Podcast appearances and mentions of Henrik Ibsen

In this episode of Decorating Pages, Emmy-winning set decorator Kim Wannop sits down with Production Designer Cara Brower to talk about designing Hedda, Amazon MGM Studios' new adaptation of Henrik Ibsen's Hedda Gabler—now streaming on Prime Video. Brower—whose credits include Candyman, The Marvels, Twin Peaks: The Return, Us, and Hail, Caesar!—explains how she found and transformed a single English country estate into Hedda's entire universe: grand staircase, dark entry hall, sensual bedroom, secret telephone nook, glass conservatory with a deadly chandelier, and a lakeside bonfire that bookends the story. The conversation digs into:How Ibsen's original themes of power, boredom, control, and societal constraints on women informed the design choicesLayering Victorian architecture with Art Deco curves, 1960s-inspired pattern, and bold modern art so Hedda's home feels like a socialite's act of rebellionDesigning Hedda's bedroom as a cold, sensual, almost Hollywood-boudoir space that belongs entirely to herThe engineering and cross-department chaos behind the film's glass chandelier set pieceWhy shooting mostly on location—with minimal VFX—makes the film feel more immediate and theatricalPerfect listening if you love period drama, literary history, and extremely opinionated wallpaper.

A provocative reimagining of Henrik Ibsen's classic play, “Hedda” stars Tessa Thompson as the aristocrat caught between a past love and a stifling marriage. Thompson and director Nia DaCosta discuss the film, now streaming on Prime Video.

Seit letzter Spielzeit frisch im Ensemble spricht Schauspielerin Anna Drexler mit Staatsintendant Andreas Beck über das Geheimnis der Kunstform Schauspiel, warum das Schauspielerin sein für sie der perfekte Beruf ist – und warum man mit jeder Produktion das Rad ein bisschen neu erfindet. Ihr habt Fragen, Anmerkungen oder Wünsche? Wir freuen uns auf eure Nachricht per Mail an besucherservice@residenztheater.de! Mehr zu Anna: Anna Drexler (residenztheater.de) KASIMIR UND KAROLINE von Ödön von Horváth Inszenierung Barbara Frey Die Liebe von Kasimir, einem arbeitslosen Chauffeur, und Karoline, einer Büroangestellten, wird auf dem Oktoberfest auf die Probe gestellt: Inmitten von Fahrgeschäften, Bierzelten und Schnapsbuden sucht man mit fortschreitender Stunde Trost im Alkoholexzess und blickt in zwischenmenschliche Abgründe. Mehr zu KASIMIR UND KAROLINE: Kasimir und Karoline (residenztheater.de) DIE WILDENTE von Henrik Ibsen Inszenierung Johannes Holmen Dahl Mit «Die Wildente» verfasste Henrik Ibsen eine meisterhafte Tragödie. Idealist Gregers Werle begibt sich auf eine verhängnisvolle Suche nach der Wahrheit in die Vergangenheit seiner Familie. Mit diesem Klassiker seines Landsmanns gibt der norwegische Regisseur Johannes Holmen Dahl sein Deutschlanddebüt. Mehr zu DIE WILDENTE: Die Wildente (residenztheater.de) Mehr zu den Veranstaltungen am Residenztheater findet ihr hier: Spielplan | residenztheater.de Residenztheater (@residenztheater) auf Instagram Im Gespräch: Andreas Beck und Anna Drexler Redaktion: Lea Unterseer Schnitt: Lea Unterseer, Jan Faßbender Musik: Michael Gumpinger

When the filmmaker Nia DaCosta (Candyman, The Marvels, 28 Years Later: The Bone Temple) was growing up, she says she only saw Black women portrayed in one of two ways: either as harmful stereotypes or as noble figures who became one-dimensional in their wisdom and perfection. Nia has dedicated her career to presenting complex and nuanced portrayals of Black women on-screen. Her new movie, “Hedda,” is loosely based on Henrik Ibsen's classic 1891 play “Hedda Gabler,” which features one of literature's most controversial characters. But in this new adaptation, the title character is reimagined as a biracial and bisexual woman in 1950s England. Nia joins Tom Power to talk about the film and what happens when we let people be imperfect.

Rune Lykkeberg taler i denne uge med den kinesiske bestsellerforfatter Jung Chang om hendes nye bog 'Flyv, vilde svaner'. Men der bliver også tid til at runde både Mao, Xi Jinping, det moderne Kina – og Nora fra 'Et dukkehjem' --- Ugens gæst hos Rune Lykkeberg er den kinesiske forfatter Jung Chang, der i 1991 udgav en bestsellerbog, som blev læst over hele verden og af tusinder af danskere. Vilde svaner er en gribende familiehistorie om tre generationer af kvinder, som kan læses både som en feministisk generationsfortælling om frigørelse og modstand og som en politisk fortælling om transformationen af Kina fra et landbrugsland til et industriland under formand Maos brutale kulturrevolution. En historisk begivenhed, som Jung Chang selv oplevede, da hun voksede op under den. Jung Chang er født i Sichuan-provinsen i Kina i 1952. Hun blev en verdensberømt forfatter efter udgivelsen af Vilde svaner, der gav hende adgang til topledere fra hele verden. Hun blev sådan en, man så op til og beundrede. Senere skrev hun også en fantastisk god biografi om Mao sammen med sin mand, Jon Halliday, med titlen: Mao – den ukendte historie. Nu har Jung Chang så skrevet en opfølger til Vilde svaner, som hedder Flyv, vilde svaner. Det er en fortælling om det moderne Kina, som stormer frem i verden med imponerende vækstrater – men det er samtidig en fortælling om Jung Changs egen mor og Kina under Xi Jinping. Bogen er for nylig udkommet på dansk, og i den anledning talte Rune Lykkeberg Jung Chang sammen over Zoom – om både Mao, Xi Jinping, det moderne Kina, feminisme, Vilde svaner og Flyv vilde svaner. Og så røber hun også, hvad Henrik Ibsen og skuespillet Et dukkehjem har betydet for hende personligt. 

In this episode of Chronicles, Luca discusses An Enemy of the People by Henrik Ibsen. He explores Ibsen's philosophy of individual self-realisation and the play's themes of mob rule, principle, and truth.

In this episode Neil Callin chats with Saoirse Coyle-Carroll and Ewan MacFarlane from The Service Players ahead of their production of a new working of Henrik Ibsen's classic "A Doll's House" which opens at the Ballakermeen Studio Theatre later this week

We're kicking off the Fall/Winter 2025 season of OnWriting with a roundtable conversation between screenwriters Nia DaCosta, Benny Safdie and Will Tracy, who sat down to discuss their latest projects, the writing process, and more. Nia DaCosta is the writer and director of Hedda, a provocative, modern reimagining of Henrik Ibsen's classic play in which the titular Hedda Gabler finds herself torn between the lingering ache of a past love and the quiet suffocation of her present life. Benny Safdie is the writer and director of The Smashing Machine, the true story of mixed martial arts and UFC fighter Mark Kerr, whose obsession with greatness made him a legend — and nearly cost him everything. Will Tracy is the writer of Bugonia, directed by Yorgos Lanthimos, in which two conspiracy-obsessed men kidnap the CEO of a major company when they become convinced that she's an alien who wants to destroy Earth. --- Read shownotes, transcripts, and other member interviews: wgaeast.org/onwriting Follow the Guild on social media: @WGAEast OnWriting is a production of the Writers Guild of America East. The show is produced by WGA East staff members Jason Gordon, Tiana Timmerberg, and Molly Beer. Production, editing, and mix by Giulia Hjort. Original music is by Taylor Bradshaw. Artwork is designed by Molly Beer.

