Podcasts about katniss

Inside you there are two wolves. One is reading the Hunger Games and the other one is listening to Chapter 142. Both of them want you to join Sophie, Sam, and Hannah as they discuss Katniss and Rue's friendship, goose propaganda, and how to confidently kill a buffalo.

Get ready for a fun, culture-rich discussion as we explore Anne of Green Gables and its role in Canadian identity! Kelly and Ragon are joined by Brenna Clarke Gray and an amazing lineup of Canadian scholars, actors, and artists to share their unique insights. Learn why Anne is considered a national icon, the fascinating history of "CanCon," and how Anne's story of finding a welcoming home beautifully reflects core Canadian values of inclusivity, diversity, and care. This is an episode packed with reflections on Anne, Canadian culture, and finding kinship with a beloved character.  We have lots of guests pop by with their thoughts about Anne's place in CanCon and our line-up includes: Andrea McKenzie, Laura Robinson, Kate Scarth, Brenton Dickieson, Jennifer Villaverde, Briana Corr Scott, Caroline Toal and Kat Sandler!  What a rockstar roster! You can find more from our guest Brenna Clarke Gray on Bluesky or by listening to her podcast Hazel & Katniss & Harry & Starr all about YA literature and adaptations.   We are inspired by CanCon! Brenna recommends:  Oh What A Feeling Box Set (if you can find it, or use this link to create a playlist for yourself!) for a buffet of Canadian music.  She recommends Canadian TV shows Degrassi High,  Degrassi: The Next Generation and its other iterations as well as Being Erica and she recommends the movies Women Talking, Last Night, and Bon Cop, Bad Cop.   Kelly recommends:  Call Me Maybe by Carly Rae Jepsen for some Canadian pop music, North of North and Orphan Black as TV shows and the movie Take This Waltz. Ragon recommends Agnes Aubert's Mystical Cat Shelter by Heather Fawcett for some cozy fantasy based in Montreal. You can support the pod by shopping through our Bookshop link for any books we've recommended!   If you want to get a free logo sticker from us, either leave us a review on Apple Podcasts or share your love for the pod on social media!  Send us a photo of your share or review at either our email: kindredspirits.bookclub@gmail.com or on our KindredSpirits.BookClub Instagram.   

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Ben and Rob plunge into the feverish, unraveling psyche at the heart of Die My Love, a film that blurs the boundaries between passion, isolation, and psychological fracture. Set against a raw, untamed landscape that feels as volatile as its characters, the story captures a relationship pushed to its emotional limits, but what exactly is Die My Love? A romance? A descent into madness? Or something far harder to define?What drove the film's creation, and how did its cast and creatives shape such an intense, intimate portrayal of love under pressure? Ben and Rob dig into behind the scenes insights, exploring the choices that give the film its unsettling authenticity, from performance styles to the way the environment itself becomes a character.As the discussion deepens, they turn to the film's most striking imagery. What does the black horse represent, and why does it linger so ominously at the edges of the story? How do fire and destruction intertwine with themes of desire and loss? And in a landscape that feels both expansive and suffocating, what role does the setting play in reflecting the inner lives of its characters?From its haunting symbolism to its emotional volatility, Die My Love resists easy interpretation, but that doesn't stop Ben and Rob from trying. What does it really mean? Is the film a portrait of love pushed beyond its limits, a meditation on identity and confinement, or something more abstract and elusive? And when the dust settles, are we left with answers or just the lingering sense that some stories are meant to be felt rather than understood?CONSUUUME to find out all this and much, much more!PLUS! We have a Patreon with EXCLUSIVE content just for you starting at less than £2 a month - click the link below!Find us on your socials of choice at www.linktr.ee/everymovieeverpodcast

Jungkook as Katniss, Mingyu shirtless as Finnick, and so many more of your biases as characters in the Hunger Games. Who would win? Who would lose instantly? In this week's episode of Asian Glow Podcast, we discuss all things the BTS tour, film, and most importantly, which 3 idols would be the Katniss, Peeta, and Gale love triangle. For deleted clips of this episode:  IG: @clarenceeangelo  IG: @asianglow.podcast Tik Tok: @asianglowpodcast     For more yapping with the rest of the Glow Gang, join our community discord server and watch our livestreams on Youtube every other Tuesday:   Discord: https://discord.gg/ReGGDAFw7s   Youtube Channel:  https://www.youtube.com/c/ClarenceAngelo Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

Ben and Rob step back into the arena with The Hunger Games: Catching Fire (2013), the sequel that proves it's anything but a middle movie. Directed by Francis Lawrence, this chapter doesn't just continue the story, it sharpens it. But what is it that makes Catching Fire feel so complete, so essential, rather than just a bridge between beginnings and endings?They dig into the making of drama, from the high pressure director switch to the challenge of elevating a global phenomenon. How did those behind the scenes shifts help shape a stronger, more confident film?Somewhere along the way, Ben pinpoints the exact moment he fell in love with Peeta Mellark... From there, the conversation turns to love triangles in square pegs. Does the dynamic between Katniss Everdeen, Peeta, and Gale actually resist the trope, or just twist it into something more complicated?Zooming out, they tackle the clash of the female fronted franchises, asking why Katniss stands apart in a wave of imitators and what Catching Fire gets right that others don't.And finally...What does it really mean?CONSUUUME to find out all this and much, much more!Find us on your socials of choice at www.linktr.ee/everymovieeverpodcast

Find our review of The Hunger Games: Mockingjay - Part 1 here: https://www.podomatic.com/podcasts/alostplot/episodes/2026-04-17T04_00_00-07_00 In this episode, Maverick and Avalon delve into the final installment of the Hunger Games franchise, Mockingjay Part 2. They discuss the film's themes, character arcs, and the emotional weight of loss, particularly focusing on Katniss Everdeen's journey and the moral complexities of revenge. The conversation highlights the development of key characters, the tension in the Capitol, and the impact of significant deaths, including Finnick and Prim, on the narrative and on Katniss's motivations. They explore the dynamics between Katniss, Coin, and Snow, highlighting how their actions shape the narrative and the moral implications of their decisions. The discussion also touches on the cultural impact of the series and the lasting themes of violence and trauma that resonate beyond the story.----------Highlights:0:00 ‘Hunger Games: Mockingjay - Part 2' Introduction5:18 Katniss Everdeen13:31 Gale17:30 Raising the Stakes25:35 Finnick's Death34:47 Prim's Death41:08 Snow and his revelation45:56 President Alma Coin58:53 The Climax1:04:42 Lasting Impact#hungergames #katnisseverdeen #alostplot #mockingjay #part2 

The AI Massacre by Arlet, Janet, Angelina, Katniss, and Bimanshu by 826 Valencia

Send us Fan MailIzzy didn't plan on becoming an archer. She just gave it a try and never really stopped. What started as a ten dollar experiment turned into hours of practice, training with a college coach, and eventually competing at the state level.In this episode, Izzy shares what it was like to struggle through her first competition, come back and win her next one, and learn how much of the sport is mental. She talks about staying focused under pressure, building confidence, and how one small decision led to a scholarship opportunity.It's a real look at growth, mindset, and what can happen when you stick with something.Stay hootworthy.Hootworthy: The Podcast That Gives a HootWe spotlight the students and faculty of GCA and the stories that deserve to be heard.Watch full episodes on YouTube or learn more at georgiacyber.org/hootworthy.Follow, subscribe, and share. Every story deserves a spotlight.

