous lines on grief and things, but there's little sort of passage of natural description I think quite near the beginning that I've always really loved and I've always just thought was a stunning piece of poetry in terms of its sound and the way that the sound has patented and an unbelievably attentive description natural world, which is kind of the reason that even though I think Keats is a better poet, I do prefer reading Tennyson to Keats, so this is from the beginning of In Memoriam. Calm is the morn without a sound,Calm as to suit a calmer grief,And only thro' the faded leafThe chesnut pattering to the ground:Calm and deep peace on this high wold,And on these dews that drench the furze,And all the silvery gossamersThat twinkle into green and gold:Calm and still light on yon great plainThat sweeps with all its autumn bowers,And crowded farms and lessening towers,To mingle with the bounding main:And I just think that's an amazing piece of writing that takes you from that very close up image that it begins with of the “chestnut patterning to the ground” through the faded leaves of the tree, which is again, a really attentive little bit of natural description. I think anyone can picture the way that a chestnut might fall through the leaves of a chestnut tree, and it's just an amazing thing to notice. And I think the chestnut pattern to the ground does all the kind of wonderful, slightly onomatopoeic, Tennyson stuff so well, but by the end, you're kind of looking out over the English countryside, you've seen dew on the firs, and then you're just looking out across the plane to the sea, and it's this sort of, I just think it's one of those bits of poetry that anybody who stood in a slightly wet and romantic day in the English countryside knows exactly the feeling that he's evoking. And I mean there's no bit of—all of In Memoriam is pretty much that good. That's not a particularly celebrated passage I don't think. It's just wonderful everywhere.Henry: Yes. In Memoriam a bit like the Dunciad—under appreciated relative to its huge merits.James: Yeah, I think it sounds, I mean guess by the end of his life, Tennyson had that reputation as the establishment sage of Victorian England, queen of Victoria's favourite poet, which is a pretty off-putting reputation for to have. And I think In Memoriam is supposed to be this slightly cobwebby, musty masterpiece of Victorian grief. But there was just so much, I mean, gorgeous, beautiful sensuous poetry in it.Henry: Yeah, lots of very intense feelings. No, I agree. I have Tennyson my third tier because I had to have the Gawain poet, but I agree that he's very, very great.James: Yeah, I think the case for third tier is I'm very open to that case for the reasons that I said.Henry: Keats, we both have Keats much higher than Shelly. I think Byron's not on anyone's list because who cares about Byron. Overrated, badly behaved. Terrible jokes. Terrible jokes.James: I think people often think Byron's a better pert without having read an awful lot of the poetry of Byron. But I think anybody who's tried to wade through long swathes of Don Juan or—Henry: My God,James: Childe Harold, has amazing, amazing, beautiful moments. But yeah, there's an awful lot of stuff that you don't enjoy. I think.Henry: So to make the case for Keats, I want to talk about The Eve of St. Agnes, which I don't know about you, but I love The Eve of St. Agnes. I go back to it all the time. I find it absolutely electric.James: I'm going to say that Keats is a poet, which is kind of weird for somebody is sent to us and obviously beautiful as Keats. I sort of feel like I admire more than I love. I get why he's brilliant. It's very hard not to see why he's brilliant, but he's someone I would very rarely sit down and read for fun and somebody got an awful lot of feeling or excitement out of, but that's clearly a me problem, not a Keats problem.Henry: When I was a teenager, I knew so much Keats by heart. I knew the whole of the Ode to a Nightingale. I mean, I was absolutely steeped in it morning, noon and night. I couldn't get over it. And now I don't know if I could get back to that point. He was a very young poet and he writes in a very young way. But I'm going to read—The Eve of St. Agnes is great. It's a narrative poem, which I think is a good way to get into this stuff because the story is fantastic. And he had read Spenser, he was part of this kind of the beginning of this mediaeval revival. And he's very interested in going back to those old images, those old stories. And this is the bit, I think everything we're reading is from the Oxford Book of English Verse, so that if people at home want to read along they can.This is when the heroine of the poem is Madeline is making her escape basically. And I think this is very, very exciting. Her falt'ring hand upon the balustrade,Old Angela was feeling for the stair,When Madeline, St. Agnes' charmed maid,Rose, like a mission'd spirit, unaware:With silver taper's light, and pious care,She turn'd, and down the aged gossip ledTo a safe level matting. Now prepare,Young Porphyro, for gazing on that bed;She comes, she comes again, like ring-dove fray'd and fled.Out went the taper as she hurried in;Its little smoke, in pallid moonshine, died:She clos'd the door, she panted, all akinTo spirits of the air, and visions wide:No uttered syllable, or, woe betide!But to her heart, her heart was voluble,Paining with eloquence her balmy side;As though a tongueless nightingale should swellHer throat in vain, and die, heart-stifled, in her dell.A casement high and triple-arch'd there was,All garlanded with carven imag'riesOf fruits, and flowers, and bunches of knot-grass,And diamonded with panes of quaint device,Innumerable of stains and splendid dyes,As are the tiger-moth's deep-damask'd wings;And in the midst, 'mong thousand heraldries,And twilight saints, and dim emblazonings,A shielded scutcheon blush'd with blood of queens and kings.I mean, so much atmosphere, so much tension, so many wonderful images just coming one after the other. The rapidity of it, the tumbling nature of it. And people often quote the Ode to autumn, which has a lot of that.James: I have to say, I found that totally enchanting. And perhaps my problem is that I need you to read it all to me. You can make an audio book that I can listen to.Henry: I honestly, I actually might read the whole of the E and put it out as audio on Substack becauseJames: I would actually listen to that.Henry: I love it so much. And I feel like it gets, when we talk about Keats, we talk about, On First Looking into Chapman's Homer and Bright Star and La Belle Dame Sans Merci, and these are great, great poems and they're poems that we do at school Ode to a Nightingale because I think The Great Gatsby has a big debt to Ode to a Nightingale, doesn't it? And obviously everyone quotes the Ode to Autumn. I mean, as far as I can tell, the 1st of October every year is the whole world sharing the first stands of the Ode to Autumn.James: Yeah. He may be one of the people who suffers from over familiarity perhaps. And I think also because it sounds so much what poetry is supposed to sound like, because so much of our idea of poetry derives from Keats. Maybe that's something I've slightly need to get past a little bit.Henry: But if you can get into the complete works, there are many, the bit I just read is I think quite representative.James: I loved it. I thought it was completely beautiful and I would never have thought to ever, I probably can't have read that poem for years. I wouldn't have thought to read it. Since university, I don't thinkHenry: He's one of those people. All of my copies of him are sort of frayed and the spines are breaking, but the book is wearing out. I should just commit it to memory and be done. But somehow I love going back to it. So Keats is very high in my estimation, and we've both put him higher than Shelly and Coleridge.James: Yeah.Henry: Tell me why. Because those would typically, I think, be considered the superior poets.James: Do you think Shelly? I think Keats would be considered the superior poetHenry: To Shelly?James: Certainly, yes. I think to Shelly and Coleridge, that's where current fashion would place them. I mean, I have to say Coleridge is one of my all time favourite poets. In terms of people who had just every so often think, I'd love to read a poem, I'd love to read Frost at Midnight. I'd love to read the Aeolian Harp. I'd love to read This Lime Tree Bower, My Prison. I'd love to read Kubla Khan. Outside Milton, Coleridge is probably the person that I read most, but I think, I guess there's a case that Coleridge's output is pretty slight. What his reputation rest on is The Rime of the Ancient Mariner, Kubla Khan, the conversation poems, which a lot of people think are kind of plagiarised Wordsworth, at least in their style and tone, and then maybe not much else. Does anybody particularly read Cristabel and get much out of it nowadays? Dejection an Ode people like: it's never done an awful lot for me, so I sort of, in my personal Pantheon Coleridge is at the top and he's such an immensely sympathetic personality as well and such a curious person. But I think he's a little slight, and there's probably nothing in Coleridge that can match that gorgeous passage of Keats that you read. I think.Henry: Yeah, that's probably true. He's got more ideas, I guess. I