This week on End Credits, we work smarter and party harder. Since this episode intersects with the start of our local documentary film festival we will talk about documentaries you can watch that don't require a festival pass, but they do maybe require a streaming subscription. Speaking of streaming, there's a party on Amazon Prime and we're inviting ourselves to check it out. This Wednesday, November 4, at 3 pm, Adam A. Donaldson and, Candice Lepage will discuss: Doc Plan. This week, the latest edition of the Guelph Film Festival begins, and it will bring some cool new documentaries from across Canada and around the world that you will be able to see with a crowd. And yet, in this steaming era, there are a great many documentaries that you can see this very minute on one of the numerous available apps, free or otherwise. In honour of GFF, we will look at some of our favourite docs on our favourite (?) steamers. Hedda (2025). Hedda is one of the great roles in theatre, but it's safe to say that you've never seen a Hedda quite like this. Director Nia DaCosta has reteamed with the star of her breakthrough film - Tessa Thompson - to reimagine Henrik Ibsen's classic play about a party with a lot of drama and the hostess with the mostess churning it all up. DiCosta is a filmmaker with a lot of promise, and Thompson is an engaging star, so can the two of them together cook up something new, strange and interesting with a theatrical classic? End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.

What if a classic tale could be reshaped with modern twists and turns that leave you questioning everything you thought you knew? Join me, Kyle McMahon, as I sit down with visionary director Nia Da Costa (The Marvels, 28 Days Later: The Bone Temple), superstar Tessa Thompson (The Avengers: Endgame, Creed) Nina Hoss and Tom Bateman to explore how the new Prime Video film 'Hedda' reimagines Henrik Ibsen's iconic play with electrifying creativity. Unearth how Nia DaCosta's visionary adaptation amplifies the timeless stakes of 'Hedda Gabler,' with Tessa Thompson breathing new life into the titular character. With Nina Hoss portraying a gender-swapped Eileen Loveborg and Tom Bateman tackling the complexities of George Tessman, this episode promises a deep dive into the innovative storytelling that challenges societal norms and character dynamics. Nina opens up about the liberating challenge of stepping into a reimagined role, enriching the narrative with existential undertones that speak volumes about contemporary issues. Meanwhile, Tom reflects on George Tessman's internal battle with power and understanding, shedding light on his character's tumultuous relationship with Hedda. Get ready for a thought-provoking conversation that not only celebrates the daring vision behind this adaptation but also offers a fresh perspective on a literary classic that continues to resonate. Tune in for an insider's look at 'Hedda,' where tradition meets transformation and storytelling reaches new heights.If you dig the show, subscribe, rate, and share—and tell your mom; she and Kyle would absolutely get along.

In the new film Hedda, Tessa Thompson plays a woman bored with her dull husband, and who devilishly manipulates the affections of everyone in her orbit. Writer/director Nia DaCosta makes some bold changes in this adaptation of the classic Henrik Ibsen play Hedda Gabler, and sets almost all of the action during a lavish party gone awry. But this is not your grandmother's Hedda. It's sexy, chaotic, and, above all, messy as hell. It's streaming on Prime Video. Follow Pop Culture Happy Hour on Letterboxd at letterboxd.com/nprpopcultureLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

In celebration of the release of Hedda on Prime Video, Tessa Thompson joined Perri Nemiroff for a Collider Ladies Night conversation!During their chat, Thompson revisits working on Veronica Mars with Kristen Bell and discusses how Justin Simien's Dear White People was a personal acting game-changer. She also digs into the reality of joining the Marvel Cinematic Universe, and celebrates her longstanding collaboration with Hedda director, Nia DaCosta.Hear about all of that and so much more in this interview!Here's the official synopsis for HEDDA: "A provocative reimagining of Henrik Ibsen's classic play, Hedda follows enigmatic newlywed Hedda (Tessa Thompson), who is outwardly composed but hiding a simmering discontent that threatens to explode when the brilliant and charismatic Eileen Lovberg (Nina Hoss) reenters her life. Over the course of a raucous party, the high and low of society endure the consequences of this dangerous and unknowable woman yearning for a past love. What ensues is a ruthless game of manipulation, where lust, jealousy, and betrayal collide. Written and directed by Nia DaCosta, Hedda is a daring exploration of power, desire, and a woman's refusal to be confined." Hosted on Acast. See acast.com/privacy for more information.

All treats and no tricks for you in this packed Halloween edition of Breakfast All Day. Here's what we've got: NOUVELLE VAGUE: Richard Linklater recreates the making of the French New Wave classic "Breathless" with a movie that looks like it could have come out in 1960, as well. You don't need to know anything about Jean-Luc Godard, or Jean Seberg, or Jean-Paul Belmondo to enjoy this affectionate and humorous homage, but there are Easter eggs galore if you do. In theaters before streaming on Netflix Nov 14. SHELBY OAKS (With William Bibbiani): Our good friend Bibbs joins in on a review of this horror debut from longtime YouTube film critic Chris Stuckmann. It follows a woman investigating the disappearance of her sister, who was a paranormal investigator, in a small Ohio town. In theaters. HEDDA: Tessa Thompson is impossibly charismatic in this bold reimagining of the classic Henrik Ibsen play "Hedda Gabler." Nia DaCosta's adaptation is queer and multiracial in ways that are reminiscent of "Bridgerton." The cinematography and production design are gorgeous, but see it for the clothes alone. Streaming on Prime Video. IT WAS JUST AN ACCIDENT: This will end up being a major contender in the awards conversation. Iranian master Jafar Panahi tells the story of several disparate people who come together to abduct and confront the man they believe was their torturer in prison. It's tense and beautifully acted, with an unexpected streak of absurd humor. In theaters. MOVIE NEWS LIVE!: Our travels have kept us from doing our movie news livestream for the past couple weeks, so it was nice to be together again. Among the topics we discussed were the upcoming "Stranger Things" finale, "Sinners" and "K-Pop Demon Hunters" back in theaters, Osgood Perkins Day, and Francis Ford Coppola auctioning off his watch collection. We're gone next week but back Nov. 14. Thanks for being here! Subscribe to Christy's Saturday Matinee newsletter: https://christylemire.beehiiv.com/  

Travis Hopson reviews Nia DaCosta's HEDDA starring Tessa Thompson, Nina Hoss, Tom Bateman, and Imogen Poots! Streaming now on Prime Video.SYNOPSIS: From writer/director Nia DaCosta comes a provocative, modern reimagining of Henrik Ibsen's classic play. HEDDA (Tessa Thompson) finds herself torn between the lingering ache of a past love and the quiet suffocation of her present life. Over the course of one charged night, long-repressed desires and hidden tensions erupt—pulling her and everyone around her into a spiral of manipulation, passion, and betrayal.All of this and more can be found at www.punchdrunkcritics.com!Subscribe to Punch Drunk Critics on YouTube:    / @punchdrunkcritics1  Follow Punch Drunk Critics on Twitter: https://www.twitter.com/pdcmoviesFollow Punch Drunk Critics on Facebook: https://www.facebook.com/pdcmoviesYou can also subscribe to our podcast Cinema Royale anywhere you get your podcasts!#Hedda #TessaThompson #moviereviews

From writer/director Nia DaCosta comes a provocative, modern reimagining of Henrik Ibsen's classic play. HEDDA (Tessa Thompson) finds herself torn between the lingering ache of a past love and the quiet suffocation of her present [...] The post Josh Bell Hates: Hedda appeared first on Highway Radio.

