Podcasts about homeric

In true "Odyssey" fashion, we're adding a few more stops to this Homeric kick. Today, it's the Coen Brothers' 2000 adaptation of "The Odyssey" — a banjo-picking romp full of scoundrels, sirens, and Depression-era commentary on the battle between newness and nostalgia. My sister Grace is here to discuss why "O Brother Where Art Thou?" was one of our childhood touchstones, flex some translation knowledge, and play a disturbing album sales game.

Jordan and Matt break format - and Zeus’s Law? - for an Odyssey-themed episode, including thoughts on the new blockbuster film, favorite Christopher Nolan films, and streaming recommendations inspired by the Homeric epic. And then a game, which Jordan dubs "My Big Fat Greek Filmspotting Game." The Odyssey (00:00:00–00:23:33) #1 Nolans (00:23:34–00:47:08) Rec Seg: Odyssey-inspired recommendations (00:47:09–01:04:23) Game: My Big Fat Greek Filmspotting Game (01:04:24–01:24:05) New to Streaming / Credits (01:24:05–01:31:47) Show Notes Now Streaming on Bazooga - A Filmspotting: SVU Archive⁠ https://letterboxd.com/samvanhallgren/list/now-streaming-on-bazooga-a-filmspotting-svu/⁠ Pre-Order Matt's book "Funny Business: The Old-School Wedding Crashers and Knocked-Up Virgins Who Changed Comedy Forever" (Coming October 6th):⁠ https://www.penguinrandomhouse.com/books/790241/funny-business-by-matt-singer/⁠ Feedback: Email us at feedback@filmspottingSVU.com Follow Matt on Blue Sky: @mattsinger.bsky.social Follow Jordan on Blue Sky: @jhoffman.bsky.social Follow the Show:⁠ https://www.instagram.com/superpulse/⁠⁠ https://www.facebook.com/FilmspottingSvu⁠ Follow the Show:⁠ https://www.instagram.com/superpulse/⁠⁠ https://www.facebook.com/FilmspottingSvu⁠See omnystudio.com/listener for privacy information.

This week on the pod, the boys talk The Odyssey, and Ryan speaks with Laura Coffey about her Homeric travels chronicled in her book, Enchanted Islands: Travels Through Myth & Magic, Love & Loss. Things We Talked About: Enchanted Islands: Travels Through Myth & Magic, Love & Loss https://a.co/d/0e1iMY8Z MAP - The Odyssey: A Mythical Journey through The Real World https://a.co/d/0hOUJ8Cf Laura Coffey on Instagram: https://www.instagram.com/l_j_coffey/  

This week's session continues to explore struggles for political power and cultural survival in hostile, nativist Social Structures. Even as politicians of African descent continue to be elected, even in spaces with majority non-African voters, the challenge to conform, integrate or culturally neuter in order to demonstrate trustworthiness persists. Hard White nationalists such as those who have momentarily captured the federal government push desperately to neuter potential voting power of others and risk an implosion of their existing structural advantage by attacking carefully curated national myths that hold the polity together, at least tangentially. Meanwhile, filmmaker Christopher Nolan‘s latest movie, “The Odyssey,” has begun to make huge global profits. People are hungry for Cultural Meaning-Making that feeds seemingly archetypical myths. Contrasting cherished Western archetypes like the Homeric myth with intra-racial satirizations such as “Oh Brother Where Art Thou” and elder narratives like the Ancient Egyptian story of Sinhue/Sanhat, we explore how long-view African memory–or “Black Odysseys”--can be used to both gain perspective and regain the Momentum of Memory. In a moment when a White Nationalist US federal government is working overtime to destroy all lines between fact and fiction, the value of collective learning and developing our abilities, is more critical than ever. With soaring prices of higher education increasingly out of reach for most, renewed efforts to reshape readily accessible public spaces for learning also increase. As we continue to jailbreak learning during the US semiquincentennial year, we ask again the question W.E.B. Du Bois asked before departing permanently for Africa: When it comes to collective movement and institution building within African and other spaces, “Whither Now and Why?”Are you a member of Knarrative? If not, we invite you to join our community today by signing up at: https://www.knarrative.com. As a Knarrative subscriber, you'll gain immediate access to Knubia, our growing community of teachers, learners, thinkers, doers, artists, and creators. Together, we're making a generational commitment to our collective interests, work, and responsibilities. Join us at https://www.knarrative.com and download the Knubia app through your app store or by visiting https://community.knarrative.com.To shop Go to:TheGlobalMajorityMore from us:Follow on X: https://x.com/knarrative_https://x.com/inclasswithcarrFollow on Instagram IG / knarrative IG/ inclasswithcarr Follow Dr. Carr: https://www.drgregcarr.comhttps://x.com/AfricanaCarrFollow Karen Hunter: https://karenhuntershow.comhttps://x.com/karenhunter IG / karenhuntershowSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Host David Horton interviews Clay about Christopher Nolan's new blockbuster film on Homer's Odyssey. How closely does it follow the Homeric original? What changes in theme and character did Nolan make to turn the ancient poem into a film for our time? What should we make of the culture war dispute over the casting of a Black woman as Helen of Troy and a transgender actor as Sinon of the Wooden Horse episode? Since Homer makes the story a triumphant homecoming of the last of the heroes of Troy, why does Nolan make Odysseus a man of regret for the role he played in ending the heroic age and bringing on the long Greek Dark Ages? Is Matt Damon an adequate Odysseus? How about Charlize Theron as the goddess Calypso? What themes was Nolan attempting to wrestle with, and how successful was he? Does it help to have a deep background in the Homeric epics, or is it best to see the film with little or no familiarity with the epic tradition? This episode was recorded on July 23, 2026.  

