Podcasts about Japanese

On today's Saturday Matinee, famed actor, author, speaker, and activist George Takei takes us through his family's story of being incarcerated during WWII, simply for being Japanese. Link to History For The Reckoning: https://www.historyforthereckoning.com/2531545 Support the show! Join Into History for ad-free listening and more. History Daily is a co-production of Airship and Noiser.

On tonight's live, Andy & DJ discuss Trump bringing up Pearl Harbor while meeting with the Japanese prime minister, Nick Shirley unveiling an even bigger fraud in California and Afroman winning a lawsuit against police over mocking their 2022 raid.

In the Oval Office during a bilateral meeting focused on the U.S.-Iran conflict and securing the Strait of Hormuz, President Donald Trump defended the lack of advance notice to allies about strikes on Iran. Turning to Japanese Prime Minister Sanae Takaichi, he said, "We didn't tell anybody about it because we wanted surprise. Who knows better about surprise than Japan? Why didn't you tell me about Pearl Harbor?" The conversation then shifted back to bilateral ties and Japan's role in global security. The lighthearted yet edgy banter, captured on video and widely shared, highlighted the mix of humor and tension in the meeting between the two leaders. WE ALSO COVER:  WNBA reaches a new deal with players. Climate change is killing animals? Israeli Prime Minister Benjamin Netanyahu is NOT dead. Fraud continues, and now California is on the hot seat. CBS News breaks down the fraud in government. 00:00 Pat Gray UNLEASHED! 00:17 BYU Talk 03:30 WNBA Reaches New Deal 10:39 Trump & Japanese PM 11:25 Trump's Pearl Harbor Joke 13:37 Trump on U.S. Troops in Iran 16:47 No More Election Day? 19:10 Mike Lee on Voter ID 24:05 Birthright Citizenship 27:47 Drones Fly over Fort McNair 31:32 Fat Five 48:22 First Day of Spring 49:23 Joe Kent on his Resignation 52:33 Iranian Vessels Sunk! 53:35 Netanyahu on President Trump 54:22 Netanyahu's Strange Quote 58:46 Netanyahu's AI Sleeve? 1:00:24 No Gayatollah in Sight 1:03:37 Shootings Connected through Internet Cult? 1:12:24 March Madness: High Point Broadcasters 1:15:54 Umpire Jen Pawol's Call Overturned 1:18:40 Kathy Hochul - Then and Now 1:23:23 CBS News Sheds Light on Fraud in California 1:33:35 Netanyahu Coffee Video Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome back to Impact Theory with Tom Bilyeu! In this live episode, Tom Bilyeu and co-host Drew dive deep into the wild complexities shaping our world right now. Gas prices, geopolitics, and oil sanctions take center stage as Tom Bilyeu unpacks the Trump administration's high-stakes chess game in the Middle East, revealing how economic interests—not just ideology—drive international conflict. From unsanctioned Iranian oil flooding global markets, to the shocking economics of the homeless crisis in New York City, Tom Bilyeu and Drew connect today's hottest headlines to the underlying forces shaping society. They explore the precarious balance of power in the Strait of Hormuz, dissect narratives around Iran's nuclear ambitions, and discuss the unforeseen ramifications of modern warfare and shifting alliances. As always, the conversation is both candid and thought-provoking—mixing humor, real talk, and audience questions with deep dives into economics, politics, and even the surprising collapse of the Japanese porn industry. No topic is off-limits, and every headline is a chance to ask: What's really going on behind the scenes? Get ready for a whirlwind tour of the week's news—challenging assumptions, questioning media narratives, and always asking, “Who really benefits?” Welcome to another eye-opening episode of Impact Theory LIVE. What's up, everybody? It's Tom Bilyeu here: If you want my help... STARTING a business: join me here at ZERO TO FOUNDER:  https://tombilyeu.com/zero-to-founder?utm_campaign=Podcast%20Offer&utm_source=podca[%E2%80%A6]d%20end%20of%20show&utm_content=podcast%20ad%20end%20of%20show SCALING a business: see if you qualify here.:  https://tombilyeu.com/call Get my battle-tested strategies and insights delivered weekly to your inbox: sign up here.: https://tombilyeu.com/ ********************************************************************** If you're serious about leveling up your life, I urge you to check out my new podcast, Tom Bilyeu's Mindset Playbook —a goldmine of my most impactful episodes on mindset, business, and health. Trust me, your future self will thank you. ********************************************************************** FOLLOW TOM: Instagram: https://www.instagram.com/tombilyeu/ Tik Tok: https://www.tiktok.com/@tombilyeu?lang=en Twitter: https://twitter.com/tombilyeu YouTube: https://www.youtube.com/@TomBilyeu Quince: Free shipping and 365-day returns at https://quince.com/impactpodDuck.Ai: Protect your privacy at https://duck.ai/impactShopify: Sign up for your one-dollar-per-month trial period at https://shopify.com/impactBlinkist: Start your free trial at https://blinkist.com/impactPlaud: Get 10% off with code TOM10 at https://plaud.ai/tomBlocktrust IRA: get up to $2,500 funding bonus to kickstart your account at https://tomcryptoira.comCape: 33% off your first 6 months with code IMPACT at https://cape.co/impactNetsuite: Right now, get our free business guide, Demystifying AI, at https://NetSuite.com/TheoryKetone IQ: Visit https://ketone.com/IMPACT for 30% OFF your subscription orderQuo: Try for free PLUS get 20% off your first 6 months at https://quo.com/impactPique: 20% off at https://piquelife.com/impactMonetary Metals: Future-proof your wealth at https://monetary-metals.com/impact Learn more about your ad choices. Visit megaphone.fm/adchoices

With imperfect information, both sides strike at the other. Still, Adm. Fletcher's potential to wreck havoc is greater than the Japanese. Learn more about your ad choices. Visit megaphone.fm/adchoices

-- On the Show -- Donald Trump escalates the conflict with Iran as a strike on Qatar's Ras Laffan energy facility sends global gas and oil prices surging -- FBI Director Kash Patel struggles through congressional questioning about firing Iran counterintelligence experts and basic voter fraud investigations, -- Donald Trump confuses economic data and makes a bizarre Pearl Harbor remark to a Japanese leader while misrepresenting the economic fallout from his Iran conflict -- Donald Trump faces rising political danger as surging oil, diesel, and fertilizer prices drive inflation across farming, transportation, and food costs that could define his presidency -- Republican donors and party figures quietly organize around Marco Rubio for 2028 as Donald Trump tests support between Rubio and JD Vance -- A Pennsylvania voter who supported Donald Trump three times now angrily denounces him over rising costs, signaling potential cracks in Trump's loyal voter base -- A longtime conservative influencer who once backed Donald Trump declares that MAGA is dead and says she no longer recognizes the president -- The Friday Feedback segment -- On the Bonus Show: The staggering costs of the war in Iran, and much more...

Zack and Spurg dive into the auditory soul of motorcycling and what makes an engine sound "iconic." From the rhythmic clatter of a Ducati dry clutch to the "vicious" scream of an Aprilia V4, we break down the sounds that transports us to the racetrack and the open road. We also pay tribute to the legendary Japanese industrial designer who survived the atomic bomb to create the iconic Kikkoman soy sauce bottle AND the Yamaha VMAX. Stick around for a special Engine Sound Guessing Game and a heartfelt discussion on the risks and rewards of putting kids on the back of a motorcycle. Check out more from RevZilla: Common Tread: News, opinions, and written reviews RevZillaTV: Bike reviews, How-To's, and product videos

Today's Headlines: The Iran war's bill just got a lot bigger — the Pentagon is asking Congress for $200 billion, on top of the $12 billion already spent, while Trump insists he's "not putting troops anywhere" in a statement that inspired exactly zero confidence. Israel struck the South Pars Gas Field — the largest natural gas field in the world, shared by Iran and Qatar — damaging Qatari energy infrastructure, hitting an American F-35, and triggering retaliatory Iranian strikes across the region. Trump posted that the U.S. "knew nothing" about the attack, Israel immediately said that wasn't true, then Trump said he'd actually warned them not to do it — so he did know — and then threatened to blow up the entire gas field himself if Iran touches Qatar. Oil and gas prices climbed further, the stock market dropped, and seven allies — the UK, Japan, Germany, Italy, the Netherlands, Canada, and one more — announced they'd help reopen the Strait of Hormuz, which Trump accepted graciously by screaming in all caps that he doesn't need anyone's help. Also, Trump told Japan's prime minister "who knows better about surprise than Japan, why didn't you tell me about Pearl Harbor" — an actual thing he said out loud. Elsewhere in global chaos: Hungary's Viktor Orban blocked a $100 billion EU loan to Ukraine, potentially threatening the country's ability to keep its government running. Canada announced it's building its own sovereign space program to reduce dependence on Starlink. Two Iranian citizens were charged in the UK with spying on Jewish institutions on behalf of Iranian intelligence. And in one of the most cold-blooded moves yet, the U.S. State Department is reportedly considering withholding HIV medication from 1.3 million people in Zambia as leverage to extract a minerals deal — because apparently that's a negotiating tactic now. Markwayne Mullin's DHS nomination cleared committee 8-7, with Rand Paul voting no and John Fetterman voting yes, because nothing means anything anymore. Full Senate vote is next, outcome predictable. Resources/Articles mentioned in this episode: NYT: Pentagon Seeks Additional $200 Billion to Fund Iran War NYT: Israeli Officials Said U.S. Was Told About South Pars Attack Axios: After Tehran strikes, Trump says Israel won't attack Iran gas fields anymore Axios: Seven U.S. allies back potential Strait of Hormuz coalition NBC News: Trump makes Pearl Harbor joke during meeting with Japanese prime minister NYT: 2 Men Charged With Spying for Iran on Jewish Institutions in UK WSJ: Ukraine Suffers Money Setback After Hungary Blocks $100 Billion From Europe NYT: Canada Takes Its Sovereignty Push to Space NYT: U.S. Considers Withholding H.I.V. Aid Unless Zambia Expands Minerals Access AP News: Mullin's DHS nomination advances to full Senate despite opposition from Republican Rand Paul Subscribe to the Betches News Room and join the Morning Announcements group chat. Go to: ⁠⁠⁠betchesnews.substack.com Morning Announcements is produced by Sami Sage and edited by Grace Hernandez-Johnson Learn more about your ad choices. Visit megaphone.fm/adchoices

More Iran leaders dead, March Madness upsets, Rama Duwaji racist tweets, Rodeo dress code, Japanese has hots for Barron Trump, Dems hate dogs, HCIS, Boortz at $, and more! See omnystudio.com/listener for privacy information.

It's Friday, March 20th, A.D. 2026. This is The Worldview in 5 Minutes heard on 140 radio stations and at www.TheWorldview.com. I'm Adam McManus. (Adam@TheWorldview.com) By Adam McManus Communist Cuban officials detain 16-year-old protestor Protests in Morón, Cuba, erupted the night of March 13 and lasted through the next day in response to a week of blackouts and shortages of medical and food supplies, reports International Christian Concern. Protestors ransacked and set fire to the Cuban Communist Party's headquarters. Among those arrested on March 16 were Evangelical Pastor Elier Ávila and his son, Jonathan. Though the pastor is now free, his 16-year-old son is still behind bars. While his son was accused of participating in the vandalism, some suggest that Cuban officials painted many of the law-abiding protestors of criminal mischief. Anna Stangl, the Director of Advocacy for Christian Solidarity Worldwide, said, “The detention of a 16-year-old child, with a serious medical condition, simply because he attempted to exercise his freedom of expression, is unconscionable.   “Despite the gravity of the situation on the island–with rampant hunger, scarcity of medicine, outbreaks of disease, and the failure of the power grid, the answer of President Miguel Canel, and the Cuban Communist Party, is to round up and imprison those who dare to call for change.”  Please send a 2-3 sentence letter to Ambassador Lianys Rivera urging Cuba to release Pastor Elier Ávila's son, Jonathan. Invite your children to send a letter as well. The address at the Cuban Embassy is 2630 16th Street NW, Washington, DC 20009. Trump's snappy rely to Japanese reporter During a meeting with Japanese Prime Minister Sanae Takaichi on Thursday, U.S. President Donald Trump was bold in his response to a provocative question from a Japanese reporter, according to Real Clear Politics. Listen. REPORTER: “Japan and U.S. are very good friends. But one question: Why didn't you tell U.S. allies in Europe and Asia, like Japan, about the war before attacking Iran? So, we are very confused about, we Japanese citizens.” TRUMP: “One thing, you don't want to signal too much, you know? When we go in, we went in very hard, and we didn't tell anybody about it because we wanted surprise. Who knows better about surprise than Japan? Okay? Why didn't you tell me about Pearl Harbor? (laughter) Okay? Right? “No, you believe in surprise, I think much more so than us. We had to surprise them, and we did. And because of that surprise, we knocked out, in the first two days, we probably knocked out 50 percent of what we and much more than we anticipated doing. So, if I go and tell everybody about it, there's no longer a surprise, right?” Joseph Duggar arrested for sexually abusing a minor Joseph Duggar, from the reality TV show "19 Kids and Counting," was arrested Wednesday on allegations of sexually abusing a minor during a family vacation in Panama City Beach, Florida, reports NewsNation.com. The married 31-year-old former reality star, who has three children of his own, was charged with lewd and lascivious conduct with a minor and molestation of a victim less than 12 years old. His arrest occurred years after his 38-year-old brother, Josh Duggar,  was convicted of child pornography charges. Officials say the victim identified Joseph Duggar as the abuser, saying he repeatedly asked her to sit on his lap. She said these incidents would allegedly progress into Joseph Duggar covering her with a blanket and touching her inappropriately. The victim reportedly stated that Joseph Duggar apologized for his actions, and the incidents stopped. Officials say the victim's father confronted him on Tuesday, and Joseph confessed his sins to both the father and detectives in Tonitown, Arkansas. In Matthew 18:6, Jesus said, “But whoever causes one of these little ones who believe in Me to stumble, it would be better for him to have a great millstone fastened around his neck and to be drowned in the depth of the sea.” Late-term abortionist, who died, had no regrets Susan Robinson, one of America's most infamous late-term abortionists, died earlier this month, less than a year after being diagnosed with cancer, according to an Instagram post made by her fellow abortionist Shelly Sella. She wrote, “Susan was my friend and colleague in third trimester abortion …, both in Wichita and Albuquerque. Susan was drawn to abortion … by her sense of justice, which never wavered. … Together, we helped create a model of abortion.” LifeSiteNews.com reports that Shelly Sella emphasized that Susan Robinson had “no regrets” and that she was “very pleased about the whole business” before she died. Jonathon Van Maren wrote, “Reading the news about Robinson, my mind was immediately drawn to two videos I had seen her in. The first was After Tiller, a 2013 documentary featuring four late-term abortionists, which I reviewed over a decade ago. It struck me that two of the featured abortionists – Susan Robinson and Leroy Carhart – are now dead, while Warren Hern and Shelly Sella are retired.” The second was the video footage published by David Daleiden of the Center for Medical Progress in his bombshell undercover investigation exposing the abortion industry and the trafficking of baby body parts. At one point, the late Susan Robinson tells Daleiden, “The fetus is a tough little object, and taking it apart … is very difficult,” Robinson tells Daleiden at one point. “I mean, taking it apart on day one is very difficult.” Later: “You go in there, and you go, ‘Am I getting the uterus, or the fetus? Oh good, fetus. [Robinson made a stabbing sound] What have I got? Nothing. Let's try again.'” Van Maren concludes, “Translated: It is hard work to dismember and crush a baby. This was Robinson's sense of justice.” Micah 6:8 says, “[God] has shown you, O mortal, what is good. And what does the Lord require of you? To act justly and to love mercy and to walk humbly with your God.” Actor Chuck Norris hospitalized And finally, Chuck Norris, the 86-year-old actor and martial arts icon, has been hospitalized in Hawaii following a medical emergency, reports NewsNation.com. The incident occurred on Wednesday on the island of Kauai, though the nature of the emergency has not been disclosed. The hospitalization appeared to be sudden. As recently as Wednesday of this week, Norris was on the phone with a friend while training on the island, cracking jokes, and showing no signs of distress. Norris had been actively training in Kauai in the days before the emergency. A black belt in karate, taekwondo, tang soo do and Brazilian jiu-jitsu, Norris posted a video on his birthday, March 10, showing him sparring with a trainer. NORRIS: "I don't age. I level up." The caption read, “I'm 86 today! Nothing like some playful action on a sunny day to make you feel young. I'm grateful for another year, good health, and the chance to keep doing what I love.” Though largely retired from acting in recent years, Norris has remained active on screen. He had a cameo in “Hawaii Five-0” in 2020 and a lead role in the 2024 sci-fi action film “Agent Recon.” Close And that's The Worldview on this Friday, March 20th, in the year of our Lord 2026. Follow us on X or subscribe for free by Spotify, Amazon Music, or by iTunes or email to our unique Christian newscast at www.TheWorldview.com.  Plus, you can get the Generations app through Google Play or The App Store. I'm Adam McManus (Adam@TheWorldview.com). Seize the day for Jesus Christ.

