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On this week's show, we preview the Oscars and Trump's demolition throughout renowned institutions of art. Isaac Butler — author of The Method: How the Twentieth Century Learned to Act and host of the new Criterion Channel series, The Craft of Acting — sits in for Stephen Metcalf. First, the hosts discuss I'm Still Here and the continued addition of non-English speaking films getting some of the biggest Oscar buzz. Then we tackle the latest Trump shakeups at the National Endowment for the Arts and The Kennedy Center. Finally, Dana and Julia sit down with the CEO of the Academy of Motion Picture Arts and Sciences Bill Kramer. Endorsements: Dana: The documentary Pictures of Ghosts (2023) Julia: Doppelganger: A Trip into the Mirror World by Naomi Klein, also discussed on Culture Gabfest in September 2023 Isaac: The film Z (1969), available on streaming Podcast production and research by Vic Whitley-Berry. Email us at culturefest@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
On this week's show, we preview the Oscars and Trump's demolition throughout renowned institutions of art. Isaac Butler — author of The Method: How the Twentieth Century Learned to Act and host of the new Criterion Channel series, The Craft of Acting — sits in for Stephen Metcalf. First, the hosts discuss I'm Still Here and the continued addition of non-English speaking films getting some of the biggest Oscar buzz. Then we tackle the latest Trump shakeups at the National Endowment for the Arts and The Kennedy Center. Finally, Dana and Julia sit down with the CEO of the Academy of Motion Picture Arts and Sciences Bill Kramer. Endorsements: Dana: The documentary Pictures of Ghosts (2023) Julia: Doppelganger: A Trip into the Mirror World by Naomi Klein, also discussed on Culture Gabfest in September 2023 Isaac: The film Z (1969), available on streaming Podcast production and research by Vic Whitley-Berry. Email us at culturefest@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
On this week's show, we preview the Oscars and Trump's demolition throughout renowned institutions of art. Isaac Butler — author of The Method: How the Twentieth Century Learned to Act and host of the new Criterion Channel series, The Craft of Acting — sits in for Stephen Metcalf. First, the hosts discuss I'm Still Here and the continued addition of non-English speaking films getting some of the biggest Oscar buzz. Then we tackle the latest Trump shakeups at the National Endowment for the Arts and The Kennedy Center. Finally, Dana and Julia sit down with the CEO of the Academy of Motion Picture Arts and Sciences Bill Kramer. Endorsements: Dana: The documentary Pictures of Ghosts (2023) Julia: Doppelganger: A Trip into the Mirror World by Naomi Klein, also discussed on Culture Gabfest in September 2023 Isaac: The film Z (1969), available on streaming Podcast production and research by Vic Whitley-Berry. Email us at culturefest@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
On this week's show, we preview the Oscars and Trump's demolition throughout renowned institutions of art. Isaac Butler — author of The Method: How the Twentieth Century Learned to Act and host of the new Criterion Channel series, The Craft of Acting — sits in for Stephen Metcalf. First, the hosts discuss I'm Still Here and the continued addition of non-English speaking films getting some of the biggest Oscar buzz. Then we tackle the latest Trump shakeups at the National Endowment for the Arts and The Kennedy Center. Finally, Dana and Julia sit down with the CEO of the Academy of Motion Picture Arts and Sciences Bill Kramer. Endorsements: Dana: The documentary Pictures of Ghosts (2023) Julia: Doppelganger: A Trip into the Mirror World by Naomi Klein, also discussed on Culture Gabfest in September 2023 Isaac: The film Z (1969), available on streaming Podcast production and research by Vic Whitley-Berry. Email us at culturefest@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
On this week's show, we preview the Oscars and Trump's demolition throughout renowned institutions of art. Isaac Butler — author of The Method: How the Twentieth Century Learned to Act and host of the new Criterion Channel series, The Craft of Acting — sits in for Stephen Metcalf. First, the hosts discuss I'm Still Here and the continued addition of non-English speaking films getting some of the biggest Oscar buzz. Then we tackle the latest Trump shakeups at the National Endowment for the Arts and The Kennedy Center. Finally, Dana and Julia sit down with the CEO of the Academy of Motion Picture Arts and Sciences Bill Kramer. Endorsements: Dana: The documentary Pictures of Ghosts (2023) Julia: Doppelganger: A Trip into the Mirror World by Naomi Klein, also discussed on Culture Gabfest in September 2023 Isaac: The film Z (1969), available on streaming Podcast production and research by Vic Whitley-Berry. Email us at culturefest@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
On this week's show, we preview the Oscars and Trump's demolition throughout renowned institutions of art. Isaac Butler — author of The Method: How the Twentieth Century Learned to Act and host of the new Criterion Channel series, The Craft of Acting — sits in for Stephen Metcalf. First, the hosts discuss I'm Still Here and the continued addition of non-English speaking films getting some of the biggest Oscar buzz. Then we tackle the latest Trump shakeups at the National Endowment for the Arts and The Kennedy Center. Finally, Dana and Julia sit down with the CEO of the Academy of Motion Picture Arts and Sciences Bill Kramer. Endorsements: Dana: The documentary Pictures of Ghosts (2023) Julia: Doppelganger: A Trip into the Mirror World by Naomi Klein, also discussed on Culture Gabfest in September 2023 Isaac: The film Z (1969), available on streaming Podcast production and research by Vic Whitley-Berry. Email us at culturefest@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
On this week's show, we preview the Oscars and Trump's demolition throughout renowned institutions of art. Isaac Butler — author of The Method: How the Twentieth Century Learned to Act and host of the new Criterion Channel series, The Craft of Acting — sits in for Stephen Metcalf. First, the hosts discuss I'm Still Here and the continued addition of non-English speaking films getting some of the biggest Oscar buzz. Then we tackle the latest Trump shakeups at the National Endowment for the Arts and The Kennedy Center. Finally, Dana and Julia sit down with the CEO of the Academy of Motion Picture Arts and Sciences Bill Kramer. Endorsements: Dana: The documentary Pictures of Ghosts (2023) Julia: Doppelganger: A Trip into the Mirror World by Naomi Klein, also discussed on Culture Gabfest in September 2023 Isaac: The film Z (1969), available on streaming Podcast production and research by Vic Whitley-Berry. Email us at culturefest@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
On this week's show, we preview the Oscars and Trump's demolition throughout renowned institutions of art. Isaac Butler — author of The Method: How the Twentieth Century Learned to Act and host of the new Criterion Channel series, The Craft of Acting — sits in for Stephen Metcalf. First, the hosts discuss I'm Still Here and the continued addition of non-English speaking films getting some of the biggest Oscar buzz. Then we tackle the latest Trump shakeups at the National Endowment for the Arts and The Kennedy Center. Finally, Dana and Julia sit down with the CEO of the Academy of Motion Picture Arts and Sciences Bill Kramer. Endorsements: Dana: The documentary Pictures of Ghosts (2023) Julia: Doppelganger: A Trip into the Mirror World by Naomi Klein, also discussed on Culture Gabfest in September 2023 Isaac: The film Z (1969), available on streaming Podcast production and research by Vic Whitley-Berry. Email us at culturefest@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
On this week's show, we preview the Oscars and Trump's demolition throughout renowned institutions of art. Isaac Butler — author of The Method: How the Twentieth Century Learned to Act and host of the new Criterion Channel series, The Craft of Acting — sits in for Stephen Metcalf. First, the hosts discuss I'm Still Here and the continued addition of non-English speaking films getting some of the biggest Oscar buzz. Then we tackle the latest Trump shakeups at the National Endowment for the Arts and The Kennedy Center. Finally, Dana and Julia sit down with the CEO of the Academy of Motion Picture Arts and Sciences Bill Kramer. Endorsements: Dana: The documentary Pictures of Ghosts (2023) Julia: Doppelganger: A Trip into the Mirror World by Naomi Klein, also discussed on Culture Gabfest in September 2023 Isaac: The film Z (1969), available on streaming Podcast production and research by Vic Whitley-Berry. Email us at culturefest@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
On this week's show, it's an all-movie week! Isaac Butler — author of The Method: How the Twentieth Century Learned to Act and host of the new Criterion Channel series, The Craft of Acting — sits in for Stephen Metcalf. First, the panel explores The Brutalist, director Brady Corbet's two-part epic following the life of László Tóth (Adrien Brody), a Hungarian-born Jewish architect who survives the Holocaust then emigrates to the United States. Then, the three unpack Carry-On, an action thriller set in Los Angeles International Airport. It's a well-made film with a dumb concept, and smashed Netflix records over the holiday. Finally, it's that time of year again: Dana leads the panel through Slate's Movie Club 2024, a cherished tradition in which she chats with other critics over email about the year in cinema. (Read her first post, here.) In the exclusive Slate Plus segment, the all-movie theme continues, as the three spoil The Brutalist. Email us at culturefest@slate.com. Endorsements: Dana: Adaptation, directed by Spike Jonze and written by Charlie Kaufman. Julia: A two-part endorsement: (1) My Cousin Vinny and (2) the production design of Three Men and a Baby (that apartment!) Isaac: “Eat What You Kill,” a masterfully reported piece by J. David McSwane for ProPublica. Podcast production by Vic Whitley-Berry. Production assistance by Kat Hong. Learn more about your ad choices. Visit megaphone.fm/adchoices
On this week's show, it's an all-movie week! Isaac Butler — author of The Method: How the Twentieth Century Learned to Act and host of the new Criterion Channel series, The Craft of Acting — sits in for Stephen Metcalf. First, the panel explores The Brutalist, director Brady Corbet's two-part epic following the life of László Tóth (Adrien Brody), a Hungarian-born Jewish architect who survives the Holocaust then emigrates to the United States. Then, the three unpack Carry-On, an action thriller set in Los Angeles International Airport. It's a well-made film with a dumb concept, and smashed Netflix records over the holiday. Finally, it's that time of year again: Dana leads the panel through Slate's Movie Club 2024, a cherished tradition in which she chats with other critics over email about the year in cinema. (Read her first post, here.) In the exclusive Slate Plus segment, the all-movie theme continues, as the three spoil The Brutalist. Email us at culturefest@slate.com. Endorsements: Dana: Adaptation, directed by Spike Jonze and written by Charlie Kaufman. Julia: A two-part endorsement: (1) My Cousin Vinny and (2) the production design of Three Men and a Baby (that apartment!) Isaac: “Eat What You Kill,” a masterfully reported piece by J. David McSwane for ProPublica. Podcast production by Vic Whitley-Berry. Production assistance by Kat Hong. Learn more about your ad choices. Visit megaphone.fm/adchoices
On this week's show, it's an all-movie week! Isaac Butler — author of The Method: How the Twentieth Century Learned to Act and host of the new Criterion Channel series, The Craft of Acting — sits in for Stephen Metcalf. First, the panel explores The Brutalist, director Brady Corbet's two-part epic following the life of László Tóth (Adrien Brody), a Hungarian-born Jewish architect who survives the Holocaust then emigrates to the United States. Then, the three unpack Carry-On, an action thriller set in Los Angeles International Airport. It's a well-made film with a dumb concept, and smashed Netflix records over the holiday. Finally, it's that time of year again: Dana leads the panel through Slate's Movie Club 2024, a cherished tradition in which she chats with other critics over email about the year in cinema. (Read her first post, here.) In the exclusive Slate Plus segment, the all-movie theme continues, as the three spoil The Brutalist. Email us at culturefest@slate.com. Endorsements: Dana: Adaptation, directed by Spike Jonze and written by Charlie Kaufman. Julia: A two-part endorsement: (1) My Cousin Vinny and (2) the production design of Three Men and a Baby (that apartment!) Isaac: “Eat What You Kill,” a masterfully reported piece by J. David McSwane for ProPublica. Podcast production by Vic Whitley-Berry. Production assistance by Kat Hong. Learn more about your ad choices. Visit megaphone.fm/adchoices
On this week's show, Isaac Butler (Supreme Friend of the Show and author of The Method: How the Twentieth Century Learned to Act) sits in for Dana. First, the panel is quite verbose about Say Nothing, a limited series that takes place over four generations and is set during The Troubles in Northern Ireland. By dramatizing the real-life events recounted in Patrick Radden Keefe's 2018 bestseller, the adapted limited series achieves something quite rare: enriching the original text and imbuing it with new meaning. Then, they unpack Emilia Pérez, an utterly captivating musical by writer-director Jacques Audiard that's about gender transition, drug cartels, and becoming yourself. Finally, the trio discusses Carson the Magnificent, a new biography of the mysterious late-night pioneer that Isaac recently reviewed for The New Yorker. In the exclusive Slate Plus segment, the panel answers a listener question from James: “Are there cultural works that you fully intend to see or experience, but are waiting for an optimal way to do it?” Email us at culturefest@slate.com. Endorsements: Isaac: Blood Test by Charles Baxter. Julia: Zoe Saldaña in Center Stage. Steve: Alice Neel's appearance on Johnny Carson's Tonight Show in 1984. Podcast production by Jared Downing. Production assistance by Kat Hong. Disclosure in Podcast Description: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond's yield is a function of its market price, which can fluctuate; therefore, a bond's YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices
On this week's show, Isaac Butler (Supreme Friend of the Show and author of The Method: How the Twentieth Century Learned to Act) sits in for Dana. First, the panel is quite verbose about Say Nothing, a limited series that takes place over four generations and is set during The Troubles in Northern Ireland. By dramatizing the real-life events recounted in Patrick Radden Keefe's 2018 bestseller, the adapted limited series achieves something quite rare: enriching the original text and imbuing it with new meaning. Then, they unpack Emilia Pérez, an utterly captivating musical by writer-director Jacques Audiard that's about gender transition, drug cartels, and becoming yourself. Finally, the trio discusses Carson the Magnificent, a new biography of the mysterious late-night pioneer that Isaac recently reviewed for The New Yorker. In the exclusive Slate Plus segment, the panel answers a listener question from James: “Are there cultural works that you fully intend to see or experience, but are waiting for an optimal way to do it?” Email us at culturefest@slate.com. Endorsements: Isaac: Blood Test by Charles Baxter. Julia: Zoe Saldaña in Center Stage. Steve: Alice Neel's appearance on Johnny Carson's Tonight Show in 1984. Podcast production by Jared Downing. Production assistance by Kat Hong. Disclosure in Podcast Description: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond's yield is a function of its market price, which can fluctuate; therefore, a bond's YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices
The 1947 Dorothy Hughes novel In a Lonely Place is considered a hallmark of the noir genre, and also something of a feminist reimagining of those genre's tropes. We're joined by Isaac Butler (author of The Method: How the 20th Century Learned to Act) to talk about some of the book's narrative tricks, including an unreliable third-person narrator, and how it subverts the genre's "femme fatale" trope, among others. Plus: What made Dorothy Hughes think that 'Brub' was a good name for a character? In the second half of the show, we learn about Isaac's relationship to Halloween costumes, which Muppet could play a hardboiled cop, and why Isaac thinks he's too old to read Slaughterhoue Five for the first time. If you like the podcast, consider joining our Patreon. For $5 a month, you get two bonus episodes, plus access to our entire back catalog of bonus content. During our current season, we're watching and discussing noir films, both classics and newer entries to the canon. https://www.patreon.com/c/BookFight Find Isaac on Instagram: https://www.instagram.com/theisaacbutler/ Or on Blue Sky: https://bsky.app/profile/isaacbutler.bsky.social You can subscribe to Mike's Substack (for free): https://mikeingram.substack.com/ Anc check out the newly revamped Barrelhouse newsletter, which now features an original monthly essay (writers writing about their non-writing obsessions): https://www.barrelhousemag.com/ (scroll down to the bottom of the page) Thanks, as always, for listening! Note: This is the second episode in our Noir season. But there's no reason you have to listen to the episodes in order.