The walls didn't fall from a fight. They fell from praise — and the praise came first, not after the win. Click here to read the sermon “Until the Walls Fall Down” Joshua 6:1–21 Oh, thank you, Brother Watson. That was so, so good. Friends, we are in the third and final week of this three-week series we have been in called Onward: Moving Toward the Uncharted. In this series, we have been looking at the story of Joshua's leadership of the people of Israel as they step into new ground, as they step into a brand new season, as they cross over the Jordan River into new lands the Lord has given them but of which they have not yet taken possession. There is a promise God has made to His people, but the people have not yet fully stepped into the promise. Two weeks ago, we saw this picture: that God had confirmed this promise, but it wasn't just a promise — it was a principle. And a principle is a promise that is user dependent, meaning the promise God makes to Joshua is, “I have given you every place the sole of your foot treads” (cf. Josh 1:3, HCSB) [see “A New Dawn, A New Day,” July 12, 2026]. Now that's a beautiful promise, but it also means that if Joshua and the people of Israel stay where they are on the eastern side of the Jordan River, that's all they get. But if they take steps of obedience, if they take steps of faith into a new land, if they follow a new journey and a new path to this new destination, God will be true to His promise to them. So we see it's not just a promise, but a principle — a user dependent promise. And last week, we saw this picture: how the people, after forty years wandering in the wilderness, had finally crossed the Jordan River (cf. Josh 3–4) [see “Walk This Way,” July 19, 2026]. They finally had crossed, and the Jordan River is not a huge river, but the Jordan River was an obstacle in the way of the promise. It was an obstacle in the way of stepping into the fullness of who God had called them to be. And so He gave very specific instructions as to how they were to cross the river, so that God would be praised and the generations to come would know that God is mighty, and He would be teaching the people to walk in wisdom. And so as we conclude today, we're going to do so with a message I have titled “Until the Walls Fall Down.” Until the walls fall down. Shock of all shocks, we're going to be looking at Joshua chapter six and the Battle of Jericho. Now, how many of you grew up in VBS, and you know the Joshua and the Battle of Jericho song? Come on: “Joshua fought the battle of Jericho, Jericho, Jericho. Joshua fought the battle of Jericho, and the walls came tumbling down.” [Congregation sings along.] I want to write each and every one of your names up on the chalkboard and give check marks next to you. I don't think that means anything in heaven, but that's how proud of you I am that you all knew that song so well. Now, here's the thing. Many of us have heard the story of the Battle of Jericho in Sunday school and VBS growing up. But here are some of the things we may not have thought about when we were children hearing this story. Jericho is not a big city. Jericho was actually a relatively small town during this period of time. What Jericho had was two very important things, and in order to demonstrate those things, I need all of my youth in Passport shirts to come back up. I need all of your help. So youth and adults — if you're an adult here in a Passport shirt, I need you too. You are my wall. I need you all right here, right across the front. And by the way, I do want to see that special high five y'all worked on together. All right, so here we go — I've got my Passport teens and adults. This is my wall. Now, here's what's true about having a wall in front of you: I feel a whole lot braver with them in front of me, right? Because you can't get me — I've got the wall in front of me. Now, a wall is really great, but here's the problem: if I've got the wall in front of me and you are the encroaching army, you outnumber me, but I've got a wall, so I can just wait you out. But in order for me to wait you out — the same problem siege warfare has had for thousands of years is this: if you are the larger army and we've got a big wall, you don't have to tear down the wall. You just have to prevent anything I need from coming into the city. So the longer you surround the city, the more trouble I'm in. But Jericho had one thing going for it: Jericho had a spring in the middle of the city. So Jericho had fresh water and a wall. And if you've got fresh water and a wall, you don't need much else, because you can't get past my wall. And as long as I've got some animals and maybe some farming and fresh water, you can just keep hanging out out there — you don't bother me one bit. So, how many of you — raise your hands real quick, and then I'm going to dismiss the wall — how many of you have seen The Odyssey already? How many of you went to the theaters and saw the new Odyssey? Yes, excellent, you get it. So of course it's a bunch of men — Nolan made a new movie — that's how it goes. So here's the beauty of The Odyssey: The Odyssey is what happens after Homer's The Iliad, right? It's what happens after the Battle of Troy. And Troy was a walled city with a spring inside.1 So Troy could just wait out the opposing army — which is where the story comes from of the Trojan horse, because that was the only way you had to get someone to bring something into the city of their own accord. Otherwise, the people would just continue to wait and wait and wait — years waiting — because there was a spring and a wall. Y'all give it up for my wall! We're going to go ahead and let the wall fall down. Y'all can head back. “Joshua fought the battle of Jericho, and the walls came tumbling down.” But anytime you have siege warfare, the goal is to wait out the people inside. In fact, there are a lot of stories of siege warfare throughout history where no battle was ever actually fought — the people inside the city simply ran out of resources and ultimately died without a battle ever occurring. Jericho was not a large city. Jericho was a well-defended city. So we're going to read in Joshua chapter six, verses one and two — we'll go back, please: Now Jericho was strongly fortified because of the Israelites — no one leaving or entering. And the LORD said to Joshua, “Look, I have handed Jericho, its king, and its fighting men over to you.” (Josh 6:1–2, HCSB) Now, they've always had a big wall, but it's “fortified,” meaning they are in a defensive posture. And the reason they're in defensive posture is that suddenly that eighty thousand to a quarter million people — the Israelites who crossed the river — suddenly that group is now surrounding them. So the people of Jericho are shut up inside. No one's entering, no one's leaving. And the Lord said to Joshua, “Look, I have handed Jericho, its king and its fighting men over to you.” And if you're Joshua in that moment, you're thinking, “Not really — they seem to be doing just fine inside their walled city. They seem to be doing okay, God. You say You've delivered them to us, but here we are just hanging out outside. It doesn't look like we've been delivered much.” But this is why it's so important to remember that Jericho was not a big or powerful city — it was just well fortified. It's not a big or powerful city. It's just well fortified. And so this is our first point today that I want you to grab hold of: often in life, our obstacles are not large — they just appear insurmountable. Often our obstacles are not large. Often the obstacles you are facing are not crazy, they're not scary — you've just accepted that you can't do anything about them. Maybe that's where we are today as the church. It's easy to be the church in the world right now and look around and go, “Man, every church is declining.” It's easy to go, “It's not looking good.” And we're not quitting — but we've kind of thrown in the towel on going further. We're still going to show up, we're still going to be faithful, but if we're honest, we've lost a little bit of hope that there's more to come. We've lost a little bit of hope that the best is yet to come. We've lost a little bit of hope that the next generation is going to go further than we ever thought possible. It's not because it's big or scary — we're just looking around at the trends, and it feels insurmountable. But this is why what God says to Joshua next is so important. If we continue reading, we read these words: March around the city with all the men of war, circling the city one time. Do this for six days. Have seven priests carry seven ram's-horn trumpets in front of the ark. But on the seventh day, march around the city seven times while the priests blow the trumpets. (Josh 6:3–4, HCSB) You know, I should have asked about this before — I don't think we have a trumpet here, do we? We have the players, but not the horns. If there are any trumpet players in the room, I want to give you a moment to practice. Will you give me the sound you'd need to create the trumpet sound? Let me hear it — all the trumpet players in the room, any horn players in the room, let me hear it. There we go — it sounds a little bit like an elephant, doesn't it? Sounds a little bit like an elephant. Now here's the thing: I want you to imagine seven of those going off nonstop as an entire army marches around a city seven times. That's big, and it's loud, and it's scary. We continue reading: When there is a prolonged blast of the horn and you hear it sound, have all the people give a mighty shout. (Josh 6:5, HCSB) Let's practice our mighty shout. Here we go — three, two, one. [Congregation shouts.] You scared me! Let's try it again — three, two, one. [Congregation shouts again.] Okay, okay, all right. Now imagine that you are somewhere between fifty thousand and a hundred fifty thousand strong. Imagine that sound. Now, I'm from Florida — we have really great college football teams in Florida, and so that fifty to a hundred fifty thousand people screaming, I've heard a lot of that. Now here in Durham, I imagine we have to associate it more with college basketball — but imagine you're inside Cameron during Duke-UNC. It's tied with three seconds left. Can you imagine what it sounds like in that building? Can you imagine how loud it sounds? There's power in that. But here's what's interesting in God's command here in Joshua 6:3–5: nowhere is there a command to grab a weapon. Nowhere. God doesn't say, “Here's what I want you to do — I want you to spend some time, I want you to build the trebuchet, we're going to take that wall down.” He doesn't say, “I want you to get all the horses you can find, or the chariots you can find” — there's nothing military-related to what we're hearing. It's: walk around the city once a day for six days, and on the seventh day, walk around the city seven times. And what's going to happen? They're going to blow horns. Now, for the people of Israel, blowing horns was part of a celebration — it was part of praise to God. In fact, if you go through the books of Deuteronomy and Leviticus, you're going to find specific instructions for the horns that are supposed to be played during different parts of the worship service and the tabernacle. You're going to find different examples of how you are to worship and praise God.2 God does not command the people of Israel to pick up weapons of violence. He has them pick up weapons of praise. So we're going to skip ahead to verse twelve, and we're going to find out what Joshua does in response to God's command. “Joshua got up early the next morning” (Josh 6:12, HCSB). By the way, notice this in your Bible — whenever you're reading, especially in the Old Testament, you're going to find a continual pattern: when God gives a command to one of His people, the people who are our models of obedience tend to do this — they get up early the next morning. They get up early the next morning. Now, I don't know about you, but I like sleep. I really do — I love sleep. But on days when I'm really excited about something, on days when I know something good is going to happen, I'm that person who can't even stay asleep through my alarm. I'm up an hour earlier. There's so much energy, so much excitement — I'm so ready for what's about to happen. And we see this continually in Scripture: when people are excited about obedience, when they're excited about what God is about to do in their life, they get up early the next morning. They are preparing themselves to experience all that God intends. So Joshua got up early the next morning; the priests took the ark of the LORD, and the seven priests carrying seven trumpets marched in front of the ark of the LORD. And while the trumpets were blowing, the armed troops went in front of them, and the rear guard went behind the ark of the LORD (cf. Josh 6:13, HCSB). On the second day, they marched around the city once and returned to the camp, and they did this for six days. Now imagine — you're the people of Israel. Joshua's received this command from God, Joshua has relayed this command to you, the people. And here you are, day after day, just going for a walk around the city. And you know God has commanded this, but let's be honest — you don't really understand it. And I can't be the only person in the room who has been led by God to do something that didn't really make sense to me. I can't be the only person in the room who has found themselves in a situation where obedience to God seems ridiculous in the face of whatever's going on in your life. And if we're honest, if we're real with one another, I think many of us have come face to face with that struggle. God is asking for obedience, and you're looking at the situation — you're looking at your bank account, you're looking at your relationships, you're looking at your marriage, you're looking at your kids — and you're going, “God, that doesn't seem to make a lot of sense. God, I know You're calling me to be obedient here, but I'm struggling to get it.” And this whole series, this whole three weeks, has really been about the idea that God is calling us into a new land. God is calling us into a new territory. God is calling us into something we did not think was possible before. And so, in order for us to reach that new land, in order for us to reach that new destination, it's going to require some different things from us. And I think, first and foremost, it's going to require a different kind of faith — maybe than we've had before. It's going to require a faith that is deeper, a faith that trusts more. And another way to say that would be a faith that risks more — the kind of faith that says, “If You don't show up here, then I don't have any other options. You've called me into the kind of faith, God, where either You are who You say You are, or I've got nothing.” And if we want to reach a new destination, if we want to be a people who are following a new path, it will require of us a new kind of faith — because following a new path will require a new kind of faith. We've got to trust God enough to continue down a new path toward a new destination, even when it doesn't always make sense to us. In those moments, we've got to trust: God, You know what You're doing. God, You know what You're doing. Because if we're real — and I'm just being honest — I've been in ministry for twenty years, and I'm just telling you what I have experienced: most of the time, my faith looks like one foot in and one foot out. Most of the time, my faith looks like, “God, I'm really hoping You're going to come through, but I've also got a backup plan. God, I'm really trusting that You're going to come through, but please don't ask me to risk too much, or give too much, or do too much. God, don't ask me to take on a position that is outside of my comfort zone. God, don't lead me to volunteer for a ministry where I don't really know what I'm doing.” For most of us, faith looks like, “God, I really, really believe You about sixty percent of the time.” And that's not — please, please don't hear a judgment in that. Please don't hear me say you've only got sixty percent faith. I'm saying I'm there with you. I'm a pastor, and I'm there with you. But what I also know from my own testimony, what I also know from your life, is that the moments your faith has deepened the most have been the moments where you have trusted God in such a way that there was no Plan B. There was no backup. It's “God, I am one hundred percent all in with You. God, I'm not holding anything back. I'm not being careful about what I'm going to do if this doesn't work out. God, I am believing that Your way is the best way. So I'm going to live in such a way that the whole world will know: he really believes that God is faithful.” That's not what my life looks like most of the time. But I know that when God has moved the most powerfully, those are the moments I have trusted Him fully. There's a pastor who passed a few years ago — I mean, we could talk about his influence on my entire generation of Christians. His name was Dr. Charles Stanley. And Dr. Charles Stanley said these words, and I love them: God will take full responsibility of the life fully entrusted to Him.3 And I know in my life, those rare moments — those rare moments where I've had a new kind of faith, those rare moments where I say, “God, I am trusting You fully” — I have seen Him take full responsibility and do more than I ever thought was possible. Church, if we want to reach a new destination, if we want to follow a new path, it will require from us a new kind of faith. As we continue reading, we're going to read verses fifteen and sixteen, and then we're going to skip to twenty: Early on the seventh day, they started at dawn and marched around the city seven times in the same way. That was the only day they marched around the city seven times. After the seventh time, the priest blew the trumpets, and Joshua said to the people, “Shout, for the LORD has given you the city.” (Josh 6:15–16, HCSB) So, church — one more time. We've made our way around this city seven times. The priests have blown the trumpets. Let me be Joshua for a moment, and you be the people of Israel: “Shout, for the LORD has given you the city!” [Congregation responds.] The Lord has given you the fortified city. Let's try it again: “Shout, for the LORD has given you the city!” [Congregation shouts.] So the people shouted, and the trumpets sounded. When they heard the blast of the trumpet, the people gave a great shout, and the wall collapsed. The people advanced into the city, each man straight ahead, and they captured the city. (Josh 6:20, HCSB) Now: seven times around the city, trumpet blasts, the people shout. Trumpet blast, the people shout — and then what happens? “Joshua fought the battle of Jericho, Jericho, Jericho. Joshua fought the battle of Jericho, and the walls came tumbling down.” Now here — Joshua fought the Battle of Jericho? The walls didn't come down because of a fight. The walls came down because of praise. You see, praise — the praise preceded the victory. The praise preceded the victory. And let's be honest — come on — how many of us are waiting for the victory to give the praise? How many of us, time and time again, in every circumstance and situation we face in life, we're waiting for the victory? “God, once You bring me the victory, I'll give You the praise. God, once we have won, I'll give You the praise.” That's not how the Battle of Jericho goes. Praise precedes the victory. Praise precedes the victory. What would your life look like if you brought to mind the biggest obstacle you're facing — if you brought to mind the biggest battle that's ahead of you, if you brought to mind the biggest fear, the biggest anxiety, the biggest worry you have — bring that to the forefront of your mind. And what would happen if right now, here in this place, you said, “God, I'm not waiting for the victory to give You praise. I'm not waiting for the win to declare Your glory. God, I'm not waiting until this church is overflowing with people and we're doing four services — I'm not waiting for that to give You praise right now.” Let's be honest, church, I know where you're at. How about, “God, I'm not waiting until we have it all figured out and all the answers to give You praise.” What would it look like? What would it look like for you to say here and now, “God, You get every bit of my praise. You get every bit of my praise, You get it here and now. I'm not waiting for the victory to give You praise.” Because here's what's true — here's what's true. No matter what battle you are facing in this life, no matter what circumstance you are coming up against, what is true is that death has already been defeated. Sin has already been defeated. The blood of Jesus has already purified you from all unrighteousness. You are covered in the grace of God before a bit of victory has been given in the circumstance you're facing in this moment. You've already got more victory than you could ever ask or imagine. You have already won. So yeah — you might be facing some confusion about what comes next for you as a church. You may be facing some tough decisions in your personal life regarding your finances. You may be battling — I mean, man, at this point, you can be battling just by ordering a salad. It's bad out there, y'all. Whatever battle you are facing — you've already won. Church, hear me when I say this: you've already won. You've already got the victory. Yes, there are situations in your life that you're afraid of. Yes, there are situations in your life you're nervous about. There are circumstances going on in your friends and in your family that you are worried about. But I want to let you know: in the middle of that anxiety, in the middle of that worry, in the middle of the unknowns for what comes next, we can praise God right now — because praise precedes the victory. Praise precedes the victory. And here's what the enemy wants for you: the enemy wants you to forget that you've already won. The enemy wants you to forget you've already been victorious. The enemy wants you to forget what God has already done for you — and to get you so wrapped up with the thing that is five feet in front of you that you become blinded to everything else. That's all the enemy wants. But church — what would happen? What would happen in your life if you said, “I've already won. I am praising God”? And victory may or may not come in this situation, but I'm praising God either way, because I'm already victorious. Church, are you willing? Are you willing to give your praise before the victory? Are you willing to give your praise before the victory? And here's the thing that I don't understand — there's so much in Scripture that I don't get. I don't understand how, in God's economy, ninety percent goes further than a hundred percent. I don't understand how, in God's economy, six days goes further than seven. I don't understand how it is that in God's economy, sometimes when we praise, victory follows. It's backwards to the way the world works. Church, God has called you to be a different kind of people, following a different kind of path, with a different kind of faith. Church, are you willing to give your praise before the victory? Because I believe — I believe for Yates Baptist Church, and I believe for every man, woman, and child in this room right now — I believe if you will give your praise, you have no idea what God will do next. If you will give your praise, I believe there is a victory headed your way, church. I don't want you to miss it. I don't want you to miss it. I don't want you to miss out on the destination. I don't want you to miss out on the new lands. I don't want you to miss out on the life that is ahead of you if you're willing to give your praise first. If you're willing to be a people of praise, no matter the situation, no matter the circumstance, I believe that victory comes quickly on its heels. Let me pray for us. Heavenly Father, Jesus — we give You praise in this place. We give You honor and glory in this place. God, we're going to hear music in this place. God, we're going to sing songs of praise in this place. And so, God, we're not holding back. God, we're going to give You praise today like victory is dependent upon it. We're going to give You praise today as a people who have already won. We're going to give You praise today like a people who know that if we praise until the walls fall down, we will see Your victory. We will experience Your grace and Your mercy and Your goodness. Jesus, we want a taste of Your victory, and so we give You praise here and now. We don't know what the future holds, but You do. We don't know what the next step is, God, but You do. So God, would You give us the kind of faith that praises You before the victory? Would You give us the kind of faith that is obedient in such a way that if You don't come through, God, we have no hope? Would You give us the kind of faith that fully entrusts our lives to You, believing that You will take full responsibility of that life? Jesus, we pray this in Your name. Amen. Endnotes 1 The image of “a spring in the middle of the city” draws loosely on Homer's description of twin springs feeding the Scamander near Troy's walls (Iliad 22.147–152: “κρουνὼ δ' ἵκανον καλλιρρόω· ἔνθα δὲ πηγαὶ / δοιαὶ ἀναΐσσουσι Σκαμάνδρου δινήεντος,” “they came to the two fair-flowing fountains, where well up the two springs that feed eddying Scamander”). Homer locates these springs outside the city walls, on the plain, not within the citadel, and describes two springs (one warm, one cold) rather than one. Archaeological excavation at Hisarlık, the site identified with ancient Troy, has not confirmed a spring inside the fortified citadel matching this Homeric image. Excavated water features there consist chiefly of cisterns and a rock-cut channel rather than a documented intramural spring. 2 The trumpet/horn vocabulary sits in three Pentateuchal locations: Numbers 10:1–10, where the instrument is חֲצוֹצְרָה (chatzotzerah, “[silver] trumpet”) and the war-signal is תְּרוּעָה (teru'ah, “shout, alarm-blast,” Num 10:9); and Leviticus 23:24 and 25:9, where the instrument is שׁוֹפָר (shofar, “ram's horn”), again paired with teru'ah. Joshua 6 itself uses shofar for the priests' horns (שׁוֹפְרוֹת הַיּוֹבְלִים, shofrot ha-yovlim, “ram's-horn trumpets,” 6:4) and teru'ah for the people's shout (תְּרוּעָה גְדוֹלָה, teru'ah gedolah, “a great shout,” 6:5, 20). This is Leviticus's pairing, and the same shofar/teru'ah pairing recurs as a holy-war type-scene in Judges: Ehud sounds the shofar to muster Israel (וַיִּתְקַע בַּשּׁוֹפָר, Judg 3:27); Gideon does the same to summon his army (Judg 6:34), and; At the battle against Midian the shofar blast and accompanying cry again precede the enemy's collapse rather than follow it (Judg 7:16–22) The repeated formula forms the same liturgical praise-before-victory pattern the preacher interprets from Jericho. 3 The challenging line, “God will take full responsibility of the life fully entrusted to Him,” conflates language from two sources rather than quoting either: Andrew Murray (“God is ready to assume full responsibility for the life wholly yielded to Him”), commonly attributed to Murray in devotional compilations though without a confirmed primary-text citation, and Charles Stanley's Life Principle 11 (“God assumes full responsibility for our needs when we obey Him”), as taught through In Touch Ministries. A third variant, “God takes full responsibility for the life wholly devoted to Him,” also circulates under Stanley's name in popular quotation collections. Rendered in the body as the preacher's own synthesis of these related sayings. Works Cited AZQuotes. “God Takes Full Responsibility for the Life Wholly Devoted to Him.” AZQuotes, https://www.azquotes.com/quote/735429. Accessed 26 July 2026. Bible Apologetics. “Andrew Murray – Quotes for a Deeper Walk with Jesus.” Bible Apologetics, 23 Sept. 2024, https://bibleapologetics.org/andrew-murray-quotes-for-a-deeper-walk-with-jesus/. Accessed 26 July 2026. The Holy Bible: Holman Christian Standard Bible. Holman Bible Publishers, 2004. Homer. The Iliad. Translated by A. T. Murray, Loeb Classical Library, Harvard University Press, 1924. The Odyssey. Directed by Christopher Nolan, Universal Pictures, 2026. Stanley, Charles F. “Life Principle 11: His Promise to Provide.” In Touch Ministries, https://www.intouch.org/watch/sermons/life-principle-11-his-promise-to-provide. Accessed 26 July 2026. “Troy: New Data from Old Excavations.” Archaeological Institute of America, 9 Nov. 2023, https://www.archaeological.org/troy-new-data-from-old-excavations/. Accessed 26 July 2026. © 2026 Rob Stone. All rights reserved.