Ben and Rob step into the fractured districts of Panem with The Hunger Games, the 2012 phenomenon that turned a brutal dystopian novel into a cultural lightning strike. Directed by Gary Ross and led by a breakout performance from Jennifer Lawrence as Katniss Everdeen, the film walks a tightrope between blockbuster spectacle and unsettling social commentary, but how did it all come together?Who is Suzanne Collins, and why did Hollywood take a risk on her bleak, unflinching vision of a future built on control, sacrifice, and survival? What drew Gary Ross to the material, and how did his approach shape the film's grounded, almost documentary-like intensity? And how did Jennifer Lawrence become Katniss, not just a hero, but a symbol balancing vulnerability, defiance, and reluctant rebellion in a way that defined a generation?From the politics of the Capitol to the moral cost of survival, Ben and Rob dig into what The Hunger Games is really saying beneath the arena's deadly choreography. Is it a story about resistance, media manipulation, or the quiet erosion of humanity under pressure?CONSUUUME to find out all this and much, much more!PLUS! We have a Patreon with EXCLUSIVE content just for you starting at less than £2 a month - click the link below!Find us on your socials of choice at www.linktr.ee/everymovieeverpodcast

Find our review of Hunger Games here: https://www.podomatic.com/podcasts/alostplot/episodes/2026-04-01T19_37_17-07_00 In this episode, Maverick and Avalon delve into the 2013 film 'Hunger Games: Catching Fire', exploring its themes, character dynamics, and the implications of rebellion within a dystopian society. They discuss the film's plot, the development of Katniss Everdeen as a reluctant hero, and the role of President Snow as the mastermind villain orchestrating the oppressive regime of Panem. The conversation highlights the complexities of storytelling in a multi-part film series and the challenges of maintaining audience engagement in a narrative that is not self-contained. They discuss the destruction of District 12, the believability of the world-building, and the significant character development of Katniss Everdeen. The conversation also explores themes of trust, survival, and the impact of choices, while comparing the film's narrative structure to other series. Ultimately, they reflect on the importance of middle installments in storytelling and how 'Catching Fire' sets the stage for the next chapter in the saga.----------Highlights:0:00 ‘Hunger Games: Catching Fire' Introduction7:58 Katniss Everdeen24:43 Coriolanus Snow & Plutarch42:00 Cinna45:00 Finnick Odair52:11 The Climax & Final Reveal58:07 Katniss's Character Arc1:07:15 Cliffhanger Films#katnisseverdeen #hungergames #catchingfire #finnickodair #alostplot 

Find our review of The Hunger Games: Ballad of Songbirds & Snakes here: https://www.podomatic.com/podcasts/alostplot/episodes/2023-11-22T06_00_00-08_00 In this episode, Maverick and Avalon delve into the themes and character dynamics of 'The Hunger Games,' exploring its dystopian setting, the moral dilemmas faced by Katniss Everdeen, and the complexities of her relationship with Peta. They discuss the film's commentary on power, sacrifice, and the nature of entertainment in society, providing insights into the characters' motivations and the emotional stakes of the narrative. They discuss the development of key characters like Kato and Seneca Crane, analyzing their roles as antagonists and the implications of their actions. The climax of the film is examined, particularly the defiance against tyranny and the lasting impact of the series on popular culture.----------Highlights:0:00 'Hunger Games' Introduction5:33 Film Opening Scene9:29 Katniss Everdeen14:22 When Good People are Forced to do Bad Things23:22 Peeta Mellark30:23 Escalating Stakes44:13 The Climax48:25 Themes50:10 Lasting Impact#thehungergames #peetamellark #katnisseverdeen #alostplot #dystopian 

¡Bienvenidos a Puente4Podcast! En este episodio nos sumergimos en el mundo distópico de Los Juegos del Hambre, analizando tanto la saga de libros como las películas que han marcado a toda una generación. Hablamos de la trama, los personajes (¡Katniss forever!), los momentos más intensos y qué hace que esta historia sea tan potente y relevante hoy en día. ¿Qué diferencias hay entre libro y película? ¿Cuál nos gusta más? Lo descubrimos juntos. Si te gustan las historias de supervivencia, revoluciones y distopías, este episodio es para ti. No olvides suscribirte, darle like y compartir para que más fans de Los Juegos del Hambre se unan a la conversación. Compra tus camisetas en https://www.pampling.com/ usando nuestro código para obtener regalos con tu compra y contribuir al podcast! Código: Puente4Podcast Redes Sociales Puente4Podcast: Discord: https://discord.gg/EZFntbKdUF Instagram: https://www.instagram.com/puente4podcast/ Twitter: https://twitter.com/Puente4Podcast TikTok: https://www.tiktok.com/@puente4podcast? iVoox: https://www.ivoox.com/s_p2_1105139_1.html Patreon: https://Patreon.com/puente4podcast Reddit: https://www.reddit.com/r/Puente4Podcast/

"We all do things we're not proud of to survive."Sequel Month is getting the prequel treatment as The Wives Colangelo return to Panem for THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES. This week's episode might be a bit of a heavier one, considering, well, everything, but to fight fascism, you have to know how it operates. Fortunately, the dystopian prequel does a pretty bang-up job at showcasing how leaders like Coriolanus Snow come to power, why you should never trust state-controlled media, and how the seeds of resistance take so long to come to harvest. Happy Hunger Games, and may the odds, as always, be ever in your favor.--------Become a Patron! https://www.patreon.com/thisendsatprom--------MONTHLY SPOTLIGHTResources for Trans Youth in Kansas: https://southernequality.org/ks/--------Article MentionedIn ‘The Ballad of Songbirds & Snakes,' Lucy Gray Is a Different Kind of Hero in Katniss' World(https://www.teenvogue.com/story/the-ballad-of-songbirds-and-snakes-lucy-gray-katniss-hunger-games)--------Social Media Plugs@ThisEndsAtProm@BJColangelo@HarmonyColangelo----------Logo Design: Haley Doodles @HaleyDoodleDoTheme Song: The Sonder Bombs 'Title': https://thesonderbombs.bandcamp.com/

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

No longer the damsels in distress waiting in the castle to be rescued, women and girls in geek culture have grown strong, independent, and, frankly, bad-ass over the years, and we love them all the more for it.Whether Princess Peach is powerhousing through koopas, Donna Noble is sparring brilliantly with both Doctor and Dalek, or Molly Weasley is making Chuck Norris eat his vegetables, each has uniquely feminine traits stronger than any man!Today's root beer is Slice.Intro and Outro music by Stockmusic331 on Pond5Send a text

ACOFAE Podcast Presents: Mockingjay Part 1 - The movie: "Everything old can be new again...like democracy." Remember when watching this movie was a form of escapism? Remember when the concept of the Hunger Games was horrifying and parents were up in arms? Remember all that? Good. Watch it again. ACOFAE is continuing the watch of The Hunger Games series with the third movie, Mockingjay: Part 1. Filled with a cast that is beyond talented, Katniss is struggling with her new life in District 13, after she was rescued from the Games. Peeta is a hostage of the Capital, and is not doing well and Katniss has to rally the people for revolution. With propos. That she isn't very good at. What follows is Katniss' journey of working through the scheming and the politics of 13, dealing with Snow and his cruelty, and figuring out her place in this new district. Hoorah? "Not one to waste it in rehearsal."

El presidente Snow comete el error más grande de su vida al traer de regreso a Katniss para participar en la batalla real. Mientras tanto la Sinsajo se agarra a dos vatos al mismo tiempo, uno por amor y el otro por arte.Dirigida por Francis Lawrence-Puedes apoyarnos y tener acceso anticipado enhttps://www.patreon.com/updateando Show en vivo y más contenido enTwitch: https://www.twitch.tv/updateando-https://www.instagram.com/updateando/https://twitter.com/updateandohttps://www.facebook.com/updateando/https://discord.gg/YftZeAj-Sigue a Lego:https://twitter.com/Lego_Rodriguezhttps://www.instagram.com/Lego__RodriguezSigue a Mei:https://www.instagram.com/meimeimei.___Sigue a Cham:https://x.com/Cham311#TheHungerGames #CatchingFire #Katniss