Hiromi Ito author of The Thorn Puller (originally published in Japanese as Toge-nuki Jizo: Shin Sugamo Jizo engi) came to national attention in Japan in the 1980s for her groundbreaking poetry about pregnancy, childbirth, and female sexuality. After relocating to the U.S. in the 1990s, she began to write about the immigrant experience and biculturalism. In recent years, she has focused on the ways that dying and death shape human experience. Jeffrey Angles is a writer, translator and professor of Japanese at Western Michigan University. He is the first non-native poet writing in Japanese to win the Yomiuri Prize for Literature, a highly coveted prize for poetry. His translation of the modernist classic The Book of the Dead by Shinobu Orikuchi won both the Miyoshi Award and the Scaglione Prize for translation. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Hiromi Ito author of The Thorn Puller (originally published in Japanese as Toge-nuki Jizo: Shin Sugamo Jizo engi) came to national attention in Japan in the 1980s for her groundbreaking poetry about pregnancy, childbirth, and female sexuality. After relocating to the U.S. in the 1990s, she began to write about the immigrant experience and biculturalism. In recent years, she has focused on the ways that dying and death shape human experience. Jeffrey Angles is a writer, translator and professor of Japanese at Western Michigan University. He is the first non-native poet writing in Japanese to win the Yomiuri Prize for Literature, a highly coveted prize for poetry. His translation of the modernist classic The Book of the Dead by Shinobu Orikuchi won both the Miyoshi Award and the Scaglione Prize for translation. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

TRY N3 Textbook P93

This is a free preview of a paid episode. To hear more, visit claremontinstitute.substack.comJoining host Spencer Klavan fresh off the plane from a Japan-hosted outreach mission, Claremont Institute president Ryan Williams gives an exclusive debrief with insight into Japanese political philosophy, business strategy, and defense. China, the nation's longtime adversary across the sea, view it as an obstacle to regional dominance—making prudent a …

President Donald Trump will meet with Japanese Prime Minister Sanae Takaichi at the White House for a bilateral meeting. It's the Japanese prime minister's first trip to the United States since taking office last October.Takaichi told reporters that she hopes to discuss restoring peace in the Middle East, saying global peace and stability are under threat. Japanese officials say the two sides will work to deepen cooperation in regional security, critical minerals, energy, and China-related issues.Top Trump administration intelligence officials, including Director of National Intelligence Tulsi Gabbard, CIA Director John Ratcliffe, and FBI Director Kash Patel, testify before the House Intelligence Committee at their annual hearing, focusing largely on the security implications of the Iran war.

What happens when theories of racial hierarchies interact with reality? How are they contested, refuted and changed in light of that encounter? What role do experts, most notably social scientists, play here? And, what can these historical encounters tell us about how we should think of race and migration today? These are the questions which animate Sunmin Kim's The Unruly Facts of Race: The Politics of Knowledge Production in the Early Twentieth-Century Immigration Debate (U Chicago Press, 2026). Taking as his focus the Dillingham Commission, a US government investigation into migrant groups established in 1907, Kim shows how theories of racial essentialism, which increasing were moving across the, at the time blurry, boundary between biology and society were used and contested in a moment when prominent political figures were eager to separate out the valued, long-established migrants from Western and Central Europe from those coming from Eastern and Southern Europe who all, on the face of it, were ‘white'. In doing so ideas such as ethnicity and the possibility of assimilation come to be mobilised. In turn Japanese migrants on the Pacific coast were placed beyond the pale of this possibility of assimilation and continued to be excluded. As Kim shows, not only did the commission report introduce some new vocabulary for thinking of race, but also played a key role in the development of US immigration quotas and a form of racial liberalism. This perspective, while accepting the possibility of a diverse body politic, rested on an assumption of a ‘native' and ‘non-native' element, including the possibility that some of the latter simply could never be ‘American'. In our discussion we discuss the formation and activity of the Dillingham Commission. This includes discussing a number of key figures, such as Franz Boas who measures skulls for the commission and in so doing uses the same tools of the eugenicists and positivists to undercut their racist claims and Yamato Ichihashi who, while vociferously making the case that Japanese migrants such as himself are the ideal ‘Americans' ends up being an example of the ‘insurmountable difference' placed in front of such groups. We end by discussing how Zora Neale Hurston, once Boas's student, provides a different way of conceiving of race and its place in immigration debates. Your host, Matt Dawson is Professor of Sociology at the University of Glasgow and the author of G.D.H. Cole and British Sociology: A Study in Semi-Alienation (2024, Palgrave Macmillan) and co-editor of The Anthem Companion to Henri Lefebvre (2026, Anthem Press) along with other texts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

This Episode: Let's listen to Alex's experience in NiigataNo music, no script, no fancy editingGet straight to pure Japanese between a Canadian Japanese learner and a native Japanese teacherImmerse yourself in JapaneseThis is the normal speed of a conversation in Japanese.If you think it's fast, there's more space for you to improve.  Alex has been learning Japanese for 6 years without skipping a day, and now he's close to JLPT N1 level (Advanced)You cannot go to Japan, so we bring Japan to you. Imagine you're overhearing this conversation somewhere in Japan. If it's too hard for you, play this in the background to feel like what it's like to be in Japan.

What happens when theories of racial hierarchies interact with reality? How are they contested, refuted and changed in light of that encounter? What role do experts, most notably social scientists, play here? And, what can these historical encounters tell us about how we should think of race and migration today? These are the questions which animate Sunmin Kim's The Unruly Facts of Race: The Politics of Knowledge Production in the Early Twentieth-Century Immigration Debate (U Chicago Press, 2026). Taking as his focus the Dillingham Commission, a US government investigation into migrant groups established in 1907, Kim shows how theories of racial essentialism, which increasing were moving across the, at the time blurry, boundary between biology and society were used and contested in a moment when prominent political figures were eager to separate out the valued, long-established migrants from Western and Central Europe from those coming from Eastern and Southern Europe who all, on the face of it, were ‘white'. In doing so ideas such as ethnicity and the possibility of assimilation come to be mobilised. In turn Japanese migrants on the Pacific coast were placed beyond the pale of this possibility of assimilation and continued to be excluded. As Kim shows, not only did the commission report introduce some new vocabulary for thinking of race, but also played a key role in the development of US immigration quotas and a form of racial liberalism. This perspective, while accepting the possibility of a diverse body politic, rested on an assumption of a ‘native' and ‘non-native' element, including the possibility that some of the latter simply could never be ‘American'. In our discussion we discuss the formation and activity of the Dillingham Commission. This includes discussing a number of key figures, such as Franz Boas who measures skulls for the commission and in so doing uses the same tools of the eugenicists and positivists to undercut their racist claims and Yamato Ichihashi who, while vociferously making the case that Japanese migrants such as himself are the ideal ‘Americans' ends up being an example of the ‘insurmountable difference' placed in front of such groups. We end by discussing how Zora Neale Hurston, once Boas's student, provides a different way of conceiving of race and its place in immigration debates. Your host, Matt Dawson is Professor of Sociology at the University of Glasgow and the author of G.D.H. Cole and British Sociology: A Study in Semi-Alienation (2024, Palgrave Macmillan) and co-editor of The Anthem Companion to Henri Lefebvre (2026, Anthem Press) along with other texts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

What happens when theories of racial hierarchies interact with reality? How are they contested, refuted and changed in light of that encounter? What role do experts, most notably social scientists, play here? And, what can these historical encounters tell us about how we should think of race and migration today? These are the questions which animate Sunmin Kim's The Unruly Facts of Race: The Politics of Knowledge Production in the Early Twentieth-Century Immigration Debate (U Chicago Press, 2026). Taking as his focus the Dillingham Commission, a US government investigation into migrant groups established in 1907, Kim shows how theories of racial essentialism, which increasing were moving across the, at the time blurry, boundary between biology and society were used and contested in a moment when prominent political figures were eager to separate out the valued, long-established migrants from Western and Central Europe from those coming from Eastern and Southern Europe who all, on the face of it, were ‘white'. In doing so ideas such as ethnicity and the possibility of assimilation come to be mobilised. In turn Japanese migrants on the Pacific coast were placed beyond the pale of this possibility of assimilation and continued to be excluded. As Kim shows, not only did the commission report introduce some new vocabulary for thinking of race, but also played a key role in the development of US immigration quotas and a form of racial liberalism. This perspective, while accepting the possibility of a diverse body politic, rested on an assumption of a ‘native' and ‘non-native' element, including the possibility that some of the latter simply could never be ‘American'. In our discussion we discuss the formation and activity of the Dillingham Commission. This includes discussing a number of key figures, such as Franz Boas who measures skulls for the commission and in so doing uses the same tools of the eugenicists and positivists to undercut their racist claims and Yamato Ichihashi who, while vociferously making the case that Japanese migrants such as himself are the ideal ‘Americans' ends up being an example of the ‘insurmountable difference' placed in front of such groups. We end by discussing how Zora Neale Hurston, once Boas's student, provides a different way of conceiving of race and its place in immigration debates. Your host, Matt Dawson is Professor of Sociology at the University of Glasgow and the author of G.D.H. Cole and British Sociology: A Study in Semi-Alienation (2024, Palgrave Macmillan) and co-editor of The Anthem Companion to Henri Lefebvre (2026, Anthem Press) along with other texts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Welcome to another wide-ranging "Random Show" episode that I recorded with my close friend Kevin Rose (digg.com)!This episode is brought to you by:Eight Sleep Pod Cover 5 sleeping solution for dynamic cooling and heating: EightSleep.com/TimAG1 all-in-one nutritional supplement: DrinkAG1.com/TimCresset family office services for CEOs, founders, and entrepreneurs: CressetCapital.com/TimTimestamps:[00:00:00] A meditative start.[00:02:19] Reflecting on our second Zen retreat in Santa Fe with Henry Shukman.[00:04:08] Ketone liver warnings and eggplant allergies: The perils of raiding Kevin's fridge.[00:08:06] “Just be still” — three simple words that miraculously shut down my OCD.[00:13:54] Is meditation secretly vagus nerve stimulation?[00:20:17] DIY vagus nerve stim for $25 vs. Kevin's $900 ear clip.[00:24:57] HeartMath and watching your HRV move in real time.[00:27:57] Marching toward 50: balance boards and the end of jiu-jitsu.[00:31:26] Tony Hawk snowboarding Hokkaido with screws in his hip.[00:33:01] Slacklining and why your nervous system needs sleep cycles.[00:35:19] Bertolotti's Syndrome: My six-year back pain gets a name.[00:37:09] The nerve block test: everything wrong, zero pain.[00:44:10] Abrahangs tendon protocol: 10 seconds on, 50 off.[00:46:24] The NUG: a pocket hangboard for travelers.[00:48:31] Craig Mod's Japanese toothbrush and Toaster's cameo.[00:50:45] Kevin's $92 vintage fire jacket: Blue Heritage Japan.[00:54:26] Podcast picks: The Power Broker and STEM Talk.[00:56:20] Alzheimer's: A plaque or mitochondrial problem?[00:57:30] 10 grams of ketones turns one-word answers into sentences.[00:58:40] Methylene blue on Amazon: 120 years of research, zero guardrails.[01:02:36] Bredesen Protocol, APOE genotyping, and a cognitive comeback.[01:05:32] Photobiomodulation: $30k laser to the forehead.[01:07:55] Urolithin A and the high price of mitochondrial upkeep.[01:14:56] Recipe for disaster pants: espresso + creatine + MCT oil.[01:17:39] Norwegian 4×4 training and lactate as a brain lever.[01:23:15] Blood flow restriction bands and schwantz ring koans.[01:29:08] Hummingbirds named Sunset and squirrel obstacle courses.[01:32:06] Parting thoughts.*For show notes and past guests on The Tim Ferriss Show, please visit tim.blog/podcast.For deals from sponsors of The Tim Ferriss Show, please visit tim.blog/podcast-sponsorsSign up for Tim's email newsletter (5-Bullet Friday) at tim.blog/friday.For transcripts of episodes, go to tim.blog/transcripts.Discover Tim's books: tim.blog/books.Follow Tim:Twitter: twitter.com/tferriss Instagram: instagram.com/timferrissYouTube: youtube.com/timferrissFacebook: facebook.com/timferriss LinkedIn: linkedin.com/in/timferrissSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

SEG 13: Grant Newsham evaluates Japan's new hawkish Prime Minister, Takaichi Sai. He argues Japanmust accept military risks in the Strait of Hormuz to solidify future Americansupport against the growing threats from mainland China now. (14)1937 Shanghai, Japanese fladship

In this episode, host Phil Salvador is joined by two digital preservationists, Ellen Cooper and Max Solensky, to explore the world of Japanese mobile game preservation. Before app stores existed, Japan was living in the future thanks to i-mode: a 1999 revolution that put the internet (and Capcom and Sega) right in your pocket.Today, these games are disappearing, and quickly. From brutal encryption to servers that no longer exist, saving this history is a high-tech race against time. We discuss the i-mode explosion and how Japan's feature phones beat the world to the web; why saving a mobile game is way harder than dumping a cartridge; the small community groups saving early iOS and Android gems from the digital void; and how you can help keep gaming history from being "delisted" forever. Mentioned in the show:Video of max swinging keyboard in the monkey game https://youtu.be/I1VJw_yYI1U?si=s_9nXIAZS2hwuNLC&t=355 Transforming phone: https://hitsave.org/wild-land/ You can listen to the Video Game History Hour every other Wednesday on Patreon (one day early at the $5 tier and above), on Spotify, or on our website.See more from Ellen Cooper “Unabandonware”:YouTube: youtube.com/@Unabandonware/featuredBluesky: @unabandonware.bsky.social TikTok: @unabandonwareSee more from Max Solensky “RockmanCosmo”:Bluesky: @rockmancosmo.bsky.socialX/Twitter: @RockmanCosmoWebsite: rockmancosmo.weebly.comWebsite: keitaiarchive.org Website: keitaiwiki.com/wiki/KeitaiWiki Video Game History Foundation:Email: podcast@gamehistory.orgWebsite: gamehistory.orgSupport us on Patreon: /gamehistoryorg

In this episode, Sidney breaks down the Japanese horror film One Missed Call (2003) and its American remake One Missed Call (2008), which has a rare 0% on Rotten Tomatoes.

