Podcasts about Leonora Carrington

Guest artist HOLLY STEVENSON joins Freud Museum curator VANESSA BONI and JILLIAN KNIPE to discuss her work via 'Down Below' by Leonora Carrington. The original manuscript was "lost", so it was re-written via dictation and first published in 1944 in the surrealist journal VVV. Having fled from Nazi occupied France after her lover Max Ernst was arrested, the book describes first hand Carrington's traumatic confinement in a mental institution in Spain and her escape, eventually settling in Mexico City. It also connects directly with her 1940 painting of the same name.   We discuss hybrids, psychosis, illness, seamstresses, figurines, transference, trauma, worms, bedsheets, potency, alchemy, lucidity, fetishes, limbs, candy, autofiction, worms, visions, rebirth, Oedipus, transference, psychoanalysis, surrealism, netsuki, genius, creative coherence, brutal rape, civil war, role reversals, mythological beasts, defending insanity, hearing ghosts, colour shifts, inner transformation, wild tiger, symptomatic gut, dynamic unconscious, mythic underworld, female identity, symbolic structures, being celiac, the drive to create, Nazi occupied France, the surrealist imagination, borders of knowledge, structure of the unconscious, orange blossom poisoning, green as a magic colour, the studio and the couch, the Santander sketchbooks, and alternative ways of engaging with reality. 'Leonora Carrington: The Symptomatic Surreal' curated by Vanessa Boni at Freud Museum 25 March - 10 August 2026 HOLLY STEVENSON holly-stevenson.co.uk @holly_stevenson MAC Museum of Contemporary Art Gibellina City of Culture The Sainsbury Centre RAMM The Royal Albert Memorial in Exeter 3 Oct 2026 - 21 Feb 2027 'Living Labrynths: Art and Fungi' 'Holly Stevenson: Tracing the Irretraceable' 14 May - 29 June 2025 including essays by Elizabeth Fullerton, Sharon Kivland and Emily Steer 'The Debate' Frieze 2023 curated by Fatos Üstek 'Another Mother' 2022 The Artist's Garden  'Mother Art Prize' 2020 ARTISTS  Daniel Buren Dorothea Tanning Leonora Carrington Louise Bourgeois Max Ernst Tracey Emin Salvador Dali BOOKS + WRITERS + THEORISTS Ali Smith Professor Alyce Mahon  Archive for Research in Archetypal Symbolism 'Book of Symbols' Carl Jung Jane McAdam Freud Leonora Carrington 'The Debutante', 'The Hearing Trumpet', 'The Oval Lady' Marina Warner Mikhail Bulgakov 'The Master and Margharita' Pierre Mabille  Prophecy Cole 'The Shadow of the Second Mother' Sigmund Freud 'The Interpretation of Dreams'  GALLERIES + GALLERISTS + INSTITUTIONS The Artists' Garden created by Claire Mander at thecolab.art support via change.org 'Long Live the Artist's Garden' Faro Santander supported by Fundación Banco Santander Freud Museum National Gallery Edinburgh Peggy Guggenheim Tate Gallery  

Leonora Carrington, A map of the Human Animal (détail) Dans Mu, le maître et les magiciennes, Alexandro Jodorowsky livre un récit halluciné de sa rencontre avec Leonora Carrington, au Mexique, au début des années 1960. Jodorowsky, je le lisais parce que Gurdjieff ; Gurdjieff, parce que Katia et le Matin des magiciens ; le Matin des magiciens parce que ma mère et Planète. Et entre Gurdjieff, Jodorowsky, René Daumal, le Mont Analogue, Patti Smith et Leonora Carrington, Leonora Carrington à qui Claude me fait un peu penser et à laquelle le Musée du Luxembourg consacre actuellement une exposition, il y a un enchevêtrement d’échos, de correspondances, de liens oniriques,  filamenteux et magiques comme ceux qui apparaissent dans ses tableaux, liant des êtres, des visions, des moments, au-delà de tout ce qui les sépare. They shall behold Thine Eyes, 1950 Dando de comer a une mesa, 1959 L’analogie, le bondissement d’une chose à une autre, à une autre qui n’a rien à voir avec la première et pourtant ; le négatif, le même vu à travers le miroir, ou le miroir des rêves ou le miroir des souvenirs, quelque chose qui déforme, voile et parfois dévoile, ces hommes et ces femmes cachées et encapuchonnées, ces chevaux et licornes de feu, filiformes, qui s’ébrouent, ces magiciens et ces sorcières, ces sorciers et ces magiciennes, cette œuvre comme un jeu de tarot géant, il y a une part de moi qui, sans comprendre, comprend et en est fasciné comme devant une boule de cristal où s’ouvrirait un pan caché du monde. Mars Red Predella, 1946 Sans titre, 1956 Il y a certainement une part de fantasme dans le récit de Jodorowsky, comme il y a une part d’imposture dans l’enseignement de Gurdjieff et une part d’auto-suggestion dans la peinture de Leonora Carrington. Mais cette part, qui émane de la personne, qui en est à l’origine une simple projection, et peut-être même une sorte de mensonge, est performative : elle fait naître ce qu’elle prétend décrire, donne substance et structure à l’inarticulé de nos rêves et de nos cauchemars, ancre dans une forme et un verbe ce qui peut-être n’existe pas mais qui, pourtant, pourrait, à tout le moins, exister puisque, même de façon peut-être artificielle, ce fut imaginé. Lee Miller, Leonora Carrington à Saint-Martin d’Ardèche Je ne sais pas, je n’ai jamais su faire la part des choses entre l’œuvre et la personne, non plus qu’entre la personne, les oeuvres et les résonances diverses qu’elles éveillent. Et je dois dire, à ce propos, que ma propension à croire, à accepter d’être enchanté, peut-être mené en bateau, par Leonora Carrington, n’est pas totalement délié de la beauté de la jeune femme (dont j’avais découvert le visage à l‘exposition Lee Miller) ou du charme qui émane de la vieille dame filmée dans les années 1990 à Mexico. Las tentaciones de San Antonio, 1945 Three Nornir, 1998 Une dernière chose encore : on peut à la fois être un imposteur et ne pas en être un : Georges Gurdjieff avait certainement beaucoup de défauts mais il était aussi un compositeur dont certaines pièces, comme Bayaty sont magnifiques. On aimerait (ou pas) que le vrai soit simple mais il est le plus souvent épais, vibrant, plein de doubles fonds et de choses étranges, comme les tableaux de Leonora Carrington. Comme très souvent, on entend, derrière ma lecture, Bayaty, de Georges Gurdjieff. Cet article Leonora Carrington est apparu en premier sur Aldor (le blog).

Artiste aux multiples facettes, Leonora Carrington déploie une imagination foisonnante où se croisent magie, humour noir etmétamorphoses. Écrivant en anglais, en français et en espagnol, elle explore des territoires intérieurs mêlant mythologies personnelles et critique sociale. Longtemps restés dispersés ou inédits, ses textes dévoilent une créatrice singulière, porteuse d'une sagesse féroce. Cette conférence, présentée par la chercheuse, essayiste et traductrice Karla Segura Pantoja, invite à découvrir l'œuvre écrit de Leonora Carrington à travers ses contes, récits et pièces de théâtre composés entre les années 1930 et 2000.

Polecam surrealistyczną powieść Leonory Carrington - z Meksyku, ale z Wielkiej Brytanii; z Wielkiej Brytanii, ale z Meksyku. ▶️ Słuchaj dalej

Piše Silvija Žnidar, bere Eva Longyka Marušič Pisave pisateljice Eve Mahkovic, tudi dramaturginje in dramatičarke, se že od začetka njenega literarnega ustvarjanja drži oznaka avtofikcija, o kateri je zadnje čase, sploh na naših tleh, veliko govora, nemalo se je tudi piše. A pri Evi Mahkovic lahko vselej računamo na to, da nas bo z vsako novo knjižno izdajo presenetila z novo slogovno pa tudi vsebinsko prizmo formiranja avtofikcije, na podlagi česar se nam zdi, da vselej vpademo v malce drugačno sfero piske, ki razpreda o svojih interierjih in eksterierjih. S knjigo na tak dan najbolj trpi mastercard je ustvarila svojevrstne facebookovske dnevniške zapise, skorajda v poetično-aforistični maniri s pridihom takšne drugačne ironije in sarkazma, s TOXICom pa nas je potegnila v divji svet avtofikcijskega romanesknega hibrida, sestavljenega iz različnih manierizmov, oblik pisave. Potem imamo še Vinjete straholjubca, ki niso avtofikcijske, ampak delo fascinantne domišljije z afiniteto do nadrealistične groteske, ki se lahko postavi ob bok pisateljicam, kot so Dorothea Tanning, Leonora Carrington in Leonor Fini. V samem začetku Pogovorov z Bogom avtorica zapiše: »Ko sem napisala: Oseba je lahko toliko stvari hkrati, sem se zlagala. Jaz seveda ne bi mogla biti nič drugega kot Eva Mahkovic«. A deluje, kot da se avtorska oseba zaveda, da je vsak jaz performativen, nenehno podrejen transformacijam, maskiranju, re-invencijam; že samo spominjanje nekega preteklega jaza je posredna, olepšana ali pomanjkljiva naracija – ravno zato je Eva Mahkovic kot avtorica izjemo intrigantna, saj nas k temu, kar naj bi bili njeno sebstvo in percepcija materialnosti, v katerega je le to položeno, pripušča skozi različne jezikovne formacije, refleksije. Ne prepričuje nas v avtentičnost, ki je v naši post-»tisto in ono« že tako ali tako iztrošen in pomanjkljiv pojem, temveč računa na afektivnost, moč izraznosti v pisavi. Mnogo bralstva, najsibo strokovnega ali »občega«, ji je očitalo ravno pomanjkanje pristnosti, univerzalnosti. A kar avtorica vedno znova dokaže, je, da nobena bolečina, izkustvo ni univerzalno, ampak sta bridko lastna, in da ju bralstvu najbolje približamo ravno s pravšnjim razmerjem ranljivosti in moči govorice, in to dokazuje piska tudi v zadnjem delu. Kako bi torej opredelili delo Pogovori z Bogom? Lahko bi si sposodili romantični, Schleglov termin univerzalne progresivne poezije, ki leporečno govori o hibridni književnosti, vsebujoči razne zvrsti, od poezije, proze, drame do kritike, filozofije, avtorefleksije, z vsemi možnimi stilskimi prijemi. V osnovi tako lahko rečemo, da gre za avtofikcijske zapise o osebni tragediji v času napovedujočih se podnebnih kriz, ki se ne držijo linearne narativne linije, temveč so polni digresij, stranskih refleksij, nizanja popkulturnih, zgodovinskih in umetniških referenc, mešanj »visokega in nizkega« tako v registrih vsebine kot stila; intertekstualnih paralel, izmed katerih najbolj izstopa Kleistova drama Katica iz Heilbronna, ki zaradi momenta požara oziroma preizkusa z ognjem postane pomemben interpretacijski ključ. Pogovori z Bogom so nekakšno hibridno telo raznovrstnih tekstov, ki bi jim lahko nadeli različna imena: dnevniški zapisi, samorefleksije, vrtinci seznamov, alineje strahu, narativne razglednice, dialogi s popkulturnimi fenomeni, sekularne alegorije, vizije posvetne mističarke itd. Vsekakor pestro branje, ki pa sicer ne deluje tako naostreno in intenzivno kot pri TOXICu. Specifična kaotičnost notranjosti in zunanjosti, ki sta vselej v prepustnem prepletu, se odvijata počasneje, mehkeje, z več melanholične ranljivosti. Kljub različnim stranpotem, fragmentiranosti ali »slepim rokavom« teksta se celota bere gladko, sledimo jasnemu dramaturškemu loku, z »vrhuncem« v družinski tragediji, ki nato avtorico popelje do novih razmislekov o sebi in svojih odnosih do raznih fenomenov, ljudi in stvari. Kot namiguje že naslov knjige, gre v tem hibridnem romanu za nagovor Boga, ki pa je bolj kot dogmatičen svetopisemski Bog bitje različnih pojavnosti, kar pač trenutno »molivka« rabi od presežne entitete. Knjiga je nekakšen retoričen aparat artikulacije notranjosti. Bog je kot nekakšen dnevnik, h kateremu se obračamo v času lastne akutne krize, samote, da objasnimo sebe, predamo svoja čustva višji sili, za katero vemo, da verjetno ne bo urgirala, ampak nam že sama konfesija ponuja jasnejšo sliko, če ne ravno striktnih odgovorov in rešitev. Eva Mahkovic si je knjigo sicer zamislila v obliki strukture krščanske maše, vendar je, kot bralstvo kmalu opazi, to mišljeno precej ohlapno oziroma, kot »priznava« piska, prilagojeno njenim predstavam. Zanimivo bi bilo sicer gledati na roman kot na izpoved moderne, sekularne mučenice, mističarke na ozadju potrošništva in podnebne apokalipse. Torej ženske, ki trpi zaradi družinske tragedije, ki jo globoko, duhovno transformira, hkrati pa jo žrejo tegobe nelagodja v telesu, ki se zdi tuje, necelovito, fragmentarno, kot je zrcalno razdrobljena celotna pripoved, v telesu, podrejenemu počasnemu propadanju, stigmatiziranemu z neizprosnimi znaki staranja. Dodatno komponento trpljenja povzroča neznosno stanje vročičnega okolja, zapisanega apokalipsi, ki jo napovedujejo podnebne spremembe, zaradi česar se nekateri avtoričini uvidi zdijo kot vizije gorečega sveta, materije. Če beremo študije preučevalk misticizma, mučenic, svetnic in religioznih zadev, kot so Marina Warner, Amy Hollywood in Rachel J. D. Smith, izvemo, da telo pri mističarkah in mučenicah ni bilo nasprotje duha, temveč njegov medij, proizvajalec pomena skozi bolečino, primarno prizorišče religijskega izkustva. Melanholija, ki večinoma spremlja takšna mistična, mučeniška stanja, pa ni zgolj razpoloženje, temveč epistemološko stanje, generator vednosti, kot na primer že od Roberta Burtona in Dürerja naprej. Pisateljici različne preizkušnje, tragedije in telesna nelagodja omogočajo pogled v neko širšo vednost o sebstvu pa tudi o stanju okolja in o poziciji ženskega spola in telesa v družbi, pri čemer pa knjiga ne vztraja pri tem, da ima končne, totalne odgovore, raje vztraja v odprtosti. Piska seveda mitov ženske telesnosti ne utrjuje, temveč jih s tem, ko jim tudi občasno podlega, učinkovito secira, analizira, subvertira. Takšno branje se zdi privlačno, čeprav bi bilo morda enostavneje reči, da gre za nekakšno potencirano, časovno večsmerno elegijo: avtorica v raznih manirah žaluje za ranami, ki jih zada trenutna nesreča ali pa so jih zadali drugi pretekli dogodki, hkrati pa že vnaprej piše žalostinko za izginjajočim svetom. Za upodabljanje tega sveta, kot stkanega iz vročične nočne more, uporablja konkretne, efektivne, neposredne, neolepšane opise, morbidno razpoloženje stopnjuje z motivi in podobami mrtvih živalic, ki skupaj z drugimi izvirnimi prispodobami prerastejo v čudovito metaforično mrežo znamenj nasilja, strahu in smrti. Skozi celotno knjigo je vzdušje primerno vročično, skorajda halucinatorno, somnambulno, kot pri Katici iz Heilbronna, avtorica gradi na primerni paleti barv, ki poudarja katastrofo ognja in njegovih pomenskih sledov. Na vse skupaj bi lahko prišili tudi termin morbidne fascinacije nad stanji nesreče in raznimi smrtmi, a če ta idiom naznanja nekakšno vznemirjenje, radovednost nad takšnim stanjem stvari, pa pri Evi Mahkovic pomeni tudi nekakšno globljo povezanost z žalobnim podtokom celotnega življa. Čeprav vročičen svet na začetku in koncu knjige teži k nekemu kaosu, entropiji, kar je tudi čudovito barvno uprizorjeno, piska vselej ohranja »drobce božjega v svetu« vročine, nekakšno milost, lepoto, možnost celjenja. Pogovori z Bogom so fascinantni in čudoviti zaradi notranjih napetosti in kontradikcij: zaradi nekakšne baročnosti vsebine, neštetih seznamov tega in onega, mrgolečih asociacij, hkrati pa melanholičnosti uprizoritve le tega. Zaradi neumornega zanimanja za telesno, ki pa je vselej že prizorišče bistrega »duha«. Zaradi neskončne žalosti, ki jo generirajo različne tragedije, hkrati pa zaradi sijajno svetlečih se drobcev, ki toliko nežneje pobožajo v temini.

