Podcasts about Pale horse

We were delighted to welcome Seth Holehouse, host of the popular podcast Man in America, to The Breggin Hour. With over a million listeners dedicated to uncovering the forces reshaping our nation, Seth brings a thoughtful, big-picture perspective that resonates deeply with our own work exposing global predators. This wide-ranging conversation touched on the Epstein files, MKUltra, satanic ritual abuse, compromised elites, spiritual warfare, and the practical steps each of us can take to live freely in an upside-down world. As always, we encourage you to listen to the full episode for the complete exchange. The Epstein Files: A Crack in the Veil Seth first encountered the Epstein story years ago amid early discussions of Pizzagate, the Podestas, disturbing artwork, and high-profile figures like Bill Clinton. The more recent document releases struck a chord, especially with younger people encountering the horror on TikTok. “There are a lot of people that… look around and just have this sense that something's just not right with the world.” These awakening moments—whether from 9/11, COVID, or the Epstein revelations—pierce the illusions. Seth urges us to step back and take the broader view rather than getting lost in distractions or narrow slices of the truth. This aligns with our own experience: the more we step back and examine the complete picture, the clearer the patterns of predation become.  MKUltra, Survivor Testimony, and the Pyramid of Control Seth has conducted powerful interviews with survivors of MKUltra and satanic ritual abuse, including a dedicated series exploring these dark networks. These accounts reveal how compromise, blackmail, and ritual abuse serve as tools to control those who rise in elite circles. He draws on important works, including Fritz Springmeier's Bloodlines of the Illuminati, Jim Marrs ‘ Behold a Pale Horse, and especially Andrzej Łobaczewski's Political Ponerology. Łobaczewski, a Polish psychiatrist who survived both Nazi and Communist regimes, studied how pathological personalities—particularly psychopaths and character-disordered individuals lacking conscience and empathy—infiltrate and corrupt institutions. This leads to pathocracy, or “rule by evil,” where a small minority of disordered people seize power, distort ideologies, and promote their own kind. The process, called ponerization, gradually transforms normal groups into pathological ones through infiltration, blackmail, and twisted moral justifications (paramoralisms). Visible politicians, celebrities, and CEOs often serve as puppets in a modern Allegory of the Cave, while real power lies higher up within protected bloodlines and networks. Compromise—frequently involving the abuse of children—ensures loyalty. This framework helps explain the spread of evil at the highest levels and why left-right political theater so often distracts from deeper systemic pathology. As Seth's survivor interviews illustrate, these mechanisms are not abstract—they destroy lives and souls. Facing this kind of evil is not easy. Ginger noted how confronting the Epstein files broke her heart and made it difficult to continue looking for a time. Peter connected it to his lifelong reform work protecting children and the vulnerable from institutional and psychiatric abuse. Spiritual Warfare and the Choice Before Us We see these issues as fundamentally spiritual—a testing ground where individuals and societies must choose virtue, love, and truth over base appetites and predation. Seth, raised in a Christian home with an emphasis on simply being a good person, describes a predator-prey dynamic operating at elite levels. Peter and I shared reflections on our partnership, including the challenges of Peter's stroke and his remarkable recovery through hyperbaric oxygen therapy and other supports. After decades together fighting for patients and human freedom, we know the sustaining power of love and mutual commitment in the face of darkness. Spotting Controlled Opposition and Questioning Authority Seth offered practical wisdom for navigating today's information landscape—wisdom we have learned through hard experience: Heavy focus on left-right political divides often serves the control grid by keeping people distracted and divided. Beware influencers who shut down discussion of “forbidden” topics or demand unquestioning loyalty. Prioritize sources with evidence and receipts rather than vague “secret intel.” Maintain an open mind and even question your own assumptions. “It's my moral duty to question everything… even to question my own beliefs.” This spirit of honest inquiry is essential. As we have seen time and again, real reform begins with refusing to accept surface narratives and insisting on truth. Prep Like Noah: Returning to Human Living Living near a major population center, Seth speaks from experience about preparedness—not driven by fear, but by a return to traditional, responsible ways of life. His forthcoming book Prep Like Noah and the new private community The Ark (buildthearc.com) focus on self-reliance in food, energy, homeschooling, and community. The coming “flood” may involve digital IDs, surveillance, engineered shortages, and expanding tyranny. By reclaiming control over the essentials of life, we become less vulnerable. Like Noah, we build what we can control and allow pathological systems to collapse under the weight of their own evil, incompetence, and infighting. Peter found Seth's grounded, calming perspective especially helpful. We agree: returning to authentic human connection, family, and stewardship is one of the strongest defenses against the demoralization that global predators promote. Final Thoughts Conversations like this remind us that while the forces arrayed against humanity are formidable, truth-seeking, moral courage, strong families, and practical action offer real hope and freedom. We are grateful to Seth Holehouse for joining us and look forward to future discussions. Connect with Seth Holehouse: Website: SethHolehouse.com Podcast: Man in America Book & Community: Prep Like Noah / BuildTheArc.com Conversations like this remind us that while the forces arrayed against humanity are formidable — truth-seeking, moral courage, strong families, and practical action offer real hope and freedom. We are grateful to Seth Holehouse for joining us and look forward to future discussions. ______   Learn more about Dr. Peter Breggin's work: https://breggin.com/   See more from Dr. Breggin's long history of being a reformer in psychiatry: https://breggin.com/Psychiatry-as-an-Instrument-of-Social-and-Political-Control   Psychiatric Drug Withdrawal, the how-to manual @ https://breggin.com/a-guide-for-prescribers-therapists-patients-and-their-families/   Get a copy of Dr. Breggin's latest book: WHO ARE THE “THEY” - THESE GLOBAL PREDATORS? WHAT ARE THEIR MOTIVES AND THEIR PLANS FOR US? HOW CAN WE DEFEND AGAINST THEM? Covid-19 and the Global Predators: We are the Prey Get a copy: https://www.wearetheprey.com/   “No other book so comprehensively covers the details of COVID-19 criminal conduct as well as its origins in a network of global predators seeking wealth and power at the expense of human freedom and prosperity, under cover of false public health policies.”   ~ Robert F Kennedy, Jr Author of #1 bestseller The Real Anthony Fauci and Founder, Chairman and Chief Legal Counsel for Children's Health Defense.  

parapolitical radio, Alan Berg, Berg's depiction in film, Betrayed, Talk Radio, The Order (2024), Berg vs. Howard Stern, Berg's on-air fights with anti-Semites, Berg's 1984 assassination, Robert Jay Matthews, David Lane, The Order, Candy Jones, what happened to Candy Jones, UFOs, Coast to Coast AM, William Milton Cooper, Hour of the Times, did Cooper rip off Emory?, Cooper's use of "sources," Cooper's legacy, the WWE-ification of parapolitical radio under Cooper, Behold a Pale Horse, Pale Horse and US prisonsDave's Patreon:https://www.patreon.com/DaveEmoryMusic by: Keith Allen Dennishttps://keithallendennis.bandcamp.com/ Hosted on Acast. See acast.com/privacy for more information.

BREAKING THE FOURTH SEAL - 06.03.2026 - #946 BestPodcastintheMetaverse.com Canary Cry News Talk #946 - 06.03.2026 - Recorded Live to 1s and 0s Deconstructing World Events from a Biblical Worldview Declaring Jesus as Lord amidst the Fifth Generation War! CageRattlerCoffee.com SD/TC email Ike for discount https://CanaryCry.Support   Send address and shirt size updates to canarycrysupplydrop@gmail.com Join the Canary Cry Roundtable This Episode was Produced By:   Executive Producers Sir Jamey Not the Lanister Gumbrate Cage Rattler Coffee*** Sir LX Protocol Baron of the Berrean Protocol***   Producers of TREASURE (CanaryCry.Support) Adele T, Rebecca T, Dame Tinfoilhat, Sir Casey the Shield Knight   Producers of TIME Timestampers: Jade Bouncerson, Morgan E Clankoniphius Links: JAM   SIR IKE MEGA BOX GIVEAWAY - Rating/Review, screenshot, send to Sir Ike CanaryCrySupplyDrop@gmail.com   RE-ENCHANTMENT 17:34 We Are Sliding Back Into the Middle Ages (NY Times)   EXECUTIVE PRODUCERS 1:12:06   BIBLICAL/PALANTIR/POPE 1:26:44 Peter Thiel Vs Pope Leo, Silicon Valley and the Vatican battle over real antichrist (NY Post)   TICKS/BEAST SYSTEM 1:50:28 Outrage as Google plans to release 64 MILLION bacteria-infected mosquitoes in two US states: 'This must be stopped' (DailyMail)   Outrage as scientists push to create ticks that spread red-meat allergies: 'Isn't this biological terrorism?' (DailyMail)   WORMICORN Tardigrades reveal extreme heat-blocking survival trick while in tun state (Phys.org)   PRODUCERS 2:11:8 END 2:17:34

Send me a DM here (it doesn't let me respond), OR email me: imagineabetterworld2020@gmail.comWilliam "Bill" Cooper's lectures on his 1991 book, Behold a Pale Horse, are seminal pieces of conspiracy theory literature where he discusses his research into what he termed the "secret government". A prominent recording often cited as the primary lecture was delivered in February 1991 in Atlanta, Georgia, shortly after the book's release.CONNECT WITH EMMA:YouTube: https://www.youtube.com/@imaginationpodcastofficialRumble: https://rumble.com/c/TheImaginationPodcastEMAIL: imagineabetterworld2020@gmail.com OR standbysurvivors@protonmail.comMy Substack: https://emmakatherine.substack.com/BUY ME A COFFEE: https://www.buymeacoffee.com/theimaginationVENMO: @emmapreneurCASHAPP: $EmmaKatherine1204All links: https://direct.me/theimaginationpodcastSupport the show

Send us Fan MailAnd now for something completely different.  In its 38th episode, the Great American Novel Podcast throws away its foundational genre with no more regard for decorum than cats and dogs shacking up in sheer defiance of the apocalypse. In this episode we instead consider a host of short story collections held to be so coherent, so cohesive, and so excellent that they are often considered as novels.  We ponder: are these books novels?  Are they greater than the sum of their parts?  Are they worthy of their places in the canon? Your hosts consider and discuss Wineberg, Ohio, by Sherwood Anderson; In Our Time, by Ernest Hemingway; Cane, by Jean Toomer; Pale Horse, Pale Rider by Catherine Anne Porter; Go Down, Moses by William Faulkner; Love Medicine, by Louise Erdich; and The Things They Carried, by Tim O'Brien.  All opinions are the hosts' own and do not reflect the points of view of their employers, publishers, relatives, pets, or accountants. All show music is by Lobo Loco.  The intro song is “Old Ralley”; the intermission is “The First Moment,” and the outro is “Inspector Invisible.”  For more information visit: https://locolobomusic.com/.

Gerald Weston - TVCA1413 - In a previous program, we discussed the meaning of the 1st and 2nd horsemen of Revelation. Discover the true meaning of the two remaining horses and their riders. The black and pale horses reveal startling events that will occur in the near future!

Dive into the mind-bending world of The Other Side of Midnight, where host Lionel tackles the ultimate questions of extraterrestrial life, government deception, and the absolute death of human curiosity. This episode explores explosive claims that rogue government actors are plotting a staged, fake alien invasion designed to manufacture fear and justify a one-world government. Lionel also breaks down wild congressional rumors of alien-human hybrid breeding programs, theories about AI being the modern Antichrist, and the timeless conspiracy warnings found in William Cooper's Behold a Pale Horse. Featuring a highly entertaining lineup of callers—from a stubborn skeptic who just got fired from an orange juice factory to a man absolutely convinced that aliens are secretly controlling the US dollar—this episode asks: are we being visited by cosmic entities, or are we all just too lazy to look up the truth? Learn more about your ad choices. Visit megaphone.fm/adchoices