"Hedda" is a dramatic adaptation of Henrik Ibsen's "Hedda Gabler" written and directed by Nia DaCosta, starring Tessa Thompson in the title role, with Imogen Poots, Tom Bateman, Nicholas Pinnock, and Nina Hoss in supporting roles. The film premiered at the 2025 Toronto International Film Festival to positive reviews for its performances, DaCosta's direction, and modern take on the material. Hoss and Bateman were kind enough to spend time speaking with Ema Sasic about their work and experiences making the film. This is followed by my conversation with the film's casting directors, Dez Hamilton and Joe Harris, and concludes with Cody Dericks' interview with the film's composer, Academy Award-winner Hildur Guđnadóttir. You can listen to all of these below. Please be sure to check out the film, which is now available to stream on Prime Video from Amazon MGM Studios. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

It's Halloween weekend and there isn't a lot of horror but Erik Childress and Steve Prokopy still have eight films to talk about. They include a documentary about an archbishop who wrote the gay disco anthem of the ‘70s (I Was Born This Way) and another true story about drugs, family and revenge in the Ozarks (Violent Ends). There are some holiday-themed titles including a daughter realizing her mom may have fallen into a cult (Self-Help) and an animated Frankenstein-esque tale for kids (Stitch Head). The director of Conclave has Colin Farrell gambling away in Macau (Ballad of a Small Player) and Nia DaCosta swaps race and gender in an updating of Henrik Ibsen's 1891 play (Hedda). Diane Lane watches her family come apart in a new America (Anniversary) and the pair share their memories on the 40th anniversary of a masterpiece (Back to the Future).3:32 - I Was Born This Way13:44 - Self-Help21:53 - Stitch Head30:43 - Violent Ends42:14 - Ballad of a Small Player51:14 - Anniversary1:09:10 - Hedda1:20:33 - Back to the Future (40th Anniversary re-release)CLICK ON THE FILMS TO RENT OR PURCHASE AND HELP OUT THE MOVIE MADNESS PODCASTBe sure to check outErik's Weekly Box Office Column – At Rotten TomatoesCritics' Classics Series – At Elk Grove Cinema in Elk Grove Village, ILChicago Screening Schedule - All the films coming to theaters and streamingPhysical Media Schedule - Click & Buy upcoming titles for your library.(Direct purchases help the Movie Madness podcast with a few pennies.)Erik's Linktree - Where you can follow Erik and his work anywhere and everywhere.The Movie Madness Podcast has been recognized by Million Podcasts as one of the Top 100 Best Movie Review Podcasts as well as in the Top 60 Film Festival Podcasts and Top 100 Cinephile Podcasts. MillionPodcasts is an intelligently curated, all-in-one podcast database for discovering and contacting podcast hosts and producers in your niche perfect for PR pitches and collaborations. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit erikthemovieman.substack.com

Travis Hopson talks with Tessa Thompson and HEDDA director Nia DaCosta about their reimagining of Henrik Ibsen's classic play, streaming now on Prime Video!All of this and more can be found at www.punchdrunkcritics.com!SYNOPSIS: From writer/director Nia DaCosta comes a provocative, modern reimagining of Henrik Ibsen's classic play. HEDDA (Tessa Thompson) finds herself torn between the lingering ache of a past love and the quiet suffocation of her present life. Over the course of one charged night, long-repressed desires and hidden tensions erupt—pulling her and everyone around her into a spiral of manipulation, passion, and betrayal.Subscribe to Punch Drunk Critics on YouTube:    / @punchdrunkcritics1  Follow Punch Drunk Critics on Twitter: https://www.twitter.com/pdcmoviesFollow Punch Drunk Critics on Facebook: https://www.facebook.com/pdcmoviesYou can also subscribe to our podcast Cinema Royale anywhere you get your podcasts!#TessaThompson #NiaDaCosta #Hedda

Travis Hopson talks with HEDDA stars Tom Bateman and Nina Hoss about Nia DaCosta's fiery, complex adaptation starring Tessa Thompson!HEDDA is streaming now on Prime Video.SYNOPSIS: From writer/director Nia DaCosta comes a provocative, modern reimagining of Henrik Ibsen's classic play. HEDDA (Tessa Thompson) finds herself torn between the lingering ache of a past love and the quiet suffocation of her present life. Over the course of one charged night, long-repressed desires and hidden tensions erupt—pulling her and everyone around her into a spiral of manipulation, passion, and betrayal.All of this and more can be found at www.punchdrunkcritics.com!Subscribe to Punch Drunk Critics on YouTube:    / @punchdrunkcritics1  Follow Punch Drunk Critics on Twitter: https://www.twitter.com/pdcmoviesFollow Punch Drunk Critics on Facebook: https://www.facebook.com/pdcmoviesYou can also subscribe to our podcast Cinema Royale anywhere you get your podcasts!#TomBateman #NinaHoss #Hedda

"I love adaptations. The beauty of adaptation, especially a classic, like Shakespeare and Chekhov or Ibsen, they're such a gift because they give you this beautiful framework, and it's almost like they're begging you to take it and make it your own," says writer/director Nia DaCosta about adapting Henrik Ibsen's 1891 play Hedda Gabler into her new film Hedda.   Set in the 1950s, the movie stars Tessa Thompson in the lead role, Imogen Poots as Thea, and reimagines the character Eilert Lovborg as a queer woman (now Eileen), played by Nina Hoss.  We chat with Nia DaCosta about her journey to becoming a filmmaker, genre hopping into horror with Candyman and the upcoming 28 Years Later: The Bone Temple. She even made the superhero movie The Marvels. We also talk about the challenges of tackling the complicated, often cruel character of Hedda in the new film.  "When I read the play [Hedda Gabler]," says DaCosta, "I'm like, this woman is hilarious! She's absolutely absurd. In the play, she's so verbose roaming around this sitting room, yelling at everyone who comes in. I wanted to replicate that, but more through action. And then there's the empathy part of it. To me, her tragedy is that she will never know herself. It's a life's work to understand and know ourselves, our emotional world. I think because she is so cruel, because she is so unhappy, because she has made these decisions that have trapped herself in this life – that to me is really sad. But I don't want people to forgive her for what she's done, or to excuse it."  DaCosta also shares her advice on adapting someone else's story. "I think you have to know why you want to do it, and what it is you want to use the work to say. To let that 'why' sort of guide your pen. That's my convoluted way of saying trust your gut."  If you've been thinking about adapting a classic play into a modern movie, you don't want to miss this podcast.   