Elizabeth Baird Hardy, Deputy Headmistress of Hogwarts Professor, the genius behind AppalachianInkling.com, Hunger Games expert, and author of Milton, Spenser and the Chronicles of Narnia: Literary Sources for the C.S. Lewis Novels, joined Nick and John to discuss the Charm Bracelet that J. K. Rowling posted on her Twixter home page as a Christmas gift to her readers. She said that that the thirteen charms on nine links were a set of clues about the next Strike novel, the ninth in a ten book series.In the first Part of Elizabeth, Nick, and John's conversation, they discussed Rowling's charm bracelet history, speculated about why she posted this picture when she did, decided to look at each charm on the bracelet for its stand-alone meaning and its place in the nine link set, and to read the whole series as if it were a ring composition, one reflecting a nine Part structure in Strike 9. They then made deep dives into the details of each charm: the heart shaped box containing a ‘You and Me' engagement ring, a golden diamond-laden egg, a foul anchor, two angels, and a Trojan horse.In this second Part of that conversation, the trio of Serious Strikers continue with the remaining charms on the bracelet, namely, a Jack-in-the-box, an Hourglass, a White Rose and Crocodile, a Corvid head, and a Psalter paired on the last link with the Head of Persephone. They share their thoughts, too, about the bracelet as a symbolic integer and its ring meaning.The notes below are in support of references they make mid-flight and to other resources of interest to Magic Charm Decoders! Enjoy.Thank you to all our subscribers with special gratitude and appreciations for our paid subscribers; you are the wind in our sails, the heat from our vents… Serious Strikers are reading Browning's The Ring and the Book, charting Hallmarked Man Part Six, and reviewing the Myth of Cupid and Psyche to look for parallels in the Strike-Ellacott series. See you soon!Jack-in-the-Box Charm* Rowling claims this as her favorite charm (Nick and John in the conversation mistakenly attribute this preference to the Psalter charm):* Badly Wired Lamp ID'd it* Is it a devil — or a Racoon?* The jack in the box toy, the 'Jack' being a devil, was invented in Germany in the 16th century as a mockery of the Roman Catholic doctrine of the Real Presence of Christ in the Eucharist. * The shape of this charm, the golden circular center in the inside of the open box top, represents the transcendent spiritual realm and the square bottom with its four directions, the fallen world. The ‘jack' devil lives in the latter but is from the former.* The charm is the third latched object in the chain, the heart box and Trojan horse preceding it and the psalter at chain's end following it — which means the ring latch and center are latched objects with surprises inside. The two interior objects at center have deadly surprises and the beginning and end eternal life interiors. The symbolism here is of the human being and its capacity via choice for either spiritual perfection in sacrificial love (anteros) or consumption by individual desires (eros). The thing hidden inside, man's spiritual capacity or heart, is either light or darkness, the inside bigger than the outside. (John)* What is the Strike 9 connection, the analogue to the demonic Jack in the box? Is it RFM? Uncle Ted? Ilsa's husband Nick? Polworth?* The Jack's position is at the center of the bracelet and between the hourglass and the Trojan horse. So it's placed between cleverness and craftiness and things that we can control and bad surprises, but also time, because we can't control time. (Elizabeth)Hourglass Charm* tempus fugit ‘like sand in an hourglass'* memento mori* infinite symbol* The Strike series may be a collection of mystery-story genres, each one illustrating a unique type of story, different from all the others while keeping the same core of characters and overarching narrative (cf., Rowling's note in The Running Grave acknowledgements that that book was her “cult” book). The hourglass, then, may be Rowling's pointer to Strike9 being a suspense drama in which the good guys not only have a challenging mission (find and rescue the missing Robin, Strike, Lucy, Pat, whomever) but have to do it before a literal deadline arrives. The Ticking Clock plot device.* If the Jack at link five is the center of the bracelet ring of nine links, how does the hourglass mirror the Trojan horse? It's two parts? The deadline aspect? “Reveal the crazies inside before the hourglass empties”?White Rose Charm* White Rose of Yorkshire* The interior of the flower charm is a literal Turtleback or ring composition diagram.* White Rose of Dante: Paradiso Cantos XXXI and XXXIIThe true home of all the blessed is with God in the Empyrean, a heaven of pure light beyond time and space. Dante sees the blessed systematically arranged in an immense white rose: like a hologram, a three-dimensional image, the rose is formed from a ray of light reflected off the outer surface of the Primum Mobile (30.106-17). The queen of this white rose is the Virgin Mary, traditionally represented as a rose herself (see Par. 23.73-4). This celestial rose recalls large rose windows of Gothic cathedrals, many of which are dedicated to Mary. The image of the rose, often red, is also used to represent Christ or, in other contexts, earthly love. The white rose is symmetrically structured according to various criteria, including belief, age, and gender. One half of the rose, already full, holds those who, according to Christian tradition, believed in Christ to come (the blessed of the Hebrew Bible); the other half, with only a few seats still unoccupied, contains those who believed in Christ already come (saved Christians). Two gendered rows mark this division of the rose in two halves. In the row below Mary appear women of the Hebrew Bible (Eve, Rachel, Sarah, Rebecca, Judith, Ruth, and unnamed others); Beatrice is seated next to Rachel, on the third row from the top. Opposite Mary, John the Baptist heads a row of men containing Francis, Benedict, Augustine, and other Christian fathers. Mary is flanked by Adam (first man) and Moses on one side, and Peter (first pope) and John the Evangelist on the other. John the Baptist is flanked by Lucy on one side and Anna, the mother of Mary, on the other. While only adults are seated in the upper section of the rose, below a certain line the rose contains souls of blessed children, their precise location based not on their own merits (since they lacked the power of free will) but on predestination. As physical laws do not apply in the Empyrean, Dante's ability to see these figures is not diminished by distance (30.118-23; 31.76-8).* White Rose of Mockingjay (Hunger Games finale)The prevailing symbol of Catching Fire and the most meaningful token the Christ figure of the series gives Katniss is a pearl, the solid-light symbolism of which we've discussed before. I think Commander Paylor's name may be our last Madge-Pearl-Mags name reference in being a “pale orb.” That gold and pearls have a similar translucency and metaphysical correspondence with the ‘Light of the World' make the twin possibilities that much more rich — and Commander Paylor's ascending to Panem's Presidency that much more meaningful and appropriate.Katniss steps into the Garden with the Pearl's blessing (“on my authority”) and discovers roses of every possible color. There are red, of course, and “lush pink, sunset orange, and even pale blue.” She knows what she wants, though; the rose colored like light, the white rose, Dante's symbolic prelude to the beatific vision and transcendence. Just as she cuts the “magnificent white bud just about to open” “from the top of a slender bush” (ibid, p. 355), the manacled, “pale, sickly green” President Snow, our snake in the Garden, speaks.“The colors, are lovely, of course, but nothing says perfection like white.”Our story Satan, you recall, left her a white rose in District 12 in chapter 1 and dropped roses with the bunker buster bombs in Part 1 to terrify Katniss. Now we know why. He was taunting her with her end, that as a seeker's soul he knew her goal was perfection in Christ and taunted her with it, especially when he held Peeta-Christ and understood the cartharsis and chrysalis she would have to pass through to claim it herself. Now that she is in the inner sanctuary, the High Place, he tells her the truth she could not hear anywhere else, the final, ugly truth about the cause for which Katniss had sacrificed everything. Snow reveals, just as Peeta had told her at the story's start, that she was deceived by those she trusted. President Coin killed Primrose with a weapon designed by Gale.Having been to the Absolute center, the world navel, and taken away the beatific vision as a white rose, Katniss is no longer a seeker but the resolution of contraries, an androgyn of justice and mercy. She is above right and wrong now as the phoenix-mockingjay and hears the voice of the “murderer” on the Hanging Tree at last. She deceives President Coin at the Victors Meeting as something of an avenging angel; she becomes a murderer herself by assassinating President Coin. Peeta-Christ comes down from the tree as her savior once again and prevents her suicide via Nightlock by his out-of-nowhere intervention.* Why does the White Rose share the seventh bracelet link with a crocodile? Faerie Queene!Crocodile Charm* The Crocodile in Shed, crocodile skin handbags (Hallmarked Man) “Maybe the4 crocodile or whatever they're keeping in the shed's chewed its way out,” said Strike. “ (Chapter 22, p 176; center chapter of Part 2)* Crocodile entry, Cirlot's Dictionary of SymbolismCrocodile Two basically different aspects of the crocodile are blended in its symbolic meaning, representing the influence upon the animal of two of the four Elements. In the first place, because of it viciousness and destructive power, the crocodile came to signify fury and evil in Egyptian hieroglyphics (19); in the second place, since it inhabits a realm intermediate between earth and water, and is associated with mud and vegetation, it came to be thought of as an emblem of fecundity and power (50). In the opinion of Mertens Stienon there is a third aspct, deriving from its resemblance to the dragon and the serpent, as a symbol of knowledge. In Egypt, the dead used to be portrayed transformed into crocodiles of knowledge, an idea which is linked with that of the zodiacal sign of Capricorn. Blavatsky compares the crocodile with the Kumara of India (40). Then, finally, come the symbols of Inversion proper and of rebirth. (67)* Lyndy Abraham's Dictionary of Alchemical Imagery entry for ‘Crocodile:'Crocodile The mercurial *serpent or transforming arcanum in its initial chthonic aspect during the dark, destructive opening of the opus alchymicum. Like the *bee, the crocodile was classified as a serpent in te bestiaries of the sixteenth and seventeenth centuries. The amphibious nature of the crocodile made it an apt symbol for the dual-natured *Mercurius. When Lepidus in Shakespeare's Antony and Cleopatra says, ‘Your serpent of Egypt is bred of your mud by the operation of your sun; so is your crocodile' (2.7.26-7), he is referring to the generation of gold in the earth, and the generation of the mercurial serpent through the heat of the secret *fire or ‘sun'. With the phrase ‘operation of your sun' Lepidus also alludes to the final law of the alchemical Emerald Table: ‘That which I had to say about the operation of the Sun is completed' (48)* Sandy Hope on Crocodile symbolismIsis Church crocodile in Faerie Queene: Book 5, Canto VIIBook V Canto vii. The speaker praises the virtue of justice and cites Osyris as an example of the just man. His wife, Isis, represented equity and to the Temple of Isis Britomart and Talus come to spend the night. Talus, however, is not allowed into the temple. Britomart enters and sees a statue of Isis with her foot on a crocodile. The temple is also full of the priests of Isis who are not allowed to drink wine as it leads to rebellion. Britomart sleeps under the statue of Isis and dreams that the crocodile comes alive and threatens the Goddess. The Goddess subdues the crocodile and it becomes meek and then impregnates the Goddess. She gives birth to a lion which conquers all other beats. Britomart awakes and tells her troubling dream to a priest. He tells her that the crocodile represents Arthegall, Isis represents Britomart, and the lion their son whom they will conceive. Grateful for the interpretation, Britomart leaves and comes to Radigund's castle. Radigund and Britomart battle, Britomart is wounded in the shoulder, and finally Britomart beheads Radigund. Talus enters the castle and wreaks carnage on the Amazon women inside. Britomart finds Arthegall dressed, like other, in women's clothing. she is shamed by the sight, and it is not quite clear whether her suspicions that Arthegall has been unfaithful are confirmed or refuted. She finds Arthegall some armour, arms him, and the rest in the castle. during this time Britomart rules as a princess and reforms the Amazon society so that women are restored to proper subjection to men. Finally, Arthegall leaves to complete his quest against Grantorto. Britomart lets him leave because she knows that his success in this quest is important to restore his ego. After residing further at the Amazon castle she finally leaves to help keep her mind off the absent Arthegall.