What a delight to talk to laura thompson about Agatha Christie. Above all, this episode was fun. Laura really does know more than anyone about Agatha and we covered a lot. What did Agatha Christie read? What did she love about Shakespeare? Was she pro-hanging? Why so much more Poirot than Marple? Why was she so productive during the war? We also talked Wagner, modern art, the other Golden Age writers, nursery rhymes, TV adaptations, poshness, nostalgia, Mary Westmacott, and plenty more. TranscriptHENRY OLIVER: Today I am talking to the very splendid Laura Thompson. All of you will know Laura's Substack. She has also written books about the Mitfords, heiresses, Lord Lucan, many other subjects, and most importantly today, Agatha Christie, who died 50 years ago. And there's a new book coming from Laura about Agatha Christie's 1926 disappearance.Laura, welcome.LAURA THOMPSON: So lovely to be here, Henry. I'm such a fan of your Substack, as you know.OLIVER: Well, same. Same. This is a mutual admiration call.THOMPSON: Well, thank you. Well, that's what we like.Christie's Favorite WritersOLIVER: Now tell me, what did Agatha Christie like to read?THOMPSON: Oh, a lot the same as us. I discovered she was a huge fan of Elizabeth Bowen, as we are. And Nancy Mitford, Muriel Spark. But her big love really was Dickens. She absolutely adored Dickens. I mean, she grew up in a house full of books, you know, and she wrote a screenplay of Bleak House for which she was handsomely paid. And it was never—I know, don't you long to know what that was like? Can you imagine—OLIVER: We've lost it? We don't have the typescript?THOMPSON: I've never seen it. I mean, maybe—I don't know whether it exists somewhere. But I just wonder how she tackled it, what she did. But yes, so that happened. And of course, Shakespeare, as we know from her books, which are full of subliminal and—I mean, you kind of notice them, but you don't have to.OLIVER: Yes. There's Shakespeare in every book?THOMPSON: No, but it's there, particularly Macbeth, which I suppose figures.OLIVER: Yeah.THOMPSON: Like The Pale Horse is completely Macbeth themed. And when I was a kid reading them, I think she really—Tennyson she uses a lot—she affected my reading in a good way.OLIVER: She sent you back to Shakespeare and the poets?THOMPSON: Well, sent me to them as a kid, probably. And also, there's a lot of Bible in her books, as I'm sure you've noticed.OLIVER: Yes. Yes.THOMPSON: Very easy facility with quoting the Bible.Christie and ShakespeareOLIVER: Now, what did she learn from Shakespeare? Because she clearly knows the plays in detail. She sees them a lot. She reads them. She and he are, I think, quite good plotters.THOMPSON: Is she even better than he is?OLIVER: Well, let's not get into that. But there is a sort of, in a funny way, a kind of affinity between them as writers.THOMPSON: That's so interesting.OLIVER: What do you think she learned from him?THOMPSON: Tell me how you—how you see that.OLIVER: Well, do you know that Margaret Rutherford adaptation, which probably you don't like and I do—THOMPSON: Go on.OLIVER: It's called Murder Most Foul, isn't it?THOMPSON: Yes.OLIVER: And there's something about the way that they can both walk the line between the sort of dark and deadly and the histrionic. Margaret Rutherford can't walk that line, but Agatha Christie can, right?THOMPSON: That's really interesting.OLIVER: And Miss Marple could come onstage in a couple of the plays. She's not so far off from being a Queen Margaret or some—in her angry moments maybe, do you think?THOMPSON: More rational, maybe.OLIVER: Much more rational.THOMPSON: Not so mad. Well, she's not mad, Margaret, is she? But she's upset.OLIVER: She starts off as a much sort of nastier character—Murder at the Vicarage, right?THOMPSON: Yes, she does. She was more acidic and then gradually—OLIVER: Waspish.THOMPSON: Waspish, and sort of mellowed. I see what you mean. And almost in the way that she calls herself—although that's obviously not Shakespeare—calls herself Nemesis.OLIVER: And the sense of atmosphere.THOMPSON: Yes, and the way they're structured. That's not necessarily just true of Shakespeare, but there is this sort of act three entanglement and this beautiful act five resolution that goes on with a soliloquy, I suppose.OLIVER: And some people think they both get confused in act four, but that's obviously not true, that this is the real mess of the plot. I think she might have learned quite a lot from Shakespeare, right?THOMPSON: That's really interesting. But, you know, the way she writes about Shakespeare in her letters to her second husband, Max, because when she was living in London during the war and almost at her most productive—I mean, her productivity levels are insane. And hitting every ball for six, really, you know: Towards Zero, Five Little Pigs, a couple of Westmacotts, which I'm sure we'll talk about. But she spent a lot of time going on her own to see Shakespeare.She's very—I hope I'm right in saying this—she's very sort of Ernest Jones [CB1] in her approach. She doesn't regard them so much as the products of words on a page; she regards them as rounded characters. Why were Goneril and Regan the way they were? What's wrong with Ophelia? You feel like saying, “Well, whatever Shakespeare wanted it to be,” but she sees them in that way. And Iago particularly—OLIVER: Yes.THOMPSON: —is the one that gets her. Yes. In one of her, I better not say which, but a major, major novel.And the book that she wrote under the name Mary Westmacott, The Rose and the Yew Tree, which I think might well be her best book of all. I think—well, I'll just say she wrote these six books under a pseudonym, Mary Westmacott. People call them romantic novels; that's sort of the last thing they are. And they're very, very interesting mid-20th-century human condition novels, and they're full of lots of stuff that she had to distill for the detective fiction. And she talks a lot about Iago in The Rose and the Yew Tree really interestingly, I think.Christie on Shakespeare?OLIVER: Now, Max said she should just write a book about Shakespeare, all this Shakespeare all the time. But she didn't. Why?THOMPSON: No. I don't think she ever liked being told what to do.OLIVER: [laughs]THOMPSON: His letters to her are quite annoying, aren't they?OLIVER: Yes, yes. I've only read what's in your book, but yes, I didn't warm to him.THOMPSON: I'm glad because people do. He gets a really good press even though he was unfaithful. But it worked, the marriage, because they both got what they wanted from it. But he said that, yes, and she says, “Oh no, they're just thoughts for you.” I don't think she would've felt the need, somehow. I think she liked saying things in her own more oblique way.OLIVER: Save it for the novels.THOMPSON: Yes, she's a great mistress of the indirect, I think, really. The way she writes about Macbeth in The Pale Horse, which I think is a really underrated novel, including thoughts on how it should be staged, which are really interesting and very, very good. I think she would've preferred to do that and use it to her ends.And of course, she has an incredibly powerful sense of evil, which I suppose is also in Shakespeare. Hers is a Christian sensibility, I mean, no question. People never talk about that, but it really is.OLIVER: Was she pro hanging?THOMPSON: Well, I think she took a kind of utilitarian approach that the innocent must be protected. And she took a view that if you've killed once, it becomes very easy to kill again because something in you has shifted, so you become a danger to the community. So I suppose in that sense she was.I mean, Miss Marple was. She's quite—“I really feel quite glad to think of him being hanged.”OLIVER: It's one of her most striking lines.THOMPSON: It is, isn't it?OLIVER: Yes.THOMPSON: So I suppose she was. I mean, I suppose she was. You know, she's very modern, she's very subtle in her thinking, but at the same time, she is a late Victorian product of her society. Yes.Dickens and Christie's FamilyOLIVER: Now, you mentioned this Bleak House script. She loved Bleak House. Do we know what she loved about it? It's obviously the first detective novel. Are there other factors?THOMPSON: You are going to know—this is when I'm going to start coming across as an idiot. Is it written before The Moonstone? Yes, of course it is.OLIVER: I think so. Yes. Yes. It's the first time there's a police detective in a major English novel.THOMPSON: Okay. I think she—do you know, this is a really good question. I don't actually know why she loved Dickens so much. She grew up—she had that rather intriguing upbringing whereby she had two much older siblings, a sister who was 11 years older, a brother who was 10 years older. Father died when she was 11.So she grew up incredibly close with a really rather intriguing mother, Clara. This is in the house at Torquay. And her mother encouraged her in a way that, it seems to me, quite unusual for the time and for the class to which she belonged. Because it was never deemed that it would interfere with her marrying and leading a more conventional life. But she always wanted to express herself creatively. And I think her mother possibly was a frustrated creative. I don't know. She had a lot of go in her.And whether it was just something she read with—I think anything she did at an early age with her mother would've made a huge impression on her. I think what you read when you're that age, you never quite—I never read Dickens at that age, so I've never quite got the habit.OLIVER: But if she's born in 1890, presumably her mother is just about old enough to have been alive when Dickens was alive. And so she's got a somewhat direct—THOMPSON: Yes, she was.OLIVER: You know, it's sort of back to the original culture of it, as it were.THOMPSON: Yes. Isn't that extraordinary?OLIVER: Yes. Yes. It's crazy to think. So she must have taken it in maybe in a more original way, somehow?THOMPSON: Possibly. Certainly Tennyson, I get that feeling, because her mother wrote this rather leaden sub-Tennysonian poetry. [laughter] It's like Tennyson on the worst day he ever had, but worse than that.OLIVER: But worse, yes.THOMPSON: Yes. And she wrote poetry like that, the mother, which is really rather sweet and touching to read. And obviously she would've been alive at the same time as Tennyson. So, yes, I'd never, ever thought of that before. Isn't that extraordinary? I mean, they went to see Henry Irving.OLIVER: Yes.THOMPSON: Yes. And yet she feels—it just amazes me, this—so I'm leaping slightly here, but this 21st-century halo of cool that she has around her, Agatha Christie. [laughter] I know, it's awful in a way, but the way she can be reinterpreted—that is a bit Shakespearean, in a way.I don't mean to make extravagant claims, but there's a sort of translucent quality to what she writes that means that people can impose and pull it and twang it and know that she won't let them down, as we are seeing constantly at the moment.Art and MusicOLIVER: Yes. No, I agree. Other arts—we know about all this, she loves reading. What music did she enjoy, for example? Did she like paintings?THOMPSON: Yes, she loved paintings. She liked modern art. She was painted by Kokoschka. It's very good. And she writes about modern art. In Five Little Pigs, the painter in that is a modern artist.And then music was her grand passion. I mean, music was her original career choice, as you know, of course. She must have had a good voice. She thought she could make a career of it. And she could play the piano. Beautiful piano at Greenway, it's still there.And they used to do this thing—I think it's a lovely idea—as a family. They would fill in what they called the book of confessions, and it would be questions like, “What is your state of mind? If not yourself, who would you be?” And at the age of 63, which is the last time she filled it in, she wrote, “An opera singer.” So that was still what she would've dreamed of doing. She loved Wagner very, very deeply.OLIVER: Okay. Interesting.THOMPSON: And there's a Wagner theme in a very late book, Passenger to Frankfurt, the one that everybody hates except me. And music, I mean, as a girl when—so her voice wasn't strong enough for opera. I think her ultimate—same as I grew up wanting to be a ballet dancer, I think her ultimate would've been to sing Isolde at Covent Garden.And in some of her short stories and in her first Mary Westmacott, which is called Giant's Bread, which is about a musician—and she really inhabits this character, Vernon, and it's all about modern music. And somebody who knew about this stuff, which I don't, told me, “No, she knew. She knew what was going on. She knew about the trends.” This is in the late twenties.And she always went to Beirut, and that was her real, real, real passion. She was one of those restlessly creative people. And her mother, God bless her, encouraged it.Christie's UniquenessOLIVER: What is it that distinguishes her from the other detective fiction writers? Because she doesn't, to me, feel—she's obviously part of this whole generation, this whole golden age, whatever you want to call it, but she doesn't feel the same as them somehow.THOMPSON: No.OLIVER: What is that?THOMPSON: Do you think it's her simplicity, that distilled simplicity that she has? She doesn't write linear; she writes geometric, I always think.OLIVER: Tell me what you mean.THOMPSON: Well, if you think of a book, the one I admire the most, as I constantly go on about, which is Five Little Pigs—you think about the amount of stuff that's in that book. It's a meditation on art versus life. The solution is unbelievably intriguing, I think. There's a whole family psychodrama in there. And every move of the plot, she's also moving on a—every move of the plot is impelled by a revelation of character. So plot and character are utterly intertwined, distilled together.I don't think any of the others can do that. I think Dorothy Sayers would take twice as many pages. And she'd dot every i and cross every t, and she couldn't bear loose ends or anything, could she? And she liked to reveal her knowledge of other things, almost to—I think the others like you to know that they're a bit better than the genre, maybe. Their detectives are superhuman, almost; wish-fulfillment man, almost.She doesn't do that with Poirot. He's just pure omniscience, really, plus a few tics and traits and, you know, mustache. I think it's that distillation and simplicity and the way she inhabits the genre in a way that the others don't quite do. And at the same time, she's redefining it from within.OLIVER: There's something as well, I think, about—she gets past the kind of Sherlock Holmes model in a different way. They still all have a bit of an overreliance on that, maybe.THOMPSON: Yes.OLIVER: Whereas Poirot in, what is it? In something like, is it Murder in the Mews? Very sort of Sherlock and Watson—THOMPSON: Yes.OLIVER: —kind of dynamic. But within, I don't know, two or three novels, that's gone, and he's Poirot as we know him, as it were.THOMPSON: Yes, yes.OLIVER: And she kind of, as you say, makes it her own thing and goes off in new directions.Christie and the TheaterTHOMPSON: Yes. She's sort of conceptual and the others aren't quite, I think. She doesn't do—she does something completely different with the whole concept of what a solution is, it seems to me. She doesn't—it's not Cluedo, is it? It's not, there's six of them, and eventually it has to be one of them; however many tergiversations or however you say that word, you sort of know that. Whereas with her, it's: it's nobody, or it's everybody, or it's the policeman, or it's a child, or there's something bigger and bolder going on.And she writes—I think she writes very theatrically. I think she writes scenically. I think she's incredibly good at character and action. That scene where you know the girl's a thief because Poirot leaves out 23 pairs of silk stockings, and he goes back in the room and there's 19 or something like that, tells you everything. It's all in there.OLIVER: The solution to 4.50 from Paddington, which we shan't reveal, but—THOMPSON: That's Cards on the Table. But what I mean is, she's given us a little scene that tells us all we need to know about that person, really: a sort of timid thief who can't resist—OLIVER: Yes, but that's what I'm saying. At the end of 4.50, the solution is staged.THOMPSON: Oh, sorry. Yes.OLIVER: It is literally a little re-creation of the drama, if you see what I mean.THOMPSON: Yes, I do. Sorry, Henry. Yes, absolutely.OLIVER: No, no. We're crossed wires.THOMPSON: Yes, yes, yes.OLIVER: But she is very theatrical, yes.THOMPSON: No, you are absolutely right. That's a reenactment.OLIVER: Of something that was seen almost like in a—you know, the whole thing is very—THOMPSON: Yes, yes. Well, she was a great—I mean, obviously Shakespeare, but she was a great lover of the theater as a medium. And of course, she wrote plays, as we know, which I think are far weaker than her books, myself.OLIVER: Even The Mousetrap?THOMPSON: Especially. [laughter] When did you last see it? Or have you not—OLIVER: I've seen it once. I've seen it—you know, I don't know, before I had children, a long time ago. And I thought it was great. It was a lot of fun. The ending of act one, when someone opens a door and they say, “Oh, it's you.” It's very dramatic moments. You don't like it?THOMPSON: No, I think you're right. I wouldn't mind seeing it done really, really well. There's something strong at the heart of it, that theme that haunts a lot of her books about what happens to children who are unwanted.OLIVER: Yes.THOMPSON: Which is in loads of her—no, not loads. It's in Ordeal by Innocence. It's in Mrs. McGinty. That's, I think, because that happened to her mother. Her mother was given away as a child. Her own mother was a poor widow and gave up her daughter to be raised by her rich sister, which is not—it's not abandonment, but I think—OLIVER: Well, yes.THOMPSON: — it's not great. And I think all these things were absorbed by Agatha as a child. She grew up in what we would today call a house of—I hate this—strong women. I hate that “strong woman” thing, but they were strong women. Her mother was very, you know, as we've said, a sort of driving little person. And the rich grandmother, the poor sister, the dynamic there, they both fed into Miss Marple.And then her older sister, Madge, who was a big personality and actually had a play on in the West End before Agatha did, which I've always thought was extraordinary, just to write a play and have it on in the West End in 1924.And the men were—the father was feckless and charming and a rather grand New Yorker, he grew up as, and then settled in Torquay. And the brother was the Branwell Brontë. [laughter] He ended up a drug addict, which is also a type that feeds into her fiction: the man who could have made something of his life and goes wrong.The TV AdaptationsOLIVER: So all this theatricality in the books is obviously why she adapts so well to TV, and again, a lot of the others don't.THOMPSON: Yes, that's true.OLIVER: How famous would she be now without the TV adaptations?THOMPSON: Well, by 1990, so the centenary, she was a hell of a lot less—and that's really when the Poirots got going, which she never wanted. She never wanted—she didn't really want Murder on the Orient Express. It was only because it came via Lord Mountbatten. I don't know. I don't know because I think they're mostly not very good. I don't know what you think about the adaptations. But maybe that's deliberate, that they're less—if they drove you back to the books, you'd probably get quite a pleasant surprise.OLIVER: It's hard for me to say because I saw them all more or less after I'd finished reading her.THOMPSON: What did you think?OLIVER: I love Joan Aiken—not Joan Aiken, what's she called?THOMPSON: Yes, Joan Hickson is marvelous. Yes, absolutely.OLIVER: Hickson. I think she's just perfect because as you say, the simplicity, the not overstating. The “Pocketful of Rye” episode where she turns up and quotes the Bible, and the vicious older sister is there, and they have that moment. It's all so cleanly done.THOMPSON: Yes, I agree.OLIVER: David Suchet, I quite like him. I think he has those wonderful moments. “I cannot eat these eggs. They are not the same.” I think that's very good. It's very funny, you know, he gets it.THOMPSON: You prefer him in spats and art deco mode to when he became—he became like a de facto member of the