Sing, muse, of this summer's blockbuster movie event! The shuffle bois have opened their bag of winds and been blown off course from their regular scheduled programming of 2000s content to review Christopher Nolan's The Odyssey. After giving some background on the world, compositional nature, and characters of the Homeric source material, the Shuffle bois trace the sprawling plot of the film before turning to its themes, including proper guest-host etiquette (xenia), the bronze age apocalypse, guilt and trauma, fate and hubris, and human-divine relations. Making this episode main feed so that it can be shared, please spam to your friends and family!Give us a follow on the Patreon here for some more Homer content:https://www.patreon.com/c/RememberShuffle ⁠Give Remember Shuffle a follow on Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠ And on Instagram⁠⁠⁠⁠⁠⁠⁠⁠ ⁠@RememberShufflePod⁠⁠⁠⁠⁠⁠⁠⁠⁠ to interact with the show between episodes. It also makes it easier to book guests.  

At the court of a French princess in the middle of the 12th century, an obscure poet named Chrétien de Troyes would begin to write and distribute fanciful stories of the Knights of the Round Table. In doing so, he would propel the figure of King Arthur to an unforeseen level of fame and create the medium of fiction as we know it. Following the previous discussion of earlier lore surrounding Arthur, and his potential historic basis, this episode of Gladio Free Europe explores the literary development and legacy of the Arthurian Romance. Liam and Russian Sam pick up with the release of Britain's first bestseller, Geoffrey of Monmouth's fanciful Homeric pseudo-history, Historia Regnum Britanniae. As this book and its account of King Arthur spread across Europe, many derivative texts would be composed in prose and verse, sometimes elaborating further on King Arthur and his court. During the reign of King Henry II of England and Eleanor of Aquitaine, whose vast territories included England and half of France, the brilliant court poet Chrétien de Troyes would synthesize the matter previously chronicled by Geoffrey and his predecessors with the poetic and heroic traditions of France. In Chrétien's five Arthurian stories, the tone and themes of the older Song of Roland would be applied to the deeds of Arthur and his knights to create a genre of literature entirely its own. The works of Chrétien and his followers would illustrate the chivalric values idealized by the aristocrats of the high and late Middle Ages. King Arthur's knights are valiant fighters, but also passionate lovers, merciful Christians, and fully-realized humans, exhibiting an interiority not seen in any European literature since classical antiquity. The chivalric romance would spread out of the French-speaking courts of England and France into popular circles across Europe, leaving a mark on the literature of Norway, Italy, Islamic Andalusia, and the Jewish diaspora. Chivalric romance, and Arthurian stories in particular, would become Europe's first tradition of popular fiction and remain eminently popular until the end of the chivalric age itself. These stories were read not only for entertainment, but also for moral instruction. For good or ill, chivalric ideals such as courtly love and the knightly quest would impact the real behavior of the medieval warrior elite.  By the later Middle Ages, Arthurian stories would become more solemn and meditative, particular in Arthur's own land of Britain. After the carnage of the Wars of the Roses, a knight and prisoner named Thomas Malory would compose Le Morte Darthur, a sprawling biography that would become the most famous Arthurian work of all time. Written without any of the whit and whimsy as earlier French stories, this text would effectively conclude the chivalric romance tradition and define the legacy of King Arthur for centuries. Following a long period of neglect, artists and aesthetes in the Victorian age began to reappraise the works and values of the Middle Ages, with particular attention to the mournful chronicle of Thomas Malory. Writers such as Walter Scott and Alfred Tennyson would create new works in the chivalric tradition. Arthurian and medieval scenes would be of sudden interest to the painters of the 19th century, in particular the Pre-Raphaelite brotherhood that included John William Waterhouse. This Victorian medievalism took many forms, and was at times associates with earnest progressive politics as well as deeply reactionary yearning for an imagined period of innocent morality and unquestioned hierarchy. Although Chrétien may not be a household name (unless your household is the French royal court) his contributions are everywhere. In all popular division, but in particular the modern genre of medieval fantasy, the images and themes first popularized by Chrétien de Troyes would rise again, as was prophesied of King Arthur himself.

Send us comments, suggestions and ideas here! In this week's episode we invite our friend Julian the Philosopher back on the show to discuss the mythic source material from which Christopher Nolan's new film is based: The Odyssey. We discuss not just Nolan's new film, but Homer's Iliad and Odyssey, quite a bit of the historical context around these works of epic poetry, how these stories were thought of initially, criticized by Plato, recontextualized by Virgil, translated countless times and transformed into Nolan's new blockbuster film. As part of our larger conversation, we discuss the dichotomy between the Homeric hero and the Platonic Hero of the mind, considering how each incarnation of the story fits into this framework or not. Thank you and enjoy the show :) Check out Julian the Philosopher here:https://www.youtube.com/@JulianSoloninkahttps://medium.com/@jsolonin In this week's episode we discuss:-The Homeric Hero-Nolan's Odysseus-The Emily Wilson Translation -The Presence / Absence of Gods-Hanging of the Servants-The Life and Times of Homer -The People From the Sea-Achilles and the Ethiopian FleetIn the extended episode available at www.patreon.com/TheWholeRabbit we go off script to discuss: -Virgil's Aeneid-The Telegony-Rome, Ancestors of Troy -The Christianization of The Odyssey-The Boatman Charon-John the Baptist-The Sirens-Philip K. Dick, Christ and the SacramentsThis discussion was impelled by the research and study of Julian Soloninka with additional contributions made by Luke Madrid, Heka Astra, Mari Sama and Tim Hacker. Recorded in unscripted, Socratic discussion style.I did have notes ready but I did not use them. They are available for our rabbit tier. Good stuff in there. We just didn't talk about it! Where to find The Whole Rabbit:Spotify: https://open.spotify.com/show/0AnJZhmPzaby04afmEWOAVInstagram: https://www.instagram.com/the_whole_rabbitTwitter: https://twitter.com/1WholeRabbitOrder Stickers: https://www.stickermule.com/thewholerabbitOther Merchandise: https://thewholerabbit.myspreadshop.com/Music By Spirit Travel Plaza:https://open.spotify.com/artist/30dW3WB1sYofnow7y3V0YoSupport the show

Christopher Nolan has another blockbuster hit in theaters and has set off the pop culture controversy of the year with his rendition of The Odyssey. To move beyond the visual spectacle and online hysterics, James, Steve and Charles are joined by Titus Techera for a discussion on the Homeric epic, the visionary Nolan, and the thunderous debate over ancient and modern morality.Plus, the trio stay on theme to consider a couple of beloved 20th-century directors and the sci-fi military tech that's become a reality on the battlefield in Eastern Europe. This week's opening sound: Lupita Nyong'o on playing Helen of Troy (courtesy of Discussing Film) and Victor Davis Hanson on the role on the Daily SignalBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-ricochet-podcast--5817275/support.

A three-hour puzzle in IMAX makes for great storytelling, but does Christopher Nolan make going to the movies feel like homework? The New York Times critic at large joins Pablo for a (relatively spoiler-free) cinematic sparring session: What goes wrong when an auteur plays with too many Hollywood toys? What goes right when Homeric text aligns with classic Damon? Is the casting really so "woke" after all? And why were those Greek islands so... neutered?• Subscribe to "Cannonball with Wesley Morris"• Subscribe to PTFO on YouTube• Subscribe to The Athletic Hosted on Acast. See acast.com/privacy for more information.

