Podcasts about Lantern

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As August winds down, we bemoan the end of summer and the fact that the stores are filled with Back to School and Halloween merchandise, there's really only one thing to be happy about…the return of so many great TV shows! This week, Dave and Barry discuss the shows they have watched recently, what they are watching now and what they are looking forward to in the coming months. Shows like Reacher, Lioness and Lantern are just a few of the great shows on now. There's also a discussion about Star Trek Strange New Worlds as we pass the halfway point of the season. All that, plus a rare Regular Joes Rant and more. And dont forget to check out this weeks sponsors, Fanboy Collectibles, Danger Island Models and From Dave's Workshop, links in the description below. Also, there is still time to help "Land the Shuttle" by supporting the campaign with donations or by purchasing merch from the link below. As always, thanks for watching and listening! Links: Fanboy Collectibles - fanboycollectibles.com Danger Island Models - dangerislandmodels.com From Dave's Workshop - fromdavesworkshop.com Land the Galileo Store - land-the-shuttlecraft-galileo.backerkit.com Reach Out: e-mail: podcast@regularjoes.com Facebook: facebook.com/RegularJoesPodcast Instagram: instagram.com/theregularjoespodcast Leave us a review on iTunes or Spotify

In blackest night, Paul, Jason, June, and Paul Rust went to see 2011's Green Lantern starring Ryan Reynolds and Blake Lively. Then, in brightest day, they all reunited to figure out what the hell happened. They discuss the awful CGI, the soap opera quality sets, the ultra-quippy dialogue, how you can simultaneously be a Lantern and hold a lantern, and so much more. Plus, the crew read listener submitted versions of the Green Lantern's oath. (Ep. #14 Originally Released 7/12/2011) • Go to hdtgm.com for tour dates, merch, FAQs, and more• Leave us a voicemail at speakpipe.com/hdtgm• Submit your Last Looks theme song here• Join our Discord at discord.gg/hdtgm• Buy merch at howdidthisgetmade.dashery.com/• Order Paul's book about his childhood: Joyful Recollections of Trauma• Shop our new hat collection at podswag.com• Paul's Discord: discord.gg/paulscheer• Paul's YouTube page: youtube.com/paulscheer• Follow Paul on Letterboxd: letterboxd.com/paulscheer• Subscribe The Dark Web w/ Paul & Rob Huebel: youtube.com/@enterthedarkweb• Listen to Unspooled with Paul & Amy Nicholson: unspooledpodcast.com• Listen to The Deep Dive with June & Jessica St. Clair: thedeepdiveacademy.com/podcast• Instagram: @hdtgm, @paulscheer, & @junediane• Twitter: @hdtgm, @paulscheer• Jason is not on social media• Episode transcripts available at how-did-this-get-made.simplecast.com/episodesGet access to all the podcasts you love, music channels and radio shows with the SiriusXM App! Get 3 months free using the link: siriusxm.com/hdtgm Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

John Stewart's Lantern training goes sideways when he can't fly but somehow conjures a small green bird that survives after the ring powers down. Jason and Rosie break down what that means for John's powers, plus the episode's real crisis: Antonna gives Hal 48 hours to help hunt down the Manhunter hiding in town, or the aliens blow the whole place up themselves. Follow Jason: IG & Bluesky Follow Rosie: IG & Letterboxd Follow X-Ray Vision on Instagram Join the X-Ray Vision DiscordSee omnystudio.com/listener for privacy information.

Mal and Jo are back to dive deep into the second episode of ‘Lanterns,' “Trust Fall.” They talk about everything from Hal's detective work to our first look at Sinestro! (00:00) Intro(08:15) Opening Snapshot(22:58) 2016(32:06) Cold open(46:30) Hal works the case(53:14) A very harried Sheriff Kerry(01:01:57) Of corpses and mansions and super suits(01:17:58) Hello, Earl!(01:20:05) John (and his bird) get Lantern-napped(01:23:29) Kerry and Hal team up(01:32:41) Of Manhunters and Red Lanterns???(01:40:33) Sheriff Kerry's very wary(01:48:24) Trust is running very thin in Rushville, Nebraska(01:57:28) Enter Sinestro(02:02:08) Rapid-fire Theory and Comic Spoilers Corner Hosts: Joanna Robinson and Mallory RubinProducer: Carlos ChiribogaProduction Assistant: Scott LeeStudio Production: Jacob CornettSocial: Jomi AdeniranAdditional Production Support: Arjuna Ramgopowell Learn more about your ad choices. Visit podcastchoices.com/adchoices