* The Spenser Encyclopedia entry for ‘Church of Isis:' (408) Clifford DavidsonWhen Britomart spends the night in the temple, she sees a ‘wondrous vision' in which she participates first as a votary of Isis and then as the goddess herself. Her devotion to the statue causes her to become Isis in her dream: she is serving at the altar when she sees herself transformed into Isis but wearing the royal robe. The crocodile awakens, devours the flames which threaten to destroy the temple, and threatens to eat Isis/Britomart until it is driven back by her rod. Then it seeks her ‘grace and love,' she yields, it impregnates her, and from their union she gives birth to a lion. As the Priest explains, the crocodile is Osiris (the Egyptian god of Justice) who sleeps under the feet of Isis ‘To shew that clemence oft in things amis,/ Restraines those sterne behests, and cruell doomes of his' (22), and who shows thereby the proper relation of justice and judgment to equity. The Priest also explains to Britomart that the crocodile is Artegall, ‘The righteous Knight,' who will settle the storms and ‘raging flames, that many foes shall reare' and restore to her the heritage of her throne, and who will give her a ‘Lion like' son (23), the new British monarchy of the Tudors.The crocodile is a symbol both of guile and of a regeneration that will affect future history. As guile, its relation to Isis is reminiscent of Vice figures under the feet of triumphing Virtues in medieval art. An iconographic association between the crocodile in its demonic aspect and medieval saints' legends derives ultimately – significantly for Spenser – from the classical figure of Britomartis (Miskimin 1978). In Plutarch's Isis and Osiris 50, it is linked to Typhon, the enemy of justice and order, while in Renaissance iconographic tradition it is often symbolic of the need for prudence (for one must be prudent to avoid the wily crocodile). Cesare Ripa's Iconologia (sv Lussuria) shows the nude Luxury (or Lechery) seated upon a crocodile, an interesting analogy to its phallic sexuality in Britomart's dream. Yet along with these primarily negative associations, there are also positive ones in the crocodile's identification with Osiris/Artegall/Justice and in the implication that Isis/Britomart/Equity is incomplete without her partner. The image contains its own contradiction, unresolved by the Priest.* Troubled Blood and Faerie Queene: Where Britobart and Artegall are used as stand-ins for Robin and Cormoran:Troubled Blood features several embedded texts, the most important of which is never mentioned in the book: Edmund Spenser's Faerie Queen. Serious Strikers enjoyed the luxury of not one but two scholars of Edmund Spenser who checked in on the relevance and meaning of Rowling's choice of the greatest English epic poem for her epigraphs, not to mention the host of correspondences between Strike 5 and Queen. Elizabeth Baird-Hardy did a part by part exegesis of the Troubled Blood-Faerie Queen conjunctions and Beatrice Groves shared her first thoughts on the connections as well. Just as Lethal White's meaning and artistry is relatively unappreciated without a close reading of Ibsen's Rosmersholm, so with Strike 5 and Faerie Queen.Elizabeth Baird-Hardy* Day One, Part One: The Spenserian Epigraphs of the Pre-Released Troubled Blood Chapters* Day Two, Part Two: The Spenserian Epigraphs of Troubled Blood Chapters Eight to Fourteen* Day Three, Part Three: The Spenserian Epigraphs of Troubled Blood Chapters Fifteen to Thirty* Day Four, Part Four: The Spenserian Epigraphs of Troubled Blood Chapters Thirty One to Forty Eight* Day Five, Part Five: The Spenserian Epigraphs of Troubled Blood Chapters Forty Nine to Fifty Nine* Part Six: The Spenserian Epigraphs of Troubled Blood Chapters Sixty to Seventy One* Spenser and Strike Part Seven: Changes for the BetterBeatrice Groves* Trouble in Faerie Land (Part 1): Spenserian Clues in Troubled Blood Epigraphs* Trouble in Faerie Land (Part 2): Shipping Robin and Strike in the Epigraphs of Troubled Blood* Trouble in Faerie Land (Part 3): Searching for Duessa in Troubled BloodJohn Granger:* How Spenser Uses Cupid in Faerie Queen and Its Relevance for Understanding Troubled Blood* Reading Troubled Blood as a Medieval Morality PlayCorvid Charm* Rowling Twixter headers: 12 January 2016, 9 April 2017 (Nick)* Fantastic Beasts reference? The Lestrange Family Motto features a crow and the ‘Lost Child' of that series is named ‘Corvus'* Crow Symbolism per Cirlot, Dictionary of Symbols:Crow Because of its black colour, the crow is associated with the idea of beginning (as expressed in such symbols as the maternal night, primigenial darkness, the fertilizing earth). Because it is also associated with the atmosphere, it is a symbol for creative, demiurgic power and for spiritual strength. Because of its flight, it is considered a messenger. And, in sum, the crow has been invested by many primitive peoples with far-reaching cosmic significance. Indeed, for the Red Indians of North America it is the great civilizer and the creator of the visible world. It has a similar meaning for the Celts and the Germanic tribes, as well as in Siberia (35). In the classical cultures it no longer possesses such wide implications, but it does still retain certain mystic powers and in particular the ability to foresee the future; hence its claw played a special part in rites of divination (8). In Christian symbolism it is an allegory of solitude. Amongst the alchemists it recovers some of the original characteristics ascribed to it by the primitives, standing in particular for nigredo, or the initial state which is both the inherent characteristic of prime matter and the condition produced by separating out the Elements (putrefactio) … In Beaumont's view, the crow in itself signifies the isolation of him who lives on a superior plane (5), this being the symbolism in general of all solitary birds. (71-72)* Lyndy Abraham's Dictionary of Alchemical Imagery entry for ‘Crow:' (49)Crow, crow's head, crow's bill A symbol of the *putrefaction and *black nigredo which is the first stge of the opus alchymicum. The old body of the metal or matter for the Stone is dissolved and putrefied into the first matter of *creation, the *prima materia, so that it may be regenerated and cast into a new form. The Hermetis Trismegisti Tractatus Aureus said of this initial stage of death and dissolution in the work: ‘The First is the Corvus, the Crow or Raven, which from its blackness is said to be the beginning of the Art' (bk. 2, 235). In his Aurora, Paracelsus wrote that when the matter has been placed in the gentle heat of the secret fire it passes through corruption and grows black: ‘This operation they call putrefaction, and the blackness they name the head of the Crow' (55). Thomas Charnock likewise wrote of the putrefaction: ‘The Crowes head began to appere as black as Jett' (TCB, 296). In Zoroaster's Cave the matter produced during this stage is identified with the name of the process: ‘When the matter has stood for the space of forty dayes in a moderate heat, there will begin to appear above, a blacknesse like to pitch, which is the Caput Corvi of the Philosophers, and the wise men's Mercury' (80). According to Ripley the terms ‘crows head' and ‘crows bill' are synonymous: ‘The hede of the Crow that tokeyn call we,/And sum men call hyt the Crows byll' (TCB, 134) (see ashes). In A Fig for Momus Thomas Lodge listed the crow's head amongst other alchemical enigmas: ‘Then of the crowes-head, tell they weighty things' (Works, 3:69). When Face in Jonson's The Alchemist says that the matter of the Stone has become ‘ground black', Mammon enquires of him, ‘That's your crowes-head? And Subtle replies, ‘No, ‘tis not perfect, would it were the crow' (2.3.67-8).Psalter Charm* In ‘Charms, Psalms & Golden Clues: A brace(let) of clues for Strike 9,' Prof Groves discusses the psalm as charm:Charm first meant the incantation itself, and then the amulet that carried that incantation to protect the wearer and then – from the 19th century – the small ornamental trinkets, fastened to girdles, watch-chains and bracelets, that resembled those original, talismanic charms. This means that Rowling's clue-charm of a Psalm book (which can actually carry a sacred text) circles back beautifully to the original meaning of the word – in which a charm was an amulet carrying a holy text. These charms do not always hold texts but Rowling has confirmed that this one does: ‘The book is a psalm book and holds real, miniature psalms' I think this protective hinterland of charms make it likely that the specific psalm that such a psalm-book charm would carry would be the most comforting and talismanic of psalms – Psalm 23. This psalm famously describes the Lord's love as protective, even unto the valley of the shadow of death* John argues that, in addition to the 23rd Psalm, Psalm 90 (91 in Masoretic or KJV reckoning), the so-called ‘Soldier's Psalm' is at least as likely as an insert for this charm, which is to say, as a talisman a soldier might give a woman about to enter Hades to beg a gift from Persephone…The Head of Persephone Charm* Rowling's clarifying picture* Psyche's Last Task from Venus:One final task is then given to Psyche, one in which Psyche is commanded to bring back a bit of Persephone's beauty from the Underworld. In Greek mythology no living soul is meant to be able to enter the Underworld, let alone leave it, and so Aphrodite felt that she would be rid of Psyche once and for all. Indeed, it seemed that Aphrodite would be proved right, for Psyche's only idea about entering the Underworld was to kill herself. Before Psyche can commit suicide a voice whispers to her instructions about how to complete the task. Thus Psyche finds an entrance to the Underworld and is soon crossing the Acheron upon the skiff of Charon, and the princess even manages to gain an audience with Persephone. Persephone on the surface appears to be sympathetic to the quest of Psyche, but Psyche has been warned about accepting food or a seat in the palace of Hades, for both would bind her to the Underworld for all time. But eventually, Persephone gives Psyche a golden box, said to contain some of the goddess' beauty.* The Head of Persephone charm is paired with the Psalter on the ninth and last link; again, if the Psalm is 22 (23) or 90 (91), then the connection is an invocational prayer for help traveling through the “valley of death,” for protection from the “asp and basilisk,” the “lion and dragon.”* As above, note that the beginning, middle, and end of the bracelet feature clasped objects, with the Psalter being a codex that opens and Psyche's journey to Persephone is in pursuit of a “golden box” containing the means to otherworldly beauty. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit hogwartsprofessor.substack.com/subscribe