On this week's show, Dana and Stephen are joined by Supreme Friend of the Podcast (SFOP) Isaac Butler, author of The Method: How the Twentieth Century Learned to Act. The trio first explores The Wild Robot, DreamWork Animation's handcrafted, lovingly made film that's the surprise of the year. Lupita Nyong'o voices ROZ, an old-fashioned robot powered by supremely advanced A.I. who must learn about and adapt to her new wild surroundings. Then, they dissect Nobody Wants This, a new Netflix series starring Kristen Bell (who plays a sex podcaster) and Adam Brody as a hot rabbi. Although there are obvious charms, the show's “will they, won't they” rom-com beats can often feel, at best, gratingly familiar, and at worst, bizarre and unthoughtful, particularly in its portrayal of Jewish women. Finally, the Criterion Collection, is “a catalog so synonymous with cinematic achievement that it has come to function as a kind of film Hall of Fame,” writes Joshua Hunt for The New York Times. The panel dives into the wonderful world of ‘Closet Picks,' a viral video format in which celebrities and movie buffs head into the Criterion Collection stockroom and pluck high-quality DVDs and Blu-rays off its shelves while explaining their personal significance. Also mentioned in this episode: “The Wild Robot Has an Intelligence That's Anything But Artificial” by Dana Stevens for Slate. “‘Nobody Wants This' Pits Jewish Women Against ‘Shiksas.' Nobody Wins.” By Jessica Grose for The New York Times. In the exclusive Slate Plus segment, the panel extols the joys of being on the ground. Inspired by Chris Black's column for GQ, “How I Learned to Love a Layover,” the trio discusses how they spend their time in airports. Email us at culturefest@slate.com. Endorsements: Dana: “Abbas Kiarostami's Childhood Films,” a collection of 17 films by the renowned Iranian filmmaker made about or for children. Isaac: The Tale of The Princess Kaguya, directed by Isao Takahata. Stephen: “The Song That Connects Jackson Browne, Nico and Margot Tenenbaum” by Bob Mehr for The New York Times. Podcast production by Jared Downing. Production assistance by Kat Hong. Learn more about your ad choices. Visit megaphone.fm/adchoices
On this week's show, Dana and Stephen are joined by Supreme Friend of the Podcast (SFOP) Isaac Butler, author of The Method: How the Twentieth Century Learned to Act. The trio first explores The Wild Robot, DreamWork Animation's handcrafted, lovingly made film that's the surprise of the year. Lupita Nyong'o voices ROZ, an old-fashioned robot powered by supremely advanced A.I. who must learn about and adapt to her new wild surroundings. Then, they dissect Nobody Wants This, a new Netflix series starring Kristen Bell (who plays a sex podcaster) and Adam Brody as a hot rabbi. Although there are obvious charms, the show's “will they, won't they” rom-com beats can often feel, at best, gratingly familiar, and at worst, bizarre and unthoughtful, particularly in its portrayal of Jewish women. Finally, the Criterion Collection, is “a catalog so synonymous with cinematic achievement that it has come to function as a kind of film Hall of Fame,” writes Joshua Hunt for The New York Times. The panel dives into the wonderful world of ‘Closet Picks,' a viral video format in which celebrities and movie buffs head into the Criterion Collection stockroom and pluck high-quality DVDs and Blu-rays off its shelves while explaining their personal significance. Also mentioned in this episode: “The Wild Robot Has an Intelligence That's Anything But Artificial” by Dana Stevens for Slate. “‘Nobody Wants This' Pits Jewish Women Against ‘Shiksas.' Nobody Wins.” By Jessica Grose for The New York Times. In the exclusive Slate Plus segment, the panel extols the joys of being on the ground. Inspired by Chris Black's column for GQ, “How I Learned to Love a Layover,” the trio discusses how they spend their time in airports. Email us at culturefest@slate.com. Endorsements: Dana: “Abbas Kiarostami's Childhood Films,” a collection of 17 films by the renowned Iranian filmmaker made about or for children. Isaac: The Tale of The Princess Kaguya, directed by Isao Takahata. Stephen: “The Song That Connects Jackson Browne, Nico and Margot Tenenbaum” by Bob Mehr for The New York Times. Podcast production by Jared Downing. Production assistance by Kat Hong. Learn more about your ad choices. Visit megaphone.fm/adchoices
On this week's show, Isaac Butler (co-host of Slate's Working podcast and the author of The Method: How the Twentieth Century Learned to Act) sits in for Julia Turner. The panel first turns their attention to Ren Faire, HBO's three-part documentary chronicling the surreal power struggle at the heart of America's largest renaissance festival. Director Lance Oppenheim (Spermworld, Some Kind of Heaven) presents an extraordinary window into the fantastical world, capturing a very specific moment in late-stage capitalism in which society returns to feudalism. Then, the three inspect Janet Planet, Pulitzer Prize-winning American playwright Annie Baker's film debut. Like Baker's theater work, Janet Planet–a loosely autobiographical tale revolving around an 11-year-old girl named Lacy (played by Zoe Ziegler) and her mother, Janet (played by Julianne Nicholson)–pushes naturalism to the extreme, an approach that some critics love and others, some even on this very panel, abhor. Finally, the great Canadian actor Donald Sutherland died this past week at the age of 88. His career spanned over six decades, but his immense talents weren't always immediately obvious. To honor Sutherland and his body of work, each host re-watched a favorite film of theirs: Don't Look Now, Invasion of the Body Snatchers, and Six Degrees of Separation. In the exclusive Slate Plus segment, the panel reflects on their relationship to giving and receiving criticism, inspired by Arthur C. Brooks's article for The Atlantic, “How to Take–And Give–Criticism Well.” Email us at culturefest@slate.com. It's the last week to submit songs for Summer Strut! The final deadline is July 1st. Send your struttiest songs to culturefest@slate.com. Endorsements: Stephen: I, Claudius and Claudius the God by Robert Graves. Isaac: Any Person Is the Only Self: Essays by Elisa Gabbert. Dana: Inspired by Janet Planet: The Roche's 1979 self-titled album and specifically, “Hammond Song.” Podcast production by Jared Downing. Production assistance by Kat Hong. Hosts Dana Stephens, Isaac Butler, Stephen Metcalf Learn more about your ad choices. Visit megaphone.fm/adchoices
On this week's show, Isaac Butler (co-host of Slate's Working podcast and the author of The Method: How the Twentieth Century Learned to Act) sits in for Julia Turner. The panel first turns their attention to Ren Faire, HBO's three-part documentary chronicling the surreal power struggle at the heart of America's largest renaissance festival. Director Lance Oppenheim (Spermworld, Some Kind of Heaven) presents an extraordinary window into the fantastical world, capturing a very specific moment in late-stage capitalism in which society returns to feudalism. Then, the three inspect Janet Planet, Pulitzer Prize-winning American playwright Annie Baker's film debut. Like Baker's theater work, Janet Planet–a loosely autobiographical tale revolving around an 11-year-old girl named Lacy (played by Zoe Ziegler) and her mother, Janet (played by Julianne Nicholson)–pushes naturalism to the extreme, an approach that some critics love and others, some even on this very panel, abhor. Finally, the great Canadian actor Donald Sutherland died this past week at the age of 88. His career spanned over six decades, but his immense talents weren't always immediately obvious. To honor Sutherland and his body of work, each host re-watched a favorite film of theirs: Don't Look Now, Invasion of the Body Snatchers, and Six Degrees of Separation. In the exclusive Slate Plus segment, the panel reflects on their relationship to giving and receiving criticism, inspired by Arthur C. Brooks's article for The Atlantic, “How to Take–And Give–Criticism Well.” Email us at culturefest@slate.com. It's the last week to submit songs for Summer Strut! The final deadline is July 1st. Send your struttiest songs to culturefest@slate.com. Endorsements: Stephen: I, Claudius and Claudius the God by Robert Graves. Isaac: Any Person Is the Only Self: Essays by Elisa Gabbert. Dana: Inspired by Janet Planet: The Roche's 1979 self-titled album and specifically, “Hammond Song.” Podcast production by Jared Downing. Production assistance by Kat Hong. Hosts Dana Stephens, Isaac Butler, Stephen Metcalf Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, Dana and Stephen are joined by Supreme Friend of the Pod, Isaac Butler, who co-hosts Slate's Working podcast and is the author of The Method: How the Twentieth Century Learned to Act (which is now available in paperback!). The panel begins by pondering Dream Scenario, a provocative new film from Norwegian writer-director Kristoffer Borgli. The nightmarish social satire stars Nicolas Cage as Paul Matthews, a hapless middle-aged biology professor who begins appearing randomly in people's dreams in a tale about anonymity and the cycle of virality. Then, the three speak with the brilliant author and classicist Emily Wilson about her recent translation of Homer's the Iliad, and her unique approach to metered verse and how she came to access the interior lives of Hector, Patroclus, Achilles, and more. Finally, the trio discusses Coyote vs. Acme, a completed film based on Ian Frazier's 1990 comic in The New Yorker, that was shelved last week by Warner Bros. (reportedly in favor of a $30 million tax write-off) then un-shelved when the studio received backlash for being “anti-art.” In the exclusive Slate Plus segment, the panel descends into a different kind of nightmare: The Beatles' music video for “Now and Then.” Has director Peter Jackson created a touching CGI tribute to the legendary band? Or has he engineered something truly evil? Email us at culturefest@slate.com. Endorsements: Dana: The Public Domain Review, an online journal and not-for-profit project dedicated to “the exploration of curious and compelling works from the history of art, literature, and ideas.” She's only just begun to scratch the site's surface, but recommends starting with “W.E.B. Du Bois' Hand-Drawn Infographics of African-American Life.” Isaac: Deadloch, an Australian feminist noir comedy set in a fictional working class fishing village that's been, as he describes, “gentrified by the most granola crunchy lesbians on earth.” Stephen: The song “New Romantic” by British folk singer-songwriter Laura Marling, specifically her extraordinary 2006 live performance of it when she was quite young at a now-closed music venue in West London. Outro music: “Any Other Way” by Particle House Podcast production by Cameron Drews. Production assistance by Kat Hong. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows. You'll also be supporting the work we do here on the Culture Gabfest. Sign up now at Slate.com/cultureplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, Dana and Stephen are joined by Supreme Friend of the Pod, Isaac Butler, who co-hosts Slate's Working podcast and is the author of The Method: How the Twentieth Century Learned to Act (which is now available in paperback!). The panel begins by pondering Dream Scenario, a provocative new film from Norwegian writer-director Kristoffer Borgli. The nightmarish social satire stars Nicolas Cage as Paul Matthews, a hapless middle-aged biology professor who begins appearing randomly in people's dreams in a tale about anonymity and the cycle of virality. Then, the three speak with the brilliant author and classicist Emily Wilson about her recent translation of Homer's the Iliad, and her unique approach to metered verse and how she came to access the interior lives of Hector, Patroclus, Achilles, and more. Finally, the trio discusses Coyote vs. Acme, a completed film based on Ian Frazier's 1990 comic in The New Yorker, that was shelved last week by Warner Bros. (reportedly in favor of a $30 million tax write-off) then un-shelved when the studio received backlash for being “anti-art.” In the exclusive Slate Plus segment, the panel descends into a different kind of nightmare: The Beatles' music video for “Now and Then.” Has director Peter Jackson created a touching CGI tribute to the legendary band? Or has he engineered something truly evil? Email us at culturefest@slate.com. Endorsements: Dana: The Public Domain Review, an online journal and not-for-profit project dedicated to “the exploration of curious and compelling works from the history of art, literature, and ideas.” She's only just begun to scratch the site's surface, but recommends starting with “W.E.B. Du Bois' Hand-Drawn Infographics of African-American Life.” Isaac: Deadloch, an Australian feminist noir comedy set in a fictional working class fishing village that's been, as he describes, “gentrified by the most granola crunchy lesbians on earth.” Stephen: The song “New Romantic” by British folk singer-songwriter Laura Marling, specifically her extraordinary 2006 live performance of it when she was quite young at a now-closed music venue in West London. Outro music: “Any Other Way” by Particle House Podcast production by Cameron Drews. Production assistance by Kat Hong. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows. You'll also be supporting the work we do here on the Culture Gabfest. Sign up now at Slate.com/cultureplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, the panel is joined first by Isaac Butler, co-host of Slate's Working podcast and author of The Method: How the Twentieth Century Learned to Act, to debate the merits of David Fincher's The Killer and whether the director's latest “thriller” (which stars Michael Fassbender) is a masterful example of craft or simply a logic-free time-suck. Then, Dana, Julia, and Stephen explore the world of Letterboxd, the self-proclaimed “Goodreads of movies” that may be the only positive social media platform left. Finally, the trio is joined by Extreme Friend of the Pod Chris Molanphy to discuss his wonderful new book, Old Town Road, which considers Lil Nas X's debut single as pop artifact, chart phenomenon, and cultural watershed. In the exclusive Slate Plus segment, the panel asks: what's the deal with long movies? Are today's films getting longer or is it just a figment of our imagination? Email us at culturefest@slate.com. Endorsements: Dana: A hometown endorsement of Slate's excellent coverage of the Sam Bankman-Fried trial, specifically a piece by Nitish Pahwa entitled “The Days the Chips Fell,” which chronicles what Pahwa witnessed in the courtroom the day Bankman-Fried was found guilty. Julia: The Last Waltz, Martin Scorsese's iconic 1978 concert documentary that captures the Band's legendary farewell performance in San Francisco. It depicts a very specific image of the male rockstar era, highlighting both the vanity and vulnerability of its stars. Dana also wrote about The Last Waltz for Slate in 2012! Stephen: Taken by the retro-feel of The Holdovers' trailer, Stephen endorses the song featured in it, “Silver Joy” by Damien Jurado. Outro music: “Go Slow” by Daniel Fridell Podcast production by Cameron Drews. Production assistance by Kat Hong. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows. You'll also be supporting the work we do here on the Culture Gabfest. Sign up now at Slate.com/cultureplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, the panel is joined first by Isaac Butler, co-host of Slate's Working podcast and author of The Method: How the Twentieth Century Learned to Act, to debate the merits of David Fincher's The Killer and whether the director's latest “thriller” (which stars Michael Fassbender) is a masterful example of craft or simply a logic-free time-suck. Then, Dana, Julia, and Stephen explore the world of Letterboxd, the self-proclaimed “Goodreads of movies” that may be the only positive social media platform left. Finally, the trio is joined by Extreme Friend of the Pod Chris Molanphy to discuss his wonderful new book, Old Town Road, which considers Lil Nas X's debut single as pop artifact, chart phenomenon, and cultural watershed. In the exclusive Slate Plus segment, the panel asks: what's the deal with long movies? Are today's films getting longer or is it just a figment of our imagination? Email us at culturefest@slate.com. Endorsements: Dana: A hometown endorsement of Slate's excellent coverage of the Sam Bankman-Fried trial, specifically a piece by Nitish Pahwa entitled “The Days the Chips Fell,” which chronicles what Pahwa witnessed in the courtroom the day Bankman-Fried was found guilty. Julia: The Last Waltz, Martin Scorsese's iconic 1978 concert documentary that captures the Band's legendary farewell performance in San Francisco. It depicts a very specific image of the male rockstar era, highlighting both the vanity and vulnerability of its stars. Dana also wrote about The Last Waltz for Slate in 2012! Stephen: Taken by the retro-feel of The Holdovers' trailer, Stephen endorses the song featured in it, “Silver Joy” by Damien Jurado. Outro music: “Go Slow” by Daniel Fridell Podcast production by Cameron Drews. Production assistance by Kat Hong. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows. You'll also be supporting the work we do here on the Culture Gabfest. Sign up now at Slate.com/cultureplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices
Key PointsAnimal parties are minor (niche) political parties with a single-issue focus on animals.Animal parties can win seats in elections that use proportional representation. The most important strategic decision is to choose to contest elections where seats can be won with just a couple of percent of the vote. Animal parties have won seats in five countries (Australia, Belgium, France, the Netherlands, Portugal).When an animal party wins even one seat or a couple of seats, the impact for animals is typically positive and moderate. Occasionally, the impact can be enormous.We recommend a handful of countries where we think small grants are likely to help animal parties win at least one seat. Providing initial funding for animal parties in these countries appears to be low-hanging fruit, and this small level of funding is likely to have a disproportionately high level of impact.Executive SummaryThis approach involves establishing political parties with an explicit [...] ---Outline:(00:09) Key Points(01:07) Executive Summary(08:06) Table of Contents(10:18) 1. How Do Animal Advocacy Parties Work?(12:45) 2. Theory of Change(16:08) 3. Voting Systems and Minor Parties(16:38) 3.1 We focus on proportional representation(24:05) 3.2 Contesting more elections seems better than spending more on advertising(29:10) 4. Current Seats: Where Have Animal Parties Won Seats?(32:31) 5. Expanding Existing Parties: Where Could Animal Parties Win More Seats?(32:38) 5.1 Where do animal parties exist?(34:08) 5.2 Method: How we forecast the chance of winning a seat(39:22) 5.3 Results: Our predicted chances of winning a seat for existing parties(40:51) 6. Future Parties: Where Could Future Animal Parties Be Established?(40:58) 6.1 Where do animal parties not yet exist?(42:14) 6.2 Results: Our predicted chances of winning a seat for future parties(43:20) 7. European Parliament: Could Animal Parties Win More Seats in the European Parliament?(45:29) 8. Track Record of Existing Parties(45:53) 8.1 Australia: Animal Justice Party (New South Wales)(51:15) 8.2 Belgium: Victoria Austraet, Independent(54:39) 8.3 France: Ecological Revolution for the Living (REV)(56:30) 8.4 Netherlands: Party for the Animals(59:45) 8.5 Portugal: People-Animals-Nature (PAN)(01:02:11) 9. Cost-Effectiveness Analysis(01:02:16) 9.1 Costs: Parties often pay for themselves(01:07:51) 9.2 Impact: Our rough back-of-the-envelope calculation(01:17:09) 10. Academic Literature(01:17:13) 10.1 What do studies tell us about animal parties?(01:22:22) 10.2 How do minor parties influence policy?(01:31:34) 10.3 What is the relationship between elections, veg*n voters, and animal welfare?(01:35:34) 11. An Alternative Strategy: Voting Blocs(01:43:55) Acknowledgements(01:44:09) Bibliography--- First published: October 6th, 2023 Source: https://forum.effectivealtruism.org/posts/kiq83nGBoK8tih4wB/party-politics-for-animal-advocacy-part-1-animal-focused --- Narrated by TYPE III AUDIO.
Today Pip talks to Jesse about Animal Joy: A book of laughter and resuscitation by Nuar Alsadir, Unscripted: The Battle for a Media Empire and the Redstone Family Legacy by James B Stewart and Rachel Abrams and The Method: How the Twentieth Century Learned to Act by Isaac Butler.
This week Izzy and Murtada welcome Isaac Butler, author of "The Method: How the Twentieth Century Learned to Act.” The trio discusses the scourge of biopics, how the standards of what is considered “good” or “bad” have changed over time, and how the Method redefined masculinity and what's considered “fuckable” on screen but still gets such a bad wrap. Some of the actors discussed (though not all are Method) include Marlon Brando, Kim Stanley, Joan Crawford, John Garfield, Sally Field, Daniel Day Lewis, Nicholas Cage, Joanne Woodward, Al Pacino, Jennifer Garner and Robert De Niro. Butler brings his vast knowledge of the history of acting and, needless to say, Izzy and Murtada wish the conversation could have gone on forever. Follow the show on Twitter and Instagram: @IMPictureShow.To hear more from Izzy and Murtada check them out on social media: Izzy (Twitter: @bkrewind, IG: @bk_rewind); Murtada (Twitter: @ME_Says, IG: murtada_e).See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Accompanying blogpost: The 3×10 Method: How to Improve Marketing ROI 89% Without Spending MoreMost B2B SaaS marketers are dealing with companies where the economic outlook is uncertain and they are being asked to achieve the same pipeline goals or improve marketing ROI but with less budget.It's only natural that companies are trying to outweather economic turmoil by reducing costs and, as we discussed in previous articles, marketing is one of the first expenses to be cut.But if you're a marketing leader, even after you've made all the cuts and brought costs in house, you're still expected to hit pipeline goals every month.While there's a number of strategies to do that in a good time, there are fewer ways to do that in a bad time.In fact there are only three possible ways to grow your pipeline during a recession: Get more customers Get more revenue from each customer Acquire customers for less money Great! So you'll just go and do that.But how?In this episode we'll outline: The key reasons that marketers fail to predictably hit pipeline A framework you can use to produce outsized returns by simply making small gains in each of the above areas A set of examples for achieving each of those small gains By the end of the episode, you'll understand how to create predictable growth in a down market and deliver eye-popping returns with little to no additional investment.If you'd like to uncover strategic growth opportunities like this article outlines and grow with little-to-no additional investment in your marketing, book a marketing plan session with our team here===SaaS Marketing Bites is produced by B2B SaaS marketing agency Powered by Search. It's hosted by Head of Growth Marc Thomas. You can follow @iammarcthomas or Powered By Search CEO Dev Basu @devbasu on Twitter for more updates and marketing insights. If you enjoyed this episode, you can do the following things right away: 1 Claim your Free SaaS Scale Session. If you'd like to work with us to turn your website into your best demo and trial acquisition platform, claim your FREE SaaS Scale Session. One of our growth experts will understand your current demand generation situation, and then suggest practical digital marketing strategies to double your demo and trial traffic and conversion fast. 2 If you'd like to learn the exact demand strategies we use for free, go to our blog or visit our resources section, where you can download guides, calculators, and templates we use for our most successful clients. 3 If you'd like to work with other experts on our team or learn why we have off the charts team member satisfaction score, then see our Careers page. 4 If you know another marketer who'd enjoy reading this page, share it with them via email, Linkedin, Twitter, or Facebook.