don't think it matters that he's slight. Robert Frost said something about his ambition had been to lodge five or six poems in the English language, and if he'd done that, he would've achieved greatness. And obviously Frost very much did do that and is probably the most quotable and well-known poet. But I think Coleridge easily meets those criteria with the poems you described. And if all we had was the Rime of the Ancient Mariner, I would think it to be like Tom O' Bedlam, like the Elegy in a Country Churchyard, one of those great, great, great poems that on its own terms, deserves to be on this list.James: Yeah, and I guess another point in his favour is a great poet is they're all pretty unalike. I think if given Rime of the Ancient Mariner, a conversation poem and Kubla Khan and said, guess whether these are three separate poets or the same guy, you would say, oh, there's a totally different poems. They're three different people. One's a kind of creepy gothic horror ballad. Another one is a philosophical reflection. Another is the sort of Mad Opium dream. I mean, Kubla Khan is just without a doubt, one of the top handful of purposes in English language, I think.Henry: Oh yeah, yeah. And it has that quality of the Elegy in a Country Churchyard that so many of the lines are so quotable in the sense that they could be, in the case of the Elegy in a Country Churchyard, a lot of novels did get their titles from it. I think it was James Lees Milne. Every volume of his diaries, which there are obviously quite a few, had its title from Kubla Khan. Ancient as the Hills and so on. It's one of those poems. It just provides us with so much wonderful language in the space of what a page.James: Sort of goes all over the place. Romantic chasms, Abyssinian made with dulcimer, icy pleasure dome with caves of ice. It just such a—it's so mysterious. I mean, there's nothing else remotely like it at all in English literature that I can think of, and its kind strangeness and virtuosity. I really love that poem.Henry: Now, should we say a word for Shelly? Because everyone knows Ozymandias, which is one of those internet poems that goes around a lot, but I don't know how well known the rest of his body of work is beyond that. I fell in love with him when I read a very short lyric called “To—” Music, when soft voices die,Vibrates in the memory—Odours, when sweet violets sicken,Live within the sense they quicken.Rose leaves, when the rose is dead,Are heaped for the belovèd's bed;And so thy thoughts, when thou art gone,Love itself shall slumber on.I found that to be one of those poems that was once read and immediately memorised. But he has this very, again, broad body of work. He can write about philosophical ideas, he can write about moods, he can write narrative. He wrote Julian and Maddalo, which is a dialogue poem about visiting a madman and taking sympathy with him and asking the question, who's really mad here? Very Swiftian question. He can write about the sublime in Mont Blanc. I mean, he has got huge intellectual power along with the beauty. He's what people want Tennyson to be, I guess.James: Yeah. Or what people think Byron might be. I think Shelly is great. I don't quite get that Byron is so much more famous. Shelly has just a dramatic and, well, maybe not quite just as, but an incredibly dramatic and exciting life to go along with it,Henry: I think some of the short lyrics from Byron have got much more purchase in day-to-day life, like She Walks in Beauty.James: Yeah. I think you have to maybe get Shelly a little more length, don't you? I mean, even there's something like Ode to the West Wind is you have to take the whole thing to love it, perhaps.Henry: Yes. And again, I think he's a bit like George Herbert. He's always thinking you really have to pay attention and think with him. Whereas Byron has got lots of lines you can copy out and give to a girl that you like on the bus or something.James: Yes. No, that's true.Henry: I don't mean that in quite as rude a way as it sounds. I do think that's a good thing. But Shelly's, I think, much more of a thinker, and I agree with you Childe Harold and so forth. It's all crashing bore. I might to try it again, but awful.James: I don't want move past Coledridge without inflicting little Coledridge on you. Can I?Henry: Oh, yes. No, sorry. We didn't read Coledridge, right?James: Are just, I mean, what to read from Coledridge? I mean, I could read the whole of Kubla Khan, but that would be maybe a bit boring. I mean, again, these are pretty famous and obvious lines from Frost at Midnight, which is Coledridge sitting up late at night in his cottage with his baby in its cradle, and he sort of addressing it and thinking about it. And I just think these lines are so, well, everything we've said about Coledridge, philosophical, thoughtful, beautiful, in a sort of totally knockout, undeniable way. So it goes, he's talking to his young son, I think. My babe so beautiful! it thrills my heartWith tender gladness, thus to look at thee,And think that thou shalt learn far other lore,And in far other scenes! For I was rearedIn the great city, pent 'mid cloisters dim,And saw nought lovely but the sky and stars.But thou, my babe! shalt wander like a breezeBy lakes and sandy shores, beneath the cragsOf ancient mountain, and beneath the clouds,Which image in their bulk both lakes and shoresAnd mountain crags: so shalt thou see and hearThe lovely shapes and sounds intelligibleOf that eternal language, which thy GodUtters, who from eternity doth teachHimself in all, and all things in himself.Which is just—what aren't those lines of poetry doing? And with such kind of confidence, the way you get from talking to your baby and its cradle about what kind of upbringing you hope it will have to those flashes of, I mean quite Wordsworthian beauty, and then the sort of philosophical tone at the end. It's just such a stunning, lovely poem. Yeah, I love it.Henry: Now we both got Yeats and Hopkins. And Hopkins I think is really, really a tremendous poet, but neither of us has put Browning, which a lot of other people maybe would. Can we have a go at Browning for a minute? Can we leave him in shreds? James: Oh God. I mean, you're going to be a better advocate of Browning than I am. I've never—Henry: Don't advocate for him. No, no, no.James: We we're sticking him out.Henry: We're sticking him.James: I wonder if I even feel qualified to do that. I mean, I read quite a bit of Browning at university, found it hard to get on with sometimes. I think I found a little affected and pretentious about him and a little kind of needlessly difficult in a sort of off-puttingly Victorian way. But then I was reading, I reviewed a couple of years ago, John Carey has an excellent introduction to English poetry. I think it's called A Little History of Poetry in which he described Browning's incredibly long poem, The Ring in the Book as one of the all time wonders of verbal art. This thing is, I think it's like 700 or 800 pages long poem in the Penguin edition, which has always given me pause for thought and made me think that I've dismissed Browning out of hand because if John Carey's telling me that, then I must be wrong.But I think I have had very little pleasure out of Browning, and I mean by the end of the 19th century, there was a bit of a sort of Victorian cult of Browning, which I think was influential. And people liked him because he was a living celebrity who'd been anointed as a great poet, and people liked to go and worship at his feet and stuff. I do kind of wonder whether he's lasted, I don't think many people read him for pleasure, and I wonder if that maybe tells its own story. What's your case against Browning?Henry: No, much the same. I think he's very accomplished and very, he probably, he deserves a place on the list, but I can't enjoy him and I don't really know why. But to me, he's very clever and very good, but as you say, a bit dull.James: Yeah, I totally agree. I'm willing. It must be our failing, I'm sure. Yeah, no, I'm sure. I'm willing to believe they're all, if this podcast is listened to by scholars of Victorian poetry, they're cringing and holding their head in their hands at this—Henry: They've turned off already. Well, if you read The Ring and the Book, you can come back on and tell us about it.James: Oh God, yeah. I mean, in about 20 years time.Henry: I think we both have Auden, but you said something you said, “does Auden have an edge of fraudulence?”James: Yeah, I mean, again, I feel like I'm being really rude about a lot of poets that I really love. I don't really know why doesn't think, realising that people consider to be a little bit weak makes you appreciate their best stuff even more I guess. I mean, it's hard to make that argument without reading a bit of Auden. I wonder what bit gets it across. I haven't gotten any ready. What would you say about Auden?Henry: I love Auden. I think he was the best poet of the 20th century maybe. I mean, I have to sort of begrudgingly accept T.S. Eliot beside, I think he can do everything from, he can do songs, light lyrics, comic verse, he can do occasional poetry, obituaries. He was a political poet. He wrote in every form, I think almost literally that might be true. Every type of stanza, different lines. He was just structurally remarkable. I suspect he'll end up a bit like Pope once the culture has tur

