Podcasts about Jaws

Episode 829: Batman/Green Arrow/The Question Arcadia Part 2 Sean and Jim are taking a couple of episodes to look at Batman/Green Arrow/The Question Arcadia. This episode covers issues 3 and 4 of the Black Label miniseries. New Show Voicemail: (440) 363-1061 Sean is a cohost on "Is it Jaws?" Check it out here : https://twotruefreaks.com/podcast/qt-series/is-it-jaws-movie-reviews/ or https://sites.libsyn.com/562405/site Coming Up : Batman 7-12, Barbara Gordon Breakout, Batman: Bad Seeds Upcoming: Batman of Two Worlds, Longest Halloween, Wonder Woman, Absolute Green Arrow, Absolute Batman, Absolute Superman and much more. Show Notes: 0:00 Show Topics: Batman/Green Arrow/The Question Arcadia Issues 3 and 4 3:55 Batman/Green Arrow/The Question Arcadia Part 2 1:18:05 Closing Show Topic Request Form: https://docs.google.com/forms/d/e/1FAIpQLSe5l4gZgdGrNpLXAN4NdcAI0WF7fM7yhjHJ3upZ3azEc31zuw/viewform?usp=sharing Contact Info (Social Media and Gaming) Updated 9/23: https://ragingbullets.com/about/ Facebook Group: https://www.facebook.com/groups/401332833597062/ Sponsors: http://www.DCBService.com, http://www.Instocktrades.com Favorite Organizations : http://www.heroinitiative.org, http://cbldf.org/ We'll be back in a week with more content.  Check our website, Twitter and our Facebook group for regular updates.

The USS Indianapolis sinking remains one of the most devastating naval disasters of World War II. On July 30, 1945, Japanese submarine I-58 torpedoed the heavy cruiser in the Philippine Sea after it completed a secret mission delivering components for the Little Boy atomic bomb to Tinian.Indianapolis sank in about twelve minutes. Nearly nine hundred sailors and Marines reached the water alive, but only 316 of the nearly twelve hundred people aboard survived. For more than three days, the survivors drifted across miles of open ocean with little food, almost no fresh water and failing life jackets. They endured burns, injuries, dehydration, hallucinations, exposure and real shark attacks whose exact death toll can never be known. No rescue force had been sent to find them. The Navy's movement-reporting system failed to recognize that an entire warship was missing, and patrol pilot Wilbur Gwinn discovered the survivors only after a faulty antenna drew him to a hatch above an enormous oil slick.In this episode of Terrifying & True, we follow the secret atomic mission, the attack by Mochitsura Hashimoto's submarine, the twelve-minute sinking, the desperate work of men such as Lewis Haynes, Thomas Conway and Edward Parke, and the dangerous open-ocean landing by PBY pilot Robert Adrian Marks. We also examine the court-martial of Captain Charles McVay, the campaign to clear his name, the 2017 discovery of the wreck, and the way Quint's famous Jaws monologue transformed a complex institutional disaster into a shark legend.Inside this episode:USS Indianapolis and the secret Little Boy atomic bomb mission Japanese submarine I-58 and commander Mochitsura Hashimoto The twelve-minute sinking and nearly nine hundred men in the water Sharks, dehydration, hallucinations and more than three days at sea Wilbur Gwinn, Robert Marks and the accidental rescue Captain Charles McVay's court-martial and eventual exoneration How did a decorated American cruiser vanish between major bases without triggering an immediate search - and why did it take fifty-five years to correct the blame placed on its captain? We're telling that story tonight.

This week on Reel Talk, Honey swings into the cinema to see the new superhero movie, Spider-Man: Brand New Day, Jonathan takes a look at the new crime drama Furious on Hulu and Disney+, and the pair decide it's time to dive into The Hawk on Netflix to see if Will Ferrell's left his magic touch.In other news, Honey is cat sitting for Jonathan whilst Jonathan is cat sitting for Honey, Jonathan gets an opportunity to flex his Marvel knowledge, and Honey goes head to head with a seafood boil at an immersive screening of Jaws.If you want to get involved in the show, follow us on Instagram at @reeltalkross.Listen and subscribe to Reel Talk wherever you get your podcasts.

Subscribe to our channel!  Jonathan Moody, Paul Presenza, and Liz Fletcher chat about the 2012 flick, "Jaws Of The Shark"  Follow us on social media:  @indiefilmcafe  Websites: http://sickflickproductions.com  http://indiefilmcafe.reviews  http://indiefilmcafe.podbean.com  http://patreon.com/indiefilmcafe 

Dein Ansprechpartner für Digitale Kompetenz und mehr Selbstbestimmtheit als Blinder Mensch!Hier sind wir: https://schulze-graben.deStartpage für Screenreader-Nutzer stark eingeschränkt – So suchst du barrierefrei weiter mit Ecosia und AlternativenViele blinde und sehbehinderte Nutzer setzen seit Jahren auf Startpage als schlanke, barrierefreie Suchmaschine. Seit dem 31. Juli ist damit Schluss: Keine Überschriften mehr, nur noch Links und Werbe-Links, die das Navigieren mit JAWS und anderen Screenreadern massiv erschweren. Die Werbung lässt sich nicht mehr sauber überspringen – ein echtes Problem für alle, die selbstbestimmt im Netz suchen wollen.In dieser S-Folge erklärt Jockl (Joachim Schulze) dir genau, was sich geändert hat, warum Google und Bing zwar mühsam, aber noch händelbar bleiben und warum Ecosia aktuell die beste Usability für Screenreader-Nutzer bietet. Die Werbung hat dort keine eigenen Überschriften, die Suchergebnisse sind sauber erreichbar und die Navigation funktioniert zuverlässig.Du erfährst außerdem:- Warum Suchmaschinen unter dem Druck von KI und Finanzierung immer unzugänglicher werden- Warum wir in unserer Audioanleitung "Unterwegs im Internet mit Microsoft Edge" bei Bing bleiben- Konkrete Tipps für barrierefreies Suchen im AlltagEcosia App (empfohlen als aktuelle Alternative):App Store: https://apps.apple.com/app/ecosia-search-to-plant-trees/id670881887Google Play: https://play.google.com/store/apps/details?id=com.ecosia.androidBrauchst du Hilfe beim Einrichten der Suchmaschine oder bei der Browser-Optimierung? Buche eine Fernwartung: 36 € inkl. MwSt. pro angefangene 30 Minuten per JAWS Tandem oder TeamViewer. Einfach Mail an info@schulze-graben.de oder Anruf unter 08232 503133.Bleib selbstbestimmt online – mit Smütech.#Smütech #startpage.com #einschränkung #screenreaderSchön, dass du dabei bist.Wenn du Heute was mitgenommen hast, dann gib doch etwas zurück.Das ist ganz einfach. Besuche https://danke.schulze-graben.de und zeig mir, ob dir die Show gefallen hat.Kleine Gesten machen den Unterschied.

A movie review show that asks the question: Is It Jaws?  Or, in simpler terms, is it a classic, is it good, is it just watchable...or is it totally unwatchable?  Host, Paul Spataro, is joined by a variety of cohosts to look at movies from all

Shark Week Star Kendyl Berna Shares Wild Shark Facts -How big and how fast is the Mako Shark -Does she get nervous around sharks -Swimming in the ocean and spot a shark?  This is what you do  -Greatest misconception of Great White Sharks  To subscribe to The Pete McMurray Show Podcast just click here

Wave pools. Drain suction. Parasites that laugh at chlorine. Turns out the "safe" attraction at the water park was never safe — and we've got the real-life horror stories to prove it (RIP Action Park, aka "Traction Park").

Send us Fan MailThis week we're diving into Deep Blue Sea (1999). We look back on its stacked cast, dissect its balance of creature-feature and ethical sci-fi horror, and debate how its shark approach holds up against the Jaws legacy. This episode contains spoilers, beginning at 21:57.Mentioned in the EpisodeWatch the MovieDeep Blue Sea (1999)Related Episodes⁠024: Scream (1996)⁠097: Alien (1979)⁠162: Jaws 2 (1978)⁠222: Jaws 3-D (1983)⁠279: Jaws: The Revenge (1987)⁠416: Halloween H20: 20 Years Later (1998)Sharksploitation: 50 Years After Jaws (Video)Sharksploitation: 50 Years After Jaws (Episode)Main Episode⁠Sharksploitation: How Jaws Changed Horror and Shark Movies Forever⁠Deepest Bluest (Shark's Fin)⁠How Deep Blue Sea's Most Shocking Death Was Created⁠Cutthroat Island (1995)⁠The Long Kiss Goodnight (1996)⁠Star Wars: Episode I – The Phantom Menace (1999)⁠Sharknado (2013)⁠Frankenstein (1931)⁠Open Water (2003)⁠Piranha (1978)⁠Halloween: Resurrection (2002)⁠Dangerous Animals (2025)⁠Genetic engineering⁠Animal testing⁠Alzheimer's diseaseSupport the showThanks for listening to Hack or Slash! Want more from the show? Join us on Patreon for extended episodes, bonus reviews, B-sides, watchalongs, behind-the-scenes extras, and more ways to help keep the show alive and slashing.Support us on PatreonYou can also hang out with us between episodes in our community spaces. Join the Discord for watch parties, episode discussions, horror recommendations, and general spooky nonsense.Join our DiscordFollow Hack or Slash:WebsiteYouTubeRedditInstagramTikTokHave thoughts on this week's movie? Leave a comment, send us a voicemail, or tag us online. We love hearing your thoughts on the movies we cover.Happy slashing!Music Credits: "Hack or Slash" by Daniel Stapleton