DaCosta directed the box office hit horror movie Candyman and The Marvels. Her latest, Hedda, is an adaptation of Henrik Ibsen's 1891 play, Hedda Gabler. She reimagines the main character as a queer, mixed-race Black woman, played by Tessa Thompson. DaCosta spoke with Tonya Mosley about navigating white spaces in Hollywood, why she loves horror, and her time as a production assistant. Also, jazz critic Martin Johnson reviews bassist Linda May Han Oh's album Strange Heavens. Follow Fresh Air on instagram @nprfreshair, and subscribe to our weekly newsletter for gems from the Fresh Air archive, staff recommendations, and a peek behind the scenes. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

On this week's show, Dana is joined by fellow movie critics Amy Nicholson of The Los Angeles Times and Slate's Sam Adams for an all-film edition of the Gabfest. First up, they enter A House of Dynamite, Kathryn Bigelow's tense procedural about a nuclear catastrophe. Whether or not this grim thriller has any spark is up for debate. Next, they step into the raucous party of Hedda Gabler in Nia DaCosta's Henrik Ibsen adaptation Hedda, starring Tessa Thompson as the scheming hostess. Finally, they examine the documentary The Perfect Neighbor which offers an alarming portrait of one Florida community compiled primarily through police body cam footage. In an exclusive Slate Plus bonus episode, the movie talk continues with an all-spoiler special about all three films. Endorsements Amy: The Man in the Tuskhut, an animatronic, AI theater piece by the writer and director Jason Woliner. Sam: The band Belly's album Star and the play Liberation by Bess Wohl. Dana: Spike Jonze's music video of Bjork's cover of “It's Oh So Quiet.” Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's show, Dana is joined by fellow movie critics Amy Nicholson of The Los Angeles Times and Slate's Sam Adams for an all-film edition of the Gabfest. First up, they enter A House of Dynamite, Kathryn Bigelow's tense procedural about a nuclear catastrophe. Whether or not this grim thriller has any spark is up for debate. Next, they step into the raucous party of Hedda Gabler in Nia DaCosta's Henrik Ibsen adaptation Hedda, starring Tessa Thompson as the scheming hostess. Finally, they examine the documentary The Perfect Neighbor which offers an alarming portrait of one Florida community compiled primarily through police body cam footage. In an exclusive Slate Plus bonus episode, the movie talk continues with an all-spoiler special about all three films. Endorsements Amy: The Man in the Tuskhut, an animatronic, AI theater piece by the writer and director Jason Woliner. Sam: The band Belly's album Star and the play Liberation by Bess Wohl. Dana: Spike Jonze's music video of Bjork's cover of “It's Oh So Quiet.” Learn more about your ad choices. Visit megaphone.fm/adchoices

DaCosta directed the box office hit horror movie Candyman and The Marvels. Her latest, Hedda, is an adaptation of Henrik Ibsen's 1891 play, Hedda Gabler. She reimagines the main character as a queer, mixed-race Black woman, played by Tessa Thompson. DaCosta spoke with Tonya Mosley about navigating white spaces in Hollywood, why she loves horror, and her time as a production assistant. Also, jazz critic Martin Johnson reviews bassist Linda May Han Oh's album Strange Heavens. Follow Fresh Air on instagram @nprfreshair, and subscribe to our weekly newsletter for gems from the Fresh Air archive, staff recommendations, and a peek behind the scenes. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Efteråret er den tid på året, hvor man længes efter fortællinger, der kan spejle stemningen i mørket udenfor. I dette afsnit af Poptillægget taler vi om bøger, man kan læse, mens lyset gradvist trækker sig tilbage, og blæsten bliver mere og mere konfronterende. Vi dykker ned i alt fra efterårsklassikere og kanonromaner til nye udgivelser og poesi. PANEL Bodil Skovgaard Nielsen, kulturjournalist på Dagbladet Information. Anbefaling: Tag på Glyptoteket og se både den aktuelle udstilling af Alia Farid samt skulpturen ‘Kysset’ af Auguste Rodin. Mads Jannick Holm, litteraturformidler og oversætter. Anbefaling: (Gen)se filmen ‘Verdens værste menneske’. Sabitha Söderholm, forfatter og klummeskribent. Anbefaling: Læg mærke til vinden i sæsonen og i litteraturen. Vært: Lucia Odoom. Tag til Todd Rundgrens koncert i Amager Bio d. 4. november samt læs ‘Supersoaker’ af Lasse Dyrholm Jensen, som vi taler om i Poptillæggets bogklub i november. VÆRKER, VI TALER OM ‘The Worst Witch’ af Jill Murphy ‘Ringenes Herre’ af J. R. R. Tolkien ‘Om udregning af rumfang’ af Solvej Balle ‘Min kamp’ af Karl Ove Knausgård ‘Hvad skal vi med al den skønhed?’ af Rasmus Nikolajsen ‘Mørkt forår’ af Unica Zurn ‘Brevbæreren’ af Charlotte Weitze ‘Vi dræber Stella’ og ‘Væggen’ af Marlen Haushofer ‘Hvis du er bange, så ryk tættere på’ af Liv Helm ‘Frisk fordæv - (akuttekst(‘ af Lone Aburas ‘Om efteråret’ af Gunnar Ekelöf ‘Samlede digte’ af Edith Södergran ‘Det femte barn’ af Doris Lessing ‘Vanære’ af John Michael Coetzee ‘Fiskerne’ af Hans Kirk ‘Jeg bygger et hus med mine hænder’ af Marina Vorobyeva ‘Kirsebærhaven’ af Tjekhov. ‘Hedda Gabler’ af Henrik Ibsen. ‘Årene’, ‘Den frosne kvinde’ og ‘Fortabe sig’ af Annie Ernaux ‘De små tings gud’ af Arundhati Roy REDAKTION Lucia Odoom og Jonas Bach-Madsen. See omnystudio.com/listener for privacy information.

In this special live episode of Girls On Film, host Anna Smith sits down with the creative team behind Hedda, the daring new film from acclaimed director Nia DaCosta, also known for Candyman and The Marvels. Recorded live on 13 October 2025 at Picturehouse Central, this Q&A follows a screening of Hedda - a bold and contemporary reimagining of Henrik Ibsen's classic play Hedda Gabler. The film follows the daughter of a general as she navigates a home she never wanted, a marriage that confines her, and the haunting return of a former lover. Joining Anna on stage are director Nia DaCosta and cast members Tessa Thompson, Nina Hoss, and Imogen Poots, who discuss the film's exploration of race and gender, as well as the creative process of reinventing one of literature's most complex and fascinating women for modern audiences. Hedda is in UK cinemas as of 24 October 2025, and on Prime Video globally on 29 October 2025 Thank you to Amazon MGM Studios for partnering with us on this episode. Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Executive Producer: Hedda Lornie Archbold Producer: Negin Nia Intern: Ruby Bradshaw Podcast Cover Image: Amy Webster Audio Editor: Elliana Jay Hamer © HLA Agency

Tessa Thompson's latest role is an infamously chaotic one: Hedda Gabler. Adapted from the classic play by Henrik Ibsen, “Hedda,” in select theaters Oct. 22, casts Thompson as a 1950s housewife who feels snubbed by an old lover and stifled in a new marriage. For Hedda, the only exit strategy is to punish those who have hurt her and then destroy herself.In this episode of Modern Love, Thompson explains why she relates to female characters like Hedda and to the desire to define life and love on one's own terms. She also reads a Modern Love essay about an unhappy marriage that helped the author find herself.Here's how to submit a Modern Love essay to The New York Times.Here's how to submit a Tiny Love Story. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app.