When every earthly support is stripped away and you are faced with the "executioner's sword," where do you turn for protection? Is it possible to maintain unshakeable joy while trapped in solitary confinement, falsely accused, and surrounded by the darkest of circumstances? In those moments when the enemy hurls his most poisonous arrows of doubt and fear, how do we find a shield that truly holds?In this episode, Tracie and Abigail continue the season When War Comes”through the breathtaking life of missionary Darlene Deibler Rose. Focusing on the Shield of Faith, we explore Darlene's four-year journey as a POW in the jungles of New Guinea and the Japanese internment camps. Her testimony is a powerful demonstration of how faith acts as a practical, protective barrier against the onslaught of the devil—reminding us that when we take up this shield, God provides the "evidence of things not seen" to sustain us through the fire.If you know of someone who can be helped by listening to the Abundant Living Podcast, please share this episode with them. Please let us know what you think by rating and reviewing this podcast in your podcasting app! We love hearing from our listeners, whether through comments on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠our Instagram ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠or messaging us on our website, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠christianladiesfellowship.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. You may also apply to be a part of ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠our private Facebook group⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, but be sure to answer all the questions and agree to the group rules when you click to join.You can also email Tracie directly at tburns@immanueljax.org. Thank you for being part of this uplifting and encouraging community of ladies who want to live abundantly for the Lord!

Supernatural Japan: Izumi Kyoka and the Global Fantastic  (U Michigan Press, 2026)examines the role of Japanese writer Izumi Kyōka (1873–1939) in the formation of modern literature of the fantastic in Japan as a global literary genre. Kyōka wrote some of the most famous stories of ghosts, monsters, and the supernatural in modern Japanese literature, including The Holy Man of Mt. Kōya, The Grass Labyrinth, and The Castle Tower. Despite the clearly modernist elements and global influences of Kyōka's fiction, his work has often been characterized as relying on traditional Japanese genres as inspiration for its themes and literary form. Pedro Bassoe considers how Kyōka's stories have been produced by a meeting of global influences—including Apuleius, The Arabian Nights, Hans Christian Andersen, the Brothers Grimm, Prosper Mérimée, Guy de Maupassant, Gerhart Hauptmann, and Jules Verne—combined with traditional Japanese genres. Bassoe develops the notion of “the scholarly fantastic” to describe how a set of realistic epistemologies reinforce the fantastic in Kyōka's writings. Supernatural Japan offers an up-to-date introduction to Izumi Kyōka and his writing for students, scholars, or fans of Japanese fantasy literature and media. Pedro Thiago Ramos Bassoe is Assistant Professor of Japanese at Purdue University. 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

Supernatural Japan: Izumi Kyoka and the Global Fantastic  (U Michigan Press, 2026)examines the role of Japanese writer Izumi Kyōka (1873–1939) in the formation of modern literature of the fantastic in Japan as a global literary genre. Kyōka wrote some of the most famous stories of ghosts, monsters, and the supernatural in modern Japanese literature, including The Holy Man of Mt. Kōya, The Grass Labyrinth, and The Castle Tower. Despite the clearly modernist elements and global influences of Kyōka's fiction, his work has often been characterized as relying on traditional Japanese genres as inspiration for its themes and literary form. Pedro Bassoe considers how Kyōka's stories have been produced by a meeting of global influences—including Apuleius, The Arabian Nights, Hans Christian Andersen, the Brothers Grimm, Prosper Mérimée, Guy de Maupassant, Gerhart Hauptmann, and Jules Verne—combined with traditional Japanese genres. Bassoe develops the notion of “the scholarly fantastic” to describe how a set of realistic epistemologies reinforce the fantastic in Kyōka's writings. Supernatural Japan offers an up-to-date introduction to Izumi Kyōka and his writing for students, scholars, or fans of Japanese fantasy literature and media. Pedro Thiago Ramos Bassoe is Assistant Professor of Japanese at Purdue University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Israel's Defence Minister Israel Katz says it has killed a top Iranian security official and former nuclear talks strategy advisor, Ali Larijani, in an overnight strike. Donald Trump has condemned NATO allies for declining to get further involved in the war in the Middle East. - イスラエルのカッツ国防相は、イランの治安当局高官アリ・ラリジャニ氏を夜間の空爆で殺害したと発表しました。アメリカのトランプ大統領は、中東情勢への更なる関与を拒否したとしてNATO＝北大西洋条約機構の同盟国や豪州を名指しで非難しました。

Num 26:52-28:15, Luke 3:1-22, Ps 61:1-8, Pr 11:16-17

The Japanese opening move at the Battle of the Coral Sea is dealt a blow by Adm. Fletcher and the pilots of the Yorktown.  Learn more about your ad choices. Visit megaphone.fm/adchoices

A single spy can change the course of history - for better, or for worse. In this Classic episode of True Spies, you'll meet one of them - Takeo Yoshikawa. Stationed in Honolulu, Yoshikawa's intelligence was used by the Japanese to launch a devastating attack on Pearl Harbor in 1941. The massacre brought the USA in to WW2, and ultimately led to Japan's crushing defeat. He shares his unsettling story with Vanessa Kirby. From SPYSCAPE, the home of secrets. A Cup And Nuzzle production. Takeo Yoshikawa is voiced by Eiji Mihara. Series producer: Gemma Newby. Produced by Morgan Childs. Music by Nick Ryan. Learn more about your ad choices. Visit megaphone.fm/adchoices

Animation writer-director Shannon Tindle joins Drew Taylor for a wide-ranging conversation about breaking into animation, developing new projects, and navigating Hollywood's ever-changing animation landscape. Shannon reflects on his career from CalArts to DreamWorks and beyond, sharing behind-the-scenes stories from Ultraman Rising, Kubo and the Two Strings, and projects that never made it to the screen. He also discusses his upcoming animated John Wick prequel and how animation opens creative possibilities that live action can't. HIGHLIGHTS • Shannon Tindle discusses how artists today can break into animation from anywhere in the world thanks to digital portfolios, social media, and global collaboration. • The evolution from analog portfolios and paper storyboards to Cintiq tablets and fully digital pipelines - and how that shift changed how animation talent gets discovered. • Shannon shares details about his unproduced Disney animated series inspired by The Haunted Mansion, which would have followed a young girl tracking down escaped ghosts from the attraction's famous “999 happy haunts.” • A second Disney concept explored a modern take on the Lost Boys from Peter Pan, imagining a diverse group of kids in today's world and a girl challenging the group's “no girls allowed” rule. • Behind-the-scenes insights into developing Ultraman Rising, including how the project began as an original concept before becoming an official Ultraman film and how Japanese fans reacted to the finished movie. • Shannon explains how his upcoming animated John Wick project will expand the franchise with stylized action sequences impossible in live action while also exploring the emotional origin story of John and Helen. • The creative challenge of balancing large-scale action with quiet character moments - something Shannon sees as essential to preserving the tone that makes the John Wick films work. • Stories from Shannon's time at DreamWorks working alongside artists like Nico Marlet, Carlos Grangel, and Tony Siruno, and how collaborative studio environments sharpen artists' skills. HOSTS • Drew Taylor - IG: @drewtailored | X: @DrewTailored | Website: drewtaylor.work GUEST • Shannon Tindle - IG: @shannon_tindle FOLLOW • Facebook: JimHillMediaNews • Instagram: JimHillMedia • TikTok: JimHillMedia SUPPORT Support the show and access bonus episodes and additional content at Patreon.com/JimHillMedia. PRODUCTION CREDITS Edited by Dave Grey Produced by Eric Hersey - Strong Minded Agency If you would like to sponsor a show on the Jim Hill Media Podcast Network, reach out today. Learn more about your ad choices. Visit megaphone.fm/adchoices

Morgan Stanley MUFG 's Japan Equity Strategist Sho Nakazawa talks about the sectors that are leading the current rebound of Japanese stocks and why these gains may be more than a cyclical shift.Read more insights from Morgan Stanley.----- Transcript -----Welcome to Thoughts on the Market. I'm Sho Nakazawa, Japan Equity Strategist at Morgan Stanley MUFG Securities.Today: How Japan's Takaichi administration could define Japan's stock market for years to come.It's Tuesday, March 17th, at 3 PM in Tokyo.Sanae Takaichi became Japan's first female prime minister on October 21, 2025. She leads a conservative administration that emphasizes defense spending and economic resilience. When Takaichi took office in February, this signaled the start of a structural pivot in Japan's economy. And markets have responded quickly. Over the past several months, stocks with high exposure to the administration's 17 strategic domains have outperformed TOPIX by 15 percentage points. That kind of divergence suggests something bigger than a cyclical rebound. Capital is positioned to a structural shift. First, there's the Japanese government's increased emphasis on economic security and supply chain resilience. This reflects a philosophical shift. For years efficiency ruled: just-in-time supply chains and global optimization. The pandemic and the reorientation towards a multipolar world changed that workflow. Now the emphasis is on redundancy and autonomy – and this has implications for Defense & Space, Advanced Materials & Critical Minerals, Shipbuilding, and Cybersecurity. The second pillar of Japan's structural market shift is AI and the compute revolution. Yes, some investors worry about overinvestment in AI, but we believe in [the] possibility of nonlinear returns as AI breakthroughs occur. And, keep in mind, AI isn't just software. It requires data-center cooling, communications networks, expanded power grids, and critical minerals. This is a full industrial stack upgrade. Looking further out, the global humanoid robotics market could reach US$7.5 trillion annually by 2050 according to our global robotics team estimates. That's roughly three times the combined 2024 revenue of the world's top 20 automakers at about US$2.5 trillion. The third force reshaping Japan's market is infrastructure. The 2026 budget slated towards national resilience initiatives exceeds ¥5 trillion. With aging infrastructure and intensifying natural disasters, resilience spending relates directly to economic security. Ports, logistics, and communications systems are increasingly becoming strategic assets. Our work suggests the long-term construction cycle is entering an expansion phase as bubble-era buildings from the late 1980s reach replacement timing. That points to durable demand rather than a temporary spike. With all of this said, what's also important is how stock market leadership spreads. It tends to move from upstream to downstream – from materials and power infrastructure, to AI, to defense and communications, and eventually to applications like drug discovery, quantum technologies, cybersecurity, and content. Right now, the strongest three-month returns are in Advanced Materials and Critical Minerals, and in Next-Gen Power and Grid Infrastructure. Meanwhile, areas like Cybersecurity and Content have lagged but remain tightly connected in the network. If leadership broadens, those linkages matter. The real constraint isn't political opposition. It's [the] market itself. If investors decide this is a temporary stimulus rather than sustainable earnings growth, valuations might adjust. But we do believe that Japan's equity market isn't simply rallying. It is reorganizing around economic security, AI infrastructure, and national resilience.Thanks for listening. If you enjoy Thoughts on the Market, please leave us a review wherever you listen and share the podcast with a friend and colleague today.

Caryn Newman creates functional stoneware and porcelain ceramics with a focus on timeless, accessible design. Caryn trained in traditional Japanese production techniques during a two‑year apprenticeship with Richard Bennett at the Great Barrington Pottery in the 1970s. Caryn later co‑founded Crow Hill Pottery in Abbot Village, Maine, and established Willowood Pottery in 2012. https://ThePottersCast.com/1211

A mural on the campus of Bellevue College depicts two Japanese American children in a U.S. Government incarceration camp during World War II. Soon after, the VP, and In 2020, a Bellevue College VP instructed someone to erase information in the accompanying artist description, that mentioned anti-Japanese agitation by influential Eastside businessman Miller Freeman. The VP and Bellevue College’s President both resigned. Now, Bellevue College is permanently rededicating the mural which was created by Seattle artist Erin Shigaki. She joins us to talk about it. We can only make Seattle Now because listeners support us. Tap here to make a gift and keep Seattle Now in your feed. Got questions about local news or story ideas to share? We want to hear from you! Email us at seattlenow@kuow.org, leave us a voicemail at (206) 616-6746 or leave us feedback online.See omnystudio.com/listener for privacy information.

難しい、簡単の基準はみんな違うと思うけど、やっぱりJLPTみたいにたくさんの人が知ってるのを基準にするとわかりやすいよね。そういえば、このタイトルにN5-1の数字を入れるのって、俺が最初らしいね。本当かどうか知らんけど。-------------------------------------------------------------------コーヒー1杯ぶん、応援してもらえたらうれしいです ☕スクリプト・メンバーシップ・トピックのリクエストもこちら。For scripts, membership, and topic requests:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://ruby-s.net/support/⁠⁠⁠⁠⁠⁠⁠※N5～N1ブログサンプル公開中！Your support helps me keep creating “just-right” Japanese episodes.

How Card Show Vendors Actually Make Money | Special Conditions 200 Episode 200 of Special Conditions is a real behind-the-table conversation with two guests who live the hobby from the vendor side. We're joined by Zach and Niche from the New England card scene to talk about how they got started, what made them fall in love with vending, and what the card show grind actually looks like once you're the one buying, pricing, trading, and trying to keep inventory moving. This one isn't about fake guru advice or hobby mythology. It's about the stuff that actually matters: why repeat customers matter more than squeezing every percentage point, why sticker prices and presentation change the whole buying experience, and the mistakes you only make once if you're lucky. The stories about bad buyouts, early inventory mistakes, and learning how to price for negotiation make this one especially good for anyone who has ever thought about setting up at a show. On top of that, the episode wanders exactly where a good hobby podcast should: Whatnot growing pains, 151 spikes, Prismatic frustration, Japanese cards, oddball collectibles, and the kind of side quests that happen when four cardboard degenerates get talking. It feels like hanging out at the table after a busy show — which is probably why it works so well.  00:00 Intro + guest setup 01:30 How Adam knows the Zachs 06:00 Why card show vending is a volume business 06:45 Whatnot selling, shipping headaches, and singles 13:30 Buying strategy: moving cards 15:30 Dallas spend vs New England spend 17:15 Pricing philosophy at shows 18:45 Big trades, slabs, and hot table stories 29:00 Could Pokémon ever do serialized cards? 32:30 151 spikes, Prismatic, and current market talk 40:00 How both guests got started in the hobby 45:00 Biggest mistakes new vendors make 48:00 Why sticker prices matter 55:00 Show layout, traffic flow, and vendor setup 01:00:00 Slab guards and deal friction 01:10:00 Growing as a vendor  01:20:00 What actually belongs in the showcase vs binders 01:27:30 Rapid-fire advice for new vendors 01:42:30 Why Pokémon's community keeps people in the hobby 01:46:00 Final thoughts + where to find everyone

Why This Episode MattersA defining New York restaurant story about how Blue Ribbon helped reshape late-night dining in downtown ManhattanA look at hospitality that lasts through warmth, consistency, personality, and a refusal to chase trendsA strong listen for restaurant people interested in staff culture, regulars, restaurant identity, and long-term successReal industry history from chef hangout culture to a driven modelPlenty of memorable stories including old New York, Blue Ribbon Sushi, long-term employees, and the failed concept that came before itThe BanterMark and Francis open with Francis describing a solo night in New York that included a flamenco performance Mark would not enjoy and a stop for cigars at the Carnegie Club, a place completely comfortable being exactly what it is.The ConversationEric and Bruce Bromberg, the brothers behind Blue Ribbon, join the show to talk about building one of downtown New York's most influential restaurants. They discuss the Paris brasserie model that inspired Blue Ribbon, how the restaurant became a late-night home for chefs and restaurant people, and why hospitality mattered more than exclusivity.They also share the story of the failed concept that preceded Blue Ribbon, the dramatic rebuild that led to its opening, and the values that shaped the restaurant from the beginning. Along the way, they talk about legendary staff members, the role of oysters in Blue Ribbon's identity, the opening of Blue Ribbon Sushi, and the long view required to build restaurants that endure.Time Stamps0:00 – Opening banter: Francis's solo night out, flamenco, and the Carnegie Club6:10 – Eric and Bruce Bromberg join the show. How Blue Ribbon changed late-night dining in New York15:00 – Blue Ribbon's style of hospitality20:45 – Alonzo, oysters, and the front-of-room identity of Blue Ribbon29:50– The Crystal Room, tearing it apart, and rebuilding as Blue Ribbon39:43 – Blue Ribbon Sushi, key people and rethinking Japanese restaurant hospitality51:30 – Building legacy establishments, designing a menu you love, and creating restaurants that last58:59 – The Guys' mob storyGuest BioEric and Bruce Bromberg are the brothers behind Blue Ribbon Restaurants, the hospitality group that began with Blue Ribbon Brasserie in SoHo in 1992. Over the years, they expanded the brand into multiple concepts, including Blue Ribbon Sushi and Blue Ribbon Fried Chicken, while building a reputation for strong hospitality, late-night dining, and restaurant culture built to last.InfoBlue Ribbon Restaurants https://www.blueribbonrestaurants.com/Subscribe: Restaurant Guys' Regularhttps://restaurantguysregulars.buzzsprout.com/Magyar Bankhttps://www.magbank.com/Our Places Stage Left Steakhttps://www.stageleft.com/ Catherine Lombardi Restauranthttps://www.catherinelombardi.com/ Stage Left Wineshophttps://www.stageleftwineshop.com/ Reach Out to The Guys!TheGuys@restaurantguyspodcast.comFollow us on Instagram @restaurantguyspodcast

We've got a dozen reasons you should listen to this episode, and all of them are eggs. Join the Book Squad for a discussion about Swallows by Natsuo Kirino. We talk about what the title means, whether this book is a thriller (it's not), the Japanese cultural context we're probably missing as Americans, feminism and capitalism, and of course, motherhood and pregnancy. Then we get into some juicy listener feedback that we try not to take too personally, but hey, that's our poblem to deal with. A special Othersode is coming up with guest Catriona Ward, author of Nowhere Burning. We'll chat about Stand By Me with her on March 31. Then we're reading George Falls Through Time by Ryan Collett for our next Bookpisode on April 13. Don't forget to leave us a rating and review on Apple podcasts! Pretty please! TOC:30 – Welcome and egg talk8:50 – Book intro12:45 – Book title17:00 – Is this a thriller? Lol21:00 – Cultural differences35:15 – Feminism and capitalism44:50 – Motherhood1:03:00 –The ending1:12:20 – Ratings1:18:00 – What's your poblem???1:21:28 – What's up next?