Christopher Nolan has another blockbuster hit in theaters, and has ignited the pop culture controversy of the year with his interpretation of The Odyssey. To move beyond the visual spectacle and online hysterics, James, Steve and Charles are joined by Titus Techera of The American Cinema Foundation for a discussion on the Homeric epic, the visionary […]

"Tell me about a complicated man." So begins Emily Wilson's contemporary translation of Homer's Odyssey — establishing her as the definitive Homeric translator of our time and radically transforming how we understand a cornerstone of western literature. As The Odyssey enters the pop cultural arena this summer via Christopher Nolan's big-screen adaptation — a film inspired by Wilson's translation — she joins us for a conversation about why the The Odyssey has endured for nearly 3,000 years. In the first English translation of The Odyssey by a woman, written in a vivid contemporary idiom, Wilson captures the beauty and enchantment of Homer's poem without poeticizing its carnage — a profound reflection on violence, marriage, and family. Nearly a decade after that translation gave Homer "a radically contemporary voice" (The New York Times Magazine), and nearly three millennia after it was originally composed, The Odyssey remains shockingly relevant. In this conversation with the Pulitzer Prize winning playwright, Sarah Ruhl, whose work is profoundly influenced by Greek myth and famously modernized Eurydice for the stage, Wilson asks: what can a story about travelers and the aftermath of war tell us about our own world in an era of mass migration, riven by military and political conflict? What can this epic of a "complicated man" reveal to us about contemporary masculinity and violence? In a nation rooted in myths of rugged individualism and sacred homeland, how does The Odyssey hold up a mirror to American life? Hear Wilson and Ruhl discuss The Odyssey's circuitous path through the waters of Western culture — from ancient song to modern verse to Hollywood. Find out how this archaic text, in the hands of a master translator, can offer a startling vision of how we live today. "Wilson's language is fresh, unpretentious and lean… It is rare to find a translation that is at once so effortlessly easy to read and so rigorously considered." ― Madeline Miller

The Summer of Jason continues our long journey as we're joined by Homeric teacher and scholar Bijani Mizell! Bijani has taught The Odyssey for over 10 years to high school kids, so she was a lock to help us tackle Christopher Nolan's magnum opus take.She covers (in language you can understand!) the history of the poem, how Nolan relates to the translators who have come before him, and digs deep into the themes of the story. Join us for this very special episode.Chapters Introduction (00:00:00) Hatch News (00:06:26) The Odyssey Roundtable (00:14:06) Your Letters (01:30:13) Notes and Links Check out Escape Hatch Merch! Our all new collection of swag is available now and every order includes a free Cameo style shoutout from Haitch or Jason. Browse our collection now. Join the Escape Hatch Discord Server! Hang out with Haitch, Jason, and other friends of the pod. Check out the invite here. Escape Hatch is a TAPEDECK Podcasts Jawn! Escape Hatch is a member of TAPEDECK Podcasts, alongside: 70mm (a podcast for film lovers), Bat & Spider (low rent horror and exploitation films), The Letterboxd Show (Official Podcast from Letterboxd), Cinenauts (exploring the Criterion Collection), Lost Light (Transformers, wrestling, and more), and Will Run For (obsessed with running). Check these pods out!. See the movies we've watched and are going to watch on Letterboxd Escape Hatch's Breaking Dune News Twitter list Rate and review the podcast to help others discover it, and let us know what you think of the show at letters@escapehatchpod.com or leave us a voicemail at +1-415-534-5211. Follow @escapehatchpod on Bluesky,Instagram, and TikTok. Music by Scott Fritz and Who'z the Boss Music. Cover art by ctcher. Edited and produced by Haitch. Escape Hatch is a production of Haitch Industries.

Today on Ascend: The Great Books Podcast, Dcn. Garlick hosts Dr. Patrick Deneen to discuss his NEW BOOK: The American Odyssey: What an Ancient Story Reveals About Our Divided Souls.Pick up the AMERICAN ODYSSEY out today!https://a.co/d/01rpYuwt23 Observations on the new Christopher Nolan Odyssey Moviehttps://www.patreon.com/greatbooks/posts/23-quick-on-164190324In this special episode of Ascend: The Great Books Podcast, Dcn. Garlick welcomes back renowned Notre Dame political thinker Dr. Patrick Deneen—author of Why Liberalism Failed and Regime Change—to celebrate the release of his brand-new book, The American Odyssey: What an Ancient Story Reveals About Our Divided Souls.Fresh off a 12-week deep dive into Homer's epic, the conversation reveals why Odysseus is the ultimate “proto-American” hero: a restless seeker torn between the hunger for home and the irresistible call of the frontier. Deneen traces this tension from the ancient text through Dante's damning portrayal of Odysseus as a villain of forbidden knowledge, to the Renaissance reinvention of him as the triumphant explorer who metaphorically discovers America itself.What makes this episode unmissable is how Deneen unlocks Aristotle's radical claim that humans are political animals precisely because we are neither beasts nor gods, the “citylessness” that turns Ithaca into a Cyclopean free-for-all, and the startling parallels between Odysseus' refusal of immortality and Huck Finn's decision to “go to hell.” Pairing iconic American stories like The Wizard of Oz, Field of Dreams, and Huckleberry Finn with Homer's timeless episodes, Deneen shows that the Western tradition isn't locked in dusty classics—it's alive in our movies, novels, and national character, especially as America marks its 250th anniversary. Dive in and discover how an ancient tale of departure and return still maps the divided soul of a nation that can't stop exploring… or longing for home.Chapters:00:00 Introduction to Dr. Patrick Deneen and the Book01:54 Deneen's Return to Homer and the Odyssey03:59 Odysseus as a Proto-American Figure06:59 The Tension Between Flourishing and Discontent12:07 Odysseus and the Pioneering Spirit of America19:02 The Shift in Odysseus' Image from Medieval to Renaissance27:01 Odysseus as a Figure of Forbidden Knowledge34:08 The Connection Between Odysseus and Columbus40:02 The Polis and Citylessness in Homer and Aristotle48:07 The Return of the Polis and the Homecoming56:06 Huckleberry Finn as an Odyssean American Hero59:45 The Western Tradition in Popular CultureKey words: Ascend Great Books Podcast, Deacon Harrison Garlick, Dr Patrick Deneen, The American Odyssey book, Homer Odyssey, Odysseus proto-American hero, Why Liberalism Failed, Regime Change, Western tradition, Aristotle Politics, man political animal, apolis citylessness, Dante Inferno Odysseus villain, Renaissance explorers, Columbus Amerigo Vespucci, American character, pioneering spirit, frontier homecoming, Calypso immortality, Huckleberry Finn, Field of Dreams, Wizard of Oz, 250th anniversary Declaration of Independence, Notre Dame political science, Homeric studies, great books podcast, Platonic dialogues, American soul, divided souls, political theory, classical literature, Americana, Odyssey episodes.

In this episode the boys share their experiences watching the new Odyssey film in 70mm and debate the impact of director choices on storytelling. In this episode, we explore the rich themes of Greek mythology, the storytelling techniques of Nolan, and the cultural debates surrounding historical accuracy and representation in film. We also dive into the symbolism of the Trojan horse, the portrayal of gods, and the impact of art on society. In this episode, we explore the intricacies of storytelling, film techniques, and the impact of casting choices through a lively discussion on movies, including Homeric epics and modern cinema. We also delve into rankings of Nolan's films and favorite superhero movies.

Folks, it's flabbergasting that we haven't covered an historical epic until now! So in light of the release of Christopher Nolan's The Odyssey, we choose to either prep your palette for that new cinematic adaptation of Homer's epic poem or provide you with a possibly better rendition of screen poetry with a previous Homeric adaptation of Iliad. One that made its debut over twenty years ago in bright form with a classic ensemble cast. It's 2004's Troy! Covering the Director's Cut of the film, come join the gang as they ride off into Ancient Greece to discover souls older than they are and with some arguably better drip! Should you listeners choose to return to an era of bright epics such as this one or join the zeitgeist of praise for Nolan's new feature? We review, you decide! This is going to be great, peeps! Also, if you saw The Odyssey in theaters, what'd all of you think?? Worthy of your time, or might an older cinematic epic be more delectable? Email us at thesearcherspodcast@gmail.com.

This week, Hanna speaks to Himesh Patel and John Leguizamo about their roles in the movie of the summer, Christopher Nolan's THE ODYSSEY (08:00), while we review his take on the Homeric epic (21:51) alongside Sébastien Vaniček's all-out Deadite horror EVIL DEAD BURN (53:08). Plus, in our HOT TAKE (01:09:33), we talk full spoilers so we can go even deeper into Nolan's vision for THE ODYSSEY. Our WAIT JUST A MINUTE (01: 05: 30) picks are READY OR NOT 2: HERE I COME and X-MEN ‘97. If you would like to donate directly towards humanitarian aid in Gaza, please visit: ⁠MAP⁠Buy Hanna's The Unofficial Buffy the Vampire Slayer Quiz Book hereBuy Clarisse's Wes Anderson: A Retrospective ⁠here⁠⁠Tweet us @FadetoBlackPod on Twitter or DM @FadeToBlackPodcast on Instagram.Don't forget to subscribe, rate and review the podcast - it makes a difference! The Fade To Black Podcast is part of the Stripped Media Network.CLARISSE: ⁠ ⁠@clarisseloughrey⁠⁠HANNA:⁠ ⁠@hannainesflint⁠⁠Music by ⁠The Last Skeptik⁠. Jingles by Hanna Flint

Hey everyone, this is a Zero episode of an upcoming project David Heath and DB Spitzer are working on. It is an exploration of the sources of Warhammer 40,000, and their sources. Check out this link to buy DB's Books[link] Season 23 bonus episodes 1-25 1 The Imperium of Man Dune, Foundation, Roman Empire in space, religious dystopias Edward Gibbon, imperial decline literature, medieval Christendom, future-history fiction 2 Space Marines Starship Troopers, action-movie super soldiers, power armor, comic-book warriors Heinlein military SF, crusading orders, Spartan myth, warrior monks, fascist hero imagery 3 Astra Militarum / Imperial Guard World War movies, Starship Troopers, British war comics, doomed infantry stories H. G. Wells future-war fiction, Kipling, trench literature, boys' military papers, pulp battlefield fiction 4 Adeptus Mechanicus Metropolis, cyberpunk machine cults, mad scientists, techno-priests Gernsback invention fiction, H. G. Wells, Frankenstein, lost-technology stories, mad-science pulp 5 Adepta Sororitas / Ecclesiarchy Hammer horror, warrior nuns, Joan of Arc cinema, witchfinder movies Gothic novels, martyr stories, saint legends, witch-trial pamphlets, religious melodrama 6 The Inquisition The X-Files, witchfinder films, secret-police thrillers, occult detectives M. R. James-style scholars, Blackwood, Machen, witch-hunter tracts, secret-society fiction 7 Rogue Traders Star Trek, Flash Gordon, space pirates, merchant princes Planetary romance, Edgar Rice Burroughs, Leigh Brackett, C. L. Moore, colonial adventure fiction 8 Adeptus Custodes Golden demigod bodyguards, imperial palace guards, mythic super-soldiers Achilles, Gilgamesh, sacred kingship, Praetorian Guards, immortal companions of god-kings 9 Adeptus Titanicus Pacific Rim, Gundam, giant robot anime, kaiju movies, walking battleships, cathedral mecha Wells' Martian tripods, “The Land Ironclads,” dreadnoughts, siege engines, bronze giants, golems, sacred statues, war-gods 10 The Horus Heresy Star Wars, fallen Jedi, dark lords, civil-war space opera, tragic chosen ones Milton's Paradise Lost, Lucifer's rebellion, Cain and Abel, Arthur and Mordred, Roman civil wars, succession crises 11 Chaos Space Marines Fallen angels, heavy metal villains, corrupted super-soldiers, black knights, rebel legions Milton's Paradise Lost, Moorcock's Chaos, Byronic rebels, cursed champions, Satanic romance, Gothic villains, revenge tragedy 12 Chaos Daemons Hellraiser, Event Horizon, occult horror, possession films, nightmare dimensions Medieval demonology, grimoires, witch-trial literature, Arthur Machen, Algernon Blackwood, occult pulp, weird menace fiction 13 World Eaters / Khorne Conan, gladiator films, berserker metal, chainsaw action horror, grindhouse revenge Robert E. Howard, sword-and-sorcery pulp, berserker sagas, blood cults, Homeric rage, arena spectacle, revenge tragedy 14 Death Guard / Nurgle Zombie plague films, body horror, gross-out comedy, infection horror, fungal rot, swamp monsters Poe's “The Masque of the Red Death,” plague literature, danse macabre, memento mori, corpse folklore, leper saints 15 Thousand Sons / Tzeentch Wizard cults, cursed books, Egyptian sorcerers, cosmic chessmasters, forbidden libraries H. P. Lovecraft, Clark Ashton Smith, E. R. Eddison, mummy fiction, forbidden-book stories, Decadent occultism, Renaissance magic 16 Emperor's Children / Slaanesh Glam rock horror, decadent villains, body modification nightmares, cursed artists, aristocratic monsters Oscar Wilde's The Picture of Dorian Gray, Huysmans, fin-de-siècle decadence, Gothic aristocrats, cursed art, aestheticism 17 Chaos / Imperial Knights Haunted mecha, cursed noble machines, demonic war engines, Gundam, BattleTech, Pacific Rim Gothic castles, cursed armor, haunted inheritance, family-doom melodrama, chivalric romance, sins of the fathers 18 Orks Mad Max, fantasy orcs, biker gangs, football hooligans, British comic violence, slapstick war movies William Hope Hodgson's “The Voice in the Night,” fungus horror, Matango, invasive-species stories, goblins, comic grotesques 19 Tyranids Alien, Aliens, The Thing, bug-war movies, swarm horror, hive minds, biological weapons John W. Campbell's “Who Goes There?”, H. G. Wells' Martians, insect-hive fiction, invasion literature, cosmic naturalism 20 Genestealer Cults Invasion of the Body Snatchers, Alien, cult horror, red-scare paranoia films, sleeper cells Hidden-bloodline stories, secret cult pulp, infiltration fiction, changeling folklore, cuckoo-child fears, apocalyptic sects 21 Necrons The Terminator, killer robots, metal skeletons, space undead, immortal android kings Karel Čapek's R.U.R., robot rebellion, automaton fiction, artificial labor nightmares, mummy pulp, Egyptomania, tomb curses 22 Aeldari / Drukhari Tolkien elves, dying space aristocrats, psychic aliens, dark elves, vampire cities, cruel fairy courts Lord Dunsany, Jack Vance's Dying Earth, fairy otherworlds, decadent elder-race fiction, Atlantis, Gothic aristocrats 23 Night Lords Batman turned inside out, The Crow, slasher films, serial-killer thrillers, torture horror, vigilante movies Conrad's Heart of Darkness, Gothic villains, penny dreadfuls, Jack the Ripper panic, Grand Guignol, Dracula, public punishment 24 T'au Empire / Leagues of Votann Clean anime mecha empire, sleek battlesuits, utopian coalitions, space dwarves, hard-SF miners Utopian SF, technocracy fiction, Cold War futures, missionary empire, company towns, mining-company frontier stories, labor colonies 25 REDACTED Spy thrillers, Mission: Impossible, Tinker Tailor Soldier Spy, The Manchurian Candidate, The Prisoner, The Testament of Dr. Mabuse John Buchan, Joseph Conrad, G. K. Chesterton, Erskine Childers, E. Phillips Oppenheim, Norbert Jacques, invasion-scare fiction, fifth-column paranoia