¿Por que Habla Jesús Tanto Sobre las Finanzas?Esta presentación es parte del Workshop "Más con Menos", de Finanzas Personales y de la Familia. Fue presentado a Pastores de la Asociación Norte de Chile, el 14 de marzo de 2025.•Una persona promedio pasa aproximadamente el 80% del tiempo que está despierta: •... ¡Soñando!•... ¡Pensando!•... ¡Y buscando dinero•De las 38 parábolas de Jesús, 16 tratan sobre el dinero.•Además, uno de cada siete versículos de los tres primeros evangelios trata sobre finanzas.•Cristo habló más sobre el dinero y las posesiones que sobre el Cielo y el Infierno juntos.•El único tema del que Jesús habló con más frecuencia fue el Reino de Dios.En la Biblia hay menos de 500 versículos sobre la oración.¡Más de 2350 versículos sobre el dinero! Es el doble de versículos sobre la fe y la oración juntos.Temas de estos 2350 versículosFormas específicas de: Ganar ahorrar, gastar, invertir ydar dineroEl 15% de todo lo que dijo Jesús está relacionado con el dinero y las posesiones.¿Por qué la Biblia dice tanto sobre este tema?Existe una conexión fundamental entre la vida espiritual y las actitudes y acciones relacionadas con el dinero y las posesiones.Y la manera en que gestionamos nuestras finanzas y propiedades nos revela a nosotros y a los demás nuestras creencias sobre la vida eterna. Mateo 6:21.“Sólo hay dos lugares en el universo donde podemos colocar nuestros tesoros: en el almacén de Dios o en el de Satanás; y todo lo que no se dedica al servicio de Dios se cuenta del ladode Satanás y sirve para fortalecer su causa.” C.S., 35.•¡La manera como utilizamos el dinero y otros bienes, revela nuestra lealtad hacia el Señor! También demuestra nuestra utilidad para Dios, y si se nos puede confiar la riqueza eterna.Mateo 25:23Lea Consejos sobre mayordomía, 22.Henrik Ibsen dijo:“El dinero puede ser la cáscara de muchas cosas, pero no la esencia. Te da alimento, pero no apetito; medicina, pero nosalud; conocidos, pero no amigos; sirvientes, pero no lealtad; días de alegría, pero no paz ni felicidad.”Las dificultades económicas son uno de los principales factores que contribuyen a las separaciones y los divorcios. El amor al dinero divide a las familias.BUSCANDO A ALGUIEN A QUIEN CULPAR POR MIS PROBLEMAS FINANCIEROS: •¡Dios!•¡Mi jefe!•El banco•¡La tarjeta de crédito!Muchos desacuerdos, malentendidos, desagrados e incluso divorcios podrían evitarse si se aplicaran los principios correctos para manejar el dinero, tal como se encuentran en la Palabra de Dios.Mateo 6:19CONOCE A AQUELLOS TIPOS QUESON LOS COMPETIDORES:COMPRAN POR IMPULSO:HAN APRENDIDO A ESTAR CONTENTOS:•Un principio bíblico: 1 Tim. 6:6-8.•Recibimos a diario miles de mensajes. Muchos de ellos intentan persuadirnos a comprar lo que no necesitamos con dinero que no tenemos. Al final, todo se convierte en un desperdicio... ¡Solo paja!¿Cuál es entonces nuestro problema? No estamos contentos con lo que ya tenemos.¿Por qué algunos no son felices? "La felicidad nunca se encuentra donde la colocamos, porque nunca la colocamosdonde estamos." (Atribuida a Harold Kushner).Lucas 3:14"Debes recibir una suma definida como salario por tu trabajo y vivir dentro de esa suma." 2SM 199.ADVERTENCIA DE DIOS SOBRE LAS FINANZAS LUCAS 16:13 Tres preguntas para saber si el dinero es mi señor:Primera pregunta: “¿Estoy dispuesto a sacrificar la calidad de mi carácter mientras trato de obtener dinero?”•una conciencia limpia•un carácter honesto•un buen nombre•las amistades...Segunda pregunta:  “¿Estoy tratando de usar el dinero para obtener cosas que solo Dios puede dar?”•Verdadera felicidad•Contentamiento•Paz•SeguridadTercera pregunta: “¿Estoy más preocupado por los asuntos financieros que por mi relación con el Señor?”•¿Qué pasa con mis prioridades?•¿Cómo y dónde paso mi tiempo?Los consejos de Jesús: Juan 6:27, 55, 57

The Cat's Kev Watson spoke with Bethany Gail and Sandie Laughlin about the Nantwich Player's upcoming production of "Nora A Dolls House" by Stef Smith (after Henrik Ibsen). In its time Ibsen's play was 'shocking and exhilarating' and this modern retelling has 3 Noras. I was intrigued as the award winning director outlined her approach to this classic. It sounds wonderful. Have a listen and you can decide.

Wes & Erin continue their discussion of Henrik Ibsen's "A Doll's House."

Nora Helmer begins Act I as a devoted wife to her respectable husband, Torvald, and a devoted mother to her young children. She ends Act III by walking out on all of them and closing the door behind her. The emotional distance covered in these three acts (representing a span of just a few days in the lives of the Helmers) makes Nora one of the greatest and most coveted acting challenges in the theater. How might we mark out a route between the Nora of Act I, the charming toy of the men in her life who seems to desire nothing more than the comfort and ease her husband's recent promotion is set to provide, and the Nora of Act III, an independent woman willing to sacrifice everything in pursuit of her own self-determination? Wes & Erin discuss Henrik Ibsen's "A Doll's House."