John and returning guest Velkej Bracha start with their usual banter/assorted nonsense, before then discussing the recent announcement of Shinjuku FACE's impending closure and the enormous hole it will be leaving in the Japanese wrestling scene. Then they discuss the last two nights of the STARDOM Cinderella Tournament in great detail, beginning with the 3/11 Korakuen and then the finals on 3/15 from Yokohama. They also look ahead to the enormous Saya Kamitani vs. Sayaka Kurara red belt vs. unit disbands match, and discuss where the promotion could possibly be going from here in general. Then it's over to NJPW to discuss five (!) nights of the New Japan Cup, spanning most of the 2nd round and then also the first two quarterfinal matches- a real rollercoaster experience featuring some of the very best AND very worst matches of the entire year so far! Velkej's last topic of the show is a pretty deep dive on Marigold, as they break down some of their business, discuss their trainees, and review their 3/14 Korakuen show.John then goes it alone to review two more shows, a decent AJPW Korakuen from 3/15 and a truly horrible GLEAT show from Shinjuku FACE on 3/12. Again, who else is even covering GLEAT? Well, maybe the answer will be no one soon enough because John is *this close* to dropping them.....Follow Velkej on Twitter: http://twitter.com/Velkej_BrachaFollow Wrestling Omakase on Twitter: http://twitter.com/wrestleomakaseFollow John on BlueSky: https://bsky.app/profile/justoneenby.bsky.socialOur Sponsors:* Support our sponsor BetterHelp: https://www.betterhelp.comAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

422 Experience Awe   The natural world is one of few places in the world where we can truly feel at peace. Whether it be to get away from the hustle and bustle of life, or even just to get away from all the screens and pollution, we can find a moment to center ourselves and find genuine awe in the world.  In today's episode Sarah Elkins and Thomas Reed discuss the importance of the natural world, finding awe, how we talk to ourselves, as well as finding our own courage to seek the paths that call to us.   Highlights How we interact with the natural world around us. The importance of positive Self Talk.  Beauty of the natural world and its importance to the human psyche.  Where is the one place you can go to that turns off the chatter in your head?   Quotes "I don't know if it was a choice or it was just being me." "Use me as your inspiration, that you don't need inspiration."   Dear Listeners it is now your turn, What will you do to experience awe? I am going to give you one chore, one piece of homework, one suggestion at the end of this episode, is to find an opportunity to experience awe. That could be watching your child do something for the first time, and have them be very proud of themselves. I can tell you I had many of those experiences while my boys were growing up and they had a realization as basic as finding their own thumb when they were infants. There's a sense of awe when you watch other people experience awe or when you experience that sense of awe about another person, like this Chinese woman from a small village that decided to go experience what she did. Experience Awe, go hug a tree, go stand in front of a man made bridge that is inspiring for its unlikeliness, for the fact that somebody had to create that, watch that daffodil start to bloom and realize you didn't have to do a thing to it to make it show up in all it's full color.  Find awe, remember it, and consider that desire to find awe, your connection to the natural world and your humanity.         And, as always, thank you for listening.    About Thomas I studied photography at Rutgers University as a Geography student. Major influences have been Ansel Adams, Edgar Payne, and the Hudson River School. Zen sensibilities profoundly influence my compositions, as I am a student of Japanese martial arts and aesthetics (chado). Black and white is my genre My work is centered on the experience of awe at the sight of a landscape, and I hope it leads to the consideration that nature itself is divine, sacred, and that stewardship, as opposed to the dominant utilitarian view, is the only sane attitude. Be sure to check out Thomas's Facebook, his Photos, LinkedIn, and Instagram! As well as Peak Wellness, his website Tom Reed, and his books at Tom Reed Books!   About Sarah "Uncovering the right stories for the right audiences so executives, leaders, public speakers, and job seekers can clearly and actively demonstrate their character, values, and vision." In my work with coaching clients, I guide people to improve their communication using storytelling as the foundation of our work together. What I've realized over years of coaching and podcasting is that the majority of people don't realize the impact of the stories they share - on their internal messages, and on the people they're sharing them with. My work with leaders and people who aspire to be leaders follows a similar path to the interviews on my podcast, uncovering pivotal moments in their lives and learning how to share them to connect more authentically with others, to make their presentations and speaking more engaging, to reveal patterns that have kept them stuck or moved them forward, and to improve their relationships at work and at home. The audiobook, Your Stories Don't Define You, How You Tell Them Will is now available! Included with your purchase are two bonus tracks, songs recorded by Sarah's band, Spare Change, in her living room in Montana. Be sure to check out the Storytelling For Professionals Course as well to make sure you nail that next interview!

Animation writer-director Shannon Tindle joins Drew Taylor for a wide-ranging conversation about breaking into animation, developing new projects, and navigating Hollywood's ever-changing animation landscape. Shannon reflects on his career from CalArts to DreamWorks and beyond, sharing behind-the-scenes stories from Ultraman Rising, Kubo and the Two Strings, and projects that never made it to the screen. He also discusses his upcoming animated John Wick prequel and how animation opens creative possibilities that live action can't. HIGHLIGHTS • Shannon Tindle discusses how artists today can break into animation from anywhere in the world thanks to digital portfolios, social media, and global collaboration. • The evolution from analog portfolios and paper storyboards to Cintiq tablets and fully digital pipelines - and how that shift changed how animation talent gets discovered. • Shannon shares details about his unproduced Disney animated series inspired by The Haunted Mansion, which would have followed a young girl tracking down escaped ghosts from the attraction's famous “999 happy haunts.” • A second Disney concept explored a modern take on the Lost Boys from Peter Pan, imagining a diverse group of kids in today's world and a girl challenging the group's “no girls allowed” rule. • Behind-the-scenes insights into developing Ultraman Rising, including how the project began as an original concept before becoming an official Ultraman film and how Japanese fans reacted to the finished movie. • Shannon explains how his upcoming animated John Wick project will expand the franchise with stylized action sequences impossible in live action while also exploring the emotional origin story of John and Helen. • The creative challenge of balancing large-scale action with quiet character moments - something Shannon sees as essential to preserving the tone that makes the John Wick films work. • Stories from Shannon's time at DreamWorks working alongside artists like Nico Marlet, Carlos Grangel, and Tony Siruno, and how collaborative studio environments sharpen artists' skills. HOSTS • Drew Taylor - IG: @drewtailored | X: @DrewTailored | Website: drewtaylor.work GUEST • Shannon Tindle - IG: @shannon_tindle FOLLOW • Facebook: JimHillMediaNews • Instagram: JimHillMedia • TikTok: JimHillMedia SUPPORT Support the show and access bonus episodes and additional content at Patreon.com/JimHillMedia. PRODUCTION CREDITS Edited by Dave Grey Produced by Eric Hersey - Strong Minded Agency If you would like to sponsor a show on the Jim Hill Media Podcast Network, reach out today. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode Highlights With MikiHer amazing story, growing up half Indian and half Japanese and the winding journey of her entrepreneurial successHow she went from being a professional athlete to opening a gluten-free restaurant in NYC, to other start-ups as wellEvery baby goes through up to 6,000 diapers that take hundreds of years to break downHer revelation with diapers and baby poop and how this led to a product that's helping address the plastic problemThe unique way that fungi can break down plastic in a completely safe way!Diapers are actually the #1 source of plastic waste91% of plastic is not recycled and ends up in landfills and oceans The planet is running a fever, and humans are the viruses it's trying to get rid of if we don't fix the problemWhat ecosystem consciousness is and how we can shift our thinking How they're shifting from reduce, reuse, and recycle to reduce and regenerate, and how this shifts thingsWhat sacred reciprocity is and how this shifts the modelHer audacious mission in life is to elevate people and the planet What new paradigm parenting is and how this framework shifts things for familiesOther ways we can make small shifts that contribute to sacred reciprocity 24% of all landfill waste is food waste! How home composting can helpTrees are the greatest technology of our timeWhy she's so anti-toilet paper, and what to try instead! Emergence and Cultivation in parenting and what we can learn from natureNature is our greatest technology, and it can even shape the way we parentThe very real way that fungi have the potential to reverse some of these massive planetary problemsResources MentionedFollow Miki on Facebook, Instagram, and X. Follow Hiro Diapers on InstagramHiro Diapers - get a discount at this linkTushy BidetLMNTI talk often about the health benefits of salt and electrolytes and I am a big fan of LMNT canned drinks and packets. Go to drinklmnt.com/wellnessmana for a special offer.HiyaHiya created a super powered chewable vitamin for kids that packs twelve organic fruits and vegetables plus fifteen essential vitamins and minerals into every dose. Try it at hiyahealth.com/wellnessmama for 50% off your first order.

Bring on the sweetness with new 5-hour ENERGY® shots, available right here:https://click2cart.com/274100bu?utm_campaign=swtflvr&utm_medium=paid_video&utm_source=kf&utm_content=relsRula patients typically pay $15 per session when using insurance. Connect with quality therapists and mental health experts who specialize in you at https://www.rula.com/kindafunny  #rulapodGo to Factormeals.com/kindafunny50off and use code kindafunny50offto get 50% off your first box, plus Free Breakfast for 1 Year.Catch Nick and Andy LIVE this Friday at Answer For It San Francisco! Head to KindaFunny.com/AnswerForIt for tickets and info! Thank you for the support! Run of Show - - Start - Saudi Arabia Buys Another 5 Percent Of Capcom As Resident Evil Requiem Sells 6 Million Copies - Xbox just revealed Gaming Copilot is coming to "current-generation consoles" later this year - Ad - Judge Orders Subnautica 2 Studio CEO To Be Reinstated And Gives Him Control Over Early Access Release - Warner Bros Montréal reportedly hit with staff cuts - In an industry beset by layoffs and crunch, Japanese publisher Atlus is raising salaries and working to reduce fixed overtime - Wee News! - SuperChats & You‘re Wrong Learn more about your ad choices. Visit megaphone.fm/adchoices

With Sony abandoning its chase of easy PC dollars, the megalithic Japanese company instead seems intent on maximizing its dollars at home, and reasonably so. While reporting indicates PlayStation's PC sales were stymied by staggered and unpredictable releases, that was already obvious. What's less clear is how Sony's pursuit of profit might affect the status quo, with a lawsuit in the UK over PSN monopolization and blatant A/B testing for dynamic digital pricing happening right before our eyes. What does the future hold as we begin to move towards next-gen? Plus: EA lays off members of the Battlefield team that created America's best-selling game in 2025, Nagoshi Studio and its Yakuza-like title Gang of Dragon are in big trouble, a LEGO PlayStation (1) console is seemingly en route for the holiday season, adventure classics Myst and Riven are PS5-bound, Crimson Desert finally emerges on PS5 Pro, and more. Then: Listener inquiries! With id finding so much success with the revived Doom trilogy, could Quake be next? What was the deal with that cryptic Bluepoint Tweet from 2019, anyway? Are physical-only players being hurt by the underproduction of copies of big games? Is Dustin intentionally making mistakes in his edits to sabotage our entire operation? Visit https://prizepicks.onelink.me/LME0/SACRED and use code SACRED and get $50 in lineups when you play your first $5 lineup! A special Magic City Max Discount promotion is live in the app right now. Jalen Johnson only needs 0.5 POINTS during the Hawks vs Magic game this Monday 3/16. Open the app and make it rain! This episode is sponsored by BetterHelp. Get 10% off at https://www.betterhelp.com/symbols Get 50% off and free breakfast for a year at https://www.factormeals.com/sacred50off and use code sacred50off  Please keep in mind that our timestamps are approximate, and will often be slightly off due to dynamic ad placement. 0:00:00 - Intro0:28:57 - Ragebaiting Dustin0:38:33 - Geno Smith0:38:56 - Neighborhood drama0:45:22 - Sony's issues with PC releases0:54:22 - UK case vs Sony digital storefront begins1:13:40 - Sony testing dynamic pricing1:33:32 - EA layoffs1:45:23 - Nagoshi Studio is in trouble1:56:33 - A PS1 Lego set is coming2:05:55 - Crimson Desert console specs2:13:43 - Pragmata moves up release date2:15:36 - Myst and Riven remake coming to PS52:19:38 - Falcom revives Dragon Slayer2:27:09 - New PS+ game catalog titles2:31:27 - What We're Playing (Resident Evil Requiem, Minishoot Adventures, Marathon, Pokemon Pokopia)3:38:42 - Preordering physical games3:48:05 - New Quake?3:56:13 - Can Sony pull people away from established games?3:59:50 - Do Sony studios have too much power?4:02:27 - What was the point of Bluepoint's old tweet?4:05:03 - Starfield interference Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hey Clutterbugs! Let's stop making piles and use tiny 1% changes to organize our homes without overwhelm. In this podcast, we're using Japanese organizing ideas (Kaizen, 5S, Wabi-Sabi, “Mottainai”) to declutter, build simple systems, and keep the house tidy longer. And we're doing this together (not in a “make 47 piles and cry about it for 60 days” way). This is a mini‑challenge episode where you make tiny micro improvements while you listen . . . and end the podcast feeling weirdly proud of yourself.We're talking:Kaizen: small steps that actually add up (especially for ADHD brains)Why pulling everything out is a trap (and what to do instead)The “don't go on Amazon for bins” rule (you know who you are)The 5S system (sort, set in order, shine, standardize, sustain) — Toyota vibes, but for your houseMottainai (“what a waste”): the guilt-free decluttering mindset shiftWabi-Sabi organizing: good‑enough systems that are easy to maintainLet's get to it! Want to get organized? Learn 6-Step The Clutterbug Method: https://clutterbug.thinkific.com/courses/Clutterbug-Method You can find more Clutterbug content here: Main YouTube Channel: @Clutterbug Website: http://www.clutterbug.me TikTok: https://www.tiktok.com/@clutterbug_me Instagram: https://www.instagram.com/clutterbug_me/ Facebook: https://www.facebook.com/Clutterbug.Me/ #clutterbug #podcast #adhdorganization #adhdhome #kaizen #homeorganization #decluttering #homehacks #cleaningmotivation #habitsthatchangeyourlife Learn more about your ad choices. Visit megaphone.fm/adchoices