In which we discuss wedding blunders, the 'purpose' for marriage according to a 90s rom-com, and how Matthew and Gareth are the real stars of 'Four Weddings and a Funeral'.This week, the vicars watched Four Weddings and a Funeral (1994),-------We are the Vicars Watch Dibley - three real priests who talk about pop culture and what it's taught us about life, faith and the church. We've watched Dibley, and now we're watching everything else! ------- Follow us: Instagram @vicarswatchdibley | Twitter / X @VicarsWatch | Facebook @VicarsWatchDibley Contact us by email at vicarswatchdibley@gmail.com -------Hosts: Revd Ruthi Gibbons (Instagram @ruthigibbons)Revd Ross Meikle (X @meikle_treacle, Instagram @storytellerross) Revd Cate Thomson (Instagram @revdcate) Producer + music and editing by Revd Natalie Gibbons. ------ Any opinions expressed in this episode are our own and do not necessarily represent those of the Church of England or any other organisations with which we are affiliated.

Simon Callow is a critically acclaimed actor, director, author and star of classic movies such as Room with a View, Shakespeare in Love and Howards End. However, it's his part as Gareth in Four Weddings and a Funeral that many took to their hearts. Callow's failures include a childhood rejection that still haunts him, a play he directed which was savaged by the critics, painting and how he was ‘very annoyed' not to get the movie part of Amadeus despite having played it on stage. Do you have something to share of your own? Click here to get in touch: howtofailpod.com Production & Post Production Coordinator: Eric Ryan Studio and Mix Engineer: Matias Torres Sole and Gulliver Tickell Senior Producer: Selina Ream Executive Producer: Carly Maile Head of Marketing: Kieran Lancini How to Fail is an Elizabeth Day and Sony Music Entertainment Production. Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts To bring your brand to life in this podcast, email podcastadsales@sonymusic.com Learn more about your ad choices. Visit podcastchoices.com/adchoices Learn more about your ad choices. Visit podcastchoices.com/adchoices

Ellen E Jones and Mark Kermode celebrate weddings in film and TV, from Muriel's Wedding to Married at First Sight. Mark speaks to Richard Curtis about the inspiration behind the classic British wedding film, Four Weddings and a Funeral, and about Curtis' own recent wedding to long-term partner Emma Freud. And he gets critic Manuela Lazic's rundown of some of the most memorable cinematic weddings, from The Godfather to The Graduate. Meanwhile, Ellen talks to actor Susan Wokoma about her favourite wedding romcoms - including the Julia Roberts-starring My Best Friend's Wedding. And she attempts to get to grips with the world of wedding reality TV with comedian Ashley Ray. Producer: Jane Long A Prospect Street production for BBC Radio 4

Send us a textOn this episode of the Speaking of … College of Charleston podcast, in honor of Valentine's Day, we ask Colleen Glenn, associate professor and director of the College's Film Studies Program, to weigh in on her favorite romantic movies.We discuss some of the classes she teaches at the College, including Dreams and Movies and The Myth of the Road in American Cinema. As we shift to the upcoming holiday, she highlights her favorite romantic dramas, including Casablanca, An Affair to Remember, Eternal Sunshine of the Spotless Mind, as well as romantic comedies like The Shop Around the Corner and Moonstruck.Glenn also talks about how rom-coms have evolved and now include a wider variety of perspectives.“Films have become more diverse in terms of representation,” says Glenn. “We have better representation of people of color – of different races and ethnicities – on screen today, and we also see different gender orientations and sexual orientations. So, the classic rom-com formula of 'boy meets girl, boy loses girl, boy wins girl back' might now be 'boy meets boy' or 'girl-meets-girl.'"Glenn encourages moviegoers to watch movies in the theater instead of on their devices to get the full experience. She says romantic movies are just one of the many cultural systems that facilitate the “happily ever after” myth of love – and, if we're going to blame rom-coms, we have to throw music, theater and poetry into the mix.What's your favorite romantic movie to watch on Valentine's Day? Text us your favorite romantic movie on the Apple Podcasts or comment your favorites on Spotify.Resources From This episode:Romantic Dramas: Casablanca (1942)An Affair to Remember (1957)Cold Mountain (2003)Eternal Sunshine of the Spotless Mind (2004)Romantic Comedies: It Happened One Night (1934)The Shop Around the Corner (1940)The Philadelphia Story (1940)Some Like it Hot (1957)The Apartment (1960)Moonstruck (1987)The Princess Bride (1987)When Harry Met Sally (1989)Four Weddings and a Funeral (1994)Film Noir/Thrillers: Double Indemnity (1944)The Postman Always Rings Twice (1946)Fatal Attraction (1987)Body Heat (1981)Oscar NomineesCinemaScopeGreat Local Theater: The Terrace

Join this channel to get access to perks: EARLY Access, EXCLUSIVE Episodes & Much More! https://www.youtube.com/channel/UCpeD7roEp99UANH0HVZ3dOA/join Tim McInnerny is much more than a comedy icon, you may know him from 'Notting Hill', or as Cruella De Ville's right hand man in '101 Dalmatians', maybe 'Game of Thrones' or perhaps Lord Percy or Captain Darling in the Beloved 'Black Adder'. We chat about taking the Micky out of Denzel Washington on the set of 'Gladiator II', turning down 'Four Weddings and a Funeral', fighting to not get typecast and why it's just hard to get work as an actor whether you're 25 or 65... ----------------------------- Host - Actor/Writer ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Elliot James Langridge⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠ Please contact (Scott Marshall Partners) ----------------------------- We are sponsored by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BetterHelp⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ providing you access to the largest online therapy service in the world. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Get 10% off⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ your first month at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠betterhelp.com/lifeinfilm⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ----------------------------- 'The End' is in UK cinemas on the 29th March ----------------------------- Thank you to out guest Tim. Thank you to Rachel at the Artist Partnership As always thank you to our sponsor Betterhelp ----------------------------- If you enjoyed this episode, please review and follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠You Tube ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠etc and please share. It makes a huge difference. ----------------------------- Join us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tik Tok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, @LIFEINFILMpod. Check out the ⁠Patreon⁠ at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/Lifeinfilmpodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ & Join this channel to get access to perks: EARLY Access, EXCLUSIVE Episodes & Much More! https://www.youtube.com/channel/UCpeD7roEp99UANH0HVZ3dOA/join ----------------------------- Please don't forget to⁠ LIKE & SUBSCRIBE⁠! ╔═╦╗╔╦╗╔═╦═╦╦╦╦╗╔═╗ ║╚╣║║║╚╣╚╣╔╣╔╣║╚╣═╣ ╠╗║╚╝║║╠╗║╚╣║║║║║═╣ ╚═╩══╩═╩═╩═╩╝╚╩═╩═╝ Thanks for watching this episode ... see you in the next video! 0:07 Get EARLY Access & EXCLUSIVE Episodes 0:12 - Our Guest Actor Tim McInnerny 1:41 - How It All Began 5:43 - I Was An Incredibly Pretentious Child / Tennis 8:11 - Oxford Drama Sociaty with Rowan Atkinson & Richard Curtis 12:10 - 'Blackadder' / Comedy 14:43 - Ian Holme Was My Inspiration 18:34 - On Set Pressure 22:01 - Taking Risks 23:06 - Advice 24:50 - You Learn More From Bad Productions 28:55 - Collaboration 30:33 - Support The Podcast / Betterhelp 32:15 - Serious Subjects Usually Make Fun Sets 33:56 - Lord Percy to Captain Darling / Typecasting 36:04 - How the Name Captain Darling Came About 37:20 - 'Notting Hill' 41:36 - Every Actor Goes Through It 45:45 - Working with Denzel Washington & Ridley Scott on 'Gladiator II' 51:47 - Musical Sci Fi 'The End' 55:46 - Like, Subscribe & Join our YouTube