This week, we revisit two of our favorite interviews from 2022. In the first one, Isaac Butler discusses his book The Method: How the 20th Century Learned to Act. After that, Karen Han reveals the process behind her book Bong Joon Ho: Dissident Cinema. Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Cameron Drews. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows—you'll also be supporting the work we do here on Working. Sign up now at slate.com/workingplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, we revisit two of our favorite interviews from 2022. In the first one, Isaac Butler discusses his book The Method: How the 20th Century Learned to Act. After that, Karen Han reveals the process behind her book Bong Joon Ho: Dissident Cinema. Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Cameron Drews. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows—you'll also be supporting the work we do here on Working. Sign up now at slate.com/workingplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, we revisit two of our favorite interviews from 2022. In the first one, Isaac Butler discusses his book The Method: How the 20th Century Learned to Act. After that, Karen Han reveals the process behind her book Bong Joon Ho: Dissident Cinema. Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Cameron Drews. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows—you'll also be supporting the work we do here on Working. Sign up now at slate.com/workingplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, we revisit two of our favorite interviews from 2022. In the first one, Isaac Butler discusses his book The Method: How the 20th Century Learned to Act. After that, Karen Han reveals the process behind her book Bong Joon Ho: Dissident Cinema. Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Cameron Drews. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows—you'll also be supporting the work we do here on Working. Sign up now at slate.com/workingplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, we revisit two of our favorite interviews from 2022. In the first one, Isaac Butler discusses his book The Method: How the 20th Century Learned to Act. After that, Karen Han reveals the process behind her book Bong Joon Ho: Dissident Cinema. Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Cameron Drews. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows—you'll also be supporting the work we do here on Working. Sign up now at slate.com/workingplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices
Tonight I talking about creativity and wonder what actors and writers have in common. The springboard for much of what I say is Simon Callow's article in the New York Review of Books, which itself is a review of Isaac Butler's “history” of Method acting, The Method: How the Twentieth Century Learned to Act. Please consider supporting Human Voices Wake us by clicking here. You can also support this podcast by going to wordandsilence.com and checking out any of my books. Any comments, or suggestions for readings I should make in later episodes, can be emailed to humanvoiceswakeus1@gmail.com. I assume that the small amount of work presented in each episode constitutes fair use. Publishers, authors, or other copyright holders who would prefer to not have their work presented here can also email me at humanvoiceswakeus1@gmail.com, and I will remove the episode immediately. --- Send in a voice message: https://anchor.fm/humanvoiceswakeus/message Support this podcast: https://anchor.fm/humanvoiceswakeus/support
We all talk about actors who use the Method, but do we really understand what that means? And how exactly has the Method changed the way we take in drama? In this episode, Jacke talks to theater expert Isaac Butler about his book The Method: How the Twentieth Century Learned to Act. And in a special bonus, Isaac also tells Jacke about the Shakespeare variant known as "Bad Hamlet." Additional listening suggestions: 338 Finding Yourself in Hollywood (with Meg Tilly) 288 The Triumph of Broadway (with Michael Riedel) 374 Ancient Plays and Contemporary Theater - A New Version of Sophocles' Oedipus Trilogy (with Bryan Doerries) The Best of the Bard: Top 10 Greatest Lines in Shakespeare Help support the show at patreon.com/literature or historyofliterature.com/shop. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at www.thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices
What's up, Global Citizen? I'm Ethan, your RealLife English Fluency Coach, and I want to personally welcome you to the RealLife English podcast! For over 10 years, RealLife English has helped millions of learners just like you from virtually every country to go beyond the classroom and live, speak and master English in the Real World. We've been able to do this through our unique method: The RealLife Way, which consists of three simple, but powerful components: Mindset: How to think like a successful English speaker Method: How to live, speak and master English in the Real World Mastery: How to become a confident Global Citizen In this podcast, you will listen to fun, relevant and dynamic English conversations with me and other experienced fluency coaches. These lessons are designed to help you become a confident, natural English speaker AND Global Citizen. You will learn: The vocabulary, phrasal verbs, idioms, and slang that you ACTUALLY need to know How to understand fast-spoken English from various native and advanced non-native fluency coaches Native pronunciation and Connected Speech (How natives reduce, cut and connect the sounds) And so much more! By the way, to get the best experience with our podcast, I highly recommend you listen to it on the RealLife English App. With every episode you get a full, interactive transcript and vocabulary definitions. That way, you won't miss a single thing! Just search for RealLife English in your favorite app store. Subscribe to this podcast so you don't miss a single new episode. Aww yeah!
00:20 Trump's Supporters and Detractors Are Mirror Images, https://www.wsj.com/articles/trumps-supporters-detractors-are-mirror-images-mar-a-lago-search-fbi-investigations-law-personality-cult-candidates-complicity-11660919395?mod=opinion_lead_pos11 02:00 Tucker Carlson mourns the retirement on Tony Fauci 13:00 Lab leak conspiracy thinking, https://www.respectfulinsolence.com/author/respectfulinsolence_ip5frq/ 16:50 Fundamental Attribution Error 19:00 Five Days At Memorial, https://en.wikipedia.org/wiki/Five_Days_at_Memorial_(miniseries) 31:00 This Is Chance!: The Shaking of an All-American City, A Voice That Held It Together, https://lukeford.net/blog/?p=144680 45:40 Jon Mooallem with Nellie Bowles 1:01:00 COVID-19 vaccines don't weaken the immune system; Lancet study misrepresented in Virology Journal comment, https://healthfeedback.org/claimreview/covid-19-vaccines-dont-weaken-immune-system-lancet-study-misrepresented-tucker-carlson-hodgetwins/ 1:14:00 Some people who quit their jobs during the “Great Resignation” now face financial challenges, https://www.nytimes.com/2022/08/22/style/quitting-personal-finances.html 1:14:50 Andrew Tate banned on social media, and same as with Alex Jones, https://www.nbcnews.com/pop-culture/viral/internet-cant-stop-talking-andrew-tate-tiktok-rcna42744 1:24:45 A popular, award-winning TV news anchor is fired. Was it the hair? https://www.washingtonpost.com/world/2022/08/19/lisa-laflamme-canada-ctv-debate-sexism-ageism/ 1:30:00 Google doesn't owe you anything, https://www.nytimes.com/2022/08/21/technology/google-surveillance-toddler-photo.html 1:42:30 The Method: How the Twentieth Century Learned to Act, https://lukeford.net/blog/?p=144648 1:45:00 Why Did John Lurie Disappear?, https://lukeford.net/blog/?p=144653 https://www.nytimes.com/2022/08/22/us/mass-shootings-mental-illness.html https://www.nytimes.com/2022/08/22/style/quitting-personal-finances.html https://www.nbcnews.com/pop-culture/viral/internet-cant-stop-talking-andrew-tate-tiktok-rcna42744 https://www.nytimes.com/2022/08/21/technology/google-surveillance-toddler-photo.html https://www.washingtonpost.com/national-security/interactive/2022/ukraine-road-to-war/?itid=hp_temp3-ukraine https://www.wsj.com/articles/a-bumbling-biden-fails-the-monkeypox-test-covid-trump-vaccines-jynneos-stockpile-rct-doses-smallpox-medicine-public-health-treatment-11661108794?mod=opinion_lead_pos5 https://www.washingtonpost.com/national-security/interactive/2022/ukraine-road-to-war/?itid=hp_temp3-ukraine https://www.wsj.com/articles/trumps-supporters-detractors-are-mirror-images-mar-a-lago-search-fbi-investigations-law-personality-cult-candidates-complicity-11660919395?mod=opinion_lead_pos11 https://www.respectfulinsolence.com/2022/08/08/is-the-lab-leak-conspiracy-theory-dead/ https://www.latimes.com/california/story/2022-08-22/coming-to-la-without-a-car https://www.washingtonpost.com/world/2022/08/19/lisa-laflamme-canada-ctv-debate-sexism-ageism/ Join this channel to get access to perks: https://www.youtube.com/channel/UCSFVD7Xfhn7sJY8LAIQmH8Q/join https://odysee.com/@LukeFordLive, https://lbry.tv/@LukeFord, https://rumble.com/lukeford https://dlive.tv/lukefordlivestreams Listener Call In #: 1-310-997-4596 Superchat: https://entropystream.live/app/lukefordlive Bitchute: https://www.bitchute.com/channel/lukeford/ Soundcloud MP3s: https://soundcloud.com/luke-ford-666431593 Code of Conduct: https://lukeford.net/blog/?p=125692 https://www.patreon.com/lukeford http://lukeford.net Email me: lukeisback@gmail.com or DM me on Twitter.com/lukeford Support the show | https://www.streamlabs.com/lukeford, https://patreon.com/lukeford, https://PayPal.Me/lukeisback Facebook: http://facebook.com/lukecford Feel free to clip my videos. It's nice when you link back to the original.
In this episode, Xavier Bonilla has a dialogue with Isaac Butler about the history of method acting in the 20th century. They discuss who was Stanislavski and how he started his theater studio and system. They discuss the impact of Tolstoy and Chekhov on Stanislavksi. They explain the expansion of the method globally and how Lee Strasberg and Stella Adler became involved with the method. They talk about the differences between the system and the method and what is composed of the Method. They discuss how Marlon Brando was a genius and legend, origins of the actors legend, and some of the current modern actors that use the actors studio. They talk about current-day method acting and many more topics. Isaac Butler is a cultural critic, historian, theater director, and podcaster. He is the co-author of The World Only Spins Forward (with Dan Kois) and of his most recent book, The Method: How the Twentieth Century Learned to Act. He is the host of the Slate's podcast, Working. Twitter: @parabasis
Richard Wagner's epic fantasy opera Lohengrin is a fairy-tale romance, but a disconcerting German nationalism lurks beneath its surface. French director Olivier Py confronts the opera's complexities head on in his upcoming production for Opera Australia. Also, we trace the influence of theatre practitioner Konstantin Stanislavski and his impact on modern acting and theatrical storytelling with Isaac Butler, author of The Method: How the Twentieth Century Learned to Act (Bloomsbury).
Richard Wagner's epic fantasy opera Lohengrin is a fairy-tale romance, but a disconcerting German nationalism lurks beneath its surface. French director Olivier Py confronts the opera's complexities head on in his upcoming production for Opera Australia.Also, we trace the influence of theatre practitioner Konstantin Stanislavski and his impact on modern acting and theatrical storytelling with Isaac Butler, author of The Method: How the Twentieth Century Learned to Act (Bloomsbury).
Richard Wagner's epic fantasy opera Lohengrin is a fairy-tale romance, but a disconcerting German nationalism lurks beneath its surface. French director Olivier Py confronts the opera's complexities head on in his upcoming production for Opera Australia. Also, we trace the influence of theatre practitioner Konstantin Stanislavski and his impact on modern acting and theatrical storytelling with Isaac Butler, author of The Method: How the Twentieth Century Learned to Act (Bloomsbury).
In the 20th century, method acting was everywhere. Actors went to extreme lengths to inhabit the complicated psyche of a character, sometimes making audiences deeply uncomfortable. Think Robert De Niro in “Raging Bull” or Marlon Brando in “Apocalypse Now.” But in 2022, in our heyday of superhero blockbusters and bingeable story lines, the Method seems to be fading away. Wesley invites Isaac Butler — critic, historian and author of “The Method: How the 20th Century Learned to Act” — to dissect the Method. They discuss where it came from, its most legendary practitioners, and whether Hollywood has a place for it today.
This week, I was so pleased to welcome to the podcast a fellow writer and a tennis fan - yes, I had to get that in there - Isaac Butler. Co-author of "The World Only Spins Forward: The Ascent of Angels in America," which NPR.Org named one of the best books of 2018, Isaac Butler's writing has appeared in "New York Magazine," "Slate," "The Guardian," "American Theatre," and other publications. For "Slate," he created and hosted "Lend Me Your Ears," a podcast about Shakespeare and politics and he currently co-hosts "Working," a pod dedicated to the creative process. Additionally, a director whose work has been seen on stages across the country, he is the co-creator of "Real Enemies," a multimedia exploration of conspiracy theories in the American psyche, which was not only named one of the best live events of 2015 by "The New York Times" but has also been adapted into a feature-length film. An MFA graduate in creative nonfiction from the University of Minnesota who teaches theater history and performance at the New School and elsewhere, most recently, he became the author of the richly detailed, utterly fascinating book "The Method: How the Twentieth Century Learned to Act," which is what we're here to talk about today. Joining me to share stories involving the history of The Method as well as its many practitioners, we discuss some of the eye-opening and enlightening discoveries that Isaac made as he wrote his terrific new book. Following that, we take a deeper look at the Method performances of everyone from John Garfield to Jessica Lange that are on display in the films "Four Daughters," "Wild River," "Paris Blues," and "Frances" (1982).Originally Posted on Patreon (4/18/22) here: https://www.patreon.com/posts/65296760Logo: Kate Gabrielle (KateGabrielle.com)Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive
This week, I was so pleased to welcome to the podcast a fellow writer and a tennis fan - yes, I had to get that in there - Isaac Butler. Co-author of "The World Only Spins Forward: The Ascent of Angels in America," which NPR.Org named one of the best books of 2018, Isaac Butler's writing has appeared in "New York Magazine," "Slate," "The Guardian," "American Theatre," and other publications. For "Slate," he created and hosted "Lend Me Your Ears," a podcast about Shakespeare and politics and he currently co-hosts "Working," a pod dedicated to the creative process. Additionally, a director whose work has been seen on stages across the country, he is the co-creator of "Real Enemies," a multimedia exploration of conspiracy theories in the American psyche, which was not only named one of the best live events of 2015 by "The New York Times" but has also been adapted into a feature-length film. An MFA graduate in creative nonfiction from the University of Minnesota who teaches theater history and performance at the New School and elsewhere, most recently, he became the author of the richly detailed, utterly fascinating book "The Method: How the Twentieth Century Learned to Act," which is what we're here to talk about today. Joining me to share stories involving the history of The Method as well as its many practitioners, we discuss some of the eye-opening and enlightening discoveries that Isaac made as he wrote his terrific new book. Following that, we take a deeper look at the Method performances of everyone from John Garfield to Jessica Lange that are on display in the films "Four Daughters," "Wild River," "Paris Blues," and "Frances" (1982).Originally Posted on Patreon (4/18/22) here: https://www.patreon.com/posts/65296760Logo: Kate Gabrielle (KateGabrielle.com)Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive
Our books today give the reader a peek into showbiz. Sarah Polley was a child actor but that led to her being put into many dangerous situations, which she details in her new memoir, Run Toward The Danger. She told NPR's Sacha Pfeiffer that she's not sure kids should be acting in a professional environment at all. Next, Isaac Butler deep dives into method acting in his new book The Method: How the Twentieth Century Learned to Act. Butler told NPR's Scott Simon that method acting can create some beautiful performances but it's not an excuse to be terrible.
How did "Method" acting come to be? Isaac Butler joins us to talk about the history of this acting style and his book The Method: How the Twentieth Century Learned to Act.