Episode DescriptionTen years to the day, JD travels back to July 30, 2016 and the second of two Edmonton nights on the Man Machine Poem Tour. He's joined by two Edmontonians who were in the building — Kirsten and Chris — for a conversation about scalped tickets and Ticketmaster nightmares, the last concert ever held in Rexall Place, a set list that dug deeper than anyone expected, and the two encores that sent a city home in pieces.It's a night of firsts and lasts: 'Scared' heard live for the first time and the last time in the same breath, a room full of strangers crying through 'Courage,' and a final 'Bobcaygeon' with the whole barn lit up. Fair warning — the waterworks come up more than once.Around the TableJD — host, Your Hipster's Reflections from the Final TourKirsten (Edmonton) — roughly 20 Hip shows deep; attended both Edmonton nights and Calgary night one. First saw the band on the third Another Roadside Attraction tour.Chris (Edmonton) — about half a dozen shows, going back to an Up to Here–era gig at the old Edmonton Convention Centre. Brought his brother to night two.In This EpisodeThe Icebreaker: One Song That Puts You Back in the RoomKirsten picks "Scared" — she was up in the stands when the lights came down and the neon tubes took over. The song and the staging landed at exactly the right moment.Chris picks "Ahead by a Century," and explains why the line "disappointing news getting me down" hit like a freight train that night. He also names "Scared" as a shock — a deep cut he had never heard live and never expected to.A running theme starts here: how far into the catalogue the band was willing to reach on this tour.Hearing the News, and the Fight for TicketsKirsten on the diagnosis: devastating, and immediately followed by a desperate need to be in the room to honour the band.Her Ticketmaster ordeal — bounced three separate times — and a side story about how organizing an unplugged Headstones gig for a Pledge Music drive led to a friendship with Courtney, from the Hip's management side. Shout out to Courtney for the patience and the eventual tickets to Edmonton night one and Calgary night one.Chris rewinds much further: his first Hip show at the old Shaw/Edmonton Convention Centre, when his buddy won the last pair of tickets on the radio and took someone else. Chris went down anyway, watched people offer $200 for a $20 ticket, walked back toward the LRT station, and got face value from the fifteenth person he asked.The beer jug legend — paying a bouncer $20 to work the beer gardens, selling jugs at a markup, and Gord reaching down, taking a swig from Chris's jug, and hurling it into the crowd.The Fully Completely tour show he almost missed: hungover off a flight home from Mexico, picked up at the airport by his dad, who happened to have tickets. They caught it from about song four.For the final tour, a coworker — Kathy Thompson, ticket savant — tipped him off about the presale three days early. He landed what he calls the worst seats of his life and has never been happier about bad seats.Who They Went WithKirsten took her friend Natasha to night two, up in section 201; she had been on the floor for night one with her now-wife, who had never seen the Hip before.Seeing the tour from two different vantage points meant two different shows — and from the upper level she could suddenly see the teleprompters on stage.Chris invited both of the buddies from that very first show — one in Victoria, one living in France — and both had to bow out. His brother got the ticket, and the two of them have a lot of Hip history together.The Set ListOpens with "Blow at High Dough."Chris on the run of Courage / At the Hundredth Meridian / Wheat Kings / Fifty Mission Cap — four of his all-time favourites back to back. He told his brother he could have walked out happy right there.The deep-album slot that night: We Are the Same. Kirsten singles out "Now the Struggle Has a Name" — she still remembers the notes Gord hit — and talks about the mood of "Coffee Girl" and "Morning Moon."Chris is candid that the later records don't sit with him the way the early ones do, and names "An Inch an Hour" as the one that got away.Both were set-list watching night to night, trying to guess which album would get pulled next — and Kirsten notes what it meant for Gord to rotate the set at all, given how well known his struggles with lyrics were (see: "Cordelia" quietly disappearing from set lists for years).The EncoresEncore 1: Greasy Jungle → Scared → Grace, TooEncore 2: Fireworks → BobcaygeonKirsten on closing with "Bobcaygeon" instead of the usual barn-burner — phones and lighters up across the building, and Gord taking long moments to look out and take it in.Chris connects the "checkerboard floors" line to the Horseshoe Tavern in Toronto, and reads the closer as the band pointing back at where they started. He still goes to the Horseshoe every time he's in Toronto.Gord on StageThe eye contact — a recurring observation across this series. Kirsten notes Gord historically avoided looking at people because singing faces threw him off, and that on this tour the fourth wall came down.Her impression of him off stage from a brief meeting: quiet, soft-spoken, very funny, extremely thoughtful.Chris was struck by how minimalist the production was — no big screens, just five guys, a silver suit, the feather hat and the Jaws shirt.The honest part: Gord was visibly struggling in places, missing notes, with the band filling the gaps — and getting noticeably stronger night over night. Kirsten describes a collective will from the crowd pushing him through.The Last Night in the BarnThis was the final concert at Rexall Place / Northlands Coliseum before the move to Rogers Place — so the night carried a second goodbye.Chris and his brother started at the Vinyl Needle downtown (dinner, beers, and a Hip tribute band playing to a very envious crowd), then rode the LRT through pouring rain.Walking into a building he had been going to since 1980 and finding it stripped and sterile — memorabilia pulled down, replaced with deep-cut oddities like an old Edmonton Drillers photo.Kirsten on saying goodbye to a venue where she had seen Oilers playoffs, countless bands, and the Hip many times over.When It Hit"Courage." Chris looked left, looked right, looked down, looked at his brother — everyone was crying. First time he had ever cried at a concert.Kirsten describes it coming in waves, every night, over and over: this is it, this is the final tour.Chris screaming himself hoarse for one more encore — and getting it.Walking out: heavy, but joyful. The same line over and over on the way to the train — "I can't believe I was here."August 20: The CBC National BroadcastKirsten missed it live — Edmonton Fringe obligations with her wife — caught what she could on CBC Radio in the car, then watched her recording that night and lost it.Her take on Gord's address to Trudeau and the reconciliation focus of his final chapter, and on the optimism she thinks the country still needs.Chris hosted a house party for 15 or so, most of them less invested than he was, and had to explain to a room of nieces and nephews why Uncle Chris was crying on the couch.Both reflect on the outdoor watch parties across the country — and Chris floats the idea of doing one for the 10th anniversary.What They'd Tell Someone Who Wasn't ThereChris on the Hip as Canadiana nobody else has matched — the loon call in "Wheat Kings," getting away with naming an album Road Apples, the reflexive "Jacques Cartier, right this way" he and his buddy blurted out at a statue in France — and on being unabashedly proud to be Canadian.Kirsten remembers a spotlit banner behind the stage reading "Canada Loves the Hip," and lands on the privilege of witnessing it: great musicianship, great ambassadors, good people making good art.Notable Quotes“He didn't just sing it. He poured everything into that lyric — the only way he can.” — Chris, on "Ahead by a Century"“I was in the building. And that was what was important. I don't think I've ever been so happy to get such crappy tickets in my life.” — Chris“You just kind of willing him. There was a collective will, just like — you can do this.” — Kirsten“I looked to my left, looked to my right, looked down, and then I looked at my brother, and everybody was crying.” — Chris, on "Courage"“It came in waves. Each night it would come in waves — this is it. This is the final tour.” — Kirsten“I can't believe I was here. That was the thing we kept hearing over and over again as we got on the train.” — Chris“To be a witness of such great musicianship, such great ambassadors to Canada. Just good people doing good art.” — KirstenMentioned in This EpisodeVenues: Rexall Place / Northlands Coliseum · Rogers Place · Edmonton (Shaw) Convention Centre · the Vinyl Needle · the Horseshoe Tavern, Toronto · K-Rock Centre, KingstonSongs: Blow at High Dough · Courage · At the Hundredth Meridian · Wheat Kings · Fifty Mission Cap · Now the Struggle Has a Name · Coffee Girl · Morning Moon · New Orleans Is Sinking · Cordelia · An Inch an Hour · Greasy Jungle · Scared · Grace, Too · Fireworks · Bobcaygeon · Ahead by a CenturyAlbums & tours: Up to Here · Road Apples · Fully Completely · Live Between Us · Music @ Work · We Are the Same · Man Machine Poem · Another Roadside AttractionPeople: Gord Downie · Paul, Rob, Gord Sinclair and Johnny Fay · Courtney (Hip management) · Kathy Thompson · the Headstones · Robert Plant & Alison Krauss at the Edmonton Folk Music FestivalPlugs & Next TimeKirsten and Chris both used their plug on this podcast. Take your flowers, JD.Next episode: Calgary, Night 1 — August 1, 2016.For more information and to follow the series, visit home.tthpods.com. To reach JD, email jd@tthpods.com.This has been a presentation of the Tragically Hip Podcast Series.Support this podcast at — https://redcircle.com/tthtop40/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

  Steven Spielberg is one of the best filmmakers of all time. Jaws, E.T. Raiders of the Lost Ark, Jurassic Park, Schindler’s List, and Saving Private Ryan are bona fide classics. But it’s...

Sylvia Turner, affectionately known to generations of Lafayette families as “Ms. T,” joins Discover Lafayette to reflect upon a remarkable life of teaching, music, faith, and service to others. For more than five decades, beginning in 1972, Sylvia taught children and adults to swim in the backyard pool of her Lafayette home. But anyone fortunate enough to have taken lessons from Ms. T knows she taught much more than swimming. She taught safety. She taught respect. She taught children to encourage one another, to follow rules, to appreciate their parents, and perhaps most importantly, to believe they could do things that initially frightened them. “One of my greatest compliments was when people would say, ‘You don't just teach swimming, do you?'” Sylvia recalls. “I said, ‘No, I don't. I teach everything I can while I can.'” Two Lives: Ms. T and Sylvia the Singer Many Lafayette residents knew Sylvia exclusively as Ms. T, the swim teacher who could spend long summer days in the pool working with one class after another. Others knew an entirely different Sylvia Turner, a classically trained singer whose musical life was intertwined with that of her late husband, John Turner. Sylvia grew up in Fort Worth, Texas, and came to Lafayette with John, who taught voice at UL for 34 years. Sylvia later received an opera scholarship, and the couple performed opera together as well as singing at university commencement ceremonies. She also became a fixture at the Order of Troubadours ball, serving as the opening soloist for “Make Believe” for 40 years. The separation between her two worlds occasionally created funny moments. Sylvia remembers singing at a commencement ceremony when a family approached her afterward, looking puzzled. “Ms. T, is that you? Did you sing?” “Yes,” she answered. “In the singing world, a lot of people didn't know that I taught swimming,” Sylvia says. “And then in the swimming world, a lot of people didn't know that I sang.” Sylvia Turner is an active member of Chorale Acadienne. She is pictured fourth from left in the photo. A Fear of Water Leads to a Lifetime in the Pool It is fitting that Sylvia ultimately devoted so much of her life to teaching people to be comfortable in the water, because she did not learn to swim herself until she was 11 years old. Her mother, Lucille, had nearly drowned at age 18. The experience was so traumatic that Sylvia grew up repeatedly hearing, “Don't go near the water.” Eventually, her mother enrolled her in Red Cross swimming lessons at a park pool. Sylvia loved the water immediately. At the end of the lessons, the instructor announced a swim meet. Sylvia entered, won a red ribbon for second place, and, as she puts it, “I was hooked.” Her mother began allowing her to spend time at the pool, where Sylvia became fascinated by a group of young men who were accomplished divers. She simply asked them if they would teach her. They did. Before long, Sylvia was diving from the three-meter board and later competed as a diver when she was 13 and 14 years old. Eventually, voice training began competing with diving for her attention, but her love of the water never disappeared. The Pool That Started It All Sylvia's path to becoming one of Lafayette's best-known swim instructors began with a frustrating afternoon at Riverside pool. Sylvia and her husband, John, were living in River's Bend with their three children when, on a beautiful sunny day, the lifeguard announced everyone had to leave the pool because he needed to take a test and there was no one qualified to substitute for him. Sylvia was not pleased. “I went home and I said to my husband, ‘You know, if I had a lifesaving badge, I could have gotten up on the stand and we could have kept the pool open.'” John's response was simple: go get it. Sylvia and a friend took a lifesaving class at Girard Park. At the conclusion of the course, the instructor assigned Sylvia two women from a mothers' swimming program to teach. “My ladies did beautifully,” she remembers. “And so I was further hooked.” As Sylvia and John prepared to build their new home, she began thinking about adding a swimming pool. The price gave her pause, particularly when they realized it would effectively double their house payment. Sylvia had an answer. “Oh, John, if I paid for it, could we do it?” How would she pay for it? “I could teach.” And that is exactly what she did. Sylvia began teaching swimming lessons in 1972. Her first student was a young man she met through the grocery store who was preparing to get married. His future wife could swim, he could not, and he did not want to be the person sitting on the beach while everyone else enjoyed the water. Sylvia taught him to swim. Years later, he returned with his children. It was the beginning of generations of Lafayette families learning from Ms, T. Safety Came First Before any child entered Sylvia's pool, there were rules. “Children like to know boundaries,” she says. Students first sat on the deck while Sylvia sat at their eye level and talked about safety. Then she walked them around the pool. Nothing was taken for granted. She showed them the skimmers. She explained the drain. She taught them what the various parts of the pool did and addressed fears children might be reluctant to express. That lesson came partly from the children themselves. One little boy looked across the pool at the dark opening of a skimmer and asked Sylvia, “Is that where you keep Jaws?” From that point forward, Sylvia opened the skimmers so the children could look inside. “I learned the children are great teachers,” she says. “I learned a lot from children.” Only after the rules and pool orientation were complete did everyone get into the water. Teaching Children to Respect One Another Ms. T in a photo taken by Jan Swift when she taught Kelly Swift, Jan’s daughter, to swim and dive….circa 2009. Sylvia's lessons were intentionally positive. “I had the children applaud each other all the time,” she says. “We applauded for everything. We didn't just applaud for excellence. We applauded for effort.” Criticism was not allowed unless it was constructive. Older swimmers were taught how to watch one another perform a stroke and offer feedback, beginning with something the swimmer had done well. Sylvia traces much of that philosophy to her mother, who was an exceptionally positive person, and to the instructor who taught Sylvia lifesaving at Girard Park. “She made you feel like you were the most special person in the world.” Sylvia wanted children in her pool to feel the same way. One experience still moves her. A little girl had missed the first day of lessons and joined the class on the second day. When it was her turn to get onto the diving board, she hesitated. Finally, she turned to Sylvia and asked, “Do they have to watch?” Before Sylvia could say anything, every child waiting nearby turned his or her back. “I can't tell that story without getting emotional,” Sylvia says. The children understood that their classmate needed to try something difficult without an audience. “A lot of times we have to do things without people watching.” “Are You the Boss of This Pool?” Boundaries mattered because safety mattered. During one family swim, a visiting child began running around the pool and jumping too close to other swimmers. Sylvia called him over and explained that the pool had rules. The boy looked at her and asked, “Are you the boss of this pool?” “Yes, I am.” “Oh.” That was the end of the problem. “Children want to know who's in charge,” Sylvia says. “And they want somebody to be in charge.” Those lessons stayed with her students long after class ended. One mother called Sylvia after taking her children to another pool. Her four-year-old son Nicholas noticed another little boy breaking pool safety rules and corrected him. The boy replied that his daddy owned the pool and he could do anything he wanted. He added that he took swimming lessons. Nicholas had an answer: “Well, obviously you don't take from Ms. T because you don't know the rules.” Relaxation and Rhythm For Sylvia, learning to swim rested on two fundamental principles. “The two most important things in swimming are relaxation and rhythm.” Relaxation came first. A tense body does not float well. Students learned to float before progressing incrementally through kicking, strokes, diving and more advanced skills. “You do it by stages,” Sylvia says. “And that's how you learn anything really, by little increments.” The same principle applied to diving. Sylvia never forced a frightened child from the diving board. Students progressed from a knee dive close to the water, to a falling dive, then standing, springing, and eventually diving from the board. Her goal was not simply for a child to acquire a skill. The child needed confidence in that skill. “If you have a skill without confidence, it's not really productive.” Teaching Adults and Overcoming Fear Although Ms, T is best remembered for teaching children, Sylvia loved teaching adults, particularly because, as she says, “They always have baggage.” Some carried a fear of water for decades. She taught men, women and couples, including two women who were 71 years old. But no adult student meant more to Sylvia than her own mother. Lucille's near drowning at age 18 had shaped Sylvia's childhood and her mother's lifelong relationship with water. Then, on her 70th birthday, Lucille surprised Sylvia by announcing a goal for the coming year. “I've decided I'm going to learn to swim.” Sylvia was stunned. Her mother continued: “I've decided that if anybody can teach me, it's you.” Sylvia responded, “Well, you'll never have to give me another compliment in your whole life.” Lucille was unable to make the trip to Lafayette that year, but the following year she came and took lessons from her daughter. By the end of the week, she could swim across the pool without assistance. Sylvia later asked whether she had finally lost her fear. Her mother answered, “I don't know, but I loved being in the water.” Sylvia thought that was enough. Of all the adults she taught, she describes teaching her mother as perhaps the most gratifying experience of all. Generations of Lafayette Families Sylvia never kept count of how many people she taught during her decades in the pool, particularly because so many students returned year after year and eventually brought another generation back with them. Her classes grew largely through word of mouth. Her youngest daughter attended Broadmoor Elementary, where Sylvia was heavily involved in the PTA. The principal, himself the father of seven children whom Sylvia eventually taught along with his wife, allowed her to distribute information about her lessons through the school. “And then word spread.” For younger children, particularly three and four year olds, Sylvia limited classes to six students and had another adult in the water with her. Older, accomplished swimmers could be taught in somewhat larger groups. Sylvia also encouraged parents to observe lessons so they understood what their children were learning and could reinforce those lessons away from the pool. The lessons often carried into everyday family life: respect your parents, appreciate what they do for you, respect other people, encourage others, follow the rules, and understand that safety is never something to take casually. The Teacher Who Never Taught School When asked how she defines herself after a lifetime encompassing swimming, opera, church music, family and community, Sylvia returns to teaching. “Every teacher I ever had told me that I was destined to be a teacher.” Yet she never became a traditional classroom teacher. “I taught Sunday school. I taught junior choir. I taught swimming. I'm an inveterate teacher.” She also remains a singer, grounded in the classical and religious music that has been part of her life since childhood. Sylvia grew up in the church. Her mother sang in the choir, her father was a deacon, and Sylvia herself began singing in choir at age 12. Faith remained a constant through the joyful times and the difficult ones. And that may help explain the extraordinary positivity so many people associate with Ms. T. Asked how she manages to remain positive, Sylvia acknowledges that it requires intention. “You have to work at it, I think, because it's easy to be negative.” Even in the hardest times, she says, there is something to hold onto. “Even in those darkest days, you have to find something. And gratitude is part of it.” Sylvia looks back on her life with gratitude for the people, experiences and opportunities she has been given, while acknowledging that her life has included hardship like anyone else's. “I've had some hard knocks, as everybody does during my life. I'm here to say that I overcame them.” Then she adds the foundation beneath it all: “With the help of my Lord.” For generations of Lafayette families, Ms. T will always be the woman who taught their children to swim. But her legacy reaches well beyond the pool. She taught children to be safe without being afraid, to respect rules and one another, to applaud effort rather than simply excellence, and to gain confidence one small step at a time. And she taught it all while making each child feel that, at that moment, they mattered.