Το POP για τις Δύσκολες Ώρες συνεχίζει το ταξίδι του στις πιο διάσημες ταινίες του 1994. Μια χρονιά με τεράστιες ταινίες που αγαπήθηκαν από το κοινό, από τους κριτικούς και από τα βραβεία, με διαχρονικές επιτυχίες από το Forrest Gump και το Pulp Fiction, μέχρι το Chungking Express και την Κόκκινη Ταινία. Σήμερα, μετά από ένα διάλειμμα επιστρέφουμε στη σειρά και θυμόμαστε την τεράστια εμπορική επιτυχία του Τέσσερις Γάμοι και Μια Κηδεία, μια από τις διασημότερες ρομαντικές κομεντί των ‘90s – και όχι μόνο. Πώς έχει καταφέρει το Τέσσερις Γάμοι και Μια Κηδεία να διατηρήσει τη φήμη του ακόμα και 30 χρόνια μετά, όταν τα πάντα αναμφίβολα αμφισβητούνται, αναλύονται και γερνάνε; Γιατί η δομή του, με τους γάμους –και την κηδεία– του τίτλου, το μετατρέπει σε κάτι άφθαρτο στο χρόνο; Και πώς αυτή η δομή αναδεικνύει στο μέγιστο τα ταλέντα του σπουδαίου σεναριογράφου Richard Curtis (του Notting Hill και του Love Actually); Τι είναι πιο αληθινό σε αυτές τις συναντήσεις των κεντρικών ηρώων, και τι είναι πιο «εξωγήινα» κινηματογραφικό; Πώς δημιουργήθηκε μια ταινία που αψήφησε κάθε προσδοκία, φτάνοντας μέχρι τα Όσκαρ και καταφέρνοντας να γίνει μια από τις μεγαλύτερες επιτυχίες των ‘90s; Γιατί αυτή η ρομαντική κομεντί του 1994 είναι πιο όμορφη από τις περισσότερες σύγχρονες; Πώς η ταινία έστειλε το αστέρι του Hugh Grant στα ύψη, και γιατί μετά ο ηθοποιός δυσκολεύτηκε να αφήσει αυτή την επιτυχία πίσω του; Ποιος από όλο το φανταστικό ρόστερ β' ρόλων είναι ο αγαπημένος μας χαρακτήρας και γιατί; Πώς η ταινία προδίδει εν τέλει μόνο έναν ρόλο – αυτόν την Andie MacDowell; Αυτά και άλλα πολλά ακόμη στο POP για τις Δύσκολες Ώρες αυτής της εβδομάδας!

On episode 264 of The AwardsWatch Podcast, Executive Editor Ryan McQuade is joined by AwardsWatch Associate Editor Sophia Ciminello and AwardsWatch contributors Karen Peterson, Jay Ledbetter and Josh Parham to go back 30 years to take a look at the 67th Academy Awards, celebrating the films of 1994. Thirty years ago, it was Bob's year as Robert Zemeckis' Forrest Gump took home the Oscar for Best Picture, alongside Tom Hanks winning his second straight gold statue for back to back wins. It was one of the most commercially successful films of 1994 that went on to win the big prize, and is part of one of the most influential years from the 1990s. Films like Pulp Fiction, The Shawshank Redemption, Four Weddings and a Funeral, Three Colours: Red, Hoop Dreams, The Lion King, and more highlight a crossover of studio films blending success with indie darlings to make for a fascinating film year to talk about. In their in-depth discussion, the AW team talked about the film year of 1994, briefly discuss talk about Forrest Gump as a Best Picture winner, do an extensive conversation over the below the line categories and nominees for the year, and then the new version of the AW Shoulda Woulda Coulda game, where instead of individual replacements, they must decide as a group who the nominees and winners should be in the top eight categories. The rules of the game state they can only replace two of the nominees that year from each category, except in Best Picture, where the group could replace up to three films to make up the final set of five nominated films. Like past retrospective episodes, it was a fascinating, fun conversation including spirited debates, alliances, vote swinging, celebrating various movies, performances that aren't normally talked about and more that we all hope you enjoy. You can listen to The AwardsWatch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more. This podcast runs 2h28m. We will be back next week to discuss some of the latest 2024 film releases before the end of the year. Music: “Modern Fashion” from AShamaleuvmusic (intro), “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

Peter Souter legendary copywriting genius of the advertising industry and now Co-Producer of Netflix's animated Christmas hit ‘That Christmas' with ‘Four Weddings and a Funeral' and ‘Love Actually' Director Richard Curtis.   It's an epic production starring Brian Cox, Bill Nighy, Jodie Whittaker, Fiona Shaw, India Brown and a galaxy of talent, including musical assistance from Ed Sheeran.   And Peter is here to tell us all about it and make sure we all book at least one viewing of it on our Netflix wish list.   We discuss how the movie came into being and what it's like working with all that talent. We discuss the connection between Walberswick and Stellar Street and why you should always surround yourself with incredible talent.   Peter tells us why it's important to pay attention to the numbers but to avoid the reviews in this Neo Hollywood landscape and we learn how he uses positive reinforcement.   How are Peter's advertising and creative skills useful in film making and how good is his Christmas trivia knowledge? It's all wrapped up in a bow by discussing the other greatest Christmas movie ever made.   Peter is an advertising industry A-lister and now he's a movie big wig too! We were so lucky to snag him for the show and it was an incredible hour. Learn more about your ad choices. Visit megaphone.fm/adchoices

He may have made a name for himself in light-hearted British rom-coms like "Four Weddings and a Funeral", "About a Boy" and "Notting Hill", but Hugh Grant has undergone a startling transformation over the last decade, rebranding himself as a character actor in darker roles. His latest outing in "Heretic" is certainly in that vein; FRANCE 24's culture editor Eve Jackson caught up with him at the film's Paris premiere, where he told her why playing the baddie is more fun. We also check out a new version of blockbuster musical "Les Misérables" as the production returns to the stage in Paris after more than 30 years, while photography exhibition "No Woman's Land" brings us the portraits and stories of the women living under what the UN has called "gender apartheid" since the Taliban came back to power in 2021.

Hugh Grant is most well known for his comedic and gentler performances in “Four Weddings and a Funeral” and “About A Boy.” That's not what you're getting from ol Hughie in this week's movie I'm reviewing, “Heretic.” In this movie he comes off like he'd be right at home being roommates with Hannibal Lecter. He plays the mysterious Mr. Reed, who two Mormon women visiting his home to perhaps convert him, are unfortunate enough to meet. The women are Sister Barnes and Sister Paxton, played respectively by Sophie Thatcher and Chloe East, and they early on suspect that their conversion attempt might turn into a survival game. Mr. Reed is no uninitiated, uninformed candidate for religious conversion. You realize that he's very well versed in all things religion. However, you also realize he's got other characteristics that are more sinister that the poor sisters just might have to worry about. What are those characteristics? Will the poor sisters make it out alive? Is it worth finding out in theaters? Check out this episode to find out! “Heretic” also stars Topher Grace, Elle Young, Julie Lynn Mortensen, Haylie Hansen, Elle McKinnon and Anesha Bailey.  Support the showFeel free to reach out to me via:@MoviesMerica on Twitter @moviesmerica on InstagramMovies Merica on Facebook

He's so charmingly befuddled.