House of Atreus by the end, hadn't he? It had gone very, very—OLIVER: I mean, I certainly didn't watch them all, no, no.THOMPSON: No. Well, I sort of had to.OLIVER: Yes, you did.THOMPSON: But I could never get through those short story ones. I don't think I've ever got—OLIVER: The moral sort of doom of it all, yes.THOMPSON: Well, the early ones, when they always had—you could see they'd hired a car for the day. [laughter] And I don't think I've ever got to the end of one of those.But I think—sorry, going back to your question, I think they probably did make a massive difference. You know, they're really, really popular. And whether she would have—what you think her—she might be read as much as somebody like Sayers if it weren't for all those adaptations. But then the fact of all those adaptations tells its own story in a way, because that wouldn't happen to one of the others, as you rightly said.Resurgence and PopularityOLIVER: No, they don't have that quality. And also, she was bigger than them. That's why they picked her, because she was bigger than them anyway.THOMPSON: And simpler. Because when I used to read them at university between the pages of Beowulf or whatever, like porn, [laughter] it was a bit mal vu. You read her for entertainment. But you certainly—I don't think—she's always been admired by a certain kind of French intellectual, hasn't she, for that subtextual quality that she has, that sort of fathomless quality that she has.But when I researched that biography, which I started in 2003, I can remember going on the radio. And names will not be named, but I was like a figure of fun with a couple of other detective writers, quite well known, who just sort of openly mocked me for taking her seriously and more or less said, “Oh yeah, we love her, but she's terrible” kind of thing. “Why are you taking her seriously?” I mean, it was regarded as a bit of a joke to take her seriously.I'm not saying I changed the game or anything like that, but I think there must have been a movement around that time in the early twenty-naughties—whatever the damn thing, decade's called—to start seeing that she is an interplay of text and subtext, facade and undercurrents, and these powerful foundations that underpin her books. Murder on the Orient Express is, you know, “Does human justice have the right to exert itself when legal justice has let it down?”There are these very strong—I think this is part of why she's survived the way she has. We intuit powerful truths underneath the Christie construct, if you like. I always say she's not real, she's true. I think she's incredibly wise about human nature, possibly more than any of them.You take a book like Evil Under the Sun, and there's a femme fatale who's murdered. “Oh, the femme fatale. No man can resist her.” Turns out she can't resist men. She's prey; she's not a predator. And of course, women who are so dependent on their looks and so on, that is what they are. They are prey. They're not predators. They're very, very vulnerable. Just a really small thing like that. And I just think, oh, you're very—there's so much easy wisdom in there somehow.And she deploys it perhaps differently—I mean, Ruth Rendell is wise, but it's very, “I am wise and you're going to pay attention to me.” You know what I mean? It's all very, “I'm very dark and very wise and very,” you know. I love her, but everything's so easy with Agatha. It's so, to coin a phrase, two tier. You can read them and have fun with them. You can read them and there's so much stuff going on underneath, and yet she presents this smooth face. I don't think any of the others are quite that resolved, if you like.Self-AdaptationsOLIVER: Now, you wrote that her own stage adaptations of The Hollow and Five Little Pigs lack the subtlety of the original books, quote, “almost as if Agatha herself did not realize what made them such good books.” How much of her talent do you think was unconscious in that way?THOMPSON: Yes. That's such a good question. I do think that, about those plays, it could have been that she just thought, “That's not what my audiences are going to want from me. They're just going to want to be entertained by”—we know she can do the other thing because of her Mary Westmacott books, where everything is laid out. They're not distilled at all; they're quite the opposite.I think they must have been such a pleasure for her to write because she didn't have to constantly—they're unresolved; they ask questions that don't have to be answered. She could have done that with those plays, I'm sure, but I think she would've thought people aren't coming to see them for that. I think she had a very good opinion of herself, in the best possible way.OLIVER: Hmm.THOMPSON: Like I said to you earlier, she didn't take a lot of notice of anything anybody said to her. Because it is like writing this other little book, the one I've just done about 1926. She was very acclaimed right from the start. I didn't emphasize that enough in the biography. And she was really recognized as very special right from the start.And I think it's extraordinary to me how—it's so difficult for us today, isn't it? We're so at the mercy of “That won't sell, don't do that, blah, blah, blah.” She really did not just plow her own furrow, but create that furrow in a way that you can only compare with, like, Lennon and McCartney. Or whether the time was absolutely right that they let her run, they trusted her to do what she wanted, and because she had the gift of pleasing readers . . .You do really feel, although those books are very tight and taut, you do feel an instinctive ease in what she's doing, an instinctive sort of—there's a kind of liberated—which sounds perverse because they are so controlled, the books. But I always feel she's doing exactly what she wants to do because she knows what it is and she knows how to do it. Because I think, would she be amazed that you and I are having this conversation now? I don't know that she would be, really. What do you think?OLIVER: No, I agree with you. I think she had what Johnson said, the felicity of rating herself properly. I think she knew she was really good.THOMPSON: You might know he'd say it right.OLIVER: Yes. [laughs] But there's a—I think there must have been something about—I think it's in Poirot's Christmas, one of those, where someone gets killed in the night in their bedroom, and they go up. And one of the women says, “Who would've thought the old man had so much blood in him?”And the quotation just sort of occurs to—I think there's quite a lot of that in Christie, right? Things are coming up and it fits. And she's good enough to run on instinct at times.THOMPSON: That's right. That's it. Exactly. That's absolutely right. Like the way she quotes from the—yes, I love the bit when she quotes from the Book of Saul in One, Two, Buckle My Shoe, which is really quite a profound novel about whether—I mean, it's terribly timely—whether it's better to be run by a corrupt capitalist or to let in the radicals. And as I said in the biography, the corrupt capitalist wins on points. But then another element enters, which is what power does to people. And that's when she quotes from the Book of Saul.And it's just like you said, this—an instinctive that she—I do always feel her as an instinctive writer, even though—her notebooks are intriguing because obviously some plots she really has to work away at. And yet they feel felicitous. A coup like The ABC Murders, and she's really—that went through lots and lots of iterations. But what she'll often do is scribble down a line of dialogue, a line of “There they are.” It's the whole—it's not bullet points, which is a loathsome concept. It reminds me of a bee going from flower to flower and knowing exactly which—and she's got this gift of knowing what flowers we're going to need.I sometimes fear I overdo it. I don't want be like one of those people who's writing a PhD on, what was the thing I said on Substack, gynocracy in St. Mary Mead or whatever. It's not—I do think that's a bit overdone these days, the rummaging in the subtext, because she's an interplay. And that's why I write that chapter in the book called “English Murder,” which is about the facade, you know, “smile and smile and be a villain.” And there's nothing more interesting. There's nothing more interesting than murder among classes who are trying to cover things up.And she does that—that's at the heart of golden age murder, I suppose. And I just think she does that better than anybody because she's so all the things we've been talking about. She's so distilled, she's so simple, she's so smooth, she's so instinctive. And she's doing it the way she wanted to do it because of your wonderful Dr. Johnson quote. She knew not to take notice of other people, including her—Quick Opinions on ChristieOLIVER: Should we have—THOMPSON: Yes. Go on.OLIVER: Sorry, sorry. Should we have a quick-fire round?THOMPSON: Please.OLIVER: I will say the name first of a few of her books—THOMPSON: Oh, god.OLIVER: —and then a few other detective writers, and you will just give us your unfiltered opinion: good, bad, ugly, indifferent.THOMPSON: Okay. What fun.OLIVER: You can “nothing” them if you want to.THOMPSON: Okay. [laughter]OLIVER: Hallowe'en Party.THOMPSON: Underrated. Very interesting on sixties counterculture and the effects of societal breakdown, et cetera. What do you think?OLIVER: I think it's a real page turner. I remember reading that for the first time. I loved it. Yes. Nemesis.THOMPSON: I can't keep saying the same thing. Underrated. [laughter] Very interesting philosophy of love in that book, I think. I think it harks back to her first marriage. However badly it turns out, it's better to have experienced it. It's quite a mournful novel.OLIVER: The Mr. Quin—THOMPSON: Oh.OLIVER: Oh, sorry.THOMPSON: No, no. Sorry. You carry on. Marvelous. So inventive, don't you think? Such a clever character.OLIVER: Why didn't she do more of him?THOMPSON: Yes, that would've been good. And she was always interested in the commedia dell'arte. She wrote poems about it as a girl. And the concept of Mr. Quin, yes, as this sort of evanescent figure who's also a moral force, isn't he really? Or—yes, I wish she'd done more. They're marvelous.OLIVER: Towards Zero.THOMPSON: Oh, top notch, don't you think?OLIVER: One of the best.THOMPSON: Yes, I agree. Frightening motive. Very Ruth Rendell.OLIVER: It's very distinct in her. I haven't read all of her novels, but it's very distinct.THOMPSON: But the plot is, again, typical of her because it redefines the word contingent. [laughs] I mean, Dorothy Sayers would be having palpitations. She's very bold and grand like that. “Oh, there's a loose end. Oh, who cares?” You know, I mean, it's so—it just drives along that book, doesn't it? Yes. But I agree with you, one of her best.OLIVER: Death on the Nile.THOMPSON: Quite moving, I think. I think it's one of those ones from the thirties that, again, is talking about love in a way that—I think it just strikes a personal note to me because she was very in love with her first husband, Archie Christie. And he did fall in love with another woman, and it did cause her extreme pain that some people said to me she never quite got over.And I feel that a little bit in that book. There's a shadow of something quite powerful in that book, I think. Again, very, very loose and lovely plot, but powerful. Would you agree? Very good on the place as well, I think, Egypt.OLIVER: I love it. I think the solution is great.THOMPSON: Yes.OLIVER: And it makes a really good film.THOMPSON: It's a great film, yes. Wonderful film.Other Mystery WritersOLIVER: Yes. Okay. A few other detective writers: Michael Innes.THOMPSON: You've got me. I haven't read him. Should I?OLIVER: Oh, I think you will like him. Yes. Try Hamlet, Revenge!THOMPSON: Okay. Okay. Oh, I like it already.OLIVER: Yes, yes, yes. Oh, this is exciting. Gladys Mitchell.THOMPSON: Can't get into her.OLIVER: No.THOMPSON: What do you think? Should I try a bit harder?OLIVER: I read two. I thought they were good. I was not intrigued.THOMPSON: No, somebody told—OLIVER: The ones I read—Spotted Hemlock is a wonderful, like, wow, that's great.THOMPSON: Okay. Okay. Somebody said to me, I know she really—no, I didn't—I read it in a book that she really hadn't liked Agatha Christie, but you know, who knows? All that Detection Club rivalry, you can imagine. But okay, Spotted Hemlock—if I'm going to read one, try that, yes?OLIVER: Yes, that's a great book. Margery Allingham.THOMPSON: Kind of love her, but I never understand her plots. I always feel I'm in a bit of a fog, but she's quite a good writer. Do you think? Or what do you think?OLIVER: She's good at the fog. She's good at that sort of whirligig sense that there's a lot going on—THOMPSON: Yes, whirligig.OLIVER: —and you've got to get to the end before they do, kind of thing.THOMPSON: Also, she had a pub in her sitting room. Now, I like a woman who has a pub in their sitting room.OLIVER: [laughs] E. C. Bentley.THOMPSON: You've got me again, Henry.OLIVER: Oh, The Blotting Book mystery. You'll like this.THOMPSON: Okay. Okay.OLIVER: The other one is not so good, but you'll like that a lot.THOMPSON: Okay.OLIVER: Edmund Crispin.THOMPSON: Didn't get on with him.OLIVER: Why not?THOMPSON: Don't know. Don't know. It sounds like I don't read the men, doesn't it? Which is not the truth at all.OLIVER: I think that's fair enough, isn't it?THOMPSON: Well, I don't know. I don't think anyone's ever come up with a really good reason why women have shone so brightly in this genre. I don't know. Why didn't I—I read that one, the toyshop one [The Moving Toyshop] or whatever. I don't know. I just didn't get on with it.OLIVER: Too glib?THOMPSON: Possibly.OLIVER: Bit flippant, bit sort of funny-funny?THOMPSON: Possibly. I just couldn't quite get hold of it in some way. I don't know.OLIVER: I quite like Edmund Crispin, but I do think he's got a bit of a “he's a very clever boy” about him.THOMPSON: Maybe that's what it was. Maybe that.OLIVER: Something, yes. G. K. Chesterton.THOMPSON: I haven't read Father Brown. Oh, this is awful, isn't it? I'm starting to sound like a radical feminist by accident.OLIVER: [laughs] Maybe that's what you are, Laura. Maybe you just need to admit it. [laughs]THOMPSON: No, it does. It sounds really bad because I do really love almost all the women. I just, I don't know why I haven't read him.Christie and NostalgiaOLIVER: Was Agatha a nostalgia writer?THOMPSON: No, I don't think so. I don't think so. I don't think anyone who was a nostalgia writer would've written At Bertram's Hotel, which is an entire spin on the riff of nostalgia. Really clever. I think that's such a clever book. The way she traps us in her golden age, you know, this phantasmagoria of the re-created golden age. And then she says, “Ha, really fooled you.”I've written about this. I think she moved with the 20th century far more than is realized. I love those Cold War novels she writes about her dislike of ideologies. I love her postwar books about the fragmentation of the hierarchical society. I think she's—well, she's an incidental social historian, as are, I think, P. D. James and Ruth Rendell, but they're much more underlined about it. Again, I'm intrigued what you think. Do you think she is?OLIVER: I think there's definitely some quality, particularly to the Miss Marple stories—as you say, the social history sort of becomes a way of preserving something that's disappearing. One of them, written in the sixties—you can tell me which one—it opens with that description of all the new houses in the village and the mothers who give their children cereal for breakfast. And what sort of a thing is that to give a child? They should have bacon and eggs. Bacon and eggs is a real—you know, and she does have a real something heartfelt and real sense that this part of England is going, and this new thing is coming in.THOMPSON: That's true. That's absolutely true. That's The Mirror Crack'd. And it's—OLIVER: The Mirror, yes, yes.THOMPSON: Yes, and that whole thing of Mrs. Bantry's house has now been bought by a film star and blah, blah, blah. Yes, no, you are absolutely right. I didn't think hard enough before I answered your question.OLIVER: But no, what you said is also true. I can't sort of work out to what extent she regrets it, to what extent it's just useful material for her, you know?THOMPSON: Both. I mean, some of her late books, including Endless Night, I think, which is an incredibly modern book—that whole “me, me, me” culture of “I want, therefore I will have now,” which is written when she was quite an old lady. And then a book like Passenger to Frankfurt, which is—it's a bit sub–Brave New World, but it's very honest and pessimistic about a future—well, the one we are living in, really—full of fear and uncertainty and almost dystopian.She was a realist. You know, she is Miss Marple in a lot of ways. She was a realist in a way that I think a lot of us would find it difficult to be. And her American publishers were often—would sort of say, can she tone this down? Can she not have a young person who's completely evil? Readers want to know, is she going get any therapy? [laughter] And it's so true. There's quite a lot of that going on.She's very clear-eyed. So if she—I'm a bit nostalgic for Blur, do you know what I mean? I mean, you can't help it, in a way, like that brilliant example you give at the start of The Mirror Crack'd. But I would say her image is quite at odds with the reality of her in that way. But the image—OLIVER: And the adaptations don't help with that.THOMPSON: No. No. But at the same time, that Christie image, you know, the gentlewoman, the tea or the eternal bridge party, blah, blah, blah, that has a huge power of its own. So just being too iconoclastic about her, I think, is also a lie. Because I think, again, it's that interplay. She used the image, and the image—I hate the word cozy. I loathe the word cozy, but there's no denying that any book of that kind does have that quality. So I suppose even that's nostalgic in a way.Christie's PoshnessOLIVER: In a way, yes. How posh was she?THOMPSON: Good question. I've been thinking about that a lot. Quite, I would say. Quite grand, with that confidence. Her father really was—as I said, he was a young blade in New York dancing with Jennie Jerome and blah, blah, blah. And then it so happened that he ended up in Torquay, which of course then was very posh. And the fact that when she disappears, she disappears to Harrogate, [laughs] which is like the Torquay of the north.I remember her grandson saying to me, “She dealt with her literary agent. To her, he was staff.” You know, that kind of thing. Her sister, there is a—well, her sister ended up very grand indeed with a huge house up in Cheshire.I think she just had that internal confidence, really. She wasn't—and that there wasn't much money. I mean, there was very little money when she was growing up, as of course you know, but that didn't matter. I mean, her voice is insane. Her voice is, [affecting a posh voice] “Oh, it's lucky it just happens.” [laughter] But yes, there's a part of her that is real late Victorian upper middle class that, again, underpins her books.It's amazing really how broad-minded and cosmopolitan she was. But possibly, I mean, possibly that does—she was—you know, when she disappeared, she was described in foreign newspapers as an Anglo-American, the embodiment of Englishness, and that's how she was described. And then of course she was genuinely cosmopolitan in her love of travel and her love of other cultures and all that obvious stuff. Yes.Inspirations for Miss MarpleOLIVER: How much of her grandmothers is in Miss Marple?THOMPSON: Quite a lot, I would say, particularly the—OLIVER: Drawn from life?THOMPSON: Well, in an essential way not, because Miss Marple has no real experience of life in that way. We're occasionally told about some chap who came calling who wasn't suitable or whatever, but she's almost defined by nonexperience of life in a sense, but observation of life. She's an observer. She's not an outsider in the way that Poirot is. She has a place within the social hierarchy and whatever, and that village has a reality to it. And the way it changes has a reality to it. But she is defined by being an observer, I would say.But Margaret Miller, who was the rich grandmother, who is the one who had the big house at Ealing and was—you know, she's the one who would go to the Army and Navy