A poem about a map opens North and South, the first collection of the great twentieth century poet Elizabeth Bishop, and since, maps have been associated with her poetic vision—at once telescoping and binocular—and with the polarities and preoccupations of her work. The map's privileged, sweeping, bird's eye view of the earth is also hand-held, man-made, intimate. Depending on its level of minuteness or obsession, it can contain the tiniest details as well as, let's say, the whole enchilada. And though it purports to be scientific and objective, it is representational and therefore subjective, particular, imaginative, and personal. For several episodes, Wes & Erin will be reading a selection of some of Bishop's most anthologized poems, starting with “The Moose” as expressions of, among other things, her map-like imagination. Upcoming Episodes: Nolan’s adaptation of “The Odyssey”; more Elizabeth Bishop poetry: “First Death in Nova Scotia,” “One Art.” Pre-order Erin’s forthcoming book “Avail” here: http://subtextpodcast.com/avail For bonus content, become a paid subscriber at Patreon or directly on the Apple Podcasts app. Patreon subscribers also get early access to ad-free regular episodes. This podcast is part of the Airwave Media podcast network. Visit AirwaveMedia.com to listen and subscribe to other Airwave shows like Good Job, Brain and Big Picture Science. Email advertising@airwavemedia.com to enquire about advertising on the podcast. Follow: Twitter | Facebook | Website Transcript 0:11 Erin: Welcome to part two of our discussion of the poems of Elizabeth Bishop. We are currently about. Oh, I'm okay. I'm proud of us. We're just about halfway through the Moose. That's not bad compared to our usual record. We're not halfway through stanza one. We're going. You know, it's about a bus trip. It's encouraging us to pick up the pace a little bit and get to our next stop. So we were just going to pick up with the woman in stanza 13 climbing into the bus. 0:41 Wes: Before you say that, I just want to make one little observation. 0:44 Erin: Oh, sure. 0:45 Wes: Just that we get right as soon as the light goes out, it's then that we get the barking of a dog and the smell of salt. First it's the smell of salt hay and then it's the barking of a dog. So smell is introduced. And is that the first time sound is really introduced in any. You know, we get the bus starting and all that, but I think that's right. It's very visual up to that point, I think. And then as soon as we lose the light, we get these new sensory modalities. The collie just supervised this dog, gives us a nice bark, and presumably we can't even see him. We just hear him. So I just love that. I just. I love the transition into darkness. It's so. 1:26 Erin: Yeah. 1:26 Wes: I don't know how else to say it. 1:28 Erin: Yeah. 1:28 Wes: And it's then that we. This really is the midpoint of the poem because now we're going to make this transition into the world of the bus, I guess. As the woman climbs in, we have 1:41 Erin: the ship's port lantern, as you said, being an indication that it's now nearly or fully dark outside. 1:47 Wes: She says red light swims through the dark. 1:50 Erin: Yeah. I'm assuming that at this point a bus would have some form of illumination, at least for when it's stopped and the doors open for people getting on and off the bus. Right. It would. It would light up on the inside interior. Yeah. 2:03 Wes: Yeah. 2:03 Erin: Or at least maybe it would stop, certainly if it were stopping at a station or a little, you know, whatever those things are called. Those little. Yeah, there's a word for it. 2:14 Wes: We need something to see the freckles by. 2:16 Erin: Right. We need something. Exactly. But wherever they would be stopping would have some form of street light illumination or something of that order. Anyway. 2:26 Wes: But it's interesting you say this, because I didn't picture a bus station at any point in this. And I just imagine people along the side of the road. 2:34 Erin: Right. But if it were a course, it 2:38 Wes: couldn't be that way. 2:39 Erin: Well, I don't think it's a station. I think it would be a stop with a. You know, like a lean to. You know, what are those things that just. 2:44 Wes: Yeah, sure. 2:45 Erin: That just protect you from the elements. 2:47 Wes: Yeah. Bust down. 2:48 Erin: Right. 2:48 Wes: Yeah. 2:49 Erin: And that would probably have at least a street light. But anyway, then we get the moonlight. Maybe my favorite. Oh, it's so hard to say, but maybe my favorite image in the poem is the hairy, scratchy, splintery moonlight and mist caught in them like lambswool on bushes in a pasture. Just. There's nothing. There's no image greater than that. That's unbelievable. 3:13 Wes: There's kind of a more wildness to this. Right. The image now, the hairiness and scratchiness and splinteriness. It's a bit less Domesticated, I guess, than the previous part of the poem. 3:27 Erin: That's a really good point. I hadn't thought of that. Even a suggestion of danger, like the lamb running. 3:34 Wes: I just thought, this is where the hobbits are entering Fangorn Forest. 3:39 Erin: Yes. Yeah, yeah, the New Brunswick. 3:41 Wes: But you go a little bit more. It's a little wilder and more primal. I think once you. Even if you're on a bus, once you get into the woods, there's something different about it. 3:52 Erin: That's right. 3:53 Wes: But yeah, you're right. The idea that the moonlight could get caught in that. That's a great image. 3:59 Erin: Something giving chase to the lamb would cause it potentially to get a little ensnared in the chase. 4:06 Wes: It's as if Lambswool has, you know, a lamb is brushed up on the bramble or whatever and left its will so that. So the moonlight, instead of making this cosmic journey and landing on articulating the environment, has been subordinated to the environment. Right. It's become. It's been captured by these hairy woods. It's caught on it and, you know, a piece of it has come off from being caught on something that's scratchy and splintery. So that. That. Yeah, this is the great reversal. And that's the place where you can really get some good sleeping. Yes, right. 4:44 Erin: Yes. And where dreamy things can happen. 4:47 Wes: Divagation. Yeah, wanderings. 4:51 Erin: I looked that up. Wandering, straying or digressing from a main course, path or topic. So like a digression as long as 4:59 Wes: the bus stays on track. 5:00 Erin: Yeah, that's right. 5:01 Wes: You do whatever you want with your mind. 5:02 Erin: That's right. And the night. I just looked on Google Maps while I was writing my little notes in the margins. And if you were to take a bus today from Great Village to Boston, it would take like 10 hours. So it definitely is a, yikes, full course of the night on this night bus. So I love what happens in stanza 16, which begins in the creakings and noises, an old conversation not concerning us, but recognizable somewhere back in the bus. So I really love that it's grandparents voices, she says, uninterrupted talking. This is where the I becomes an us. And this is a characteristic of a bishop. I think she's rather reluctant to use an I, capital I in a poem. She's more likely to use a we or an us. And here it's as if they're all part of the same family now in the bus and the adults. It's almost like everybody on the bus who isn't a grandparent is a child and the adults in the back are talking and we are all, oh, that doesn't concern us. Just go to sleep. It's none of your business. Just stop eavesdropping on us. Right, so there's some community that's been formed already by the people who are not the grandparents talking. Do you get that impression? 6:20 Wes: Yeah, it's a bit confusing. So, yeah, let's try to figure it out. Because it. So it begins. A dreamy navigation begins in the night. She doesn't say, I started dreaming or they started dreaming or we started dreaming. Although it seems almost like it's collective. Right. So that the bus is dreaming or everyone on the bus is dreaming together, which kind of lines up with the not concerning us later on, the gentle auditory slow hallucination. So that's a very interesting idea. Right. The dream is usually associated with subjectivity. Right. The cogito and Descartes. Right. The dream tells us that we might have trouble distinguishing reality from what's in our own minds. And we in our own minds are very potentially cut off from reality. But it's a. It's an alienated individual position here. The dream is. Seems to be collective. And perhaps it's collective because it's partly real. Right. Is that the conversation? I thought, okay, there's a conversation going on in the back of the bus and it is old people talking. But as you're lying back, you could sort of. You can't hear exactly what they're saying. And you might have that kind of half dream, Right. Where you're. The dream is kind of lined up with or intertwined with what's going on in reality. So she's hearing in the conversation of the old people, her grandparents voices. Is that the way you took this? Or. Or they, they're hearing the grandparents voices or. Yeah. How do we, how do we interpret this? 7:54 Erin: I interpreted it as, you know, people of the age of grandparents having a real conversation. But the idea that one could be having an auditory. I mean, we are given the word auditory slow hallucination. So the idea that there could be an auditory hallucination or kind of half dream of one's own grandparents having a conversation, or it may be superimposed on a real conversation kind of inaudible going on on the bus. I never noticed this before. The G in grandparents is capitalized. So it does seem to sit to suggest the speaker's particular grandparents rather than. 8:30 Wes: Oh, I was going to. I thought you were going to say archetypal grandparents. 8:34 Erin: Oh, yeah, I suppose it could be yeah, it could be read that way, too. I think all of these things are true, right? 8:40 Wes: Yeah. 8:40 Erin: I mean, the image works because of the, shall we say, universal particularity of this experience. 8:47 Wes: The ordinary way to write the poem would be to. And a much simpler way would be to put this in her point of view and not try to put it into a collective point of view. But that seems to be what she's doing. 8:59 Erin: Yes. The effectiveness, though, I think is the. And it could just be the speaker's perception of it, but the atmospheric quality, because everyone on the bus is going to share an experience shortly, but already they are sharing an experience and a kind of atmosphere that they're all listening to the hum and having that. You know, when you're in the car and you. Maybe when you're a kid and you put your ear up against, like, the. The car door or the window or something, and you hear orchestral music. I don't know if you ever had that. I used to always hear classical music when I would put my head up. 9:38 Wes: Yeah, I don't think I have that. 9:40 Erin: All kinds of. And I always think, like, I should write this down. But you always have, like, a hallucination of an orchestra playing songs. Different songs. Sometimes like fantastical songs. Yeah. You know, my particular experience maybe doesn't quite get at the. Yeah. The sense that this is shared. 9:57 Wes: Well, you're put into a kind of dreamy state, and yet you're getting at the auditory hallucination part. I mean, for me, I think, as a child, and this, I think, is very evocative of childhood. It's something about being half asleep or falling asleep. You're on a journey and there are adults in the car and there's some. Maybe some sense of safety, I think is very relevant to this poem. But being ensconced in the world of adults and not quite alone when you do this thing, which is potentially very lonely, which is go to sleep. And of course, a lot of kids don't want to go to sleep because that loneliness factor. But it's a much different experience if you're traveling. You're all on the way to something together. And of course, you're with people who are awake and, you know, are going 10:45 Erin: to be awake, maybe because the kids are falling asleep. Their. Their voices are lowered and softer. And maybe that also contributes Right. To the. The way in which. That lulls the children in the back simply because they're aware of not wanting to talk too loudly. Certainly that would be the case on a bus like this, where they're Having a conversation where they're talking in. In lower voices and maybe actually inducing that calm and hum for sleep in the people, the other people in the bus who aren't talking. 11:15 Wes: And the question is, what are the adults doing with their talk? Right. It's not going to work if your parents are just fighting. In this case, it's the grandparents. Voices are clearing things up and I guess bringing certain things to resolution, coming to terms with these losses. But a lot of it does sound a bit gossipy and not necessarily like the most comforting. 11:39 Erin: Yes. Yeah. 11:39 Wes: Sort of talk we could imagine. Yeah. 11:41 Erin: Well, you know, in a situation like this where you might be a child in this car, could be that you're coming back from whatever, like a, like a late night and then the adults in the car are working through whatever has just happened over the course of the night. And. Oh no, she was the one who had that long. Yeah. Who had the criminal record because of that thing, remember where they. Oh, yeah, yeah. That was like 20 years ago. So you sort of get that. But for an entire family history going back ages and ages, talking in eternity. Deaths, deaths and sicknesses. The year he remarried, the year something happened. Oh, yeah, what year was that? Right. Something about the journey afterwards or maybe away from home. If these people are also. If their home is Nova Scotia and they're departing it, you know, then there's that backwards looking quality where something about the idea of the journey and moving away from the place is giving the opportunity to then take stock and look back. So there's this sort of like dual action happening in the poem where the further the bus goes, the further back they're kind of looking from deaths and sicknesses to then remarriage and then childbirth. Son lost when the schooner found her. 12:58 Wes: These are all very blue collar tragedies, right? 13:00 Erin: Yes. 13:01 Wes: He was arrested for insider trading. 13:04 Erin: No, but I mean, you know, there's a reverse order to what's happening, you know, so we get. We have death, then sickness, then remarriage, then dying in childbirth. So there's a rewind is what I mean. Yeah. 13:17 Wes: Well, we come back in the end to death. The way it's all summed up. 13:20 Erin: Insider trading. Sorry. 13:23 Wes: Huh? 13:24 Erin: Sorry, Just insider trading. That really is funny. 13:31 Wes: And he had an affair. No. A sharp indrawn breath. Half grown, half acceptance. That means life's like that. We know it. Also death, you know, and then the question, what does also death mean there? Death knows it, we also know death. But it, you know, it made me wonder at various points I wondered. Well, Is this an element here of a journey to the underworld or to the afterlife? Maybe it's a job not claiming that that's strong thematic part of this, but maybe a hint of that type of thing. Because the journey, I mean, and it does seem like journeys are good places for this or like when I travel, it produces in me a very different state of mind. And I do find it very calming in a way, you know, especially actually being on the train or something like that, because you're in between two different locations and you maybe you're not caught up in the expectations or the constricting qualities of any particular location. If I'm at home, I have to do this and that work, or if I'm at a destination, then I'm dealing with relatives or I have to be a tourist or something like that. But there's something liberating about being in between two locations. So it does seem like a place for this type of dreamy hallucination or this reflection or this clearing of things up. It's almost like therapy. Right? That's what all of this sounds like. People are talking through their problems, but where is it that they get to in the end here? The half grown, half acceptance. So it's not fully acceptance. It sums things up with this, maybe a degree of resignation. So yeah, I don't know. What do you make of the stanza? 15:15 Erin: Well, they're traveling west significantly. Right. I do take a lot of this to be a kind of, say, pre figurement of death, even though at the same time the fact that they're in the woods, the fact that not to jump ahead too much, the fact that the moose will come out of the woods and appear notably in the middle of the road, there is a suggestion of middle age or middleness, or midway in the journey of our life, I found myself within a dark forest. So I think it works both ways, or perhaps it's working in several ways simultaneously for the various passengers. So maybe the speaker is experiencing something more akin to the Dante esque middle of the journey on the bus. And something about the bus journey is also, symbolically speaking, a kind of final bus journey for some of the other passengers. And that intersection seems significant, but I don't know how, just in the sense that there's a retrospective quality happening or maybe even a reversion to childhood that goes on for the speaker and the other people in the bus by virtue of the propinquity to these old people at the end of their life's journey. Because there is very little about middleness Here, come to think of it, other than the moose appearing in the middle of the road. Right. It seems that the other people on the bus are like children and the grandparents are the adults. 16:50 Wes: I mean, I think part of what's comforting when we're children is that feeling that adults know the answers and that adults know how to cope with all the dangers and have experience doing that and therefore can protect us. The reality, of course, as we realize as we get older, is that that's not true. So what they may have is more of this acceptance that's sort of highlighted in this stanza, which is potentially a good thing, but maybe a double edged sword because it does seem to be a form of dying. It does seem to be a form of the very thing that we want to be protected from. 17:30 Erin: There's also, though, that. What I used to call my mom, the external hard drive. I used to say back before she. 17:42 Wes: She liked that. 17:44 Erin: I think now it would make her sad because she'll say, you know, very openly that she. Her memory is gone. But it used to be that she knew all the, you know, you could ask her who said that at that one. You know, there's that kind of. I mean, that's a sort of jokey, gossipy scorekeeping thing that she would keep tabs on. But there's also just the idea of long memory being the history keeper, the record keeper, the, you know, and there's sort of settling accounts over the course of this conversation. Oh, right, it was that year. Okay. And then this happened and then, then that happened. And that's important too, I think, for, you know, it situates children in a context. Not just say this idea of death that you're referring to, but also how to situate oneself in a life. 18:34 Wes: Right. 18:34 Erin: There's a. There's a sort of frame that the grandparents or the elder relatives have that whole history up until you enter the narrative and where you fit within that. We mentioned in part one a little bit about Bishop's family history just to kind of prefigure the types of story that she inserts, I think very significantly into the poem, particularly about poor Amos who just wouldn't stop praying in the store and had to be. Had to be put away. Right. Of course she does a gender swap, but yeah, we all have family stories like this, of this kind of unruly behavior or madness of some kind or other or some sort of family drama. 