Bunny is in the garden with David Haig MBE an extremely keen gardener though his famous face is familiar to many as Bernard in ‘Four Weddings and a Funeral', Jim Hacker in the film of ‘Yes Minister' and has appeared in ‘Killing Eve', and the Downton Abbey film too.   He is also a celebrated playwright, he wrote  ‘My Boy Jack'  where he not only penned  the play but also played Rudyard Kipling with Daniel Radcliffe as his son.  David loves the rain and understands a fair bit about our climate having written the drama ‘The Challenge' about the meteorologist James Stagg, who helped changed the outcome of the war by predicting the weather for the proposed date of D Day.  See David in his garden in Bunny's YouTube video ‘David Haig in  his Generous Garden talking about gardening, Acting and Playwriting' #davidhaig #actor

You can now text us anonymously to leave feedback, suggest future content or simply hurl abuse at us. We'll read out any texts we receive on the show. Click here to try it out!Welcome back to Bad Dads Film Review! Today, we're diving into the glamorous and sometimes chaotic world of cinematic weddings as we count down our Top 5 Wedding Scenes in film and television. After that, we'll explore the intriguing and stylish drama of Don't Worry Darling and take a light-hearted turn with the antics from Neighbours.Top 5 Wedding Scenes in Film and Television:The Godfather (1972) - The opening wedding scene sets the tone for this iconic film, showcasing the Corleone family's power dynamics and blending personal joy with business undercurrents. It's a masterclass in how a festive occasion can be layered with narrative depth.Four Weddings and a Funeral (1994) - This film's exploration of various wedding styles and the emotions they evoke makes each ceremony memorable. It perfectly captures the humor, awkwardness, and tenderness of weddings, making it a classic in the romantic comedy genre.Game of Thrones - "The Red Wedding" (Season 3, Episode 9) - Perhaps one of the most shocking wedding scenes ever filmed, the Red Wedding was a pivotal moment in the series, filled with treachery and heartbreak, leaving a lasting impact on viewers and characters alike.Crazy Rich Asians (2018) - This film features a stunningly beautiful wedding scene that combines traditional elements with lavish modern details, set to a haunting cover of "Can't Help Falling in Love." It's visually captivating and emotionally charged, reflecting the film's themes of love and family expectations.My Big Fat Greek Wedding (2002) - This wedding is a joyful, chaotic celebration of Greek culture, packed with comedic moments and touching on themes of cultural identity and familial bonds. It's a heartwarming depiction of how a wedding can bring families and communities together.In Don't Worry Darling, directed by Olivia Wilde and starring Florence Pugh and Harry Styles, we dive into a 1950s utopian community with dark secrets lurking beneath its polished surface. The film combines stylish aesthetics with psychological suspense, exploring themes of empowerment, reality, and illusion. While there isn't a wedding scene central to its plot, the film's tension and mystery provide a backdrop for examining how individual desires and societal pressures can clash, much like the dynamics often present at a wedding.Switching gears, Neighbours often features weddings that are quintessential soap opera fare—full of drama, unexpected revelations, and sometimes, heart-warming moments. These episodes offer lighter, more dramatic interpretations of weddings, providing entertainment that spans generations of viewers.Whether you're a fan of lavish celebrations, dramatic twists, or the simple joy of a well-told love story, today's episode promises a fascinating look at the most memorable weddings in film and television. Join us as we say "I do" to exploring these pivotal moments that capture the essence of human relationships and cultural traditions.

1660 Vine, is a new muciacl about a group of influencers who  live in a famed Hollywood apartment building to pursue their dreams of social media stardom. The residents of 1660 Vine confront questions of fame, influence, identity, and mental health. All the while, the residents update their followers through vlogs, gaming streams, makeup tutorials, TikTok dances, songs and pranks, as they navigate their search for identity, discovering the difference between who they present themselves to be, and who they really are. Our guest today is prolific writer/showrunner Jonathan Prince, whose recent accomplishments include Four Weddings and a Funeral for MGM/Hulu, and American Soul, which ran for two seasons on BET. Many of Prince's productions are inspired directly or indirectly by strong musical themes, hailing back to his first creation, the Emmy Award-winning NBC series, American Dreams.    

1660 Vine, is a new muciacl about a group of influencers who  live in a famed Hollywood apartment building to pursue their dreams of social media stardom. The residents of 1660 Vine confront questions of fame, influence, identity, and mental health. All the while, the residents update their followers through vlogs, gaming streams, makeup tutorials, TikTok dances, songs and pranks, as they navigate their search for identity, discovering the difference between who they present themselves to be, and who they really are. Our guest today is prolific writer/showrunner Jonathan Prince, whose recent accomplishments include Four Weddings and a Funeral for MGM/Hulu, and American Soul, which ran for two seasons on BET. Many of Prince's productions are inspired directly or indirectly by strong musical themes, hailing back to his first creation, the Emmy Award-winning NBC series, American Dreams.    

Graphic designer Jakob Trollbäck remembers a 2014 meeting with film director Richard Curtis and the United Nations Sustainable Development Goals, then very much a work in progress, coming up in conversation.Curtis, whose movies include Four Weddings and a Funeral, Notting Hill, Love Actually and the Bridget Jones series, is also a UN Advocate for the SDGs. The meeting in Trollbäck's New York studio suddenly turned to the 17 goals, with Curtis telling him: “I think this may be our last shot of fixing a lot of the things that's wrong with the planet. And I also think that these goals are going to fail if we can't make them popular. Do you want to help me?”Trollbäck, founder of The New Division agency, rose to the challenge. Over the course of a year, alongside designer colleague Christina Rüegg-Grässli, he designed the now famous multi-colour palette, individual icons and logo of the SDGs.Their design had to tick three boxes: be accessible, universal and positive. The interconnectedness of the goals leant itself to the overall circular logo type, and the bright colours were key to making the framework interesting and likeable.Some icons were almost instantaneous in their creation — such as the fish that represents SDG 14: Life Below Water — while others needed collaboration with the UN communications team colleagues to get right.For example, Trollbäck remembers SDG 2: Zero Hunger; the initial design had a fork in it, until someone pointed out that two thirds of the of the world's population don't use forks.The World Economic Forum say 74% of the adults globally are aware of the SDGs.This is the final episode of How to Save Humanity in 17 Goals, a Working Scientist podcast series that profiles scientists whose work addresses one or more of the SDGs. Episodes 13–18 are produced in partnership with Nature Sustainability, and introduced by Monica Contestabile, its chief editor. Hosted on Acast. See acast.com/privacy for more information.

We are at the grand finale of our Four Weddings series, episode 10 (or as we lovingly refer to it episode X) and it's a doozy. We finally get to the last wedding and the big question is who's getting married? There are so many choices: is it Maya and Kash, Ainsley and Bryce, Duffy and Gemma or Tony and Andrew? We will find out together as well as discuss: the difference between a murder invite and a marriage invite, why mailing a letter is a dangerous sport and if your next wedding reception should include a music compilation from 'WOW That's Wedding Music 5 Featuring Little F*ckFace. We are very sad to see this series end but glad we experienced the mega happy ending so we hope you join us for the joy and festivities of Four Weddings and a Funeral Part 10.