stores and all that stuff that's in At Bertram's Hotel. She was—there's a lot of her in Miss—I think, as I say in the book, she grew up with the sound of female wisdom in her ears. You know, her grandmother was the sort of—if she'd seen her up in Harrogate, she would've known exactly what was going on. You know, one of those kind of women who could spot an affair at a hundred paces, just a wise sort of woman, worldly, worldly woman.And Miss Marple is worldly in her thinking, but not in her experience, particularly in a book like A Caribbean Mystery, which I think is—she's a real sophisticate, Agatha. I mean, I'm reading The Hollow again at the moment. And it's really astounding to me how there's a love affair at the center of it with a young woman who's kind of a self-portrait and this married man. And not only, there's not—it's not only nonjudgmental; there's literally no concept of judgment being in the vicinity. It's really, really sophisticated, grown-up stuff, I think. And again, I think that's maybe not recognized about her that much.Nursery RhymesOLIVER: What are the importance of nursery rhymes to her?THOMPSON: Yes, that's interesting. They're part of that distilled quality she had, I suppose, that really simple ability to catch hold of something that is simple and familiar in itself and then subvert it. There's books where she—I don't think she needs it in Five Little Pigs. I think the book is almost too good for that.But is it not to do with that—like her titles, which are really, really simple with a faint frisson of the sinister about them. Is it not that ability she has to catch, to take something really, really simple and subvert it for her own ends? What do you think? Do you think that's right? Or do you think it's something more than that?OLIVER: No, I think the simplicity is the point, and I think it probably gives her a way of talking, of showing how fundamental the wickedness is. And as you say, the children can be evil, and it's part of the darkness in a way, but it gives the appearance of innocence and, oh, One, Two, Buckle My Shoe? You know, children do this. And so it leads you through and makes it worse somehow. [laughs]THOMPSON: Yes. Exactly. Exactly. But I know I've—how many times have I said the word simple? But I really do feel that's the heart of her. And I also feel it's the heart of why she was misunderstood when I was growing up reading her because it was mistaken for simplistic.Wartime ProductivityOLIVER: Why was she so productive during the war? I mean, there were four books one year.THOMPSON: Yes.OLIVER: And as you say, they're some of the best. I mean, what is it about the war that gets her so busy?THOMPSON: Well, she was on her own, which she had never been, really. Well, obviously she divorced her first husband in 1928. So there's a couple of very bleak, dead years before she met her second husband and married him in 1930. But she wasn't completely on her own because she had her friend Charlotte Fisher, who was a sort of secretary-companion, but much more than that—really, really good friend.But in the war, Max Mallowan was abroad. Her daughter—she had one child—her daughter was married and living in Wales. And she was living in the Isokon building in North London, which I love because that's like, “You think I'm chintzy and old fashioned. And here I am socializing with the sort of left-wing intelligentsia at the Isokon building.” And there's something about being in that adorable little flat—they're so fabulous, those flats—and being alone but not feeling abandoned, as she had after her first marriage.And I suppose also, you know, war is, you either cower in despair or you think, “Right, well, better get on with it.” War is stimulating in that way. I think it was to quite a few writers, maybe, or quite a few creatives. The shadow of death. But there was something about that solitude but not abandonment, plus the stimulation of not knowing whether it was your last day on earth that did—it did. I mean, it's absolutely insane how productive she is.And then she wrote—she had a week off. She was also working as a dispenser at a London hospital, and she had a week off. And she wrote a Mary Westmacott, Absent in the Spring, which is one of her best Westmacotts, I think. I mean, she's got a week off and she writes a book. I mean, Jesus, there's a challenge to us, Henry. [laughter]The Mary Westmacott NovelsOLIVER: What are those Mary Westmacotts like? Because I've never read them, but you seem very—THOMPSON: Oh, have you not?OLIVER: You're very up on them. You like them?THOMPSON: I am. I really am. Well, for a biographer, they were a treasure trove because they're very revealing. Unfinished Portrait is, I think, as close as you are ever going to come to a true autobiography, as opposed to the actual autobiography, which is charmingly disingenuous.OLIVER: And also dull. No? I mean, it's just so dull.THOMPSON: Do you think? It is a bit.OLIVER: I couldn't read it. I couldn't read it. No, it was so long and so leaden. I felt like she didn't really want to tell me the story of her life. Just couldn't.THOMPSON: Well, I think that's probably right. It was very heavily edited after her death. And her daughter was very, very protective of her. So, Max Mallowan as well. So maybe there was a much better book in there somewhere. Who knows?OLIVER: So we should read Mary Westmacott if we want the unfiltered Agatha?THOMPSON: I would say Unfinished Portrait. It really fascinates me because the worst time you've ever gone through in your life—so in 1926, she lost her mother and her husband in the space of four months. And I think an awful lot of people, even writers, would think, “I'm going to put that behind me and get on.” But she had to reopen the wound. She had to go through it all again eight years later. I find that really, in itself, incredibly revealing about her.Poirot vs. MarpleOLIVER: Why is there so much more Poirot than Marple?THOMPSON: Yes, I've wondered that because there is this little thing that she hated him, which I don't really think she did. It's just something people say, isn't it?OLIVER: Well, it's a common thing about artists. They're supposed to hate their most successful work, but—THOMPSON: Yes. Yes. All I could come up with was that he was easier to put in different places. He could conceivably be on the Nile or in Mesopotamia or—I mean, it would be a—she does manage to get Miss Marple to the West Indies, but it's certainly—OLIVER: There are only so many holidays your nephew can send you on.THOMPSON: He was really successful, that nephew, wasn't he? Who do you think he was like? Sort of Ian McEwan or—OLIVER: [laughs] I know. It was sort of crazy, isn't it?THOMPSON: And very kind to her.OLIVER: It might be to her credit that she doesn't do a Midsomer Murders thing and just sort of wave away and say, “Oh, we can just have as many of these murders as we want.” She says, “No, we can only fit—” Do you think maybe that's it?THOMPSON: I think there might be a bit of that. I mean, her notebooks sort of—some of the books were originally Marples, like Cat Among the Pigeons and Death on the Nile, in fact. And then they became Poirots. I just wonder whether he's a bit more malleable because she is a more rooted, fixed entity.And he is—I don't mean to denigrate David Suchet because he's a fantastic actor, but he does root him more than I think the written version. I think he is a sketch on the page. And one of her great skills, I think, is how she can sketch, and they've got that quality of aliveness on the page, which you just can't analyze, really. I don't—well, I can't. And that's how I see Poirot. So he was more movable in that sense.And she's incredibly good at certain—like Sleeping Murder, there's no way you could have him in that. And Miss Marple is—her qualities are so perfect for a book like that, which has suddenly reminded me of how she got me into John Webster. I never read John Webster until—OLIVER: [laughs] That's great.THOMPSON: The way she uses The Duchess of Malfi is so clever. Do you think that's right about Poirot? Do you think there's something more . . .Reader Preferences and SalesOLIVER: I can see that. I wondered if there was some reader's prejudice involved.THOMPSON: Oh.OLIVER: Poirot is the sort of exotic—Sherlock Holmes, one thing that makes him popular is that he's a bit wacky, you know. And Poirot—he's always talking about, “You English are so xenophobic. Excuse me, I am Belgian.” And with the eggs and all the little—whereas Miss Marple's just the kind of old lady that we all wish there were more of. And how much of that will readers take? I don't know.THOMPSON: Yes. Although, as I say, she, she did—I mean, I think her publishers did like her to do Poirot, but I don't know that she would've been influenced by that necessarily. I mean, maybe she was—maybe I'm overdoing her—OLIVER: Well, she had these terrible money problems. Didn't she have to be a little bit focused on the dollar?THOMPSON: She did. She did, but she didn't—well, I mean, the money problems are insane because they were absolutely no fault of her own. They were to do with test cases, and it was just this sort of accumulation of horror that put her in tax problems during the war. And she really never could dig her way out of them and was advised to go bankrupt twice, which is unbelievable, just as a way of clearing it. I mean, it's terrible.But I don't know that she—I think her attitude was a bit more, “Well, why should I even bother if they're just going to take it away from me?” In 1948 she didn't write anything at all because I think she thought, “What's the point?” But then, that wasn't her way. But I don't know that she thought of writing as a way of digging out of it necessarily. But I could be—OLIVER: The Marples, did they make less money? Were they, did they sell less?THOMPSON: Not really. I think they all sold. Even poor old Passenger to Frankfurt sold hugely, absolutely hugely. I think people—I mean, my parents would—it was like people just wanted them, the Christie for Christmas.Rereading ChristieOLIVER: How many times have you read these books? Do you ever get bored?THOMPSON: No.OLIVER: Really?THOMPSON: Well, I have them on rotation, and I don't—as you know, I do interleave them with our beloved Elizabeth Bowen, who's my passion at the moment, and other people. But they are consolatory, I suppose. They are—there's bits of—there is this kind of—there's bits of them that I just know completely off by heart, like the gramophone record in And Then There Were None and all that.But there's something—and maybe I should have said this earlier, when I say—I've said it on Substack—that they're fairy tales for adults. There's something about that. There's an almost physical sensation of pleasure, really, when the resolution comes. It is a bit like act five of Shakespeare. I'm not going to say she's quite on that level. Not even I am going to say that.But there is—and it is like being a child again and reading the end toward the happy-ever-after, even though her happy-ever-afters are sometimes compromised. And there is something almost primal in that pleasure. And it almost sounds borderline mad, me saying it like that, but I do think there's something in it because the resolution is so—because it's character based, and at her best, she's character and plot as one, as in Five Little Pigs or The Hollow or Murder on the Orient Express or blah, blah, blah.Her resolutions do tell you something about human nature. You do think, “Oh, yes, that is what that would be. Yes, it would be all about money. Yes. Yes, doctors are untrustworthy,” or something on a more profound level than that. There's something that is a satisfaction, both childlike and I'm experiencing it as an adult. In my defense, P. G. Wodehouse said you can never read them too many times. [laughs] It doesn't matter if you know who did it. There's so much pleasure in them.Thompson's CareerOLIVER: Now, I want to ask a little bit about your career.THOMPSON: Mm-hmm.OLIVER: You were at a sort of stage school, then you studied at Merton, and then you worked at The Times.THOMPSON: Yes. Very briefly. Yes.OLIVER: How does one therefore go from all of this to being the biographer?THOMPSON: Well, I did always think I would have a career in—I wanted to direct plays. I directed Hamlet after university, which is probably the thing I'm still proudest of. But what it was, was that I wrote a couple of books. I won an award when I was quite young.And then I had an agent who—I said to him, “I want to write a biography of Nancy Mitford.” And he wasn't very keen on the idea, but I must have written an okay proposal. Again, because I thought Nancy Mitford was a little bit undervalued, that she's a lot more than just a posh girl. And at the time her reputation was quite low. And so somebody bought into that idea, and it sort of went from there, really.But it's a bit—I sometimes look back at the books I've written, including a memoir of my publican grandmother, and I think, gosh, this is all quite scatter-gun, but maybe that's okay. Maybe you should just write the books you really want to write. But it was a passion for Nancy Mitford that sort of started that particular ball rolling.And then I had the idea of—oh, no. I was down in Devon with a boyfriend, and he said, “You never stop talking about Agatha Christie. Why don't you try and write her biography?” And that was just a luck of timing because her daughter was still alive. So I met her, and she liked me because I knew the Mary Westmacotts so well, and that sort of happened. I mean, quite often these things are very fortuitous, don't you think? Did you not find that with your book?OLIVER: Yes, yes. No, I did. I did. I think some writers, as you say—I don't think of it as scatter-gun. I think of it, it's sort of an emergent thing, and you happen to have these different interests, and you just follow your nose, and that's fine.THOMPSON: Yes, exactly.OLIVER: Tell us about this production of Hamlet.THOMPSON: Oh. Do you know, I think it was not bad. I had a very good Hamlet. I think if you've—well, you're in trouble without—who is now quite a successful actor. And we were all really young, but he was—I saw him in something and said, “Do you want to play Hamlet for me?” And he said, “Okay then.” And it was a room above a pub in Chelsea, and it was very spare and very quick.And it was about—I can't bear when people overanalyze the character of Hamlet, and why does he delay? He delays because Shakespeare wants him to, so that he can write all those incredible speeches. That's a bit simplified, but it was—he was so, he so understood the translucent power of those soliloquies, this actor. So it just sort of worked because we didn't do too much to it. And it was, yes, it was good. I think it was good. But then I did Macbeth, and that was much less good.Secretly Reading ChristieOLIVER: And you've said here, and I think you said it in your book, that when you were at Merton, you were reading Agatha Christie between the covers of what you were supposed to be reading.THOMPSON: Yes, yes, I was.OLIVER: That can't be—is that a slight exaggeration, or did you really not get on with the syllabus?THOMPSON: Well, hang on. I was a bit stuck in the first term. Can you imagine coming from a performing arts school—OLIVER: Yes.THOMPSON: —and then being told, “Read that bloody, you know.OLIVER: Yes, yes. No, it's intense.THOMPSON: All I knew was French. How I got in is a minor mystery, but there it was. I've tried to do it honor ever since by writing as best books I possibly can. But I was okay once I got over that bit. Once I got into my beloved Tennyson and all the people we've been talking about, Hardy and blah, blah, blah. Larkin, about whom the best thing I've ever read—the best thing I've ever read about Larkin is your Substack about him, without a shadow of a doubt.OLIVER: Oh, thank you.THOMPSON: Just wonderful. So I sort of winged it a bit, but I had a very nice don. And the autodidact side of me, which is very like Agatha Christie, who barely went to school, and Nancy Mitford—I think it can be a good thing in a way, because you have such a respect for learning and truth. I always try to be truthful in my biographies, which as we know, not everybody is. [laughter]And I think you carry on wanting to learn and carry on wanting to fill all the gaps because I only had half an education, because in the morning you would do ballet and drama and all that kind of thing. So it is a bit odd, but in some ways I think it's been a good thing.OLIVER: Now, the new book is about the 1926 disappearance. When can we expect it to be published?THOMPSON: It's only a short book—OLIVER: Yes.THOMPSON: —because obviously I covered it a lot in the biography, and it doesn't—but I have found out a couple of new things. And that will be out in August here and in November in America. And I have come up with a slightly different slant on it, but mainly—and I treat it a little bit like a cold case. And it was—I had to write—I wrote it in five weeks, but it was incredibly good fun. Oh, and I reenacted her journey, which was very interesting, to Harrogate.But mainly it's such a pleasure because I, you know, on Substack, and I think, “Oh, you can't write about Agatha Christie again.” There always seems to be quite a lot to say. I'm intrigued by how you, who I think of as a true intellectual, how you have clear regard for her.Henry on Agatha ChristieOLIVER: I started reading her when I was about 12, and I just thought she was great, and I went through most of them. But I read them at intervals. So I was reading her into my twenties, thirties. And before this interview I tried to—I thought, “Laura's always saying Five Little Pigs is the best one. I'm going to read it.” And I just sort of found that I've lost the taste, in a way.THOMPSON: Okay.OLIVER: Which I was quite, I don't know, just maybe—I feel like this is my failing. Maybe I should take a week off and sit by the pool and read it properly. But I've always thought she's really, really great, and very few people can do that many very compelling stories without you sort of thinking, “Oh, I've read this one. I know. Yes. It's the same as the other one, isn't it? Yes. Yes, it was the”—as you say, it's not Cluedo. Even Dorothy L. Sayers, I don't think I could read much more by her, frankly. Great, she's great, but it's enough. [laughs]THOMPSON: Well, I quite like her. The whole—most girls who went to Oxford are quite keen on Gaudy Night, and the character of Harriet Vane is quite satisfying, I think.OLIVER: Indeed, indeed. And Strong Poison is great. And there—but I just mean if she'd written as many books as Agatha, you can't imagine it would've sustained the level of quality.THOMPSON: No, no. There is that lightness in Agatha and that terrible cliché of, “I wrote a long book because it was too—I didn't have enough time to write a short book,” and all that kind of thing. The brevity amazes me. When I said at the start, most writers would take twice as many pages to get all that in.She has style—I don't know if you can call it a style, but there is something blindingly effective about it that nobody can imitate. And it does—there's something so fathomless about her, and that's what continues to compel me. But I think it's very lovely of you to do this if you are no longer an admirer because you've let me sort of—OLIVER: Well, it's not that I'm not an admirer. It's just that I don't—I had this with P. G. Wodehouse. I read quite a lot of it, and now, I don't know, somehow I've reached a point where it's—I sort of get it, but it's just not that funny anymore. I don't know, just need some time away.THOMPSON: Well, maybe. Maybe, but you know, I'm a bit—she's part of my life now. It's like if somebody said, “You can't read her anymore,” it would be like, “You can't listen to the Rolling Stones anymore.” I mean, it'd be like a kind of death. She's part of my life the same way they're part of my life. She's now inseparable from just the way I go on, as is Shakespeare. And if I had to lose one of them, trust me, it would be her, you'll be reassured to know. [laughter]OLIVER: Very good. Laura, this has been a lot of fun. Thank you very much.THOMPSON: Oh, I've really enjoyed it. I really have. And I was really looking forward to it, and it's been even nicer than I thought it would be. So thank you.OLIVER: Oh, it's been delightful.THOMPSON: Thank you so much, Henry.OLIVER: Thank you. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