John Bleasdale talks to Isaac Butler the author of The Method How the 20th Century Learned to Act. “Entertaining … a remarkable story.”--The New Yorker“Delicious, humane, probing.”--Vulture, Most Anticipated Books of 2022"The best and most important book about acting I've ever read."--Nathan LaneFrom the coauthor of The World Only Spins Forward comes the first cultural history of Method acting--an ebullient account of creative discovery and the birth of classic Hollywood.On stage and screen, we know a great performance when we see it. But how do actors draw from their bodies and minds to turn their selves into art? What is the craft of being an authentic fake? More than a century ago, amid tsarist Russia's crushing repression, one of the most talented actors ever, Konstantin Stanislavski, asked these very questions, reached deep into himself, and emerged with an answer. How his “system” remade itself into the Method and forever transformed American theater and film is an unlikely saga that has never before been fully told.Now, critic and theater director Isaac Butler chronicles the history of the Method in a narrative that transports readers from Moscow to New York to Los Angeles, from The Seagull to A Streetcar Named Desire to Raging Bull. He traces how a cohort of American mavericks--including Stella Adler, Lee Strasberg, and the storied Group Theatre--refashioned Stanislavski's ideas for a Depression-plagued nation that had yet to find its place as an artistic powerhouse. The Group's feuds and rivalries would, in turn, shape generations of actors who enabled Hollywood to become the global dream-factory it is today. Some of these performers the Method would uplift; others, it would destroy. Long after its midcentury heyday, the Method lives on as one of the most influential--and misunderstood--ideas in American culture.Studded with marquee names--from Marlon Brando, Marilyn Monroe, and Elia Kazan, to James Baldwin, Ellen Burstyn, and Dustin Hoffman--The Method is a spirited history of ideas and a must-read for any fan of Broadway or American film.Support this show http://supporter.acast.com/writers-on-film. Hosted on Acast. See acast.com/privacy for more information.
Writer Isaac Butler joins co-hosts Kate Wolf and Eric Newman to speak about his new book, The Method: How the Twentieth Century Learned to Act which was published this month by Bloomsbury. The Method traces the dissemination of a style and way of thinking about acting that's so prevalent, it's hard to imagine the performing arts without it today. Originally envisioned by the great actor and textile heir Konstantin Stanislavski, in Moscow, in the late 1800s, the Method, originally known as the System, stressed the importance of emotional realism, research, a character's motivation, and the actor's organic experience. Stanislavski believed actors were meant to be truth tellers and to this end, he developed empathic and imaginative exercises to enhance the authenticity of their performances such as “affective memory” and the “Magic If.” When the Moscow Arts Theater, which Stanislavski co-created, toured its productions in Europe and the US in the early 1920s, it inspired a whole new generation of actors and teachers, including Lee Strasberg and Stella Adler, who would go on to teach the Method to much the acclaim and controversy in the United States. Also, Lewis R. Gordon, author of Fear of Black Consciousness, returns to recommend three books: Sister Outsider by Audre Lorde; Living While Black: The Essential Guide to Overcoming Racial Trauma by Guilaine Kinouani; and Mary Shelley's Frankenstein; or, The Modern Prometheus.
Writer Isaac Butler joins co-hosts Kate Wolf and Eric Newman to speak about his new book, The Method: How the Twentieth Century Learned to Act which was published this month by Bloomsbury. The Method traces the dissemination of a style and way of thinking about acting that's so prevalent, it's hard to imagine the performing arts without it today. Originally envisioned by the great actor and textile heir Konstantin Stanislavski, in Moscow, in the late 1800s, the Method, originally known as the System, stressed the importance of emotional realism, research, a character's motivation, and the actor's organic experience. Stanislavski believed actors were meant to be truth tellers and to this end, he developed empathic and imaginative exercises to enhance the authenticity of their performances such as “affective memory” and the “Magic If.” When the Moscow Arts Theater, which Stanislavski co-created, toured its productions in Europe and the US in the early 1920s, it inspired a whole new generation of actors and teachers, including Lee Strasberg and Stella Adler, who would go on to teach the Method to much the acclaim and controversy in the United States. Also, Lewis R. Gordon, author of Fear of Black Consciousness, returns to recommend three books: Sister Outsider by Audre Lorde; Living While Black: The Essential Guide to Overcoming Racial Trauma by Guilaine Kinouani; and Mary Shelley's Frankenstein; or, The Modern Prometheus.
This week, host Karen Han talks to Isaac Butler about the writing of his new book The Method: How the Twentieth Century Learned to Act. They discuss how Isaac's background as a child professional actor informed his understanding of his subject, how he researched a wide-ranging topic that spanned geography and generations, and how he conceived of the book's structure and managed its narrative tension. After the interview, Karen and co-host June Thomas talk about learning from the questions that arise during a book's research phase, coming to terms with having to make cuts to a manuscript, and how to find trusted outside readers. In the exclusive Slate Plus segment, Karen asks Isaac to recommend some great Method performances. Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Cameron Drews. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get benefits like zero ads on any Slate podcast, bonus episodes of shows like Slow Burn and Big Mood, Little Mood—and you'll be supporting the work we do here on Working. Sign up now at slate.com/workingplus. Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, host Karen Han talks to Isaac Butler about the writing of his new book The Method: How the Twentieth Century Learned to Act. They discuss how Isaac's background as a child professional actor informed his understanding of his subject, how he researched a wide-ranging topic that spanned geography and generations, and how he conceived of the book's structure and managed its narrative tension. After the interview, Karen and co-host June Thomas talk about learning from the questions that arise during a book's research phase, coming to terms with having to make cuts to a manuscript, and how to find trusted outside readers. In the exclusive Slate Plus segment, Karen asks Isaac to recommend some great Method performances. Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Cameron Drews. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get benefits like zero ads on any Slate podcast, bonus episodes of shows like Slow Burn and Big Mood, Little Mood—and you'll be supporting the work we do here on Working. Sign up now at slate.com/workingplus. Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, host Karen Han talks to Isaac Butler about the writing of his new book The Method: How the Twentieth Century Learned to Act. They discuss how Isaac's background as a child professional actor informed his understanding of his subject, how he researched a wide-ranging topic that spanned geography and generations, and how he conceived of the book's structure and managed its narrative tension. After the interview, Karen and co-host June Thomas talk about learning from the questions that arise during a book's research phase, coming to terms with having to make cuts to a manuscript, and how to find trusted outside readers. In the exclusive Slate Plus segment, Karen asks Isaac to recommend some great Method performances. Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Cameron Drews. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get benefits like zero ads on any Slate podcast, bonus episodes of shows like Slow Burn and Big Mood, Little Mood—and you'll be supporting the work we do here on Working. Sign up now at slate.com/workingplus. Learn more about your ad choices. Visit megaphone.fm/adchoices
How did actors like Daniel Day-Lewis, Christian Bale and Robert De Niro decide to dedicate themselves to their roles so completely, they actually don't break character even when they leave set? They practice method acting, a technique actually developed in tsarist Russia. Isaac Butler joins us to discuss this fascinating history and his new book, Method: How the 20th Century Learned to Act.
This week, Culture Gabfest is coming to you live from The Strand Bookstore in NYC for a special event! In this live taping, Steve interviews Dana about her new book (Camera Man: Buster Keaton, the Dawn of Cinema, and the Invention of the Twentieth Century) and Isaac Butler about his new book (The Method: How the Twentieth Century Learned to Act). In Slate Plus, Dana and Isaac answer some questions from the audience. Email us at culturefest@slate.com. Podcast production by Cameron Drews. Production assistance by Nadira Goffe. Thanks to Jason Stack for this great photo! Outro music is "Spinning the Wheels" by Dusty Decks. Slate Plus members get ad-free podcasts, a bonus segment in each episode of the Culture Gabfest, full access to Slate's journalism on Slate.com, and more. Sign up now at slate.com/cultureplus. Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, Culture Gabfest is coming to you live from The Strand Bookstore in NYC for a special event! In this live taping, Steve interviews Dana about her new book (Camera Man: Buster Keaton, the Dawn of Cinema, and the Invention of the Twentieth Century) and Isaac Butler about his new book (The Method: How the Twentieth Century Learned to Act). In Slate Plus, Dana and Isaac answer some questions from the audience. Email us at culturefest@slate.com. Podcast production by Cameron Drews. Production assistance by Nadira Goffe. Thanks to Jason Stack for this great photo! Outro music is "Spinning the Wheels" by Dusty Decks. Slate Plus members get ad-free podcasts, a bonus segment in each episode of the Culture Gabfest, full access to Slate's journalism on Slate.com, and more. Sign up now at slate.com/cultureplus. Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, Culture Gabfest is coming to you live from The Strand Bookstore in NYC for a special event! In this live taping, Steve interviews Dana about her new book (Camera Man: Buster Keaton, the Dawn of Cinema, and the Invention of the Twentieth Century) and Isaac Butler about his new book (The Method: How the Twentieth Century Learned to Act). In Slate Plus, Dana and Isaac answer some questions from the audience. Email us at culturefest@slate.com. Podcast production by Cameron Drews. Production assistance by Nadira Goffe. Thanks to Jason Stack for this great photo! Outro music is "Spinning the Wheels" by Dusty Decks. Slate Plus members get ad-free podcasts, a bonus segment in each episode of the Culture Gabfest, full access to Slate's journalism on Slate.com, and more. Sign up now at slate.com/cultureplus. Learn more about your ad choices. Visit megaphone.fm/adchoices
“When I set out to write this book, I decided to approach it like a biography. After all, the Method had parents, obscure beginnings, fumbling toward its purpose, a spectacular rise, struggles as it reached the top, and an eventual decline.” This is how Isaac Butler articulates his project in The Method: How the Twentieth Century Learned to Act (Bloomsbury, February 2022). The Method tracks the origins of this transcontinental school of naturalistic acting and its many contradictions, including its emphasis on individualist achievement within communitarian organizations and the actorly tension between psychological interiority and external action when building a character. In following the life of this concept, Butler reveals the impossibly charming, ambitious, questionable cast of characters that have defined the terms of Western acting in the twentieth century. In the process, he clears up many of the public misunderstandings around Method as an approach and as a style. In this discussion, Butler details his first career in the theater as a professional actor, explores how Constantin Stanislavski's “system” of acting was the farthest thing from systematic, explains the difference between method and Method, and divulges the many rivalries and hostilities between American M/method practitioners and instructors at mid-century. Isaac Butler is the coauthor (with Dan Kois) of The World Only Spins Forward: The Ascent of Angels in America, which NPR named one of the best books of 2018. Butler's writing has appeared in New York magazine, Slate, the Guardian, American Theatre, and other publications. For Slate, he created and hosted Lend Me Your Ears, a podcast about Shakespeare and politics, and currently co-hosts Working, a podcast about the creative process. His work as a director has been seen on stages throughout the United States. He is the co-creator, with Darcy James Argue and Peter Nigrini, of Real Enemies, a multimedia exploration of conspiracy theories in the American psyche, which was named one of the best live events of 2015 by the New York Times and has been adapted into a feature-length film. Butler holds an MFA in creative nonfiction from the University of Minnesota and teaches theater history and performance at the New School and elsewhere. He lives in Brooklyn. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her writing has been published in the Washington Post, Public Books, Literary Hub, The Forward, and Camera Obscura. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day
“When I set out to write this book, I decided to approach it like a biography. After all, the Method had parents, obscure beginnings, fumbling toward its purpose, a spectacular rise, struggles as it reached the top, and an eventual decline.” This is how Isaac Butler articulates his project in The Method: How the Twentieth Century Learned to Act (Bloomsbury, February 2022). The Method tracks the origins of this transcontinental school of naturalistic acting and its many contradictions, including its emphasis on individualist achievement within communitarian organizations and the actorly tension between psychological interiority and external action when building a character. In following the life of this concept, Butler reveals the impossibly charming, ambitious, questionable cast of characters that have defined the terms of Western acting in the twentieth century. In the process, he clears up many of the public misunderstandings around Method as an approach and as a style. In this discussion, Butler details his first career in the theater as a professional actor, explores how Constantin Stanislavski's “system” of acting was the farthest thing from systematic, explains the difference between method and Method, and divulges the many rivalries and hostilities between American M/method practitioners and instructors at mid-century. Isaac Butler is the coauthor (with Dan Kois) of The World Only Spins Forward: The Ascent of Angels in America, which NPR named one of the best books of 2018. Butler's writing has appeared in New York magazine, Slate, the Guardian, American Theatre, and other publications. For Slate, he created and hosted Lend Me Your Ears, a podcast about Shakespeare and politics, and currently co-hosts Working, a podcast about the creative process. His work as a director has been seen on stages throughout the United States. He is the co-creator, with Darcy James Argue and Peter Nigrini, of Real Enemies, a multimedia exploration of conspiracy theories in the American psyche, which was named one of the best live events of 2015 by the New York Times and has been adapted into a feature-length film. Butler holds an MFA in creative nonfiction from the University of Minnesota and teaches theater history and performance at the New School and elsewhere. He lives in Brooklyn. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her writing has been published in the Washington Post, Public Books, Literary Hub, The Forward, and Camera Obscura. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history