19:19 Wes: Yeah. So it's universal. But the way she captures it is very clever with this talk that we don't quite know whether it's just the conversation of the people, the old people at the back of the bus, or whether it's her dream or whether it's both or somewhere in between. They're interlaced, those two things. And that. That interlacing gets at this aspect of universality. Although I think by the time we get to the stanza where she's fantasizing about the grandparents and the featherbed, this, it start. Seems to become inescapably personal, which is why I think of the. The point of view is getting more and more focused. Right. With. With time. Yeah. And potentially it's still universal, but it seems almost like a personal memory. Right. So talking the way they talked in the old feather bed. Right. The way they. Her. Her grandparents presumably in the old feather bed, peacefully on and on. Dim lamp light in the hall, down in the kitchen, the dog tucked in her shaw. Shawl. Yeah, get another. And get another dog here. 20:28 Erin: I love this. 20:29 Wes: The collie, the barking dog. And. Yeah, so this, this stanza is wonderful. And it gets at exactly this thing that you've been talking about, which is the, like, comfort of being a kid overhearing adults talking. It really, despite this talk of death. Right. A reconciliation with death. This is the point. Seems to be the point of view of a child who finds this very comforting. And. Right. She'll say in the next stanza, now it's all right now even to fall asleep, just as on all those nights, the way in which the adult world and the safety of protective figures can make sleep okay to do. And then suddenly that's interrupted. 21:07 Erin: But I love too. I mean, yes, it's so particular, but it also just in this one stanza does so many things in miniature that the poem is doing all along, this telescoping in again to a scene which. Which even as a child, if it were her childhood in particular that she's referencing, she couldn't possibly know or see. She wouldn't be able to see the grandparents in their featherbed. She would have to be picturing them in the featherbed and she wouldn't be able to see the dog in the hall. And also I wonder if this. If the stanza in its operation is kind of doing. I mean, this is just occurring to me now, but maybe it's doing that kind of hallucinatory work that has prior been described where we actually get a remix of, you know, this is the third dog in the poem. But it's also the elements in the stanza are a kind of recapitulation of the light, the red light swimming, the port Lantern becomes the lamp light in the hall. We get the dog barking now becomes the dog curled up in the shawl. And then maybe even because we also get kitchen, maybe the shawl is even a kind of transposition of the table, tablecloth shook out. Right. So there's something actually in the stanza which has that hallucinatory quality that she's describing where these three elements swim in the imagination and then become the lamplight and the dog and the shawl in this half asleep kind of dream space. Maybe that's pushing things too far, but it does seem to be. It's the dreamiest stanza perhaps in the whole poem. Maybe the following one. Now it's all right now even to fall asleep. But this gets interrupted that next stanza. So this one, I think is the real depth of the dreamy or borderline dreamy or hallucinatory moment. 23:00 Wes: Yeah, this is great because it really underlines the way deviation creates the capacity for stasis or for comfort. So the deviation of a bus trip or of the dreaming. Right. Which is movement, which is dynamic and has that momentum, forward momentum that we were talking about, sort of underwrites or grounds this ability to. For stasis, for stopping, for going to sleep, for feeling comforted as a child and safe, I think. And I keep repeating that word because of the. What's going to happen. The use of the word that's going to happen in this poem later. But yeah, I'm not sure if you were saying that explicitly, but that's what came to mind my mind as you were talking. This. The way in which this journey, devigation, motion can ground something that's going to be more static or stationary, which is what we're going to get in the moose. Because it interrupts the. It explicitly interrupts the motion of the bus and the external line of the poem in a way that parallels the comfort that's produced by the dreaming. 24:08 Erin: Yeah. In stanza 22 is where we have that break that you're describing. The moose finally appears. Well, the moose doesn't appear until stanza 23 finally appears. 24:21 Wes: We've been waiting for you. 24:22 Erin: We've been waiting for you. The title has promised that you would come and then here you are. It is foretold of your coming. 24:29 Wes: Comes through the curtains, takes his bow. Right. 24:32 Erin: We get nights, just as on all those nights. And then the moose's appearance, the lights turn on. And that rhyme you get, I mean, it's a very basic, simple rhyme. Right. But there's that sort of sudden jolt which is then also visualized where in the middle of night we have this appearance, this bright because of the headlights on it. Appearance of the moose. And it looms and sniffs at the bus's hot hood, which I'm assuming means that it thinks that the bus might be a boy moose. 25:06 Wes: No. Well, it's a very hot bus, I'll say that. 25:10 Erin: Ow. Ow. 25:14 Wes: That enamel. And it's dented and, you know, depends on if you like bad buses. No, just kidding. 25:21 Erin: Dented from its last encounter with a girl bus. 25:25 Wes: Yeah. It's funny because I wrote in my notes, but was just reading it stanza by stanza. And the previous stanza I'd said, okay to sleep, even with death looming. Looming for all of us, you know, all day one. You know, one day we all die. Blooming in that sense. And then suddenly the moose is looming, standing there, looming. And I thought, whoa, that's really interesting 25:45 Erin: that I. Oh, yes, chose. 25:48 Wes: Chose that word before I even got to the next stanza. Not to give some, you know, obvious rote sort of identification of the moose with death or the experience of the moose as having something to do with that. But obviously they're coming into contact here with something quite primal and important. It's not just, oh, look, there's a nice moose, but is he sniffing or she's sniffing the buses hot hood because she thinks it might be another moon. That hadn't actually occurred to me. 26:21 Erin: I must have been infected with that reading at some point that this was a frisky moose, that it otherwise doesn't seem frisky at all. It seems pretty. Like a pretty staid, respectable moose. 26:34 Wes: But frisky and ditzy. 26:39 Erin: That's right. Hello. 26:41 Wes: What? 26:41 Erin: Oh, look, I seem to be in the middle of the road. Pardon me. 26:46 Wes: So, towering, antlerous, high as a church, homely as a house. We're safe as houses, a man's voice assures us. Perfectly harmless. Which you presume, right, that the. The man making that assurance is. Precedes the idea of it being homely as a house and safe as houses. Even though. So. So she interestingly puts the associations before her associative responses before the actual stimulus. Right. I don't think she's the one who is thinking about how they must be safe and. And he's saying something. I mean, as far as I know. I don't know back then. But you were warned about bison and mooses, right? Or is it mooses or moose? I think we're warned because they don't. They. They seem harmless, but they're not. And so I was quite surprised by this stanza. And I thought this idea, okay, safe as houses. Well, yeah, houses ought to be safe, but they're not always safe. The bus, the moving container of the bus turns out to be, in a way safer and more conducive to reverie and dreaming and all of that. 27:59 Erin: No matter how you slice it, whether you see the moose as harmless, truly, or not so harmless, this has got to be just a little bit of a wink, right? A man's voice assures us. 28:09 Wes: I mean, I think we're definitely meant to be skeptical. 28:12 Erin: Yeah. 28:13 Wes: This perfectly harmless line, it's not there for us to nod our heads in agreement. 28:20 Erin: Oh, yeah, he's right, right, right. I think it's more like, oh, here's another mansplainer. 28:26 Wes: He's moose splaining. 28:28 Erin: Mooseplaining this woman moose to moose splaining. Just out for a good time, having her existence commented upon by another man's voice. Probably a podcaster. One of those male podcasters has a manosphere podcast. 28:45 Wes: Girl mooses are. 28:49 Erin: Then we get these childish again. The passengers are like children and having this childlike response to the appearance of the moose, including. It's awful, plain sad. So much judgment of women's bodies. 29:04 Wes: I mean, they're not good looking creatures. Let's just. They're, you know, put that on the table. Come on. They are in an ugly sort of way. 29:11 Erin: Yeah. I mean, okay, I guess they don't follow, you know, classical proportions. They don't represent the golden mean. 29:21 Wes: They're not into beauty society societal beauty standards. All right. 29:28 Erin: They are like cartoon characters. 29:29 Wes: They're miss Positive is what they are. 29:35 Erin: Well, what I love though, about the description, you know, we get several, I suppose. Yeah. Contradictory descriptions of the moose in a way, because we get homely as a house or safe as houses. We get awful plane. But then she looks the bus over grand otherworldly, so she has some gravitas. She's like a great character actress who. Who may not be beautiful in that leading lady way, but she's Kathy Bates. Yes. Yeah, well, that's maybe a bit insulting to Kathy Bates, who I do think is a very attractive woman, but. 30:19 Wes: Sorry, Kathy. 30:20 Erin: I know, I love her. 30:21 Wes: Come on the show sometime, please. 30:24 Erin: Oh my gosh, I would die. I love Kathy Bates anyway. And then we get curious creatures. Well, first we get the idea that it inspires joy and then we get curious creatures. So there's a. The joy is then immediately undercut by a kind of ambivalence. Right. So there's just all of these descriptions of the moose combine to create a kind of ambivalent portrait, such as it is, of the animal. 30:47 Wes: Are we going to be able to answer this question? Why? Why do they feel the sweet sensation of joy? I mean, I think I would probably feel it. 30:57 Erin: Why? Why do we all feel it? I mean, they have. Well, they've successfully done what I couldn't see a moose in real life. So they're like one up on Erin. Can't wait to go back and tell her we saw moose. Yeah, I've seen certain things. I can't think of a specific example of this, but I've had plenty of instances. Whether it is a wild animal or, I don't know, like a sunset or a really spectacular natural event of some kind or other. You do get that feeling of joy, kind of excitement. 31:28 Wes: Yeah. Unfortunately, most of my encounters with large animals are at zoos. I did see a bear once. I was going to the bathroom. My mom had a house in Front Royal, Virginia, at the beginning of the Appalachian Mountains. And it was up high on a. We called it a mountain, but it was, I guess, more of a hill. But so it was out, you know, it was kind of. There was a bear on the mountain, let's just put it that way. And, yeah, I was going to the bathroom one day and looking out the window. There's a window right. You know, above the toilet. And suddenly there's bear's face looking at me. Wow. What the. So, but that, you know, and. And that was majestic. No, just kidding. That it was. I. It was surprising. 32:13 Erin: Yeah. 32:14 Wes: And there's an element of fear that involved. Even if you're, you know, even if, you know, black bears are harmless and there's a wall between you. Some. Something scary about it. I didn't have time to feel like it's majestic. Yeah. You know, like you have had these experiences in. In nature, but I can't think of a encounter like this. But it. I seem sure that if I had an encounter like this, I would feel exactly the same way. So. Yeah. What is otherworldly about it? What is majestic about it? It's a big, dumb beast. And I say that with love, without any criticism in the sense that. Right. It's an encounter with something primal. And I think we have to take into account the size of the animal as well. I mean, it is interesting to run into a fox or something like that, but it's also a matter of scale here. But. Yeah. What is otherworldly about it? I mean, I think the most. The most obvious part of this is that you know, we have lost something in our humanity and becoming language using creatures and becoming self conscious creatures. And sometimes when we're confronted with an animal like this, we're confronted with that loss. We're not as connected to the environment because of the intermediation of something like language, which poetry of course tries to overcome. It tries to put language into a disintermediating. Sorry to use these business terms. I don't know why this is happening. Into a disintermediation. 33:46 Erin: Actualize. Yeah, yeah. 33:49 Wes: When it. Yeah, right. Synergize it's agenda. Often where language might put distance between us and the world. Poetry, I think, can undo that distance. Like I was saying, with the very vivid imagery, I can undo that distance with figurative language. And maybe that distance is also undone to some extent by the dreaming or the half dreaming hallucinatory state that she was in. And the comfort of that, the return to childhood, which is also a simpler time. I don't know. I'm thinking out loud here. But yeah, I wanted to try to get more at this, you know, the otherworldly status of the moose and the joy that comes from encountering it. 34:34 Erin: I was thinking to myself, is the moose's gaze really clearly encapsulated? And then I thought, yes, she regards us amicably. And then I was like, no, no, that's the passenger who gets on the bus. 34:44 Wes: Right. Does the moose have freckles? Yeah, that'd be an interesting twist, right? 34:50 Erin: But yeah, but there is one. 34:51 Wes: Turned her into a moose. 34:53 Erin: Well, I would think that this would be a more garden variety animal encounter and maybe even a more, to use a word, I don't like, problematic poem in terms of its relationship with the animal. If it were to focus on the gaze of the animal. Because I think that is the thing which is often at the core of these interactions with animals in which we project or hope to have a kind of meaningful encounter. You want to meet the gaze of the animal and in so doing understand it. Right. And of course you don't realize that you're just projecting onto it a kind of maybe mutual regard. She regards us amicably. That you are seeing it and it is seeing you. And there's an acknowledgement and there's this, you know, spiritual encounter that you have with this animal. And all of that, of course, is often quite silly. It's often quite reductive and fanciful and unrealistic. But I am thinking of an encounter that springs to mind is in Utah. I hiked the same trail almost every day. And I Would often hike it late in order to escape the full heat of the desert sun. Which is a little dangerous, right? Because sometimes the sun would be setting and then all kinds of things come out. And one time I was trying to get back to my car before it got completely dark. And what I thought was a wolf, but what must have been a coyote. And the coyotes in Utah are huge. They look like wolves and completely white. Came out from over a hill, crossed my path, turned, looked at me in the eyes for a very long time, turned and went over on the other side of the hill. I mean, curiously, then, of course, I got to the car and I actually found out that a beloved family member, an elderly family member of mine, had passed away. And I said, I think I just saw her. You know, I had this feeling of, like. I don't know, the sense of this connection, inherent connection between these two. This woman who was dear to me and this encounter. But, of course, that's all silliness. And the idea that I was having a sort of interaction through the gate. Some sort of reciprocal. Right. Interaction with this animal was also entirely just my own projecting onto the animal. However, I will say that that's an instance in which I felt fear. But then there was also this, like, joy at the encounter, I think fear because it was dark. Because I wasn't actually sure if this was a wolf because it blocked my path. It was far enough away that I didn't feel as threatened as I might have. But it was definitely a mixed perception. 37:28 Wes: You didn't shoot it and then hang it around your neck. No, because I was thinking. I just suddenly thought of the albatross poem. 37:37 Erin: Rime of the Ancient Mariner. 37:38 Wes: Rime of the Ancient Mariner. And that sort of relationship to the natural world where. I mean, I forget what we said about it, but maybe I said something about envy and wanting to kill the albatross for. Because of its freedom or something like that. I don't. I don't know. But I think it's important because, yeah, this is part of something about the encounter with the natural world. Whether it's a big moose or something else. Yes. Is otherworldly. Strangely enough, it's otherworldly to us, even though it's where we come from. It's uncanny, maybe. And Freud actually, in the German, I think uncanny is sort of like unhomelike is what the German sounds like. And Freud made a lot out of this. I think it's home, but it's a home from which we've become alienated. We're animals, we're something more than animals. And so that primal encounter brings us back to that foundation, that natural foundation in us, but we can't fully come to terms with it. And I think the other aspect of this, I think the death. Right. So there is a link to death. Just. And I was thinking about that when you described thinking of it as seeing. As seeing your departed loved one. Because if we could regress to that animal state, it would be a kind of death. I think that the association with the movement to the pre. Linguistic, natural foundation is something like the movement towards dying, but there's something comforting. 39:07 Erin: Yes. 39:07 Wes: Right. And we encounter that when we encounter the gaze. To have a. Have a gaze returned by an animal like that usually like, like our internal. Our entire psychological structure, what makes us self. Self conscious is the internalization of a human gaze. Right. To the extent that we. We get an animal gaze, I think we are returned to that more primal part of ourselves. And it does seem to me to have something to do with being reconciled to mortality. Right. Which is part of what the function of that dialogue between the elderly people is doing. 39:44 Erin: You're leading me into the one, say, reading of the moose that I wanted to get to. And I just want to say that I think the great thing about Bishop and about this poem and all her poems is that the moose is a moose. It's not a symbol. I hesitate to offer any kind of 40:03 Wes: direct reading, but that's her job on this podcast, though. 40:05 Erin: I know, I know. It's. Yeah. In the letters with Robert Lowell when he's writing to her about her poem at the fish houses, he says, alas, all my fish just become symbols. 40:16 Wes: Ah, very good. 40:17 Erin: I hesitate to reduce. I think what you've just said makes me think that it's the maternal, the mother. 40:25 Wes: Which also brings us back to the house. 40:28 Erin: Yes, the house. Yeah. It's something that comes like the clapboard churches, like clamshells seem to arise out of the ground, if you will, or are directly compared to these native creatures. The houses are then in turn used as comparisons for the moose, the maternal. The idea that this is something that returns us to nature, that this is the encounter that we would have presumably upon death. It's the loved one that is somehow comforting, maternal, and is a female moose. It's moose mom. I don't know. I don't know. Something going on there. 41:04 Wes: Moose mom. 41:05 Erin: Natural and strange at the same time, not us. And I guess that's why I. That's why I mentioned that the story of my grandfather at the beginning, because I don't know why I wanted so badly to see a moose right after my grandfather's death. But there was something, like, logical about it to me. And I was familiar with this poem, but I very much did not have. You know, it was not something that was the forefront of my mind at all. But I think there is this inherent connection, and it's silly. You know, I kind of can't believe I'm saying this, but I do. I do think there is this kind of connection between this desire that I felt to see this animal. Like the particular kind of primordial itch that the moose in particular seems to be scratching for me in that moment. For Bishop, in this poem, something that is at once safe and comforting and from another world, natural in that kind of elemental way. 42:00 Wes: Yeah. 42:01 Erin: That all kind of coalesce in that image. 42:04 Wes: Very good. 42:05 Erin: Okay. I think that's it, Wes. All we're left with is the dim smell of moose and an acrid smell of gasoline. 42:12 Wes: Oh, you know, we should have talked about that. Maybe we can start with that on our next Bishop recording. We'll. We'll begin with the smells, the smells and the significance of that image at the end. 42:25 Erin: Nice. 42:25 Wes: That smellage at the end. 42:26 Erin: Smellage. All right. Thank you. 42:29 Wes: Thank you.