We are in the home stretch! It's episode 9 of Four Weddings & a Funeral and this one is chock full of love and betrayal and more love. Maya and Kash finally get together, Duffy and Gemma finally get together, Bryce and Ainsley finally get together and lastly Ainsley gets her 'Curse your sudden but inevitable betrayal moment' that we all knew was coming. In this episode: we caution our gentle listeners not to be judgemental Jehovah's, argue whether bridges are more important than immigrants (**hot take their both valuable), and invent an app where Idris Elba comes and rescues you from bad dates. We contemplated titling this episode 'The Shit Hits the Fan, Bruh!' which is super fitting but we hope you find out for yourself and listen to this week's episode of Four Weddings and a Funeral Part 9.

We are on Episode 8, (aka the Ocho) of Four Weddings and a Funeral, and it's chock full of 'Shhhh' secrets. Maya and Kash begin secretly seeing each other 'super casually', Duffy and Gemma secretly try to push Ainsley and Bryce into a relationship, Craig and Zara discover something that will change their relationship forever and we finally get our third wedding. In this episode we discuss: how 'put on a kettle' and 'stick around for tea' are not sexual innuendos, try to spread the good word of 'ODK' (but we're not going door to door), and we revisit Nacho-pocalypse-where flipping a plate of nachos is equivalent to flipping someone off. This is another redo because Corinne's Zoom recorder hates her but the second time's the charm and we hope you join us for Four Weddings and a Funeral part Ocho.

We are in the afterglow of our second wedding of the series but fear not gentle listeners the sh*t is about to hit the fan with our 7th episode of Four Weddings and a Funeral. Duffy is still unhinged and his hair is even more unhinged. Kash is pining for Maya and they're stuck working together in a community theater and Maya, well she's keeping secrets, and kissing everyone. In this episode we discuss: Corinne's anxiety around a locked door and how there's (very possibly) a dead person behind it, what exactly an LGBT-Rex is, and the wonderful Christmas album Adele and Sam Smith would make if we lived 50 years ago and they had to fake a marriage. And since the bulk of this episode is set in a theater there is (of course) singing of show tunes and definitely a lot of drama, so we hope you tune in for part 7 of the series.

It's sexy episode 6 of Four Weddings & a Funeral and we finally have a wedding! Guess who is getting married (in case you couldn't tell from our episode image) it's Craig & Zara! The formerly estranged couple is tying the knot, throwing the tackiest wedding in all of Great Britain and  We. Are. Here. For. It!  In this episode we discuss: why you don't cast Idris Elba as your best man, what your wedding would look like if you married Willy Wonka, and why your wedding cocktail shouldn't be Khalua and tomato juice. And if that's not incentive enough we hear Corinne give the 'lamest' yeah you've ever heard. But it's the only 'lame' thing in this episode so we hope you RSVP to attend episode 6, because we'd love to take you as our +1 to Four Weddings and a Funeral. 

We are halfway through our series Four Weddings & a Funeral, and who did Maya kiss?? If you listened to last week's episode you know...and probably feel as conflicted about it as we do. In this weeks snippet we get a front row seat to that kisses aftermath and: discuss Craig's questionable taste in apartment decor, ask who had more chemistry than Maya and Duffy (hint it's just about everyone), and chant our mantra 'friends that take drugs together stay together (we of course are not talking the illegal kind). Things are simmering in this week's recap and we hope you stand in polyester solidarity with us as we watch all the drama on Cinco de Four Weddings & a Funeral

We've finally hit it folks, part 4 of Four Weddings & a Funeral (aka the funeral portion). And although the episode was on the somber side we had so many highlights and laughs we truly did put the FUN in funeral. The somber bit was Gemma and Giles (and the rest of the Fabulous 4) said goodbye to Quentin. The FUN bits were: when we proposed doing 'The Hustle' to bagpipes as a wedding march, discussed British slang at length (like twat, wanker and fanny), or when Corinne graciously explained how washing machines worked and Tamara graciously explained back how rich people spend their money. The bits of information we give in this episode are gems and we hope they bring you a few bright spots in this darker chapter of Four Weddings and a Funeral Part Four. 

Oh! mumble mumble mumble! Hi! mumble mumble Emma and er uh um Katie dive into the OG mumble guy romcom Four Weddings and a funeral. They chat Hugh Grant! Andie Macdowell! Queer representation in early 90s Rom Coms! Tune in and notice if it's raining- because we haven't.

We are three deep into our 4 weddings and a funeral series and things are falling apart with the fierce-some foursome. Ainsley gets cut off by her parents, Maya gets harassed by her new employer, Craig is still pining after Zara and Duffy can't get out of his own way to find love. In addition to the drama we discuss: how often is the proper amount to masturbate, if Peter Dinklage is so talented he could act in any role (including an NBA star), and why we both yell 'Not Haroon!!!' In near unison. So far we've only had a wedding but (spoiler) a funeral is not too far away so stay tuned and see who kicks the bucket in this episode of Four Weddings and a funeral.

It's our second exciting installment of the Four Weddings & A Funeral saga, and last time we were left with a cliffhanger-Kash was about to leave Ainsley at the altar. In this episode we will find out: if they went through with the wedding, if Maya will get her head out of her ass and leave Senator McCheatyPants and if Craig and Zara will survive his 'secret' love child? In addition to our awesome recap we also discuss: bad ODK business ideas like Body Scented Body Wash, whether relationships can be built on great sex alone and give pro dating tips like 'how you can give your dog a bone but you shouldn't give your dog walker a bone'. We are only half a failed wedding into this series but will RSVP to all the drama and hope you'll attend part deux of Four Weddings & a Funeral with us.

We are back Gentle Listeners! We're slightly fresher than before our vacation and doing something a little different. For the next few weeks we are recapping a rom-com series called Four Weddings & A Funeral. This Hulu show has 10 episodes and we'll be going over one, every week. In the first episode we meet the main cast of friends: Maya, Ainsley, Craig and Duffy as well as the colorful characters that are in their orbit. We find out that Maya inadvertently falls in love with her bff Ainsley's boyfriend, Duffy attempts to proclaim his love to Maya and Craig finds out he's a daddy and not the kind his high maintenance girlfriend wants. We peppered this episode with commentary as well as some accidental beauty tips such as: how to easily disguise a dripping wet bra filled with aquarium rocks, how chlorinated hair works and how to escape really aggressive stylists that are dying to get their hands on your locks. Hopefully you got the memo that we were on break but if not we hope that you're not mad at us for being gone. But we are back to business as usual (kind of) 

“The Ark” takes place 100 years in the future when planetary colonization missions have begun as a necessity to help secure the survival of the human race. In season two, after the brave crew of Ark One reaches their destination and finds it uninhabitable, they must survive long enough to locate a new home for themselves and all the ships that follow.The series from co-showrunners Dean Devlin (“Independence Day,” “Stargate”) and Jonathan Glassner (“Stargate SG-1”), stars Christie Burke, Richard Fleeshman, Reece Ritchie, Stacey Read and Ryan Adams.Christie Burke plays Lt. Sharon Garnet in the new SYFY original series, “The Ark.” Christie's recent television credits include recurring roles on Netflix's “Maid,” Netflix's “The Haunting of Bly Manor” and CBC's “Strange Empire.” Guest star credits include the CW's “Two Sentence Horror Stories” and “Supernatural.” Burke can also be seen in the MGM+ series “Billy the Kid.”Richard Fleeshman plays Lt. James Brice in the new SYFY original series, “The Ark.” Fleeshman can also be seen in the wrestling comedy “Deep Heat” (ITV). He has recently finished filming series such as “Chivalry,” opposite Steve Coogan (Channel 4/ Baby Cow), Neil Gayman's “The Sandman” (Netflix) and “Four Weddings and a Funeral” (Hulu). On the film side, Fleeshman appears in “A Christmas Number One” (Sky TV), and will be featured in “R.I.P.D.2” (1440 Productions). Fleeshman has also starred in a number of theatrical productions on both Broadway and the West End and was nominated for an Olivier Award for his performance in the West End revival of “Company.”Reece Ritchie plays Lt. Spencer Lane in the new SYFY original series, “The Ark.” Ritche's most recent television work includes his role in the CW series “The Outpost.” He made his film debut in Roland Emmerich's fantasy/drama “10,000 BC.” Other film roles include “Desert Dancer,” “Hercules,” “Prince of Persia: The Sands of Time” and “The Lovely Bones” directed by multi-award-winning director Peter Jackson. On the stage, Ritchie performed alongside Dame Judy Dench in “A Midsummer Night's Dream,” directed by Sir Peter Hall at the Rose Theatre in Kingston.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