Artificial intelligence is quickly becoming an essential tool for work, school, and everyday life—but getting great results starts with knowing how to ask the right questions. In this episode of the Vispero Training Podcast, we explore the art of prompting and share practical strategies for writing clear, effective prompts that help AI tools produce more accurate, useful, and consistent responses. Along the way, we discuss choosing the right AI tool for different tasks, troubleshooting common issues, and improving accessibility when working with screen readers. We also answer audience questions about using ChatGPT, Claude, Copilot, and Gemini with JAWS, working with transcripts and captions during webinars, and techniques for getting better results from AI-powered workflows. Whether you're brand new to AI or looking to sharpen your prompting skills, this episode is packed with practical tips to help you work more efficiently and confidently with today's AI tools.

The Royals Snatch Defeat From The Jaws Of Victory In The Twin Cities bonus 1050 Fri, 31 Jul 2026 12:55:46 +0000 bYcL8kmcabVjM1OMzldb6bmy4E4t6mwq sports Sports Daily sports The Royals Snatch Defeat From The Jaws Of Victory In The Twin Cities Wichita's popular morning local sports talk radio show is Sports Daily with Jacob Albracht and Tommy Castor. Listen live M-F 7a-11a on KFH! 2024 © 2021 Audacy, Inc. Sports https://player.amperwavepo

This week, we sat down with writer, producer, and showrunner Nick Antosca, the creator behind the shows Channel Zero, The Act, Brand New Cherry Flavor, and the new Apple TV+ series Cape Fear, whose season finale just aired. Nick shared how Jaws and Night of the Living Dead first introduced him to horror as a child and also gave us a behind-the-scenes look at what a showrunner actually does. We also discussed Cape Fear and how he reimagined the iconic story for modern audiences, reinvented Max Cady with Javier Bardem in the role, and approached the adaptation. And of course, Nick shared some great horror recommendations that every fan should check out. This was an awesome conversation about adaptation and the creative process behind some incredible horror projects, sooo… COME HANG OUT!!! Follow Us on Social Media:Instagram & Threads: @mostlyhorrorpodTikTok & Twitter/X: @mostlyhorrorSteve: @stevenisaverage (all socials)Sean: @hypocrite.ink (IG/TikTok), @hypocriteink (Twitter/X)Enjoyed this episode? Don't forget to subscribe, rate, and leave a review on your favorite podcast platform to help us reach more horror fans like you! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Chaz and AJ had a lot of thoughts about the Fauci deposition, and his repeated use of the fifth amendment. (0:00) Helping or hurting? In Dumb Ass News, Chaz and AJ had audio of the aftermath of a truck accident in a parking lot. The man who came by to "help," did nothing to assist. (10:32) Big Mike was live from the Shark studios on Long Island, handling today's "On the Board." The Tribe called in their favorite quotes from "Jaws." (16:12)  Just in time for Shark Week, the first hammerhead shark was tagged off the coast of Rhode Island by the Atlantic Shark Insitute. Jon Dodd was on with Chaz and AJ to talk about the historic moment, and offered to let them and the Tribe name the shark. (32:35)  When cliff-jumping goes wrong, everyone knows it immediately. Chaz and AJ had audio of a California kid incorrectly estimating the distance, and smashing his backside into the cliff face. (45:35) Photo courtesy: Atlantic Shark Institute 

In today's episode, Monica Amadio writes about how major leadership lessons can come from the unlikeliest blockbuster if you look in the right place. Learn more about your ad choices. Visit podcastchoices.com/adchoices

It may not be the best in the series, but it is summer, and we have already reviewed the first 2 Jaws movies!

Four of our favorite actresses, Rebel Wilson, Regina King, Christina Applegate & Jamie-Lynn Sigler, stuck around and indulged us in a game of Rapid Fire. They share their favorite swear words, who would be their prison hallpasses, and their first celebrity crushes. Find out who would communicate with The Breakfast Club quotes, whose first big purchase was a Mickey Mouse statue, and who would win at Jaws trivia! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Episode 828: Batman/Green Arrow/The Question Arcadia Part 1 Sean and Jim are taking a couple of episodes to look at Batman/Green Arrow/The Question Arcadia. This episode covers issues 1 and 2 of the Black Label miniseries. The show also opens up with a brief shout out to San Diego Comic Con News and Batman Day News. Back to the Bins Guest Spot Supergirl 10 (1974), Action Comics 309 https://traffic.libsyn.com/49d2ac06-a944-4e44-b6a3-2741907fd480/Back-to-the-Bins-Supergirl-SCORE_1.mp3 https://backtothebins.libsyn.com Supergirl Review (Is It Jaws?) https://traffic.libsyn.com/db401600-76a6-4051-96d9-e794028cbe90/Is-it-Jaws-Supergirl_1.mp3 https://sites.libsyn.com/562405/site Sean is a cohost on "Is it Jaws?" Check it out here : https://twotruefreaks.com/podcast/qt-series/is-it-jaws-movie-reviews/ or https://sites.libsyn.com/562405/site Coming Up : Batman/Green Arrow/The Question Arcadia Upcoming: Longest Halloween, Wonder Woman, Absolute Green Arrow, Batman, Absolute Superman, and much more. Show Notes: 0:00 Show Topics: Batman/Green Arrow/The Question Arcadia Issues 1 and 2 4:00 Batman/Green Arrow/The Question Arcadia Part 1 2:18:10 Closing Show Topic Request Form: https://docs.google.com/forms/d/e/1FAIpQLSe5l4gZgdGrNpLXAN4NdcAI0WF7fM7yhjHJ3upZ3azEc31zuw/viewform?usp=sharing Contact Info (Social Media and Gaming) Updated 9/23: https://ragingbullets.com/about/ Facebook Group: https://www.facebook.com/groups/401332833597062/ Sponsors: http://www.DCBService.com, http://www.Instocktrades.com Favorite Organizations : http://www.heroinitiative.org, http://cbldf.org/ We'll be back in a week with more content.  Check our website, Twitter and our Facebook group for regular updates.

What's up ghouls, gals, and all of my rabid pals…Tonight, we're venturing into the wild side of horror, where claws are sharper, instincts are deadlier, and humanity isn't always at the top of the food chain. From rabid dogs to raging chimpanzees, we're exploring the horror films that put animals center stage and turn nature into our worst nightmare. Joining us in the discussion is special returning guest Bodhi Maxfield. So, keep your senses alert, listen for the growls, and whatever you do: Don't become the prey...Send us a Message!Follow us on all of our social media platforms:InstagramFacebookTikTok

We’re back with another dose of Nintendo news, game impressions and discussion! Join us as we discuss: Nintendo tariff refund lawsuit Donkey Kong LEGO Pokémon Diamond and Pearl: MAKE ALL documentary JAWS: Retro Edition Credits: Panelists: Hylke – @Gear12Turbo Rosalie – @LittleRecordGirl Edited by: Hylke Langhout Interludes: Craig Windle – @CraigedyCraig / Windmills at Dawn YouTube link N-Focus #287 – The Jaws Of Life (YouTube) Follow us: Gamepodular.com The post N-Focus #287 – The Jaws Of Life appeared first on GAMEPODULAR.

In this episode, Fright Night Flicks: Your go-to horror movie podcast dives into Jaws, the legendary thriller that forever changed the way audiences looked at the ocean. We break down Chief Brody, Quint, and Hooper's hunt for the great white shark while exploring the film's hidden details, unforgettable scenes, behind-the-scenes stories, and the real events that inspired it—including the USS Indianapolis tragedy and the 1916 New Jersey shark attacks. From iconic quotes to filmmaking secrets, discover why Jaws remains one of the greatest horror-thrillers ever made. #Jaws #HorrorMovieReview #StevenSpielberg

Welcome to Episode 265! Content warning: We talk a lot about JAWS in this episode, both the novel and the movie. We jest about the content warning (maybe), but there'll be more JAWS talk in the next episode, too, because after we recorded this one, we jumped in our biblio-adventure-mobile and headed to Mystic Seaport for a related author event: Christopher Shaw Myers talking about his new nonfiction book about his uncle, ROBERT SHAW. Other books that we discuss in our “Just Read” segment include: The Man by Laura Sims (a spontaneous #buddyread) Man Overboard! by Kathleen Rooney When the Stammer Came to Stay by Maggie O'Farrell, illustrated by Daniela Jaglenka Terrazzini The Card-File System of Note-Taking by Jacques Goutor Unnatural Exposure, Scarpetta #8 by Patricia Cornwell Margo's Got Money Troubles by Rufi Thorpe In #BiblioAdventures, Emily talks about starting to watch the adaptation of Margo's Got Money Troubles, and Chris recaps Ellen Carol DuBois' Zoom event on her biography, Elizabeth Cady Stanton: A Revolutionary Life. This was an in-person and online event hosted jointly by the Lewes Public Library, Browseabout Books, and the History Book Festival. As always, we talk about more books (and movies) than are listed here. Thanks for listening, and we wish you lots of Happy Reading! https://www.bookcougars.com/blog-1/2026/episode265