Check out our brand new show, ⁠Bedtime Horror Stories⁠ on ⁠⁠⁠Spotify⁠⁠⁠ and ⁠⁠⁠Apple Podcasts⁠⁠⁠ – no sound effects, just relaxing rain sounds to help you relax and fall asleep. A man wakes up in the middle of the night and sees something massive standing over him in the dark. He looks to the place where his wife should be, but there is no one there. The thing in front of him is big enough to be a bear, but too silent and too calculated to be one. It lunges before he can understand what it is. He fights back in the dark, wounded and half-awake, as the cabin fills with smoke and the walls begin to burn. By the time he escapes, the things that came for them have vanished into the snow. Now he's staggering through a Montana blizzard, half-frozen and bleeding, toward a valley filled with hundreds of buried shapes. And something is moving down there among them. Huge thanks to our sponsors: BetterHelp: Sign up now and get 10% off at ⁠betterhelp.com/dns⁠. Shopify: You don't need anyone's approval to make a living. Build your own business with a free trial at shopify.com/dns Author: Matt Doggett * * * CONTENT DISCLAIMER: This episode contains explicit content not limited to intense themes, strong language, and depictions of violence intended for adults. Parental guidance is strongly advised for children under the age of 18. Listener discretion is advised.  #drnosleep #scarystories #horrorstories #doctornosleep #creepypasta #horror Learn more about your ad choices. Visit megaphone.fm/adchoices