durée : 00:11:26 - Les Nuits de France Culture - par : Albane Penaranda - Dans ce troisième volet de la série de 1989 que "Poésie sur parole" consacrait à Leonora Carrington, Maud Rayer lit "La Débutante", une histoire fantastique étrange et teintée d'humour noir. - réalisation : Rafik Zénine, Hassane M'Béchour, INA Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:26:49 - Les Nuits de France Culture - par : Albane Penaranda - Dans ce cinquième et dernier entretien, Leonora Carrington confie sa fascination pour la Hongrie rêvée de "La Porte de pierre", sa conception du mythe comme réalité vécue, les liens entre ses écrits et ses peintures, et la place singulière qu'occupe l'humour noir dans son œuvre. - réalisation : Rafik Zénine, Hassane M'Béchour, INA - invités : Leonora Carrington Peintre, sculptrice et femme de lettres mexicaine d'origine britannique Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:11:02 - Les Nuits de France Culture - par : Albane Penaranda - Dans ce cinquième volet de la série "Poésie sur parole" consacrée à Leonora Carrington, deux comédiennes font revivre un entretien accordé par l'artiste à Germaine Rouvre, paru en 1977 dans la revue "Obliques" sous le titre "La Femme surréaliste". - réalisation : Rafik Zénine, Hassane M'Béchour, INA Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:11:15 - Les Nuits de France Culture - par : Albane Penaranda - Dans ce quatrième volet de la série "Poésie sur parole" consacrée à Leonora Carrington, Christiane Cohendy lit "L'Attente", une nouvelle de 1941. - réalisation : Rafik Zénine, Hassane M'Béchour, INA Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:24:14 - Les Nuits de France Culture - par : Albane Penaranda - Manipulation religieuse, fascination pour le Mexique précolombien, quête spirituelle, chamanisme et sorcellerie : dans ce quatrième entretien, Leonora Carrington livre une réflexion dense sur les pouvoirs invisibles qui gouvernent les êtres et les civilisations. - réalisation : Rafik Zénine, Hassane M'Béchour, INA - invités : Leonora Carrington Peintre, sculptrice et femme de lettres mexicaine d'origine britannique Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:25:55 - Les Nuits de France Culture - par : Albane Penaranda - réalisation : Rafik Zénine, Hassane M'Béchour, INA Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:28:50 - Les Nuits de France Culture - par : Albane Penaranda - Ce sixième et dernier volet de la série "Poésies sur Parole" consacrée à Leonora Carrington propose des lectures d'extraits de deux œuvres très différentes : sa pièce de théâtre "Une chemise de nuit de flanelle" et son récit autobiographique "En Bas". - réalisation : Rafik Zénine, Hassane M'Béchour, INA Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Today, we're joined by art historian Grace Anna, host of the fabulous ArtMuse podcast, to talk about surrealist painter and writer Leonora Carrington. After Carrington fell in love with the famed German painter, Max Ernst, the couple moved to the south of France, where they lived happily. With the outbreak of World War II, however, both Leonora and Max were arrested on espionage charages, triggering a mental breakdown for Leonora. If you'd like to support he show, please consider becoming a patron at www.patreon.com/artofcrimepodcast. For show notes and transcripts, visit www.artofcrimepodcast.com. 

durée : 00:03:41 - Les Nuits de France Culture - par : Albane Penaranda - À l'occasion de l'exposition qui lui est consacrée au Musée du Luxembourg, France Culture propose une nuit Leonora Carrington. L'occasion de découvrir l'œuvre multiforme de cette artiste jusqu'ici méconnue en France, marquée par le surréalisme et de nombreuses autres influences. - réalisation : Rafik Zénine, Hassane M'Béchour, INA Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:11:33 - Les Nuits de France Culture - par : Albane Penaranda - Ce premier volet de "Poésie sur Parole : Leonora Carrington" présente une lettre de Leonora Carrington à l'éditeur et traducteur Henri Parisot. Michel Camus et Micheline Zederman la commentent et la replacent dans un contexte biographique. - réalisation : Rafik Zénine, Hassane M'Béchour, INA Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:30:40 - Les Nuits de France Culture - par : Albane Penaranda - Ce deuxième entretien de la série consacrée à Leonora Carrington met en évidence plusieurs traits fondateurs de la personnalité de l'auteure, telle qu'elle transparaît au fil de son œuvre : l'angoisse, la peur dominée et la violence, le rêve apparaissant comme un pont vers la vie intérieure. - réalisation : Rafik Zénine, Hassane M'Béchour, INA - invités : Jacqueline Chénieux-Gendron Profeseur de littérature (CNRS). Emérite., Leonora Carrington Peintre, sculptrice et femme de lettres mexicaine d'origine britannique Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:11:16 - Les Nuits de France Culture - par : Albane Penaranda - Dans ce deuxième volet de "Poésie sur parole - Leonora Carrington", Christiane Cohendy et Maud Rayer lisent des extraits de "En Bas", un récit autobiographique publié en français en 1945. - réalisation : Rafik Zénine, Hassane M'Béchour, INA Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:31:20 - Les Nuits de France Culture - par : Albane Penaranda - Rêves, visions hypnagogiques, alchimie et mort : dans ce troisième entretien, Leonora Carrington confie à Germaine Rouvre sa quête intérieure, son ouverture à de multiples degrés de perception, son refus des préjugés et son mépris des dogmes religieux face à la souffrance. - réalisation : Rafik Zénine, Hassane M'Béchour, INA - invités : Leonora Carrington Peintre, sculptrice et femme de lettres mexicaine d'origine britannique Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:31:48 - Les Nuits de France Culture - par : Albane Penaranda - Dans ce premier volet d'une série de cinq entretiens, Germaine Rouvre évoque avec Leonora Carrington les années surréalistes auprès de Max Ernst, la maison mexicaine où elle vit, la condition d'artiste quand on est une femme et le conditionnement biologique à la maternité. - réalisation : Rafik Zénine, Hassane M'Béchour, INA - invités : Leonora Carrington Peintre, sculptrice et femme de lettres mexicaine d'origine britannique Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Anna speaks to three women with different perspectives on the film industry. First up, director Lena Vurma and actor Olivia Vinall discuss their new film Leonora in the Morning Light, a visually glorious exploration of the life and work of artist Leonora Carrington. Lena explains what drew her to make a film about one of surrealism's lesser-known figures whilst Olivia shares the challenges and rewards of embodying a woman whose life spanned continents and who experienced war and mental illness alongside the difficulties and joys of a career as a female artist. They talk about the film's extraordinary locations in Mexico and the South of France and the female friendship at the heart of Carrington's story. In the second half of the show, Anna is joined by Jane Owen who discusses her role as founder of award-winning Public Relations company, Jane Owen PR. Jane tells us how her PR team prepares for the parties, networking and deal-making opportunities at this year's Cannes Film Festival. She also shares her PR highlights of the last few years, and her love of old movies and the stars who made them. Jane talks about positive changes in the industry, which present opportunities for smaller indie films and shares the skills essential for success in film PR. Leonora in the Morning Light is on general release in UK cinemas from 29th May 2026. Find further details about the film and screenings here: https://www.modernfilms.com/leonora DIRECTORS Thor Klein & Lena Vurma CAST Olivia Vinall, Alexander Scheer, Cassandra Ciangherotti, Ryan Gage, Istvan Teglas, Luis Gerardo Mendez Other films mentioned in this episode: Gentlemen Prefer Blondes Become a patron of Girls On Film on Patreon here: www.5patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Sign up to the Girls On Film newsletter here: http://eepurl.com/iEKaM-/ Or email girlsonfilmsocial@gmail.com to be signed up. Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Executive Producer: Hedda Lornie Archbold Producer: Nicki Glossop Audio Editor: Jack Howard Social Media: Dr Jade Evans and Ruby Rose Bradshaw With thanks to Principal Partners Peter Brewer and Vanessa Smith, and our sponsors for this episode, Lilac Grove Entertainment © HLA Agency

Today, we're joined by art historian Grace Anna, host of the fabulous ArtMuse podcast, to talk about surrealist painter and writer Leonora Carrington. After Carrington fell in love with the famed German painter, Max Ernst, the couple moved to the south of France, where they lived happily. With the outbreak of World War II, however, both Leonora and Max were arrested on espionage charages, triggering a mental breakdown for Leonora. If you'd like to support he show, please consider becoming a patron at www.patreon.com/artofcrimepodcast. For show notes and transcripts, visit www.artofcrimepodcast.com. 