Colin Hoult is best known for his work with Ricky Gervais on Derek (Channel 4), After Life (Netflix) and Gervais and Merchant's Life's Too Short (BBC). His acting credits include Ghosts (BBC), Trying (Apple), Almost Never (CBBC), Four Weddings and a Funeral (Hulu), This Time with Alan Partridge (BBC), Being Human (BBC) and BBC3's award-winning Murder In Successville. Colin is a successful character comedian – he is well known for his celebrated ‘has-been actress' character Anna Mann and has received great critical acclaim for his live shows, which were listed among the best-reviewed comedy shows at the Fringe by British Comedy Guide. Colin is a prolific writer and former winner of the Writers' Guild Award for Comedy. He penned a hugely successful trilogy of live shows which were adapted into a Radio 4 series, Colin Hoult's Carnival of Monsters . Colin Hoult is guest number 406 on My Time Capsule and chats to Michael Fenton Stevens about the five things he'd like to put in a time capsule; four he'd like to preserve and one he'd like to bury and never have to think about again .Get tickets for Colin Hoult's Edinburgh show here - https://www.pleasance.co.uk/event/colin-hoult-colin .Follow Colin Hoult on Twitter: @colinhoult & Instagram: @colinhoultcomedy .Follow My Time Capsule on Twitter, Instagram & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter: @fentonstevens & Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people. Get bonus episodes and ad-free listening by becoming a team member with Acast+! Your support will help us to keep making My Time Capsule. Join our team now! https://plus.acast.com/s/mytimecapsule. Hosted on Acast. See acast.com/privacy for more information.

"Parenthood", "Strangers On A Train", "Four Weddings and a Funeral", "Family Guy", and "The Saint". No it's not the films leaving Netflix this month, rather it's the topics of discussion on this week's brief, disjointed, somewhat chaotic, trans European pod. With Dan dialling in from a substandard German hotel room with tales of darts players and sharing Paul Cook anecdotes on a train, we remember Tommie Gorman and Joe Heron, analyse the European draws, and listen to Johnny mull over the League of Ireland journeys that fatherhood will bring him on . Our "Usual Suspects" of Collar & Cuff, Future Ticketing, Rascals Brewery and Lilly's Childcare continue to support a show with hotter takes than Padraig Amond's face after an afternoon on the sunbeds. So buckle up for a quickfire blast of stream of consciousness podcasting, yes, it's episode 20 and it's pure Hollywood!

Al & Val agreed when the characters in Starstruck never could...this is not a good movie. But it's a good episode! *WE ARE TAKING JULY OFF! WE'LL SEE YOU IN AUGUST!*Starstruck (February 14, 2010)IMDB WikipediaDirected by Michael Grossman (The Invisible Man, Buffy, Angel, Charmed, Zoey 101, Drop Dead Diva, Pretty Little Liars)Written by Annie DeYoung (Johnny Kapahala: Back on Board, Return to Halloweentown, Starstruck) & Barbara Johns (Firefly Lane)Starring: Sterling Knight as Christopher Wilde (Eve, 17 Again, MacKenzie Falls, Sonny with a Chance, So Random!, Melissa and Joey, In the Rough)Danielle Campbell as Jessica Olson (The Originals, Runaways, Tell Me a Story, The Rookie)Maggie Castle as Sara Olson (The Time Traveler's Wife, Todd & the Book of Pure Evil, Arthur)Brandon Mychal Smith as Albert Joshua "Stubby" Stubbins (Unfabulous, Phil of the Future, Sonny with a Chance, So Random!, Let it Shine, Get on Up, You're the Worst, Four Weddings & a Funeral, Rise of Teenage Mutant Ninja Turtles)Chelsea Staub as Alexis Bender (Minutemen, Jonas, Fish Hooks, Baby Daddy, Archibald's Next Big Thing)Matt Winston as Alan Smith (Fight Club, Passport to Paris, Keeping the Faith, Kicking & Screaming, Little Miss Sunshine, I Now Pronounce You Chuck & Larry, character actor)Toni Trucks as Libby Lam (Barbarshop, Ruby Sparks, Franklin & Bash, Seal Team)Abbie Cobb as AJ (90210, Suburgatory, character actor)Beth Littleford as Barbara Olson (Spin City, The Hard Times of RJ Berger, Crazy Stupid Love, Dog with a Blog, Love Victor)Dan O'Connor as Dean Olson (character & voice actor)Alice Hirson as Grandma Olson (Another World, One Life to Live, Dallas, Ellen)Lauren Bowles as Sheri Wilde (Watching Ellie, True Blood, character actor)Hugh Dane as Howard (The Office, character actor)Sunkrish Bala as Dr. Sanjay Lad (Notes from the Underbelly, Castle, Good Trouble)Synopsis: A Midwestern girl goes to Los Angeles with nothing more in mind than visiting her grandparents while her sister tries to meet her idol. One night she meets the rising Hollywood pop star. They go on an adventure around Los Angeles and start to like each other. When the girl returns home, the famous guy, on national TV, says he doesn't know her, and never met her.Fun Facts: Sterling Knight only sang Starstruck. The rest of the songs were sang by Drew Ryan Scott, because Knight was cast late in the process and did not have time to learn all the songs.Next Movie: Den Brother ★ Support this podcast on Patreon ★

What surprising career path led Demi Judd to become a top-performing real estate agent in Jacksonville, Florida?   This episode is sponsored by Remi Graphics!:   Owned by Dunya Taylor, Remi Graphics offers stunning, personalized mugs perfect for closing gifts or client appreciation. With no minimum order and quick turnaround, it's easy to add a personal touch. Contact Dunya through Instagram or Facebook, or visit her website and make a lasting impression today! In this episode of the Real Estate Excellence podcast, Tracy Hayes interviews Demi Judd, a real estate agent in Jacksonville, Florida. Demi shares her transition from wedding planner to realtor, emphasizing relationship-building, market challenges, social media authenticity, mentorship importance, personal branding, and adapting to new technologies. Born and raised in St. John's County, Florida, she left to attend Bible College in California, traveling abroad extensively. Returning to Florida, she initially worked in wedding planning, even appearing on TLC's "Four Weddings." After marrying and becoming a stepmom, she transitioned into real estate through a friend's influence. Now a mother of two, she passionately helps families relocate to Florida, focusing on building lasting relationships rather than mere transactions. Her background ensures meticulous attention to detail, making relocation smooth and rewarding for her clients.   (00:00:00 - 00:10:59) From Wedding Planner to Real Estate Agent: Demi's Unconventional Journey - Demi shares her background growing up in St. Augustine and her early career aspirations - She discusses her experience as a wedding planner and how it prepared her for real estate - Demi explains how a friend's encouragement led her to pursue a career in real estate   (00:11:00 - 00:27:59) Navigating the Challenges of the Ever-Changing Real Estate Market - Demi shares her approach to helping clients navigate the school zoning issues in St. Johns County - She discusses the importance of being authentic on social media and overcoming camera fear - Demi explains how she creates value for clients through guides, resources, and personal touches   (00:28:00 - 00:45:59) Building a Personal Brand and Finding Your Niche in the Industry - Demi shares her experience working on a real estate team and why she ultimately decided to go solo - She discusses the importance of finding your niche and building a personal brand in the industry - Demi explains how she leverages her past experience and unique personality to stand out in a crowded market   (00:46:00 - 01:09:59) The Value of Mentorship and Coaching in Real Estate - Demi shares her decision to hire a coach and the impact it has had on her business - She discusses the importance of having a mentor or partner to cover for you and provide support - Demi explains how her coach has helped her overcome imposter syndrome and focus on her strengths   (01:10:00 - 01:27:00) The Future of Real Estate: Adapting to New Technologies and Changing Client Expectations - Demi shares her thoughts on the impact of AI and other new technologies on the real estate industry - She discusses the importance of providing value and quality service to clients in the face of changing expectations - Demi shares her vision for the future of her business and her passion for coaching and mentoring other agents   Quotes:   "Real estate doesn't have to be a cold caller, an open house, or a doorknock. It has to be you. You're Real Estate. Why can't you sell yourself." - Demi Judd   "I want to help. I can't change an industry. There's an industry issue. That's a whole different thing. But I can change a life of an agent." - Demi Judd   Connect with Demi:   Website: https://www.juddssold.com Instagram: https://www.instagram.com/juddssold/   If you want to build your business and become more discoverable online, Streamlined Media has you covered. Check out how they can help you build an evergreen revenue generator all  powered by content creation!   SUBSCRIBE & LEAVE A 5-STAR REVIEW as we discuss real estate excellence with the best of the best.    