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HOT TRAILERS: Jason and Colleen are excited for Netflix's continuation series of "A Different World," and Colleen and Holly can't wait for the Oasis documentary, "Oasis: Don't Look Back in Anger" on Disney+/Hulu. Paramount explains the death of a "Dexter" spin-off. Holly thinks you should check out HBO's new Sunday Story, "Lantern," and Jason and Colleen continue to watch the trash heap that is "Double Lives of Suburban Wives." See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

 Visit my website: https://www.driftoffpodcast.com/Hello, sleepy listeners, and welcome.WELCOME TO DRIFT BACK SUNDAYEvery Sunday evening, I unlock a favorite classic journey from my archive to help you release the thoughts of the weekend and ease into the new week.TONIGHT'S STORYTonight, we drift back to The Queen of Lantern Land by Henry Beston, first shared here in 2021. This enchanting tale invites us into a world of quiet wonder, glowing lanterns, and gentle imagination, making it the perfect story to accompany you as another weekend comes to a peaceful close.As the story unfolds, allow its calm, comforting rhythm to quiet your thoughts, soften the end of the day, and gently carry you toward a restful night's sleep.So settle in, get comfortable, and let tonight's soothing narration guide you into peaceful dreams.Sweet dreams,Joanne

This episode of The Movie Podcast is brought to you by BenQ. Use our affiliate link to help support our show: ⁠⁠⁠⁠⁠https://benqurl.biz/4eiSeMX⁠⁠⁠ Daniel, Shahbaz, and Anthony review DC Studios' LANTERNS starring Kyle Chandler and Aaron Pierre. Set within the DCU, the series follows new recruit John Stewart and Lantern legend Hal Jordan, two intergalactic cops drawn into a dark, earth-based mystery with cosmic ties as they investigate a murder in the American heartland. The series also stars Kelly Macdonald, Garret Dillahunt, Poorna Jagannathan, Laura Linney, Jason Ritter, Ulrich Thomsen, Nathan Fillion, J. Alphonse Nicholson, and Jasmine Cephas Jones. The eight-episode season debuts Sunday, August 16 at 9:00 p.m. ET/PT on HBO and will be available to stream on Crave Canada and HBO Max. This review is spoiler-free. Watch and listen to The Movie Podcast now on all podcast platforms, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TheMoviePodcast.ca⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check out our new ⁠⁠⁠⁠The Movie Podcast Clips Channel!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Contact: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠hello@themoviepodcast.ca⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠FOLLOW US⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Daniel on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Shahbaz on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Anthony on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ The Movie Podcast on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Discord⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Rotten Tomatoes⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

A gentle five minutes for the one in the morning hour.If you are still awake when the rest of the house has gone quiet, this whisper is for you. Ava offers a small lantern for the mind when the night feels too large, and gently reminds you that darkness does not have to be fought — only met with a steady flame.Picture a small flame, no bigger than the cup of your palm. It does not chase the shadows. It does not pretend they are not there. It simply offers itself, steady and warm, as a place your eyes can rest when your thoughts begin their quiet work of opening every door you closed during the day.You do not have to solve anything tonight. You do not have to light every lamp in the house just to prove you are awake. You only need to light one small lantern, and you only need to light it inside your chest.Settle in. Let the breath find the edges of the lantern. Let the breath find the edges of you.Chapters0:00 — The Hour That Finds You1:30 — A Small Flame Inside3:00 — Meeting the Dark Without Fighting4:15 — The Morning Will ComeThis short reflection is part of Whisper Minutes, a daily five-minute series for Your Quiet Moment — gentle pauses to begin, return, and rest. Each episode is a small, soft place to land whenever stillness feels hard to find.Crafted with care and brought to life with the help of AI tools to support the writing, the voice, and the production.DISCLAIMER

Drift with me through an evening harbor where the light is folding itself gently into the water. This is a slow two-hour meditation for the moment you finally sit down, the moment your shoulders finally lower, the moment you remember you are allowed to rest.Tonight we drift past the boats and their reflections, under the first stars, beside a small lantern on the stone path. We listen to the gulls settling, to the small sounds of the harbor at night, to the slow turning of the lighthouse far away. We let the evening teach us about patience, about lingering, about letting the light come and letting it go.This is for you if you have had a long day. This is for you if you need a place to drift for a while, a place that does not ask anything of you, a place that simply holds the boats and the stars and you.Chapters:0:08 — Arrival at the Harbor4:29 — The Gulls Settle10:00 — The Small Sounds of Evening15:23 — The Boats and Their Reflections20:10 — The Moon Rises24:52 — Permission to Rest31:45 — The Breath of the Harbor37:13 — The Boats at Rest44:14 — The Light on the Water50:23 — The First Stars56:52 — The Lantern on the Path62:09 — Drifting Further Out67:44 — The Long Exhale73:37 — Gratitude Without Words80:17 — The Slow Return Home85:10 — The Long Line of Evening Sitters90:44 — The Whole Evening at Once93:55 — The Deep Stillness at the Heart105:15 — The Breath Carries You HomeThe Gentle Drift is a 120-minute meditation series for Your Quiet Moment, hosted by Priya Sharma. Each episode is a slow drift through a single evening scene.This episode was created with AI assistance for the voice and the writing. The intention, the structure, and the care are entirely human.#Meditation #Sleep #Calm #QuietMoment #EveningHarbor #Rest #DriftDISCLAIMER

Top Notch Streaming.Surprisingly Box Office Cinema.And ALL the Quality Tuneage!STREAMING: Lanterns (Mon 17th - HBO MAX)Reacher Season 4 (Prime Video)My Brilliant Career (Netflix)Travis Barker: Louder Than Fear(Disney+)Mourinho (Netflix)An Amputation Obsession: The Monsterand the Surgeon (Prime Video)The Chosen in the Wild with BearGrylls (Prime Video)House of Stassi (Disney+)Camp Rock 3 (Disney+)Don't Say Good Luck (Netflix)Tires Season 3 (Netflix)Women in Blue (Las Azules) Season 2(Apple TV)A Child of My Own (Netflix)The X-Files: I Want to Believe -Vrach Frankenshteyn (Disney+)Practical Magic (Netflix) CINEMA: The End of Oak StreetTonySunny DancerLadyNimrods – A Green Day Comedy MUSIC: Phoebe Bridgers - Lost Weekend

My next book, Productiveness, arrives this September. It's about the difference between doing more and doing what matters, and how we lost the ability to tell them apart. I'll send the release date the day it's set. Visit https://mikevardy.com/productiveness to learn more.This month's PM Talks starts with a confession: I've had an epiphany, and I don't use that word lightly. Somewhere between an "aha, I get it now" moment and what I can only describe as a holy moment is a distinction most of us never bother making — and once you start looking for the difference, you start noticing which of your own realizations actually deserved the weight you gave them.Patrick Rhone and I use this month's conversation to pull that distinction apart: the difference between a dawning recognition and a genuine unlocking, why holding an idea loosely lets it unfold instead of unravel, and how something as small as what his daughter calls a credit card turned into a real look at the nature-versus-nurture question neither of us can fully answer. I don't give away the specifics of the epiphany I'm sitting with this month — some things need more than one episode to explain — but the shape of it, and what to do with a moment like that once it arrives, is exactly what we get into.Six Discussion PointsAn "aha moment" is a small recognition — oh, I get it now — while a full epiphany carries a much heavier, more disorienting weight; treating every insight as the second kind burns you out.Real epiphanies tend to arrive with equal parts fear and fascination — the discomfort isn't a sign to back away, it's part of what makes the moment significant.Holding an idea loosely gives it room to unfold; gripping it tightly is what causes it to unravel instead — the difference between disassembling something on purpose and watching it fall apart.Genetic or predisposition information (like a cholesterol test result) doesn't eliminate the value of lifestyle choice — it just narrows the range you're actually choosing within.Big epiphanies rarely land once and disappear; they tend to keep resurfacing for days or weeks afterward, the way aftershocks follow an earthquake.The right response to a major realization is often reflection, not immediate action — sitting with it, journaling about it, letting it keep unfolding before trying to "do" anything with it.Three Connection PointsRead more from Patrick RhoneCatch up on past issues of The Lantern (and more)ProductivenessI'm not going to tell you what the epiphany was — not yet, anyway. What I will say is that if something's been quietly resurfacing in your own life for years without your noticing why, it might be worth sitting with it instead of trying to explain it away. Some things take six years to make sense. Give yours the same patience.Your inbox is a receiving dock, not a warehouse. Three moves, seconds a message, and only what needs you today is left standing. That's the promise of The 10 Second Inbox. Get it at https://mikevardy.com/10secondinbox today.

AI can already write code for us - but the biggest change may be everything happening around the actual coding. Jakob Ehn and Johan Nordberg talk to Esteban Garcia, who leads GitHub AI Solutions at Lantern, about Azure DevOps vs GitHub, GitHub Copilot, Agentic Workflows, and how specialized AI agents could reshape the entire software development lifecycle - from requirements and planning to testing, documentation and code. We also discuss why more lines of code is a terrible productivity metric, how AI can help us understand legacy systems, and why model selection, token usage and AI FinOps are becoming increasingly important as AI-powered development scales. Links: GitHub Agentic Workflows Custom agents in GitHub Copilot GitHub Copilot usage-based billing

Dan's back, just in time to help review Spider-Man: Brand New Day! SPOILERS AHEAD! Be sure to email us your thoughts or call/text us on our voice-mail at 708-LANTERN.