Hey everyone, this is a Zero episode of an upcoming project David Heath and DB Spitzer are working on. It is an exploration of the sources of Warhammer 40,000, and their sources. Check out this link to buy DB's Books[link] Season 23 bonus episodes 1-25 1 The Imperium of Man Dune, Foundation, Roman Empire in space, religious dystopias Edward Gibbon, imperial decline literature, medieval Christendom, future-history fiction 2 Space Marines Starship Troopers, action-movie super soldiers, power armor, comic-book warriors Heinlein military SF, crusading orders, Spartan myth, warrior monks, fascist hero imagery 3 Astra Militarum / Imperial Guard World War movies, Starship Troopers, British war comics, doomed infantry stories H. G. Wells future-war fiction, Kipling, trench literature, boys' military papers, pulp battlefield fiction 4 Adeptus Mechanicus Metropolis, cyberpunk machine cults, mad scientists, techno-priests Gernsback invention fiction, H. G. Wells, Frankenstein, lost-technology stories, mad-science pulp 5 Adepta Sororitas / Ecclesiarchy Hammer horror, warrior nuns, Joan of Arc cinema, witchfinder movies Gothic novels, martyr stories, saint legends, witch-trial pamphlets, religious melodrama 6 The Inquisition The X-Files, witchfinder films, secret-police thrillers, occult detectives M. R. James-style scholars, Blackwood, Machen, witch-hunter tracts, secret-society fiction 7 Rogue Traders Star Trek, Flash Gordon, space pirates, merchant princes Planetary romance, Edgar Rice Burroughs, Leigh Brackett, C. L. Moore, colonial adventure fiction 8 Adeptus Custodes Golden demigod bodyguards, imperial palace guards, mythic super-soldiers Achilles, Gilgamesh, sacred kingship, Praetorian Guards, immortal companions of god-kings 9 Adeptus Titanicus Pacific Rim, Gundam, giant robot anime, kaiju movies, walking battleships, cathedral mecha Wells' Martian tripods, “The Land Ironclads,” dreadnoughts, siege engines, bronze giants, golems, sacred statues, war-gods 10 The Horus Heresy Star Wars, fallen Jedi, dark lords, civil-war space opera, tragic chosen ones Milton's Paradise Lost, Lucifer's rebellion, Cain and Abel, Arthur and Mordred, Roman civil wars, succession crises 11 Chaos Space Marines Fallen angels, heavy metal villains, corrupted super-soldiers, black knights, rebel legions Milton's Paradise Lost, Moorcock's Chaos, Byronic rebels, cursed champions, Satanic romance, Gothic villains, revenge tragedy 12 Chaos Daemons Hellraiser, Event Horizon, occult horror, possession films, nightmare dimensions Medieval demonology, grimoires, witch-trial literature, Arthur Machen, Algernon Blackwood, occult pulp, weird menace fiction 13 World Eaters / Khorne Conan, gladiator films, berserker metal, chainsaw action horror, grindhouse revenge Robert E. Howard, sword-and-sorcery pulp, berserker sagas, blood cults, Homeric rage, arena spectacle, revenge tragedy 14 Death Guard / Nurgle Zombie plague films, body horror, gross-out comedy, infection horror, fungal rot, swamp monsters Poe's “The Masque of the Red Death,” plague literature, danse macabre, memento mori, corpse folklore, leper saints 15 Thousand Sons / Tzeentch Wizard cults, cursed books, Egyptian sorcerers, cosmic chessmasters, forbidden libraries H. P. Lovecraft, Clark Ashton Smith, E. R. Eddison, mummy fiction, forbidden-book stories, Decadent occultism, Renaissance magic 16 Emperor's Children / Slaanesh Glam rock horror, decadent villains, body modification nightmares, cursed artists, aristocratic monsters Oscar Wilde's The Picture of Dorian Gray, Huysmans, fin-de-siècle decadence, Gothic aristocrats, cursed art, aestheticism 17 Chaos / Imperial Knights Haunted mecha, cursed noble machines, demonic war engines, Gundam, BattleTech, Pacific Rim Gothic castles, cursed armor, haunted inheritance, family-doom melodrama, chivalric romance, sins of the fathers 18 Orks Mad Max, fantasy orcs, biker gangs, football hooligans, British comic violence, slapstick war movies William Hope Hodgson's “The Voice in the Night,” fungus horror, Matango, invasive-species stories, goblins, comic grotesques 19 Tyranids Alien, Aliens, The Thing, bug-war movies, swarm horror, hive minds, biological weapons John W. Campbell's “Who Goes There?”, H. G. Wells' Martians, insect-hive fiction, invasion literature, cosmic naturalism 20 Genestealer Cults Invasion of the Body Snatchers, Alien, cult horror, red-scare paranoia films, sleeper cells Hidden-bloodline stories, secret cult pulp, infiltration fiction, changeling folklore, cuckoo-child fears, apocalyptic sects 21 Necrons The Terminator, killer robots, metal skeletons, space undead, immortal android kings Karel Čapek's R.U.R., robot rebellion, automaton fiction, artificial labor nightmares, mummy pulp, Egyptomania, tomb curses 22 Aeldari / Drukhari Tolkien elves, dying space aristocrats, psychic aliens, dark elves, vampire cities, cruel fairy courts Lord Dunsany, Jack Vance's Dying Earth, fairy otherworlds, decadent elder-race fiction, Atlantis, Gothic aristocrats 23 Night Lords Batman turned inside out, The Crow, slasher films, serial-killer thrillers, torture horror, vigilante movies Conrad's Heart of Darkness, Gothic villains, penny dreadfuls, Jack the Ripper panic, Grand Guignol, Dracula, public punishment 24 T'au Empire / Leagues of Votann Clean anime mecha empire, sleek battlesuits, utopian coalitions, space dwarves, hard-SF miners Utopian SF, technocracy fiction, Cold War futures, missionary empire, company towns, mining-company frontier stories, labor colonies 25 REDACTED Spy thrillers, Mission: Impossible, Tinker Tailor Soldier Spy, The Manchurian Candidate, The Prisoner, The Testament of Dr. Mabuse John Buchan, Joseph Conrad, G. K. Chesterton, Erskine Childers, E. Phillips Oppenheim, Norbert Jacques, invasion-scare fiction, fifth-column paranoia

Christopher Nolan's film The Odyssey is part of a long line of film adaptations, but Homer's epic poem has quietly shaped another medium: role-playing games. The structure of The Odyssey is practically a blueprint for tabletop and video game RPGs from the ‘boss fights' with fantasy creatures to the way Odysseus levels up through the tale. Professor Roger Travis explains how ancient bards engaged in a similar type of immersive storytelling as game masters today. Laura Jenkinson-Brown argues that Odysseus's choices are like a dialogue tree in a choose-your-own-adventure book. That's why she wrote one called “You Are Odysseus. Plus, John Haygood and Jonathan Drake tell me how they've created tabletop role-playing games that tap into Greek myths and reward players for embracing the values of the Homeric world. To support the show, you can donate on Patreon where you get access to the ad-free version and our companion show Between Imaginary Worlds.   Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hello!Welcome back to another archaeogastronomical adventure!I couldn't help myself but having Odyssey as my inspiration for this week's episode!As you probably have heard Christopher Nolan has his epic film Odyssey in official release this Friday 17th of July 2026 so I thought what better way to dive into the ancient Homeric epic poem than exploring their foods, cooking, dishes and the meaning of xenia, hospitality, kindness to strangers and welcoming others into ones house?We will also dive into the real Bronze Age Greece and the archaeological discoveries there. What do these tell about feasting, communal eating and the food of the people in the Helladic world, three thousand years ago?Enjoy!The recommendations for this week are:Did Roman Britain Ever End?Nicholas J. Higham writes about the long death of Roman Britainhttps://www.unseenhistories.com/did-roman-britain-ever-end-nicholas-j-higham/Alexandra Sills:https://www.waterstones.com/book/gladiators-in-the-greek-world/alexandra-sills//9781036130480Welsh Smokery and shop:https://welshsmokery.co.uk/about-us/our-story/Love and wineThom & The Delicious LegacySupport the podcast on Ko-Fi and Patreon for ad-free episodes!https://ko-fi.com/thedeliciouslegacypodcasthttps://www.patreon.com/c/thedeliciouslegacySupport this show http://supporter.acast.com/the-delicious-legacy. Hosted on Acast. See acast.com/privacy for more information.

Welcome to stop number two on the guys' journey from Iolcus to Colchis (and back!). With preliminaries covered, this week Dave and Jeff drfit through Book 1 of Apollonius' Argonautica and continue to puzzle over Jason's milquetoast administrative style. Is this meant to be reflective of an Athenian democratic ideal, as though Homeric arete has hit a sunset clause? And what is up with Heracles? Gone is the baudy, brawling, wine-binging, lion-wrestler. In his place we get deference, restrained statemanship, a level head, and...coach seating?  But we know you all are eager to get out to sea, so first stop Lemnos where we learn that while it's always good to pack extra Speed Stick, you don't always need it. And, tune in for the drawing of our free Hackett title, a copy of the Berg & Parker translation of Plautus and Terence: Five Comedies. 