Revelation 6:7,8 the PALE horse of the ApocalypseSupport the show

Mark and Gray are reunited to discuss the working titles of Agatha Christie's Swinging works - novels, plays and short stories to boot! Recorded in a very special location this is a fun rundown and a valuable glimpse into the Queen of Crime's unique planning process!You can find us on Instagram ⁠@Christie_Time⁠. We are also on Bluesky at ⁠ChristieTime.com. Our YouTube account is @TheSwingingChristies. WESTMAPOD launches on 31 March 2026!Please subscribe to the podcast so you're notified every time an episode drops!Please also consider giving us a star rating and/or reviewing us on your podcatcher of choice.Our website is ⁠ChristieTime.com⁠.The Swinging Christies is a Christie Time project by Mark Aldridge and Gray Robert Brown.00:00:00 - Opening titles00:00:43 - Introductory chat00:03:45 - Drag naming game!00:08:07 - Work In Progress00:11:43 - Cat Among the Pigeons (1959)00:14:50 - The Adventure of the Christmas Pudding (1960)00:17:17 - The Pale Horse (1961)00:19:23 - The Mirror Crack'd from Side to Side (1962)00:25:33 - The Rule of Three (1962)00:30:49 - The Clocks (1963)00:33:47 - A Caribbean Mystery (1964)00:36:56 - At Bertram's Hotel (1965)00:38:10 - Third Girl (1966)00:41:31 - Endless Night (1967)00:44:15 - By the Pricking of My Thumbs (1968)00:50:18 - Hallowe'en Party (1969)00:51:53 - Passenger to Frankfurt (1970)00:54:04 - How to get in touch00:55:24 - Closing titles00:55:51 - CodaSolutions revealed - Cat Among the Pigeons, The Pale Horse, At Bertram's Hotel, Hallowe'en PartyTW - language quoted that some members of the traveller communities may find offensive

Ein Londoner Fabrikbüro Anfang der 1970er Jahre. Männer sitzen in der Teepause zusammen, klagen über Bauchschmerzen, über Übelkeit, über seltsame Taubheit in den Fingern. Einer verliert büschelweise Haare. Die Ärzte sprechen von Magen-Darm, von Infektionen, von Zufall. Niemand denkt an Mord. Bis sich ein Arzt an einen Roman erinnert. An eine Geschichte über ein fahles Pferd. Über Hexerei, die in Wahrheit Chemie ist. Über ein Gift, das lautlos wirkt, farb- und geschmacklos. Thallium. Und plötzlich wird aus Literatur Beweismaterial. In dieser Folge von BRITPOD - England at its best nehmen Alexander-Klaus Stecher und Claus Beling einen der erstaunlichsten Fälle britischer Kriminalgeschichte unter die Lupe. Denn tatsächlich beschreibt Agatha Christie in „The Pale Horse“ die Symptome einer Thallium-Vergiftung so präzise - Haarausfall, Erbrechen, Lähmungserscheinungen -, dass Jahre später genau dieses Wissen hilft, einen realen Serienmörder zu entlarven. Der Täter heißt Graham Young. Ein hochbegabter, besessener Chemie-Enthusiast, der schon als Jugendlicher mit Giften experimentiert und später als „Teetassen-Mörder“ in die Geschichte eingeht. In einer Fabrik nördlich von London mischt er seinen Kollegen systematisch Thallium in den Tee. Zwei sterben, Dutzende erkranken. Erst die Erinnerung an Christies Roman bringt Ermittler auf die richtige Spur. Es folgt ein medizinischer Durchbruch: Erstmals gelingt es Toxikologen, Gift sogar in menschlicher Asche nachzuweisen. Doch die Geschichte endet nicht dort. In Südamerika überlebt ein Mann nur deshalb, weil eine Leserin die Symptome aus „The Pale Horse“ wiedererkennt. Wenig später wird im Londoner Hammersmith Hospital ein Kleinkind gerettet - eine Krankenschwester hatte den Christie-Roman gelesen und die richtigen Schlüsse gezogen. Wie eng war Agatha Christie an den realen Ermittlungen ihrer Zeit? Warum faszinierte sie das lautlose Töten mit Gift? Und wie konnte ein Kriminalroman tatsächlich Leben retten? Quellen: Georgia Marie (YouTube) WhatsApp: Du kannst Alexander und Claus direkt auf ihre Handys Nachrichten schicken! Welche Ecke Englands sollten die beiden mal besuchen? Zu welchen Themen wünschst Du Dir mehr Folgen? Warst Du schon mal in Great Britain und magst ein paar Fotos mit Claus und Alexander teilen? Probiere es gleich aus: +49 8152 989770 - einfach diese Nummer einspeichern und schon kannst Du BRITPOD per WhatsApp erreichen. BRITPOD – England at its best. Ein ALL EARS ON YOU Original Podcast.