“When I set out to write this book, I decided to approach it like a biography. After all, the Method had parents, obscure beginnings, fumbling toward its purpose, a spectacular rise, struggles as it reached the top, and an eventual decline.” This is how Isaac Butler articulates his project in The Method: How the Twentieth Century Learned to Act (Bloomsbury, February 2022). The Method tracks the origins of this transcontinental school of naturalistic acting and its many contradictions, including its emphasis on individualist achievement within communitarian organizations and the actorly tension between psychological interiority and external action when building a character. In following the life of this concept, Butler reveals the impossibly charming, ambitious, questionable cast of characters that have defined the terms of Western acting in the twentieth century. In the process, he clears up many of the public misunderstandings around Method as an approach and as a style. In this discussion, Butler details his first career in the theater as a professional actor, explores how Constantin Stanislavski's “system” of acting was the farthest thing from systematic, explains the difference between method and Method, and divulges the many rivalries and hostilities between American M/method practitioners and instructors at mid-century. Isaac Butler is the coauthor (with Dan Kois) of The World Only Spins Forward: The Ascent of Angels in America, which NPR named one of the best books of 2018. Butler's writing has appeared in New York magazine, Slate, the Guardian, American Theatre, and other publications. For Slate, he created and hosted Lend Me Your Ears, a podcast about Shakespeare and politics, and currently co-hosts Working, a podcast about the creative process. His work as a director has been seen on stages throughout the United States. He is the co-creator, with Darcy James Argue and Peter Nigrini, of Real Enemies, a multimedia exploration of conspiracy theories in the American psyche, which was named one of the best live events of 2015 by the New York Times and has been adapted into a feature-length film. Butler holds an MFA in creative nonfiction from the University of Minnesota and teaches theater history and performance at the New School and elsewhere. He lives in Brooklyn. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her writing has been published in the Washington Post, Public Books, Literary Hub, The Forward, and Camera Obscura. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts
“When I set out to write this book, I decided to approach it like a biography. After all, the Method had parents, obscure beginnings, fumbling toward its purpose, a spectacular rise, struggles as it reached the top, and an eventual decline.” This is how Isaac Butler articulates his project in The Method: How the Twentieth Century Learned to Act (Bloomsbury, February 2022). The Method tracks the origins of this transcontinental school of naturalistic acting and its many contradictions, including its emphasis on individualist achievement within communitarian organizations and the actorly tension between psychological interiority and external action when building a character. In following the life of this concept, Butler reveals the impossibly charming, ambitious, questionable cast of characters that have defined the terms of Western acting in the twentieth century. In the process, he clears up many of the public misunderstandings around Method as an approach and as a style. In this discussion, Butler details his first career in the theater as a professional actor, explores how Constantin Stanislavski's “system” of acting was the farthest thing from systematic, explains the difference between method and Method, and divulges the many rivalries and hostilities between American M/method practitioners and instructors at mid-century. Isaac Butler is the coauthor (with Dan Kois) of The World Only Spins Forward: The Ascent of Angels in America, which NPR named one of the best books of 2018. Butler's writing has appeared in New York magazine, Slate, the Guardian, American Theatre, and other publications. For Slate, he created and hosted Lend Me Your Ears, a podcast about Shakespeare and politics, and currently co-hosts Working, a podcast about the creative process. His work as a director has been seen on stages throughout the United States. He is the co-creator, with Darcy James Argue and Peter Nigrini, of Real Enemies, a multimedia exploration of conspiracy theories in the American psyche, which was named one of the best live events of 2015 by the New York Times and has been adapted into a feature-length film. Butler holds an MFA in creative nonfiction from the University of Minnesota and teaches theater history and performance at the New School and elsewhere. He lives in Brooklyn. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her writing has been published in the Washington Post, Public Books, Literary Hub, The Forward, and Camera Obscura. 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
“When I set out to write this book, I decided to approach it like a biography. After all, the Method had parents, obscure beginnings, fumbling toward its purpose, a spectacular rise, struggles as it reached the top, and an eventual decline.” This is how Isaac Butler articulates his project in The Method: How the Twentieth Century Learned to Act (Bloomsbury, February 2022). The Method tracks the origins of this transcontinental school of naturalistic acting and its many contradictions, including its emphasis on individualist achievement within communitarian organizations and the actorly tension between psychological interiority and external action when building a character. In following the life of this concept, Butler reveals the impossibly charming, ambitious, questionable cast of characters that have defined the terms of Western acting in the twentieth century. In the process, he clears up many of the public misunderstandings around Method as an approach and as a style. In this discussion, Butler details his first career in the theater as a professional actor, explores how Constantin Stanislavski's “system” of acting was the farthest thing from systematic, explains the difference between method and Method, and divulges the many rivalries and hostilities between American M/method practitioners and instructors at mid-century. Isaac Butler is the coauthor (with Dan Kois) of The World Only Spins Forward: The Ascent of Angels in America, which NPR named one of the best books of 2018. Butler's writing has appeared in New York magazine, Slate, the Guardian, American Theatre, and other publications. For Slate, he created and hosted Lend Me Your Ears, a podcast about Shakespeare and politics, and currently co-hosts Working, a podcast about the creative process. His work as a director has been seen on stages throughout the United States. He is the co-creator, with Darcy James Argue and Peter Nigrini, of Real Enemies, a multimedia exploration of conspiracy theories in the American psyche, which was named one of the best live events of 2015 by the New York Times and has been adapted into a feature-length film. Butler holds an MFA in creative nonfiction from the University of Minnesota and teaches theater history and performance at the New School and elsewhere. He lives in Brooklyn. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her writing has been published in the Washington Post, Public Books, Literary Hub, The Forward, and Camera Obscura. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
“When I set out to write this book, I decided to approach it like a biography. After all, the Method had parents, obscure beginnings, fumbling toward its purpose, a spectacular rise, struggles as it reached the top, and an eventual decline.” This is how Isaac Butler articulates his project in The Method: How the Twentieth Century Learned to Act (Bloomsbury, February 2022). The Method tracks the origins of this transcontinental school of naturalistic acting and its many contradictions, including its emphasis on individualist achievement within communitarian organizations and the actorly tension between psychological interiority and external action when building a character. In following the life of this concept, Butler reveals the impossibly charming, ambitious, questionable cast of characters that have defined the terms of Western acting in the twentieth century. In the process, he clears up many of the public misunderstandings around Method as an approach and as a style. In this discussion, Butler details his first career in the theater as a professional actor, explores how Constantin Stanislavski's “system” of acting was the farthest thing from systematic, explains the difference between method and Method, and divulges the many rivalries and hostilities between American M/method practitioners and instructors at mid-century. Isaac Butler is the coauthor (with Dan Kois) of The World Only Spins Forward: The Ascent of Angels in America, which NPR named one of the best books of 2018. Butler's writing has appeared in New York magazine, Slate, the Guardian, American Theatre, and other publications. For Slate, he created and hosted Lend Me Your Ears, a podcast about Shakespeare and politics, and currently co-hosts Working, a podcast about the creative process. His work as a director has been seen on stages throughout the United States. He is the co-creator, with Darcy James Argue and Peter Nigrini, of Real Enemies, a multimedia exploration of conspiracy theories in the American psyche, which was named one of the best live events of 2015 by the New York Times and has been adapted into a feature-length film. Butler holds an MFA in creative nonfiction from the University of Minnesota and teaches theater history and performance at the New School and elsewhere. He lives in Brooklyn. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her writing has been published in the Washington Post, Public Books, Literary Hub, The Forward, and Camera Obscura. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/russian-studies
“When I set out to write this book, I decided to approach it like a biography. After all, the Method had parents, obscure beginnings, fumbling toward its purpose, a spectacular rise, struggles as it reached the top, and an eventual decline.” This is how Isaac Butler articulates his project in The Method: How the Twentieth Century Learned to Act (Bloomsbury, February 2022). The Method tracks the origins of this transcontinental school of naturalistic acting and its many contradictions, including its emphasis on individualist achievement within communitarian organizations and the actorly tension between psychological interiority and external action when building a character. In following the life of this concept, Butler reveals the impossibly charming, ambitious, questionable cast of characters that have defined the terms of Western acting in the twentieth century. In the process, he clears up many of the public misunderstandings around Method as an approach and as a style. In this discussion, Butler details his first career in the theater as a professional actor, explores how Constantin Stanislavski's “system” of acting was the farthest thing from systematic, explains the difference between method and Method, and divulges the many rivalries and hostilities between American M/method practitioners and instructors at mid-century. Isaac Butler is the coauthor (with Dan Kois) of The World Only Spins Forward: The Ascent of Angels in America, which NPR named one of the best books of 2018. Butler's writing has appeared in New York magazine, Slate, the Guardian, American Theatre, and other publications. For Slate, he created and hosted Lend Me Your Ears, a podcast about Shakespeare and politics, and currently co-hosts Working, a podcast about the creative process. His work as a director has been seen on stages throughout the United States. He is the co-creator, with Darcy James Argue and Peter Nigrini, of Real Enemies, a multimedia exploration of conspiracy theories in the American psyche, which was named one of the best live events of 2015 by the New York Times and has been adapted into a feature-length film. Butler holds an MFA in creative nonfiction from the University of Minnesota and teaches theater history and performance at the New School and elsewhere. He lives in Brooklyn. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her writing has been published in the Washington Post, Public Books, Literary Hub, The Forward, and Camera Obscura. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film
This week we're joined by Isaac Butler (author, most recently, of The Method: How the Twentieth Century Learned to Act) to discuss a play by Annie Baker, The Aliens. Butler has worked as a theater director, as well as an author and podcaster and cultural critic, so we thought he'd be a perfect guest to help us wrap our heads around the world of contemporary theater. We talk about adapting plays for the screen, the Robert Altman version of Tony Kushner's Angels in America that almost existed, and how to figure out the right focus for a work of research-driven nonfiction like Butler's most recent book. If you like the show, please consider subscribing to our Patreon. For just $5, you get two bonus episodes every month, including our ongoing Hunt for the Worst Book of All Time: https://www.patreon.com/BookFight
Dominoes fall in the Succession season finale, and "All the Bells Say": too late. Isaac Butler returns to the RoyCast for a spirited debate about the third season's flaws and virtues, as well as to weigh in with some expert commentary on the recent Jeremy Strong discourse. Topics from the finale discussion include: Ken's confession, the Roy children teaming up, parallels between Matsson and Logan, billionaire elitism, the decision to sell Waystar and its implications for the future, Godfather references, Kieran Culkin as the season's MVP, Sympathy for Shiv, Tom as the show's true protagonist, Greg's place in the narrative, costume design, and the long-deferred dream of Connor Season. ~~~ RoyCast is a passion project and we incur minor ongoing expenses related to producing and hosting the podcast. However, we have no intention of paywalling the show. For those who would like to support you can do so here: roycast.square.site/ ~~~ Isaac Butler (Twitter: @parabasis) is a cultural critic and author of The Method: How the Twentieth Century Learned to Act, available 2/1 from Bloomsbury. He is also the co-host of Slate's Working podcast. https://www.bloomsbury.com/us/method-9781635574784/
Successful people and the G.O.O.D. Method How you ever wondered how two brothers or sisters from the same family are no equals in say sports? Serena vs Venus. Stephen Curry or Seth Curry? Let's take Stephen and Seth Curry. They are both professional I think they are close to the same size and body type. Yet one, Stephen, is a multiple World Champion and future Hall of Famer and can shoot from anywhere on the court. Seth is more of a journey man role player. He fills a specific need of a team. Stephen is the leader of the team and role model for the NBA and little boys and girls dreaming of playing in the NBA one day. Why? They had the same childhood. Same NBA Dad and athletic Mom. So, what made the difference? One Word…MINDSET I believe the superstar family member follow the G.O.O.D. What is that method? G=GOAL to be great, O= no OTHER Option, O = Know your OUTCOME and D = Dogged DETERMINATION. If you follow this method, you will get there. Remember, you MUST believe in your Goal, eliminate any escape route, can see your outcome CLEARLY and be Never quit.