Finally, the war is almost over and yet so many beloved characters have to die still. Today we are talking about Mockingjay Part 2. This one is rough, your faves might not make it, or if you fave is Gale then you might have to deal with him being responsible for a henious war crime. Also, who is doing Katniss's hair and makeup for her to just walk around? WARNING: War, death of children, gun violence, substance abuseBecome a supporter of this podcast: https://www.spreaker.com/podcast/book-cult--5718878/support.

This episode is Britt and Chris' 2023 Patreon review of the Mockingjay Part II movie, including the good, the bad, and the Gale. From Finnick's death

66 years before Katniss first enters the arena, there is another girl from District 12 that captures the countries, and Coriolanus Snow's attention. You need to listen if you love: men who think they are important becuase of their last name, snakes who just love a good tune, and cops getting away with crimes. WARNING: Murder, child abuse, domestic violence, cannibalism, war, substance abuseBecome a supporter of this podcast: https://www.spreaker.com/podcast/book-cult--5718878/support.

Britt and Chris' 2022 patron episode on the CF movie explores added scenes, Snow setting the stage in the study with Katniss being seen as a player, Beetee's glasses, too many men in the writer's room, Philip Seymour Hoffman's performance as Plutarch and Elizabeth Banks as Effie, and so much more! Please tell a geeky friend about us and leave a review on your podcast app! If you really enjoy our content, become one of our amazing patrons to get more of it for just $1 per month here: https://www.patreon.com/geekbetweenthelines Every dollar helps keep the podcast going! You can also buy us a ko-fi for one-time support here: https://ko-fi.com/geekbetweenthelines Please follow us on social media, too: Instagram : https://www.instagram.com/geekbetweenthelines Pinterest : https://www.pinterest.com/geekbetweenthelines Facebook : https://www.facebook.com/geekbetweenthelines Twitter : https://twitter.com/geekbetween Website: https://geekbetweenthelines.wixsite.com/podcast Logo artist: https://www.lacelit.com

Chapter 133 is coming to you with protein bars stuffed into all its pockets! Join Sophie, Sam, and Hannah as they discuss why the Capitol is actually hell (facetious and sincere), how Katniss and Haymitch actually screwed up the iconic training scene, and tread extremely close to the line talking about how the Hunger Games is basically reality TV.

Britt and Chris have a riveting conversation with long-time listener Dallas about propaganda and public relations in the Hunger Games books. They explore key moments of propaganda in SOTR, what has changed by Mockingjay, and how Katniss and Peeta subverted the Games' entire messaging. They also laugh about Katniss being a PR nightmare and think about Maysilee as the queen of constructing propaganda while Lenore Dove represents how to deconstruct it. Britt, Chris, and Dallas then close the episode with a live activity of creating their own posters using 5 principles for crafting propaganda. Please tell a geeky friend about us and leave a review on your podcast app! If you really enjoy our content, become one of our amazing patrons to get more of it for just $1 per month here: https://www.patreon.com/geekbetweenthelines Every dollar helps keep the podcast going! You can also buy us a ko-fi for one-time support here: https://ko-fi.com/geekbetweenthelines Please follow us on social media, too: Instagram : https://www.instagram.com/geekbetweenthelines Pinterest : https://www.pinterest.com/geekbetweenthelines Facebook : https://www.facebook.com/geekbetweenthelines Twitter : https://twitter.com/geekbetween Website: https://geekbetweenthelines.wixsite.com/podcast Logo artist: https://www.lacelit.com

Welcome to Multiverse News, Your source for Information about all your favorite fictional universesThe Russo Brothers are teasing us again, having shared another blurry and mystifying image on their social media Monday that - according to them - has to do with Avengers: Doomsday. Speaking of teases, sources have told The Hollywood Reporter that Marvel plans to show four different Doomsday teaser trailers that will play in front of Avatar: Fire & Ash. Last week we speculated about what Scarlett Johansson's role might be in The Batman II…and didn't have to wait long to find out! Prominent leaker The InSneider reported Johansson will be cast as Gilda Dent, wife of Harvey Dent or Two-Face. It is also reported the studio is looking around to cast Harvey and his father, Christopher Dent, though this is all unconfirmed by DC Studios at this time. Hunger Games fans, rejoice! Peeta and Katniss return, as Jennifer Lawrence and Josh Hutcherson are confirmed to return to the Hunger Games prequel film, Sunrise on the Reaping. While no details are truly known, with the movie focusing on other characters and a different time period, it looks likely that these two will appear in a flash forward or something of that nature. This second prequel film releases next year on November 20.Rob and Michele Reiner both died this week tragically. Rob Reiner directed countless memorable films such as The Princess Bride, This Is Spinal, and The American President plus so many more.Sony is moving forward with a third installment of the 28 Years Later franchise. Cillian Murphy is in talks to return to star after kicking off the franchise more than 20 years ago with 28 Days Later. Franchise writer Alex Garland is working on the script.Zootopia 2 crossed the $1 billion dollar global box office mark this weekend, the fastest for any PG film in history.Less than two weeks after it was revealed that Paramount had partnered with Blumhouse-Atomic Monster on a reboot of Paranormal Activity, The Hollywood Reporter has learned the project is now landing a director: rising Canadian filmmaker Ian Tuason.Lucas FIlm has announced a handful of upcoming Star Wars projects over the last few days including two video games, one an RPG titled The Fate of the Old Republic, and another a racing game titled Star Wars: Galactic Racer. In addition, a five issue miniseries focusing on Darth Maul will also kick off in March of next year and will serve as a prequel to the upcoming Darth Maul TV series. The issues will be written by Benjamin Percy and feature art by Madibek Musabeckov.The first trailer has been released for Street Fighter, which hits theaters on October 16, 2026.Slow Horses star Zachary Hart and Lola Petticrew, who most recently starred in FX's Say Nothing have been cast as series regulars in Netflix's Assassin's Creed series.Sources tell Deadline that Disney is in early development on a film centered on the Beauty and the Beast character Gaston. Dave Callaham is writing the script with Michelle Rejwan producing. No director is attached at this time.Universal has pulled M3GAN spinoff SOULM8TE from the release calendar, and the film is expected to be shopped to other studios. The film was originally set to release on Jan. 8, 2026.Universal has released the first trailer for Steven Spielberg's upcoming alien invasion film titled Disclosure Day, which stars Emily Blunt and Josh O'Connor. The film is set to open on June 12 of next year.Jacobi Jupe, currently starring in one of this award season's top contenders, Hamnet, will star opposite Scarlet Johansson in Blumhouse and Universal's latest take on The Exorcist.