Hey kid, there’s a spider in your bed! From Kingdom of the Spiders (1977) We’re going back to horror history class with Episode 212: Slashers Come of Age and Horror Finds Religion 1975-1979. Seven years ago, in the early days of the Scariest Things, we did some horror history, diving into some of the more obscure titles that you may not be aware of. We stopped at the early seventies, and then went on a very long hiatus. But now we are back with some (maybe) forgotten gems from 1975 to 1979. Friend of the podcast Ian Parker joins Eric and Mike in this deep dive. It took a while, but we are back to our chronology of horror movies. We have picked up the baton and are moving our movie history lessons forward. The seventies were a turbulent period in history. The Hayes Code, now dead and defeated, is no longer. The early seventies started playing around in the margins with movies that pushed the boundaries of what was possible. The advent of the massive summer blockbuster began to separate movies into big-budget and indie-budget films, and horror was part of that trend. Jaws (1975) and The Exorcist (1972) proved that with the right director, scary movies could bring in big money and be legitimate critical darlings as well. The doors opened for studios to pour big money into movies that would become The Omen, Alien, Invasion of the Body Snatchers, and Carrie, landmark movies all. Big-name actors with great pedigrees were coaxed into performing in big studio horror projects. Gregory Peck did The Omen. Faye Dunaway at the height of her career did The Eyes of Laura Mars. It wouldn’t be long before Jack Nicholson got cast in The Shining (1980), but we’ll get to that one later. Having said all that, the studios weren’t quite all-in yet. There were a few pet projects out there. But the domain of the horror movie was still in the dilapidated old downtown movie houses and drive-in theaters. You couldn’t yet rent movies for home viewing. If you wanted to go see independent horror movies, you had to be willing to get down and dirty. The Cineplex wasn’t yet ready for showing off the gory delicacies that were being cooked up in the era when the boundaries between R and X hadn’t been settled yet. Slasher Movies Come of Age Horror never forgot its roots. You could still make a low-budget movie, with no-name actors, scare some teenagers, and turn a profit. But a guy in a rubber suit wasn’t going to cut it anymore. Real explicit violence and raw visceral horror are now how to make a memorable mark. Following in the footsteps of Black Christmas (1972), Last House on the Left (1972), and The Texas Chainsaw Massacre (1974), the slasher film was going to find the sweet spot of low budget and mass appeal. Enter Halloween (1978). Stabbing and spooking were now moving into the suburbs. On a budget of $325,000, Halloween would go on to earn $47,160,000. On a budget of $325,000, Halloween would go on to earn $47,160,000. Hollywood noticed. The impact of Halloween would be felt primarily in the early eighties, but a few filmmakers picked up on the trend early. The slasher films influenced directly in the wake of Halloween include: Don’t Go Into the House (1979), Silent Scream (1979), Tourist Trap (1979), Driller Killer (1979), Prom Night (1980), Maniac (1980), Friday the 13th (1980), Don’t Go into the Woods (1981), Madman (1981), Happy Birthday to Me (1981), My Bloody Valentine (1981), The Burning (1981), The House on Sorority Row (1982), and The Slumber Party Massacre (1982). All of these films featured a masked killer (usually) and some sort of stabbing weapon (usually), and oblivious teen victims (usually), with sexual activity usually as part of the equation (usually)… and a final girl (usually). That’s the modern slasher template. It didn’t take long for filmmakers to figure out the formula. Our great directors who would lead horror for the next twenty years were in place. John Carpenter, Tobe Hooper, and Wes Craven had their knives out and were ready to dominate the field. This genre still felt fresh. The sequels had yet to take control of the industry, and the concept felt raw and scary. This trend would find its killer’s stride in the 80’s, but this is when the slasher movie came out of the shadows. Horror Gets Really Weird, and Discovers God While the sixties still had a safety belt on, and the eighties went for the reliable thrills, the seventies was a period that allowed directors to stretch out their ideas. The early seventies also contributed a number of strange films, but it is hard to match the back half of the seventies with the likes of The Manitou (1976), Phantasm (1979), Hausu (1977), and Eraserhead (1977), which brought wildly original concepts to the table. Religion was a big thing too. Conventionally, there were movies like The Omen and The Exorcist that were, while very scary, using traditional good-and-evil concepts. This era also had a more counter-cultural and artistic interpretation of holy horror. God Told Me To (1976) and The Visitor (1979) were gonzo strange concepts that never found an audience, but were challenging with their takes of what celestial beings might be. What is Jesus, really? For that matter, what is God? An alien? Perhaps. Truly strange, blasphemous stuff. Perhaps it was all the hallucinogens that were popular of the era. Cosmic horror found truth in a far-out metaphysical moment. It wouldn’t take long for the politicians and the morality police to put an end to such wild concepts. But in truth, the conservative backlash was waiting in the next decade. In the seventies, the liberal notions of acceptable content had plenty of room. That would be coming to an end soon, especially when movies could come home on cable TV and VHS. The Scariest Things History of Horror Episodes Episode 22: The Silent Era 1920s Episode 25: The Rise and Fall of the Golden Age 1930’s and 1940s Episode 29: Horror Comes Back – The Matinee Era Part 1 1950-1954 Episode 31: The Height of the Atomic Age – The Matinee Era Part 2 1955-1959 Episode 51: The International Gothic Trend – Horror From 1960-1964 Episode 53: The Diversification of Horror – Horror From 1965-1969 Episode 57: Horror Gets Trippy – Horror From 1970-1974 Episode 213: Slashers Come of Age and Horror Finds Religion 1975-1979 Friend of the Podcast Ian Parker joins Eric and Mike to talk about some deep cut movies from the late seventies. We have tried to avoid the obvious stuff and to notify our audience about some curious gems that you might have missed when shuffling through your streaming options: Burnt Offerings (1976) Don’t Go Into the House (1979) God Told Me To (1976) Kingdom of the Spiders (1977) Rabid (1977) Shock Waves (1977) The Witch Who Came From the Sea (1976) The Eyes of Laura Mars (1978) The Manitou (1978)

Nathan Florence joins Pinch My Salt for a full big-wave surfing conversation covering Pipeline, the Vans Pipe Masters, Teahupo'o, Tahiti, Jaws, Puerto Escondido, Shipstern Bluff, Cloudbreak, Hawaii surf culture, North Shore localism, foiling, sailing, ocean crossings, the World Surf League, Kelly Slater, Kai Lenny, John John Florence, Ivan Florence and the rise of independent surf media on YouTube. Nathan tells the story behind his legendary late drop at Teahupo'o, the wave that helped separate him from the label of “John John Florence's brother” and launch his own career as one of the world's most fearless big-wave surfers. He opens up about fear, wipeouts, breaking his back at Jaws, a recent injury at Puerto Escondido, rehab, hydrofoil racing and crossing Hawaiian channels with Kai Lenny. Nathan also talks about growing up in Hawaii with John John and Ivan Florence, learning Pipeline as a kid, their mother pushing them to surf, the old North Shore hierarchy, surf localism, social media changing lineup culture, winning the Pipe Masters, building his YouTube channel, the future of professional surfing and why John John isn't doing the Championship Tour right now. Plus: Kelly Slater mind games, sailing across the ocean, mysterious nights at sea, surfing in tights, hipster surfers, Mahina Florence, Kai “Kyborg” Garcia and Nathan's childhood Surfer Magazine cover.This is Nathan Florence beyond the highlight reels: honest stories about fear, injuries, family, brotherhood, career pressure, surf media, the WSL, adventure and what keeps one of surfing's hardest chargers searching for the next wave.Subscribe to Pinch My Salt for more surf podcasts, surfing interviews, comedy, big-wave stories and conversations with the most interesting people in surfing.Follow Nathan Florence and check out his surfing videos, big-wave missions, foil adventures, sailing expeditions and podcast.KEYWORDS:Nathan Florence interview, Nathan Florence podcast, Nathan Florence surfing, Nathan Florence Teahupoo, Nathan Florence Pipeline, Nathan Florence Pipe Masters, Nathan Florence Jaws, Nathan Florence Puerto Escondido, Nathan Florence foiling, Nathan Florence sailing, John John Florence, Ivan Florence, Kelly Slater, Kai Lenny, Kyborg, Mahina Florence, big wave surfing, Pipeline surfing, Teahupoo surfing, Hawaii surfing, North Shore surfing, surf podcast, surfing podcast, WSL, World Surf League, Vans Pipe Masters, Cloudbreak, Shipstern Bluff, surf localism, surf culture, hydrofoil surfing, surf YouTube#NathanFlorence #Surfing #BigWaveSurfing

Minute 13 watching Jaws in the Expanded Jaws Universe (EJU). Utilizing prequel novel, The Book of Quint, we enhance our understanding of the film.  Mayor Vaughn is proven to be the best political tactician in cinema history with his epic gaslighting technique - he successfully gaslights Brody AND the audience.  Deleted Scenes are placed under a microscope to better understand Brody's position at the end of the ferry scene.  Alex and Mrs. Kintner and what is the significance of pruned fingers. Book of Quint book tour updates from June 2026. 00:00 Intro 02:41 Book of Quint update 14:00 Vaughn's Gaslighting Technique 47:12 Amity Harbor Ferry 55:51 Deleted Ferry Scenes 01:03:35 Brody Shoulder Towel Conclusion 01:14:14 Cutting Room Floor Edits 01:20:38 Date and Timestamp Jaws Universe Timeline 01:27:50 Jean Canha Memorial 01:36:05 Alex Kintner Intro: Jeffrey Voorhees 01:43:55 Red Shorts Explanation 01:47:16 Mrs. Kintner: Lee Fierro 01:52:09 Pruned Fingers 02:03:19 Jaws Retcon 2027 Update Book tour 2026 02:17:47 Shark is Broken Montgomery Theater PA 02:22:50 Jaws Explored Documentary Update 02:37:13 Honor Watch July 30th USS Indianapolis 02:40:24 Jaws in 35mm November 14 Syracuse, NY! 02:42:04  Closing . Show notes & photos: https://t.me/jawsob https://linktr.ee/bookofquint . Jaws Explored Documentary Order Now Until August 9! https://jawsexplored.com/?sca_ref=11823403.E5t22LnAuxACL . RETURN TO AMITY: A JAWS Regatta & Amity After Dark Celebration June 20-21,2026 On Martha's Vineyard www.returntoamity.com . Special Edition Hardcover The Book of Quint - signed copies now at: edgartownbooks.com Phone orders only: Honor Watch 2025 www.project888.org For all links to The Book of Quint: https://linktr.ee/bookofquint For all the latest: https://www.instagram.com/bookofquint/ Video YouTube: https://youtu.be/SbLrH0AHbW8?si=L0hSINUCwnMv9r9Q Quint Blend Coffee! https://www.thecrackedbeanroastery.com/product/quint-blend-coffee/131?cs=true&cst=custom Anniversary Exhibition Shirt — Living Sharks Museum https://www.livingsharks.org/museumshop/bookofquint Show notes & photos: https://t.me/jawsob https://linktr.ee/bookofquint Ryan Dacko (@bookofquint) • Instagram photos and videos https://www.instagram.com/bookofquint/ Orca: A New Tide of Adventure https://orcatribute.com/ Amity Point Publishing amitypointpublishing.com Email: JawsOB2025@gmail.com Jawsob.com BookofQuint.com Jaws Obsession UK (@JawsObsessionUK) / Twitter Jon Tedder and Quint's Sharkin' Shack: https://www.etsy.com/shop/QuintsSharkinShack ORCA REBUILD - Home (weebly.com) https://www.youtube.com/c/OrcaRebuild/featured (7) Orca Rebuild | Facebook @orca_rebuild • Instagram photos and videos Music composed by Karl Casey and White Bat Audio https://karlcasey.bandcamp.com/  https://www.youtube.com/c/WhiteBatAudio/  Closing Song Jammin on the Orca by Dapper Dog https://www.youtube.com/watch?v=0HvhDJtHxxo  