We’re diving into the 2026 Met Gala red carpet, where the fashion was only half the story. From surprise arrivals to late entrances that completely shifted the night’s energy, this year’s event delivered more chaos than ever. We break down the biggest fashion moments, including Beyoncé’s long-awaited return, Rihanna’s headline-making late arrival, and Blake Lively’s unexpected red carpet comeback just hours after major legal news broke. Plus, the standout looks, the most debated outfits, and the celebrity “power moves” that turned the Met Gala into one of the most talked-about nights of the year. Love binge-watching TV? The Spill has launched a new podcast called Watch Party where we deep dive into the shows everyone’s talking about. Follow the feed on Apple or Spotify now. Plus remember The Spill drops the tea twice a day in this feed so follow us for all the latest entertainment news… OR you can WATCH our show in full length video on the Apple Podcast app - make sure your phone is up to date and enjoy the watch! Link here. THE END BITS Find and follow us on socials: Instagram: https://www.instagram.com/thespillpodcast/ TikTok: https://www.tiktok.com/@thespillpod Facebook: https://www.facebook.com/thespillpodcast/ Read all the latest entertainment news on Mamamia: https://mamamia.com.au/entertainment/ Support Independent Women’s Media: https://www.mamamia.com.au/subscribe/ Your subscription helps us continue to tell the stories that matter to women. Want to join the conversation? Have feedback or a topic you want us to discuss? Send us a voice message or email us at thespill@mamamia.com.au and we’ll get back to you ASAP! Executive Producer: Monisha Iswaran Audio & Video Producer: Michael Kean Mamamia acknowledges the traditional owners of the land on which we have recorded this podcast.From Mamma Mia. Welcome to the Spill your daily pop culture fixed. I'm Laura Brednick, and I'm Free Player, executive producer of Mamma MIA's interview podcast No Filter, and former fashion magazine editor. Yes, you're always my partner in crime for these red carpet episodes in dcause we both have hot takes. They're usually very different we do. We often have very like opposing ideas. Yes, what was best, what was worse? And we've been avoiding each other in the office all day. Yeah, we had to yell at each other get away from me because we didn't want to. We didn't want to have a donation. Don't even look at it. You can look at me. We didn't want to have the conversation away from the mic. So if you are listening to this, it means you probably listen to our Met Gala little teaser that dropped in the feed earlier today, because we're dropping this episode a little bit later. Because with the Met car there's so many dresses and there's so many interviews, and then celebrities release their own like look books and updates afterwards. So we needed to bring the people boots on the ground. Journalism with all the looks. So that's why we're coming to you today with our special slightly later episode. Now before we jump into the best, worst, most disastrous, most surprising, most sentimental looks of the day, it's a broad, broad range of looks we're getting into. If you want to see the looks, if you want to actually have the photos in front of you, you can go and listen to us on Apple Podcasts where we're on videos, so you can watch us delightful, watch my face get veteran, veteran rhetoric as I get more excited and overwhelmed. Or you can go and look at all the photos in a gallery on Instagram. So just search the Spill podcast on Instagram. The gallery will be clearly labeled in order of how we're speaking about the looks, so you can follow along and see them all there. Okay, without further ad you, well, our first look is kind of a shared one because we want to just start things off with a bang, and that is Miss Beyonce, who came to the Met Gala for the first time. It was it ten years in over a decade. It's just like so exciting to see her back on the Met Gala. Red carpet, which of course is not red. Let's let's start off by saying, give there a carpet. I love the carpet non red. Okay, this might be the only thing. This might be the thing weiss best dressed to the night is the carpet. I loved it. I did a little moss between Yeah. Yeah, they looked like it was like fake but beautifully done. Yeah, very artistic. Really, and let's bring this to the forefront as well. The theme for this U's met Gala is about fashion being art Yes, so costume costume. So what we get to see is not only like the setting, which is why it's not just your standard red carpet being very artistic and very creative. Is the clothes then on it? And I thought, yeah, the way that it looked this time, it was kind of like it's like a beigey sort of cobblestony, Yes, cobblestony, with like the moss between it. And they had all the beautiful kind of draping again coming down the ceiling. It was creamy it was, and greens and purple it was. It was beautiful, which I thought was such a beautiful backdrop to put all the clothes on as well. Yeah, because sometimes the stairs look lovely, but once you get a dress on them, they cancel each other out. Yeah, like remember the pink here the camp Yeah nine much like it was gorgeous, but then some outfits just didn't work. Yeah, no, no, And that's why celebs are releasing their own They're having their own photo shoots first and releasing them because they're like, I can't trust the lighting and any red carpet, but especially the met gala. Can't trust the lighting, can't trust the background. So okay, and that's the thing. As everyone took their photo, that was the bit where the steps before they became green, they were in that beautiful cream color, which is not a nice backdrop for all the dresses. So we had Beyonce rock up has it been there in ten years? And she was wearing a diamond encrusted dress that looked like a skeleton, so it had like the rib cage and like the pelvis and her hands were skeleton kind of a vibe. And I guess that's to show like the body in its like most like basic form a skeleton, a skeleton. And that's what part of the theme was, was showing the body as well, and the body being kind of the basis for art, so as you say, skeleton is the body stripped back to its most basic form. But I mean, of course, because it's Beyonce. It's jewel encrusted and it's incredible. And then she wore this long feathered cake. Yeah, incredible, that dreaped and then the head piece as well. I mean it's Beyonce, She's always going to bring the dru Yeah. Some people are like, oh, she could have lost the head piece and it's like, no, no, the head piece and it was Olivia Rousting, wasn't it. He used to be from Balmain, who's like she's worked with him before. Yes, she's won a lot of Almaine over the years, so yeah, it wasn't surprising that that's who dressed it. I felt, yes, but I think she looked glorious and I loved that she showed up with her gorgeous, gorgeous best accessory, her daughter. Yes, it was a night for daughters. Yes, Nicole kim And was toting one of her daughters down the red carpet and then Beyonce did it. But Blue Ivy, her oldest daughter who's fourteen now, and I think she actually looked like appropriately dressed for fourteen year olds. I do too. There was a lot anund the office. It's about you know, her being on the on the carpet anyway, and at this event, and you know, these experiences that these really young girls are getting to have. But I thought she I agree, I thought she looked age appropriate and so so gorgeousful so much like her mother. Yeah, that was such a moment because the Beyonce floated up and everyone gass and then Blue Ivy floated behind her, and then they had their moment, and they had their moment together, and then jay Z ran up and and then he was in there and but then they obviously I actually feel like as a family they practiced in the mirror at home because when they got into their first formation for their first photo, they just all I did. Yeah, they just instantly got into the right places and held a pose. And I was like, well, you guys have been practicing that the family living room. Yeah, and I appreciate that level of And Beyonce is a co chair this year. What's interesting is the timing of Beyonces arrived. Yes, if you'll notice all the other co chairs arrived at the top of the top of the day, which is kind of usually, which is how it goes, because they meant to greet people as they come in. Yes, that's part of it. They meant to greet people as they come in. Beyonce has ascended above that level where she is not a greeter. No, they had She's up stairs and being like, hik so much for coming to our party, thanks for coming for a little shin dig Like, no, Beyonce is not doing that. Her arrival was such a moment. It really was. Okay, who else did you go? Because we get week spend an hour on everyone fifty looks to get through. Okay, I'm going to start strut with my favorite of the whole night, and you won't be surprised by this, I don't think. Okay. My favorite was Oh, Sabrina Carpenter. Yes, Sabrina was in Dior. She's been wearing a lot of Dior lately. Jonathan Anderson, who was at Louerva, is now in the House of Dior and doing the most incredible job. Because there has been like quite a shuffle in the last couple of years in the design houses, where like there were designers in certain houses that felt a little bit mislike. Now, I'm not saying he was amazing at Louerva. He did a great job there, but I do feel like what he is doing at Dior is what should be happening at Dior. So I was very excited for this year's met Gala because I feel like after years of kind of the wrong creative directors being in the houses that I felt maybe were they weren't aligned to, or that there were people in those roles that maybe weren't doing the best job interesting for those houses, the dust is settled, and I feel like this is the first time in a few years where the right designers are in the right house the levels. It's like the right house Game of Thrones. It has been a bit of a fashion game of Thrones in the last couple of years. So anyway, I was excited to see I thought Sabrina would wear deal because she's been wearing so much of it lately and she is somewhat like aligned with the house as well. But I was very excited to see what she's wearing now. The gown she's wearing is made of film strips, and the film is of course Sabrina, but the Audrey Hetburn Sabrina. Yes, here's an upsetting fact about me is that Sabrina is one of my favorite movies. But you like the well do you know what? You know what? Okay, but that is usually trees in. It's because obviously, if anyone hasn't seen the Audrey Hepburn movie Sabrina, watch it. It's incredible. But I personally prefer the Julia ormand Harrison Ford Sabrina, which I know is film blasting, you know what, it might be film blasphemy, but I think there's a place for both of them. But it's a place they're both exquisite felt exactly. But I just when I saw the detailing that it was film stills from Sabrina, I nearly lost my mind. That's the most beautiful touch. It's so beautiful. And I love that Sabrina went as Sabrina, but as Sabrina but in this like majorly artistic iteration. Also, and because I am such a swifty fan girl, I'm gonna just say that she's gone a bit show girl this year. And of course she features on Little Maybe with the head Piece a little not to her mentor, but also she features on Life of a show the track title from the album. So look, I'm not saying, oh, you think it's like, well, look, I'm not. I'm not. I'm not. It was like a nice little thing. But you're saying it's like shot fired. No no, no, God, no, no, no, we start no Brina and Taylor fe on. I'm not saying that Sabrina's outfit is for like an Easter egg, that this is coming with Taylor's sweet I'm not saying that. But I'm not not saying that the video clips. I'm just you know, last year, Sabrina on the met Gala carpet looked very pop star. This year she looks very showgirl. That's all I'm saying. That's all you're saying. That's all I'm saying. And you can, guys can read into that what you will, what you will. All Right. My next one, it's not a favorite, but it's just one we must discuss. Well, it's kind of a favorite because I appreciate how much this woman takes this seriously, puts her life in the lives of other people on the line, and how much she sticks to the theme. And that is Miss Kimberly Noel Kardashian did you not like it? No? Okay, well let me tell you a backstory maybe then you will. So she worked with British pop artist Alan Jones and Patrick Whittaker on this piece. So it's a golden breastplate for anyone who needs is listening to this just as a podcast, no judgment. It's a golden breastplate. But it has like the high silhouette neck and the cone bra, so we've got a real pointing nipple happening, very sculpted abs and a belly button. And it was craft did from a model in the sixties, which I thought was interesting because she said at first they were thinking like, would they do a mold of her body, which out of everyone, she kind of could have gotten away with because her body is like her cooling cart, and that's why she once walked the red carpet with her face covered because you can just see her body, you know it's her. But they decided to get the body model of a sixties model, and then it was this is the only disappointing thing is that the original look was going to be a full on sculptured suit all the way down, and so they've taken like the legs and the bottom half off and have done that detachable skirt, which is fine, but I feel like it does kind of take away from I would have loved to see her walk down in a fully sculptured suit, like a very old school robotic kind of like end of the World's sci fi vibes. So that's my problem with Oh, that's your problem. That is actually that is actually my problem with it. I think from the waist up absolutely incredible, Yes, And I just wish that it had committed the whole way. It's like she got no I mean I think no, I she didn't get nervous Kim Cush, she doesn't get nervous about I actually wanted her to make more. I think she's one of the few people who because she is always dressed so high fashion, she is not afraid to not be like the prettiest on the night, but be the most headline making And I usually like that about it exactly, and particularly with the met Gala, She's not. There are years where she does not prioritize pretty or sexy. She prioritizes creating a moment. Yeah. I wouldn't even necessarily say she prioritizes the fashion. Yeah, because I feel like it's more moment led with her exactly. Actually it's a headline interest in fashion, and we like that. But that's what she does, and she does it so well. I don't think she did it this year. Yeah, I appreciate the thought behind it. If you go to her Instagram, she's done a huge behind the scenes, like almost her own magazine photo editorial spread to explain the look. And when you see all that and you read it, it makes more sense. But I do wish maybe she'd just gone with the full look, but also the top part, the bones and the bra and everything was finished in autobody shop. So some men who work on cars hameadat and I love that. And I hope they know it's at the met Gala. They would have loved that. Okay, who's your next person? I am going to talk about Tana Taylor? Oh my god? Yes, I had her on my list, Yes, of course. Okay, so there we go. I feel like we're actually aligned on quite a few. Yeah. Yeah, spen too early to tell you now. I love it. It's like crazy. My first thought was she looked like she was like high fashion escapee from Whoville. Yeah, but it's incredible. It's like for anyone listening, of course, it's like silver fringing that is from the hood right down to a train and like it's long sleeve. She was really feeling it. She was swishing, swishing, swishing, and she was taking the shots. I'm glad you brought that up because obviously we had the met gala up in the office here and there's about fifty people gathered around it watching every second. And when she was swishing her head around, Everyone's like, oh, no, she can't see she's getting annoyed by it. And I was like, no, no, guys, she's showing the move No, she's showing the movement. And she's doing a photos wanting to get photos that show it from like every angle. And when something is artistic in the way that it moves, you've got to really show it on the carpet, which she did. So this was tom Ford incredible. I just felt like it was such a moment. It was also I felt a bit of a fresh air after a lot of different other looks at after her big Red Carpet run when she was OSCAR nominated. Yeah, same material on her oscars. I mean, to the naked eye, the same sort of material on the train of her Oscars dress. But it's almost like her Oscars dress has morphed into this like beast and is now running free. That's why I thought when I saw it. Okay, moving on to someone who a lot of people are slamming her and putting her on worst dress. Look, because I'm not so much defending her. I just want to explain. And it's Margot Robbie in Chanel. Did you hate this? No? I don't hate it, Okayel, No, I would never know. No, I would never speak about my close personal fo Margo Robbie that way. I know you guys are pals. We are pals. I mean, for anyone listening, We're not actually pals. I've just hung out with her like two or three times. She would not remember me, but I refer to her as my close personal sofa, so I you know she. I mean, look, Margo can't not look stunning. She's so beautiful. The dress is very pretty. I feel like that would have been very pretty on any other red car, But I'm just not excited by it today. Hear the thing about her? I think also, I love every like everyone just like I mean, I know you've get it more thought than that. But everyone I'm seeing on in like Instagram and TikTok scrolling past this dress and going oh ugly and moving on. I was like, this took the Chanelle team seven hundred and sixty one hours to make, and everyone's just like, yuck, we hate it. But it's almost like a champagne gold strapless gown with this beautiful detail at the back. She also hasn't been to the Met Gala since twenty twenty three, so she doesn't go every year. But what I loved about this is that everyone's always expecting Margo Robbie to go really over the top of the Met Gala. But first and foremost, she is a businesswoman. I would say she's a businesswoman. She's a movie star girl right down the end, and she turns on the fashion in a huge way for her red carpets because one, she's the star of the show, but also she's marketing the movie. I mean, no one does red carpet promotion better than exactly no one does it better than her. And when she's at the Met Gala, she's not there to promote anything. She's not even promoting herself because she doesn't need to. She turns it on for a red carpet movie premiere because that's from usually from her production company, so that money is coming back to her in a good way. Like that's what she's there for. When she's at the met Gala, she's often just there to look pretty or and like comfortable as well, like she never wears. You never hear of Margot Robbie starving herself for six days wearing a corset lined with spikes, like you know, to help her up the stairs. No one ever helps her up the stairs. No one's looking at that saying, oh my gosh, how did she go to the bathroom there? Yeah, she's put loosing fancy, she said time. She's often, I think getting paid by the house, getting paid by the brand to be an ambassador, so she's still making money while she's there. But so many times I've seen these women, like on the red carpet the Met Gala, like feathers trains crazy, which we love, but like not being able to move, not being able to go to the bathroom for ten hours, having to be carried up the stairs, and in the background of the met Gala, you just always see Margot Robbie bound up the stairs looking happy. You know she's going straight to get a champagne because she can, because she's not there to make a spectacle of herself, because she does that for her movies. And I actually think that's a lovely way to be. And if I actually had a choice, I think I would. I would roll like that the way you don't want to go relaxed Australian. Yeah, it's like, you know, the nights that are about me, It's about me, the met Gala, it's about me. So you feel like off the back of the very like stylized Wuthering Heights rum. She just wanted to do something that was just be She was like, Chanell, you tell me what you want me to wear and pay me that feet and I will put that dress on and as long as I can move and it's all approved by Anna and whoever, I don't care, it's not my I think. Her vibe was like, it's none of my it's none of my business what I wear. And I love that for her. Okay, who else do you have? You know? What is it? Time? Can I talk? Oh my god? Can I tell you about the boys? Yeah? Yeah, please please talk about it, please hear it for the book. Okay, I am going to go you know what, I'm gonna surprise you and go straight for somber. Oh okay, okay in Valentino, like I does like that person, this detail, It is stunning. I would love to wear that. It is just so glorious. It's because Share was there, but he looks more share, more share than Share. Oh my god, I wish Share had worn this. Well, they could have done a double act. I would have actually been so here for that. So it's like pants on the waist with full beating around the waistband, longline beating down the full length of the pants. Then we've got like a silk and laced blouse that's high neck, and then the most incredible cape that just brings it all together with just the crystals just flowing down it. This is Valentino my favorite because I love Alessandro Magula formerly of Gucci. Now he is responsible for my favorite meal look of all time, which was in eighteen was The Heavenly Bodies the Catholic Church. Oh yes, yes, okay, so a beautiful confusing time for the beautiful confusing time for everyone. But the best met Gala oh, absolute, literally ever and my favorite was Lama del Rey, Jared Leto and Alessandra mccallay, Yes, showing up together in that like ensemble. I mean, it was just incredible. I don't think anyone has ever reached that since I don't think anyone will, but so I always look forward to what you know, and Alessandro is going to bring to the Red Carpet with ary designs and I was really excited to see that this year on Somber. I thought it looked exquisite. Okay, we love the boys, we love the boys they put Efor in. All Right, while we're talking about boys, let's talk about our hated rivalry. Gorgeous boys, Connor Story and Hudson Williams, because both of them rocked up to the Red Carpet this year. Now, I love that they're there, the meteoric rise of these guys and the show is just being so incredible that they're everywhere. They were all over Award season, they are now on the met Gala carpet. But were you disappointed they didn't actually walk down together? I mean, would you think it would have been too much? No? I mean they're not they're not promoing their show right now, they could have just done the girls and the people saying, you know what, they will, We'll get something out of the day. There'll be something, so you know, they they know where their breast. But that's what I just saw, everyone just like hunting through the images and through the videos desperate to find like a moment that they were together, or they'll get one and it might be it might be at the after party, but we'll get one, don't you worry. So Hudson was in Balenciaga and it was like super super super detailed. Have you had a good look at it? Let me let me. I'm gonna be so honest that I was just looking at their faces. Yeah, show me the outfit. You're like, whatever, what are they? Those men to high had Okay, and that's totally that's totally fine, and I had I had a good crack at that too. But Hudson's eye maker was much talked about in the office. It was kind of a big Euphoria esque with the with the eye makeup, but it looks Euphoria Season one back when the I makeup was fantastic. So in like a powder blue suit and there's like black detailing beaded and then this kind of cap skirt s He's got a train, a train. He's got a train. He took a leaf out of Beyonce's book and he's like, I'm having a train. He's like, I'm having a train. I want my moment on the steps. And then Connor in Saint Laurent, this incredible blouse showing off those guns. Thank you, thank you, thank you. Are insane, and he's got almost me. I feel like I had that top when I was like fifteen. It's like a Poka dot hole today, but my arms didn't look like that. These arms look like they're the Hulk. And it's got it's got a lot. He's got a train as well. So I'm just gonna show see a Poka dot comes all the way down. Now. He actually came with a blazer on over the top, and he knows what we want. He did half reveal. He did a red carpet reveal of the arms. I mean, I guess the blouse, but like whatever of the arms. Now he's wearing Saint Laurent. A lot of people are in Saint Laurent on the red carpet because Anthony Vacarello is one of the coachairs who is the designer for Saint Laurent. So we saw like Zoe Kravitz, Charlie XCX, like there's a lot on the carpet who were rocking in that designer. We love Okay, okay, rapid fire through a few more because guys, there's so many good looks. I just want to give a shout out to Doughci who wore custom Mark Jacobs and she looked gorgeous in the eggplant color, this like headpiece, kind of like rising up to the sky. But my favorite detail about her is that she didn't want to my heels, so she got her feet painted in a beautiful Hannah design, wore anklets, and then tiptoed barefoot down the entire carpet, and then tiptoed up the red carpet. See, and that is move And that is a level of calf strength that I cannot imagine is hard. Tiptoeing is hard, tipto the whole way. If there was a flat footed moment from that girl, I did not see it. Surely she's flat footed inside or maybe she's wearing a shoe inside. What are the rules around being barefoot? And I just findin Anna winter going, Oh you've got a shoe ear right? Well, you know what at Chanelle Cruz's show last week, the girls were walking down the carpet barefoot. Fine, it's it's it's like on trend to be bare foot. Yeah, and then you've got like men like Quentin Tarantino who just like, let me put that in my movies. He's taking screenshop. Okay. Kendall Jenner in Gap Studio by Zach Posen. This is an interesting one. Can She and Kylie Jenna looked a little matching. They both had almost that kind of like nude look at the top, but Kendall's is modeled off a Gap T shirt and then she's got like a little fake nipple poking out and then just kind of cream beige draping of the dress. So Kendall and Kylie also especially Kendall, liked to make a headline with their outfits. Do you think this was as a headline inducing you're like, num, No, I don't actually think none of them are getting a headline this year. No, that it wasn't. Actually reason why I believe that they're invited is because they do get those headlines, and I think they were all really underwhelming this year. I mean, she's like, she looks pretty, she is pretty, She's a very gorgeous girl. But I'm just not excited by that is Yeah. I think the Genas and Kardashians, they just have the most enormous cultural currency, so I feel like that's why they'll always be invited. But I almost maybe liked Kylie's play on a little bit better. I know they're completely different designs, but she had the kind of almost like a nude top and then it was like the body undress of the skirt forward. Yeah, I preferred Kylie's as well. I thought she was more of a moment and worked with the theme yes better. What I did think was interesting about Kylie was that her boyfriend did not attend No you know where he was, Yes, And that's so fair, you know why, because Timothy Shallon May doesn't go to anything where he's not the star. That's his thing. The like the Kardashians and the Genders very much like they the significance of the moment, their red carpet looks, and I know they all work so intently with their designers and like they really care about the fashion side of it. Timothy Charalamayne cares about being seen as a movie star, which is so fair