In this episode of Teatime Thoughts, we reflect on the timeless quote, "It is the light in the lantern which shows you the path, not the lantern." Together, we'll explore the inner qualities that truly guide our lives and influence the children we serve. Whether you're a parent, teacher, or caregiver, you'll find encouragement to help children discover their own inner light. It is a thoughtful conversation about caring for ourselves, shining brightly for others, and remembering that our greatest impact comes not from what we possess or how we appear, but from the light we share every day. Pour yourself a warm cup of tea, settle in, and be reminded that even the smallest light can illuminate someone's path. Intro Theme Song: Vocals - Shevaughn James; Music - Malik McFarlane; Lyrics - Maxine McFarlane & Shevaughn James

Gaming hosts Josh, Ryan, and Ace are back breaking down August's hottest releases, including Big Walk, Kill the Shadow, Bombanana, and more! Which games are worth your time, which deserve more attention, and which might surprise everyone? If you love discovering new video games and keeping up with everything happening in gaming, this is an episode you won't want to miss. Grab your favorite video games and join us for another packed gaming episode of the Video Gamers Podcast!   Thanks to our MYTHIC Supporters: Redletter, Disratory, Ol' Jake, Gaius, Jigglepuf, Phelps, Bobby S, NorwegianGreaser, Dettmarp and NightWizard63   Thanks to our Legendary Supporters: Milkman, Drewsky, Jigglepuf and BadGam3rDad   Luminous Knights- https://store.steampowered.com/app/1949610/Luminous_Nights/    Big Walk - Aug 4 Grain Rot - Aug 7 Rogue Eclipse - Aug 7 Color Fear - Aug 10 Agent 64 Spies Never Die - Aug 11 Duskfade - Aug 13 Divinum - Aug 28    Kill the Shadow - Aug 4th https://store.steampowered.com/app/2660230/Kill_The_Shadow/   ReStory: Chill Electronics Repairs - Aug 6 https://store.steampowered.com/app/3812600/ReStory_Chill_Electronics_Repairs/    IRON NEST: Heavy Turret Simulator - Aug 6 https://store.steampowered.com/app/2950790/IRON_NEST_Heavy_Turret_Simulator/    Twisted Tower- Aug 18 https://store.steampowered.com/app/1575990/Twisted_Tower/    Low-Budget Repairs Aug 13 https://store.steampowered.com/app/3167920/LowBudget_Repairs/    The Lantern of the Laughless Saint - Aug 17 https://store.steampowered.com/app/3849000/The_Lantern_of_the_Laughless_Saint/    Smack Talk - Aug 27 full access https://store.steampowered.com/app/4020490/Smack_Talk/    BOMBANANA! - Aug https://store.steampowered.com/app/4656000/BOMBANANA/     Connect with the show: Support us on Patreon: ⁠patreon.com/videogamerspod⁠ Join our Gaming Community: https://discord.gg/h2cHKAvSmu Follow us on Instagram:⁠ https://www.instagram.com/videogamerspod/⁠  Follow us on TikTok: https://www.tiktok.com/@videogamerspod Follow us on X:⁠ https://twitter.com/VideoGamersPod⁠  Subscribe to us on YouTube: https://www.youtube.com/@VideoGamersPod     Visit us on the web:⁠https://videogamerspod.com/⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Alie Dumas-Heidt chats with fellow authors about their earliest beginnings and answer everyone's favorite question - What happens next? - on The Writer's Journey. Apologies for the audio issues! On this episode, Alie experienced technical issues with her end of the sound. Gloria Chao is a USA Today bestselling author and a screenwriter. Her novels include The Mortal Enemy Murder Club, The Ex-Girlfriend Murder Club, Ex Marks the Spot, When You Wish Upon a Lantern, Rent a Boyfriend, Our Wayward Fate, and American Panda. She graduated from MIT, then became a dentist before realizing she'd rather spend her days in fictional characters' heads instead of real people's mouths. When she's not writing, you can find her on the curling ice, where she and her husband are world-ranked in mixed doubles. Visit her tea-and-book-filled world at GloriaChao.wordpress.com and find her on Instagram and X @GloriacChao. --- Alie Dumas-Heidt is the author of The Myth Maker, a detective thriller introducing Det. Cassidy Cantwell, set in Tacoma Washington. She lives in the PNW with her husband, adult kids, and two spoiled dogs. http://aliedh.com

Fear shows up in every business. But it does not always mean the same thing. Sometimes fear is a useful warning that deserves your attention. Sometimes it is Static trying to keep you inside familiar boundaries. And sometimes the way you respond can pull you into one of two costly extremes: rushing ahead to prove something, or stopping so often that you lose your momentum. In this episode, Erin and Steve explore how to tell the difference. They look at why "feel the fear and do it anyway" can become a dangerous rule when it replaces discernment, and how defensiveness around a new idea may be a signal to pause before committing your time, money, or team. This conversation offers a steadier way to work with fear. Instead of treating it as an enemy or as a dare, you can examine what it is protecting, listen for any useful information, and decide whether the next Lantern calls for movement or restraint. You'll hear: • How to distinguish protective fear from fear that maintains the status quo • Why defensiveness around a business idea is worth examining • The two speeds of fear, and how each one disrupts steady progress • How self-acceptance changes the decisions you make under pressure • Why trusted support helps turn fear into useful information If you want support making clear, steady decisions for your business, begin with a Start Session. This focused coaching experience helps you work with the Static in the way and leave with a practical next step: https://besuperabound.com/consultation You can also join Erin's Return on Joy newsletter for a weekly reminder that business and life are meant to include more than the hard things: https://besuperabound.com/collective

Fluent Fiction - Mandarin Chinese: Love in Lantern Light: An Enchanting Taipei Tale Find the full episode transcript, vocabulary words, and more:fluentfiction.com/zh/episode/2026-08-05-07-38-19-zh Story Transcript:Zh: 漫步在台北繁华的夜市，明宇和丽华开始了他们的第一次约会。En: Walking through the bustling night market of Taipei, Mingyu and Lihua began their first date.Zh: 夜市灯火通明，充满了热闹的市声和川流不息的人群。En: The night market was brightly lit, filled with the lively sounds of the city and streams of people.Zh: 空气中弥漫着各式小吃的香味，令人口水直流。En: The air was filled with the aroma of various snacks, making mouths water.Zh: 正值夏日中元节，夜空中飘浮着美丽的灯笼，增添了节日的气氛。En: It was the Summer Zhongyuan Festival, and beautiful lanterns floated in the night sky, adding to the festive atmosphere.Zh: 明宇有些紧张，手心微微出汗，他希望今天给丽华留下一个好印象。En: Mingyu felt a bit nervous, his palms slightly sweaty, hoping to make a good impression on Lihua today.Zh: 丽华则显得很平静，她对夜市的热闹充满了好奇，一路观察着每一个摊位。En: Lihua, on the other hand, appeared very calm, filled with curiosity about the bustling night market, observing every stall along the way.Zh: 明宇心中暗想：“一定要找到机会让她看到我的好。”En: Mingyu thought to himself, "I must find an opportunity to let her see my good side."Zh: 他们在熙熙攘攘的人群中漫步，明宇决定带丽华去他最喜欢的小吃摊。En: As they strolled through the bustling crowd, Mingyu decided to take Lihua to his favorite snack stall.Zh: 他期待这个小吃摊能成为两人话题的开始，也希望通过这个过程让丽华更了解他。En: He hoped this snack stall would serve as a starting point for their conversation, and also hoped that through this process, Lihua would understand him better.Zh: 然而，夜市的喧闹让对话变得困难。En: However, the noise of the night market made conversation difficult.Zh: 明宇努力地想要不出错，很怕说错话或做错事。En: Mingyu worked hard not to make mistakes, afraid of saying the wrong thing or doing something wrong.Zh: 经过几分钟的穿行，明宇终于指着前方一个亮着红灯笼的小摊位说：“就是这个！”En: After walking through the crowd for a few minutes, Mingyu finally pointed to a small stall ahead with a red lantern and said, "It's this one!"Zh: 在他们走向小吃摊的时候，一阵人群轻声惊呼吸引了他们的注意。En: As they walked towards the snack stall, a gentle exclamation from the crowd caught their attention.Zh: 抬头一看，无数的河灯缓缓漂浮在空中，自上而下，星星点点，影射在丽华的眼中，熠熠生辉。En: Looking up, countless river lanterns floated gently in the air, from top to bottom, twinkling, reflecting brilliantly in Lihua's eyes.Zh: 两人站在那里，呼吸都放轻了不少，被这奇妙的景象所感染。En: They stood there, their breaths softened, moved by this wondrous scene.Zh: 灯火的映衬下，明宇觉得心中那根紧绷的弦似乎放松了。En: In the glow of the lanterns, Mingyu felt the tense string in his heart seem to relax.Zh: 他转头轻声对丽华说：“这让我想起小时候跟家人来这里。”En: He turned his head and softly said to Lihua, "This reminds me of coming here with my family when I was young."Zh: 丽华笑了，点头回应：“很美，很特别。”En: Lihua smiled and nodded in response, "It's beautiful, very special."Zh: 他们找到一个安静的角落坐下，细细观赏着如雨点般洒下的灯火。En: They found a quiet corner to sit down, carefully watching the lanterns scattered like raindrops.Zh: 明宇渐渐放下了心中的不安，觉得与其努力表现，不如做真实的自己。En: Mingyu gradually let go of his inner unease, realizing that being genuine was better than trying too hard to impress.Zh: 丽华似乎更加放松了，两人间的谈话变得自然真诚。En: Lihua seemed more relaxed, and their conversation became natural and sincere.Zh: 随着夜晚渐渐滴入尾声，明宇心中的紧张消散，取而代之的是一种温暖而坚定的情感。En: As the night gradually drew to an end, Mingyu's nervousness faded, replaced by a warm and firm feeling.Zh: 他意识到，真诚地交流比任何精心安排的计划都更加珍贵。En: He realized that sincere communication is more precious than any meticulously planned strategy.Zh: 这次约会以温馨的对话和默契的感受结束，让他们彼此更加了解且靠近。En: This date ended with warm conversation and a sense of connection, bringing them closer to understanding each other.Zh: 夜市的灯光渐渐熄灭，但明宇对丽华的心意如同那飘飞的灯笼，愈加明亮。En: The lights of the night market gradually dimmed, but Mingyu's feelings for Lihua brightened, like those floating lanterns, increasingly luminous. Vocabulary Words:bustling: 繁华night market: 夜市aroma: 香味impression: 印象calm: 平静curiosity: 好奇stroll: 漫步snack stall: 小吃摊serve: 成为opportunity: 机会genuine: 真实meticulously: 精心connection: 默契dimmed: 熄灭gradually: 渐渐luminescent: 熠熠streams of people: 川流不息的人群festive: 节日的lantern: 灯笼tension: 紧绷quizzical: 疑问的exclamation: 惊呼twinkling: 星星点点respond: 回应quiet corner: 安静的角落scatter: 洒下sincere: 真诚wondrous: 奇妙precious: 珍贵young: 小时候