On an all-new Speed Dates episode, host Joel Kim Booster sits down with his good friend and recent Traitors Season 4 alum Ron Funches (Harley Quinn, Loot, Inside Out 2) to talk about everything that went down at the castle! They'll discuss the roundtables, the betrayals, the strategy, the secret traitor, was Michael Rapaport really like that (yes), and go deep on Ron's autism diagnosis. Plus: we hear all about Ron's new relationship with a British lady who thinks Snoopy might be Japanese.   Subscribe to our YouTube Channel for video clips and full episodes.  Merch available at SiriusXMStore.com/BadDates.   Joel Kim Booster: Scrubs Season 10, Psychosexual, Fire Island, Loot Season 3 Ron Funches: RonFunches.com for tickets and tour dates, The Traitors Season 4, Loot Season 3 Subscribe to SiriusXM Podcasts+ to listen to new episodes of Bad Dates ad-free. Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Born from 1930s Japanese schoolyard whispers and now embedded in global horror culture, Aka Manto represents modern urban legend at its most psychologically visceral. This isn't ancient folklore passed down through centuries—it's a contemporary yokai that emerged from the anxieties of modern life, transforming the mundane vulnerability of a bathroom stall into a trap with no escape. When you answer the wrong question, there's no bargaining, no mercy, only the terrible realization that you've sealed your own fate. Aka Manto reminds us that new monsters are born every generation, shaped by our evolving fears—and sometimes, the most terrifying horrors aren't buried in forgotten forests, but waiting in the places we visit every single day.   freakyfolklore.com   carman-carrion.com   #AkaManto #JapaneseFolklore #FreakyFolklore #UrbanLegends #Yokai #BathroomHorror #ModernMyths #JapaneseUrbanLegends #SchoolHorror #RedCloak #ToshiDensetsu #JapaneseGhosts   EXPLORE MORE SPINE-CHILLING CONTENT: Freaky Folklore: https://www.eeriecast.com/podcasts/freaky-folklore Carman's Crypt (Original Horror): https://carmanscrypt.buzzsprout.com   Deadly Intent (True Crime): https://carmancarrion.buzzsprout.com Destination Terror: https://www.eeriecast.com/podcasts/destination-terror    SUPPORT THE SHOW: Patreon: https://www.patreon.com/c/CarmanCarrion   Buy Me a Coffee: https://buymeacoffee.com/carmancarrion   CONNECT WITH CARMAN: Website: https://www.carman-carrion.com/ YouTube: https://www.youtube.com/@CarmanCarrion Twitter/X: https://x.com/CarmanCarrion   Instagram: https://www.instagram.com/carmancarrion/   SUBSCRIBE & REVIEW:   Spotify: https://open.spotify.com/show/0uiX155WEJnN7QVRfo3aQY   iTunes: https://podcasts.apple.com/us/podcast/freaky-folklore/id1550361184   Your support helps bring you more terrifying tales!   DISCOVER MORE HORROR: http://eeriecast.com/   https://www.carman-carrion.com/   Crypt Shop: https: //the-crypt-shop-2.myshopify.com/   MUSIC CREDITS:   Music and sound effects provided by: CO.AG, Myuu, Jinglepunks, Epidemic Sound, Kevin MacLeod, Dark Music, and Soundstripe. Learn more about your ad choices. Visit podcastchoices.com/adchoices