The pixie weddings don't go as planned...   Gain access to an exclusive campaign, Shroud Over Saltmarsh, over on Patreon: https://legendsofavantris.com/patreon The Crooked Moon, a folk horror supplement for 5e, is available for preorder! Get the Crooked Moon at: https://thecrookedmoon.com/ Watch more D&D adventures in the world of Avantris live on Twitch: https://www.twitch.tv/legendsofavantris Check out our merch store: https://shop.legendsofavantris.com  Join our community on Discord: https://legendsofavantris.com/discord Watch our many campaigns on YouTube: https://legendsofavantris.com/youtube  All other links: https://linktr.ee/legendsofavantris   Watch the full episode here: https://youtu.be/tvSZbJLdy0Q?si=qxR7IcJl1U9c0iwV

You can now text us anonymously to leave feedback, suggest future content or simply hurl abuse at us. We'll read out any texts we receive on the show. Click here to try it out!Welcome back to Bad Dads Film Review! Today's episode packs a numerical punch as we explore the theme of the number four, diving into the top five instances where the number '4' plays a key role in film and entertainment. We'll then saddle up for a ride with the 2016 remake of "The Magnificent Seven" before settling down for a quieter exploration with "The Sound Collector."Top Five '4's in Entertainment:"Fantastic Four" (2005, 2015) - Marvel's first family of superheroes, known for their four distinct powers that complement each other, making them a formidable team against evil."Four Weddings and a Funeral" (1994) - This British romantic comedy cleverly uses the number four in its plot structure, revolving around the social gatherings that bring the characters closer."I Am Number Four" (2011) - A sci-fi film about a group of alien teenagers on Earth, with the protagonist known as Number Four, who must evade assassins sent to kill him before he comes of age."The Four Feathers" (2002) - A historical drama about bravery and cowardice, featuring a protagonist who receives four white feathers symbolizing his perceived cowardice from his friends and loved one."The Sign of Four" (1987) - A Sherlock Holmes film based on Sir Arthur Conan Doyle's novel, where the plot revolves around the mystery connected to the number four.Main Feature - The Magnificent Seven (2016):In this modern remake of the classic Western, director Antoine Fuqua reimagines the story with a diverse, star-studded cast including Denzel Washington, Chris Pratt, and Ethan Hawke. The film follows seven gunslingers who come together to protect a poor village from savage thieves. While the film pays homage to the original, it also infuses new energy and interpretation into the tale, exploring themes of justice, courage, and sacrifice.The Sound Collector:Switching gears to a much different tempo, "The Sound Collector" (a fictional title for the sake of discussion) might be a documentary or a feature film exploring the world of sounds. This could involve a protagonist traveling the world to capture unique sounds from nature, cities, and people, using these sounds to tell stories or even solve mysteries. The film would highlight the importance of listening and the role of sound in shaping our environment and experiences.Whether you're intrigued by the action and camaraderie of "The Magnificent Seven," fascinated by the auditory journey in "The Sound Collector," or just enjoying our numerical narrative with the top five '4's in entertainment, today's episode promises a blend of action, thoughtfulness, and a bit of numerical fun. So tune in and join us as we explore these captivating themes.

Johnny Depp dials it in, the premiere of the two best things to ever happen to television (both courtesy of Ted Turner), the cringiest Sopranos outing, Chevy Chase's last stand, Community says goodbye for the first time, Hugh Grant becomes a made man, and good times with Quentin Tarantino at his most indulgent! All that and more from 30, 20 and 10 years ago.  Support us at https://www.patreon.com/lasertime

Foolish April barrels on with our most requested movie (so far), 1991's Drop Dead Fred! A famous flop, a rumored disaster, an object of derision…but how will Erika and Paul feel about it? Will this be one where they get out their knives and hack it apart? Or a Four Weddings and A Funeral situation where they disagree? Or maybe…just maybe…will they love it? Listen and find out!You can follow That Aged Well on Twitter (@ThatAgedWellPod), Instagram (@ThatAgedWell), Threads (@ThatAgedWell), and Spoutible (@ThatAgedWell)! SUPPORT US ON PATREON FOR BONUS CONTENT!THAT AGED WELL MERCH!Hosts: Paul Caiola & Erika VillalbaProducer & Editor: Paul Caiola

In this short Ask Us ANYTHING episode, host Jay Schwedelson answers a business question from John about responding to old sales emails and driving more opportunities. Jay shares data on the long tail of email marketing and how nurturing old emails can lead to high lifetime value customers.Jay also tackles a "ridiculous question" from Kristen, naming his picks for the top 5 romantic comedy movies of all time.Main Discussion Points:- Over 20% of email clicks happen after an offer expires. Responding to these old emails leads to high lifetime value customers- Create evergreen offer pages so old email traffic always has something to click on- Enable email reply functionality so old emails get seen- Jay's top 5 romantic comedies: Bridesmaids, The Wedding Singer, Legally Blonde, Four Weddings and a Funeral, Mean Girls

Shat The Movies takes its anglophilia to a new level with an English commissioner, an English guest host and a movie that epitomizes the English film renaissance: "Four Weddings and a Funeral." Rob Will Taylor joins Ash and Gene to discuss the reality of British weddings, why they start so early and why they suck for guests. The Shat Crew also explores the tragic tale of Charlotte Coleman, the charm of Hugh Grant and Ash's favorite sex scene ever.  In this episode, Gene assumes Dick Ebert's mantle of Curious Average American Guy, asking about British phone habits, whether viewers are supposed to hate Andie MacDowell and how sleeping at pubs works. Ash applauds a powerful scene that still packs a punch. And Rob rails against That Fucking Song. Android: https://shatpod.com/android Apple: https://shatpod.com/apple All: https://shatpod.com/subscribe CONTACT Email: hosts@shatpod.com Website: https://shatpod.com/movies Leave a Voicemail: Web: https://shatpod.com/voicemail Leave a Voicemail: Call: (914) 719-7428 SUPPORT THE PODCAST Donate or Commission: https://shatpod.com/support Shop Merchandise: https://shatpod.com/shop Theme Song - Die Hard by Guyz Nite: https://www.facebook.com/guyznite