Today on Ascend: The Great Books Podcast, we are discussing Books 20 & 21 with Mr. Thomas Lackey and Dr. Frank Grabowski. NEW ARTICLE: Why Should Christians Read Homer?Check out our COLLECTION OF WRITTEN GUIDES.In this episode of Ascend: The Great Books Podcast, Deacon Harrison Garlick and guests Dr. Frank Grabowski and Thomas Lackey dive into Books 20 and 21 of Homer's Odyssey, where the stage is set for the long-awaited slaughter of the suitors. The portents multiply: Theoclymenus's terrifying vision of the palace drenched in blood and gore, Athena's divine orchestration, and Penelope's masterful test with Odysseus's legendary bow. Amid feasts for Apollo, disloyal servants, and growing frenzy, Odysseus the beggar masters his patience while Telemachus comes fully into his own—echoing the father-son reunion and the maturation arc that began in Book 2.The conversation has rich insights on Homeric anthropology, the thumos (spirited), xenia's sacred bonds, ritual symbolism, and the limits of repentance under divine justice. Listeners will relish the similes, prophecies ignored at peril, subtle Christological resonances, and the masterful dramatic pause Homer builds before the violence erupts in Book 22. Whether you're tracking Odysseus's cunning, Telemachus's growth, or the poem's deeper moral and theological layers, this episode delivers fresh appreciation for why the Odyssey endures. Don't miss it—especially with Dr. Patrick Deneen joining soon to connect the epic to our own age. Subscribe, grab the written guide, and join the journey on Patreon, YouTube, or thegreatbookspodcast.com.Keywords: Odyssey Book 20 summary, Odyssey Book 21 analysis, Homer Odyssey Books 20 and 21, Penelope bow test, Odysseus bow contest, Theoclymenus prophecy vision, slaughter of the suitors setup, Odysseus beggar disguise, Telemachus maturation, xenia guest friendship Odyssey, divine justice in Homer, Homeric thumos anthropology, Apollo feast day Odyssey, Greek classics podcast, Great Books discussion Odyssey, Odysseus revenge portents, Penelope cunning test, Homer similes Book 20, ritual symbolism Odyssey, Christological parallels Odyssey, Ascend Great Books Podcast.

The Homeric Question and Epic Tradition. Guest: Professor Emily Wilson. The identity of Homer remains a subject of intense scholarly debate, as the Iliad emerged from a long oral tradition that existed before the return of literacy to Greece in the 8th century BCE. For centuries, performing poets developed stories of heroes like Achilles and Agamemnon, using dactylic hexameter to aid memory and performance. The Iliad is a monumental written poem that takes a sophisticated approach to these familiar tales, often subverting expectations. Interestingly, it omits many "famous hits" like the Trojan Horse, the judgment of Paris, and the actual fall of Troy. Instead, it focuses on a mere month and a half of the ten-year war, centering on internal Greek conflict rather than just a battle against Trojans. Wilson notes that while she translates the work into iambic pentameter to capture its drive, the poem itself possesses the narrative complexity of a modern novel, utilizing techniques like shifting perspectives and narrator omniscience. She also mentions lost epic poems like the Cypria, which provided more backstory on Zeus's plan to reduce the human population through war. 2

Here be dragons. Topics in this episode include why “Wandering Rocks” is the least Homeric episode of Ulysses, why the name “Wandering Rocks” isn't quite right, how Jason escaped the Wandering Rocks, how Leopold Bloom is a mightier hero than Odysseus, correspondences for “Wandering Rocks,” the “blind mechanism” of the Wandering Rocks, clockspeed, how to escape the labyrinth, Joyce's favorite board game, whether or not Joyce would have been a David Bowie fan, traps in “Wandering Rocks,” blood and currency, the precision of “Wandering Rocks,” and re-creating “Wandering Rocks” as street theater. Support us on Patreon to get episodes early, and to access bonus content and a video version of our podcast.   On the Blog: Ulysses & The Odyssey - Wandering Rocks Blooms & Barnacles Social Media: Facebook | BlueSky | Instagram Subscribe to Blooms & Barnacles: Apple Podcasts | Spotify | YouTube  

After an unexpectedly long odyssey that delayed the Watchcast's scheduled arrival, we're finally back to our movie watching ways, and launching into our month of Coen Brothers comedies, starting with the duo's southern-fried take on one of the great Homeric works in O Brother, Where Art Thou?!CHAPTERS:(00:00:00) - The Nextlander Watchcast Episode 174: O Brother, Where Art Thou? (2000)(00:01:04) - Intro(00:02:53) - It took us longer than we expected to get back, but we're finally here. Now, on a totally unrelated subject, let's talk about The Odyssey.(00:09:17) - The music, and some chatter about our main cast.(00:16:46) - Some last production notes.(00:23:32) - What was our familiarity with this one prior to this watch?(00:27:01) - Break!(00:30:01) - The blind seer's prophecy, and a night on the farm.(00:40:41) - A genuine geographical oddity, and the dreamiest Baptism you ever did see.(00:43:43) - Meeting Tommy at the Crossroads, and singin' into a can.(00:54:19) - Money talk around the campfire, and the introduction of Babyface.(01:04:55) - The sirens, a toad, and Big Dan.(01:13:17) - Homer Stokes, the Wharvey gals, and the pater familias.(01:21:59) - Reuniting with Pete, and rescuing Tommy from the klan.(01:30:11) - Everything converges at the music hall.(01:37:34) - Babyface's fate, and one last challenge to overcome.(01:44:41) - The McGills reunited.(01:46:10) - Final thoughts.(01:49:45) - Next week's movie: The Hudsucker Proxy!(01:51:57) - Outro.

Released in 1978 and directed by John Landis, National Lampoon's Animal House follows the anarchic members of Delta House fraternity at Faber College as they wage war against pompous Dean Wormer (John Vernon) and the rival Omega House. Written by Harold Ramis, Douglas Kenney, and Chris Miller, and starring John Belushi as the legendary John "Bluto" Blutarsky, the film became one of the highest-grossing comedies of its era and helped launch the modern R-rated comedy.Jeff Nelligan's satirical new book When the Germans Bombed Pearl Harbor: Animal House in Western Intellectual Thought subjects the film to mock-scholarly analysis, taking its title from Bluto's historically garbled motivational speech. Casting Animal House as a Homeric odyssey and a meditation on society's moral impulse, Nelligan lampoons academic pretension while celebrating a comedy that has embedded itself permanently in American culture. Nelligan is a Washington, D.C. public affairs executive, Army veteran, and author of several previous books on parenting and political life. Mike talks with him about the film's enduring legacy and the making of the book.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth 

Released in 1978 and directed by John Landis, National Lampoon's Animal House follows the anarchic members of Delta House fraternity at Faber College as they wage war against pompous Dean Wormer (John Vernon) and the rival Omega House. Written by Harold Ramis, Douglas Kenney, and Chris Miller, and starring John Belushi as the legendary John "Bluto" Blutarsky, the film became one of the highest-grossing comedies of its era and helped launch the modern R-rated comedy.Jeff Nelligan's satirical new book When the Germans Bombed Pearl Harbor: Animal House in Western Intellectual Thought subjects the film to mock-scholarly analysis, taking its title from Bluto's historically garbled motivational speech. Casting Animal House as a Homeric odyssey and a meditation on society's moral impulse, Nelligan lampoons academic pretension while celebrating a comedy that has embedded itself permanently in American culture. Nelligan is a Washington, D.C. public affairs executive, Army veteran, and author of several previous books on parenting and political life. Mike talks with him about the film's enduring legacy and the making of the book.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth 

John has been watching the trailer for the 2026 film 'The Odyssey', starring Matt Damon as Odysseus, and something does not sit right. The Trojan War is usually dated to the thirteenth or twelfth century BC, a period associated with Mycenaean or Achaean warfare and distinctive equipment, such as boar-tusk and horned helmets. This is the world shown in archaeological reconstructions and classic works such as Peter Connolly's The Ancient Greece of Odysseus. Yet in film and illustration, the warriors of Homer's epics are almost always dressed in the armour of much later centuries. Corinthian and Chalcidian helmets recur frequently, even though these types do not appear until hundreds of years after the traditional date of the Trojan War. The Odyssey trailer continues this trend, showing both Corinthian and open-faced Chalcidian helmets among Odysseus' men. So how did this confusion of periods become so entrenched in modern depictions of Homeric warfare? Why do artists and filmmakers consistently reach for the armour of Classical Greece rather than the material culture of the Late Bronze Age? Murray unpacks how this visual tradition developed and why it has proved so hard to shift.   Join us on Patreon patreon.com/ancientwarfarepodcast  

In Marcus Tullius Cicero's Tusculan Disputations, he cites a story of Pythagoras, the man who created the term, "philosopher". His description of the philosopher is as one who comes into life not as a competitor, not in the pursuit of money or fame - but merely as a spectator, who observes and inquires into the nature of things. According to Pythagoras, this way of life is the best, by far; Cicero wholeheartedly embraces this way of understanding philosophy, as part of his consolatory project in which philosophy is seen as part and parcel with virtue. For Cicero, the worth of philosophy is that it delivers us from life's suffering. We will explore the background of Cicero's Tusculan Disputations, the Pythagorean doctrine of metempsychosis, and the Homeric convention of presenting the gods themselves as spectators. This analysis will bring us back to Nietzsche's Birth of Tragedy, as well as some of the comments he makes in his later career about the theatric element of Greek culture, and the philosopher as a spectator, who "stands aside" from the world rather than acting within it. By the end of the episode, we will pose the question of whether or not Cicero's Stoic philosophy actually constitutes a life as spectating, or whether Cicero is just another actor on the philosophical stage.