What makes a character so compelling that readers will forgive almost anything about the plot? How do you move beyond vague flaws and generic descriptions to create people who feel pulled from real life? In this solo episode, I share 15 actionable tips for writing deep characters, curated from past interviews on the podcast. In the intro, thoughts from London Book Fair [Instagram reel @jfpennauthor; Publishing Perspectives; Audible; Spotify]; Insights from a 7-figure author business [BookBub]. This show is supported by my Patrons. Join my Community and get articles, discounts, and extra audio and video tutorials on writing craft, author business, and AI tools, at Patreon.com/thecreativepenn This episode has been created from previous episodes of The Creative Penn Podcast, curated by Joanna Penn, as well as chapters from How to Write a Novel: From Idea to Book. Links to the individual episodes are included in the transcript below. In this episode: Master the ‘Believe, Care, Invest' trifecta, how to hook readers on the very first page Define the Dramatic Question: Who is your character when the chips are down? Absolute specificity. Why “she's controlling” isn't good enough Understand the Heroine's Journey, strength through connection, not solo action Use ‘Metaphor Families' to anchor dialogue and give every character a distinctive voice Find the Diagnostic Detail, the moments that prove a character is real Writing pain onto the page without writing memoir Write diverse characters as real people, not stereotypes or plot devices Give your protagonist a morally neutral ‘hero' status. Compelling beats likeable. Build vibrant side characters for series longevity and spin-off potential Use voice as a rhythmic tool Link character and plot until they're inseparable Why discovery writers can write out of order and still build deep character Find the sensory details that make characters live and breathe More help with how to write fiction here, or in my book, How to Write a Novel. Writing Characters: 15 Tips for Writing Deep Character in Your Fiction In today's episode, I'm sharing fifteen tips for writing deep characters, synthesised from some of the most insightful interviews on The Creative Penn Podcast over the past few years, combined with what I've learned across more than forty books of my own. I'll be referencing episodes with Matt Bird, Will Storr, Gail Carriger, Barbara Nickless, and Sarah Elisabeth Sawyer. I'll also draw on my own book, How to Write a Novel, which covers these fundamentals in detail. Whether you're writing your first novel or your fiftieth, whether you're a plotter or a discovery writer like me, these tips will help you create characters that readers believe in, care about, and invest in—and keep coming back for more. Let's get into it. 1. Master the ‘Believe, Care, Invest' Trifecta When I spoke with Matt Bird on episode 624, he laid out the three things you need to achieve on the very first page of your book or in the first ten minutes of a film. He calls it “Believe, Care, and Invest.” First, the reader must believe the character is a real person, somehow proving they are not a cardboard imitation of a human being, not just a generic type walking through a generic plot. Second, the reader must care about the character's circumstances. And third, the reader must invest in the character's ability to solve the story's central problem. Matt used The Hunger Games as his primary example, and it's brilliant. On the very first page, we believe Katniss's voice. Suzanne Collins writes in first person with a staccato rhythm—lots of periods, short declarative sentences—that immediately grounds us in a survivalist mentality. We care because Katniss is starving. She's protecting her little sister. And we invest because she is out there bow hunting, which Matt pointed out is one of the most badass things a character can do. She even kills a lynx two pages in and sells the pelt. We invest in her resourcefulness and grit before the plot has even begun. Matt was very clear that this has nothing to do with the character being “likable.” He said his subtitle, Writing a Hero Anyone Will Love, doesn't mean the character has to be a good person. He described “hero” as both gender-neutral and morally neutral. A hero can be totally evil or totally good. What matters is that we believe, care, and invest. He demonstrated this beautifully by breaking down the first ten minutes of WeCrashed, where the characters of Adam and Rebekah Neumann are absolutely not likable, but we are completely hooked. Adam steals his neighbour's Chinese food through a carefully orchestrated con involving an imaginary beer. It's not admirable behaviour, but the tradecraft involved, as Matt put it—using a term from spy movies—makes us invest in him. We see a character trying to solve the big problem of his life, which is that he's poor and wants to be rich, and we want to see if he can pull it off. Actionable step: Go to the first page of your current work in progress. Does it achieve all three? Does the reader believe this is a real person with a distinctive voice? Do they care about the character's circumstances? And do they invest in the character's ability to handle what's coming? If even one of those three is missing, that's your revision priority. 2. Define the Dramatic Question: Who Are They Really? Will Storr, author of The Science of Storytelling, came on episode 490 and gave one of the most powerful frameworks I've ever heard for character-driven fiction. He explained that the human brain evolved language primarily to swap social information—in other words, to gossip. We are wired to monitor other people, to ask the question: who is this person when the chips are down? That's what Will calls the Dramatic Question, and it's what he believes lies at the heart of all compelling storytelling. It's not a question about plot. It's a question about the character's soul. And every scene in your novel should force the character to answer it. His example of Lawrence of Arabia is unforgettable. The Dramatic Question for the entire film is: who are you, Lawrence? Are you ordinary or are you extraordinary? At the beginning, Lawrence is a cocky, rebellious young soldier who believes his rebelliousness makes him superior. Every iconic scene in that three-hour film tests that belief. Sometimes Lawrence acts as though he truly is extraordinary—leading the Arabs into battle, being hailed as a god—and sometimes the world strips him bare and he sees himself as ordinary. Because it's a tragedy, he never overcomes his flaw. He doubles down on his belief that he's extraordinary until he becomes monstrous, culminating in that iconic scene where he lifts a bloody dagger and sees his own reflection with horror. Will also used Jaws to demonstrate how this works in a pure action thriller. Brody's dramatic question is simple: are you going to be old Brody who is terrified of the water, or new Brody who can overcome that fear? Every scene where the shark appears is really asking that question. And the last moment of the film isn't the shark blowing up. It's Brody swimming back through the water, saying he used to be scared of the water and he can't imagine why. Actionable step: Write down the Dramatic Question for your protagonist in a single sentence. Is it “Are you ordinary or extraordinary?” or “Are you brave enough to love again?” or “Will you sacrifice your principles for survival?” If you can't answer this with specificity, your character might still be a sketch rather than a person. 3. Get rid of Vague Flaws, and use Absolute Specificity This was one of Will Storr's most important points. He said that vague thinking about characters is really the enemy. When he teaches workshops and asks writers to describe their character's flaw, most of them say something like “they're very controlling.” And Will's response is: that's not good enough. Everyone is controlling. How are they controlling? What's the specific mechanism? He gave the example of a profile he read of Theresa May during the UK's Brexit chaos. Someone who knew her said that Theresa May's problem was that she always thinks she's the only adult in every room she goes into. Will said that stopped him in his tracks because it's so precise. If you define a character with that level of specificity, you can take them and put them in any genre, any situation—a spaceship, a Victorian drawing room, a school playground—and you will know exactly how they're going to behave. The same applies to Arthur Miller's Willy Loman in Death of a Salesman, as Will described it: a man who believes absolutely in capitalistic success and the idea that when you die, you're going to be weighed on a scale, just as God weighs you for sin, but now you're weighed for success. That's not a vague flaw. That's a worldview you can drop into any story and watch it combust. Will made another counterintuitive point that I found really valuable: writers often think that piling on multiple traits will create a complex character, but the opposite is true. Starting with one highly specific flaw and running it through the demands of a relentless plot is what generates complexity. You end up with a far more nuanced, original character than if you'd started with a laundry list of vague attributes. Actionable step: Take your protagonist's flaw and pressure-test it. Is it specific enough that you could place this character in any situation and predict their behaviour? If you're stuck at “she's stubborn” or “he's insecure,” keep pushing. What kind of stubborn? What kind of insecure? Find the diagnostic sentence—the Theresa May level of precision. 4. Understand the Heroine's Journey: Strength Through Connection Gail Carriger came on episode 550 to discuss her nonfiction book, The Heroine's Journey, and it completely reframed how I think about some of my own fiction. Gail explained that the core difference between the Hero's Journey and the Heroine's Journey comes down to how strength and victory are defined. The Hero's Journey is about strength through solo action. The hero must be continually isolated to get stronger. He goes out of civilisation, faces strife alone, and achieves victory through physical prowess and self-actualisation. The Heroine's Journey is the opposite. The heroine achieves her goals by activating a network. She's a delegator, a general. She identifies where she can't do something alone, finds the people who can help, and portions out the work for mutual gain. Gail put it simply: the heroine is very good at asking for help, which our culture tends to devalue but which is actually a powerful form of strength. Crucially, Gail stressed that gender is irrelevant to which journey you're writing. Her go-to examples are striking: the recent Wonder Woman film is practically a beat-for-beat hero's journey—Gilgamesh on screen, as Gail described it. Meanwhile, Harry Potter, both the first book and the series as a whole, is a classic heroine's journey. Harry's power comes from his network—Dumbledore's Army, the Order of the Phoenix, his friendships with Ron and Hermione. He doesn't defeat Voldemort alone. He defeats Voldemort because of love and connection. This distinction has real practical consequences for writers. If you're writing a hero's journey and you hit writer's block, Gail said, the solution is usually to isolate your hero further and pile on more strife. But if you're writing a heroine's journey, the solution is probably to throw a new character into the scene—someone who has advice to offer or a skill the heroine lacks. The actual solutions to writer's block are different depending on which narrative you're writing. As I reflected on my own work, I realised that my ARKANE thriller protagonist, Morgan Sierra, follows a hero's journey—she's a solo operative, a lone wolf like Jack Reacher or James Bond. But my Mapwalker fantasy series follows a heroine's journey, with Sienna and her group of friends working together. I hadn't consciously chosen those paths; the stories led me there. But understanding the framework helps me write more intentionally now. Actionable step: Identify which journey your protagonist is on. Does your character gain strength by being alone (hero) or by building connections (heroine)? This will inform every plot decision you make, from how they face obstacles to how your story ends. 5. Use ‘Metaphor Families' to Anchor Dialogue and Voice One of the most practical techniques Matt Bird shared on episode 624 is the idea of assigning each character a “metaphor family”—a specific well of language that they draw from. This gives each character a distinctive voice that goes beyond accent or dialect. Matt explained how in The Wire, one of the most beloved TV shows of all time, every character has a different metaphor family. What struck him was that Omar, this iconic character, never utters a single curse word in the entire series. His metaphor family is pirate. He talks about parlays, uses language that feels like it belongs in Pirates of the Caribbean, and it creates this incredible ironic counterpoint against his urban setting. It tells us immediately that this is a character who sees himself in a tradition of people that doesn't match his immediate surroundings. Matt also referenced the UK version of The Office, where Gareth works at a paper company but aspires to the military. So all of his language is drawn from a military metaphor family. He doesn't talk about filing and photocopying; he talks about tactics and discipline and being on the front line. This tells us that the character has a life and dreams beyond the immediate scene—and it's the gap between aspiration and reality that makes him both funny and believable. He pointed out that a metaphor family sometimes comes from a character's background, but it's often more interesting when it comes from their aspirations. What does your character want to be? What world do they fantasise about inhabiting? That's where their language should come from. In Star Wars, Obi-Wan Kenobi is a spiritual hermit, but his metaphor family is military. He uses the language of generals and commanders, and that ironic counterpoint is part of what makes him feel so rich. Actionable step: Assign each of your main characters a metaphor family. It could be based on their job, their background, or—more interestingly—their secret aspirations. Then go through your dialogue and make sure each character is consistently drawing from that well of language. If two characters sound the same when you strip away the dialogue tags, this is the fix. 6. Find the Diagnostic Detail: The Diagonal Toast Avoid clichéd character tags—the random scar, the eye patch, the mysterious limp—unless they serve a deep narrative purpose. Matt Bird on episode 624 was very funny about this: he pointed out that Nick Fury, Odin, and eventually Thor all have eye patches in the Marvel Cinematic Universe. Eye patches are done, he said. You cannot do eye patches anymore. Instead, look for what I'm calling the “diagonal toast” detail, after a scene Matt described from Captain Marvel. In the film, Captain Marvel is trying to determine whether Nick Fury is who he says he is. She asks him to prove he isn't a shapeshifting alien. Fury shares biographical details—his history, his mother—but then she pushes further and says, name one more thing you couldn't possibly have made up about yourself. And Fury says: if toast is cut diagonally, I can't eat it. Matt said that detail is gold for a writer because it feels pulled from a real life. You can pull it from your own life and gift it to your characters, and the reader can tell it's not manufactured. He gave another example from The Sopranos: Tony Soprano's mother won't answer the phone after dark. The show's creator, David Chase, confirmed on the DVD commentary that this came from his own mother, who genuinely would not answer the phone after dark and couldn't explain why. Matt's practical advice was to keep a journal. Write down the strange, specific things that people do or say. Mine your own life for those hyper-specific details. You just need one per book. In my own writing, I've used this approach. In my ARKANE thrillers, my character Morgan Sierra has always been Angelina Jolie in my mind—specifically Jolie in Lara Croft or Mr and Mrs Smith. And Blake Daniel in my crime thriller series was based on Jesse Williams from Grey's Anatomy. I paste pictures of actors into my Scrivener projects. It helps with visuals, but also with the sense of the character, their energy and physicality. But visual details only take you so far. It's the behavioural quirks—the diagonal toast moments—that make a character feel genuinely alive. That said, physical character tags can work brilliantly when they serve the story. As I discuss in How to Write a Novel, Robert Galbraith's Cormoran Strike is an amputee, and his pain and the physical challenges of his prosthesis are a key part of every story—it's not a cosmetic detail, it's woven into the action and the character's psychology. My character Blake Daniel always wears gloves to cover the scars on his hands, which provides an angle into his wounded past as well as a visual cue for the reader. And of course, Harry Potter's lightning-shaped scar isn't just a mark—it's a direct connection to his nemesis and the mythology of the entire series. The rule of thumb is: if the tag tells us something about the character's interior life or connects to the plot, it's earning its place. If it's just there to make the character visually distinctive, it's probably a crutch. Game of Thrones takes character tags further with the family houses, each with their own mottos and sigils. The Starks say “Winter is coming” and their sigil is a dire wolf. Those aren't just labels—they're worldview made visible. Actionable step: Start a “diagonal toast” notebook. Every time you notice something strange and specific about someone's behaviour—something that feels too real to be made up—write it down. Then gift it to a character who needs more texture. 7. Displace Your Own Trauma into the Work Barbara Nickless shared something deeply personal on episode 732 that fundamentally changed how I think about putting pain onto the page. While starting At First Light, the first book in her Dr. Evan Wilding series, she lost her son to epilepsy—something called SUDEP, Sudden Unexplained Death in Epilepsy. One day he was there, and the next day he was gone. Barbara said that writing helped her cope with the trauma, that doing a deep dive into Old English literature and the Viking Age for the book's research became a lifeline. But here's what's important: she didn't give Dr. Evan Wilding her exact trauma. Evan Wilding is four feet five inches, and Barbara described how he has to walk through a world that won't adjust to him. That's its own form of learning to cope when circumstances are beyond your control. She displaced her genuine grief into the character's different but parallel struggle. When I asked her about the difference between writing for therapy and writing for an audience, she drew on her experience teaching creative writing to veterans through a collaboration between the US Department of Defense and the National Endowment for the Arts. She said she's found that she can pour her heartache into her characters and process it through them, even when writing professionally, and that the genuine emotion is what touches readers. We've all been through our own losses and griefs, so seeing how a character copes can be deeply meaningful. I've always found that putting my own pain onto the page is the most direct way to connect with a reader's soul. My character Morgan Sierra's musings on religion and the supernatural are often my own. Her restlessness, her fascination with the darker edges of faith—those come from me. But her Krav Maga fighting skills and her ability to kill the bad guys are definitely her own. That gap between what's mine and what's hers is where the fiction lives. Barbara also said something on that episode that I wrote down and stuck on my wall. She said the act of producing itself is a balm to the soul. I've been thinking about that ever since. On my own wall, I have “Measure your life by what you create.” Different words, same truth. Actionable step: If you're carrying something heavy—grief, anger, fear, regret—consider how you might displace it into a character's different but emotionally parallel struggle. Don't copy your exact situation; transform it. The emotion will be genuine, and the reader will feel it. 8. Write Diverse Characters as Real People When I spoke with Sarah Elisabeth Sawyer on episode 673—Sarah is Choctaw and a historical fiction author honoured by the Smithsonian's National Museum of the American Indian—she offered a perspective that every fiction writer needs to hear. The key message was to move away from stereotypes. Don't write your American Indian character as the “Wise Guide” who exists solely to dispense mystic wisdom to the white protagonist. Don't limit diverse characters to historical settings, as though they only exist in the past. Place them in normal, contemporary roles. Your spaceship captain, your forensic scientist, your small-town baker—any of them can be American Indian, or Nigerian, or Japanese, and their heritage should be a lived-in part of their identity, not the sole reason they exist in the story. I write international thrillers and dark fantasy, and my fiction is populated with characters from all over the world. I have a multi-cultural family and I've lived in many places and travelled widely, so I've met, worked with, and had relationships with people from different cultures. I find story ideas through travel, and if I set my books in a certain place, then the story is naturally populated with the people who live there. As I discuss in my book, How to Write a Novel, the world is a diverse place, so your fiction needs to be populated with all kinds of people. If I only populated my fiction with characters like me, they would be boring novels. There are many dimensions of difference—race, nationality, sex, age, body type, ability, religion, gender, sexual