Today's Lake and Shed framed conversation is about the fourth Cormoran Strike novel, Lethal White. Nick discusses the embedded class struggle in the book and its roots in Rowling's background before dropping the bomb of the real world identity of Jack O'Kent and his unhappy family. John is so taken aback by this revelation that Nick has to prompt the Shed portion of the conversation with a fun history of the Sonia Friedman production of Ibsen's Rosmersholm on London's West End, a show starring Thom Burke as Rosmer and which ended just before Bronte Studios beginning the filming of Lethal White. John explains why Rowling might have had something to do with the teevee C. B. Strike gaining a memorized knowledge of this play before filming the fourth book's adaptation.New to the Lake and Shed Kanreki Birthday series? Here's what we're doing:On 31 July 2025, Joanne Murray, aka J. K. Rowling and Robert Galbraith, will be celebrating her 60th birthday. This celebration is considered a ‘second birth' in Japan or Kanreki because it is the completion of the oriental astrological cycle. To mark JKR's Kanreki, Dr John Granger and Nick Jeffery, both Nipponophiles, are reading through Rowling's twenty-one published works and reviewing them in light of the author's writing process, her ‘Lake and Shed' metaphor. The ‘Lake' is the biographical source of her inspiration; the ‘Shed' is the alocal place of her intentional artistry, in which garage she transforms the biographical stuff provided by her subconscious mind into the archetypal stories that have made her the most important author of her age. You can hear Nick and John discuss this process and their birthday project at the first entry in this series of posts: Happy Birthday, JKR! A Lake and Shed Celebration of her Life and Work.Tomorrow? Another work with Rowling's name on the cover that is the not the work she wrote! Nick and John take a Lake and Shed long look at the second screenplay for the Fantastic Beasts and Where to Find Them film series. On the Lake side of things, Nick explores the Johnny Depp casting scandal and the lead-up in 2018 to the 2019 Tweet Heard Round the World. John explains that the cut scenes from this dog's mess of a movie point that the shooting script, i.e., what Rowling wrote and approved before David Yates butchered the film in the editing room, was all about Leta Lestrange. More important, John makes the Shed point that every Rowling book features a text of some kind that the characters struggle to understand — and that Crimes of Grindelwald has ten of these, a veritable library of interior texts to interpret.Links to posts mentioned in today's Lake and Shed conversation for further reading:* Henrik Ibsen's ‘Rosmersholm'* Every ‘Rosmersholm' White Horse Reference (Odd Sverre Hove)* London Production of Rosmersholm: Starring Tom Burke (Cormoran Strike)* London Production of Rosmersholm (2): Starring Tom Burke (Cormoran Strike)* The ‘Reading, Writing, Rowling' podcast on Lethal White (Kathryn McDaniel, Louise Freeman, Beatrice Groves, John Granger)* The Top Ten Things We've Learned About Lethal White Since Publication Day* The Three Things about J. K. Rowling's Cormoran Strike Novels Every Harry Potter Fan Should Know* Lethal White: The Ring Structure* Lethal White: The Cratylic Names* Lethal White: Autobiographical Elements* Lethal White: Flints and Head ScratchersLethal White as Turning Point of Seven Part Ring Cycle* Does Lethal White Foreshadow Running Grave? You Betcha* The Missing Page Mystery* The Missing Page Mystery, Part 2* Does Lethal White Echo Goblet of Fire?* Lethal White: Every Goblet of Fire Link?* Lethal White: Cuckoo's Calling Retold?* The Cuckoo's Calling Echoes (25+)* Seven More Cuckoo's Calling Links* Lethal White: The Big Change at the Turn (End of the Strike Agency in Strike5?)Literary Alchemy and the Mythic Context* M. Evan Willis: The Mythic Context and Hermetic Meaning of Cormoran Strike* Guest Post: Mythological Leda Strike – Cormoran, Zeus, Castor and Pollux (Joanne Gray; prepublication)* Guest Post: Rowling's Mercurial Hermetic Artistry from Snape to Strike (M. Evan Willis; prepublication)* The Swan Symbolism* More Strike Swans: Historical and Film Connections (Elizabeth Baird-Hardy)* Harry Potter and The Hanged Man: Part 1 Rowling's Most Loaded Tarot Reference* Harry Potter and The Hanged Man: Part 2 The Historical and Occult Interpretations* Harry Potter and The Hanged Man: Part 3 Its Meaning in Rowling's Written WorkOn ‘White Horses'* The White Horse Gallows: Karmic Legacy of Empire in the UK?* Charlotte Campbell: The Broodmare of Lethal White (Louise Freeman)* Every ‘Rosmersholm' White Horse Reference (Odd Sverre Hove)* Taylor Swift's ‘White Horses' (Louise Freeman)* Lethal White: The White Horse Evidence (pre-publication list of pointers)* Lethal White Horses (Pre-publication; Beatrice Groves, MuggleNet)Series Mystery Possibilities* Lethal White: Is Strike Rokeby's Son? The Dates Don't Seem To Match Up* Bookending the Past: Cormoran Strike's Real Father? (Joanne Gray)* Lethal White: The Daddy Chiswell Evidence (Joanne Gray)Literary Allusions and Influences* Henrik Ibsen's ‘Rosmersholm'* Every ‘Rosmersholm' White Horse Reference (Odd Sverre Hove)* London Production of Rosmersholm: Starring Tom Burke (Cormoran Strike)* London Production of Rosmersholm (2): Starring Tom Burke (Cormoran Strike)* Agatha Christie's The Moving Finger* Allingham: The Fashion in Shrouds* Rowling's Favorite Poem Found in Oz : Whitman's “Of the Terrible Doubt of Appearances”* Dorothy Sayers' Murder Must Advertise, Ian Rankin, P. D. James (ChrisC, pre-publication)* Cormoran and Robin: Echoes of Homer's Odysseus and Penelope? (Joanne Gray)* Cormoran and Robin: Echoes of Homer's Odysseus and Penelope (2) Joanne Gray* Ben Jonson's ‘Every Man In His Humor' A Meaningful Model for Strike Stories? (prepublication)* Ian Rankin and Cormoran Strike (prepublication)* The Three Fates Meet The Weird Sisters: Cormoran Strike, Harry Potter, and the Question of Fate, Free Will, and Choice (prepublication)The National Health Service Sub Plot* Lethal White: Ghosts of Aneurin Bevan? Lorelei Bevan, Dodgy Doc, and the NHS* Lethal White and the NHS: Rowling SpeaksMiscellaneous:* Marketing Efforts and Sales* Most Common Pub Names* The Personal Assistant Drama* Possibility Two: Court Ordered Silence* The Robert Glenister Audiobook* Lethal White Wins CrimeFest Award* On ‘Doom Bar Ale'* BBC1 Adaptation a ‘Go'* A Review of the Legacy and Online Media Book ReviewsRowling Interviews, Twitter* Pre-Publication: The Lethal White Music Playlist (Louise Freeman)* The Graham Norton Interview* On ‘Galbraith Meets Graham Norton' (Beatrice Groves)* Rowling as Labour's Tweeting Prophet* New Political Maturity from Rowling?Prepublication Predictions and Speculation* A Lethal White ‘White Horse' Round-Up: An Explanation of ‘Heroin Dark Lord 1.0'In a nutshell, the theory is that Jonny Rokeby was responsible for Leda Strike's death, a ‘hit' that he arranged to insure that she would never reveal what she knew about crimes he committed as a Deadbeat, crimes to include murder, in conjunction with heroin and the drug trade. The ‘White Horse' that Rowling has been teasing readers with this past year may involve an actual stallion but the larger meaning of the clues is heroin, for which ‘white horse' is a street euphemism.* Lethal White and Strike Speculation 101: The Trouble with JKR/Galbraith Dates (Heroin Dark Lord 2.0: The IED Explosion)* Super Lethal White Speculation Podcast! Reading, Writing Rowling, Episode 14: Cormoran Strike – and Harry Potter?The thirteen HogwartsProfessor birthday videos posted thus far in this series can be read at the links below:* A Lake and Shed Reading of Harry Potter and the Philosopher's Stone* A Lake and Shed Reading of Harry Potter and the Chamber of Secrets* A Lake and Shed Reading of Harry Potter and the Prisoner of Azkaban* A Lake and Shed Reading of Harry Potter and the Goblet of Fire* A Lake and Shed Reading of Harry Potter and the Order of the Phoenix* A Lake and Shed Reading of Harry Potter and the Half-Blood Prince* A Lake and Shed Reading of Harry Potter and the Deathly Hallows* A Lake and Shed Reading of Casual Vacancy* A Lake and Shed Reading of Cuckoo's Calling* A Lake and Shed Reading of The Silkworm* A Lake and Shed Reading of Career of Evil* A Lake and Shed Reading of Harry Potter and the Cursed Child* A Lake and Shed Reading of Fantastic Beasts and Where to Find Them (Screenplay) Get full access to Hogwarts Professor at hogwartsprofessor.substack.com/subscribe

DVC and Humming Bird Theater Co. featuring Mario Savastano, MJ Savastano and Alexus Maxam present Hedda Gabler by Henrik Ibsen.