enough, but he doesn't really go to events, especially where he is now, like he has previously when he was trying to build up his capital and build up his absolutely in for me. But at the moment he's in now, he's going to go to a next game anything, and he's not a nominating else missing. Who so Kravitz's boyfriend slash fiance. Yeah, but Harry Style again everyone that they're going to walk together. No, I never thought they were, as you know, long time Harry Styles fan. I didn't expect to see him there either, And I think if he was going, we would have heard about it in advance, it would have been named, you know. But he's also about to start his world tour, so he's busy, and he famously gets tired. That's why he's making everyone the tour come to him. Right. Oh, yeah, he's not city hobby. No, he's not city hop he's too tired to go to Metguala. Yeah for a week. Yeah, he's reserving his energy. Okay, I need to quickly talk about a boy before we get into my favorite boy of the night, Bad buddy, is that I'm sorry, Is that not the weirdly hottest thing you've ever seen? Hey? Yeah, but I don't know whether I'm just like going through a real old man moment at the moment because I've been like really into the guys. So I'm really you haven't watched well, you haven't watched the Pit. No, because I'm I can't do enough. I can only watch grays Anatomy, just the lift, kissing scene something else. There's hardly any medical, like compared to the Pit, there's hardly any medical and graz Now No, that's why I like it. I can understand why you're avoiding it. But yeah, look, because I'm having such an old man moment at the moment, Like, yeah, I was excited to see a bit of great on the car so bad Bunny is wearing Zara and just you can just imagine her like running on them proves all the looks, you know what. I think what will be really interesting is Zara probably advertising in Vogue at the moment, to be honest, so she had to let she had to let someone wear it. Yeah, exactly. And obviously Zara was a big part of his Super Bowl halftime show, but Bad Bunny has aged himself here because I guess one of the part of the exhibition theme is different bodies, so like bodies are different size as shapes and ages. But he's the only one that I saw who really took the aging thing and ran with it. He's wearing prosthetics to make him look maybe seventy or eighty. It's really interesting because like everyone in Hollywood tries to look so much younger than they are. Everyone is on this like strive to look as young as possible, and like, no judgment because I'm I'm the same, but but I love that he went the opposite. Yeah, exactly. But the thing is men can do that because men tend to be like, oh, a silver fox when they get older, like he's he's sixty, Like let him dated twenty five year old and win an oscar because he's just getting started at sixty. But the thing he's in his next act exactly, he's just more, you know, kind of well weather worn. Now, whereas women it's like you're thirty, get out of here. So there's that side of it. But I've decided just to let the feminism leave my body for this because Bad Bunny looks so hot, and also he does you can did it? Yeah? I mean that's not terrible. Yeah, some people don't age well, yeah, I know the weakd I would have thought that he would have looked to the mirror and actually, wait, this isn't working there. I don't look back. But he looks hot and also bad bunny hot? Is it? Maybe you can because you can feel his rippling muscles and sexuality try trying to break free of the old man. And I appreciate a funny guy. And he was in character all the way up the stairs and he was walking with the walking cane and he was interviewed in character. I love it. I think it's no I agree, And I think it's really hard for a man to have a moment on me because it's hard for them, because it's not for them. And how do you compete when Beyonce rocks up with the train, Yeah, like still jammed in the car door while she's halfway up the stairs exactly, But he did it. He has something that everyone's talking about. Oh man, everywhere, we love it. Okay, who else you got? Okay? Well, speaking of making a massive moment, Yeah, we need to talk about Madonna. Okay, now, this is not all of Madonna's look. I couldn't fit it on the eye on the way. I think I've got a wide shot. We can do it, can we? We can do a jewel Hold up for this because I'm missing seven accessories, which is in the form of seven stunning women. I've been calling them Madonna and the Pips, but that's not even accurate because there are way too many girls for it to be Pips. There we go, see, Oh my god, I loved this so much, and seven people holding out this beautiful train and I love that because they're so strict on the Metgala red carpet, And that's why selbs look so scared a lot of the time, because usually if you're famous enough to be at the met Gala, then you're famous enough to travel with an entourage, and you normally never walk a red carpet or even walk into a room without your manager and your publicist and your assistant. But no one gets to bring their team down the red carpet because the guest list is so tight, So the sleds have to stand by themselves in a line. It's the first time they're ever alone in their lives. And then they have to walk the red carpet by themselves, and most of them, because they're socially awkward, are terrified. So I love that no one gets a plus one, but Madonna gets seven plus seven seven servants slash maidens. It was giving a bit handmaiden but okay, so she's in Saint Laurent. It is the head piece. I love. The head piece is incredible. It's a ship. It kind of looks like. Helped me out here because I've never seen it, but I've been on the ride a lot at Disneyland. Yeah, the Pirates, the Pirates, the Caribbean, the what's the what's the one like the one that the captain Jacksbury is his ship? Yeah, I could not tell you that. I thought it looks like more like the ship from Noserati. That's where my head goes. Oh yeah, okay, well that too. Well it's a it's a bad baddie pirate. Yeah, we're we're not good on the pirate lingo. But like, it's this incredible head piece. Off it is draight, like long, long, long pieces of gray fabric that these women are all holding out and then she comes down in this like black dress. She's holding it looks like kind of like a trumpet the piece that she's holding. And what I did love seeing as well was she walked up the stairs, glided up the stairs with these women helping her along up the stairs. But then about fifteen minutes later you see the seven women. They all came running down to leave, so they kind of like fairies fleeing like a sort of like midnight fairy like festival. So they were allowed on the carpet, but not inside. No, absolutely not no, And they were only there for the spectacle of the photos. They were all holding the different sections. The way they move was like a choreographed dance around her, so that the dress was never twisted. They all had like pieces of lace covering their eyes, and it was the whole look so like the dress, the head piece, the way her hair was styled, all the women. It was in reference to that surrealist female painter Leonora Carrington, who was the inspiration for Bedtime Story right the music video from nineteen ninety four. So that is so incredible that they went and like looked back. The detail is just like, honestly pretty much I would say almost my winner of the night because of the deep because of the details and the reference back and I love that they use like it does reference an artist, but it also then references Madonna as an artist as well. Yeah, because that's her. Like I just I can't stop reading the Everyone on her team gave an interview and I'm like, that's correct. Well, there should be seventeen interviews from seventeen different people who put this look together. Imagine how hard the Saint Laurent team had to work to do all of these outfits. Yeah, because you've got all the people, like the handmade into a holding, the dresses, and like the way there has styled a makeup. Even her hairdresser said that they specifically made her hair dark brown, not black, very undone, very untouched, and made it look that like the hair looked lived in, much like Madonna herself. And I was like, get out of here with that. I love that so good, incredible. Okay, this one, I would not say it's my fave, but I think it's a talked about one and I appreciate it. It was a departure from her normal basic black column gown look and it's Hailey er. Do you know what. I absolutely agree. I normally don't have particularly have time for her. And I'm like, I read because she's not a red carpet girl, she's a street style girl. Yeah, but I think she thinks she's a red carpet girl, and a lot of people, well, I don't know. I think I really like someone tell her that's fine, that's not her currency. No, I look, look, I don't really have much time for Haley Beaver. Fine, I said it, be careful saying that in these means streets Sydney. I know, Sydney shut down when she arrives. I know. I don't think I could say it outside the walls of the studio, but you have to come into witness protection. But I'm just yeah, I just never I disliked her. But I know what you mean, Like, we don't understand. We did a whole episode of this, and I don't think we got to an answer the huge intense love and the fandom around her and nothing bad, Like I understand. But the thing is, like, there's lots of beautiful young women who have beautiful style and beautiful makeup and skin and share their lives online and people love them. And I understand all that about her, but whatever it is about her and who have celebrity marriages and who come from vapor totally. Whatever it is about her that has kicked her up to like the highest tier of that is what. I'm not white. I don't know. I don't I've asked so many people who love her and they can't even explain it. They're like, I don't know, I just love her. Yeah, I don't know, that's it. I don't know what her secret source is, but that's it. I don't think other people can name it either. Something about it. They love her, and you know, for a lot of people that's enough. But I agree, normally I am so just like I can't even really bothered to check what she's wearing on her carpet, right, but I thought she looks so absolutely exquisite. The colors, I think is what it is. I mean, hopefully she'll wear color going forward because it does suit her. So she's sewing Saint Laurent, as you said many people are, and it's a beautiful sculpted bodice that has like the breast and stomach detail, which a lot of people, including Kim Kardashian, did to some extent. But the difference with hers is that her sculpted bodice piece with the boobs is made completely of twenty four carrot gold, which is crazy. And then you have long blue chiffon skirt and also the kind of flowing neck piece around her. And apparently she's wearing a gladiator sandal. Oh but we can't see it, but they were in the I know, we'll have to go look at the video. In the video, she'll she'll show them the dress pulls up and she's wearing like a gladiator sandal. Which I'm not against those coming back. No, neither neither. Fifteen year on me is thrilled. No, I've still I've still got some in my coh. I don't throw anything out. I've got everything. Okay, great, so you're gonna be insion, I can pull them out. Okay, I've got someone I want to talk about. Okay, I want to talk about Annicole. Okay, so also a co chair tonight. So she was their first. So she was she's a rule follower because she's a real follower and she's got good manners and she wants to greet everyone. So she turned up first. She's wearing Chanel, so she's part of the Friend of Chanell House of Chanelle. You know she's she's a Chanel girl. She's a Chanelle girl throwing through. I love this color on her. I think she looks so so beautiful in this color. There's been a lot of chatter about her hair though, Oh okay, so I don't know if I have strong thoughts about the hair. So the dress is like this beautiful almost like a burgundy glittering, high necked, long sleeve dress. Beautiful train, and then like almost like a lighter red pomp pom esque feather detail pieces. So that's all beautiful, and she's got the height and everything to wear that. Do people not like the long straight blonde people aren't loving the hair, What do they want like a bum? I don't know. I think I think you need the hair with that. It's because she looks like she looks like a medieval princess with the way she's standing almost, with the cut of the dress and everything, and with that kind of like almost like mystical etherean legend kind of vibe. You need that long, flowing golden hair. Yeah, it would have looked too almost like too prissy with like a bun or Yeah, I think so too. I don't have a problem with the hair either. But there's been a lot of chatter online and also in this office, we're really driving everyone, well, this is just talking to us instantly, and we've like literally, we're like taking notes and we're like, will be the expert. I said nothing out there to anyone, so I just nodded when everyone spoke to me that I'm coming in here and being like and she said this, and I was like, well, this is the actual story anyway. I don't think the hair is that bad. No, general, I'm shocked by that. Do you know whose hair I don't like? You tell me? Oh? And I did screen this across the office. Okay, I just want Gracie Aprams to stop cutting her hair. Oh my god. Everyone was getting upset but again ragging the office. Everyone was like, what's with her hair? And I was like, but isn't that her whole thing? Because you've got to pick more of a pixie cut now, but kind of, I'm short, it's so so short. And I loved her with long hair. Also, I did love her Chinel dress. She looked really really, she did look beautiful. I think she's trying to, like rile against that traditional pop girl look and have like an edgy haircut, but then she pairs it with a pretty dress, and I think it's like, she is so pretty, she's got the cheek brown. Just because you've got the cheek bones doesn't mean you have to do it rest. Just because you can have like a weird bob cut doesn't mean you should. But I also if anyone, if anyone can, it's her fair. Okay, faves again, we can talk about this forever. So one of my all time faves, not just tonight at the Metgala, but in all walks of life. One of my fashion queens Gwendol and Christie, who of course people loved as Briann of Tarth in Game of Thrones, but also in so many other things, including recently in Wednesday on Netflix. Yes she, I mean, the thing is, she's just so statuesque and beautiful, and she's wearing this deep red gown with almost like a fish a mermaid train one shoulder, this beautiful head piece. But what I loved is she has a mask of her own face that she was holding up to people as she walked past them. And the look was designed by Giles Deacon, who was of course her lover. Her lover since I think twenty thirteen, officially, having a hot, fashioned boyfriend also makes you dresses. Yes, the dream, actually the dream. Yeah, where is that man? For the rest of us? Absolutely socially as a tall lady, like it's so hard, like not just model tall, but like tall tall. It's so hard. Sometime many spillers that don't know this. Yeah, Laura Brodnick is very tall. I'm tall. I stood next to Doing Christy once and I was like, this is what I dream of because we're in Like, she's tall than me. I'm joking. Of course everyone knows you're tall because you tell tall time. No one cares about my tall issues. And I'm just saying, it's hard to find a really good dress, and her boyfriend made her one. That's true love. Okay. Someone else I wanted to shout out quickly before we get into the last few big moments was Lena Dunnam in her beautiful Valentino gown. Yes, she looks like she's an escape from an old school Las Vegas casino, but I love that for her. And she was nervous about going to the metgala. She wrote about it because her body has been ridiculed over the years. She's on a big high now with everyone loving her memoir, and I just quite like this Valentino look. I only the only thing I kind of wish is like maybe the feathers weren't completely covering her face, because that looks unintentional. I agree, there's there is too much feathering around the face, and it is like it's obscuring our view of her, and not in a way that it looks like it's meant to no, Like it's not like she's wearing like that's part of the dress for her face. Use she's She's like, I can't see. Probably, I'm like, can you imagine they're probably tickling her nose and she's trying to say stuck in her lip glass. So I love seeing as well the call back to the Valentino rockstud heels on her. So they were seen in the Devil Wes praa promo I'm Miranda and people were like, oh, she would never wear Valentino rockstud heels, blah blah blah blah blah. Now yes, Valentino rockstard heels are back. I love that shoe. I'm so excited to see it back. And there's like a modern twist on it too, which Lena's wearing. And I think she looks fabulous, which is one thing I did notice about Lena, and I don't like. Look. I always think, you know, when you see celebrities on red carpets and they look so perfect, the skin looks so perfect. I'm like, oh, there's a little bruise on her leg, And I feel like whenever I go to any event, I'm always like, oh, I'm not trying to cover up a bruise or something like that. I'm like, thank god, there's a bruise on the red cart. She's got a little bruising on her leg, and you know that's when she probably bumped it. If she's like me, she bruises just by getting out of the car at the met game. And she's got her leg out and she's got the shoe out and she looks hot. Look. I'm so here for for like Lena's comeback. I love her. I love the work she does. I thought too Much was fantastic last year. I'm excited for more Lena. You know who we need to talk about Rihanna, the lady who almost missed the Red car, The lady who almost missed the Red she saw arriving last, and she was like, you know what, girl, I'm going to leave my hotel when they're packing up the carpet, which I pretty I could honestly say that is what happened. They had to reroll that carpet for this girl because I think they were actually sitting down to dinner when Rihanna arrived. And I love being late too, but like, yeah, she was altly really late, and I look, people are given her rival times for the Red Carpet, so either Rihanna did not look, did not care, or saw her arrival time and when no, no, no, I'm Rihanna the only celect who could really do that pretty much. I mean, but no, that's not true because Madonna could have done that, Beyonce could have Like this was the where they work. Actually, those high level celebs there that do not care what rules they're given. No, and no one's gonna tell Rihanna, Beyonce or Madonna what to do. Did Rihanna win? I don't know, because she kind of missed the Red Carpet coverage, so I feel like there was this ripple of like Rihanna's coming and it's like, is she really coming because the red carpet coverage has ended. She came, She's there. I think she came. Maybe just there is such thing maybe as being like unfashionably late, maybe because the photographers like, we've missed your mom. Obviously her photos went everywhere, but you're right, the excitement was kind of everyone was in like the carpet's finished, and all the newsrooms like, and now we get our articles up. Now we finished getting our stories up, and so it was kind of like she was a late addition. So she's wearing Marjella to twenty twenty five, and it's almost like she's got a wreath around her head, but it's almost like a silver like crinkled metallic. It's like a done metal sort of yeah, and it's almost like it's wrapping around her like she's some sort of a sea creature, like she's been pulled into a whirlpool. That's my official fashion take on that. I like it. I'm happy to go with that. But yeah, I mean she looks great, and you know what the thing is that she just rocks up being like I'm here, take my photo. I'll go when I want, and you're lucky to have me. Yeah, and we are, and we exactly we are. I just want to ask her what's it like not to be a people pleaser because I can't relate to that. Yeah, Okay. The last person we're going to talk about was perhaps the most surprising yest of the evening. I don't think anyone was expecting her to show up, but Blake Lively arrived on the red carpet looking absolutely exquisite, and she is such a Met Gala staple, and this moment I can't describe it, like yes, that there were these huge entrances that were saying like Madonna, Beyonce, all these moments, but her arrival felt like a scene from a movie or a scene from gossip Girl, you know how, like gossip Girl always has, like it would always the episodes culminate a big event when someone who'd been shunned from society or blackmailed walks into the event and everyone's like, oh, I didn't think they were going to be here. So so truly, Lively at the Met Gala was a real life you can hear a moment, i'd we can hear it, like good evening for East. Oh I'm back, I'm back. Guess who was back? And she was back in a big way, and she looked like Serena. She had the Serena hair going. She just like had you know, I mean, she's barely aged a day since then. Somehow she looked absolutely glorious. I think everything about her look was again not calculated, but I think she knew that her arrival would make crazy headlines, and so everything she was wearing, the way she spoke, her accessories were all geared towards sharing a very particular message, which is that she wants people to forget about the legal battle with Justin Baldoni. She wants to forget about the smear campaign, forget about what the last few years have been, and just remember her as queen of the Met Gala and like the movie star she is. Yeah, whether or not that landed with everyone, but that was very clearly the message. Look at won't people are so divided over black lives in so many people are committed to hating her. But I do think that she went a long way tonight in showing like who she is, being confident as well, Like I love that she just was like I'm showing up, I'm giving it my all. I'm going to look absolutely stunning, and I'm going to have my head held high and do what I do best, which is create this moment, yeah, and be a fashion icon. And the timing was quite incredible because the statement had only come out a few hours earlier that she and Justin Baldoni in I think quite a surprising term of events, considering the coverage and how that court case was going, that they had settled out of court. They released between their companies a joint statement saying that the settlement had happened, that it was going to remain private, so there's a good chance we'll never know the details of this settlement between them. But their statement was very much like we're proud of our movie, we're proud of the message, and basically move on and let's not let's pretend this never happened, which for the coverage that court case has got in the last few years and the fact that she did a tell all with the New York Time, and then he had a live website where he uploaded all his material on her, like the most public legal battle we've ever seen, and then them releasing a joint statement saying it's been settled. Away from the cameras, please don't talk about it. And then hours later her attending the biggest red carpet of the year, and there wasn't like you there's almost like an audible gasp from the crowd because she was there, and she hasn't been to the Met Gala for four years, and before that she was one of the queens of the Met Gala always you know, the big dress, the co chairing the event, best dressed, all those things. And then she came in and the gown is incredible. Some people thought again throwing me off to some of the bus. Some people thought it was too prince SSSI. But that's her look, right, that's her look. And it was actually really nice to see a PRINCESSI dress all the carpet, like you know, it's like the fantasy and it looks so beautiful. It was a two thousand and six Vasace dress archival piece. They had like reimagined it. They added a bit of fruit. They did had a bit of fruit at the end. And they're in like stunning pastor colors as like peaches and pale pis and violets, and it's so so pretty. The beating is gorgeous. When you look at the dress as well, like structurally around the skirt, it's so amazing, Yeah, paneling. She just looks so pretty in it. Her hair like the you know, it was like classic black life, classic curls, a huge train, jewels dripping off her. Just that idea like what the fashion girls would hate, like too much, but too much in a perfect way. And then I saw her. She think Tuney did one interview that I could see, and she did seem nervous, and I think she was really she was rushing out kind of like all the details of the design of the dress, the importance of it. She was crediting all the artists that she'd worked with, and in a way where she really wanted to be like, I'm just up here for the designer. I'm here for the artists, not here for me. But then she was also carrying this custom Judith liber bag and it had four sides to it, and each of the sides was a different artwork by one of her four children. Now there's some people out there that are like and the statement from Liba was, we love working with Blake. She's so creative. She's such an incredible like visionary. This is a beautiful tribute to her family and she was talking about her kids on the red carpet. Then there's the cynical people who was like, oh, look at her using her kids to distract from the fact that people hate her, Like she's trying to like use being a mother to like just you know, kind of like quiet in the noise. And I think that's probably a step too far. Look, I think it's a step too far, But I do think it's like it's such a safe conversation to have. So while I don't think that it was to kind of distract from the people who like, you know, she can't control that anyway, But what she can do when she's nervous and understandably so, is have a conversation on the red carpet that she feels comfortable with. She's in like an area where she feels good to talk about it. Yeah, And of course that's her children, and she's always talked about her children and brought them into her interviews and her life and everything like that. So you know, it felt correct for her, and it was always going to be a polarizing moment of her arriving. But look, I loved it because I love the drama. That's what the met gal is about the fashion, the drama, And what I think is so interesting is that of everyone that came and every headline at every moment, the one that everyone is going to be talking about is yeah, exactly, And what a way to re enter society post the legal dramas, but also to do it so quickly. Yeah. Day of She's like, we're not wasting any time. I'm back on the radar back. Do you think she would have gone had it not been finalized? No? I think she went because it was fine. They were able to get the settlement happened. They were able to agree on a joint statement and get it out on the day, which makes me think like was it targeted for the day or were they just scrambling at the last moment. I don't think she would have walked with that hanging over her head, because then she would have been seen as like a victim, and at least in this a victim either of people who support her or don't, Like there would have been a negative energy around her. At least with this, there's like this finality to it, like that is over and this is my new chapter. Like a debutante, she's reintroducing herself to society. And you know what, I'm so glad because it would have been such a shame if that dress had had to stay hanging in the Versace Itelier instead of being able to be on that carpet exactly. And that's what the day is about. That is what the day is about. Thank you for listening to The Spill today. Make sure you're following us on Instagram and TikTok to see all the looks that we covered today. The Spill is produced by Manicius Warren with video production by Michael Keane and we will see you next time. Bye bye, LaBecome a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