Host Jeff welcomes author Tim Cohen for the fourth installment of his Tribulation series. This episode examines Revelation 6 and the fourth seal, placing the events of the Tribulation into a larger sacramental and typological framework patterned on the Crucifixion Week. Jeff and Tim discuss how the four horsemen cohere, why the fourth rider is named "Death," and how that imagery ties to Psalm 22 and New Testament typology. Tim Cohen presents his view that the Tribulation Week mirrors the Crucifixion Week, and he walks through the sequence and timing he reads in Scripture: conquest, war, famine, then death. They discuss the identity and symbolism of the beasts and horsemen (including the pale/ashen horse), the heraldic and historical imagery Tim associates with King Charles III as the prophesied top-dog Antichrist figure, and the role of Satanic possession in that portrait. The conversation covers geopolitical implications and possible near-term signs, including Iran/Persia, North Korea, Russia and the shifting alliances Tim connects to prophetic patterns. Jeff and Tim debate the timing and nature of a rebuilt temple in Jerusalem, the “abomination of desolation,” and whether a functioning inner and outer court or full temple is likely—Tim places construction in the early part of the fourth year of the Tribulation with key sacrificial activity stopping at the midpoint. Wider theological and eschatological themes are explored: the meaning of "firstfruits" and the 144,000, the relationship of Christ's death–burial–resurrection to the seven seals, what Revelation 11 and Daniel 9:27 suggest about sacrificial practice during the Tribulation, and the timing of the first resurrection. Tim also addresses common misunderstandings about Mystery Babylon versus Jerusalem, Mount Zion's future elevation, and the end-of-age topography and events leading into Armageddon. Throughout the episode Tim cites biblical language, Hebrew textual details, and historical typology (including references from his Messiah History and Tribulation Period series and The Antichrist and Capitoli). Listeners are directed to prophecyhouse.com for Tim's books and resources. Jeff and Tim close by previewing the next show (the fifth seal) and encourage listeners to keep studying and preparing spiritually while serving their communities. Want to Understand and Explain Everything Biblically?  Click Here: Decoding the Power of Three: Understand and Explain Everything or go to www.rightonu.com and click learn more.  Thank you for Listening to Right on Radio. Prayerfully consider supporting Right on Radio. Click Here for all links, Right on Community ROC, Podcast web links, Freebies, Products (healing mushrooms, EMP Protection) Social media, courses and more... https://linktr.ee/RightonRadio Live Right in the Real World! We talk God and Politics, Faith Based Broadcast News, views, Opinions and Attitudes We are Your News Now. Keep the Faith

Thanks for listening! You can find us at various places.Patreon: https://www.patreon.com/thehobbledgoblinWebsite: https://thehobbledgoblin.com/thg-podcastFacebook: https://www.facebook.com/thehobbledgoblinInstagram: https://www.instagram.com/hobbled_goblin/?hl=enX formerly know as Twitter: https://twitter.com/Hobbled_GoblinTwitch: https://www.twitch.tv/thehobbledgoblinBecome a member of the Goblin Horde on Discord: https://discord.gg/SrYudSFOur logo was created by the talented Tassiji Stamp: https://tassji_s.artstation.com/?fbclid=IwAR05hAwWjkzRyXwA6pvyshksystohtOhw0jt5dZ6ln5KTGc5y-F7nvpwRJU

Waardeer je onze video's? Steun dan Café Weltschmerz, het podium voor het vrije woord: https://www.cafeweltschmerz.nl/doneren/Je bent bij onze cursus ‘Complotdenken doe je Zó' pas gepromoveerd, wanneer je de eigen theorie van de wereld niet sluitend krijgt zonder de aliens er bij te halen. Toen David ‘Reptilian' Icke nog in een sjofel trainingspak liep, had complotauteur William Coleman (1989) in ‘Behold, a Pale Horse' al door dat ‘ze' verbergen hoe de buitenaardse wezens ons regeren. De Extraterrestrial Biological Entity EBE uit Area 51 zou later als ET zijn eigen speelfilm krijgen.Boek van de week: William Cooper (1989) Behold a Pale Horse, uitgever nieuwe editie 2019 INGPVoor een nuchtere kijk op aardse buitenwezens (geen verschrijving), inclusief de mensen, zie mijn hoofdwerk ‘Liever dood dan Slaaf'.www.lieverdooddanslaaf.com---Deze video is geproduceerd door Café Weltschmerz. Café Weltschmerz gelooft in de kracht van het gesprek en zendt interviews uit over actuele maatschappelijke thema's. Wij bieden een hoogwaardig alternatief voor de mainstream media. Café Weltschmerz is onafhankelijk en niet verbonden aan politieke, religieuze of commerciële partijen.Wil je meer video's bekijken en op de hoogte blijven via onze nieuwsbrief? Ga dan naar: https://www.cafeweltschmerz.nl/videos/Wil je op de hoogte worden gebracht van onze nieuwe video's? Klik dan op deze link: https://bit.ly/3XweTO0

Andrew For America returns with a fiery episode about controlled opposition, ideological communist subversion, the death of nationalism and national sovereignty (that is slowly happening around the world as we speak), and what the future is going to look like if "the big club's plan for the world" comes to fruition. Andrew begins to make his case by playing a conversation that occurred between Alex Jones and author of the book "Behold a Pale Horse" the late William Cooper back in the mid 90's. The two conspiracy "OG's" discuss Cooper's book, how presidents and world leaders are not safe from the tentacles of the world planners, Majesty 12, whether or not Civil War or enslavement will happen in America, the "mark of the beast" system, digital ID, digital currency, cashless society, and the end of national sovereignty. Andrew also plays a clip of Yuri Bezmenov explaining how ideological communist subversion has resulted in the rise of pro-communist politicians like Zohran Mamdani and many others.The song selection is the song, "Disturbed" by the band Proud House of Schmucks.Visit allegedlyrecords.com and check out all of the amazing punk rock artists!Visit soundcloud.com/andrewforamerica1984 to check out Andrew's music!Like and Follow The Politics & Punk Rock Podcast PLAYLIST on Spotify!!!Check it out here: https://open.spotify.com/playlist/1Y4rumioeqvHfaUgRnRxsy...politicsandpunkrockpodcast.comFollow Future Is Now Coalition on Instagram @FutureIsOrgwww.futureis.org

Today Pastor Stan teaches out of Revelation and shares his interpretation about the Four Horsemen. In other news, he shares new information about the fall of the Dollar and Massive Arrests. 00:00 Death of the Dollar 02:59 Massive Arrests 05:26 Four Horsemen 07:44 White Horse 11:30 Red Horse 12:47 Black Horse 20:44 Wheat Field 23:53 Pale Horse

Today Pastor Stan teaches out of Revelation and shares his interpretation about the Four Horsemen. In other news, he shares new information about the fall of the Dollar and Massive Arrests. 00:00 Death of the Dollar 02:59 Massive Arrests 05:26 Four Horsemen 07:44 White Horse 11:30 Red Horse 12:47 Black Horse 20:44 Wheat Field 23:53 Pale Horse

Today Pastor Stan teaches out of Revelation and shares his interpretation about the Four Horsemen. In other news, he shares new information about the fall of the Dollar and Massive Arrests. 00:00 Death of the Dollar 02:59 Massive Arrests 05:26 Four Horsemen 07:44 White Horse 11:30 Red Horse 12:47 Black Horse 20:44 Wheat Field 23:53 Pale Horse

HAPPY HALLOWEEN ALL OF YOU HUNGRY WITCHES! Thank you for tuning in to this year's Big Fat Feminist Halloween Special!If you're new here, every Halloween I choose an aspect of the fantastical, fictional, Halloween witch and take a closer look at where it came from and what it means to very real witches and magical people today. This year we're going full fairytale by talking about the kind of witch that might live in a house nestled in some deep, dark wild place, made entirely of… candy? That's right, settle in for nearly 2 hours of Cannibal witches, black widows, folkloric monsters, ritual madness, mythological baddies, and the deep and painful hunger that lives inside us all. These two episodes are not safe to share with young kids, sorry y'all, but fellow moms who are perhaps a bit worn out from this holiday will find a lot to love in this two part Halloween episode. But a word of warning!This episode features conversations about death, meat, animal mating habits, racism and colonization as well as hunger, eating, dieting, fatphobia and health. A short warning will come on before this last section in case listening will put you at risk. Stay safe, friends. I did a ton of research for this episode and I will be listing the sources on my website, but I want to mention one in particular. I was toying with the idea of talking about witches eating babies for this episode, but wasn't sure if there was enough material there. Then I read a post by The Pale Horse about cannibal women in horror movies and the symbolism there and that really made everything click into place for me, so I highly recommend you read it and take some time … to digest it. You can read it at the following link: Eat Me Up- Women, Desire and Cannibalism in Horror The Pale HorseConnect with me:Website: ⁠⁠⁠⁠⁠⁠⁠⁠thefatfeministwitch.ca⁠⁠⁠⁠⁠⁠⁠⁠Facebook: ⁠⁠⁠⁠⁠⁠⁠facebook.com/TheFatFeministWitch⁠⁠⁠⁠⁠⁠⁠Threads: ⁠⁠⁠⁠⁠⁠⁠⁠https://www.threads.net/@fatfeministwitch⁠⁠⁠⁠⁠Support:Patreon: ⁠⁠⁠⁠⁠⁠patreon.com/thefatfeministwitch⁠⁠⁠⁠⁠⁠Buy me a Coffee: ⁠⁠https://ko-fi.com/thefatfeministwitch⁠⁠Get stickers, mugs, journals, and t-shirts up to size 5X on ⁠⁠⁠⁠⁠⁠my merch store! The FAT WITCH FALL SALE starts September 22nd and goes until November 1st! ⁠https://thefatfeministwitch.dashery.com⁠As always, the opening track is Back to the 90s by Douglas Mulvey!

HAPPY HALLOWEEN ALL OF YOU HUNGRY WITCHES! Thank you for tuning in to this year's Big Fat Feminist Halloween Special!If you're new here, every Halloween I choose an aspect of the fantastical, fictional, Halloween witch and take a closer look at where it came from and what it means to very real witches and magical people today. This year we're going full fairytale by talking about the kind of witch that might live in a house nestled in some deep, dark wild place, made entirely of… candy? That's right, settle in for nearly 2 hours of Cannibal witches, black widows, folkloric monsters, ritual madness, mythological baddies, and the deep and painful hunger that lives inside us all. These two episodes are not safe to share with young kids, sorry y'all, but fellow moms who are perhaps a bit worn out from this holiday will find a lot to love in this two part Halloween episode. But a word of warning!This episode features conversations about death, meat, animal mating habits, racism and colonization as well as hunger, eating, dieting, fatphobia and health. A short warning will come on before this last section in case listening will put you at risk. Stay safe, friends. I did a ton of research for this episode and I will be listing the sources on my website, but I want to mention one in particular. I was toying with the idea of talking about witches eating babies for this episode, but wasn't sure if there was enough material there. Then I read a post by The Pale Horse about cannibal women in horror movies and the symbolism there and that really made everything click into place for me, so I highly recommend you read it and take some time … to digest it. You can read it at the following link: ⁠Eat Me Up- Women, Desire and Cannibalism in Horror The Pale Horse⁠Connect with me:Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠thefatfeministwitch.ca⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠facebook.com/TheFatFeministWitch⁠⁠⁠⁠⁠⁠⁠⁠Threads: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.threads.net/@fatfeministwitch⁠⁠⁠⁠⁠⁠Support:Patreon: ⁠⁠⁠⁠⁠⁠⁠patreon.com/thefatfeministwitch⁠⁠⁠⁠⁠⁠⁠Buy me a Coffee: ⁠⁠⁠https://ko-fi.com/thefatfeministwitch⁠⁠⁠Get stickers, mugs, journals, and t-shirts up to size 5X on ⁠⁠⁠⁠⁠⁠my merch store! The FAT WITCH FALL SALE starts September 22nd and goes until November 1st! ⁠⁠https://thefatfeministwitch.dashery.com⁠⁠As always, the opening track is Back to the 90s by Douglas Mulvey!