orientation, socio-economic status, class, culture, education level—and even then, don't assume that similar types of people think the same way. Some authors worry they will make mistakes. We live in a time of outrage, and some authors have been criticised for writing outside their own experience. So is it too dangerous to try? Of course not. The media amplifies outliers, and most authors include diverse characters in every book without causing offence because they work hard to get it right. It's about awareness, research, and intent. Actionable step: Audit the cast of your current work in progress. Have you written a mono-cultural perspective for all of them? If so, consider who could bring a different background, perspective, or set of cultural specifics to the story. Not as a token addition, but as a real person with a real life. 9. Respect Tribal and Cultural Specificity Sarah Elisabeth Sawyer on episode 673 was emphatic about one thing: never treat diverse groups as monolithic. If you're writing a Native American character, you must research the specific nation. Choctaw is not Navajo, just as British is not French. Sarah described the distinct cultural markers of the Choctaw people—the diamond pattern you'll see on traditional shirts and dresses, which represents the diamondback rattlesnake. They have distinct dances and songs. She said that if she saw someone in traditional dress at a distance, she would know whether they were Choctaw based on what they were wearing. She encouraged writers who want to write specifically about a nation to get to know those people. Go to events, go to a powwow, learn about the individual culture. She noted that a big misconception is that American Indians exist only in the past—she stressed that they are still here, still living their cultures, and fiction should reflect that present reality. I took a similar approach when writing Destroyer of Worlds, which is set mostly in India. I read books about Hindu myth, watched documentaries about the sadhus, and had one of my Indian readers from Mumbai check my cultural references. For Risen Gods, set in New Zealand with a young Maori protagonist, I studied books about Maori mythology and fiction by Maori authors, and had a male Maori reader check for cultural issues. Research is simply an act of empathy. The practical takeaway is this: if you're going to include a character from a specific cultural background, do the work. Use specific cultural details rather than generic signifiers. Sarah talked about how even she fell into stereotypes when she was first writing, until her mother pointed them out. If someone from within a culture can fall into those traps, the rest of us certainly can. Do the research, try your best, ask for help, and apologise if you need to. Actionable step: If you're writing a character from a specific culture, identify three to five sensory or behavioural details that are particular to that culture—not the generic version, but the real, researched, lived-in version. Consider hiring a sensitivity reader from that community to check your work. 10. Give Your Protagonist a Morally Neutral ‘Hero' Status Matt Bird was clear about this on episode 624: the word “hero” simply means the protagonist, the person we follow through the story. It's a functional role, not a moral label. We don't have to like them. We don't even have to root for their goals in a moral sense. We just have to find them compelling enough to invest our attention in their problem-solving. Think of Succession, where every member of the Roy family is varying degrees of awful, and yet the show was utterly compelling. Or WeCrashed, where Adam Neumann is a narcissistic con artist, but we can't look away because he's trying to solve the enormous problem of building an empire from nothing, and the tradecraft he employs is fascinating. As I wrote in How to Write a Novel, readers must want to spend time with your characters. They don't have to be lovable or even likable—that will depend on your genre and story choices—but they have to be captivating enough that we want to spend time with them. A character who is trying to solve a massive problem will naturally draw investment from the audience, even if we wouldn't want to have tea with them. Will Storr extended this idea by pointing out that the audience will actually root for a character to solve their problem even if the audience doesn't actually want the character's goal to be achieved in the real world. We don't really want more billionaires, but we invested in Adam Neumann's rise because that was the problem the story posed, and our brains are wired to invest in problem-solving. This connects to something deeper: what does your character want, and why? As I explore in How to Write a Novel, desire operates on multiple levels. Take a character like Phil, who joins the military during wartime. On the surface, she wants to serve her country. But she also wants to escape her dead-end town and learn new skills. Deeper still, her father and grandfather served, and by joining up, she hopes to finally earn their respect. And perhaps deepest of all, her father died on a mission under mysterious circumstances, and she wants to find out what happened from the inside. That layering of motivation is what turns a flat character into a three-dimensional one. The audience doesn't need to be told all of this explicitly. It can emerge through action, dialogue, and the choices the character makes under pressure. But you, the writer, need to know it. You need to know what your character really wants deep down, because that desire—more than any external plot device—is what drives the story forward. And your antagonist needs the same depth. They also want something, often diametrically opposed to your protagonist, and they need a reason that makes sense to them. In my ARKANE thriller Tree of Life, my antagonist is the heiress of a Brazilian mining empire who wants to restore the Earth to its original state to atone for the destruction caused by her father's company. She's part of a radical ecological group who believe the only way to restore Nature is to end all human life. It's extreme, but in an era of climate change, it's a motivation readers can understand—even if they disagree with the solution. Actionable step: If you're struggling to make a morally grey character work, make sure their problem is big enough and their methods are specific and interesting enough that we invest in the how, even if we're ambivalent about the what. 11. Build Vibrant Side Characters Gail Carriger made a point on episode 550 that was equal parts craft advice and business strategy. In a Heroine's Journey model, side characters aren't just fodder to be killed off to motivate the hero. They form a network. And because you don't have to kill them—unlike in a hero's journey, where allies are often betrayed or removed so the hero can be further isolated—you can pick up those side characters and give them their own books. Gail said this creates a really voracious reader base. You write one series with vivid side characters, and then readers fall in love with those side characters and want their stories. So you write spin-offs. The romance genre does this brilliantly—think of the Bridgerton books, where each sibling gets their own novel. The side character in one book becomes the protagonist in the next. Barbara Nickless experienced this firsthand with her Dr. Evan Wilding series. She has River Wilding, Evan's adventurous brother, and Diana, the axe-throwing research assistant, and her editor has already expressed interest in a spin-off series with those characters. Barbara described creating characters she wants to spend time with, or characters who give her nightmares but also intrigue her. That's the dual test: are they interesting enough for you to write, and interesting enough for readers to demand more? As I wrote in How to Write a Novel, characters that span series can deepen the reader's relationship with them as you expand their backstory into new plots. Readers will remember the character more than the plot or the book title, and look forward to the next instalment because they want more time with those people. British crime author Angela Marsons described it as readers feeling like returning to her characters is like putting on a pair of old slippers. Actionable step: Look at your supporting cast. Is there a side character who is vivid enough to carry their own story? If not, what could you add—a specific hobby, a distinct voice, a compelling backstory—that would make readers want more of them? 12. Use Voice as a Rhythmic Tool Voice is one of the most important elements of novel writing, and Matt Bird helped me think about it in a technical, mechanical way that I found really useful. He pointed out that the ratio of periods to commas defines a character's internal reality. A staccato rhythm—lots of periods, short sentences—suggests a character who is certain, grounded, or perhaps survivalist and traumatised. Katniss in The Hunger Games has a period-heavy voice. She's in survival mode. She doesn't have time for complexity or qualification. A flowing, comma-heavy style suggests someone more academic, more nuanced, or possibly more scattered and manipulative. The character who qualifies everything, who adds sub-clauses and digressions, is a different kind of person from the character who speaks in declarations. This is something you can actually measure. Pull up a passage of your character's dialogue or internal monologue and count the periods versus the commas. If the rhythm doesn't match who the character is supposed to be, you've found a mismatch you can fix. Sentence length is the heartbeat of your character's persona. And voice extends beyond rhythm to the words themselves. As I discussed in the metaphor families tip, each character should draw from a distinctive well of language. But voice also encompasses their relationship to silence. Some characters talk around the thing they mean; others say it straight. Some are self-deprecating; others are blunt to the point of rudeness. All of these choices are character choices, not just style choices. I find it useful to read my dialogue aloud—and not just to check for naturalness, but to hear whether each character sounds distinct. If you could swap dialogue lines between two characters and nobody would notice, you have a voice problem. One practical test: cover the dialogue tags and see if you can tell who's speaking from the words alone. Actionable step: Choose a key passage from your protagonist's point of view and read it aloud. Does the rhythm match the character? A soldier under fire should not sound like a philosophy professor at a wine tasting. Adjust the ratio of periods to commas until the voice feels right. 13. Link Character and Plot Until They're Inseparable Will Storr made the case on episode 490 that the number one problem he sees in the writing he encounters—in workshops, in submissions, even in published books—is that the characters and the plots are unconnected. There's a story happening, and there are people in it, but the story isn't a product of who those people are. He said a story should be like life. In our lives, the plots are intimately connected to who we are as characters. The goals we pursue, the obstacles we face, the same problems that keep recurring—these are products of our personalities, our flaws, our specific ways of being in the world. His framework is that your plot should be designed specifically to plot against your character. You've got a character with a particular flaw; the plot exists to test that flaw over and over until the character either transforms or doubles down and explodes. Jaws is the perfect example. Brody is afraid of water. A shark shows up in the coastal town he's responsible for protecting. The entire plot is engineered to force him to confront the one thing he cannot face. Will pointed out that the whole plot of Jaws is structured around Brody's flaw. It begins with the shark arriving, the midpoint is when Brody finally gets the courage to go into the water, and the very final scene isn't the shark blowing up—it's Brody swimming back through the water. Even a film that's ninety-eight percent action is, at its core, structured around a character with a character flaw. This is the standard I aspire to in my own work, even in my action-heavy thrillers. The external plot should be a mirror of the internal struggle. When those two are aligned, the story becomes irresistible. Will also made an important point about series fiction, which is where most commercial authors live. I asked him how this works when your character can't be transformed at the end of every book because there has to be a next book. His answer was elegant: you don't cure them. Episodic TV characters like Fleabag or David Brent or Basil Fawlty never truly change—and the fact that they don't change is actually the source of the comedy. But every episode throws a new story event at them that tests and exposes their flaw. You just keep throwing story events at them again and again. That's a soap opera, a sitcom, and a book series. As I wrote in How to Write a Novel, character flaws are aspects of personality that affect the person so much that facing and overcoming them becomes central to the plot. In Jaws, the protagonist Brody is afraid of the water, but he has to overcome that flaw to destroy the killer shark and save the town. But remember, your characters should feel like real people, so never define them purely by their flaws. The character addicted to painkillers might also be a brilliant and successful female lawyer who gets up at four in the morning to work out at the gym, likes eighties music, and volunteers at the local dog shelter at weekends. Character wounds are different from flaws. They're formed from life experience and are part of your character's backstory—traumatic events that happened before the events of your novel but shape the character's reactions in the present. In my ARKANE thrillers, Morgan Sierra's husband Elian died in her arms during a military operation. This happened before the series begins, but her memories of it recur when she faces a firefight, and she struggles to find happiness again for fear of losing someone she loves once more. And then there's the perennial advice: show, don't tell. Most writers have heard this so many times that it's easy to nod and then promptly write scenes that tell rather than show. Basically, you need to reveal your character through action and dialogue, rather than explanation. In my thriller Day of the Vikings, Morgan Sierra fights a Neo-Viking in the halls of the British Museum and brings him down with Krav Maga. That fight scene isn't just about showing action. It opens up questions about her backstory, demonstrates character, and moves the plot forward. Telling would be something like: “Morgan was an expert in Krav Maga.” Showing is the reader discovering it through the scene itself. Actionable step: Look at the main plot events of your novel. For each major turning point, ask: does this scene specifically test my protagonist's flaw? If not, can you redesign the scene so that it does? The tighter the connection between character and plot, the more powerful the story. 14. The ‘Maestra' Approach: Write Out of Order If you're a discovery writer like me, you may feel like the deep character work I've been describing sounds more suited to plotters. But Barbara Nickless gave me a beautiful metaphor on episode 732 that reframes it entirely. Barbara described her evolving writing process as being like a maestra standing in front of an orchestra. Sometimes you bring in the horns—a certain theme—and sometimes you bring in the strings—a certain character—and sometimes you turn to the soloist. It's a more organic and jumping-around process than linear writing, and Barbara said she's only recently given herself permission to work this way. When I told her that I use Scrivener to write in scenes out of order and then drag and drop them into a structure later, she was genuinely intrigued. And this is how I've always worked. I'll see the story in my mind like a movie trailer—flashes of the big emotional scenes, the pivotal confrontations, the moments of revelation—and I write those first. I don't know how they hang together until quite late in the process. Then I'll move scenes around, print the whole thing out, and figure out the connective tissue. The point is that discovery writers can absolutely build deep characters. Sometimes writing the big emotional scenes first is how you discover who the character is before you fill in the rest. You don't need a twenty-page character worksheet or a 200-page outline like Jeffery Deaver. You need to be willing to follow the character into the unknown and trust that the structure will emerge. As Barbara said, she writes to know what she's thinking. That's the discovery writer's credo. And I would add: I write to know who my characters are. Actionable step: If you're stuck on your current chapter, skip it. Write the scene that's burning in your imagination, even if it's from the middle or the end. That scene might be the key to unlocking who your character really is. 15. Use Research to Help with Empathy Research shouldn't just be about factual accuracy—it's a tool for finding the sensory details that create empathy. Barbara Nickless described research as almost an excuse to explore things that fascinate her, and I feel exactly the same way. I would go so far as to say that writing is an excuse for me to explore the things that interest me. Barbara and I both travel for our stories. For her Dr. Evan Wilding books, she did deep research into Old English literature and the Viking Age. For my thriller End of Days, I transcribed hours of video from Appalachian snake-handling churches on YouTube to understand the worldview of the worshippers, because my antagonist was brought up in that tradition. I couldn't just make that up. I had to hear their language, feel their conviction, understand why they would hold venomous serpents as an act of faith. Barbara also mentioned getting to Israel and the West Bank for research, and I've been to both places too. Finding that one specific sensory detail—the smell of a particular location, the specific way an expert handles a tool, the sound of a particular kind of music—makes the character's life feel lived-in. It's the difference between a character who is described as living in a place and a character who inhabits it. As I wrote in How to Write a Novel, don't write what you know. Write what you want to learn about. I love research. It's part of why I'm an author in the first place. I take any excuse to dive into a world different from my own. Research using books, films, podcasts, and travel, and focus particularly on sources produced by people from the worldview you want to understand. Actionable step: For your next piece of character research, go beyond reading. Watch a documentary, visit a location, talk to someone who lives the experience. Find one sensory detail—a smell, a sound, a texture—that you couldn't have invented. That detail will make your character feel real. Bonus: Measure Your Life by What You Create In an age of AI and a tsunami of content, your ultimate brand protection is the quality of your human creation. Barbara Nickless said that the act of producing itself is a balm to the soul, and I believe that with every fibre of my being. Don't be afraid to take that step back, like I did with my deadlifting. Take the time to master these deeper craft skills. It might feel like you're slowing down or going backwards by not chasing the latest marketing trend, but it's the only way to step forward into a sustainable, high-quality career. Your characters are your signature. No AI can replicate the specificity of your lived experience, the emotional truth of your displaced trauma, or the sensory details you've gathered from a life of curiosity and travel. Those are yours. Pour them into your characters, and they will resonate for years to come. Actionable Takeaway: Identify the Dramatic Question for your current protagonist. Can you state it in a single sentence with the kind of specificity Will Storr described? Is it as clear as “Are you ordinary or extraordinary?” or “Are you the only adult in the room?” If you can't answer it with that kind of precision, your character might still be a sketch. Give them a diagonal toast moment today. Find the one hyper-specific detail that proves they are not an imitation of life. And then ask yourself: does your plot test your character's flaw in every major scene? If you can align those two things—a precisely defined character and a plot that exists to test them—you will have a story that readers cannot put down. References and Deep Dives The episodes I've referenced today are all available with full transcripts at TheCreativePenn.com: Episode 732 — Facing Fears, and Writing Unique Characters with Barbara Nickless Episode 673 — Writing Choctaw Characters and Diversity in Fiction with Sarah Elisabeth Sawyer Episode 624 — Writing Characters with Matt Bird Episode 550 — The Heroine's Journey with Gail Carriger Episode 490 — How Character Flaws Shape Story with Will Storr Books mentioned: The Secrets of Character: Writing a Hero Anyone Will Love by Matt Bird The Science of Storytelling by Will Storr The Heroine's Journey by Gail Carriger How to Write a Novel: From Idea to Book by Joanna Penn You can find all my books for authors at CreativePennBooks.com and my fiction and memoir at JFPennBooks.com Happy writing! How was this episode created? This episode was initiated created by NotebookLM based on YouTube videos of the episodes linked above from YouTube/TheCreativePenn, plus my text chapters on character from How to Write a Novel. NotebookLM created a blog post from the material and then I expanded it and fact checked it with Claude.ai 4.6 Opus, and then I used my voice clone at ElevenLabs to narrate it. The post Writing Characters: 15 Actionable Tips For Writing Deep Character first appeared on The Creative Penn.