Podcast ONE: 24 de abril de 2026 La segunda expansión de Diablo IV ya tiene fecha. GPT 5.5 llegó pero solo para Pro y Max. DeepSeek V3 R1 procesa un millón de tokens. Uber rediseña todo para el Mundial 2026. Yucatech Mérida, IBM Quantum en México, Laberinto Mágico de Leonora Carrington y la IA como tu subchef. One Digital, 24 de abril de 2026. Escucha aquí el Podcast ONE: 24 de abril de 2026 One Digital — 24 de abril 2026: Diablo IV Lord of Hatred, GPT 5.5, DeepSeek V3 R1, Kimi 2.6, Uber para el Mundial, Yucatec 2026 y la IA como subchef En el último viernes de abril — Vincent Quezada desde São Paulo y Pablo Berruecos desde Ciudad de México —, el episodio cierra el mes con una semana doble de contenido: la expansión Lord of Hatred de Diablo IV con embargo recién levantado, el lanzamiento de GPT 5.5 (solo para usuarios Pro y Max de OpenAI), la nueva versión DeepSeek V3 R1 con más de un millón de tokens de contexto, Kimi 2.6 de Moonshot AI, la cobertura de Pablo en Yucatech 2026 (Mérida), los lanzamientos de Uber para el Mundial 2026 en México, el evento de FICO sobre fraude bancario digital, la apertura de Laberinto Mágico (Leonora Carrington), el evento de Roku con novedades para el Mundial, la cata de vinos del País Vasco (Basque Wine), el análisis de IBM Quantum en México, los pedidos grupales de Uber Eats y una reflexión profunda sobre IA como “subchef” y la orquestación agéntica. Además: anticipo del BIG Festival Latinoamérica (Gamescom LATAM, São Paulo, 29 de abril) y pista sobre un juego de Lego Batman. Yucatech 2026: IA, ciberseguridad y startups en Mérida Pablo Berruecos asistió al festival Yucatech en el Centro Internacional de Congresos de Yucatán — organizado por Esteban Rey —, un evento de todo un día con más de 500 asistentes: líderes de la industria, inversionistas, emprendedores y estudiantes. La cobertura completa en video fue grabada pero no pudo editarse por fallas en la computadora (corrupción del archivo de Premiere); el material de la exposición Laberinto Mágico también corrió la misma suerte y fue editado de emergencia en el celular (Nothing Phone 4A Pro) para TikTok y YouTube. Ponentes y participantes destacados Carlos Santana (CSD): Divulgador de IA y YouTube, análisis del impacto de la inteligencia artificial “más allá del ruido”. Uri Levine: Cofundador de Waze, presentó su libro. Entrevistado por Pablo segundos antes de su ponencia: “Enamórate del problema, no de la solución”. Alejandro Flores: Vicepresidente Comercial de Cybolt América — empresa de ciberseguridad. Carlos Marmolejo: CEO y fundador de Finsus. Jaime Restrepo (Dragon Jar): CEO, presentó con diadema de interfaz cerebro-computadora de Open Cloud (las “pinzas”). Habló sobre deepfakes y riesgos de IA en seguridad digital. Miguel Ángel Durán: Divulgador y creador de contenido de programación. Elevator Pitch Hour: startups ganadoras 1er lugar — Creare Right: Plataforma que digitaliza y moderniza la gestión de gimnasios y estudios fitness. Fundada por egresados de la Universidad Autónoma del Estado de Hidalgo. Premio: $15,000 USD en inversión directa + $30,000 USD en créditos cloud. 2do lugar — Brainwave: Tecnología de interfaces cerebro-computadora orientada a accesibilidad y salud. También participaron las fundadoras de Pilou, entrevistadas por Pablo in situ. “Fue un evento que sí superó las expectativas. Uri Levine contestó unos segundos antes de su presentación. Esos son los momentos que valen” — Pablo Berruecos Diablo IV: Lord of Hatred — expansión con embargo levantado Vincent Quezada presentó en exclusiva la segunda expansión de Diablo IV: Lord of Hatred, cuyo embargo se levantó esta semana. Lanzamiento: 28 de abril de 2026. La expansión lleva la acción a la isla de Skovos — tierra natal de Lilith e Inarius, cuna de la civilización de los primogenios, ahora gobernada por el El Oráculo y la reina Amazona —, con nueva campaña, nuevas clases y un sistema de progresión reestructurado. Lo nuevo en Lord of Hatred Nueva campaña: Skovos — desde el occidente volcánico hasta los bosques del este y las tierras hundidas. Templos destruidos, costas inundadas, cultistas y terrores de las profundidades. No se requiere haber completado Vessel of Hatred para acceder, aunque el contexto previo enriquece la historia. Dos nuevas clases: El Paladín (presentado a finales de 2025) y el Conjurador — recuperado del relanzamiento HD de Diablo II. Narrativa moral: El jugador enfrenta una decisión incómoda que involucra a una figura conocida de entregas anteriores. Giro sin resoluciones predecibles. Compatibilidad total: Los personajes existentes del Reino Eterno y del modo temporal son compatibles con el nuevo contenido. No se comienza desde cero. Sistema de habilidades: Redistribución disponible en cualquier momento sin costo adicional. Combate adaptativo: Adversarios con comportamientos específicos obligan a ajustar configuración activa en tiempo real. Las modificaciones de entorno también fuerzan cambios de habilidades durante el combate. Temporadas y Reino Eterno: El modo temporal y el reino eterno tienen acceso al mismo contenido. Las tablas de clasificación y recompensas de temporada son exclusivas del modo temporal. “Llevaba tiempo con el embargo encima y sin poder decir nada. Skovos es visualmente impresionante y el giro narrativo tiene peso moral real” — Vincent Quezada La guerra de lanzamientos de IA: GPT 5.5, DeepSeek V3 R1 y Kimi 2.6 La semana del 24 de abril concentró uno de los ciclos de lanzamientos de IA más densos del año — Vincent lo calificó como “una guerra de lanzamientos brutal”. Los tres modelos llegaron casi simultáneamente, cada uno con ventajas específicas. GPT 5.5 (OpenAI) Lanzado el 23 de abril de 2026, disponible exclusivamente para usuarios de planes Pro y Max de ChatGPT. La prueba en vivo durante el podcast evidenció saturación de servidores: el modelo respondió lentamente y con información desactualizada al consultarle sobre su propio lanzamiento — contestó que la versión más reciente era GPT-4. Vincent: “93% de las empresas en Brasil ya usan algún tipo de integración de IA. A mayor demanda de usuarios, mayores servidores, mayor gasto de agua y energía. Es como cuando comenzamos con Google.” DeepSeek V3 R1 Ventana de contexto: Más de un millón de tokens — permite procesar libros completos, trilogías (como Los Tres Cuerpos), informes extensos o conversaciones larguísimas sin perder el hilo. Razonamiento profundo: Desglosa problemas complejos paso a paso con razonamiento explícito visible en cada respuesta. Búsqueda web en tiempo real: Al activar la opción correspondiente (web o app), accede a información actualizada. Soporte multiarchivo: PDF, PowerPoint, Word, Excel — extrae texto para análisis conjunto con preguntas. Entrada por voz: Dictado directo en la app sin necesidad de teclear. Le preguntamos sobre los científicos que han desaparecido misteriosamente pero no recibimos respuesta. Es un tema que está generando mucha conversación en redes debido a las áreas en las que eran especialistas como energía nuclear, propulsión, archivos UFO etc. Vincent lo recomienda como alternativa a ChatGPT o Claude para búsquedas, especialmente en contextos donde el modelo occidental está saturado. Advertencia clave: Los modelos chinos destacan en orquestación agéntica y matemáticas/codificación, pero las IAs en general pueden alterar matices históricos si no se valida la información generada. Hemos recalcado mucho ese tema en los últimos podcasts. Kimi 2.6 (Moonshot AI) Modelo chino especializado en matemáticas, codificación y contexto extendido — más de 100,000 páginas procesables. No está diseñado para interacción conversacional humanizada al estilo de ChatGPT o Claude. La prueba de voz en español durante el podcast mostró limitaciones — el modelo no respondió correctamente en tiempo real. IA como subchef: la analogía del episodio – Tú eres el Chef Pablo Berruecos presentó en el episodio su concepto del “chef vs. subchef” como analogía central para entender el rol humano ante la IA generativa — tiene ya un video grabado sobre el tema. “La IA jamás podrá sustituir a un chef. No puede cocinar, no puede oler, no puede manejar cientos de conocimientos o condimentos locales. Pero sí puede ser tu subchef: tú le dices qué hacer, él lo ejecuta, tú pruebas y corriges. Le falta sal, le falta cocción. Tú eres el chef.” — Pablo Berruecos Vincent completó la analogía con el concepto de orquestación agéntica (basado en el modelo Mixture of Experts, MoE): en lugar de una interacción uno a uno, ahora la IA puede coordinarse como un grupo de expertos especializados — uno en video, uno en marketing, uno en copy — hacia un objetivo único, pasándose resultados entre sí. Vincent lo demostró en vivo con un proyecto real: una herramienta de mapas con coordenadas desde Excel, donde diferentes “agentes expertos” (programación, GPS, UX) se encadenaron hasta producir el resultado final. Advertencia sobre Vibe Coding: Las app stores se están saturando de aplicaciones generadas por IA de baja calidad — el mercado empieza a recibir productos casi idénticos generados en masa. La validación humana sigue siendo esencial. Fake news y IA: Modelos sin validación pueden matizar aspectos graves de la historia hasta hacerla irreconocible. Las generaciones que no contrasten fuentes lo transmitirán como hecho. Siempre verificar. Uber para el Mundial 2026: PIN personal, pedidos grupales y zonas de carga Pablo asistió al evento de Uber México donde presentaron todas las adaptaciones para el Mundial 2026. La nota completa está disponible en appsuser.net. PIN personal fijo: Ya no es necesario abrir la app para buscar el PIN cada vez — el usuario puede configurar una clave única personal (como su fecha de nacimiento) para todos sus trayectos. Viajes grabados: En México, todos los viajes se graban en video y audio por seguridad — permite resolver disputas. Sí está permitido legalmente. Soporte 24/7 en varios idiomas. Zonas Uber en estadios: Estadio Azteca (3 cuadras de caminata), Guadalajara y Monterrey tendrán zonas designadas de recogida y dejada. Pedidos grupales Uber Eats: Un usuario abre un código QR, cada integrante del grupo agrega su pedido desde su propia app — llega todo en una sola entrega, con cobro individual. Alianza con Open Table: Reservas de restaurantes directamente desde Uber Eats — beneficia a las pymes (60% de los negocios en la app). Ideal para los miles de turistas que lleguen durante el Mundial. Alianza con Oxxo: 3,000 productos disponibles. Promociones reactivas durante los partidos — ej.: si mete gol México, 50% de descuento en tiempo real. Precio fijo: Para trayectos recurrentes (casa-oficina), el usuario puede fijar un precio estático independiente del tráfico o lluvia. Uber Black y XXL: Para grupos y familias de turistas que requieren camionetas. Aeropuerto NAIM (T2): Actualmente Uber no opera en la zona de llegadas con acceso directo — los turistas deben caminar ~3 cuadras hasta la zona de carga. Pendiente de resolver para el Mundial. Reflexión: En Boston (Estados Unidos), un estadio del Mundial podría cobrar hasta $200 USD de estacionamiento, con riesgo de aforo vacío por precios prohibitivos. México puede ganar en hospitalidad lo que quizás no gane en el campo. Laberinto Mágico: la exposición inmersiva de Leonora Carrington Pablo visitó la apertura de Laberinto Mágico, exposición de Leonora Carrington en Gral. Prim 90, Ciudad de México — pensada también para los visitantes del Mundial 2026. Tardó cuatro años en montarse. El video de la visita fue grabado con el Nothing Phone 4A Pro y está disponible en TikTok y YouTube. Formato: Laberinto de cortinas que conduce a diferentes salas temáticas — entregando mapa tipo “Guía para alquimistas” a la entrada. Salas: Serpiente voladora, umbral, gallo, palmista, sala de tarot, sala del bot, sección del agua con figura de venado que lanza humo. Tecnología inmersiva: Piso de arena, proyecciones sincronizadas con percusión, máquinas de humo, luz negra que resalta colores, sonido ambiental adaptativo. Iluminación diseñada por Vincent Conrad y Dios Glaser. La obra sobre Reforma (escultura tipo barco, similar a la que se ve dentro con pingüinos) forma parte del mismo universo. Roku: Tu TV se convierte en un marco con tus fotos, zona del Mundial y TV Ready Pablo asistió al evento de Roku donde se presentaron novedades orientadas también al Mundial 2026. La nota completa en revistagadgets.com. Marco de fotos en TV: Las pantallas con Roku integrado ya permiten conectarse a Google Fotos y subir imágenes propias en carpetas de hasta 100 fotos para usar la televisión como galería personal. BackDrops: La app para gestionar y subir fotos a la pantalla sin límite de espacio (Carpetas de 100 fotos). Zona del Mundial: Centraliza todos los contenidos del torneo — partidos (con suscripción) e información relevante. Roku TV Ready: Emparejamiento de televisores con barra de sonido de otras marcas certificadas. Más de 200 opciones de televisores a través de más de 15 marcas. Howdy: Servicio sin comerciales a $39 MXN/mes — alternativa económica para quienes no quieren suscribirse a múltiples plataformas. FICO: fraude de identidad y banca digital en México Pablo presentó el evento de FICO — los datos completos y la encuesta sobre fraude están disponibles en PCFormat.mx en formato financiero. Los mexicanos están más preocupados por el fraude que afecta la identidad financiera y las transacciones digitales que por cualquier otro riesgo bancario. Las instituciones bancarias deben fortalecer la detección de amenazas basadas en identidad para proteger y hacer crecer su base de clientes. La IA generativa agéntica está siendo implementada para empoderar a los usuarios de negocio de forma más fluida, con agentes especializados en detección de fraude. IBM Quantum: primera comunidad de computación cuántica en México IBM lanzó esta semana su primera comunidad de computación cuántica en México. La nota completa está publicada en PCFormat.mx. Vincent y Pablo coincidieron en que es uno de los pasos más silenciosos pero más significativos de la semana tecnológica. Catas de vinos del País Vasco y Rioja Pablo asistió a dos eventos de industria vitivinícola esta semana — una cata abierta con 22 bodegas del País Vasco (incluyendo txakoli, sidras y destilados), y una cata ciega de tres vinos con el propio dueño de Bodegas Luis Cañas (Rioja), realizada en La Naval (vinatería y restaurante en CDMX). El evento incluyó los vinos Amaren (dedicado a su madre) y Caír, tapas incluidas. Pablo acertó 1 de 3 en la cata ciega — confundió uno de Rivera del Duero con Rioja. Detalle destacado: pidió que le firmaran la etiqueta (en papel) en lugar del vidrio de la botella — “la etiqueta tiene más valor que el vidrio”. BMC Business Meets Culture: agilidad empresarial y abundancia algorítmica Pablo asistió al evento “Los secretos del mercado actual y la habilidad para enfrentarlos”, organizado por PNC Business Meets Culture, donde se analizó el panorama empresarial actual y el concepto de Reset Ability — estrategias de adaptabilidad que permiten a las organizaciones sobrevivir y prosperar en entornos de cambio acelerado. Temas centrales: Clase media en caída libre, desglobalización, rediseño de modelos operativos, centralidad en el cliente, nuevas capacidades organizacionales. Abundancia algorítmica: El fenómeno por el cual los algoritmos de redes sociales y tiendas online te bombardean con un único tipo de contenido una vez que interaccionas con él — Pablo lo ilustró con el caso de haber visto precios en Liverpool y recibir luego publicidad de ropa de mujer en todos sus dispositivos. Nuevas generaciones: Seleccionan una sola plataforma de streaming, son más cuidadosas en qué compran y priorizan lo local. Europa y la batería reemplazable: obligatoria desde 2027 La Unión Europea estableció que a partir de 2027 todos los equipos celulares vendidos en la UE deberán ofrecer la opción de cambiar la batería y los componentes por parte del usuario — fin de la exclusividad de sellado. El objetivo: reducir la basura electrónica, combatir la obsolescencia programada y garantizar equipos funcionales por al menos 7 años. Vincent señala que la IA (traducción en tiempo real, procesamiento gráfico local) es actualmente el mayor consumidor de batería en smartphones modernos. Próxima semana: BIG Festival y Lego Batman El episodio del llegará con cobertura especial: Vincent estará en el BIG Festival Latinoamérica 2026 (Gamescom LATAM) en São Paulo del 29 de abril al 2 de mayo — el día de prensa es el 29. Habrá entrevistas con desarrolladores ya conocidos del podcast. Además, se adelantó una pista: se discutirá un juego de Lego Batman — y hasta ahí llega la información para no spoilear. No habrá podcast el 1 de mayo (Día del Trabajo), pero habrá contenido diario en todos los portales. Pablo tendrá semana intensa: conocer a la Selección Mexicana, una comida, el estreno de una película hecha con IA en la Cineteca Nacional y el evento Interconnect. Únete con #PodcastONE y #onedigital. Sigue los portales: ONEDigital.mx | AppsUser.net | RevistaGadgets.com | MonchiTime.com El cargo Podcast ONE: 24 de abril de 2026 apareció primero en OneDigital.