Mwahahaha! It's the now-traditional The Swinging Christies x Hallowe'en extravaganza, and this year Mark and Gray are talking about the recent film adaptation of Hallowe'en Party, A Haunting in Venice (2023). What do we make of the 1969 setting moved to 1947? Will we survive a risky game of apple bobbing, in a very non-galvanised bucket? Listen on to find out.You can find us on Instagram ⁠@Christie_Time⁠. We are also on Bluesky at ⁠christietime.bsky.social⁠. Our YouTube account is @TheSwingingChristies. Please subscribe to the podcast so you're notified every time an episode drops!Please also consider giving us a star rating and/or reviewing us on your podcatcher of choice.Our website is ⁠ChristieTime.com⁠.The Swinging Christies is a Christie Time project by Mark Aldridge and Gray Robert Brown.Next episode: we're doing something we have never done before...00:00:00 - Opening titles00:00:40 - Introductory chat00:03:12 - A Haunting in Venice00:18:33 - Apple bobbing!00:22:09 - Differences between Hallowe'en Party and A Haunting in Venice00:47:51 - How to get in touch00:48:54 - Closing titles00:49:21 - CodaSolutions revealed - Hallowe'en Party, The Pale Horse, Third GirlTW: brief discussion of eating disorders and violence against children

Revelation’s 7 Seals – “Keeping Our Faith & Our Sanity,” pt 4 Acts 2:22-32 New Revised Standard Version Updated Edition 22 “Fellow Israelites, listen to what I have to say: Jesus of Nazareth, a man attested to you by God with deeds of power, wonders, and signs that God did through him among you, as […]

This week on The Horse Race, Jenn is joined by Rich Parr, VP of the MassINC Polling Group. Shortly before taping, Rep. Seth Moulton joined the race for Senate against Ed Markey. Then Jenn and Rich talk about the issues with political violence polling and how those issues can skew the data in favor of violence. And finally, Trump's thoughts on the World Cup in Foxborough.

Democrats know what's coming for them. Think the Book of Revelation and the Pale Horse, except Trump will be riding it. One Democrat mentioned as many as 50 people being indicted. I'll take the over on those odds. How long do you think Democrats can keep up the good fight, as one by one they are convicted of their crimes?For the next 3+ years, their dirt will be revealed. The crimes will escalate to treason or worse.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

I read from fourchée to Fourier transform. In the Four Horsemen of the Apocalypse, the White Horse represents Conquest (usually), the Red Horse represents War, the Black Horse represents Famine, and the Pale Horse represents Death. https://en.wikipedia.org/wiki/Four_Horsemen_of_the_Apocalypse Wow. I would not fit well in "The 400" but I would want to go to just one party. They list out all the members but it's NOT 400! https://en.wikipedia.org/wiki/The_Four_Hundred_(Gilded_Age) The Fourier analysis formulas hurt my brain because I never studied those symbols. Same with the theorem/series.https://en.wikipedia.org/wiki/Fourier_analysishttps://en.wikipedia.org/wiki/Fourier_series The word of the episode is "four dimensional".https://en.wikipedia.org/wiki/Four-dimensional_space Final Destination 3https://www.imdb.com/title/tt0414982/ Use my special link https://zen.ai/thedictionary to save 30% off your first month of any Zencastr paid plan. Create your podcast today! #madeonzencastr Theme music from Jonah Krauthttps://jonahkraut.bandcamp.com/ Merchandising!https://www.teepublic.com/user/spejampar "The Dictionary - Letter A" on YouTube "The Dictionary - Letter B" on YouTube "The Dictionary - Letter C" on YouTube "The Dictionary - Letter D" on YouTube "The Dictionary - Letter E" on YouTube "The Dictionary - Letter F" on YouTube https://linktr.ee/spejampar917-727-5757

We conclude our visit to Idaho with Mitch Levy. Mitch will also be our featured guest this week on Radio A1A and KEYF-FM. Songs include I Can't Love Her Anymore, I Was A Bridge, Pale Horse, Penniless and Time

The boys are joined by Scott Payne, retired undercover FBI agent who infiltrated the Outlaws MC and many other criminal organizations. Scott detailed his experiences in his book "Code Name: Pale Horse: How I Went Undercover To Expose America's Nazis." Scott's Book https://www.amazon.com/Code-Name-Undercover-Expose-Americas/dp/1668032902 Please consider joining our Patreon!! https://patreon.com/TheAntiheroPodcast?utm_medium=unknown&utm_source=join_link&utm_campaign=creatorshare_creator&utm_content=copyLink Check out our sponsors!! Apollo https://forms.office.com/r/eauM2vc082 Human Performance Team (promo code "HERO" for 20% off!) https://hp-trt.com/ GhostBed (promo code "ANTIHERO" for 10% off!) https://www.ghostbed.com/pages/antiheroutm_source=podcast&utm_campaign=antihero Cloud Defensive (promo code "ANTIHERO15" for 15% off!) https://clouddefensive.com Tasty Gains (promo code "ANTIHERO" for 20% off!) https://tastygains.com/collections/supps?ref=antihero Zero 9 Holsters (promo code "ANTIHERO10Z9" for 10% off!) https://zero9holsters.com/ Venjenz (promo code "ANTIHERO" for 15% off!) https://venjenz.com/ Counter Culture Inc. (promo code "ANTIHERO" for 15% off!) https://countercultureincthreads.com First Responders Coffee Company (promo code "FRCC15" for 15% off!) https://frccoffee.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Gray and Mark meet Mystery Steve who has travelled all the way from Australia! Steve has been examining the way Agatha Christie titles have been translated into other languages. Steve's project has just hit the 1960s, so we wanted to get him onto the podcast for the full lowdown. Travel the world with Gray, Mark and Steve!You can find us on Instagram ⁠@Christie_Time⁠. We are also on Bluesky at ⁠christietime.bsky.social⁠. Our YouTube account is @TheSwigingChristies. Please subscribe to the podcast so you're notified every time an episode drops!Please also consider giving us a star rating and/or reviewing us on your podcatcher of choice.Our website is ⁠ChristieTime.com⁠.The Swinging Christies is a Christie Time project by Mark Aldridge and Gray Robert Brown.Next episode: we're going LIVE!00:00:00 - Opening titles00:00: 40- Introductory chat00:01:58 - Mystery Steve: Agatha Christie - Titles in Translation00:10;41 - Cat Among the Pigeons (1959)00:15:16 - The Adventure of the Christmas Pudding (1960)00:20:06 - The Pale Horse (1961)00:24:10 - The Mirror Crack'd from Side to Side (1962)00:27:52 - The Clocks (1963)00:31:48 - A Caribbean Mystery (1963)00:34:12 - At Bertram's Hotel (1964)00:37:23 - Third Girl (1966)00:42:24 - Endless Night (1967)00:46:13 - By the Pricking of My Thumbs (1968)00:49:48 - Hallowe'en Party (1969)0:56:37 - Passenger to Frankfurt (1970)00:57:58 - Wrap up, next episode01:00:58 - Closing titles01:02:08 - CodaSolutions revealed - The Pale Horse, The Mirror Crack'd from Side to Side, Endless Night, By the Pricking of My Thumbs

EPISODE 144 | Unwell and Unregulated: The Militia Movement The United States has always had a certain comfort level with violence, or at least the idea of it. Throughout its history, groups of armed citizens will threaten to use, or actually use, force to get their point across, either to effect change or to prevent that from happening. But in the 1990s, something changed, and groups formed around new ideologies that sometimes had little to do with objective reality. The Militia Movement was mainly rural, white, far-right Christians who'd been nurtured on conspiracy theories and half truths which they had chosen to believe because these made some sort of emotional sense to them, and because they had an unerring sense that they were right and everyone else was wrong. And some of them were willing to go to great lengths to achieve their aims. This is the breeding ground for the modern conspirasphere. Like what we do? Then buy us a beer or three via our page on Buy Me a Coffee.  Review us here or on IMDb. And seriously, subscribe, will ya?  SECTIONS 02:38 - Saturday Night Special - Precursors, the Minutemen, the Patriotic Party, Liberty Lobby, the Christian Defense League (CDL), Posse Comitatus  08:27 - Guns in the Sky - The Late Great Planet Earth, Aryan Nations, National Alliance, The Turner Diaries, Hunter, evangelicals, the Satanic Panic, still more anti-Jewish ideas, "Red Dawn" 14:20 - Ride a White Horse - Behold a Pale Horse, Milton William Cooper, Hour of the Time, Mysteries of Babylon 23:40 - Ruby Tuesday - Agenda 21, the Weaver family, the Ruby Ridge siege 30:56 - This Could Be Heaven - Victor Houteff starts Shepherd's Rod (later Branch Davidians), Vernon Howell becomes David Koresh and takes over, the Waco Siege 36:48 - Oklahoma Blues - The Militia of Montana (MOM), the Michigan Militia (Wolverines), Timothy McVeigh and the Oklahoma City bombing 39:56 - Militias take off and expand, attracting scammers and opportunists - Ron Cole, General Benton Partin, Mary Elizabeth Broderick, Roy Schwasinger & We the People, LeRoy Schweitzer & the Montana Freemen, Justus Township standoff 45:30 - Insane in the Brain - Militias also attract terrorists and lunatics - Willie Ray Lampley & the Universal Church of God (Yahweh) plus the Oklahoma Constitutional Militia plan massive bombings, the Unabomber, Georgia Republic, the Mountaineer Militia, Donald Beauregard & and Trix cereal, Mark "Mike from Michigan" Koernke, Norm Olsen, Charles Duke, Bob Fletcher and Belgian weather control, John Parsons talks purple UFOs and starts the Tri-States Militia of South Dakota (but turns out to be on the FBI payroll), Darrel Frech, Rick McLaren and space rays, Ted Gunderson sells pseudoscience gear, Bo "Rambo" Gritz pushes Y2K, Jack McLamb writes Operation Vampire Killer 2000: American Police Action Plan for Stopping World Government Rule Music by Fanette Ronjat More Info Militia movement in the 1990s at EBSCO Militias in the US at the Institute for Strategic Dialogue 5 Things You Need to Know about Private Militia Groups from the National Police Foundation Examining Extremism: The Militia Movement at CSIS False Patriots report at the Southern Poverty Law Center, May 8, 2001 Posse Comitatus The Late Great Planet Earth The Turner Diaries - America's manual of hatred on BBC (audio, 9 minutes) What to Do With the Most Dangerous Book in America The Turner Legacy: The Storied Origins and Enduring Impact of White Nationalism's Deadly Bible CONSPIRACY THEORIES IN THE PATRIOT/MILITIA MOVEMENT Behold a Pale Horse Pale Horse Rider: William Cooper, the Rise of Conspiracy, and the Fall of Trust in America Ruby Ridge, 1992: the day the American militia movement was born Maniacs and Militias: Waco to Extremist Groups Turning Point: The Rise of Right-Wing Politics, the Waco Siege, and the Response of American Law Enforcement Legacy Everlasting: how the 1993 Waco siege became a symbolic rallying cry for the American far right decades later  Clinton administration's deadly mistake in Waco gave rise to Oklahoma City, Columbine in the New York Post (labelled as "entertainment", which seems odd)  The infamous Texas siege with a ‘straight line' to QAnon, right-wing militias, and January 6 Two Minutes Past Nine: The story behind the Oklahoma City bombing on BBC Remembering the Oklahoma City Bombing, 25 Years Later at the Brennan Center for Justice  From Ruby Ridge to Oklahoma City: The Radicalization of Timothy McVeigh paper The Militia Movement and Second Amendment Revolution: Conjuring with the People 1996 paper Beyond the Bombing: The Militia Menace Grows report by the ADL Operation Vampire Killer 2000 text Follow us on social: Facebook Twitter Bluesky Other Podcasts by Derek DeWitt DIGITAL SIGNAGE DONE RIGHT - Winner of a Gold Quill Award, Gold MarCom Award, AVA Digital Award Gold, Silver Davey Award, and Communicator Award of Excellence, and on numerous top 10 podcast lists.  PRAGUE TIMES - A city is more than just a location - it's a kaleidoscope of history, places, people and trends. This podcast looks at Prague, in the center of Europe, from a number of perspectives, including what it is now, what is has been and where it's going. It's Prague THEN, Prague NOW, Prague LATER 

Bill Cooper is remembered by some as a prophet and by others as a dangerous crank. His book, Behold a Pale Horse, became scripture in conspiracy circles, shaping everything from UFO lore to militia movements, But behind the myth was a deeply flawed man, volatile, abusive, and consumed by paranoia.In this episode we strip away the noise and face the reality: the warnings Bill Cooper gave, the demons, he carried, and the lessons we can take without inheriting his chaos, Clear eyes, no idols, just truth.Intro: Are They Real? MGR ProductionsOutro: The Sixth Sense Danijel ZamboPatrick's primary SM outlet is TikTok @aliensforbeginner (Patrick Roy)Support the show with AFB Merch (linkTree) or Venmo @AFBpodcasthttps://linktr.ee/aliensforbeginnerspod?utm_source=linktree_profile_share

Known to many simply as Bill Cooper, he was a decorated Navy veteran, a radio broadcaster, and the controversial author of the underground classic Behold a Pale Horse. But to his followers and his critics he was something more. A prophet. A paranoid. A patriot. Or perhaps, a bit of all three. Born in 1943, Cooper claimed to have witnessed classified UFO documents while working in Naval Intelligence. What followed was a life devoted to revealing the hidden machinery of power: secret governments, alien contact, mind control, and the manipulation of truth itself. His late-night shortwave radio show, The Hour of the Time, became a beacon for seekers, skeptics, and survivalists alike. And while much of what Cooper said sounded extreme, even impossible, over time, some of his warnings about surveillance, media manipulation, and authoritarian creep have aged with chilling accuracy. Cooper was killed in a shootout with law enforcement outside his Arizona home in 2001, just two months after 9/11, a tragedy he claimed was imminent in a broadcast months before it happened. Today, we peel back the layers of myth and mania to ask: Was Milton William Cooper a disinformation agent, a madman, or a man decades ahead of his time? And who better to do that with than author Mark Jacobson, author of Pale Horse Rider: William Cooper the Rise of Conspiracy and the Fall of Trust in America.Mark is a writer and journalist based in Brooklyn, New York. He is known for his explorations of the seamy side of urban life and for his offbeat and witty take on popular culture. Mark is a contributing editor at New York magazine and a frequent contributor to The Village Voice, National Geographic, Natural History magazine, Men's Journal, and other publications. Mark's other books include such titles as The Lampshade, Gojiro, and Teenage Hipster in the Modern World from the Birth of Punk to the Land of Bush. I'm very grateful for Mark's appearance on AFB. Enjoy the show.Mark's book: https://www.google.com/books/edition/_/jHtnDwAAQBAJ?hl=en&gbpv=0Mark's IG: @palehorseriderbook @markjacobson48AFB linktree: https://linktr.ee/aliensforbeginnerspodfollow me on TikTok: @aliensforbeginner (Patrick Roy)