Discover Darvy, a voice-first AI assistant for Windows that empowers blind users to control their computer with plain English commands. Skip the steep screen reader learning curve and gain independence with faster, smarter accessibility. Steven Scott and Shaun Preece sit down with brothers Ameen and Majd, the creators of Darvy, a new AI-powered tool for blind Windows users. Born from Majd's experience losing sight as an adult and struggling with screen reader shortcuts, Darvy allows users to hold the right Alt key and speak commands like “Read my emails” or “Reply to that message at 3 o'clock.” Unlike other AI tools, Darvy reads the Windows accessibility tree rather than relying on screenshots, making it faster, more stable, and less costly to run. It works alongside JAWS or NVDA but aims to eventually remove the need for complex screen reader memorisation altogether. The episode explores: • The challenge of mastering traditional screen readers • How AI can provide real independence for blind students and professionals • Security, language support, and real-world use cases • The cost of running AI-powered accessibility and the future of local models ----Follow on:YouTube: https://www.doubletaponair.com/youtubeX (formerly Twitter): https://www.doubletaponair.com/xInstagram: https://www.doubletaponair.com/instagramTikTok: https://www.doubletaponair.com/tiktokThreads: https://www.doubletaponair.com/threadsFacebook: https://www.doubletaponair.com/facebookLinkedIn: https://www.doubletaponair.com/linkedinSubscribe to the Podcast:Apple: https://www.doubletaponair.com/appleSpotify: https://www.doubletaponair.com/spotifyRSS: https://www.doubletaponair.com/podcastiHeadRadio: https://www.doubletaponair.com/iheartAbout Double TapHosted by the insightful duo, Steven Scott and Shaun Preece, Double Tap is a treasure trove of information for anyone who's blind or partially sighted and has a passion for tech. Steven and Shaun not only demystify tech, but they also regularly feature interviews and welcome guests from the community, fostering an interactive and engaging environment. Tune in every day of the week, and you'll discover how technology can seamlessly integrate into your life, enhancing daily tasks and experiences, even if your sight is limited."Double Tap" is a registered trademark of Double Tap Productions Inc. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Welcome to another episode of Death Don't Do Fiction, the AIPT Movies podcast! The podcast about the enduring legacy of our favorite movies! It's July, so that means it's time for our “Julygantic” series! Where we cover monster movies! In this week's episode, Alex, Tim, and returning guest Matt Naughton discuss Peter Weller's journey into what is effectively “Alien but underwater,” 1989's Leviathan! A terrible final one-liner! Aquatic basketball moves! Blue collar despair! Tonal collapses! A guy named Sixpack! Lots of random tubes! Cool clunky dive suits! Angry computer use! Disastrous butter-handling! "Dry for wet" underwater scenes! Hints of secret underwater affairs! Equal opportunity boss punching! Poor quarantine protocols! Someone opening a Pepsi can with their teeth! Questionable management training! Insufficient skiing knowledge! Fun and gross special effects from Stan Winston! A cast that includes Peter Weller, Ernie Hudson, Daniel Stern, Richard Crenna, and Amanda Pays! Crew members that worked on Terminator 2, Alien, Robot Jox, Rambo 2, Cobra, and Blade Runner! All that and more in this "diamond-encrusted trash" that is not only a great sea monster/body horror movie, but possibly one of the best mockbusters ever made! In addition, the gang shares their spoiler-free thoughts on 1991's Cape Fear, the Apple TV shows Cape Fear and Murder bot, as well as Christopher Nolan's The Odyssey, Milly Alcock's Supergirl, and Evil Dead Burn! You can find Death Don't Do Fiction on Apple Podcasts, Spotify, or wherever you get your podcasts. As always, if you enjoy the podcast, be sure to leave us a positive rating, subscribe to the show, and tell your friends! The Death Don't Do Fiction podcast brings you the latest in movie news, reviews, and more! Hosted by supposed “industry vets,” Alex Harris and Tim Gardiner, the show gives you a peek behind the scenes from two filmmakers with oddly nonexistent filmographies. You can find Alex on Twitter, Bluesky, or Letterboxd @actionharris. This episode's guest, Matt Naughton, can be found on Instagram @mnaughty85. Tim can't be found on social media because he doesn't exist. If you have any questions or suggestions for the Death Don't Do Fiction crew, they can be reached at aiptmoviespod@gmail.com, or you can find them on Twitter or Instagram @aiptmoviespod. Theme song is “We Got it Goin On” by Cobra Man.

Devin & James are back in the Den, and it's gonna be a hot one! That's because we are taking a look at SUMMER HORROR MOVIES, in which characters have their summer in the wilderness ruined by maniacs or savage beasts. Largely inspired by any combinations of Deliverance, Texas Chainsaw Massacre, or Jaws, these films filled the theaters for several years, with results being among both the most unique and the most formulaic of the 1970s, 80s, and early 90s.We start with 1976's "Jaws with Claws", GRIZZLY. Then we discuss the underrated RITUALS, starring the great Hal Holbrook. Then we dive into Joe Dante's brilliant PIRANHA. Things get bizarre when we visit the 1979 slasher TOURIST TRAP. Then we take a look at WITHOUT WARNING, about a pre-Predator alien on a hunting trip. We discuss what makes JUST BEFORE DAWN, THE FOREST, and THE PREY interesting among the many Friday the 13th wannabes before we check into the best of those, SLEEPAWAY CAMP. We finish off in 1993 with the video store classic, TICKS, starring Seth Green and Alfonso Ribeiro.So grab a six-pack of Mountain Dew and some frozen Otter Pops, because it's time to cool off with a summer movie marathon!

Hybrid Exercise: The audio will tell you where each of the pieces on the board are, then read a series of moves from that position. When prompted, try to identify the best next move. To learn more about Don't Move Until You See It and get the free 5-day Conceptualizing Chess Series, head over to https://dontmoveuntilyousee.it FEN for today's exercise: 8/1q6/8/8/3k4/3P4/3KB3/2R5 w - - 0 1 PGN for today's exercise: Rc4+ Kd5 2. Bf3+ * Answer at the end of the episode.

It's hard to believe, but Scream Queens Horror Road Trip Podcast is celebrating 10 years! To mark the occasion, we're going back to where it all began by revisiting—and completely redoing—our very first episode: JAWS.Join us as we hit the road to Gulf Shores, Alabama, where we dive back into Steven Spielberg's timeless shark classic and see how our thoughts have changed after a decade of horror road trips, conventions, and countless movie discussions.Once we reach the coast, we trade great white sharks for white sand beaches, spending a few relaxing days soaking up the sunshine by the pool and the beautiful Gulf. It's the perfect blend of horror, travel, nostalgia, and celebration as we look back on ten incredible years with all of you.Thank you for riding shotgun with us on this journey. Here's to the next decade of spooky adventures!

Matt Reed believes Newcastle has one of the best comedy audiences in the country. He's also still recovering from Allo Allo and Watership Down, in roughly equal measure.Matt Reed is a comedian and co-host of the comedy podcasts This Tastes Funny and Mother's Ruin.Why the North East is the most joyously funny region on the planet — and why Bill Bryson got off the train at Durham just to prove itWhy Watership Down traumatised an entire generation more effectively than anything modern horror has managed sinceThe fascination of seeing Jaws as a child, then seeing The Shark Is Broken on stage as an adult — and the brilliant on-set stories about Bruce the mechanical sharkWhy Top of the Pops needs to come back — with fewer dodgy presenters, more live performances, and everyone miming badly just for funConnect with Matt here:InstagramFacebookTikTokFind us on social media — links on the About page. Hosted on Acast. See acast.com/privacy for more information.

On this episode: Whatcha Been Watching?, upcoming physical media releases, The Odyssey review, King on Screen: Thinner, defending Jaws 3, filming locations, and more!

Everyone's favorite game! We debate the kaiju-ness of the following beasts: Frankenstein, Gremlins, Jaws, Paul Bunyan, Stay Puft Marshmallow Man, Audrey II from Little Shop of Horrors, the Monolith Monsters, Nancy from Attack of the 50 Foot Woman, the ants from Them!, the Mushroom People from Matango, the Creature from the Black Lagoon, and the Manster. The question is simple, but the answer? The claws come off in this regular monster bash!Special thanks for Beth Bredlau, Chris McVillain, Ed Godziszewski, and everyone there on that legendary day. And thank YOU for listening and please let us know what you think!Follow us on patreon.com/campkaiju, leave a rating and review, follow on Instagram, send an email at campkaiju@gmail.com, or leave a voicemail in the ANSWERING MACHINE ZONE at ⁠⁠⁠(612) 470-2612⁠⁠⁠.We'll see you next time for King Kong Escapes!TRAILERS AND CLIPS The Creature from the Black Lagoon (1954); Attack of the 50 Foot Woman (1958); Gremlins (1984); Ghostbusters (1984); Disney's Paul Bunyan (1958); The Monolith Monsters (1957); Matango (1963); The Manster (1959); Little Shop of Horrors (1986); Them! (1954); Jaws: The Revenge (1987)SHOUT OUTS & SPONSORSIshiro Honda by Ed GodziszewskiTattoo KaijuGodzilla WeekendG-FestWhat is Kaiju?The Video Store MPLS - Fundraiser Link!Camp Kaiju: Monster Movie Podcast. Is It a Kaiju? Live from G-Fest 2026. © 2026 Vincent S. Hannam, All Rights Reserved.

Send us Fan MailThis week we're drafting the best summer horror movies. We define the essential ingredients of summer horror, defend our selections across six themed categories, and assemble three competing twelve-film rosters.Mentioned in the EpisodeMain EpisodeBest Summer Horror Movies Draft - YouTubeRelated Episodes⁠Episode 453: Summerween Starter Pack⁠Episode 401: I Know What You Did Last Summer (2025)⁠Episode 398: I'll Always Know What You Did Last Summer (2006)⁠Episode 390: Honeydew (2020)⁠Episode 386: Hell of a Summer (2025)⁠Episode 342: The Omen (1976 vs. 2006)⁠Episode 337: Uncle Sam (1996)⁠Episode 334: In a Violent Nature (2024)⁠Episode 332: Summer of '84 (2018)⁠Episode 292: Infinity Pool (2023)⁠Episode 280: The Devil's Rejects (2005)⁠Episode 270: Piranha (1978)⁠Episode 261: Evil Dead II (1987)⁠Episode 254: Friday the 13th Part VI: Jason Lives (1986)⁠Episode 244: Barbarian (2022)⁠Episode 241: The Lost Boys (1987)⁠Episode 232: Pearl (2022)⁠Episode 230: Tourist Trap (1979)⁠Episode 227: Bodies Bodies Bodies (2022)⁠Episode 222: Jaws 3-D (1983)⁠Episode 217: Rosemary's Baby (1968)⁠Episode 206: X (2022)⁠Episode 202: Texas Chainsaw Massacre (2022)⁠Episode 176: Fear Street Part Two: 1978 (2021)⁠Episode 169: The Evil Dead (1981 vs. 2013)⁠Episode 163: Rear Window (1954)⁠Episode 144: Wrong Turn (2021)⁠Episode 138: Wrong Turn (2003)⁠Episode 127: Friday the 13th Part III (1982)⁠Episode 104: I Know What You Did Last Summer (1997)⁠Episode 102: Midsommar (2019)Support the showThanks for listening to Hack or Slash! Want more from the show? Join us on Patreon for extended episodes, bonus reviews, B-sides, watchalongs, behind-the-scenes extras, and more ways to help keep the show alive and slashing.Support us on PatreonYou can also hang out with us between episodes in our community spaces. Join the Discord for watch parties, episode discussions, horror recommendations, and general spooky nonsense.Join our DiscordFollow Hack or Slash:WebsiteYouTubeRedditInstagramTikTokHave thoughts on this week's movie? Leave a comment, send us a voicemail, or tag us online. We love hearing your thoughts on the movies we cover.Happy slashing!Music Credits: "Hack or Slash" by Daniel Stapleton

This July is Jaws-ly, a month of creature features! On Patreon, we've got a syncable commentary track for 1984's Australian wild outback feature: Razorback, aka Boar. All this and more! Want the rest of this episode, and even more Dissecting the 80s? Visit Patreon.com/DissectingThe80s to unlock dozens of bonus episodes right away! “NewsSting, Ouroboros” Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/ Keywords: Boar, Razorback, Australia, Jaws, 80s, eighties, movie, podcast

The crew's trip to Sea World got ruined by a giant shark, but don't worry, we brought back souvenirs for everyone. Well, just the one souvenir. We hope you like it, because we can't return it. It's a commentary for Jaws 3 on this episode of Attack of the Killer Podcast! Listen & subscribe wherever you get your podcasts or go to http://www.aotkp.com Connect with the show: Become an Official Attacker: http://jointheattackers.com/ Visit our website: http://www.attackofthekillerpodcast.com/ Like us on https://www.facebook.com/attackofthekillerpodcast Follow us on https://twitter.com/AotKP Follow us on https://tiktok.com/@attackofthekiller  Follow us on https://www.instagram.com/attackofthekillerpodcast/ Follow us on https://www.threads.net/@attackofthekillerpodcast Subscribe on https://www.youtube.com/attackofthekillerpodcast Join us on https://www.aotkp.com/discord  Support the show at https://www.patreon.com/aotkp/posts Lastly, check out all the amazing shows at http://thepfpn.com

The Seattle ensemble mixes '60s girl-group soul, with garage rock for a fun, upbeat sound all their own.