TV news shake ups. Gayle King takes on the rumors that she's out at CBS. Plus, “Matlock” brings in a new cast after firing a major star. New details on the exit of David del Rio. Then, new romance for Britney Spears? Her Mexican getaway with a mystery man as her ex-husband Sam Asghari strips down. His playgirl expose includes new comments about the pop star. And, Taylor Swift's four word message to critics who want her to go away. Then, Bravo star Kandi Buress' next move as she navigates a multi-million dollar divorce. Plus, ET is with Shaw and he's spilling more than just Super Bowl plans. His anti-aging confession. And, Nischelle takes ET behind the scenes on the set of her upcoming Christmas movie. Her runaway bride moment. The tulle, the trouble , and the co-stars that had to teach her how to kiss on camera. Then, inside “Married to Medicine” star Toya Bush Harris' Atlanta mansion. Where the Christmas trees are stacked, the kitchen that has its own kitchen, and the closets with cherry blossoms? Plus, how “The Hunger Games” prequel just opened the door for a Jennifer Lawrence return as Katniss. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

The Hunger Games: Mockingjay Part Two (2015) is the last part of our Katniss series, but it isn't the last part of our Hunger Games month. Seeing as we're so late in coming back, we decided to extend this month to include the prequel. Finally, we're back in an arena of sorts and not just watching folks film propaganda! How many cannons will this edition get?Join us as next week as we watch The Hunger Games: The Ballad of Songbirds and Snakes (2023)

The Hunger Games: Sunrise On The Reaping Official Trailer & Moana (2026) Live Action Teaser - Live Stream Trailer Reaction, Breakdown, Commentary, & News Round-Up! Greg Alba & Coy Jandreau (DC Studios) sit down for an epic triple-header: first we dive into the first full look at Moana (2026) — the live-action remake starring Catherine Laga'aia as Moana and Dwayne Johnson returning as Maui, directed by Thomas Kail, that's already breaking records with 182 million trailer views in 24 hours. Next we examine the surprise trailer drop for The Hunger Games: Sunrise on the Reaping (2026) — directed by Francis Lawrence, starring Joseph Zada as young Haymitch Abernathy, Mckenna Grace, Whitney Peak, Ralph Fiennes and more, set 24 years before Katniss with the 50th annual Games.Finally we cover breaking news for Avengers: Secret Wars — Sadie Sink is confirmed to join the MCU's next universe-shaping event, rumors of new photoshoot leaks swirl, and we tie this into questions about Wonder Woman showing up in the upcoming Superman 2 / Man of Tomorrow continuum.We'll unpack key trailer beats, release dates, casting surprises, studio strategy (Disney, Lionsgate, Marvel), universe implications, theory-crafting, and what all this means for the next wave of blockbusters. Whether you are searching “Moana live-action trailer reaction”, “Hunger Games Sunrise on the Reaping trailer breakdown”, “Avengers Secret Wars Sadie Sink news”, “Wonder Woman Superman 2 Man of Tomorrow leak”, this video delivers a full commentary, reaction and news-dump. Smash like, subscribe, and stay tuned because the future of big-screen pop-culture is starting here! Follow Coy Jandreau:  Tik Tok: https://www.tiktok.com/@coyjandreau?l... Instagram: https://www.instagram.com/coyjandreau/?hl=en Twitter:  https://twitter.com/CoyJandreau YouTube: https://www.youtube.com/channel/UCwYH2szDTuU9ImFZ9gBRH8w Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Moderátorstvo Slejváku má za sebou od Eurovize druhý teambuilding a to rovnou po anglicku! Popkulturní pobyt v Londýně nabídl několik stmelujících zážitků: Shrekovu adventuru a Hunger Games v divadle. Poslechněte si, jak Vilma o chlup unikla interakci s herci nebo jak Míra luštil křížovky, protože odmítal nakupovat Labubu.

Moderátorstvo Slejváku má za sebou od Eurovize druhý teambuilding a to rovnou po anglicku! Popkulturní pobyt v Londýně nabídl několik stmelujících zážitků: Shrekovu adventuru a Hunger Games v divadle. Poslechněte si, jak Vilma o chlup unikla interakci s herci nebo jak Míra luštil křížovky, protože odmítal nakupovat Labubu.Všechny díly podcastu Slejvák můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

(Airdate: 10.28.25) Today on Who Cares News, it's a triple shot of celebrity chaos!

THE FINAL STAND!!! The Hunger Games: Mockingjay Part 2 Full Movie Reaction Watch Along:   / thereelrejects   LIQUID IV: Visit http://www.liquidiv.com & use Promo Code: REJECTS Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ The Hunger Games: Mockingjay Part 1 (2014) Movie Reaction:    • THE HUNGER GAMES: MOCKINGJAY PART 1 (2014)...   The Hunger Games: Catching Fire (2013) Movie Reaction:    • THE HUNGER GAMES: CATCHING FIRE (2013) IS ...   The Hunger Games (2012) Movie Reaction:    • THE HUNGER GAMES (2012) IS A DYSTOPIAN EPI...   With The Hunger Games: Sunrise on the Reaping coming next year, Aaron & Andrew finish their journey thru the original series, giving their The Hunger Games: Mockingjay Part 2 Reaction, Recap, Analysis, & Spoiler Review! Aaron Alexander & Andrew Gordon dive into The Hunger Games: Mockingjay Part 2 (2015), the epic conclusion to Suzanne Collins' YA dystopian saga, directed by Francis Lawrence (I Am Legend, Catching Fire). This high-stakes finale follows Katniss Everdeen (Jennifer Lawrence – Silver Linings Playbook, American Hustle) as she leads the rebellion against the tyrannical President Snow (Donald Sutherland – Ordinary People, Pride & Prejudice). Joined by Gale Hawthorne (Liam Hemsworth – The Last Song, The Expendables 2) and Peeta Mellark (Josh Hutcherson – Bridge to Terabithia, The Kids Are All Right), Katniss and her team infiltrate the Capitol in a desperate attempt to end Snow's reign. Mockingjay Part 2 is packed with iconic and highly searched moments: the infiltration of the Capitol with “pods” and deadly traps, the shocking wedding of Finnick and Annie, the heartbreaking deaths of key allies, and the explosive final confrontation between Katniss and President Snow that cements her as the Mockingjay. The powerful closing scenes, including Katniss' decision regarding Coin and the bittersweet epilogue with Peeta and their children, make this one of the most memorable finales in YA film history. Follow Aaron On Instagram: https://www.instagram.com/therealaaronalexander/?hl=en Follow Andrew Gordon on Socials:  YouTube: https://www.youtube.com/@MovieSource Instagram:  https://www.instagram.com/agor711/?hl=en Twitter:  https://twitter.com/Agor711 Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