9 Am I not free? Am I not an apostle? Have I not seen Jesus our Lord? Are not you my workmanship in the Lord? 2 If to others I am not an apostle, at least I am to you, for you are the seal of my apostleship in the Lord. 3 This is my defense to those who would examine me. 4 Do we not have the right to eat and drink? 5 Do we not have the right to take along a believing wife, as do the other apostles and the brothers of the Lord and Cephas? 6 Or is it only Barnabas and I who have no right to refrain from working for a living? 7 Who serves as a soldier at his own expense? Who plants a vineyard without eating any of its fruit? Or who tends a flock without getting some of the milk? 8 Do I say these things on human authority? Does not the Law say the same? 9 For it is written in the Law of Moses, “You shall not muzzle an ox when it treads out the grain.” Is it for oxen that God is concerned? 10 Does he not certainly speak for our sake? It was written for our sake, because the plowman should plow in hope and the thresher thresh in hope of sharing in the crop. 11 If we have sown spiritual things among you, is it too much if we reap material things from you? 12 If others share this rightful claim on you, do not we even more? Nevertheless, we have not made use of this right, but we endure anything rather than put an obstacle in the way of the gospel of Christ. 13 Do you not know that those who are employed in the temple service get their food from the temple, and those who serve at the altar share in the sacrificial offerings? 14 In the same way, the Lord commanded that those who proclaim the gospel should get their living by the gospel. 15 But I have made no use of any of these rights, nor am I writing these things to secure any such provision. For I would rather die than have anyone deprive me of my ground for boasting. 16 For if I preach the gospel, that gives me no ground for boasting. For necessity is laid upon me. Woe to me if I do not preach the gospel! 17 For if I do this of my own will, I have a reward, but if not of my own will, I am still entrusted with a stewardship. 18 What then is my reward? That in my preaching I may present the gospel free of charge, so as not to make full use of my right in the gospel. 19 For though I am free from all, I have made myself a servant to all, that I might win more of them. 20 To the Jews I became as a Jew, in order to win Jews. To those under the law I became as one under the law (though not being myself under the law) that I might win those under the law. 21 To those outside the law I became as one outside the law (not being outside the law of God but under the law of Christ) that I might win those outside the law. 22 To the weak I became weak, that I might win the weak. I have become all things to all people, that by all means I might save some. 23 I do it all for the sake of the gospel, that I may share with them in its blessings. 1 Corinthians 9:1-23 This morning I want to begin with the question, “What is the best way to reach people with the gospel of Jesus?” Now we have a couple of these things probably on our radars. If you were listening to the announcements, for example, you heard that there is a missions meeting right after church. That's an opportunity to talk about some of the ways that we are partnered with other churches around the globe to share the gospel in places that we personally cannot reach. That's one way that the church reaches others. We pray about church planting often. We pray that by God's grace we would be a church that would be a church planting church. That is a work that God will have to bring about, so we are praying toward it. Those are ways to reach people with the gospel. Then what? You have home missions and foreign missions. Where do you go from there? Where do individual Christians go from there? Well you may think perhaps maybe you could make the worship a little bit more interactive to try to reach people. Maybe something that would be so compelling that people coming off the street would want to follow Jesus. Some people would argue that we can do anything in the worship service unless there is a clear statement in Scripture that that sort of thing would be a sin. How we read the Bible, we see that we can only do in worship what God commands to do in worship. I bring that question up because these are some hard issues. Some says worship service, some says evangelistic outreach tactics, some say a specific program that we should employ. There are all sorts of suggestions and these are really hard questions. They all come help from a place where all of us want to see people come to know Jesus by faith. The question is how do we do this? Specifically, what methodology you may employ to do this? What can we do? What are we forbidden from doing? These are hard questions. The basic answer that this passage helps us to see is what we will see in our big idea. Here's our summary big idea for this passage; Serve all people by all lawful means in order to win some. That's the methodology and I hope you heard the word lawful, it's there because this word lawful comes up a lot in our passage. We're going to have to unpack what that means as part of our understanding of the limitations and constraints that we can go beyond or that we cannot go beyond depending on which kind of law we are talking about as we think about this methodology. We're going to see three parts this morning. 1. The Mark – Where we are trying to go. 2. The Method – How we are going to get there. 3. The Motivation – Why should we want to go there at all? The Mark What is Paul telling us that we ought to want to do? We see this in verse nineteen, 19 For though I am free from all, I have made myself a servant to all, that I might win more of them. 1 Corinthians 9:19 The mark is clear, the goal is clear, we should want to see as many people as possible come to know Jesus Christ. We should want to spread the gospel as far and as fast as we can so that men, women and children will turn from their sins and look to Jesus in faith so that they may be saved. Now Paul is saying that he is free, he's free from all people, not because he's free not to preach. Paul said in the paragraph that he has an obligation to preach, woe to him if he doesn't preach the gospel. Even if he doesn't want to do this, it's still his stewardship to do so. He says in verse seventeen he wants the reward, the reward of the joy of seeing Jesus glorified as people come to love him, adore him and worship him. So, what he says in verse nineteen is that he is free from having to charge for all this. No one is paying his salary; he is working for himself to support his needs so that he can be free. How does he use his freedom? To make himself a servant of everyone. The way that Paul uses his freedom is to serve all people. He takes all this freedom; he packages it up and uses it to expand the ways that he could become a servant to those around him so that he might win more of them to the gospel. Of course, Paul has in mind the examples of the Christ to whom he preaches in Philippians 2:5-7 Paul wrote, 5 Have this mind among yourselves, which is yours in Christ Jesus, 6 who, though he was in the form of God, did not count equality with God a thing to be grasped, 7 but emptied himself, by taking the form of a servant, being born in the likeness of men. Philippians 2:5-7, ESV Even as we sang, he became poor and he became a servant for us. So, by Paul following in those footsteps, becoming a servant of all, he hopes to win more of them. That's about all I will say about the goal. The goal is pretty clear, it is going to come up again throughout this passage. We have to understand a little bit where Paul wants to go, or we won't be able to understand how he wants to get there. We have to understand the mark, the goal, if we want to understand what Paul is willing to do and what he is not willing to do. The Method So that brings us to the second section, 9:20-22, where we consider this question of what can we do and what can't we do. Well, as we consider what the scriptures tell us that should inform the how, the methodology, of how we go about sharing the gospel of people to see them come to Christ. The word the Bible uses again and again to describe what requirements we have, what duties we have, and what we are forbidden from doing, is law. God gives us a law. He doesn't just sort of give us a gospel and say just share it however you want. He is saying I want you to understand that I have given you duties. I have constrained the way in which you might be able to do this. I have a specific way in which I want you to live and this is my law to you. But the complicated thing as we start to talk about the law of God is that the Bible uses the word law in so many different ways and in so many different places and times. I hope you grabbed a copy of the printout of chapter nineteen of the Westminster Confession of Faith. It's on the law of God. If you didn't pick it up, I encourage you to grab it later today and potentially spend some time reading. It it's one of the best statements about all the ways in which the Bible is talking about the law. I'm giving you a summary of this. The Westminster Confession of Faith, our doctrinal statement, is what our church confesses that the Bible teaches about a lot of subjects. Here especially in chapter nineteen we're going to the question of the law because we cannot have a one-size-fits-all, flat one-dimension definition of the word law. Otherwise we'll get into some real questions when we see Paul in the same stretch of verses both saying that he is not under the law and say that he is under the law. How do we make sense of this? You have to have a nuanced understanding of what the word law is. The Westminster Confession of Faith chapter nineteen is really helpful for that. We're not going to go line-by-line through that. I would encourage you to read it and especially to look at the proof texts that are there to show you where those doctrines are coming and supported from in the scriptures. It tell you why we confess this about the law of God. I'm going to give you a summary. Now you might not think my summary is that much shorter than the Westminster Confession or with the Bible has, but I'm going to give you something of a summary here. There are actually three issues that we need to think. Under each of these three issues there are three aspects that we need to think about, so nine things. I'm sorry it's the best I could do, I worked on this a long time. The first issue we have to deal with is that there are three kinds of law in the Bible. There is what is called the moral law. This is God's timeless, enduring, perfect rule of righteousness. This is what God revealed to Adam in the garden from the beginning and what God still requires of us today. This is summarized most efficiently in God's Ten Commandments. That's the moral law, it has ongoing, enduring significance to us. The second kind of law is the ceremonial law, you read about this is paragraph three of Westminster chapter nineteen. The ceremonial law has to do with aspects of the worship of the Israelites; the temple, the priesthood, the sacrifices, the festivals. It also has to do with specific rules and duties for their daily living; circumcision, various kinds of purifications, food laws that they had to observe. Those are the ceremonial laws that were given under the old covenant to Israel. Then also with ceremonial laws we also have the civil laws. Civil laws deal with laws that any kind of nation might implement in their nation. The same kind of subjects that the United States might take up, or the state of Nebraska might take up, or the city of Omaha might take off. One example, we read a civil law quoted earlier in this passage. It came in 9:9, “You shall not muzzle an ox when it treads out the grain.” It's a civil law, it's dealing with the daily to day life of their civil affairs. Moral, civil and ceremonial. Moral is timeless and enduring. What scripture teaches that the purpose of the ceremonial and civil law was not for this timeless, enduring kind of a law. Rather it had a specific purpose which was to point forward to the coming of Jesus Christ. We've been seeing this a lot since we've talked about the ceremonial laws that Paul has been discussing in 1st Corinthians. These gave a picture of what God's righteousness and holiness looks like, and especially what God's Messiah looks like. So, the purpose of the pictures is to point to a person. So once the person of Jesus Christ came, accomplished he came to accomplish, died, rose again and ascended back into heaven, then those laws were no longer important. Christ abrogated them, he abolished them, he filled them. So, he set them aside, not because they were bad, but because their purpose was no longer need. So, three kinds of laws. We will get into those as they come up in this passage. The second aspect that we have to deal with are the three uses of the law. When you're dealing with the moral law, God's timeless, enduring law, the Bible talks ways we interact with the moral law. The first use is to use the law as a mirror. So, you hold up the law to your face and as you look into the law you see you as you really are, not as you think you are but you as you really are. You see that you are guilty, and you are condemned by the righteousness of God. Most importantly you see a need for a righteous savior, Jesus Christ the righteous. The first use of the law to show you your own sin and to point you to Christ. The second use of the law is not a mirror but a restraint. For those who don't want to follow God, the wicked as the Bible calls them, the existence of the law forms some kind of restraint that keeps people from doing all of the evil that they might otherwise do. The third use of the law is for believers. Originally when you first came to the law and saw you as you really are in the mirror of the law, the perfect rule of righteousness, you realized that you are condemned. Now if you listen to that message and you turn to faith in Jesus Christ something changes. You no longer relate to God's perfect, timeless moarl law yourself, alone in your sin. In Christ while you have failed at the law, Christ fulfilled the law. He did not to set it aside as he did with the ceremonial law but he fulfilled it so that his perfect righteousness can be counted toward us. When you come to the law, you're not kind of hoping that you can obey it well enough to be justified on the basis of your own law keeping. You come as one who is already kept the law, not in you but because you are in Christ. When you come to the law you are not seeing the law has an enemy condemning you, but as a friend who guides you, to teach you a life that is pleasing to God. That is the third use of the law, as a guide to show believers how to live in a way that pleases God. So, three kinds of law and three uses of the law. Finally, we come to our passage specifically. Paul is bringing up three questions of the application of the law as we think through the methodology of how we do evangelism, of how we share the gospel with people. He's asking questions about the law in 9:20-22 and he's asking three questions. He says what do you do if you're trying to share the gospel with a person and there comes a situation or an event or circumstance where the old ceremonial law has bearing on what you're doing, on how you observe this. Do you follow that ceremonial or do you not? In which cases do you do which? What do you do in cases where there was a law that has now been abolished and fulfilled in Christ? The second question is what do you do when you try to share the gospel with someone and you have an idea for how to do a evangelism that bumps up against God's moral law? Is there ever a time or situation or circumstance where it's okay for you to fudge a little bit on the moral law of God for the sake of the greater good of sharing the gospel? That is the second question, what do you do when there is a moral law? The third question is what do you do in cases where you bump up with a situation where there actually was never a law on the books about what that person is dealing with, but where their conscious is stricken not by God's law but by the weakness of their own conscious. What do you do when there was a law but it's been fulfilled? What do you do when there is a law, the moral law in Christ? What are you doing there was never a law, in the case of the consciences of the weak? Believe it or not that will make this much simpler as we go through this. 20 To the Jews I became as a Jew, in order to win Jews. To those under the law I became as one under the law (though not being myself under the law) that I might win those under the law. 1 Corinthians 9:20 In verse twenty first question that Paul is asking is what do you do when there was a ceremonial law on the books? Paul gives two different answers and the two different answers depend upon the person you are trying to reach. He says in verse twenty, “To the Jews I became as a Jew, in order to win Jews.” Okay, what does that mean? Paul goes on to explain that those under the law, he's talking about the Jews and he's not talking about how they're under the moral law. It's very clear, by the fact that he says he is not himself under the law anymore, he's not talk about the moral law but the ceremonial law. To those under the ceremonial law, I became as one under the ceremonial law. Though not being myself under the ceremonial law that I might win those under the law. He's saying if you're dealing with Jews, you're trying to reach Jews and they're coming up on questions about circumcision and food laws, Paul is saying those questions do not affect my salvation anymore. I am not saved by how well I keep those laws, but here's the issue, they might be saved by the fact that I am willing to observe the laws, even though I'm not under them, for the sake of building bridges and not putting up hindrances that prevents me from getting the gospel to them. If that's the case, if circumcising Timothy as Paul does for the sake of reaching Jews, then I'll do it. 21 To those outside the law I became as one outside the law (not being outside the law of God but under the law of Christ) that I might win those outside the