IT'S TIME TO WATCH THE MUPPETS! This week we watched Dinosaurs - Out of the Frying Pan. Distracted rants include but are not limited to "old tech", Sean Solomon, "Weird Al" Yankovic, Cloaca maxxing, riches to rags, Jaws (novel), white collar/blue collar, chat shows, True Life, and much more!"Baby becomes a hit sensation when he and Earl star in a series of commercials for a new frying pan. Earl is fired from the commercials and he and Monica start to worry that fame is going to the Baby's and Fran's heads."Follow us:tiktok.com/@ittwtmInstagram.com/ittwtm

Thanks to our awesome Patrons, we're proud to present another episode of Mediasplode! What's a Mediasplode? It's a monthly special edition show in which we talk about what we are enjoying in media outside of the realm of comic books. It's like our All Media Year End Round-Up but in a shorter, monthly format. Note: Time codes are estimates due to dynamic ad insertion by the distributor. SPOILERS BELOW! Running Time: 01:10:47 This month, Conor Kilpatrick and Ron Richards discuss… Discussion:00:01:35 – Summer TV Habits Review:00:04:02 – Disclosure Day00:14:17 – The Odyssey Summer TV:00:34:19 – FIFA 2026 World Cup00:38:16 – Lucky00:39:18 – Welcome to Wrexham00:41:39 – Rivals00:42:51 – The Five-Star Weekend00:43:55 – Widow's Bay00:47:18 – Patience00:48:41 – Pop Culture Jeopardy!00:50:45 – House of the Dragon00:53:59 – Not Suitable For Work00:55:12 – The Bear00:59:07 – Sugar01:00:23 – Star City01:03:03 – Is Apple TV winning the programming game?01:03:32 – The Agency Follow Conor Kilpatrick on Letterboxd!Follow Ron Richards on Letterboxd! Music:“Left to Right (iFanboy Theme)”Josh Flanagan Listen to Conor, Josh, and Ron on their other show Goodfellas Minute. Listen to Conor and Ron reminisce about Goodfellas Minute on Sporadicast: An Oral History of Movies by Minutes. Listen to Conor, Josh, and Ron discuss Blade (1998) on Cradle to the Grave. Listen to Josh discuss Fargo on Movie of the Year: 1996. Listen to Conor discuss Swingers on Movie of the Year: 1996. Watch Ron talk about pinball technology on the Daily Tech News Show. Listen to Conor discuss Ghostbusters on Movie of the Year: 1984. Listen to Conor, Josh, and Ron discuss The Crow (1994) on Cradle to the Grave. Listen to Josh discuss Jaws 4: The Revenge (1987) on Cradle to the Grave. Listen to Josh discuss Indiana Jones and the Temple of Doom (1984) on Cradle to the Grave. Watch Josh and Conor talk about how to start a podcast on OpenWater. Listen to Ron talk about The Phantom Menace minute 80 on Star Wars Minute. Listen to Ron talk about Return of the Jedi minute 124 on Star Wars Minute. Listen to Conor talk about Return of the Jedi minute 104 on Star Wars Minute. Listen to Ron talk about The Empire Strikes Back minute 115 on Star Wars Minute. Learn more about your ad choices. Visit megaphone.fm/adchoices

That's right, MORE killer animal content but this time, but this time we get Richard Harris on a pretty obvious bender throughout the movie shoot. ORCA (1977) is a surprisingly competent and may we even say well-done entry to the the JAWS ripoff pantheon that doesn't get as much discussion as we think it should so here we are. Where else are you going to see a smart aquatic mammal blow up an entire freaking power plant? It's as awesome as it sounds, trust us. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join our Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Some Merch⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join our Facebook Group⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow us on Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check our Letterboxd⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Just in time for Shark Week 2026, Thursday Thrills dives into true shark attacks, megalodon legends, terrifying sea monsters, and the bizarre unsolved murder exposed when a captive tiger shark regurgitated a human arm.We revisit the 1916 Jersey Shore and Matawan Creek attacks, the Black Demon of Baja, and Sydney's infamous Shark Arm case.Along the way, meet the Stronsay Beast, centuries-old Greenland sharks, river-roaming bull sharks, and sand tiger embryos that eat their siblings before birth. It is a fun, eerie ride through shark horror, cryptid folklore, sea monsters, true crime, ocean mysteries, and the nightmare behind Jaws.

Aaron and Darlene watch some classic sci-fi from the 1950s and '60s, good and bad. They talk about what makes these films memorable and fun, and if you should take a trip back in time and enjoy these films as well.Feedback for the show?:Email: feedback@thisweekingeek.netTwitter: https://twitter.com/thisweekingeekBluesky: https://bsky.app/profile/thisweekingeek.netSubscribe to our feed: https://www.spreaker.com/show/3571037/episodes/feediTunes: https://podcasts.apple.com/us/podcast/this-week-in-geek/id215643675Spotify: https://open.spotify.com/show/3Lit2bzebJXMTIv7j7fkqqWebsite: https://www.thisweekingeek.net