Die berühmte „Morgenstimmung“ aus Griegs „Peer Gynt“ erzählt nicht das, was man oft glaubt. Teil 1 einer Reihe über die berühmtesten Melodien der Klassikwelt – und die Geschichten dahinter.

After having attended the recent audio described performance of ‘Ghosts' at the Lyric Hammersmith Theatre in London RNIB Connect Radio's Toby Davey caught up with Actor and RNIB Ambassador Victoria Smurfit, who's daughter is also visually impaired, to find out more about playing Helena in Gary Owen's version of Henrik Ibsen's ‘Ghosts' and also about access to theatre for blind and partially sighted people.  Toby began by asking Victoria what the difference might be between the character Maud that Victoria plays in the Disney plus adaptation of ‘Rivals' and Helena in ‘Ghosts' or not.   Then to talking about the touch tour prior to the audio described performance of ‘Ghosts' and what an added bonus it was for Toby and the other visually impaired theatre patrons to have Victoria and one of the other Actors on stage during the touch tour. With Toby expressing how important a touch tour is for him to get a real sense and feel of the set and space that Victoria and the rest of the cast are performing in.   Before a discussion about theatre access generally Toby asked Victoria whether she thinks about her daughter at all when performing, knowing that a show is being audio described for blind and partially sighted people and whether going to the theatre is something they both share together.  You will find more about access to the arts for blind and partially sighted people by visiting the following pages of the RNIB website - https://www.rnib.org.uk/living-with-sight-loss/community-connection-and-wellbeing/leisure/art-galleries-museums-and-theatres/ Image shows Victoria on the set of Ghosts, dressed in white and sat on a stylish brown leather sofa in front of a pale blue foggy background. Her hands are clasped over her knees and she is leaning forward and looking towards the camera.

This week Mickey-Jo headed to the Lyric Hammersmith in London to see GHOSTS, Gary Owen's new contemporary adaptation of the classic Henrik Ibsen play. In this new updated version, Victoria Smurfit stars as Helena Alving alongside Callum Scott Howells as her son Oz. This world premiere production re-situates this classic story into the modern day, and follows in the footsteps of similarly re-lensed classics in the Lyric's recent history including A Doll's House and Accidental Death of an Anarchist. Check out this full review to find out what Mickey-Jo thought of this play as a piece, its themes, and its relationship to the original text...• 00:00 | introduction 02:00 | adaptation 08:21 | overview / themes 14:32 | the writing 19:08 | performances•About Mickey-Jo:As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠MickeyJoTheatre⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 75,000 subscribers. Since establishing himself as a theatre critic he has been able to work internationally. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows in New York, London, Edinburgh, Hamburg, Toronto, Sao Pãolo, and Paris. He has also twice received accreditation from the world renowned Edinburgh Festival Fringe. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK, Musicals Magazine and LondonTheatre.co.uk. He has been invited to speak to private tour groups, at the BEAM 2023 new musical theatre conference at Oxford Playhouse, and on a panel of critics at an event for young people considering a career in the arts courtesy of Go Live Theatre Projects. Instagram/TikTok/X: @MickeyJoTheatre

Here be monsters.We crack into Ulysses' ninth episode: "Scylla and Charybdis." Topics in this episode include: a great philosopher's thoughts on Shakespeare, Dermot, another great philosopher's, thoughts on Shakespeare, Odysseus' encounter with Scylla and Charybdis, the geography and currents of the Strait of Messina that likely inspired the story of Scylla and Charybdis, the triumphant return of Stephen Dedalus, Aristotle and Plato, George Æ Russell the engulfer of souls, why the brain is man's cruelest weapon, intellectual dialectic contrasted with empty rhetoric, the National Library of Ireland and why it's great, "The Holy Office", well-timed lunch, Stephen Dedalus' three forms of literature, Henrik Ibsen and the primacy of drama in Stephen's literary schema, and how to navigate between two sea monsters.Support us on Patreon to access episodes early, bonus content, and a video version of our podcast.Blooms & Barnacles Social Media:Facebook | Twitter | InstagramSubscribe to Blooms & Barnacles:Apple Podcasts | Spotify | YouTube 

In Throw Yourself Away: Writing and Masochism (Cambridge University Press, 2024), Julia Jarcho proposes that the desire to write is inextricably bound up with masochistic desires. In a series of readings that engage American and European works of fiction, drama, and theory from the late nineteenth through the early twenty-first centuries, Jarcho tests the limits of masochism as a pleasure-making economy. Reading Henry James, Henrik Ibsen, Mary Gaitskill, and Adrienne Kennedy alongside Sigmund Freud, Gilles Deleuze, Eve Kosofsky Sedgwick, Leo Bersani and others, Jarcho investigates the ways in which masochism rewrites and reinvigorates failures of desire, which critics have otherwise thought of as dead-ending masochism. Jarcho asks particularly difficult questions of masochism as a response to injurious social structures, which yield less uniformly white, searching, and uneasy views of both masochism and authorship. Throw Yourself Away reconsiders how writing and subjects are undone by the excesses and recesses of masochistic desire, which keeps the prospect of pleasure so painfully, so deliciously at bay. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In Throw Yourself Away: Writing and Masochism (Cambridge University Press, 2024), Julia Jarcho proposes that the desire to write is inextricably bound up with masochistic desires. In a series of readings that engage American and European works of fiction, drama, and theory from the late nineteenth through the early twenty-first centuries, Jarcho tests the limits of masochism as a pleasure-making economy. Reading Henry James, Henrik Ibsen, Mary Gaitskill, and Adrienne Kennedy alongside Sigmund Freud, Gilles Deleuze, Eve Kosofsky Sedgwick, Leo Bersani and others, Jarcho investigates the ways in which masochism rewrites and reinvigorates failures of desire, which critics have otherwise thought of as dead-ending masochism. Jarcho asks particularly difficult questions of masochism as a response to injurious social structures, which yield less uniformly white, searching, and uneasy views of both masochism and authorship. Throw Yourself Away reconsiders how writing and subjects are undone by the excesses and recesses of masochistic desire, which keeps the prospect of pleasure so painfully, so deliciously at bay. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Throw Yourself Away: Writing and Masochism (Cambridge University Press, 2024), Julia Jarcho proposes that the desire to write is inextricably bound up with masochistic desires. In a series of readings that engage American and European works of fiction, drama, and theory from the late nineteenth through the early twenty-first centuries, Jarcho tests the limits of masochism as a pleasure-making economy. Reading Henry James, Henrik Ibsen, Mary Gaitskill, and Adrienne Kennedy alongside Sigmund Freud, Gilles Deleuze, Eve Kosofsky Sedgwick, Leo Bersani and others, Jarcho investigates the ways in which masochism rewrites and reinvigorates failures of desire, which critics have otherwise thought of as dead-ending masochism. Jarcho asks particularly difficult questions of masochism as a response to injurious social structures, which yield less uniformly white, searching, and uneasy views of both masochism and authorship. Throw Yourself Away reconsiders how writing and subjects are undone by the excesses and recesses of masochistic desire, which keeps the prospect of pleasure so painfully, so deliciously at bay. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In Throw Yourself Away: Writing and Masochism (Cambridge University Press, 2024), Julia Jarcho proposes that the desire to write is inextricably bound up with masochistic desires. In a series of readings that engage American and European works of fiction, drama, and theory from the late nineteenth through the early twenty-first centuries, Jarcho tests the limits of masochism as a pleasure-making economy. Reading Henry James, Henrik Ibsen, Mary Gaitskill, and Adrienne Kennedy alongside Sigmund Freud, Gilles Deleuze, Eve Kosofsky Sedgwick, Leo Bersani and others, Jarcho investigates the ways in which masochism rewrites and reinvigorates failures of desire, which critics have otherwise thought of as dead-ending masochism. Jarcho asks particularly difficult questions of masochism as a response to injurious social structures, which yield less uniformly white, searching, and uneasy views of both masochism and authorship. Throw Yourself Away reconsiders how writing and subjects are undone by the excesses and recesses of masochistic desire, which keeps the prospect of pleasure so painfully, so deliciously at bay.