Leonora Carrington, maliarka, sochárka a spisovateľka, ktorá feminizovala surrealizmus. Odmietala byť iba múzou slávnych umelcov, sama bola výnimočnou umelkyňou, ktorá vniesla do (nielen) surrealizmu ženskú perspektívu najmä v pohľade na telo ženy. Celý život zobrazovala aspekty ženskej intelektuálnej a duchovnej autority. Carrington vytvárala fantazijné svety plné symbolov, v ktorých sa nadpozemské spájalo s profánnym. Podivné bytosti z iných svetov, zvieratá, ženské postavy, mágia, rituál. Veľkú inšpiráciu v jej tvorbe našiel napr. Alejandro Jodorowsky. Dielo Leonory Carrington je výnimočné, slobodné a radikálné, ako bola ona sama.Mariana Jaremková sa o tvorbe Leonory Carrington bude v cykle Fenomény rozprávať s výskumnou pracovníčkou Kabinetu teorie a historie audiovize na FAMU Leou Petříkovou.

durée : 00:58:58 - Mauvais genres - par : François Angelier - Une magnifique et exhaustive exposition au Musée du Luxembourg rend hommage à la peintre et auteure surréaliste Leonora Carrington. - réalisation : Laurent Paulré - invités : Carlos Martin Commissaire d'exposition, historien de l'art, spécialiste de l'art moderne et du surréalisme.