How can organic writing and leaning into the pivot help your stories stand out? And how can you pitch a story as a discovery writer if you genuinely don't know what's going to happen next. Steven James gives his writing tips after more than 20 years as an author. In the intro, Better Than Free in an Age of AI [Kevin Kelly on Tim Ferriss; Kevin Kelly on The Creative Penn]; Future Vision XPrize; A Different Kind of Bucket List. Today's show is sponsored by Draft2Digital, self-publishing with support, where you can get free formatting, free distribution to multiple stores, and a host of other benefits. Just go to www.draft2digital.com to get started. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Steven James is the multi-award-winning and international bestselling author of 21 novels across thrillers, YA, and science fiction, with more than a million copies sold, as well as the author of non-fiction craft books for writers, a writing teacher, and the host of The Story Blender podcast. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How to lean into organic writing, and what to focus on instead of plot How characters unfold on the page, and why an attitude beats a background Producing an outline for an agent or publisher when you genuinely don't know what happens next Don't pitch the plot, pitch the pivot The four choices you have in every scene, and why logic plus surprise is the engine of story Faith, moral clarity and big questions You can find Steven at StevenJames.net. Transcript of the interview with Steven James Jo: Steven James is the multi-award-winning and international bestselling author of 21 novels across thrillers, YA, and science fiction, with more than a million copies sold, as well as the author of non-fiction craft books for writers, a writing teacher, and the host of The Story Blender Podcast. So welcome to the show, Steven. Steven: Thanks for having me, Jo. Good to be here. Jo: Great to have you on the show. First up— Tell us a bit more about you and how you got into writing and publishing. Steven: Oh, gosh. Well, the thing is, when I was a kid, I fell in love with stories. My uncle would always, whenever we got together for the holidays—Christmas, New Year's and so on—he would take my sister, my brother and myself into a corner of the room while the other adults had coffee, and we would just sit there, and he would get this look in his eye and he'd say, “I'm going to tell you a story.” We were transported to another world. We were swashbuckling with pirates, or facing down a grizzly bear in Alaska, or flying over the desert on a flying carpet, or whatever. I fell in love with imagination and stories and everything. So I started reading as much as I could, mostly short stories. They had a programme at our library called the paperback book exchange, where you bring a paperback book and you leave it, and you can take any one of the paperback books that they had. You could keep it as long as you wanted. If you wanted it for your life, that's fine, or you could just bring it back as soon as you finished reading it. Anyway, I went crazy over the summers reading short stories, mainly. As I got older, I was like, “I think I want to be a storyteller.” So I actually got my master's degree in storytelling. Then I started to travel and tell stories, but I had three little daughters at home, and I was like, “I don't want to be gone 300 days a year when they are growing up.” So I ended up starting to write stories instead of travel, and then it just kind of shifted in that direction. That was in '97. Oh my goodness, that's long. '97, '98. So then I started to write books, and then eventually in 2007, I think, my first novel came out. Now, mainly, I've been writing novels ever since. Jo: It's so interesting. Was it a job, storytelling? Is that what you did before you became a book writer? Or did you have a different job? Steven: I mostly would go to events, conferences, schools and so on, and do a family-friendly storytelling show. So I would tell personal stories, some folktales reimagined. I would go to different events around the country. Mostly it was that. Then I started to shift. I wrote for magazines for a while—80 different magazines I wrote for over those years, a couple of hundred different articles, stories. I was like, “I'm just going to try to make a living telling stories.” So the shift has gone back and forth between actually telling stories and writing stories, but these days, I don't know. I'm still speaking. I'm still out there teaching. Jo: That's so interesting, because it's obviously a completely different thing to tell a story in person than it is to write a story. So when you decided to shift that way, what did you have to learn and unlearn? Because your thoughts on the page are so different to when you can make eye contact with an audience. Steven: That's a good point. I kind of started by telling stories back when I was in college, so I sort of moved from telling to writing. And you're right, there's so much that's lost, whether it's eye contact or pauses. On a printed page, there's always the same amount of space between every word—a space. But when you tell stories, obviously you pause for effect in different places, different areas, and so it's quite different. So if I have an idea for a story, I usually have to decide, is this going to be written or told? And then I do it in that medium. Then if I want to, let's say, tell a written story, I almost have to relearn it, or retell it very differently. You have gestures, body language. All of those things are obviously lost in text, so they are very different. I think for me it's been good, because when I tell stories, I hear different characters speaking, so that when I write, usually dialogue comes fast to me. I can hear what people are saying. I don't always know where they are. I don't always know the setting. I don't even know the scene necessarily, but I can hear the dialogue. Then it also helps me to step into the characters, like when I'm writing different points of view, so that I think I can do a good job of getting into that character's mind, as if I were that person. I think some of that comes from just telling stories. Jo: You've taught so many writers over the years, and it's interesting you said that you hear characters' dialogue. I see visual film in my mind. I don't hear any voice at all. It's all silent. I struggle with dialogue, but I do great world building. Do you find that this really is different by the author? I feel like we fall into these different groups. Steven: Yes, I do. I kind of feel like that's very true as far as what comes first, whether it's a description of a place, whether it's the action. I mean, basically a story has dialogue, narration—or we call it sometimes exposition—and description. Those three things. Every story has those three things, and those are the three that we use to tell a story, a novel. So some people tend to drift into one or the other as sort of their default setting: dialogue, description, or action. That's true. I think also something else that's interesting about writers is they tend to fall into either the camp of being a wordsmith or a storyteller. Not everyone, but I feel like some people are wordsmiths, where I read what they're writing, and I'm like, “Man, this is so powerful, evocative,” whatever. Maybe there's no story there. It's just really interesting writing. Other people just are natural storytellers, and they have to really work on the wordsmithing. I think that's me. I'm more naturally just a storyteller, but it takes me a long time to get the descriptions to where I want them, to choose exactly the right word. That takes me more effort. Some people have to build up the storytelling muscles. I have to build up the wordsmithing muscles. Jo: Well, part of the reason I wanted to talk to you is because you talk about this thing called organic writing in your book Story Trumps Structure, which is out now in a second edition. I call it discovery writing, so similar to you. But most people in the writing community seem to obsess about plotting and planning. So talk about your process of organic writing. You say in the book, “Trust the fluidity of the process.” Tell us more about that. Steven: Well, I remember in high school even, when my teacher got up front and he kind of got this very almost wise look on his face, and he goes, “A story is something with a beginning, a middle, and an end.” I'm sitting there in high school like, “Well, so does a bratwurst. What are you talking about here?” A description of a chair has a beginning, a middle, and an end. The sentence, “Preheat the oven to 450 degrees,” has a beginning, a middle, and an end. My view is that saying a story is something that has three acts is like saying that a pizza is something with three toppings. It might have three. It might have one. It might have five. So the idea for me is not to worry about structure, trying to tick off the boxes of a template, a formula you find online, a fill-in-the-blanks kind of a thing. But instead, to actually look at what lies at the heart of the story—the character, the tension, the struggle, the pursuit, the pivots and plot twists, and the payoff at the end. As you develop those aspects of the story, I feel like you need to worry less and less about following a formula. The more you understand what lies at the heart of a story, I feel like the less you need to plot and the less you need to write by the seat of your pants. A lot of people say, “Oh, you write by the seat of…” No, I don't write by the seat of my pants, because I know what a story contains, so I know that in a certain scene a character will make certain choices that are unpredictable but that escalate the tension, and different things like that. I'm a huge proponent of discovery, as you say, or organic writing. I won't get the quote exactly right, but Ray Bradbury said something along the lines of, “Plot is the tracks left in the snow after your characters have run by on their incredible destinations. It cannot precede action. It is the chart that remains when an action is through.” So he's saying plot is not what precedes action. After the action, you have plot. So the whole idea of trying to plot out a story before you write it is going about writing exactly backwards. Plot doesn't precede action. It's the result. So I always tell people, “Don't worry so much about the plot. I want you to look at the pursuit.” A plotter might say, “Well, what should happen?” And they'll just come up with something. But an organic writer—a pursuit-based question would be, what does the character want? Now, when I know what the character wants, I will know what should happen. So literally, it will lead me to the story. Focusing on plot will not necessarily lead you to the story. It might lead you down the wrong track. Jo: Then in terms of your actual writing process— Do you start writing without knowing the ending? Do you write in order? Is the organic side also in the process? Steven: I've never started a book where I know how it will end. So I usually start with either a character that's fascinating or, in some cases, a premise, a question. Then as I write, I explore the possibilities of where it might go. I've tried to outline a scene—like one scene, not a whole book—and it never works. I can't even outline one scene. I've tried, and I'm like, okay, that's… What I end up with is completely different from it, so it's just a waste of time and effort for me to try to outline or plot out a story. I'm much more interested in the pathway the characters will take as they face obstacles and setbacks in their pursuit. As the struggles and the tension develop, what choices will they make? That's how the story will unfold for me. Jo: I'm similar. Then I also wonder— Do you do character sheets and character bios, or do the characters also unfold organically? Steven: Absolutely, I don't do any of the sheets and bios and stuff. The characters really come to me as I write. I begin to get to know them. I always tell people, a character with an attitude is more interesting than a character with a background. So a lot of people will spend a lot of time on, like, where's this character gone to college, and what's their first pet's name, all that stuff. I'm not trying to dump on that idea. I get that that can be helpful. But I'm like, how would I know that until I've spent time with them? Then once I begin to spend time with them, I'm writing and I'm like, “Nah, this doesn't seem like what that character would really say or do,” so I have to go back and rejigger the story to hopefully make it fit with that character. Then I like to give the characters some sort of attitude. I'm not talking about a negative or judgy attitude, but an attitude about something that is unique or different, and that makes them not a template character, not an archetype or whatever, but unique. Sort of this constellation of unique traits, characteristics, maybe wounds, flaws and so on, that create a character where you're like, “This is a character like none I've ever seen before. I want to spend time with this character.” Jo: Then you're spending time with the character by writing what's happening, as opposed to writing loads of stuff beforehand and then starting to write. You're actually finding all of this out during the process of writing. Steven: Yes, and I think it's kind of like getting to know someone. If I were to say, “Okay, I'm going to write down Jo's bio,” or whatever—okay, I'm making stuff up, because I don't know you super well. If we were to spend time together, hang out, whatever, talk, over the course of time I would start to know, oh, she likes this, she doesn't like that. This is important to her. This is what she would weep or pound the table over—whatever, all of the things that come with time. It's like a friendship in real life to me. So I can't sit down and tell you what a character in real life would think and say and do if I don't know them, but the more time I spend with them, then the more I'm able to predict that accurately. I think the mistake a lot of people make is they think, “I'm going to get to know this character with a background,” and then they start writing it, and instead of looking at the context, they look back at the—I don't know what you call it—the background or something like that. I always feel like what you mentioned earlier is, like, hold it loosely in your hand. Trust the fluidity of the process. As you're writing, you have an instinct. “Ah, I think this character would say this or do this.” So trust that. Trust that instinct. Trust that moment in the story, instead of trying to go back to an outline, back to a character description, or whatever it might be. So I'm a big proponent of looking at the context—not just what happened, but what is the result? So looking at the impetus and the implication of the choices and the activities. When something occurs, what would the character naturally say or do or think or respond? Then what would that cause? What's the implication that that would have on the rest of the story, on the rest of the characters? So, really trying to keep your finger on the pulse of the story, and adapt as you move forward through it. Jo: I love all of that, but I also am very aware that you've been in traditional publishing for over 20 years, and one of the things with agents and publishers is that they often ask for an outline. So how do you manage that? Or how did you more earlier in your career, because I imagine they just trust you now. Earlier in your career, or people listening who want to pitch but they write in this organic way, how do we deal with that kind of thing? Steven: Well, okay, so there's two good questions. One is about producing an outline for an agent or editor or publisher and so on. The other is how to pitch a story. So the first: I would write the premise down, and maybe a paragraph or two, and then where I think it might go. Basically, I would focus on the questions that the characters will face, maybe the moral dilemmas, the sacrifices they have to make, the world they live in. I kind of know that stuff, and I can write a couple of paragraphs about that. But beyond that, I just don't know what's going to happen, so I can't really provide more. I'm looking at my shelf at the books that I've done, and mostly that's what I've done is kind of a couple of paragraphs focusing on the premise and the problem, the struggle, and so on like that. As far as pitching a story, I always tell people, “Don't pitch the plot, pitch the pivot.” I think that there's a screenwriter—I think that he talks about this a little bit. I've not read the book Save the Cat, but people have told me, “Oh, he kind of brings this up in that book.” The idea is to pitch the irony instead of what occurs. So sometimes when I tell people to pitch, or I give them ideas, one process that you can use is: when, must, before, or else. So, when this occurs, this character must do something before this, or else. So you have the character, you have the struggle, you have the inciting incident, you have the stakes, and you have the countdown. It works well for thrillers. So for instance, like Jaws. When a man-eating shark starts eating people in a small seaside village, the sheriff must stop him before more people die and the town loses its economy. So there you have when, must, before, or else. Now, no one's going to buy the story based on that, because there's no irony, there's no pivot. It's just a description of the plot, and that's what most people pitch. So I always tell people, pitch the part of the story that you wouldn't expect. So for instance, in there you might pitch: when a shark starts eating people in a small seaside village, the only one who can stop him is afraid of the water. Now you're like, “Oh, well, that's interesting. How does that happen? What happens there?” With my book Broker of Lies, the pitch was something like, when a high-level Pentagon redactor ends up on the run, he must stop a terrorist attack before he's neutralised by the people he trusts the most. So the pivot is that the people he trusts at the Pentagon the most are actually trying to neutralise him because he's on the run, and all that kind of stuff. So why would they be trying to do that? Well, that's interesting. So it's always looking for the irony, the pivot. Why is this character the last one in the world who would ever be equipped to tackle this problem or face this issue? So that's one way to do a pitch. Obviously there's lots of them, but I think your goal with a pitch is to get them to say, “Tell me more.” It's not necessarily to summarise the whole story. Jo: That's great advice. So you teach writers—I first saw you at ThrillerFest, I think it was 2012—and you do events, you run writing retreats. So you work with a lot of authors, and I wondered, what are the challenges that you see from authors with, say, five books? So not the beginner authors, because obviously there's a lot of challenges. But those who, let's say they've got the three to five books, things are going all right, but they're like, “How do I get to the next level?” What are the craft issues, or the business issues as well, that mid-list authors face? Steven: Well, business, I'm not the guy to ask. I could try to answer that, but I mean, basically: meet your deadlines and write something amazing. Try to be easy to work with, but also stand up for what you wrote as far as working with editors. It's sort of a fine line you have to walk. The one thing that over the last few years I've really noticed in a lot of writers who are in that space is that they don't have many pivots. They tend to write predictable stories, and that's why they tend to stay where they're at—whether it's because they're following an outline or a plot formula or whatever it is. So when I talk about a pivot, I mean a moment in the story where something happens that's both unexpected and inevitable. For instance, if you're reading a story, you want things to make sense. You want them to be logical. That's one thing. But you don't want them to be too predictable. If it's too predictable, it's boring. It's like, I'm not interested. So we also want surprises. We want these two things. We want logic, and we want surprise. When those two things meet and you have a moment in the story where it's like, “I didn't see that coming, but that totally makes sense,” that's what we want, and we want that in every scene. I feel like a lot of authors don't have that in every scene. Now, you might say, “Well, every scene?” Well, yes, because basically those two factors, logic and surprise, can only meet in four different ways. You could have something that's very logical but has no surprises. That's going to be boring. It's going to be too predictable. We don't want that. You could have something that is very surprising but not logical. It makes no sense. A lot of stuff is surprising, but that's not what we want, because it's unbelievable, and it's like, what is going on here? You could have something that has neither logic nor surprise, which obviously we don't want that. The only other option is to have a moment that is both logical and surprising. So you have a choice in every scene. You have four choices, actually. You can have it be predictable and boring. You can have it be nonsensical. You can have it be unbelievable. Or you can have a pivot. So I find myself trying to really coach people on pivots. They'll say, “Oh, well, do I need it in every scene?” I'm like, “You can choose, but do you want it to be predictable or boring or nonsensical, or do you want it to really drive the story forward?” I think it's because people have been taught structure and plot and three acts and all this kind of stuff, but they haven't been taught this idea—even though it's not something I made up. Aristotle, in Poetics, thousands of years ago, put it a little bit differently, but he said, “The reversal of the situation”—what I call the pivot—”is the moment at which the action veers around to its opposite”—that would be what I call surprise—”subject always to a rule of probability or necessity”—which is the logic. So he's basically saying the same thing in just a little bit different language, but you have these three factors. You have logic, you have surprise, and you have them come together in a specific moment. I don't know why it's not taught more. I have never found anyone who teaches pivots. I have not found any books, so I wrote a book recently about how to use pivots. It's so central, and I think great storytellers naturally do it. You'll read a book, or you'll maybe watch a show, and you're like, “Oh, I didn't see that coming. That totally makes sense.” I don't see anyone else out there really focusing on teaching that. So that's a huge thing for me, really, to help people move up in their writing, elevate it to a different level. Jo: Is that Delve, Pivot, Propel? Steven: Yes. That book came out a couple years ago. We just re-released it. I updated it some, but it talks pretty much in depth about pivots and how to actually use those to propel the stories forward. Jo: Maybe you could just give us one tip on how to do that, because going back to the organic writing—let's say I've been organically writing, and every time a character has a decision to make, I think at that point about what I want to write and I write it. Are you suggesting that we go back in the edit and look at the end of every scene and redo it? Because I can't imagine that I would get this right every time. I would need to do that in an edit, I think. Steven: I think for me, when I'm writing, I'm always asking myself a series of questions. One is, what would the character naturally do? I want to make it believable and natural. Let them do it. I want to escalate the tension, so I'll ask myself, “How can I make things worse?” Then I'll always ask myself, how can I add a pivot to this scene? So as I'm writing a scene—again, I don't know how it will end when I start it—but if I use the first idea that comes to mind, probably a lot of readers would guess that as well, because it's the first idea that comes to mind. It's probably logical and probably predictable. That's why most stories end up being too predictable. It's because we go with the first idea that maybe we had. So I try to discard that. Maybe the second idea, just discard it. Then I start thinking, okay, now if I've discarded the obvious, what is going on? What's below the surface? So to answer your question, I'm looking for what isn't what it appears to be, or who isn't who they appear to be, or a surprising way to bring together plot threads that I didn't see related before. So it's always looking for the unexpected, the surprise, because most of the time that is what we're missing. Now, if you have a great surprise, then you have to lean into making it believable. So you've got to move into that idea of, well, what would the character naturally do? You can't just have him do something ridiculous and then say, “Oh, it's for my twist.” No, you can't do that. You've got to play fair. So it has to be believable, causally related, logical, and surprising. That's what you're shooting for. Those are the questions going through my mind. So as I'm working on a scene, I'm like, “How could I end this?” Or include something that people won't see coming right away. The best ideas always come to me then. It's so interesting. A lot of people will say, “Oh, don't write organically,” or, quote, “by the seat of your pants,” whatever they'll say, “because then you might write yourself into a corner.” I'm like, “Yes, absolutely write yourself into a corner. That's what I'm trying to do in every scene.” And then you write yourself out of a corner in a way that's logical and surprising. The best twists I've ever come up with have been when I'm in a corner. So why would I warn people against going to the place where the best ideas await them? That just seems mean. Why would I do that? No, I want you to have the best possible ideas. So yes, look for corners, write yourself into them, and then write yourself out of them in a way that's both logical and surprising. Jo: I guess also it needs to be genre specific. We write mainly thrillers, and there is this fine line, isn't there? I love Stephen King, but one of the most unbelievable endings is Under the Dome. I still remember feeling betrayed. I don't know if you've read that one, but— Steven: Oh, no. Jo: I was like, “I'm sorry, you've just changed genre in the last chapter of the book. What is going on here?” Steven: That's actually interesting. The fourth question I ask… So I ask, what would the character naturally do? How can I make things worse? How can I add a pivot? But the fourth question is, what promises have I made that I have not yet kept? So genre, to me, is a promise. You build up a promise in your writing at the beginning of the book, and then I feel like as we write, we have to honour that. So if we bring something up that's super interesting, bring it back or whatever. Keep your promises. Keep your narrative promises. It's true of really any genre. Let's say you're writing a romance. You want to respect the conventions, but not fall into the clichés. So there's going to be a moment where the lovers meet, right? They haven't met before. I don't know what they call it, a meet cute or a cute meet. I think they call it a meet cute, I guess. Jo: Yes. They do. Steven: Anyway. So they're going to meet, right? And you're like, “Oh, I'll just have them meet.” Well, try to do it in a way we haven't seen before. Add something else to the scene. Add a third element, as my friend Bob Dugoni likes to say. Add something a little bit that we're like, “Huh, I've never seen that before.” We know they're going to meet, but let them meet in a way that we don't anticipate, that we can't predict right away, that isn't exactly by the numbers, and then you're going to be on the right track. Jo: So then, talking about reader expectations and genre, I wondered if I could also ask you about your Christian faith, because many people listening are people of faith, and some people want to write a Christian book. Other people want to bring their faith into, say, a mainstream type thriller in an authentic way. So how do you balance your faith and your writing? Because I think you have some series that are more sort of Christian than others. Steven: It's interesting. When my first novel came out—The Pawn, like a chess piece, The Pawn—back almost 20 years ago. Gosh, 20 years ago. Nineteen. But anyway, when it came out, someone wrote to me and said, “Is this a Christian book?” I'm like, “What would make a book not Christian?” I'm like, maybe if it has a lot of idolatry, or witchcraft, or maybe sexuality or graphic violence. Then I'm like, oh, wait, that's… No, that's the Old Testament. So it's interesting, because people have asked me similar questions over the years. My books are not sermons in disguise. I'm trying to write great stories that anyone of any background or faith will enjoy. I always ask big questions. I let my characters wrestle with questions that matter, I think. Do my choices matter? Is there hope? Is there a God? Is there no God? Do I have free will? Can I find forgiveness? Can I offer forgiveness? Can I extend it, or whatever? So I always try to base the stories on something deeper. I do believe that there is good and there's evil in the world. That's part of my worldview. So when people talk about moral ambiguity, I don't want to write or read something that's morally ambiguous. I want moral complexity, but I also want moral clarity. So whenever you write, the question is, what are you justifying and what are you condemning? And if you're justifying something that's morally—I would say wrong, actually—then I don't feel like that's the kind of book I would want to write. So I want to write stories that explore good and evil, that explore our world, human nature, in an honest way. I feel like when you write honest stories, people, no matter what their background or whatever faith, then they will connect with it. I think a lot of people, if they start off with an agenda—whatever that agenda might be, let's say it is a Christian agenda, like I want people to trust in Jesus, let's say—so they write a story. Well, what you're doing, you're actually starting your story with an answer, and drama is not built on answers, it's built on questions. So you're actually diminishing the amount of tension. You're also diminishing the possibility of a pivot, because we all get where you're going. It's predictable, but there's probably no surprise. You're diminishing the payoff at the end, because we're like, “I saw that coming. I exactly knew where you were going with this.” So instead, I don't start with an answer. I always start with a question, or in some cases a moral dilemma, like, what's more important, protecting the innocent or telling the truth? That's interesting to me. If I had to choose between the two, would I tell the truth or would I protect the innocent? It's interesting, because people might come down on different sides of it. They might say, “Oh, you should always tell the truth,” or they say, “You always should protect the innocent.” I'm like, okay, well, let's explore it. Let's literally ask the question. So I come from a certain worldview, but I've written characters who have very different worldviews from me. I'm always just trying to be honest with the character, ask big questions, tell a story that examines human nature and sort of the paradoxes of the human condition in a way that will resonate with really whoever the readers might be. Jo: And of course that worldview is part of your author voice and part of what readers come to you for. I also notice that you have some pretty diverse different series. How do you manage that diversity of series under your one brand? Do you find your readers move from one to the other, or do you have different readerships? Steven: You mentioned the B word—brand. That's what publishers are always telling me: “What's your brand?” I'm like, “I don't know. You tell me what my brand is.” I've done fantasy, science fiction, conspiracy. I've done spies and police procedurals and crime and suspense, thrills, whatever. So I would say the one thing that really ties all my stories together is probably just suspense. They are stories with suspense. Some are more high concept thrillers, some are more dark fantasy, but they're built around suspense. So I guess that would be intelligent suspense, maybe, if I was trying to come up with a brand. Something like that. Because I don't want them to be dumbed down. They're not dumbed down stories, so they're a little bit more complex than you might find in other places, but always built around the idea of suspense. Suspense to me is basically—my definition is apprehension born of concern. So we're concerned about a character, and we're apprehensive because there's peril around the bend, or right in front of them. So I want the readers to really care about a character, and then try to build the story and the suspense around that empathy or sympathy that we have for the character. Jo: I think it's really interesting, because again, you mentioned 2007—we're coming up on 20 years since first published. The publishing industry has changed a lot. So what do you think has changed most in publishing for you, and what are your thoughts on routes to market for new authors these days? Or even established authors who are finding that things have changed, which they obviously have. Steven: Well, I'm not a marketer, I'm not a businessman. I'm just a storyteller at heart. So I just keep writing stories that I would be intrigued with reading, stories that I feel like are resonant. Then I look for publishers for those. I've been to a variety of different publishers over the last decade. I've done some different types of stories. I feel like you have to just write the story instead of trying to write for a specific market trend or something like that. So I might not make as much as some of my friends, I might not sell as many books, but I feel like I have to write certain stories if they grab ahold of me. There's a Native American—I think the Pawnee tribe, anyway, in the United States—but they were saying that all the stories that exist are out there already, and when one finds you, it's your job to share it with the world. I think that's kind of interesting. Sometimes—maybe it's just true for you, I don't know, Jo—but it's like a story will grab hold of me, or an idea, and I'm like, “I can't shake it.” That's a story that I want to tell the world. I would say that stories are becoming shorter, dumber. People are trying to write faster. They're trying to write several books a year, and as a result of that, some of the quality has gone down. This is all unfortunate. I'm still sort of a dinosaur. I still tend to write longer, complex stories. But people have shorter attention spans and whatever, and they're not reading as much. The structure of stories, I think, is changing slightly, where people will have to spend more time on a hook to really grab the attention of the readers. Then there might be a longer slow period, or more info dumping, which I'm not a fan of. So they kind of look like, “I want to get readers hooked at the beginning, and then get them to flip pages.” So I tend to set up my stories a little bit differently than that. So I'm not the best guy to ask about marketing and sales and stuff like that. I feel like, write a story that will not let you go. And if you do that, I feel like that's the kind of story that will resonate with readers, because there's a deep honesty to it. You care, you're passionate about it. It's not just something you're trying to spin out just to sell books. That's my view. Jo: I guess I also feel that writers are doing other things. So you have non-fiction, you have your podcast, you do events. I see you sell books direct from your website. It's like the business expands into multiple streams of income, so that the art doesn't have to pay all the bills. Steven: That's interesting. I do love to teach writing at conferences, events, and speak at different things. So I guess if you think about it that way, my brand might be just story, or storytelling, or something like that. Really trying to get out there, and whether it's speaking or writing, just tell a great story. So it's so interesting when I work with publishers and they'll ask, “What's your brand?” Basically it's like, “What's your box?” is really what they're asking. What box can we stick you in that will make it easy for us to package you and sell you? I know myself, and just a lot of authors that I know, we don't think in a box. Every one of my stories is not boxy. It's not the same. They're different. I know a lot of authors like that too. So it's unfortunate. I get it, that it's part of them trying to market and sell the books. I understand that, but I think being honest, genuine with the story, doing the very best you can, writing a worthy book, and then letting them come up with a way to categorise it, is probably the best bet. I don't know. Jo: We're almost out of time, but this is obviously a podcast, and you have a podcast. So tell us about The Story Blender Podcast and what people might find over there. Steven: Yes, I appreciate it. Basically, I interview some of the leading writers and storytellers in the world every week, and the goal is for great storytellers to share the secrets of great storytelling. So I basically pick their brains, kind of like what you were doing with me today, and find out what projects they're working on, and really just try to get insights into storytelling. So it's tons of fun. I've been doing it now for a number of years, and I guess I've interviewed over 250 different authors and writers from around the world, and so I always enjoy it. It's a ton of fun. It's The Story Blender, and people can find it anywhere. Jo: So where can people find you and your books and everything you do online? Steven: Probably the best place is StevenJames.net. I think I'm on different socials @readstevenjames, so you can look me up there—Facebook, Instagram, X, and so on. I think they're all under readstevenjames. Check out the website, drop me a note. I always enjoy hearing from readers. Jo: Well, thanks so much for your time, Steven. That was great. Steven: Thanks, Jo. I appreciate it. Good luck. The post Organic Writing And The Power Of The Pivot In Fiction With Steven James first appeared on The Creative Penn.