Follow me on Instagram at @douglaswelch, @dewdesignphoto, and @agardenersnotebook and Pixelfed. Read more on this topic: Lantern and Pond, Sydney Botanic Garden, Sydney, NSW, Australia [Prints Available] Ficus macrophylla f. columnaris, Sydney Botanic Garden, Sydney, NSW, Australia [Photography] Large Ficus macrophylla, Sydney Botanic Garden, Sydney, NSW, Australia [Photography] Mist and Sun in The Calyx , Sydney Botanic Garden, Sydney, NSW, Australia [Photography] From My Shop: Yellow Gazania Flower Prints and Products

Chad and Mark discuss all things Comic Con! Doomsday! Lanterns! Toys! And yes, there's more! Be sure to email us your thoughts or call/text us on our voice-mail at 708-LANTERN.

Restricted to Lord Howe Island. The most remarkable characteristic of this plant (as compared to F. macrophylla subsp. macrophylla in mainland Australia) is its lack of a single main trunk. Instead, it has 10 or more trunks each having arisen … Continue reading → Read more on this topic: Lantern and Pond, Sydney Botanic Garden, Sydney, NSW, Australia [Prints Available] Mist and Sun in The Calyx , Sydney Botanic Garden, Sydney, NSW, Australia [Photography] Down The Garden Path, Santa Barbara Botanic Garden [Photography] Begonia, The 36th Annual Southern California Spring Garden Show, Costa Mesa, California [Photography] Azalea Flowers, Earl Burns Miller Japanese Garden, CSULB, Long Beach, California [Prints Available]

Follow me on Instagram at @douglaswelch, @dewdesignphoto, and @agardenersnotebook and Pixelfed. ORDER PRINTS TODAY Read more on this topic: From My Shop: Yellow Gazania Flower Prints and Products Azalea Flowers, Earl Burns Miller Japanese Garden, CSULB, Long Beach, California [Prints Available] Mist and Sun in The Calyx , Sydney Botanic Garden, Sydney, NSW, Australia [Photography] Down The Garden Path, Santa Barbara Botanic Garden [Photography] Begonia, The 36th Annual Southern California Spring Garden Show, Costa Mesa, California [Photography]

“What Was Your Call Sign—Cupcake？” My Brother Laughed—Until A Green Beret Heard “Lantern”...

Welcome to the Infinite Taylorverse!  Here at the Infinite Taylorverse, we talk about all things nerdy and pop culture! Movies, TV, cartoons, comics, books, video games, tabletop games, and so much more! We talk about the latest pop culture news as well as rumors and fan theories.  Be advised that spoilers are imminent! In this, our 284th episode, we nerd out about all of the awesome information that was revealed at San Diego Comic Con 2026, including the announcement of the MCU's new Ghost Rider and Black Panther!  We also talk about the new trailer for the DCU's new Lanterns series, and so much more!  As always, thanks for strapping in for a ride through The Infinite Taylorverse!

Fiction author Jessica Guerrieri is back on the pod to tell us everything about her incredible new novel Both Can Be True! Jessica's work as a sober author is so deeply moving, and in her sophomore novel she tackles the all too familiar sensation of disappearing into motherhood and the addiction that can often take hold from that place. Jessica and I talk about the raw realities of book publishing as sober authors, why Jessica felt called to write fiction that centers on women and addiction, and the transformative power that community with other women can have for addiction recovery. Go buy both of Jessica's books Between the Devil and the Deep Blue Sea and Both Can Be True here! Community makes all the difference. Join The Sober Mom Life Cafe for 6+ Peer Support meetings each week and a private Facebook group to connect with sober and sober-curious women. Sign up for our next ‘Fresh 30' and ‘Beyond 30' cohorts. Learn more here! Join me over on my Substack, Sober for Good: https://suzannewarye.substack.com/Get Your Copy of my book! The Sober Shift Follow on Instagram @thesobermomlifeSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We begin with a discussion and rant about GL #37, before getting into a potential spoiler-filled talk about the Doomsday trailer, plus there's Lantern SDCC toys and MORE! Be sure to email us your thoughts or call/text us on our voice-mail at 708-LANTERN.

Special Free Bonus Episode!I am making this previously premium member only episode free to give you an indication of what you could be missing by not upgrading to a premium membership.The scientific discipline known as electrogravitics went "deep black" in 1958, corresponding to the timing of the foundation of NASA... What knowledge about the nature of gravity and the substrate of reality has been locked away in secret programs? A phenomenon known as the Biefield-Brown Effect may provide us some clues to understanding the machinations of reality...www.alchemicaltechrevolution.com

Many distributors fall into the habit of making inventory decisions by gut instinct. Understandable? Yes, considering the vast amounts of historical data that purchasing teams must weigh against future marketplace volatility. Unavoidable? Also yes! Especially when purpose-built AI tools exist. Jason caught up with Conor Leen, co-founder and president of Lantern, to learn about the company's cutting-edge forecasting methodology and solutions to perennial supply chain pain points like overbuying, missed seasonal stock opportunities, and branch allocation mismanagement. The pair also discuss Lantern's "distribution first" origin story and service-oriented company culture. CONNECT WITH JASON LinkedIn CONNECT WITH CONOR Lantern LinkedIn *** For full show notes and services visit: https://www.distributionteam.com Distribution Talk is produced by The Distribution Team, a consulting services firm dedicated to helping wholesale distribution clients remove barriers to profitability, generate wealth, and achieve personal goals.    This episode was edited by The Creative Impostor Studios  Special thanks to our sponsors for this episode: Motivate, INxSQL, and Connected Peers.

My next book, Productiveness, arrives this September. It's about the difference between doing more and doing what matters, and how we lost the ability to tell them apart. I'll send the release date the day it's set. Visit https://mikevardy.com/productiveness to learn more.Inbox zero was never about the number. That's the part almost everybody forgets. When Merlin Mann coined the term in the early 2000s, "zero" wasn't a count of unread messages — it was the amount of mental space your inbox occupied. Somewhere along the way, we turned a philosophy about protecting attention into a scoreboard, and the guilt machine that followed is the reason so many of us feel like we're failing at something that was never actually the goal.I want to walk you through where this idea went sideways, why even someone as rigorous as Cal Newport still aims at the same numeric target after correctly diagnosing the problem, and what I think the real goal should be instead. I'm calling it Inbox Today — not a number, a state. This one connects directly to the broader work I do around TimeCrafting and productiveness: the shift from chasing quantity to protecting quality of attention.Six Discussion PointsMerlin Mann's original "inbox zero" was never about the count in your inbox — it was about getting email out of your head.Cal Newport diagnoses the inbox problem correctly (it's a terrible place to store obligations) but still calls the win condition "empty," proving how deeply the numeric frame is baked in.Your inbox is a receiving dock, not a warehouse — it's meant to be passed through, not lived in.Batching email by context, instead of processing top-to-bottom in arrival order, protects you from the mental cost of constantly switching topics."Inbox Today" swaps a universal number everyone interprets the same way for a personal, situational sense of calm that's different for every person, every day.Doing one task that's actually yours before you open email at all tilts the entire day back in your favor — no app, no system, just a 10-minute head start.Three Connection PointsGet the FREE inbox tips matched to where you're at right now → mikevardy.com/emailStop Managing Your Time, Start Crafting It InsteadSubscribe to The Lantern for more on productivenessEmail isn't a solvable problem the way we've been taught to treat it — it's a relationship, and relationships need boundaries, not scoreboards. If today's conversation landed for you, the next step isn't a new app. It's deciding what "today" looks like for your inbox, not what "zero" does.Your inbox is a receiving dock, not a warehouse. Three moves, seconds a message, and only what needs you today is left standing. That's the promise of The 10 Second Inbox. Get it at https://mikevardy.com/10secondinbox today.

Hello Beautiful, I'm so grateful you're here with me. Follow a glowing lantern path through a peaceful dreamscape as this guided sleep meditation helps you release stress and fall asleep naturally. Perfect for visualization, anxiety relief, overthinking, and deep sleep. Love,

Chad and Mark discuss book sales, Lanterns Spoilers, Feedback and MORE! Be sure to email us your thoughts or call/text us on our voice-mail at 708-LANTERN.

  MAJESTIC MODERN OASIS A raised platform beneath a warm natural-fiber shade structure centers on a smooth stucco fountain spilling into an illuminated runnel, creating the garden’s calming rhythm. Below, a lounge with a see-through fireplace offers rare transparency, complemented … Continue reading → Read more on this topic: Lantern, Earl Burns Miller Japanese Garden, CSULB, Long Beach, California Nurtured by Spring Floral Display 2, The 36th Annual Southern California Spring Garden Show, Costa Mesa, California [Photography] California Room Garden 3, The 36th Annual Southern California Spring Garden Show, Costa Mesa, California [Photography] Guzmania Flower, Idyllwild, California [Photography] Sword Ferns, Sydney Botanic Garden, Sydney, NSW, Australia [Photography]

Special Free Bonus Episode!I am making this previously premium member only episode free to give you an indication of what you could be missing by not upgrading to a premium membership.Original Broadcast Date: 10-18-2024What secrets are held within the language of mythology and how are they used to influence the human mind today? This broadcast reveals some key truths about the subtle social engineering that goes on by utilizing mythological archetypes...www.alchemicaltechrevolution.com

It is Corps time, as Guy tries to make Jessica realize the entities are not just weapons and the United Lanterns take on the Manhunters! Then it's merchandise talk! Be sure to email us your thoughts or call/text us on our voice-mail at 708-LANTERN.