Last time we spoke about the Soviet-Japanese neutrality pact. In the summer of 1939, the Nomonhan Incident escalated into a major clash along the Halha River, where Soviet-Mongolian forces under Georgy Zhukov decisively defeated Japan's Kwantung Army. Zhukov's offensive, launched on August 20, involved intense artillery, bombers, and encirclement tactics, annihilating the Japanese 23rd Division and exposing weaknesses in Japanese mechanized warfare. The defeat, coinciding with the Hitler-Stalin Nonaggression Pact, forced Japan to negotiate a ceasefire on September 15-16, redrawing borders and deterring further northern expansion. Stalin navigated negotiations with Britain, France, and Germany to avoid a two-front war, ultimately signing the German-Soviet pact on August 23, which secured Soviet neutrality in Europe while addressing eastern threats. Post-Nomonhan, Soviet-Japanese relations warmed rapidly: fishing disputes were resolved, ambassadors exchanged, and the Chinese Eastern Railway sale finalized. By 1941, a neutrality pact was concluded, allowing Japan to pivot southward toward China and Southeast Asia.   #193 The Chiang-Wang Divide Welcome to the Fall and Rise of China Podcast, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about the history of Asia? Kings and Generals have an assortment of episodes on history of asia and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel where I cover the history of China and Japan from the 19th century until the end of the Pacific War. After that lengthy mini series covering the battle of Khalkin Gol, we need to venture back into the second sino-japanese war, however like many other colossal events….well a lot was going on simultaneously. I wanted to take an episode to talk about the beginning of something known as the Reorganized National Government of the Republic of China, or much shorter, the Wang Jingwei Regime. It's been quite some time since we spoke about this character and he is a large part of the second sino-japanese war.    After the fall of Tianjin and Beiping, the government offices in Nanjing entered their annual summer recess. All of GMD's senior leadership, from Chiang Kai-shek down to Wang Jingwei, gathered on Mount Lu, a picturesque resort in northern Jiangxi, south of the Yangtze, famed for cliffs, clouds, and summer villas. Although Chiang had visited Mount Lu every summer, this was the first occasion that nearly the entire central government assembled there. Analysts suspected the gathering was a deliberate move to relocate government functions inland in the event of total war. Dozens of the nation's leading intellectuals were invited to Mount Lu to discuss strategies for countering Japan's ambitions. The forum was scheduled to begin on July 15 and to last twenty-seven days in three phases. The bridge incident caught them off guard. Unlike Manchuria, Beiping had long been the nation's capital, and the shock added urgency to the proceedings. When the forum, chaired by Wang, finally opened on July 16, speculation ran as to whether this signaled another regional conflict or the onset of full-scale war. The media pressed for a resolute stance of resistance from the government. To dispel the mounting confusion and perhaps his own indecision, Chiang delivered a solemn speech on July 17, declaring that if the incident could not be resolved peacefully, China would face the "crucial juncture" of national survival and would consider military action; if war began, every Chinese person, from every corner of the country and from every walk of life, would have to sacrifice all to defend the nation.   Chiang's Mount Lu Speech was now commonly regarded as the moment when China publicly proclaimed its firm commitment to resistance. Contemporary observers, however, did not take Chiang's stance at face value. Tao Xisheng, a Peking University law professor who had been invited, recalled that after the speech, people gathered in Hu Shi's room to discuss whether a peace option remained. Chiang left the mountain on July 20, leaving Wang to chair the conference. The discussions continued upon their return to Nanjing, where a National Defense Conference was organized in mid-August. It was also Tao's first encounter with Wang Jingwei. A "peace faction," largely composed of civil officials and intellectuals, began to take shape around Wang, favoring diplomatic solutions over costly and potentially ineffective military action.   During this period, both Chiang and Wang publicly called for resistance, while both harbored hopes for a peaceful solution. Yet their emphases differed. On July 29, Wang Jingwei delivered a radio address from Nanjing titled "The Critical Juncture," echoing Chiang's slogan. He likewise asserted that after repeated concessions and retreats, the critical juncture had come for China to rise against Japan. It would be a harsh form of resistance, since a weak nation had no alternative but to sacrifice every citizen's life and scorch every inch of land. Yet toward the end, Wang's speech took on an ironic turn. He stated, "The so-called resistance demands sacrificing the whole land and the whole nation to resist the invader. If there is no weakness in the world, then there is also no strength. Once we have completed the sacrifice, we also realize the purpose of resistance. We hail 'the critical juncture'! We hail 'sacrifice'!" The sentiment sounded almost satirical, revealing his doubt about the meaning of total sacrifice.   The hope for containment was crushed by Japan's ongoing advances. On November 12, Shanghai fell. Chiang's gamble produced about 187,200 Chinese casualties, including roughly 30,000 officers trained to German standards. Japanese casualties were estimated at a third to a half of the Chinese losses, still making it their deadliest single battle to date. The battered Japanese Imperial Army and Navy, long convinced of their invincibility, were consumed by vengeful bloodlust. The army swept from Shanghai toward Nanjing, leaving a trail of murder, rape, arson, and plunder across China's heartland.   With the fall of Nanjing looming, the central government announced on November 20 that it would relocate to Chongqing, a city upriver on the Yangtze protected by sheer cliffs. Plans for Chongqing as a reserve capital had already begun in 1935, with Hankou as the midway station. To preserve elite troops for the future while saving face, Nanjing was entrusted to General Tang Shengzhi and his roughly one hundred thousand largely inexperienced soldiers. Nanjing fell on December 13. Despite this victory, Japan's hopes of ending the China Incident within three months were dashed. The carnage produced by the war, especially the Rape of Nanjing, left a profound moral stain on humanity. A mass exodus from the coastal provinces toward the hinterland began. People fled by boats, trains, buses, rickshaws, and wheelbarrows. Universities, factories, and ordinary households were moved halfway across China, step by step. The nation resolved to persevere, even in distant mountains and deserts if necessary. In Sichuan alone, government relief agencies officially registered about 9.2 million refugees during the war years.   Chiang Kai-shek, after paying respects at Sun Yat-sen's mausoleum, flew to Mount Lu with Song Meiling. The so-called Second Couple chose a more modest path: like most refugees, the Wang family traveled upriver along the Yangtze. On November 21, they left Nanjing, abandoning a recently renovated suburban home and thirty years of collected books. Coincidentally, the ship carrying Wang Jingwei from Nanjing to Wuhan was SS Yongsui, the former SS Zhongshan that had escorted Sun Yat-sen to safety and witnessed Wang's ascent and subsequent downfall from power. Ironically renamed "Yong-sui," the ship's new title meant "peace," while the compound term suijing denoted a policy of appeasement. This symbolism—Wang being carried away from Nanjing by a ship named "Eternal Peace"—foreshadowed his eventual return to the city as a champion of a "peace movement."   After the Mount Lu Forum, Hu Shi and Tao Xisheng could not return to Beiping, now under Japanese occupation. They joined the government in Nanjing. Beginning in mid-August, Japanese bombers began attacking Nanjing. Air power—an unprecedented weapon of mass destruction—humbled and awed a Chinese public largely unfamiliar with airborne warfare. By striking a target that did not serve its immediate interests, Japan demonstrated its world-class military might and employed psychological warfare against the Chinese government and people. Because Zhou Fohai's villa at Xiliuwan had a fortified cellar suitable as an air-raid shelter, a group of like-minded intellectuals and civil servants sought refuge there. They preferred a peaceful approach to the conflict, subscribing to the idea of trading space for time—building China's industrial and military capabilities before confronting Japan. Tao Xisheng and Mei Siping, old allies of Zhou Fohai, lived in his house. Another frequent guest was Luo Junqiang, an ex-communist. The former CCP leader Chen Duxiu, recently released from prison, joined their gatherings a few times. Gao Zongwu hosted another meeting site. Hu Shi, as a guest himself, jokingly called this circle the "Low-Key Club" (Didiao julebu), a label that underscored their pragmatic defiance of the government's high-flown rhetoric urging all-out resistance. Many members of this group would later become central figures in a conspiracy known as the "peace movement," with Wang Jingwei as its leader and emblem.   As Gerald Bunker noted, the peace scheme did not originate with Wang but with certain associates of Chiang, elements in Japanese military intelligence, and members of liberal-minded Japanese political circles who were linked to Konoe. Zhou Fohai belonged to the Chiang-loyalist CC faction, named for Chen Guofu and Chen Lifu. Zhou believed that resistance under current conditions was suicidal. He sought to influence Chiang through people around him, including Wang Jingwei, whom he found impressionable and began visiting at Wang's salon. Gao Zongwu, head of the Foreign Ministry's Asian Department, felt sidelined by Chiang's uncompromising stance. They shared the sense that Chiang might be willing to talk but feared the price, perhaps his own leadership. They were dismayed by the lack of a long-range war plan beyond capitulation. Their view was that China's battlefield losses would worsen the terms of any settlement, and that the war's outcome seemed to benefit Soviet Russia and undermine the GMD more than China itself. The rapid collapses of Shanghai and then Nanjing vindicated their pessimism. Chiang's autocratic decision-making only deepened their dissatisfaction. They feared China was again at risk of foreign conquest from which it might not recover.   Wang Jingwei became the focal point for these disaffected individuals, drawn by his pacifist leanings, intellectual temperament, and preference for consensus-building. After the government relocated to Hankou, he lent guidance to the Literature and Art Research Society (Yiwen yanjiu hui), a propagandist body led by Zhou Fohai and Tao Xisheng. Its purpose was to steer public opinion on issues like the war of resistance and anticommunism, and to advocate a stance that the government must preserve both peace and war as options. Many believed it to be Wang's private organization; in truth, Chiang supported its activities. For much of 1938, Chiang's belligerent anti-Japanese rhetoric and Wang's conciliatory push were two sides of the GMD's broader strategy.   Among the society's regional branches, the Hong Kong chapter flourished under Mei Siping and Lin Baisheng. In addition to editing South China Daily News, Lin established Azure Books and the International Compilation and Translation Society (Guoji bianyishe) as primary propaganda organs. Ironically, Mei Siping had himself been a radical during the 1919 student protests, when he helped set fire to the deputy foreign minister's house in protest of perceived capitulation to Japan.   Wang Jingwei also actively engaged in international efforts to broker peace between Japan and China, including Trautmann's mediation by the German ambassador. Since the outbreak of war, various Western powers had contemplated serving as mediators, but none succeeded. Nazi Germany, aligned with Japan in an anti-Soviet partnership, emerged as China's most likely ally because it did not want Japan to squander its strength in China or compel China to seek Soviet help. Conversely, Japan's interest lay in prolonging the war or achieving a swift settlement. Ambassador Trautmann met with Wang Jingwei multiple times from October 31 to early November 1937 to confirm China's preference for peace before negotiating with Japan. The proposal Trautmann carried to Chiang Kai-shek on November 5 proposed terms including autonomy for Inner Mongolia, a larger demilitarized zone in North China, an expanded cease-fire around Shanghai, a halt to anti-Japanese movements, an anti-communist alliance, reduced tariffs on Japanese goods, and protection of foreign interests in China. Although Japan did not specify territorial gains, these terms deviated significantly from Chiang's demand to restore pre–Marco Polo Bridge status. After Shanghai fell, Chiang's rigidity softened.   On December 5, at Hankou, the National Defense Conference agreed to begin peace negotiations based on Trautmann's terms, a decision Chiang approved. But it was too late: Nanjing fell on December 13, and a provisional Beiping government led by Wang Kemin was established, signaling Japan's growing support for regional separatism. On December 24, Japan issued an ultimatum for a harsher deal to be accepted by January 10. In response, Chiang resigned as chairman of the Executive Yuan on January 1, 1938, and was succeeded by his brother-in-law Kong Xiangxi. Chiang declared that death in defeat was preferable to death in disgrace and refused to yield under coercion. The Konoe Cabinet announced on January 16 that Japan would not negotiate with Chiang Kai-shek. Trautmann's mediation had failed.   After Konoe's announcement, mediation became even more precarious, as it placed the already deadly, no-win situation between the two nations in deeper jeopardy. Secret contacts between the two governments persisted through multiple channels—sometimes at the direction of their own leaders, other times at the initiative of a cadre of officials and quasi-official figures of dubious legitimacy. Many of these covert efforts were steered by Chiang himself. In late 1937, Wang Jingwei even sent Chen Gongbo to Rome to explore the possibility of Italian mediation between China and Japan. After meetings with Mussolini and Foreign Minister Ciano, Chen concluded that Italy had no genuine goodwill toward China and favored Japan. His conversations with other Western leaders (Belgium, France, Britain, and the United States) proved equally fruitless. In diaries, Zhou Fohai and Chen Kewen recorded a pervasive mood of pessimism among Hankou and Chongqing's national government factions. Although direct champions of negotiating with Japan were few, many voices insisted that China was on the brink of collapse while secretly hoping peace talks would begin soon. Gao Zongwu's mission emerged from this tense atmosphere.   With Konoe's cabinet refusing to negotiate with Chiang Kai-shek, many regarded Wang as the best candidate to carry forward a diplomatic solution. Yet Wang remained convinced of his loyalty to Chiang and to Chiang's policy. The Italian ambassador visited Wuhan to offer mediation between Wang and the Japanese government, an invitation Wang declined. Tang Shaoyi's daughter traveled to Wuhan to convey Tokyo's negotiation intent, but was similarly turned away. Even Chen Bijun, then in Hong Kong, urged Wang to join her and start peace negotiations; he again declined. Tao Xisheng remembered a quiet night when Wang confided in him: "This time I will cooperate with Mr. Chiang until the very end, regardless of how the war unfolds." His stance did not change when Gao Zongwu reported that the Imperial Japanese Army General Staff Office wanted him to head the peace talks.   Gao Zongwu's bid was brokered by Dong Daoning, head of the Japan Affairs Section in the Foreign Ministry. Shortly after Konoe's statement, Dong traveled to Shanghai to meet Nishi Yoshiaki, representative of Mantetsu, and Matsumoto Shigeharu, a Dōmei News Agency journalist. Nishi and Matsumoto then introduced Dong to Kagesa Sadaaki, head of the Strategy and Tactics Department in the General Staff Office. Kagesa introduced Dong to Deputy Director Tada Hayao and colleagues Ishiwara Kanji and Imai Takeo, who agreed that a peaceful resolution to the China crisis aligned with Japan's interests. It would be inaccurate to paint these figures as pacifists: Ishiwara, who helped build Manchukuo, also recognized that further incursions into China could jeopardize Japan's hard-won gains. They proposed a temporary resignation by Chiang to spare Konoe from having to retract his refusal to negotiate, thereby allowing Wang to lead the talks. In short, the scheme aimed to save face for Konoe.   Dong returned to Hong Kong and delivered the proposal to Gao Zongwu, who had been stationed there since February under Chiang's orders to oversee intelligence and liaison with Japan. Luo Junqiang, Gao's contact, testified that Gao was paid monthly from Chiang's secret military fund. Gao went back to Hankou twice, on April 2 and May 30. On the second trip, he personally conveyed Japan's terms to Chiang. Gao later admitted that Chiang never gave him explicit instructions, but rather cultivated an impression of tacit approval. At no point did Gao view the deal as Chiang's betrayal. As long as Chiang retained control of the military, Wang's leadership could only be nominal and temporary. Unbeknownst to Wang, Gao's personal ties to Chiang remained hidden from him; he learned of them only through Zhou Fohai. Startled, he handed the information to Chiang Kai-shek and told Tao Xisheng: "I cannot broker peace with Japan alone. I will not deceive Mr. Chiang." Given Tao's later departure from Wang's circle to rejoin Chiang, Tao's recollection could be trusted.   Two months later, Wang left Chongqing to pursue a peace settlement. A key factor may have been persistent lobbying by Zhou, Gao, Mei, Tao, and especially his wife Chen Bijun. Luo Junqiang recalled that Kong Xiangxi objected that Gao acted without him, prompting Chiang to order Gao to halt his covert efforts, an order Gao ignored. Gao and Mei Siping continued to press for a deal. Gao even spent three weeks in Japan in July, holding extensive talks with Kagesa Sadaaki and Imai Takeo. Their discussions produced the first substantive articulation of the Wang peace movement as a Sino-Japanese plot to end the "China incident." On November 26, Mei flew from Hong Kong to Chongqing with a draft of Japan's terms and Konoe's planned announcement. The proposal stated that the Japanese army would withdraw completely within two years once peace was reached, but it demanded that China formally recognize Manchukuo. Wang was to leave Chongqing for Kunming by December 5, then proceed to Hanoi. Upon Japan receiving news of his arrival in Hanoi, the telegram would reveal the peace terms. This pivotal moment threw Wang into intense inner turmoil. Zhou Fohai visited Wang daily, and Wang delayed decisively each time, much to Zhou's frustration. Ultimately, it seemed that Chen Bijun rendered the final judgment on Wang's behalf. As in earlier episodes, Wang found himself trapped by an idealized image of himself held by family, followers, and loyalists, seen by them as a larger-than-life figure who must undertake a mission too grand to fail.   Yet Wang's stance was not purely involuntary. As Imai Takeo noted, he fundamentally disagreed with Chiang's strategy of resistance. The so-called scorched-earth approach caused immense suffering. Three episodes stood out: the 1938 Yellow River flood, ordered by Chiang to impede Japan's advance, which destroyed dikes and displaced millions, yielding devastating agricultural and humanitarian consequences; the subsequent epidemics and famine that followed, producing about two million refugees and up to nine hundred thousand deaths, while failing to stop the Japanese advance toward Wuhan (which fell in October); and the Changsha fire, ignited in the early hours of November 13, which killed nearly thirty thousand people and devastated most of the city. These events sharpened Wang's doubts about Chiang's defense strategy, especially its reckless execution and cruelty. By late November, Wang began to openly challenge Chiang's approach, delivering a series of speeches advocating his own war-weariness and preference for limiting resistance to preserve national strength for future counterstrikes. He argued that guerrilla warfare burdened the people and wasted national resources that could be saved for a later, more effective defense. He urged soldiers to exercise judgment and listen to their consciences, and he attributed much of the civilian suffering to the Communists; nonetheless, with General von Falkenhausen, Chiang's German adviser, now urging a shift toward smaller-unit mobile warfare, Wang's critique of Chiang's strategy took on a more pointed, risksome tone. If resistance equaled total sacrifice, Wang was not prepared to endorse it. As Margherita Zanasi noted, Wang Jingwei and Chen Gongbo had long shared a vision of a self-consciously anti-imperial "national economy", the belief that China's economy had not yet achieved genuine nation-power and that compromising with the foe might be necessary to save the national economy.   Wang and Zhou also worried that continuing resistance would strengthen the Communists and that genuine international aid would not arrive, at least not soon. After Nazi Germany occupied Czechoslovakia, Wang briefly hoped for the formation of an antifascist democratic alliance. Yet the Munich Agreement disappointed him. Viewing Western democracies as culturally imperialist, he doubted they would jeopardize their relations with Japan, another imperial power, on China's behalf. This view was reinforced by Zhou Fohai and other China specialists who had recently joined Wang's circle; they argued that China would fall unless the international situation shifted dramatically. Their forecast would prove accurate only after Pearl Harbor.   In the end, Wang longed for decisive action. He had been sidelined since the government's move to Wuhan. At the GMD Provisional National Congress in Hankou (March 29–April 1), the party resolved to restore Chiang Kai-shek to near-total control by reasserting the authoritarian zongcai system. The Congress also established the People's Political Council as a nominal nod to democracy, but it remained largely consultative. Wang was elected deputy director and chairman of the council, yet he clearly resented the position. Jiang Tingfu described Wang's Hankou mood as "somewhat resentful," recognizing the role as largely ceremonial. More optimistic observers attributed his dismay to the return of dictatorship, and he likely felt increasingly useless. Since the Mukden Incident, Wang had prioritized party unity and been content to play a secondary role to Chiang, but inaction did not fit his sense of historical purpose. It was Zhou Fohai who urged Wang to risk his reputation for a greater cause, presenting a calculated nudge to someone susceptible to idealism. A longing to find meaning through action may have finally pushed him toward a fateful decision. As Chen Bijun bluntly told Long Yun, her husband "was merely an empty shell in Chongqing and could contribute nothing to the country; thus he wanted to change his surroundings."   Wang considered staying abroad as a serious option amid the Hanoi uncertainty. Gao Zongwu had previously told Japanese negotiators that if Konoe's stance did not satisfy Wang, he might head to France. Chongqing echoed this possibility. On December 29, Ambassador Guo Taiqi, acting on Chiang's orders, telegraphed Wang suggesting he go to Europe "to take a break." It would have offered a graceful exit. Kagesa recommended Hanoi as Wang Jingwei's midway station because, as a French colony, it offered a relatively safe environment. Only the French were armed there, and several members of the extended Wang family had grown up in France, enabling them to communicate with the colonial authorities.   After Wang departed for Hanoi, Long Yun hesitated for weeks. On December 20, he telegraphed Chiang, saying Wang had paused in Kunming on the way to Hanoi to seek medical treatment. Knowing this was untrue, Chiang replied on December 27 with a stern warning about Japan's unreliability, a message that appeared to have persuaded Long. A day later, Long urged leniency for Wang. Following Wang's publication of the "yan telegram," public anger likely pushed Long toward a final decision. On January 6, he informed Chiang of a letter from Wang delivered by Chen Changzu, and he noted that the Wangs were considering the French option, but recommended allowing Wang to return to Chongqing to show leniency and to enable surveillance.   Chiang replied two days later that Wang would be better off going to Europe. The extended Wang family resided in two Western-style mansions at 25 and 27 Rue Riz Marché, surrounded by high walls. On February 15, Chongqing's envoy Gu Zhengding brought their passports to Hanoi. Accounts differed on what happened next. One version had Wang offering to travel abroad if Chongqing accepted his proposal to start peace talks; if Chongqing remained indecisive, he would return to voice his dissent. Another version claimed Gu's primary task was to bring Wang back to Chongqing, which Wang declined, preferring France.   Although the French option was gaining favor, the Wang circle continued to explore other avenues. In early 1939, secret contacts with the Japanese government persisted, though not always in a coordinated way. Chiang's intelligence advised that the Wang group was forming networks in Shanghai and especially Hong Kong, with Gao Zongwu playing a central role. On February 1, Gao returned from Hong Kong and stayed for five days, finding Wang in a despondent mood. Wang asked Gao to pass along a few letters to Japanese leaders urging the creation of a unified Chinese government to earn the Chinese people's understanding and trust. Wang believed his actions would serve the best interests of both China and Japan. On March 18, the Japanese consulate in Hong Kong informed Gao that funding for the Wang group would come from China's customs revenues that Japan had seized.   Meanwhile, Chiang Kai-shek sensed a shift in the war's direction. On February 10, Japan seized Hainan, China's southernmost major island. The next day, Chiang held a press conference describing the development as "the Mukden Incident of the Pacific." He warned that Japan's ambitions could threaten British and French colonial interests and U.S. maritime supremacy. Gao Zongwu read the speech and concluded that Chiang's outlook had brightened.   For three months, the Wang circle met frequently to weigh options. The prominent writer and scholar Zhou Zuoren, who had already accepted a collaborationist post as head of the Beiping library, warned Tao Xisheng, saying "Don't do it," signaling his misgivings about collaborating with Japan based on his reading of Japanese politics. As Zhou observed, many young Japanese militarists did not even respect General Ugaki, let alone a foreign leader.   Then the assassination of Zeng Zhongming, Wang's secretary and protégé, abruptly altered the meaning of Wang's mission. The Wang group was deeply unsettled by Zeng Zhongming's assassination. The event came as a shock. On March 20, Gu Zhengding's second Hanoi visit concluded. Allegedly Gu delivered passports and funds for a European excursion. On a bright spring day, the entire Wang family enjoyed a lighthearted outing to Three Peaches Beach, only to be halted by a French officer who warned they were being followed. During their afternoon rest, a man posing as a painter, sent by the landlord to measure rooms for payment, appeared at the door and was turned away when he insisted on entering every room. More than twenty people in the household, none were armed.   Since January, Hanoi had been a hive of BIS activity. The ringleader was Chen Gongshu, a veteran operative under spymaster Dai Li, though Chen's recollections clashed with those of other witnesses, leaving the exact sequence unclear. Chen claimed their role was intelligence and surveillance until March 19, when an unsigned telegram from Dai Li ordered, "Severest punishment to the traitor Wang Jingwei, immediately!" The mission supposedly shifted. The Wang family was followed the next day but evaded capture in traffic, prompting a raid on the house. Reports varied: some said Wang resided on the second floor of No. 27; others suggested he lived in No. 25, with No. 27 used for day guests. The force entered the courtyard, forced open the door to Wang's room, and a getaway car waited outside. Chen, in the car, heard gunshots: initial shots toward a downstairs figure, then three shots through a bedroom door hacked open with an axe, aimed at a figure beneath the bed, believed to be Wang Jingwei. The team drove off after four to five minutes. Vietnamese police soon detained three killers who lingered in the courtyard and even listened in on a hospital call. Chen didn't realize the target had been misidentified until the next afternoon. Some BIS records suggested Wang and Zeng Zhongming had swapped bedrooms that night, a detail Chen doubted. Chen did not mention a painter's earlier visit.   There were competing accounts of the event with their numerous inconsistencies that fueled conspiracy theories. Jin Xiongbai outlined three possibilities: (1) the killers killed the "wrong person" as a warning to Wang Jingwei; (2) they killed Zeng to provoke Wang toward collaboration; or (3) the episode was always part of a broader Chiang-Wang collaboration plan.   In any case, Dai Li showed unusual leniency toward Chen Gongshu, who was never punished and later led the Shanghai station. After Dai Li's agent Li Shiqun was captured in 1941, Li not only spared Chen's life but recruited him on a double-agent basis for the remainder of the war, with Chen retiring to Taiwan. Chiang Kai-shek never discussed the case publicly or in his diary, and his silence was perhaps the strongest indication that he ordered the killing.   I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. Wang Jingwei, once a key figure in China's resistance against Japan, grew disillusioned with Chiang Kai-shek's scorched-earth tactics during the Second Sino-Japanese War. Amid devastating events like the Yellow River flood and Changsha fire, which caused immense civilian suffering, Wang joined a peace faction advocating negotiation. Secret talks with Japanese officials led to his defection in 1938. He fled Chongqing to Hanoi, where an assassination attempt, likely ordered by Chiang, killed his secretary Zeng Zhongming instead.