On this episode we sample one of our favorite Italian Beers, Birra Moretti.  We then dive into why Nick's feelings are hurt, what we think about a Project Hail Mary rewatch, Jaws in space, CareBears and the Polar Express, Italian beers are basically health drinks, opening a beer with your wedding ring, a bit of the European beer funk, trying not to offend the Italians, drinking in the back of the Duomo, the Raiders of Tuscany, a barely cooked steak, Clarkson's Farm Season 5, the mayhem of opening a pub, the Farmer's Dog, turning a profit but having fun, any work off camera, Gerald is not an actor, traveling ornithologists, farming life in the Cotswolds, raising awareness for Britain's farmers, Charlie Ireland, the frustration of British red tape, and experiencing all of the emotions.  Support Us On Patreon: https://www.patreon.com/DrepandStone We'd love to hear from you! https://linktr.ee/DrepandStone Don't forget to subscribe! Episode 356

Episode 827: JSA Year One Part 2 Sean and Jim are taking a couple of episodes to look at JSA Year One by Jeff Lemire. This episode covers JSA #16-18. Supergirl Review (Is It Jaws?) https://traffic.libsyn.com/db401600-76a6-4051-96d9-e794028cbe90/Is-it-Jaws-Supergirl_1.mp3 https://sites.libsyn.com/562405/site The Comic Locker Trivia Contest https://docs.google.com/document/d/1s9dgj7ghk4147nRe9xBhbpCnvI7ie44EDd5c0LKACvE/edit?usp=sharing The Comic Locker Raging Bullets Discount https://www.thecomiclocker.com/ragingbullets Sean is a cohost on "Is it Jaws?" Check it out here : https://twotruefreaks.com/podcast/qt-series/is-it-jaws-movie-reviews/ or https://sites.libsyn.com/562405/site Coming Up : Batman/Green Arrow/The Question Arcadia Upcoming: Longest Halloween, Wonder Woman, Absolute Green Arrow, Batman, Absolute Superman, and much more. Show Notes: 0:00 Show Topics: JSA 16-18 3:25 JSA Year One Part 2 1:36:25 Closing Show Topic Request Form: https://docs.google.com/forms/d/e/1FAIpQLSe5l4gZgdGrNpLXAN4NdcAI0WF7fM7yhjHJ3upZ3azEc31zuw/viewform?usp=sharing Contact Info (Social Media and Gaming) Updated 9/23: https://ragingbullets.com/about/ Facebook Group: https://www.facebook.com/groups/401332833597062/ Sponsors: http://www.DCBService.com, http://www.Instocktrades.com Favorite Organizations : http://www.heroinitiative.org, http://cbldf.org/ We'll be back in a week with more content.  Check our website, Twitter and our Facebook group for regular updates.

It's hot on the West Coast, the air is unbreathable on the East Coast, and so this week's show gets weird right from jump. Facts are misstated, and names have a hard time being remembered. It's all in a day's work for Conor Kilpatrick and Josh Flanagan. Note: Time codes are estimates due to dynamic ad insertion by the distributor. Running Time: 01:06:10 Pick of the Week:00:03:20 – Dark Knights of Steel II #1 Comics:00:12:23 – Punisher vs. Spider-Man #100:20:41 – Superman Unlimited #1500:24:40 – Fantastic Four #740 (14)00:31:16 – Super Creepshow #500:34:33 – Absolute Flash #1700:38:45 – The Savage Sword of Conan #1500:41:58 – Captain America #784 (13) Patron Pick:00:46:57 – Dark Knights of Steel II #1 Patron Thanks:00:48:05 – Dan Audience Questions:00:51:49 – Josh H. from Philadelphia, Pennsylvania wants to know when The Bronze Age officially began. Brought To You By: iFanboy Patrons – Become one today for as little as $3/month! Or join for a full year and get a discount! You can also make a one time donation of any amount! iFanboy T-Shirts and Merch – Show your iFanboy pride with a t-shirt or other great merchandise on Threadless! We've got TWENTY THREE designs! Music:“Left to Right (iFanboy Theme)”Josh Flanagan Watch The iFanboy After Show for Pick of the Week #1035! Listen to Conor, Josh, and Ron on their other show Goodfellas Minute. Listen to Conor and Ron reminisce about Goodfellas Minute on Sporadicast: An Oral History of Movies by Minutes. Listen to Conor discuss Dirty Harry on Movie of the Year: 1971. Watch Ron talk about the online pinball ecosystem on Dirty Pool Podcast. Listen to Conor, Josh, and Ron discuss Blade (1998) on Cradle to the Grave. Listen to Josh discuss Fargo on Movie of the Year: 1996. Listen to Conor discuss Swingers on Movie of the Year: 1996. Watch Ron talk about pinball technology on the Daily Tech News Show. Listen to Conor discuss Ghostbusters on Movie of the Year: 1984. Listen to Conor, Josh, and Ron discuss The Crow (1994) on Cradle to the Grave. Listen to Josh discuss Jaws 4: The Revenge (1987) on Cradle to the Grave. Listen to Josh discuss Indiana Jones and the Temple of Doom (1984) on Cradle to the Grave. Watch Josh and Conor talk about how to start a podcast on OpenWater. Listen to Ron talk about The Phantom Menace minute 80 on Star Wars Minute. Listen to Ron talk about Return of the Jedi minute 124 on Star Wars Minute. Listen to Conor talk about Return of the Jedi minute 104 on Star Wars Minute. Listen to Ron talk about The Empire Strikes Back minute 115 on Star Wars Minute. Learn more about your ad choices. Visit megaphone.fm/adchoices

We've got a JAWS-dropping edition of Two Whats?! And A Wow! this week, as we celebrate everyone's favorite ocean predator: The Shark!✨ Don't miss the chance to laugh together even more: Grownups can visit tinkercast.com/join-twaaw to join the World Organization of Wowzers (WOW) and unlock exclusive activities, birthday cards, quarterly mailings, first dibs at events, and a welcome kit with an autographed photo of Mindy & Guy Raz! Plus, Grownups help support our podcast and our mission to create content and experiences that connect laughter to learning, curiosity to innovation and kids to the WOWs in their world!This episode of Two Whats?! And A Wow! introduces kids and families to the wows sharks through gameplay, storytelling, and contributions from other curious kids!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

After a bumpy opening, Universal Studios Florida is looking for a way to get out of Disney World's shadow. But if Jaws, King Kong and Back to the Future won't do it, what will?See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.