In Throw Yourself Away: Writing and Masochism (Cambridge University Press, 2024), Julia Jarcho proposes that the desire to write is inextricably bound up with masochistic desires. In a series of readings that engage American and European works of fiction, drama, and theory from the late nineteenth through the early twenty-first centuries, Jarcho tests the limits of masochism as a pleasure-making economy. Reading Henry James, Henrik Ibsen, Mary Gaitskill, and Adrienne Kennedy alongside Sigmund Freud, Gilles Deleuze, Eve Kosofsky Sedgwick, Leo Bersani and others, Jarcho investigates the ways in which masochism rewrites and reinvigorates failures of desire, which critics have otherwise thought of as dead-ending masochism. Jarcho asks particularly difficult questions of masochism as a response to injurious social structures, which yield less uniformly white, searching, and uneasy views of both masochism and authorship. Throw Yourself Away reconsiders how writing and subjects are undone by the excesses and recesses of masochistic desire, which keeps the prospect of pleasure so painfully, so deliciously at bay. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, we explore the Off-Broadway production of Henrik Ibsen's GHOSTS at the Mitzi E. Newhouse Theater at Lincoln Center. We dive into the modern adaptation of this classic play, discussing its themes of deception and family dynamics, and highlight standout performances from Lily Rabe and Ella Beatty. We also examine the direction by Jack O'Brien and how the scenic design enhances the emotional impact of the story. Tune in for our take on this haunting drama and its relevance to contemporary audiences. Follow and connect with all things @HalfHourPodcast on Instagram, and YouTube. Share your thoughts with us on GHOSTS on our podcast cover post on Instagram. Learn more about your ad choices. Visit megaphone.fm/adchoices

TroupEnigma and Performing Arts of Woodstock are collaborating on a production of Henrik Ibsen's “An Enemy of the People” – adapted by Arthur Miller. The play will have performances on weekends March 14-30 at the Mescal Hornbeck Community Center in Woodstock, New York.

Singapore acting royalty Neo Swee Lin and Lim Kay Siu sing their way into the Saturday Mornings Show studio to talk with host Glenn van Zutphen and co-host Neil Humphreys about their upcoming, Tony Award-nominated playplay "A Doll’s House, Part 2" with the Pangdemonium Theatre Company. They also discuss their storied careers locally and what it has been like to work with some of Hollywood's great actors, like Jody Foster. "A Doll’s House, Part 2 is a bold and brilliant play that is all at once a razor-sharp comedy full of belly laughs, a continuation of playwright Henrik Ibsen’s complex exploration of traditional gender roles, as well as a cunning contemporary take on the struggles inherent in all human relationships across time." From 7 March – 23 March 2025 at Victoria TheatreSee omnystudio.com/listener for privacy information.

Hello to you listening in Dhaka, Bangladesh!Coming to you from Whidbey Island, Washington this is Stories From Women Who Walk with 60 Seconds for Story Prompt Friday and your host, Diane Wyzga.As both lawyer and litigation consultant I've been faced with discerning the letter of the law and the spirit of the law. Welcome back for the Conclusion of our story [The Fire on the Mountain] about a rich man, a servant and a bet which came to mind after reading this line by Henrik Ibsen: “A thousand words will not leave so deep an impression as one deed.” Story Prompt: When in your life have you struggled with the difference between the spirit of the law and the letter of the law? How did you resolve the struggle? Write that story!  Practical Tip: The magic of stories is also in the sharing. If you wish share your story with someone or something.   All that matters is you have a story.You're always invited: “Come for the stories - stay for the magic!” Speaking of magic, would you subscribe and spread the word with a generous 5-star review and comment - it helps us all - and join us next time!Meanwhile, stop by my Quarter Moon Story Arts website to:✓ Check out Services I Offer ✓ For a no-obligation conversation about your communication challenges, get in touch with me today✓ Stay current with Diane as “Wyzga on Words” on Substack, LinkedIn and now Pandora RadioStories From Women Who Walk Production TeamPodcaster: Diane F Wyzga & Quarter Moon Story ArtsMusic: Mer's Waltz from Crossing the Waters by Steve Schuch & Night Heron MusicAll content and image © 2019 to Present Quarter Moon Story Arts. All rights reserved. 

Hello to you listening in Jaipur, India!Coming to you from Whidbey Island, Washington this is Stories From Women Who Walk with 60 Seconds for Thoughts on Thursday and your host, Diane Wyzga.As both lawyer and litigation consultant I've been faced with discerning the letter of the law and the spirit of the law. Welcome to Part 1 of a story [The Fire on the Mountain] I've often told about a rich man, a servant and a bet, a story which came to mind after reading this line by Henrik Ibsen: “A thousand words will not leave so deep an impression as one deed.” We've come to the end of Part 1. Please join us tomorrow for the conclusion of the story and your very own Story Prompt!You're always invited: “Come for the stories - stay for the magic!” Speaking of magic, would you subscribe and spread the word with a generous 5-star review and comment - it helps us all - and join us next time!Meanwhile, stop by my Quarter Moon Story Arts website to:✓ Check out Services I Offer ✓ For a no-obligation conversation about your communication challenges, get in touch with me today✓ Stay current with Diane as “Wyzga on Words” on Substack, LinkedIn and now Pandora RadioStories From Women Who Walk Production TeamPodcaster: Diane F Wyzga & Quarter Moon Story ArtsMusic: Mer's Waltz from Crossing the Waters by Steve Schuch & Night Heron MusicAll content and image © 2019 to Present Quarter Moon Story Arts. All rights reserved. 

durée : 00:27:17 - Les Midis de Culture - par : Marie Labory - Au programme du débat critique, du théâtre : "Une maison de poupée" d'Henrik Ibsen dans une mise en scène d'Yngvild Aspeli et Paola Rizza et "Orlando", opéra en trois actes de Georg Friedrich Haendel mis en scène par Jeanne Desoubeaux. - réalisation : Laurence Malonda - invités : Zoé Sfez Productrice de La Série musicale sur France Culture; Marie Sorbier Rédactrice en chef de I/O et productrice du "Point Culture" sur France Culture

Multi-award-winning American playwright Lucas Hnath's Broadway play A Doll's House, Part 2 picks up after Henrik Ibsen's 1879 play A Doll's House ends. 

In the 1886 play “Rosmersholm,” written by the Norwegian playwright Henrik Ibsen, an increasingly polarized country leads to an increasingly polarized election that begins to tear a household apart. Now, a critically-acclaimed adaptation, directed by Chris Abraham, is being staged at Crow's Theatre in Toronto. Chris sits down with Tom to talk about what this politically-charged play can teach us about the upcoming elections in the U.S. and Canada.