THE REVOLUTION BEGINS!!! The Hunger Games: Mockingjay Part 1 Full Movie Reaction Watch Along:   / thereelrejects   Save & Invest In Your Future Today, visit: https://www.acorns.com/rejects The Hunger Games: Catching Fire (2013) Movie Reaction:    • THE HUNGER GAMES: CATCHING FIRE (2013) IS ...   The Hunger Games (2012) Movie Reaction:    • THE HUNGER GAMES (2012) IS A DYSTOPIAN EPI...   Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ With The Hunger Games: Sunrise on the Reaping coming next year, Aaron & Andrew continue their journey giving their The Hunger Games: Mockingjay Part 1 Reaction, Recap, Analysis, & Spoiler Review! Aaron Alexander & Andrew Gordon react to The Hunger Games: Mockingjay – Part 1, the 2014 dystopian sci-fi action sequel directed by Francis Lawrence (I Am Legend, Constantine) and based on Suzanne Collins' bestselling novel. The film follows Katniss Everdeen (Jennifer Lawrence – Silver Linings Playbook, X-Men: First Class) as she becomes the reluctant face of the rebellion against the Capitol after the destruction of District 12. Now hidden in the underground stronghold of District 13, Katniss struggles with her role as the Mockingjay while President Coin (Julianne Moore – Still Alice, Magnolia) and Plutarch Heavensbee (Philip Seymour Hoffman – Capote, The Master) work to rally the districts into war. The film features some of the franchise's most memorable and highly searched moments: Katniss's haunting rendition of “The Hanging Tree”, the emotional propaganda “propos,” Peeta's shocking transformation under Capitol manipulation, and the bombing of District 13's underground compound. As the rebellion builds toward open war, Mockingjay – Part 1 sets the stage for the explosive finale. AARON ALEXANDER Follow Aaron On Instagram: https://www.instagram.com/therealaaronalexander/?hl=en Follow Andrew Gordon on Socials:  YouTube: https://www.youtube.com/@MovieSource Instagram:  https://www.instagram.com/agor711/?hl=en Twitter:  https://twitter.com/Agor711 Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to the first installment of our Autumn-ish Book Club! In this flash analysis series, we take an academic approach to some of the most talked-about books in Romantasy and fantasy today. With over 13 years of combined academic literary training, we bring a critical lens to fandom favorites while keeping the discussion fun, thought-provoking, and accessible. In this episode, we're discussing The Hunger Games by Suzanne Collins. We explore Katniss Everdeen as a heroine whose personality type makes her both powerful and vulnerable, how Peeta functions as a unique male main character (MMC), and why the series' themes of power, media, and survival feel even more relevant today than when the books were first released. This is part 2 of this week's episode. This season, we'll be covering: The Hunger Games by Suzanne Collins A Cruel Thirst by Angela Montoya When the Moon Hatched by Sarah A. Parker Where the Shadows Meet by Patrice Caldwell Blood of Hercules by Jasmin Mas Blood Over Bright Haven by M.L. Wang Red Queen by Victoria Aveyard The Jasad Heir by Sara Hashem And when book club wraps up, get ready! Our next full literary analysis will dive into Heir of Fire by Sarah J. Maas. If you're new here, we also have full seasons analyzing A Court of Thorns and Roses, A Court of Mist and Fury, A Court of Wings and Ruin, A Court of Frost and Starlight, House of Earth and Blood, House of Sky and Breath, Throne of Glass, and Crown of Midnight. Go back and check those out to see how we break down metaphors, symbolism, narrative structure, and character arcs through multiple literary lenses. Plus, we're thrilled to announce our newest venture: The Subtext Society Journal—the first of its kind, dedicated to Romance, Romantasy, and fandom with an academic yet accessible voice. We're publishing original essays and thought pieces, and we encourage listeners to submit their own articles for a chance to be featured. If you love Sarah J. Maas, Romantasy, and deep literary analysis, you're in the right place. Share your thoughts for a chance to be featured! Submit them at ⁠⁠⁠⁠booktalkforbooktok.com⁠⁠⁠⁠ for a future mini-episode or exclusive Patreon discussion. The Subtext Society Journal: ⁠https://thesubtextsocietyjournal.substack.com/⁠  Support the Show:  Patreon: ⁠⁠⁠⁠patreon.com/booktalkforbooktok⁠⁠⁠⁠  Merch: ⁠⁠⁠⁠Etsy Store⁠⁠⁠⁠ Follow Us on Social: Instagram: @BookTalkForBookTok TikTok: @BookTalkForBookTok YouTube: @BookTalkForBookTok Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to the first installment of our Autumn-ish Book Club! In this flash analysis series, we take an academic approach to some of the most talked-about books in Romantasy and fantasy today. With over 13 years of combined academic literary training, we bring a critical lens to fandom favorites while keeping the discussion fun, thought-provoking, and accessible. In this episode, we're discussing The Hunger Games by Suzanne Collins. We explore Katniss Everdeen as a heroine whose personality type makes her both powerful and vulnerable, how Peeta functions as a unique male main character (MMC), and why the series' themes of power, media, and survival feel even more relevant today than when the books were first released. This is part 1 of this week's episode. Come back Thursday for part 2. This season, we'll be covering: The Hunger Games by Suzanne Collins A Cruel Thirst by Angela Montoya When the Moon Hatched by Sarah A. Parker Where the Shadows Meet by Patrice Caldwell Blood of Hercules by Jasmin Mas Blood Over Bright Haven by M.L. Wang Red Queen by Victoria Aveyard The Jasad Heir by Sara Hashem And when book club wraps up, get ready! Our next full literary analysis will dive into Heir of Fire by Sarah J. Maas. If you're new here, we also have full seasons analyzing A Court of Thorns and Roses, A Court of Mist and Fury, A Court of Wings and Ruin, A Court of Frost and Starlight, House of Earth and Blood, House of Sky and Breath, Throne of Glass, and Crown of Midnight. Go back and check those out to see how we break down metaphors, symbolism, narrative structure, and character arcs through multiple literary lenses. Plus, we're thrilled to announce our newest venture: The Subtext Society Journal—the first of its kind, dedicated to Romance, Romantasy, and fandom with an academic yet accessible voice. We're publishing original essays and thought pieces, and we encourage listeners to submit their own articles for a chance to be featured. If you love Sarah J. Maas, Romantasy, and deep literary analysis, you're in the right place. Share your thoughts for a chance to be featured! Submit them at ⁠⁠⁠booktalkforbooktok.com⁠⁠⁠ for a future mini-episode or exclusive Patreon discussion. The Subtext Society Journal: https://thesubtextsocietyjournal.substack.com/  Support the Show:  Patreon: ⁠⁠⁠patreon.com/booktalkforbooktok⁠⁠⁠  Merch: ⁠⁠⁠Etsy Store⁠⁠⁠ Follow Us on Social: Instagram: @BookTalkForBookTok TikTok: @BookTalkForBookTok YouTube: @BookTalkForBookTok Learn more about your ad choices. Visit megaphone.fm/adchoices

**THIS EPISODE CONTAINS FULL SPOILERS**We're back in Panem for Mockingjay Part 2 - the final chapter in the Katniss saga. Unlike Part 1, some things actually happen in this one… albeit I don't think this could've been a more dour and depressing entry if they tried.  Joining us is returning guest Noah, and fun fact: he's the one who COMPOSED the Film is Lit theme song!  Together, the three of us try to unearth the best attributes hidden in this otherwise “meh” finale. So grab your bows, take aim, and tune in as we wrap up our Hunger Games coverage!#JenniferLawrence #JoshHutcherson #PhilipSeymourHoffman #JulianneMoore #WoodyHarrelson #LiamHemsworth #DonaldSutherland #FilmIsLitPodcast #Podcast #MoviePodcast #FilmPodcast #PodcastCommunity #PodcastersOfInstagram #MockingjayPart2 #TheHungerGames #KatnissEverdeen #PeetaMellark #GaleHawthorne #HungerGamesFans #PanemForever #MovieDiscussion #BookToFilm

I VOLUNTEER AS TRIBUTE!! The Hunger Games Full Movie Reaction Watch Along:   / thereelrejects   Save & Invest In Your Future Today, visit: https://www.acorns.com/rejects Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ With The Hunger Games: Sunrise on the Reaping on the horizon, Aaron & Andrew begin their journey to the sinister Capitol with their The Hunger Games Reaction, Recap, Analysis, & Spoiler Review! Based on the best-selling novels by Suzanne Collins, The Hunger Games (2012), directed by Gary Ross, is the first installment in the blockbuster YA dystopian franchise. The film follows Katniss Everdeen, played by Jennifer Lawrence (Silver Linings Playbook, X-Men: First Class), as she volunteers to take her sister's place in the deadly Hunger Games — a televised battle royale where tributes from each district must fight to the death for the Capitol's entertainment. Alongside Katniss is Peeta Mellark, portrayed by Josh Hutcherson (Bridge to Terabithia, Future Man), whose complicated alliance with her becomes one of the series' most compelling storylines. The supporting cast includes Liam Hemsworth as Gale Hawthorne (The Last Song, Independence Day: Resurgence), Woody Harrelson as the cynical mentor Haymitch Abernathy (True Detective, Zombieland), Elizabeth Banks as the flamboyant Effie Trinket (Pitch Perfect, The LEGO Movie), Donald Sutherland as the chilling President Snow (Ordinary People, The Italian Job), and Stanley Tucci as the unforgettable Caesar Flickerman (The Devil Wears Prada, Spotlight). Key moments like Katniss's fiery “Girl on Fire” costume, Rue's heartbreaking fate, and the climactic double-nightlock berry gambit have made this film an enduring pop culture phenomenon. Aaron Alexander and Andrew Gordon dive into the action, tension, and world-building that made The Hunger Games one of the most influential YA adaptations ever brought to screen. Follow Aaron On Instagram: https://www.instagram.com/therealaaronalexander/?hl=en Follow Andrew Gordon on Socials:  YouTube: https://www.youtube.com/@MovieSource Instagram:  https://www.instagram.com/agor711/?hl=en Twitter:  https://twitter.com/Agor711 Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