durée : 00:58:58 - Mauvais genres - par : François Angelier - Une magnifique et exhaustive exposition au Musée du Luxembourg rend hommage à la peintre et auteure surréaliste Leonora Carrington. - réalisation : Laurent Paulré - invités : Carlos Martin Commissaire d'exposition, historien de l'art, spécialiste de l'art moderne et du surréalisme.

Zapraszam do Paryża wiosną 2026. Wystawy, jedzenie, masa wrażeń. Ten podcast powstaje dzięki Patronite: https://patronite.pl/karolinakp 0:00:00 Intro 0:08:35 Leonora Carrington w Musée du Luxembourg 0:23:50 La Femme - La femme 0:26:52 Nan Goldin, This Will Not End Well w Grand Palais 0:33:18 Pomme - Même robe qu'hier 0:35:59 Matisse, 1941 - 1954 w Grand Palais 0:40:03 Angèle - Balance Ton Quoi - Balance ton quoi 0:43:08 Moda XVIII wieku, wyśnione dziedzictwo: wystawa epoki Oświecenia w Palazzo Galliera 0:47:43 Stromae - Formidable (ceci nest pas une leçon) 0:52:13 Tkanie, haftowanie, sublimacja w Palais Galliera 0:57:35 Grand Corps Malade & Camille Lellouche - Mais je t'aime 1:01:57 Azzedine Alaïa Foundation 1:06:00 Zaho de Sagazan - Old Friend 1:08:37 Musée de Cluny 1:13:56 Hoshi - Ta Marinière 1:17:34 Restauracje 1:21:23 Wystawa Marilyn Monroe 1:22:11 Wystawa Lee Miller 1:22:41 Celine Dion na koncertach w Paryżu 1:26:33 Outro 1:29:42 Céline Dion - Hymne à l'amour Live aux Jeux Olympiques de Paris 2024

Three artists who in different ways connect to the Surrealist movement are the subject of this week's podcast. At the Museum of Modern Art in New York, the first major US survey of the full career of Marcel Duchamp since 1973 opens this weekend, before travelling later in the year to Philadelphia. Ben Luke talks to its curators at MoMA, Ann Temkin and Michelle Kuo. A new book, Dorothea Tanning: A Surrealist World, exploring the extraordinary life and work of the Surrealist artist, is published this week by Yale University Press and Ben speaks to its author, Alyce Mahon. And this episode's Work of the Week is Down Below (1940), a painting by another of the great women artists of Surrealism, the British Mexican painter Leonora Carrington. It was made while she was hospitalised in Santander in Spain in the early stages of the Second World War, before her pivotal journey to Latin America. The picture is part of an exhibition at the Freud Museum in London, The Symptomatic Surreal, which also features drawings from Carrington's sketchbooks. We speak to Vanessa Boni, the curator of special projects at the museum, about the work and the show.Marcel Duchamp, Museum of Modern Art, New York, 12 April-22 August; Philadelphia Museum of Art, 10 October-31 January 2027Dorothea Tanning: A Surrealist World by Alyce Mahon, Yale University Press, $45 or £30 (hb)Leonora Carrington: The Symptomatic Surreal, Freud Museum, London, until 28 June 2026 Hosted on Acast. See acast.com/privacy for more information.

En la Ventana del Nautilus, nos adentramos junto a nuestro colaborador Guillermo Busutil en la obra del escritor portugués Antonio Lobo Antúnez, recientemente fallecido. Antes, conversamos con Lucía Solla Sobral, autora de la novela "Comerás flores", una historia de amor contada desde un punto de vista muy singular y que le ha valido el premio Ojo crítico de narrativa. Después, Ana Zurita nos acerca a la obra de Soledad Sevilla, Premio Nacional de Artes Plásticas, que a sus 82 años presenta en Madrid dos grandes instalaciones coincidiendo con la feria ARCO Madrid. Y para terminar, nuestro corresponsal de RNE en París, Antonio Delgado, nos guía por la gran retrospectiva dedicada a la artista surrealista Leonora Carrington, que puede verse en el Museo de Luxemburgo hasta julio.Escuchar audio

Leonora Carrington est une figure culte au Mexique, à l'instar de Frida Kahlo. Pourtant, cette artiste reste méconnue en France. Le musée du Luxembourg répare cet oubli en lui consacrant la première grande exposition en Europe. Née en Grande-Bretagne en 1917 et décédée au Mexique en 2011, elle laisse après elle une œuvre foisonnante surréaliste, féministe avant l'heure, et empreinte de magie. 

Oelze, Sabine www.deutschlandfunk.de, Kultur heute

Oelze, Sabine www.deutschlandfunkkultur.de, Fazit

durée : 01:59:37 - Les Matins du samedi - par : Nicolas Herbeaux, Margaux Leridon - Cette semaine, dans les Matins du samedi, on s'intéresse au métier de coordinatrice d'intimité au cinéma, au monde agricole alors que le salon de l'Agriculture s'apprête à ouvrir ses portes, et à l'exposition Leonora Carrington au Musée du Luxembourg à Paris. - réalisation : Jean-Christophe Francis - invités : Paloma Garcia Martens Coordinatrice d'intimité; Clotilde Bato Co-déléguée générale de l'association SOL, présidente de l'association Notre Affaire à tous; Clémentine Comer Sociologue chargée de recherche à l'INRAE ; Hugo Willocq Réalisateur; Carlos Martin Commissaire d'exposition, historien de l'art, spécialiste de l'art moderne et du surréalisme.

durée : 00:19:26 - L'Invité(e) des Matins du samedi - par : Nicolas Herbeaux, Margaux Leridon - Dans ce nouvel épisode des flâneries du samedi, on vous emmène au Musée du Luxembourg découvrir l'œuvre de Leonora Carrington – qui sera visible jusqu'au 19 juillet 2026 – avec l'un des commissaires de l'exposition : Carlos Martin. - réalisation : Jean-Christophe Francis - invités : Carlos Martin Commissaire d'exposition, historien de l'art, spécialiste de l'art moderne et du surréalisme.

durée : 00:17:18 - Les Midis de Culture - par : Marie Sorbier - Riche de 126 œuvres, l'exposition est la première d'importance consacrée uniquement à Leonora Carrington en France, présentée comme une artiste totale et visionnaire. - réalisation : Laurence Malonda - invités : Stéphane Corréard Editorialiste au Journal des Arts; Corinne Rondeau Maître de conférences en esthétique et sciences de l'art à l'Université de Nîmes et critique d'art

durée : 00:27:26 - Les Midis de Culture - par : Marie Sorbier - Aujourd'hui, au menu de notre débat critique, on discute de l'exposition consacrée à l'artiste féministe et écologiste d'avant-garde Leonora Carrington au musée du Luxembourg et de celle qui met en valeur la peinture du peu connu Paul Huet à travers le motif du ciel au Musée de la Vie Romantique. - réalisation : Laurence Malonda - invités : Stéphane Corréard Editorialiste au Journal des Arts; Corinne Rondeau Maître de conférences en esthétique et sciences de l'art à l'Université de Nîmes et critique d'art

I am very excited to announce that I have written a new book, The Story of Art without Men: An illustrated guide to amazing women artists (out on 5 March!). It's an adaptation of The Story of Art without Men for readers aged 8–14 (and above), brought to life with beautiful illustrations by Ping Zhu and artworks from the past 500 years. From the Renaissance to the present day, via Cornwall, Japan, Paris and New York City, this book features a whole host of artistic trailblazers, freedom fighters, and game changers. We look at Surrealism – a movement born out of the horrors of the First World War in Paris, where artists turned to their imaginations and away from the broken world around them for inspiration… LISTEN TO A TEASER HERE... as I take my reader through the magical worlds of Leonora Carrington, Leonor Fini, Lee Miller, and more. Pre-order now: https://www.waterstones.com/book/the-story-of-art-without-men/katy-hessel/9780241738191 Signed copy: https://www.waterstones.com/book/the-story-of-art-without-men/katy-hessel/9780241824214 Personalised copy: https://www.pickledpepperbooks.co.uk/products/the-story-of-art-without-men-an-illustrated-guide-to-amazing-women-artists-personally-signed-pre-order-5th-march Audible version: https://www.audible.co.uk/pd/The-Story-of-Art-without-Men-Audiobook/B0FL842C9G?ref_pageloadid=not_applicable&pf_rd_p=af5062e9-57de-425c-9e02-6d8ad006b9aa&pf_rd_r=MPG0TFFB1QZHFK2NBZ63&plink=loLGYMj2VPTh5M0d&pageLoadId=eNJzHRjC9m8z0lhu&creativeId=83220593-1d50-4883-bad4-b5d505543719&ref=a_author_Ka_c9_lProduct_1_3

Sigue la contingencia y mañana aplica Doble Hoy No CirculaChina fija postura contra medidas de Israel en CisjordaniaDesde el lunes, la cita informativa es a las 8:00 de la nocheMás información en nuestro Podcast

“The task of the right eye is to peer into the telescope, while the left eye peers into the microscope.” - Leonora Carrington

La pasajera invitada de El Cocodrilo con Sergio Almazán es Isabel Revuelta, internacionalista, maestra investigadora e historiadora del arte especializada en la historia de México. El punto de partida es Hijas de la historia 2, el segundo volumen de su libro, una obra que recupera y resignifica la vida de mujeres que transformaron el rumbo del país: la Reina Roja, Tecuelhuétzin, Francisca Núñez de Carvajal, Leona Vicario, Margarita Maza, Carlota de Bélgica, Juana Cata Romero y Leonora Carrington. A través de una charla cercana y profunda, se reconoce el legado, la fuerza y la trascendencia de estas mujeres extraordinarias, cuyas historias invitan a mirar el pasado con nuevos ojos y a entender el presente desde la memoria y la justicia histórica.