This show has been flagged as Clean by the host. This is a further look at the stories of the First Doctor, portrayed by William Hartnell, during the 1960s. The First Doctor, Part 4 Galaxy 4 This science fiction story is focused on the idea of not judging a book by its cover. The Tardis lands on a deserted, dying planet. They see a funny looking robot that Vicki calls a “Chumbley”. Then another one appears, and they investigate, but are rescued by three beautiful women who tell them they were in great danger, and take the three travelers back to their ship, where they meet the leader, Maaga, another beautiful woman. But somehow these women are odd and cold. They tell of how they met another ship from a evil race, the Rill, and that in a space battle the ships damaged each other and landed on this planet. Then later the travelers meet the Rill, who initially refuse to reveal their appearance because it would frighten the humans. Turns out they were very alien in appearance, but not at all evil, and it was the beautiful women who were evil. Mission to the Unknown This short little story takes place on the planet Kembel, and agents from Earth realize that the Daleks are here, and up to no good. This is really a prequel to The Daleks' Master Plan, and is notable as the only Doctor Who story in which none of the regular cast appears. The reason is that this is an extra episode slot given to the Doctor Who team late in the day, and the regular cast were already given vacation time off. So it is best to take this as Episode 0 of The Dalek's Master Plan, not as a stand-alone story. The original story has been lost, like so many episodes of early Doctor Who, but a very nice version was done by the University of Central Lancashire, and you can view it on YouTube. It is introduced by Edward de Souza, who played Marc Cory in the original, and is worth a look. They really did a good job. The Myth Makers This is another “historical” story, though instead of verified history it is historical legends at play here, in the form of the Seige of Troy by the Greeks. So you have all of the Homeric cast here: Achilles, Priam, Hector, Odysseus. The Doctor is taken for a God by Achilles, though Odysseus has his doubts. Vicki is captured by the Trojans and taken to Troy, calls herself Cressida, and is taken for a Goddess. Steven goes to Troy to try and free her, but is seen as a Greek, and so Vicki is now suspect. She falls in love with a son of Priam named Troilus, and you think something might happen here, particularly if you are familiar with play of Shakespeare called Troilus and Cressida. This story only has faint echoes of the play, preserving that Cressida is Greek and Troilus is Trojan. In this case it is Cressida staying with Troilus, so instead going back to the Tardis Vicki is now out. One more companion gone. This marked the departure of Verity Lambert as producer, and she was replaced by John Wiles. Wiles tried to implement changes, such as making the show a bit darker, but ran into opposition from both Hartnell and BBC Management, and resigned after producing four stories ( The Myth Makers through The Ark). And the popularity of other SF shows on television made a move to more SF and less history desirable. And as for Hartnell's opposition, it is notable that he had become quite identified with the role of The Doctor and was very proprietorial with it. This would come to pose problems later as his health declined. The Daleks' Master Plan This story arc takes twelve episodes, or thirteen if you add Mission to the Unknown, as you indeed should. The reason for such a long story arc is that Sir Huw Wheldon, the Director-General of the BBC at that time wanted a “monster length” Dalek story because his mother was a big Dalek fan. And this story has a lot going for it. The length means that you can do more character development. The story starts out with Steven recovering from a sword-thrust during the fall of Troy, and being attended by Katarina, a Trojan maiden, who is now in the Tardis. They arrive on the planet Kembel, and meet with Space Special Security agent Bret Vyon, played by Nicholas Courtney, who in a few years would become the beloved Brigadier Lethbridge-Stewart. Vyon tries to force the Doctor to take him to Earth so he can warn the planet, but the Doctor recognizes the Daleks and wants to find out more about their plans. And this brings us to one the most evil villains in Doctor Who, Mavic Chen. You see, the Daleks have assembled a group of villainous aliens to join together in conquering the Earth, and Mavic Chen is part of the group. He is also the idolized Guardian of the Solar System. So he is a traitor! Katarina, the Trojan maiden, sacrifices herself to save the others from a convict they meet on a prison planet. Another wonderful character is Sara Kingdom (played by Peggy Marsh), head of Space Special Security, who has been told by Mavic Chen that Vyon and the others are traitors, and who kills Vyon, who is in fact her brother! But they manage to convince her that Chen is the real traitor, and she joins them. In the middle of this story arc Christmas happened, and this resulted in the most absurd episode ever of Doctor Who, called The Feast of Steven, capped by the Doctor breaking the fourth wall. The episode is now among the missing. but you can find reconstructions on YouTube if you want to see the absurdity of it. And there is a re-appearance of The Meddling Monk. This is a sprawling story, but overall worth a look. Mavic Chen, played by Kevin Stoney, is delightfully evil, and Stoney would return to play another villain in the Troughton story The Invasion. and it is interesting to see Nicholas Courtney before he got the role he would always be identified with. Doctor Who would not do anything this large again until _The Flux_ in 2021, and frankly this story makes more sense. The Massacre of St. Bartholomew's Eve You will often see this as simply The Massacre, which is fine since there is no other story with a similar title. And after that massive science fiction story, another historical story. This involves the true story of Protestants in France being massacred by the Catholics, and the main feature worth calling our here is that William Hartnell plays two roles in this story. He is the Doctor, of course, but also the Abbott of Amboise, a leader among the Catholics looking to rid France of the Protestants. This idea of playing two parts became even more nicely done by Patrick Troughton later in Enemy of the World. In any case, this leads to confusion by Steven who thinks the Abbott is actually the Doctor. In the story a servant girl named Anna Chaplette is rescued, and this opens up the interesting possibility that she is the ancestor of Dodo (i.e. Dorothea) Chaplet, a companion who appears at the end. She witnesses a car crash, and barges into the Tardis thinking she can call the police. While the novelty of Hartnell playing two parts may stand out on first look, this story is really a showcase for Peter Purves, in his role of Steven Taylor. Because Hartnell is not on screen very much, Purves really has to carry the plot, and does so admirably. Hartnell was on vacation when the second episode was filmed, and so didn't appear at all. And his health problems were beginning cause problems which contributed to this situation. He was having a lot of trouble with remembering his lines, which is a real problem for an actor. He was not that old by current standards, as he was 58 when this story was produced, and as I am 73 as I write this, 58 seems more like late youth to me. The Ark The Tardis materializes on a spaceship in the far future. It is carrying the future of the human race to a new planet, Refusis 2, because the Earth is falling into the sun. But it also has an odd race called the Monoids, who have one eye. They are an alien race who came to Earth when their own planet was dying, and now they serve the humans. Unfortunately, the Tardis crew carries germs for which humans and Monoids on the Ark have no immunity, and sickness breaks out. One faction wants to kill the Doctor and his companions, but instead the Doctor finds a cure for the disease, and they leave on the Tardis. Then the Tardis materializes back on the Ark, but they discover that hundreds of years have passed. The Monoids have rebelled and taken over, and now the humans serve them. As the old saying has it, be kind to those you meet on the way up, for you will meet them again on the way down. Links: https://en.wikipedia.org/wiki/Galaxy_4 https://en.wikipedia.org/wiki/Mission_to_the_Unknown https://www.youtube.com/watch?v=NW8yk-m5Ig8 https://en.wikipedia.org/wiki/The_Myth_Makers https://en.wikipedia.org/wiki/Troilus_and_Cressida https://guide.doctorwhonews.net/person.php?name=JohnWiles https://en.wikipedia.org/wiki/The_Daleks%27_Master_Plan https://www.imdb.com/title/tt0785302/ https://tardis.fandom.com/wiki/The_Flux https://en.wikipedia.org/wiki/The_Massacre_(Doctor_Who) https://en.wikipedia.org/wiki/The_Ark_(Doctor_Who) https://www.palain.com/science-fiction/intro-to-doctor-who/the-first-doctor-part-4/ Provide feedback on this episode.

Episode 201‘Troilus and Cressida', is a challenging piece by pretty much everybody's estimation. Although it is no surprise that Shakespeare looked to the Homeric tales for his next inspiration which part of that story he chose to dramatize perhaps is and what he chose to do with it has perplexed commentators ever since. Ambiguous is the word most often used, but ultimately opinions range through ‘failure' to ‘misunderstood' to ‘modernistic', and just about everything else in-between. The early print history and dating of the playThe confusion caused by the two quarto versions and the First Folio versionThe source material for the playA brief synopsis of the play‘Troilus and Cressida' as a ‘problem play'The PrologueThe play as an ensemble pieceThe ignoble nature of the characters in the playCassandra as the voice of truthTroilus and his view of CressidaIs there a parallel with Romeo and Juliet?The portrayal of Achilles and HectorUlysses and the ‘great chain of being' argumentWas the play written for the Inns of Court?Pandarus and the bitter ending to the play explainedThe critical reception of the playThe performance history of the playSupport the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetp Hosted on Acast. See acast.com/privacy for more information.

In this episode, I'm joined again by Dr. Chrysovalantis Kyriacou where we discuss the ακριτικά τραγούδια i.e., the Acritic Songs! These are heroic ballads from the borderlands that emerged between the 9th and 11th centuries, highlighting semi- mythological figures like the legendary Digenis Akritas. Passed down through performances at festivals and weddings -- often created and performed by or for rural peasants -- these songs provide rare insight into the lives, struggles, and values of marginalized medieval communities. Their transmission reflects both elite and popular storytelling styles, often mixing Homeric, Christian, and local themes. In Cyprus, these songs were adapted into the local dialect. They also included unique Cypriot experiences, like in The Song of Antzoules, which reflects Cypriot responses to events in Anemourion in Anatolia and subsequent Frankish rule. In Cyprus, the legend of Digenis is imprinted on the land itself, from his handprint on the Pentadaktylos to the rocks of Petra tou Romiou, once believed to have been hurled at Saracen ships by Digenis himself! P.S. In this episode I learn that Vikings (VARANGIANS) may have been stationed in Cyprus!

HOMER'S NARRATIVE CHOICES AND ORAL TRADITION Colleague Professor Emily Wilson. Wilsondiscusses the "Homeric Question," noting that oral stories existed for centuries before the alphabet arrived in the 8th century BCE. She highlights the Iliad's sophisticated narrative structure, which omits famous events like the Apple of Discord and the Trojan Horse to focus intensely on a specific period of the war. The conversation compares the Iliad'sfocus on Greek infighting with Virgil's Aeneid, noting the distinct goals of each epic tradition. NUMBER 2 500 AD ALEXANDRIA

Poet and Storyteller Jay Leeming reads and comments on book one of Homer's Odyssey. Note: Unusually for this podcast this is not a storytelling performance but a reading, for those who wish to dive a little deeper into the Homeric version of this story which has inspired my own.  www.JayLeeming.com

THE AENEID'S PLOT AND HOMERIC INFLUENCES Colleagues Scott McGill and Susanna Wright. McGill and Wright summarize the plot, from Troy's destruction to the war in Italy. They analyze Virgil's dialogue with Homer, noting how the poem's opening words invoke both the Iliad's warfare and the Odyssey's wanderings. They also highlight the terrifying, visual nature of Virgil's depiction of the underworld. NUMBER 11

The Author Events Series presents The Aeneid: Translating the Classics with Emily Wilson, Scott McGill, and Susannah Wright Crafted during the reign of Augustus Caesar at the outset of the Roman Empire, Virgil's Aeneid is a tale of thrilling adventure, extreme adversity, doomed romance, fateful battles, and profound loss. Through its stirring account of human struggle, meddling gods, and conflicting destinies, the poem brings to life the triumphs and trials that led to one of the most powerful societies the world has ever known. Unlike its Homeric predecessors, which arose from a long oral tradition, the Aeneid was composed by a singular poetic genius, and it has ever since been celebrated as one of the greatest literary achievements of antiquity. This exciting new edition of the Aeneid, the first collaborative translation of the poem in English, is rendered in unrhymed iambic pentameter, the English meter that corresponds best, in its history and cultural standing, to Virgil's dactylic hexameter. Scott McGill and Susannah Wright achieve an ideal middle ground between readability and elevation, engaging modern readers with fresh, contemporary language in a heart-pounding, propulsive rhythm, while also preserving the epic dignity of the original. The result is a brisk, eminently approachable translation that captures Virgil's sensitive balance between celebrating the Roman Empire and dramatizing its human costs, for victors and vanquished alike. This Aeneid is a poem in English every bit as complex, inviting, and affecting as the Latin original. With a rich and informative introduction from Emily Wilson, maps drawn especially for this volume, a pronunciation glossary, genealogies, extensive notes, and helpful summaries of each book, this gorgeous edition of Rome's founding poem will capture the imaginations and stir the souls of a new generation of readers. Emily Wilson is a professor of classical studies at the University of Pennsylvania. She has been named a Fellow of the American Academy in Rome in Renaissance and early modern studies, a MacArthur Fellow, and a Guggenheim Fellow. In addition to Homer's Iliad and Odyssey, she has also published translations of Sophocles, Euripides, and Seneca. She lives in Philadelphia. Scott McGill is Deedee McMurtry Professor in Humanities at Rice University. He lives in Houston, Texas. Susannah Wright is an assistant professor of classical studies and Roman history at Rice University. She lives in Houston, Texas. Because you love Author Events, please make a donation when you register for this event to ensure that this series continues to inspire Philadelphians. Books will be available for purchase at the library on event night! All tickets are non-refundable. (recorded 10/14/2025)

The Homeric Question and Narrative Choices: Colleague Emily Wilson addresses the "Homeric Question," describing the transition from oral tradition to written text around the 8th century BCE, discussing how the Iliad subverts audience expectations by omitting famous events like the Trojan Horse, focusing instead on a brief period of intense conflict and internal Greek strife. 1200 AD ILLIAD

Epic poetry, notably the Iliad and the Odyssey, stands as one of the most enduring legacies of ancient Greece. Although the impact of these epics on Western civilization is widely recognized, their origins remain the subject of heated debate. Were they composed in a single era or over the course of centuries? Were they crafted by one or by many poets? Do they reflect historical reality? These and other important questions are answered in this book. Michael Cosmopoulos, in The World of Homer: Archaeology, Social Memory, and the Emergence of Epic Greek Poetry (Cambridge UP, 2025), reconstructs the world of the Homeric poems and explores the interplay between poetry, social memory, and material culture. By integrating key insights from archaeology, philology, anthropology, and oral tradition, he offers a nuanced perspective of the emergence and early development of Greek epic. His wide-canvas approach enables readers to appreciate the complexity of the Homeric world and gain a deeper understanding of the intricate factors that shaped these magnificent poems. 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