**THIS EPISODE CONTAINS FULL SPOILERS**We'd say "May the odds be ever in your favor," but no odds are in Katniss's favor in "Mockingjay!" Join the hosts of Film is Lit and previous guest, Kayla Phaneuf (@spookybuddyy), as we discuss the ups and downs of Suzanne Collins' last installment in the original Hunger Games trilogy. Don't kid yourself, it's a downer!#FilmIsLit #MockingjayPartOne #TheHungerGames #JenniferLawrence #JoshHutcherson #PhilipSeymourHoffman #JulianneMoore #WoodyHarrelson #LiamHemsworth #DonaldSutherland #CatchingFire #KatnissEverdeen #PeetaMellark #TeamPeeta #TeamGale #PodcastLife #FilmPodcast #MovieTalk #FilmDiscussion #CinematicChat #PodcastCommunity #MayTheOddsBeEverInYourFavor

Goldsberry, Thomas, more to lead ‘Balusters’ on Broadway, ‘Hunger Games’ play finds its Katniss, Grace chats with Rishi Varma about ‘Sulfer Bottom’ Since 2016, “Today on Broadway” has been the first and only daily podcast recapping the top theatre headlines every Monday through Friday. Any and all feedback is appreciated:Grace read more

Britt and Chris dive into Wyatt and Lou Lou's deaths, undocumented immigrant labor, ideas about canaries, and how Haymitch boldly screamed, "Enough!" at the end of the chapter. They also explore the POVs of President Snow, Haymitch's mother, and even a little bit of Katniss in her first Games. Please tell a geeky friend about us and leave a review on your podcast app! If you really enjoy our content, become one of our amazing patrons to get more of it for just $1 per month here: https://www.patreon.com/geekbetweenthelines Every dollar helps keep the podcast going! You can also buy us a ko-fi for one-time support here: https://ko-fi.com/geekbetweenthelines Please follow us on social media, too: Instagram : https://www.instagram.com/geekbetweenthelines Pinterest : https://www.pinterest.com/geekbetweenthelines Facebook : https://www.facebook.com/geekbetweenthelines Twitter : https://twitter.com/geekbetween Website: https://geekbetweenthelines.wixsite.com/podcast Logo artist: https://www.lacelit.com

If you'd like to get this show two days early AND ad-free, please go to https://www.patreon.com/unspoiled and become a patron! You can also join on the free tier and get updates on events and schedule changes!This moving artwork of Haymitch as a leader, willing or unwilling, throughout his life is by HilaBaldo beloved and you can see it here! https://x.com/HilaSketchCat/status/1906336223339114503These chapters, I would argue, are the weakest of the book in a lot of ways. We knew where we were heading, we knew that there was going to be tragedy, and after reading through the onslaught of horror in the games I'm just not sure we needed two of the longest chapters of the whole book dedicated to this part of the story. I live-read the epilogue to RoShawn, as well as the part where Peeta and Katniss watch Haymitch's games, and you'll have to wait to see her reaction! Thanks so much to you all for listening, and we will see you someday!This version of The Hanging Tree is done by the Danish National Symphony Orchestra and is sung by Andrea Lykke Oehlenschlæger & Diluckshan Jeyaratnam. You can watch the video here! https://www.youtube.com/watch?v=hrxwS3jukf8Wanna talk spoilers? Join the Discord! https://discord.gg/rEF2KfZxfV

PLAYS is back with an all-new experience! We really mean that this time because this adventure is entirely designed by and hosted by Lindsey! Seanán, Hunter, Tanner, and newcomer Alex take on the roles of all new characters who find themselves as tributes in an alternate reality where Katniss did not win and there was no rebellion. Join us for episode zero, where we flesh out our characters and start our journey into drama, betrayal, and a game where only one will make it out alive!

Join us (Valerie and Taylor) as we revisit the beloved novel from our past "The Hunger Games" by Suzanne Collins. This was a reread for Taylor but a first time read for Valerie! In this episode we discuss the differences between the book and movie adaptation, Peeta and Katniss' love story, the impact the Hunger Games has had on our generation - and so much more! Follow us everywhere @whimsygossip and whimsygossip.com.

Kendall is Excited about Edward and Katniss Making out in new movie, Brittany has no shame in wanting Taylor's used swimwear and Jordon Hudson is not getting into the Nantucket old money scene. Plus Don't Microwave these Foods!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Jefferson White shows remarkable skill balancing a youthful cast with the sobering reality they must face. Twenty-four years before Katniss's games, Haymitch, from District 12, must compete in the Hunger Games—with twice the tributes (competitors). AudioFile's Alex Richey and host Jo Reed discuss how White's perfect pacing adds intensity to the brutality of the games and lingering melancholy as Haymitch struggles to maintain his integrity as the people around him keep dying.  Read our review of the audiobook at our website Published by Scholastic Audiobooks Discover thousands of audiobook reviews and more at AudioFile's website Learn more about your ad choices. Visit megaphone.fm/adchoices

The Hunger Games: Sunrise on the Reaping – Propaganda, Complicity, and Haymitch's StoryIn this episode of Superhero Ethics, hosts Matthew and Riki welcome special guest Danielle from WrittenInTheStarWars to dive deep into Suzanne Collins' newest novel in The Hunger Games franchise, Sunrise on the Reaping. The trio explores how this prequel reveals the true story behind Haymitch Abernathy's Games and challenges what readers thought they knew from the original trilogy.What makes Suzanne Collins' writing unique in YA literature?The hosts discuss Collins' masterful use of first-person narrative, with Danielle highlighting how Collins understands both the strengths and weaknesses of this perspective. Her intentional structuring of chapters and story arcs keeps readers engaged while delivering complex themes accessible to young adults without oversimplifying them. The conversation explores Collins' famous quote: “I don't write about adolescents. I write about war for adolescents.”How does propaganda shape the story in Panem?Sunrise on the Reaping reveals how the Capitol manipulates narratives, showing that what Katniss learned about Haymitch's Games was heavily edited propaganda. The book explores how different forms of propaganda work—from entertainment spectacles to subtle messaging that convinces citizens the Games are necessary for peace. Characters like Effie Trinket demonstrate how effective this indoctrination can be, while others show resistance to these manufactured stories.What do we learn about Haymitch as a character?The novel provides a stark contrast between the real Haymitch and the persona crafted by Capitol editors. Readers discover he was someone who refused to think of other tributes as enemies, consistently protected others, and maintained his humanity throughout the Games. The book also reveals his tragic journey toward alcoholism, showing how it began as medical treatment before becoming his coping mechanism for trauma and loss.Other topics discussed:How Maysilee Donner evolves from a "mean girl" to one of the book's most compelling charactersWhy Collins may have written this book now as a response to current political eventsThe difference between how Haymitch's relationship with Maysilee was portrayed in propaganda versus realityThe careful way Collins handles familiar characters from the original trilogy appearing in the prequelThe humanity of Career tributes and how they too are victims of the Capitol's systemThe theme of complicity and how everyone in Panem's system becomes part of maintaining its horrorsThe conversation concludes by reflecting on how Collins uses her storytelling to encourage readers to question propaganda in their own lives and recognize complicity in unjust systems. By revisiting Haymitch's Games, she reminds us that history is often written by the victors—but truth can be a powerful tool for rebellion.LinksFollow these links to earlier discussions on The Hunger Games with Danielle:The Hunger GamesThe Ballad of Songbirds and Snakes**************************************************************************This episode is a production of Superhero Ethics, a The Ethical Panda Podcast and part of the TruStory FM Entertainment Podcast Network. Check our our website to find out more about this and our sister podcast Star Wars Generations.We want to hear from you! You can keep up with our latest news, and send us feedback, questions, or comments via social media or email.Email: Matthew@TheEthicalPanda.comFacebook: TheEthicalPandaInstagram: TheEthicalPandaPodcastsTwitter: EthicalPanda77Or you can join jump into the Star Wars Generations and Superhero Ethics channels on the TruStory FM Discord.Want to get access to even more content while supporting the podcast? Become a member! For $5 a month, or $55 a year you get access to bonus episodes and bonus content at the end of most episodes. Sign up on the podcast's main page. You can even give membership as a gift!You can also support our podcasts through our sponsors:Purchase a lightsaber from Level Up Sabers run by friend of the podcast Neighborhood Master AlanUse Audible for audiobooks. Sign up for a one year membership or gift one through this link.Purchase any media discussed this week through our sponsored links.

We revisit Katniss and the quarter quell with Becky! Learn more about your ad choices. Visit megaphone.fm/adchoices

We revisit Katniss and the quarter quell with Becky! Learn more about your ad choices. Visit megaphone.fm/adchoices