Eden is joined by friend of the cast Jesse Kohn (The Book of Webs) to talk about Leonora Carrington's beguiling and dense The Stone Door. Unfortunately, this episode is marred by the Brown University and Bondi Beach shootings. A better world is possible. Demand utopia. Music played: The Tea Club - The Bell Ringer https://theteaclub.bandcamp.com/track/the-bell-ringer

This post contains affiliate links, which means I may earn a small commission at no extra cost to you.When life feels heavy, sometimes you just need a cozy small town, a perfect pumpkin spice latte, and a YA romance that feels like a warm sweater. In this episode, I'm chatting with author Katie Cicatelli-Kuc about the comfort reads that got her through some of the hardest seasons of her life—and how they might help you, too.Katie and I talk about her YA novels Pumpkin Spice and Everything Nice and Mint to Be, how Pumpkin Spice unexpectedly went viral on TikTok, and what it was like to write through chemo and recovery. We also get into cozy, low-gore spooky reads (perfect if you're squeamish or easily triggered), plus YA and middle grade recommendations that balance heart, hope, and just the right amount of chills. If you're craving comfort, holiday vibes, and gentle escape, this is the episode for you.

Exploded Views: Speculative Form and the Labor of Inquiry (U Minnesota Press, 2025) is the latest book by scholar Jonathan P. Eburne, J. H. Hexter Professor in the Humanities at Washington University in St. Louis. An experiment in returning to incomplete scholarly projects to renovate and reimagine them, the book stages a series of encounters with essays “suspended in process”: essays that Jonathan began writing but that didn't materialize in their intended form. Fascinating, witty, and original, Exploded Views is a record of Jonathan's intellectual curiosity in its rich idiosyncrasy—from the parasitical deformations of insect galls to the speculative science of “orgone energy,” from Leonora Carrington's surrealist art and literature to methamphetamine addiction in the time of late capitalism, and more. It's also a challenge for scholars to account for the many kinds of labor that make and unmake scholarship, and, just as importantly, an unabashed defence of "nerding out" as the humanities scholar's prerogative. This conversation brings together Exploded Views with the work of NBN host Alix Beeston, whose interest in abandoned and interrupted scholarly and creative works informs her recent co-edited book Incomplete. Like Exploded Views itself, Jonathan and Alix's frank and wide-ranging discussion brings to the foreground the kinds of scholarly activity that usually sit in the background of scholarly writing, not least the communities, relationships, and environments that define intellectual labor. What does it mean, Jonathan and Alix ask, to be doing the kind of work we do as scholars? What does it feel like to do this work? What does it require or cost? And what might be the value of cultural criticism as an inventive, creative practice—or even, perhaps, a form of relational labor akin to friendship? The non-profit bookstore Jonathan helped to found is The Print Factory in Bellafonte, Pennsylvania—check it out if you're in the area! Exploded Views is available now from the University of Minnesota Press. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Exploded Views: Speculative Form and the Labor of Inquiry (U Minnesota Press, 2025) is the latest book by scholar Jonathan P. Eburne, J. H. Hexter Professor in the Humanities at Washington University in St. Louis. An experiment in returning to incomplete scholarly projects to renovate and reimagine them, the book stages a series of encounters with essays “suspended in process”: essays that Jonathan began writing but that didn't materialize in their intended form. Fascinating, witty, and original, Exploded Views is a record of Jonathan's intellectual curiosity in its rich idiosyncrasy—from the parasitical deformations of insect galls to the speculative science of “orgone energy,” from Leonora Carrington's surrealist art and literature to methamphetamine addiction in the time of late capitalism, and more. It's also a challenge for scholars to account for the many kinds of labor that make and unmake scholarship, and, just as importantly, an unabashed defence of "nerding out" as the humanities scholar's prerogative. This conversation brings together Exploded Views with the work of NBN host Alix Beeston, whose interest in abandoned and interrupted scholarly and creative works informs her recent co-edited book Incomplete. Like Exploded Views itself, Jonathan and Alix's frank and wide-ranging discussion brings to the foreground the kinds of scholarly activity that usually sit in the background of scholarly writing, not least the communities, relationships, and environments that define intellectual labor. What does it mean, Jonathan and Alix ask, to be doing the kind of work we do as scholars? What does it feel like to do this work? What does it require or cost? And what might be the value of cultural criticism as an inventive, creative practice—or even, perhaps, a form of relational labor akin to friendship? The non-profit bookstore Jonathan helped to found is The Print Factory in Bellafonte, Pennsylvania—check it out if you're in the area! Exploded Views is available now from the University of Minnesota Press. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In this episode of More Than a Muse, hosts Sadie and Stauney dive into the enduring allure of witches—both historical and modern. From Sadie's recent trip to Salem and reflections on the infamous witch trials to conversations about how social media fuels today's digital witch hunts, they explore the intersection of outrage, activism, and empowerment. The discussion also highlights the Three Witches of Surrealism—Leonora Carrington, Remedios Varo, and Kati Horna—three visionary artists who fled war-torn Europe for Mexico and found creative freedom through mysticism and sisterhood. Together, they trace how the witch has transformed from a symbol of persecution into one of power, rebellion, and artistic magic. Learn more about your ad choices. Visit megaphone.fm/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode of More Than a Muse, hosts Sadie and Stauney dive into the enduring allure of witches—both historical and modern. From Sadie's recent trip to Salem and reflections on the infamous witch trials to conversations about how social media fuels today's digital witch hunts, they explore the intersection of outrage, activism, and empowerment. The discussion also highlights the Three Witches of Surrealism—Leonora Carrington, Remedios Varo, and Kati Horna—three visionary artists who fled war-torn Europe for Mexico and found creative freedom through mysticism and sisterhood. Together, they trace how the witch has transformed from a symbol of persecution into one of power, rebellion, and artistic magic. Learn more about your ad choices. Visit megaphone.fm/adchoices

Familiar touch, della regista statunitense Sarah Friedland, racconta la demenza senile da una prospettiva diversa. Il Palazzo reale di Milano dedica una grande retrospettiva al lavoro dell'artista e scrittrice surrealista Leonora Carrington. Il nuovo libro dello storico scozzese William Dalrymple, La via dell'oro, descrive la centralità culturale ed economica dell'India nel mondo antico. El viejo caminante è l'album con cui il grande bandoneonista argentino Dino Saluzzi continua la sua ricerca musicale. CONSarah Friedland, regista Chiara Cappelletto, docente di estetica all'università statale di Milano Andrea Anastasio, direttore dell'istituto italiano di cultura a New DelhiAlberto Riva, giornalista e scrittore Se ascolti questo podcast e ti piace, abbonati a Internazionale. È un modo concreto per sostenerci e per aiutarci a garantire ogni giorno un'informazione di qualità. Vai su internazionale.it/podcastScrivi a podcast@internazionale.it o manda un vocale a +39 3347063050Produzione di Claudio Balboni e Vincenzo De Simone.Musiche di Carlo Madaghiele, Raffaele Scogna, Jonathan Zenti e Giacomo Zorzi.Direzione creativa di Jonathan Zenti.Familiar touch: https://www.youtube.com/watch?v=zm2uDyQPoVMLeonora Carrington: https://www.youtube.com/watch?v=2WUEvlioa6sLa Via dell'oro: https://www.youtube.com/watch?v=707T_q8rw4g Dino Saluzzi: https://www.youtube.com/watch?v=N9z3BQ4ad8UCi piacerebbe sapere cosa pensi di questo episodio. Scrivici a podcast@internazionale.it Se ascolti questo podcast e ti piace, abbonati a Internazionale. È un modo concreto per sostenerci e per aiutarci a garantire ogni giorno un'informazione di qualità. Vai su internazionale.it/abbonatiConsulenza editoriale di Chiara NielsenProduzione di Claudio Balboni e Vincenzo De SimoneMusiche di Tommaso Colliva e Raffaele ScognaDirezione creativa di Jonathan Zenti

Welcome to One Bright Book! Join our hosts Frances, Dorian, and Rebecca as they discuss THE STONE DOOR by Leonora Carrington, and chat about their current reading. For our next episode, we will discuss I WHO HAVE NEVER KNOWN MEN by Jacqueline Harpman, translated from the French by Ros Schwartz, with an afterword by Sophie Mackintosh. We would love to have you read along with us, and join us for our conversation coming to you sometime this fall. Yes, that time frame is vague but we like to be truthful. Want to support the show? Visit us at Bookshop.org or click on the links below and buy some books! Books Mentioned: The Stone Door by Leonora Carrington The Hearing Trumpet by Leonora Carrington Surrealist Women's Writing: A Critical Exploration edited by Anna Watz A History of the Surrealist Novel edited by Anna Watz Alice's Adventures In Wonderland by Lewis Carroll The Awakening by Kate Chopin A Marsh Island by Sarah Orne Jewett Crooked Cross by Sally Carson The Dance and the Fire by Daniel Saldana Paris, translated from the Spanish by Christina Macsweeney Sea Now by Eva Meijer, translated from the Dutch by Anne Thompson Melo I Who Have Never Known Men by Jacqueline Harpman, translated from the French by Ros Schwartz Further resources and links are available on our website at onebrightbook.com. Browse our bookshelves at Bookshop.org. Comments? Write us at onebrightmail at gmail Find us on Bluesky at https://bsky.app/profile/onebrightbook.bsky.social Frances: https://bsky.app/profile/nonsuchbook.bsky.social Dorian: https://bsky.app/profile/ds228.bsky.social Rebecca: https://bsky.app/profile/ofbooksandbikes.bsky.social Dorian's blog: https://eigermonchjungfrau.blog/ Rebecca's newsletter: https://readingindie.substack.com/ Our theme music was composed and performed by Owen Maitzen. You can find more of his music here: https://soundcloud.com/omaitzen.

Welcome back to the Create Podcast. Just in time for the fall season, I am joined by Pam Grossman, a writer, curator, teacher, and practicing witch whose work beautifully bridges creativity, culture, and magic. Pam is the host of The Witch Wave podcast (called “the Terry Gross of witches” by Vulture), the author of Waking the Witch: Reflections on Women, Magic, and Power, and co-editor of Taschen's Witchcraft volume in the Library of Esoterica series. Her essays have appeared in The New York Times, The Atlantic, TIME, and more. She has also organized exhibitions such as Language of the Birds: Occult and Art at NYU and spoken at institutions including MoMA and Columbia University. Her brand-new book, Magic Maker: The Enchanted Path to Creativity (Penguin Life & Hay House UK, October 14, 2025), is a guide to connecting with the creative force through ritual, history, and practice. It explores how artists and visionaries such as Hilma af Klint, David Bowie, Octavia E. Butler, and Leonora Carrington have used magic as part of their creative process, and how you can do the same in your own life. In This Episode, We Discuss Pam's creative roots and how she began merging her artistic and magical practices Misconceptions about witchcraft and how the archetype of the witch has evolved How Magic Maker links art and magic, showing that creativity itself can be a spiritual practice Practical rituals to protect your studio time and invite inspiration, from lighting candles to leaving offerings or simply asking for guidance The idea of “low frequency” and “high frequency” desires in art and business, and how to balance material needs with higher intentions Pam's experiences speaking at institutions like MoMA and casting a love spell on stage at Carnegie Hall with Jinkx Monsoon The role of research, fascination, and intuition when writing a book Artists who inspire her including Leonora Carrington, Remedios Varo, Hilma af Klint, Max Ernst, and Kurt Seligmann Resources and Mentions Books by Pam Grossman Magic Maker: The Enchanted Path to Creativity (Penguin Life & Hay House UK, 2025) → Pre-order here Waking the Witch: Reflections on Women, Magic, and Power (Simon & Schuster, 2019) What Is a Witch (Tin Can Forest Press, 2016) Witchcraft (Taschen's Library of Esoterica series, co-edited with Jessica Hundley, 2020) Podcast The Witch Wave – Pam's long-running podcast on art, culture, and magic Exhibitions and Projects Language of the Birds: Occult and Art (NYU, 2016) → languageofthebirds.org Art of the Occult by S. Elizabeth (recommended resource) The Spiritual in Art: Abstract Painting 1890–1985 (Los Angeles County Museum of Art, 1986) Artists Mentioned Hilma af Klint David Bowie Octavia E. Butler Leonora Carrington Remedios Varo Max Ernst Kurt Seligmann Create! Magazine Open Call We are now accepting submissions for our fall curated exhibition and catalog: The Spirit World. This virtual show explores the mystical, eerie, and uncanny, making it the perfect theme for the season. Deadline: October 31, 2025 What selected artists receive: inclusion in the curated online exhibition, a feature in the professionally designed print and digital catalog, a blog post on Create! Magazine, and a spotlight across our international platforms.

Leonora Carrington was a prodigious artist closely associated with major surrealists of the 1930s. Though only sporadically in print until recently, her writing has helped cement her cult status, not least The Hearing Trumpet (1974). Before her family consign her to an old-age facility, nonagenarian Marian Leatherby is gifted a hearing trumpet with almost magical capabilities. Her institutionalisation leads to much eavesdropping, a Grail quest, descent into the underworld and an apocalyptic ice age. Joyous, disturbing and subversive, The Hearing Trumpet is full of themes and images that populate Carrington's artwork and other writing. Both Marina and Chloe knew Leonora Carrington, and in this episode they reflect on the ways her personality inflected her work. Their reading of The Hearing Trumpet reveals her humour, her visionary imagination and her attention to the boundaries between inner and outer realties. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠⁠⁠https://lrb.me/applecrff⁠⁠⁠⁠ In other podcast apps: ⁠⁠⁠⁠https://lrb.me/closereadingsff⁠⁠⁠ Further reading in the LRB: Chloe Aridjis: A Leonora Carrington A to Z https://www.lrb.co.uk/blog/2017/april/a-leonora-carrington-a-to-z Alice Spawls: On Leonora Carrington https://www.lrb.co.uk/the-paper/v37/n08/alice-spawls/at-tate-liverpool Edmund Gordon: Save the feet for later https://www.lrb.co.uk/the-paper/v39/n21/edmund-gordon/save-the-feet-for-later Next episode: Marina and Chloe discuss J.G. Ballard's The Atrocity Exhibition and Angela Carter's The Passion of the New Eve.