law. 1 Corinthians 9:21 Then he comes to another thing, not everyone is a Jew. What about those outside the ceremonial law? To those outside the ceremonial law, I became as one outside the law. Then he says this, “not being outside the law of God” and here's what we're saying what are you talking about all these laws, well I just explained that so hopefully you took some good notes. Not being outside the law of God, but being under the law of Christ; just said that parenthetical statement aside, we will come back to it. “For those outside the law I became as one outside the law”, skip the parenthesis, “that I might win those outside the law”. He's saying okay for the Jews, those who are under the law, who still believe that they must keep the ceremonial law, I observe those laws, no questions asked. But to those who never had those laws, they were never circumcise, they never followed food laws or stuff like that, I became as one who didn't care. I ate whatever they ate. I didn't worry about whether everyone around me was circumcised. If anyone ever said that someone had to be circumcised in order to become a Christian, I reacted strongly against that idea. We are only saved in Christ; we don't have to obey these things anymore. For the sake of getting the gospel the Gentiles, I became as one outside the law. So, if the question is what do you do in a situation where you're bumping up against the ceremonial law, the question isn't whether your salvation is at stake Paul is saying. The question is, what barriers do you need to put up with or what barriers do you need to ignore in order to get the gospel to people. The ceremonial laws don't matter one way or another. Circumcision doesn't matter, 19 For neither circumcision counts for anything nor uncircumcision, but keeping the commandments of God. 1 Corinthians 7:19, ESV Food laws, 1st Corinthians 8:8 8 Food will not commend us to God. We are no worse off if we do not eat, and no better off if we do. 1st Corinthians 8:8, ESV It doesn't matter either way. Figure out whatever is going to get the gospel to these people and put up with the rules or get rid of them one way or the other. Paul then says something more, and this gets to the second question. What about the moral law? What about that time timeless, enduring, perfect rule of God's righteousness? Well this is what Paul says in that parentheses in verse twenty-one. He says I am acting as one outside of the law, but not being outside the law of God. I'm not outside the law of God. The moral law is binding on me still. What Paul is saying is in the course of our evangelism, we can't ignore the rule of righteousness that God has given us in his moral law, as summarized in his Ten Commandments. So if you want to put other gods before Christ in order to reach people with the gospel, the moral law says no. You want to worship God in a way that he has not appointed, especially by using carved images, the moral law says no. You want to take God's name in vain because you think it will help you get credit with the people you are trying to reach, the moral law says no. You want to break the Sabbath in order to reach someone extensively, the moral law says no. Dishonor your parents, no. Murder someone, no. Commits sexual immorality, no. Steal something, no. Bear false witness in some sense, no. Covet, no. The moral law is clear and is still binding. Paul is clear in saying whatever flexibility I have to reach people with the gospel, that flexibility ends when I come up against the moral law of God. But then he goes on. He says it's not the law of God, he says I want to tell you what kind of a law this actually is. I'm not outside the law of God, but I am under the law of Christ. What does he mean there? He's talking about the third use of the law. Again, not the first use where you look to the law and you actually see the mirror of the law showing you how sinful you are. He is saying I'm not looking at the law in that sense, I'm looking at it as someone who is in Christ, someone who is trusted in Christ. As someone who is in Christ in the sense that Christ has already fulfilled the law. So, when I'm talking about being under the law of Christ, I'm talking about looking at the law by the third use of the law; as a friend, as a guide. Teaching me how to please Lord in the way that I do evangelism. So, when we come up to the moral law, we must do what the moral law says not what we can imagine that might fudge the rules. Well, the third question; what do you do in cases where there is no law, has been no law on the books? 22 To the weak I became weak, that I might win the weak. I have become all things to all people, that by all means I might save some. 1 Corinthians 9:22 Paul picks up in verse twenty-two. Paul is talking specifically now about those whose consciences were weak about eating meat sacrificed to idols. In 1st Corinthians eight Paul said there, and he has more still stay, look there's no law on the books against eating meat. God hasn't forbidden you from eating meat. Understand in the situation we are talking about meat that has been sacrificed to idols, to false gods. Now again strong Christians with good consciences understand those idols do not represent true gods. So, there's no god somewhere out there that owns this meat. So, technically in some sense maybe you could eat this meat, although he has more to say about that in the next chapter. Here's the issue when weak people, people with weak consciences, it's bringing everything back from their former lifestyle where they were a living idolatrously. It was a part of their worship, a part of the way that they lived in rebellion against God. To eat this meat is not just to fill their bellies, it brings back everything about their lives lived in rebellion to the Lord. So Paul in 8:13 says 13 Therefore, if food makes my brother stumble, I will never eat meat, lest I make my brother stumble. 1 Corinthians 8:13 Now Paul explains to us why in 9:22. To the weak I lived according to their rules. I played according to their laws; not a law on their books but a law on their conscious'. I lived according to that so that I might win them to Christ. So here's the rule, if you want to summarize all of it, it's love. The law is love. The law of Christ is the law of love. Not necessarily the way that our culture defines love or the way we might define love in the selfishness of our hearts, but love as God revealed in his perfect rule of righteousness. I have become all things to all people, that by all means I might save some. 1 Corinthians 9:22b The Motivation That's Paul's methodology. But you might look at this and you might say, that's incredibly complicated. You mean I have to think that through every time I talk to somebody about the gospel? Why would he want to do this? Why would he want to complicate his life so much? Look at what Paul says in verse twenty-three, 23 I do it all for the sake of the gospel, that I may share with them in its blessings. 1 Corinthians 9:23 Paul wants to share the blessings of the gospel. You might say Paul, you are an apostle, I think you get a free pass on this point. You'll get the blessings of the gospel. What Paul is about to say is in fact no this is not guaranteed. 27 But I discipline my body and keep it under control, lest after preaching to others I myself should be disqualified. 1 Corinthians 9: 27, ESV Paul recognizes the hypothetical possibility that he might preach a big gospel and yet fail to enter into its blessings. What does that mean? There are two things you can rule out in this. The first thing that this doesn't mean is that Paul saying that there's something left for him to do to earn his salvation. God's done his part now I've got to do my part over here to make sure that I earned this. That's not what he saying, the scriptures everywhere declare that righteousness comes by grace through faith. Well then, the second thing that we can rule out is that Paul is saying that he could lose his salvation. However, the scriptures also testified that he who began a good work in us will be faithful to complete it one day. When Christ saves us he will finish the job. Those whom God calls God will persevere all the way to the end. That's not what Paul is talking about. Paul is saying, in fact he's recognizing this, and this is healthy, just thinking about this is one of the ways that God keeps us safe, is that we need to recognize that it is possible for people to believe that they believe, to think that they believe and yet to be mistaken about it. Where they've never actually trusted in Christ, even though they might say they do. Maybe they preach a big gospel, ministers are not exempt from this. Or maybe they're in the same church hearing the sermons week after week, but every time the Word is washing over them, they're not growing in more love and trust of Jesus. In fact what the Word is doing, because of the sin in their hearts, it's hardening them against the gospel, against wanting Christ as they grow hardened in their despising of the gospel. Paul is saying I want to stay as far away from that it's possible. I want what I'm preaching to be what I am depending on and trusting in. I want to trust in Jesus. Understand that we are given this gospel, not so that we can give lip service to it, but so that we can trust in it. Even demons trust that this is true and they shutter. We are called to trust that the blessings of Christ God has given in love for us, that's the difference. Paul is saying he wants to depend upon that and as an act of dependence upon that he wants to see everyone else hear the gospel and be enticed to the Gospel of Jesus through his ministry. The mark, the method, the motivation. Well, how do we apply this? Three applications as we consider this. Application 1. The first is what Paul said verse nineteen, use your freedom to serve others, “For though I am free from all I have made myself a servant to all.” Paul doesn't us his freedom for his own benefit or pleasure, he uses his freedom to serve others. Paul wrote the same thing elsewhere in Galatians 5:13 -14, 13 For you were called to freedom, brothers. Only do not use your freedom as an opportunity for the flesh, but through love serve one another. 14 For the whole law is fulfilled in one word: “You shall love your neighbor as yourself.” Galatians 5:13 -14, ESV You got the summary of God's righteous rule in the Ten Commandments. Then you have a summary of that summary in this one statement, “you shall love your neighbor as yourself.” So how do you use your freedoms? We talked about this even this year. How do you use your time? How do you use your talents? How do you use your treasures? These gifts that God has given to you, resources that God has given to you to expand your freedom. Are you using those freedoms to serve yourself or are you using those for the sake of others? For the sake of seeing other people come to know Jesus and for the sake of building up the body of Christ. Are they for you or are they for others? This is a question of the mark, the goal that you are pursuing. Is your goal really to see as many people come to know Jesus as possible? If you say yes to that question, then ask yourself how does your life reflect that answer? That's the first application, use your freedom to serve others. 2. Here's the second application, keep the law of Christ. What Paul laid out in 9:20-27 is a methodology where he's saying he's willing to do anything it takes, anything lawful that it takes to see people to come to know Jesus. If it's something that he has to observe the ceremonial law one day and let it go in the other, he's willing to do it because those things don't matter, only Christ does. He wants to fulfill the law of Christ; the law of Christ is the law of love. A moment ago, I read Galatians 5:14, that the whole law the whole moral law is fulfilled in one word, “you should love your neighbor as yourself”. Well a just a few versus later is the only other time in the New Testament where we read this phrase, “the law of Christ”. Here's what Paul writes in Galatians 6:2, 2 Bear one another's burdens, and so fulfill the law of Christ. Galatians 6:2, ESV The law of Christ is the law of love. That's what Jesus taught on the night before his betrayal in John 13:34, 34 A new commandment I give to you, that you love one another: just as I have loved you, you also are to love one another. John 13:34, ESV Paul wrote this in Romans 13:8-10, 8 Owe no one anything, except to love each other, for the one who loves another has fulfilled the law. 9 For the commandments, “You shall not commit adultery, You shall not murder, You shall not steal, You shall not covet,” and any other commandment, are summed up in this word: “You shall love your neighbor as yourself.” 10 Love does no wrong to a neighbor; therefore love is the fulfilling of the law. Romans 13:8-10, ESV Not the fulfilling of the first use of the law. You can't try to keep those commandments in order to be saved, to be justified by your keeping of the commandments. But love is the fulfilling of the third use of the law, where you recognize that only Christ can and has fulfilled this in my place on my behalf. But in Christ through faith, I see the law not as an enemy, but as a friend teaching me to love in the way that Jesus loved. This means two things. Number one we must let God define love, not our culture. If you went out here from today and talked with your neighbor, talked to the co-worker in the office, and you said hey I heard a sermon this morning or this weekend and it was about the fact that we should love one another. I don't care who it is that person is probably going to say fantastic, we all do need to love, that's an excellent message. Then if you say here's what love means as it's defined in the Bible the Old and the New Testament, they're going to say no you're a bigot, you are a hater, you're oppressive, you're backwards, you're foolish. In fact the more that we say that the scriptures tell us what is truly love, and not what is love warped by sin, we will be marginalized. We will be hated and opposed because the Bible's vision of love cannot stand with the culture's vision of love. It should not surprise us that the world hates us. Here's the second application, it's maybe a little more subtle, little more challenging. We must let God define love, not our own personal preferences. You see it's one thing to talk about the culture out there and aren't they terrible, yes, yes, yes. Understand this is about me, this is about my heart. In my heart I have so many ways of thinking that I know just the right way of fudging God's law. I think myself wiser than God so often, and you do too because all of us are infected with this corruption of original sin. We think we're so much wiser, and kinder, and more loving than God. I know you said this, but it'd be better if I did it like this. I know you've commanded that, but honestly what's the big deal? We think of God as too strict, too narrow, too boring. we may not say that out loud, but our actions too often reflect that mind set in our hearts. When Paul says that he's willing to do all things, he is not in the least justifying sin. Sin is defined by love, love is defined by the moral law which is revealed in the scriptures. He is saying this is what I do because this is love and this is what people need to know. Keep the law of Christ, in Christ, by faith, through grace. 3. The third application is this, live to share in the blessings of the gospel. Let me be 100% clear there is nothing you can do to earn or merit the blessings of the gospel. The gospel comes by the free grace of God through faith. You can't earn it, you can't increase it, you can't diminish it. God isn't waiting for you to add your part, even just 1%, to what Christ has done for you. The gospel announces that Christ died for guilty sinners who are entirely helpless, dead in our sins and trespasses, non-response toward the God who was speaking to us. But Christ died that while we were unrighteous and ungodly, so that he might bring us to faith in the power of his Holy Spirit. This is not a message of live to earn the blessings of the gospel. Instead the call of verse twenty-three, “I do it all for the sake of the gospel that I may share with them in its blessings.” If you want to share in it's blessings, the word of the gospel is believe in Christ for your salvation. We have to ask what kind of faith? The scriptures tell us that while faith alone saves, saving faith, true, active, living saving faith is never alone. If you have dead faith that doesn't produce little bit of love defined by the law, then you haven't actually experienced true faith. Again, even the demons believe in this way, they believe that is true but it doesn't change anything, they shutter, James 2:19. Now these works the works that we do, the works of love we do as we try to fulfill the law of Christ according to the third use of the law. Not to save ourselves, but as an act of thankful responsive, gracious love toward God. These don't earn us anything, but they are the fruits in the consequence of our salvation. Brothers and sisters, the question we have to ask ourselves is do I really believe in the Lord Jesus? Maybe this is the first time you've heard that Christ died for your sins. You have a vague awareness of the Christmas story, but you don't know what that baby came to do. Jesus Christ came to die in your place because you are a guilty sinner before him. Jesus Christ came so that you could be saved by grace through faith, not of yourself it is the gift of God. Not of yourself, not the works of law, so that no one can boast. But he did this for the good works that God prepared beforehand that we should walk in them. So that you could live just laid out according to the law.
Sharing is hard. In this episode, I am explaining why sharing can be such a struggle for young kids. I will also introduce the strategy that we use at home to handle sharing easily and effectively. Highlights Why it's so hard for kids to share Walk a mile in their shoes The Method: How do … SFP 12 : How Do I Teach My Kid To Share? Read More » The post SFP 12 : How Do I Teach My Kid To Share? appeared first on Simple Families.
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