SWING INTO SPRING This garden display highlights the fluidity between indoor and outdoor living, designed to serve as an open-air extension of the home into the garden. The warm palette and comfortable furnishings create a sanctuary that balances structural privacy … Continue reading → Read more on this topic: Lantern, Earl Burns Miller Japanese Garden, CSULB, Long Beach, California Nurtured by Spring Floral Display 2, The 36th Annual Southern California Spring Garden Show, Costa Mesa, California [Photography] Lake and Bridge View 2, Earl Burns Miller Japanese Garden, CSULB, Long Beach, California [Photography] California Room Garden 3, The 36th Annual Southern California Spring Garden Show, Costa Mesa, California [Photography] Idyllwild Gardens View, Idyllwild, California [Photography]

Cleveland Metroparks CEO Brian Zimmerman spoke to Bill about latest Business-Zoo-Golf Courses-Events-Upcoming Events

A young samurai's forbidden love for a warlord's daughter follows him past the grave, when her returning ghost lures him into a fatal embrace no sacred charm can prevent.Look for this podcast on Apple Podcasts, Spotify, iHeart Radio, Amazon Music, Pandora, TuneIn Radio, and other podcast apps. Get a list of free listening apps here: https://weirddarkness.tiny.us/OTRCHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Show Open00:01:30.028 = CBS Radio Mystery Theater, “The Golden Amulet” (March 21, 1978) ***WD00:45:50.420 = Sam Spade, “The Calcutta Trunk Caper” (June 08, 1947)01:10:25.646 = The Sealed Book, “Devil Island” (April 0, 1945) ***WD01:39:45.947 = The Shadow, “Death Prowls At Night” (March 23, 1941)02:05:40.407 = Sleep No More, “Thus I Refute Beezly” and “The Bookshop” (March 06, 1957) ***WD02:34:17.055 = BBC Spinechillers, “Kappa” (1984)02:59:07.403 = Strange, “Flying Dutchman” (1955) ***WD03:12:02.153 = Suspense, “Narrative About Clarence” (March 16, 1944)03:41:27.199 = Tales of the Frightened, “Never Kick a Black Cat” (1963)03:46:04.004 = The Creaking Door, “White Scarf Strangler” (March 01, 1965) ***WD (LQ)04:13:55.896 = The Saint, “Mr. Richie's Loss” (October 29, 1947) ***WD04:38:20.419 = Theater 1030, “Two Little Punctures” (July 12, 1953) ***WD05:05:20.921 = Show Close(ADU) = Air Date Unknown(LQ) = Low Quality***WD = Remastered, edited, or cleaned up by Weird Darkness to make the episode more listenable. Audio may not be pristine, but it will be better than the original file which may have been unusable or more difficult to hear without editing.CUSTOM WEBPAGE: https://weirddarkness.com/WDRR0710

Original Air Date: October 14, 1943Host: Andrew RhynesShow: Challenge of the YukonPhone: (707) 98 OTRDW (6-8739) Stars:• Jay Michael (Sgt. Preston) Writer:• Fran Striker Producer:• George W. Trendle Director:• Fred Flowerday For more great shows check out our site: https://www.otrwesterns.comExit music from: Roundup on the Prairie by Aaron Kenny https://bit.ly/3kTj0kK

Original Air Date: October 14, 1943Host: Andrew RhynesShow: Challenge of the YukonPhone: (707) 98 OTRDW (6-8739) Stars:• Jay Michael (Sgt. Preston) Writer:• Fran Striker Producer:• George W. Trendle Director:• Fred Flowerday For more great shows check out our site: https://www.otrwesterns.comExit music from: Roundup on the Prairie by Aaron Kenny https://bit.ly/3kTj0kK

Chad and Mark give their thoughts on the epic box office disaster that is Supergirl! Be sure to email us your thoughts or call/text us on our voice-mail at 708-LANTERN.

Special Free Bonus Episode!I am making this previously premium member only episode free to give you an indication of what you could be missing by not upgrading to a premium membership.Original Broadcast Date: 4-26-2024In this episode, I covered the implications of the largely unacknowledged Australian covid vaccine Gedankenexperiment that proved beyond a shadow of a doubt what the covid vaccines are really doing to people...Here's a clue, you will see negative impacts 21 weeks after the event...www.alchemicaltechrevolution.com

Hidden deep within the forests of southeastern Ohio lies the abandoned railroad town of Moonville, a place where more than two dozen people lost their lives along a deadly stretch of track. Today, the rails are gone, but visitors still report phantom lanterns, a headless brakeman, the scent of lavender drifting through the tunnel, and the sound of unseen footsteps charging through the darkness. Tonight, we journey into one of Appalachia's most haunted ghost towns to uncover the chilling legends of Moonville. HAH DISCORD - https://discord.com/invite/bJdbpH3hQm   YouTube -  https://www.youtube.com/@HauntedAmericanHistory   TikTok - @hah_podcast hauntedamericanhistory.com   Patreon- ⁠⁠⁠⁠⁠⁠https://www.patreon.com/hauntedamericanhistory⁠⁠⁠⁠⁠⁠   LINKS FOR MY DEBUT NOVEL, THE FORGOTTEN BOROUGH   Barnes and Noble -   https://www.barnesandnoble.com/w/the-forgotten-borough-christopher-feinstein/1148274794?ean=9798319693334 AMAZON: https://www.amazon.com/dp/B0FQPQD68S Ebook GOOGLE: https://play.google.com/store/books/details?id=S5WCEQAAQBAJ&pli=1 KOBO: https://www.kobo.com/us/en/ebook/the-forgotten-borough-2?sId=a10cf8af-5fbd-475e-97c4-76966ec87994&ssId=DX3jihH_5_2bUeP1xoje_ SMASHWORD: https://www.smashwords.com/books/view/1853316   !! DISTURB ME !! APPLE - https://podcasts.apple.com/us/podcast/disturb-me/id1841532090 SPOTIFY - https://open.spotify.com/show/3eFv2CKKGwdQa3X2CkwkZ5?si=faOUZ54fT_KG-BaZOBiTiQ YOUTUBE - https://www.youtube.com/@DisturbMePodcast www.disturbmepodcast.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Kyle deals with Dr. Skin and Burger Mascots while Odyssey does.... something. Then it's Hal Jordan statue talk and Brand New Day Speculation! Be sure to email us your thoughts or call/text us on our voice-mail at 708-LANTERN.

Special Free Bonus Episode!I am making this previously premium member only episode free to give you an indication of what you could be missing by not upgrading to a premium membership.Original Broadcast Date: 9-15-2023An insider's account of the true nature of satanism and its many occult disguises...Spiritual discernment is the key to understanding the manipulation of human beings by the forces of darkness disguised as "the light"...www.alchemicaltechrevolution.com

This episode is brought to you by The 10 Second Inbox—a small, tactical system for taming email without chasing inbox zero. One ten-second decision per message, one calm inbox you can glance at and close. It's launch priced at $29 (reg. $49) through July 26th. Get it at mikevardy.com/10secondinbox (code INBOXTODAY auto-applies).Most of the conversation around focus starts in the wrong place. We talk about distraction as if it's the problem — the notifications, the open tabs, the interruptions — when distraction is really just a symptom. The actual problem is that most people don't know where they are in their own attention at any given moment. They're applying effort at the wrong level and wondering why it doesn't stick.That's what this episode is about. I've developed what I call the Spheres of Attention — a framework I first introduced in The Productivity Diet and have continued to refine through my work with the TimeCrafting Trust community. It's not a hack or a to-do list. It's a map that shows you the terrain of your own focus, from the outermost edge all the way to the bullseye. And once you understand how to read that map, everything changes — not because you work harder, but because you stop applying the wrong kind of effort at the wrong time.A quick note: This episode was recorded live on my YouTube channel, so you'll hear me respond to a few folks in the chat as we go. The thread holds up just fine as a listen, but if you ever want to join these live, that's where to find me.Six Discussion PointsDistraction is a symptom, not the root problem — the real issue is not knowing which sphere of attention you're currently in, which causes you to apply effort at the wrong levelThe four spheres — Noticing, Awareness, Focus, and Concentration — form a progression from passive signal-picking to full immersion, and each one has its own value and its own costScrolling is Noticing with the illusion of productivity attached to it: scanning without progressing creates a felt sense of engagement that isn't really thereAwareness is where procrastination builds its nest — you've recognized that something matters, but you haven't committed, so you hover in the filtering phase indefinitelyFocus is the first sphere that requires a conscious decision and carries real accountability: you can't say you're "on it" and stay in awareness — at some point, you have to moveConcentration is the most fragile sphere and the one most worth protecting — it takes significant time to reach and almost nothing to break, which is why your environment has to do a lot of the work before you even beginThree Connection PointsThe TimeCrafting Framework — The Spheres of Attention map directly onto TimeCrafting's structure of days, themes, and tasks. Understanding which sphere you're in helps you match the right work to the right time. Read more about TimeCraftingThe Lantern — If this episode resonated with you and you want to go deeper on ideas like this between episodes, my newsletter is where that thinking lives. Sign up for The Lantern at mikevardy.comIndistractable by Nir Eyal — Referenced in this episode as a foundational text on attention and distraction. Eyal's framing that attention is more commandable than time is a useful companion to the Spheres model. Get the book hereThe skill isn't getting to Concentration. The skill is knowing how to move through the spheres deliberately — and recognizing quickly when you've slipped back out. Because you will slip back out. Everyone does. The question is how fast you notice it happening, and what you do next. I hope this episode gives you a useful map for that. And if you want to keep exploring this territory, stick around — there's a lot more where this came from.If this episode resonated, I'm exploring ideas like these more deeply in my upcoming book, Productiveness. You can follow along as it takes shape at mikevardy.com/productiveness.

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