Epic poetry, notably the Iliad and the Odyssey, stands as one of the most enduring legacies of ancient Greece. Although the impact of these epics on Western civilization is widely recognized, their origins remain the subject of heated debate. Were they composed in a single era or over the course of centuries? Were they crafted by one or by many poets? Do they reflect historical reality? These and other important questions are answered in this book. Michael Cosmopoulos, in The World of Homer: Archaeology, Social Memory, and the Emergence of Epic Greek Poetry (Cambridge UP, 2025), reconstructs the world of the Homeric poems and explores the interplay between poetry, social memory, and material culture. By integrating key insights from archaeology, philology, anthropology, and oral tradition, he offers a nuanced perspective of the emergence and early development of Greek epic. His wide-canvas approach enables readers to appreciate the complexity of the Homeric world and gain a deeper understanding of the intricate factors that shaped these magnificent poems. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Send us a textWe tend to think of the Athenians as philosophers, architects, and mathematicians. But their highest devotion was rather to sports and to music. These priorities are evident from their system of education, in which young Greek men were trained to compete in the Olympics as well as to sing and dance in the chorus. They were jocks. Think of the tragic playwright Aeschylus, who despite his literary accomplishments was remembered in his epitaph merely as a warrior at the Battle of Marathon. A man's man. So when Socrates and the sophists came around, the defenders of old-style musical and athletic education scoffed at the sickly, ugly, and weak men that philosophical and rhetorical training produced: in other words, a bunch of nerds. In this episode, Jonathan and Ryan discuss what the comic Athenian poet Aristophanes called ἡ ἀρχαία παιδεία, i.e. that old-time education of Athens.Henri-Irénée Marrou's A History of Education in Antiquity: https://bookshop.org/a/25626/9780299088149NH episode on Homeric education: https://newhumanists.buzzsprout.com/1791279/episodes/17406673-how-to-raise-an-achilles-episode-xciThucydides' The Peloponnesian War: https://bookshop.org/a/25626/9780684827902Aristophanes' Clouds: https://amzn.to/46GYaeKCato's De agri cultura: https://penelope.uchicago.edu/Thayer/L/Roman/Texts/Cato/De_Agricultura/A*.htmlPete Hegseth's and David Goodwin's Battle for the American Mind: https://amzn.to/4gHQEoxJacob Burckhardt's Civilization of the Renaissance in Italy: https://bookshop.org/a/25626/9781617206047New Humanists episode on Alcuin and Charlemagne: https://newhumanists.buzzsprout.com/1791279/episodes/15992673-the-barren-contemplative-life-episode-lxxviiiHerodotus' Histories: https://bookshop.org/a/25626/9781400031146New Humanists is brought to you by the Ancient Language Institute: https://ancientlanguage.com/Links may have referral codes, which earn us a commission at no additional cost to you. We encourage you, when possible, to use Bookshop.org for your book purchases, an online bookstore which supports local bookstores.Music: Save Us Now by Shane Ivers - https://www.silvermansound.com

What hath Athens to do with Jerusalem, Corinth with Philadelphia, or Ephesus with Ft. Lauderdale? Perennial questions these, no doubt, and it doesn't take a Tertullian to ask or answer them. Charles Sumner, Nathaniel "Crimson Digit" Hawthorne, James Fenimore Cooper, or Charles Francis Adams will do. Join the guys this week for the penultimate look at Carl Richard's taut, thrilling, barn-burner, as we peel back the layers on the relationship between Christianity and Classical culture at the apogee of the latter's popularity in those British castoffs, the former colonies. Does pagan morality dovetail nicely with the Christian faith, or is it sharply at odds? What of the antithesis between Christ's "love your enemies and pray for those who hate you", and the Homeric honor code of strict vengeance? Is this conflict real or imagined? And, just how much nudity is acceptable in statuary and painting, whether a Venus di Urbino, or George Washington, who, says Hawthorne, had so much gravitas that he was born clothed? All this and more, plus the usual servings of bad puns (not all Dave's, as it turns out). Don't miss this!

In 2017, Emily Wilson became the first woman to translate Homer's The Odyssey into English – more than three millennia after the epic's inception. In the second installment of our Back to School series, Wilson talks with NPR's Lauren Frayer about how she approached aspects of her translation, including social hierarchies and Homeric epithets.To listen to Book of the Day sponsor-free and support NPR's book coverage, sign up for Book of the Day+ at plus.npr.org/bookofthedayLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

This week, Jeff and Dave wrap up the third installment in their brief series on Plato's Apology. So what exactly is Socrates' daimon? Is it like conscience, sometimes accusing, sometimes excusing? Is it similar to what the apostle Paul describes in Romans 2.14-15? If so, how come Socrates' inner voice never motivates him toward action, but only seeks to drive him away from something? And, is Socrates really being honest when he says he is no threat to traditional Athenian religion, seeing how his definition of the divine is anything but Homeric, but rather consists in a newly strict ethical conception, wherein the gods must -- gasp -- behave at least as well as their worshippers? And finally, what's Dave got against Shawshank? Is there any way to redeem this episode? O Chalupa, just tune in to find out!

4/8. Professor Emily Wilson's translation of The Iliad underscores the powerful, ancient tradition of women's lament, prominently featured in the poem's conclusion. Women like Helen, Hecuba, and Andromache are depicted not only weaving but primarily grieving for the dead and for their own bleak, often enslaved futures. Helen, uniquely, weaves the sufferings of the war and offers commentary on the Greeks, while Hecuba embodies both infinite grief and rage, a rare expression for women in Homeric society. 12TH BCE HITTITE BULL

7/8. Professor Emily Wilson's translation of The Iliad powerfully conveys the vivid and often gory reality of Bronze Age combat. The poem meticulously details how men died, showing the brutality of warfare. A crucial aspect of Homeric battle culture, as highlighted by Wilson, is the understanding that once a warrior is dead, their body and armor must be protected and treated honorably. The desecration of corpses, like Achilles dragging Hector's body, is a profound act of humiliation, intended to further punish the enemy beyond death. 1599 ARMS FOR ACHILLES

Telepylos and Homer's Odyssey In Homer's Odyssey, Telepylos is described as the city of the Laestrygonians, a race of giants who ambush Odysseus and his crew. The vivid depiction includes towering cliffs, a narrow harbor entrance, and dramatic landscapes, suggesting a location of strategic maritime importance. Traditionally dismissed as myth, these detailed descriptions raise the question: could Telepylos have been a real place, its memory preserved through oral storytelling? By analyzing Homeric texts alongside physical data from the region between Malta and Sicily, this study investigates the plausibility of identifying Telepylos as a submerged site.Spanning approximately 80 square kilometers, the site lies at a depth of 250 meters between Sicily and Malta and features striking geometric formations. A central mound, comparable in scale to the Great Pyramid of Giza, and an encircling canal—529 meters wide and 50 meters deep—underscore the engineering sophistication of this ancient settlement. These features suggest a city of immense scale and importance, potentially serving as a waypoint for ancient mariners. Through a recalibration of sea-level models using datasets from EMODnet and GEBCO, this study proposes that the Mediterranean basin, isolated from the Atlantic during the Last Glacial Maximum (LGM), experienced a localized sea-level drop to approximately -250 meters, exposing vast landscapes suitable for human settlement. This stable plateau, lasting nearly 3,000 years, likely provided the conditions for Telepylos and similar civilizations to thrive before a gradual sea-level rise submerged the city by 8,600 BC. Unlike Atlantis, Telepylos's submersion was not sudden but marked by centuries of encroachment as nature slowly reclaimed the city. The findings challenge conventional paradigms about LGM sea levels and ancient Mediterranean civilizations.André Chaisson is a seasoned civil engineering designer with over 25 years of CAD experience, including five years as a senior designer shaping large-scale infrastructure projects. With a knack for crafting plans and maps—honed through work on urban designs, municipal systems, and bathymetric surveys—he built a career grounded in pragmatism. Yet beneath the surface, a lifelong fascination with the mysteries of the past, from Atlantis to the Great Pyramids, simmered quietly. Self-taught with years of college education, including naval architecture, he's now channeling his skills into a bold new chapter. Already, he's uncovered the lost city of Telepylos, a discovery he's determined to bring to the world's attention. With sights set on revealing Atlantis next, André is on a mission to rewrite the history of humankind. Humble yet driven, he aims to spark a renaissance in archaeology, blending meticulous expertise with an adventurer's heart to inspire future exploration.https://grahamhancock.com/author/andre-chaisson/Become a supporter of this podcast: https://www.spreaker.com/podcast/earth-ancients--2790919/support.

Welcome back to The Literary Life podcast and our series on J. K. Rowling's Harry Potter: Book 1. After sharing some thoughts on detective fiction as it relates to Rowling, our hosts Angelina Stanford and Thomas Banks discuss chapters 8-12. Some of the ideas they share are the following: Homeric echos and classical allusions in this book, the identity quest, the significance of characters' names, the four houses and the bestiary, the three parts of the soul, the Christian influence on Rowling's stories. Angelina also seeks to teach something about symbolism and structure of literature and art as seen through the Harry Potter books.  Visit HouseofHumaneLetters.com for updates on classes with Angelina, Thomas, and other members of their teaching team. To view the full show notes for this episode including book links, quotes and today's poem, please visit https://theliterary.life/281. 

On this episode of The Jon Gordon Podcast, I sit down with Rafi Kohan, author, cultural observer, and the mind behind Trash Talk: The Only Book About Destroying Your Rivals That Isn't Total Garbage.   What started as a casual Zoom between new friends quickly turned into a lively deep dive into the world of competitive banter, all captured here in real time. Together, Rafi and I explore the fascinating, untold science and history of trash talk. He breaks down why trash talk is more than just gamesmanship on the field, it's a fundamental part of human behavior, threaded through ancient stories from the Bible to the Homeric poems, and alive in everything from politics to playgrounds. We get into how trash talk manipulates attention, anxiety, motivation, and even performance, and why some of the world's greatest athletes and public figures use it to their advantage.   Rafi shares wild stories, including some next-level antics from a soccer goalie who turned mental distraction into an art form, reveals why even the most positive folks can't resist a little friendly ribbing (looking at you, Ken Blanchard), and reflects on how the lessons of trash talking stretch far beyond sports, touching on politics, performance, resilience, and even moral character. We also riff on modern-day masters of the craft (think Muhammad Ali to Donald Trump) and the fine line between competition that lifts us up versus rivalry that tears us down. If you've ever wondered why we talk smack, how to handle it when it happens, or what it really says about us, you'll find insight and plenty of laughs in this episode.   Whether you're a serious competitor, a sports fan, or someone who's just curious about why people do what they do, this conversation brings fresh perspective, energy, and practical takeaways on embracing pressure, building grit, and becoming the kind of rival that makes everyone better. And yes, there's a little trash talk between us too. If you want to rethink the way you handle challenges, on the court, at work, or in life, this episode is for you.   Rafi Kohan is an award-winning sports journalist and dynamic keynote speaker. He is the author, most recently, of Trash Talk: The Only Book About Destroying Your Rivals That Isn't Total Garbage, which explores the phenomenon of verbal gamesmanship in sports, and everywhere, and what it reveals about our ability to perform under pressure.    About Rafi,   Kohan's first book, The Arena, is a wide-ranging examination of the modern American sports stadium and was a finalist for the 2018 PEN/ESPN Award for Literary Sports Writing. Previously, Kohan has served as deputy editor at the New York Observer and as executive editorial director for the Atlantic's creative marketing studio. His writing has appeared in numerous publications, including GQ, the New York Times, Men's Journal, Rolling Stone, and the Wall Street Journal, among many others, and his thought leadership on the surprising benefits of trash talk has been featured on Fast Company, Scientific American, NPR's Science Friday, BBC's Unexpected Elements, and Re:Thinking with Adam Grant.   Here's a few additional resources for you… Follow me on Instagram: @JonGordon11 Order my new book 'The 7 Commitments of a Great Team' today! Every week, I send out a free Positive Tip newsletter via email. It's advice for your life, work and team. You can sign up now here and catch up on past newsletters. Join me for my Day of Development! You'll learn proven strategies to develop confidence, improve your leadership and build a connected and committed team. You'll leave with an action plan to supercharge your growth and results. It's time to Create your Positive Advantage. Get details and sign up here. Do you feel called to do more? Would you like to impact more people as a leader, writer, speaker, coach and trainer? Get Jon Gordon Certified if you want to be mentored by me and my team to teach my proven frameworks principles, and programs for businesses, sports, education, healthcare!