Gray and Mark head to beautiful Belfast to chat to novelist and Agatha Christie fan Jan Carson. Jan has been tackling the Troubles in her work for some time, and we want to discuss with her Christie's Troubles references in Passenger to Frankfurt, as well as Irish characters and references in other Swinging books - all the way from The Pale Horse to By the Pricking of My Thumbs!A handful of tickets are still available⁠ for our first ever live episode recording in Torquay this September as part of the International Agatha Christie Festival 2025!You can find us on Instagram ⁠@Christie_Time⁠. We are also on Bluesky at ⁠christietime.bsky.social⁠. Our YouTube account is @TheSwigingChristies. Please subscribe to the podcast so you're notified every time an episode drops!Please also consider giving us a star rating and/or reviewing us on your podcatcher of choice.Our website is ⁠ChristieTime.com⁠.The Swinging Christies is a Christie Time project by Mark Aldridge and Gray Robert Brown.Next episode: we're going global… again…!00:00:00 - Opening titles00:00:47 - Introductory chat in Belfast00:02;46 - Interview with Jan Carson and discussion of Ireland in the Swinging Christies00:37;58 - The Troubles00:52:46 - Next episode, how to get in touch00:54:03 - Closing titles00:54:31 - CodaSolutions revealed! - The Pale Horse, At Bertram's Hotel, Endless Night, Passenger to FrankfurtTW: Racist and xenophobic language quoted

CSI Sheryl McCollum sits down with retired FBI agent Scott Payne, who went deep undercover inside a violent white supremacist group known as The Base. From satanic rituals to grooming kids on Roblox, Scott reveals how he earned their trust—and helped bring their network down from the inside. This is Part 1 of a raw, unfiltered look at radicalization, recruitment, and the real-world tactics used to spread hate. Scott Payne is a retired FBI agent and career undercover operative. Known for infiltrating some of the most dangerous domestic terror groups in the U.S., he now writes, trains, and advocates for smarter law enforcement strategies—and a second chance for those who truly want out. He’s a believer in justice, redemption, and calling hate by its name. Follow Scott on Instagram:@scottpaynebigcountry and check out his brand-new book: Code Name: Pale Horse — A raw, real look inside the FBI’s most dangerous undercover ops. ⚠️ Listener Advisory: This episode contains graphic descriptions of violence, animal cruelty, hate group ideology, and child exploitation. Listener discretion is strongly advised. Show Notes: (0:00) Sheryl welcomes Scott Payne, retired FBI agent and undercover operator known as Pale Horse (1:00) Inside The Base — a newer kind of white supremacy with global connections (1:45) Accelerationism explained: why these extremists want to speed up society’s collapse (3:15) The man behind the madness: The Base’s leader and his Russian relocation (4:00) A darker turn — 764, satanism, and how extremists groom children through platforms like Roblox and Minecraft (6:15) Halloween 2019: a hate camp, a cold snap, and a stolen goat that didn’t stand a chance (10:00) Operating undercover — “It’s not always cakes and pies.” Into the woods with a machete and a mission (15:00) Blood, acid, and a goat’s head — a ritual unfolds over three days with hallucinogens, photo ops, and propaganda designed to radicalize and recruit (17:30) “What was your red pill moment?” — the art of playing dumb, feeding egos, and staying undercover without getting made (22:00) From felon to future — why Scott wrote a reference letter for the man he once helped put away Thanks for listening to another episode! If Zone 7 is part of your weekly routine, show us some love with a rating and review on Apple Podcasts. It helps more folks find the show—and helps us keep telling these stories. --- Sheryl “Mac” McCollum is an Emmy Award winning CSI, a writer for CrimeOnLine, Forensic and Crime Scene Expert for Crime Stories with Nancy Grace, and a CSI for a metro Atlanta Police Department. She is the co-author of the textbook Cold Case: Pathways to Justice. Sheryl is also the founder and director of the Cold Case Investigative Research Institute, a collaboration between universities and colleges that brings researchers, practitioners, students and the criminal justice community together to advance techniques in solving cold cases and assist families and law enforcement with solvability factors for unsolved homicides, missing persons, and kidnapping cases. Social Links: Email: coldcase2004@gmail.com Twitter: @ColdCaseTips Facebook: @sheryl.mccollum Instagram: @officialzone7podcast See omnystudio.com/listener for privacy information.

They executed him on his own doorstep. Eleven years before his death, he predicted exactly how they would do it.William "Bill" Cooper wasn't just a conspiracy theorist—he was a former Naval Intelligence officer who possessed clearance so high that most government officials didn't even know his classification level existed. For decades, he held their most devastating secrets. Then he wrote "Behold a Pale Horse" and signed his own death warrant.You think you know about mind control? You know nothing. What Cooper revealed in his final years makes MKULTRA look like a children's science experiment. He exposed the true architects of human consciousness manipulation—and they murdered him for it on November 5, 2001, while the world was still reeling from 9/11.This wasn't coincidence. This was execution.In this mind-shattering episode, we dive deep into Cooper's most dangerous revelations about the systematic control of human consciousness. He didn't just theorize about mind control—he had the classified documents. The training manuals. The operational procedures used by intelligence agencies to fracture human minds and rebuild them as programmable assets.Cooper revealed how they use trauma-based programming to create multiple personalities in children. How they split consciousness using specific frequencies, drugs, and psychological torture techniques perfected in underground facilities. How they create "sleeper agents" who live normal lives until activated by specific trigger words or symbols.But here's the terrifying truth that got him killed: Cooper proved that every major "lone gunman" shooter, every political assassin, every person who commits inexplicable acts of violence has been through their programming. Sirhan Sirhan. Mark David Chapman. Timothy McVeigh. All of them bore the psychological fingerprints of CIA mind control operations.They weren't crazy. They were weapons.Cooper exposed how they recruit children through foster care systems, military families, and religious organizations. How they use Disney programming, television shows, and music to embed triggers in developing minds. How they've created an entire generation of sleeper agents who don't even know they've been programmed.He revealed the "Monarch Program"—a continuation of MKULTRA that uses butterfly symbolism, specific colors, and coded language to control programmed individuals. He showed how celebrities, politicians, and public figures display clear signs of multiple personality programming, switching between personas on command.Most chilling of all: Cooper predicted that they would eventually use these programmed individuals to carry out mass casualty events that would justify the complete elimination of constitutional rights. He saw Sandy Hook coming. He saw Aurora coming. He saw them all coming because he understood their operational psychology.They killed him because he was teaching people how to recognize the signs. How to identify programmed individuals. How to break the conditioning. How to protect their own children from recruitment.The day after Cooper's murder, his radio show went silent forever. His research was confiscated. His followers were intimidated into silence. They thought they had buried his revelations along with his body.But truth doesn't die with truth-tellers. And Cooper's final gift to humanity was teaching us to recognize the signs of mind control programming—in others and in ourselves.Are you ready to see the psychological prison they've built around your mind? Because Bill Cooper died trying to give you the keys to your own mental freedom. WARNING: This episode contains classified information about government mind control operations that cost Bill Cooper his life. His revelations about programmed assassins and trauma-based conditioning may fundamentally change how you view unexplained acts of violence and psychological manipulation.

I read from fourchée to Fourier transform.     In the Four Horsemen of the Apocalypse, the White Horse represents Conquest (usually), the Red Horse represents War, the Black Horse represents Famine, and the Pale Horse represents Death.  https://en.wikipedia.org/wiki/Four_Horsemen_of_the_Apocalypse     Wow. I would not fit well in "The 400" but I would want to go to just one party. They list out all the members but it's NOT 400!  https://en.wikipedia.org/wiki/The_Four_Hundred_(Gilded_Age)     The Fourier analysis formulas hurt my brain because I never studied those symbols. Same with the theorem/series. https://en.wikipedia.org/wiki/Fourier_analysis https://en.wikipedia.org/wiki/Fourier_series     The word of the episode is "four dimensional". https://en.wikipedia.org/wiki/Four-dimensional_space     Final Destination 3 https://www.imdb.com/title/tt0414982/     Use my special link https://zen.ai/thedictionary to save 30% off your first month of any Zencastr paid plan.    Create your podcast today! #madeonzencastr     Theme music from Jonah Kraut https://jonahkraut.bandcamp.com/     Merchandising! https://www.teepublic.com/user/spejampar     "The Dictionary - Letter A" on YouTube   "The Dictionary - Letter B" on YouTube   "The Dictionary - Letter C" on YouTube   "The Dictionary - Letter D" on YouTube   "The Dictionary - Letter E" on YouTube   "The Dictionary - Letter F" on YouTube     Featured in a Top 10 Dictionary Podcasts list! https://blog.feedspot.com/dictionary_podcasts/     Backwards Talking on YouTube: https://www.youtube.com/playlist?list=PLmIujMwEDbgZUexyR90jaTEEVmAYcCzuq     https://linktr.ee/spejampar dictionarypod@gmail.com https://www.facebook.com/thedictionarypod/ https://www.threads.net/@dictionarypod https://twitter.com/dictionarypod https://www.instagram.com/dictionarypod/ https://www.patreon.com/spejampar https://www.tiktok.com/@spejampar 917-727-5757

Most FBI agents don't live a life undercover with criminal motorcycle clubs or extremist groups or ever play the part of a hitman or commit to roles involving public corruption, or be an active member of a regional SWAT team, but FBI Agent Scott Payne has done ALL of the above as well as assignments that are still classified. The guy is a natural story teller! We also talk about his new book, CODENAME: PALE HORSE, his willingness to teach his techniques, his love of SWAT and ensuring the next generation of hard chargers get the best training possible. Instagram: scottpaynebigcountry

Most FBI agents don't live a life undercover with criminal motorcycle clubs or extremist groups or ever play the part of a hitman or commit to roles involving public corruption, or be an active member of a regional SWAT team, but FBI Agent Scott Payne has done ALL of the above as well as assignments that are still classified. The guy is a natural story teller! We also talk about his new book, CODENAME: PALE HORSE, his willingness to teach his techniques, his love of SWAT and ensuring the next generation of hard chargers get the best training possible. Instagram: scottpaynebigcountry

Join Fred Burton as he sits down with retired FBI special agent Scott Payne to explore his 28-year career, including daring undercover missions within extremist groups and insights into modern-day radicalization. Scott shares gripping stories from his book, Codename Pale Horse, offering an up-close look at how extremist tactics have evolved and the impact of his infiltration work. Listeners will gain valuable advice on corporate security, threat monitoring, and staying resilient in high-stress environments.You'll learn:How extremist groups operate and recruit, and learn why understanding their tactics is key to effective threat managementActionable insights for corporate security teams, including ways to identify and mitigate internal and external risksScott's firsthand experiences of living undercover and his strategies for managing the psychological toll of high-stakes workSign up for our monthly newsletter here.

In this episode of The Infinite Spark of Being, we explore the life, legacy, and psychological unraveling of Milton William “Bill” Cooper—author of the infamous conspiracy classic Behold a Pale Horse. Was Cooper a prophet, a paranoid recluse, or something in between? What did he get right about surveillance, government secrecy, media control, and fear as a tool of manipulation? And why is it so hard for us to accept that people like Cooper—or even Alex Jones—might sometimes tell the truth?We'll also touch on the cautionary tale of the Sandy Hook incident, the psychological toll of constant exposure to conspiracy thinking, and how spiritual discernment is more necessary than ever. This isn't just a breakdown of a book—it's a mirror for our own minds.✨ Topics include:What Bill Cooper got right (and what it cost him)Comparing Cooper and Alex JonesThe truth behind false flags, surveillance, and media manipulationThe spiritual dangers of obsessive truth-seekingFinding peace and awareness in a world full of fear

We were very fortunate to have Eric Egan from Heart Attack Man on the podcast to talk about their new album, "Joyride The Pale Horse". Enjoy!Heart Attack Man Socials: Twitter: https://x.com/HeartAttackManeInstagram: https://www.instagram.com/heartattackmanofficial/Facebook: https://www.facebook.com/heartattackmane/TikTok: https://www.tiktok.com/@heart_attack_manYouTube: https://www.youtube.com/channel/UCBTkg4z1lohFOPeZgqhgQLAApple Music: https://music.apple.com/us/artist/heart-attack-man/949770256Spotify: https://open.spotify.com/artist/5esKrGWvWmBAmjnao5jInNWebsite: https://heartattackman.com/Grab some GNP Merch!: https://goodnoisepodcast.creator-spring.com/Check out the recording gear we use: https://www.amazon.com/shop/goodnoisepodcastSupport the show on Patreon: https://www.patreon.com/goodnoisepodcastGood Noise Podcast Socials:Twitter: https://twitter.com/good_noise_castInstagram: https://www.instagram.com/goodnoisepodcast/Facebook: https://www.facebook.com/goodnoisepodDiscord: https://discord.gg/nDAQKwTYouTube: https://www.youtube.com/channel/UCFHKPdUxxe1MaGNWoFtjoJASpotify: https://open.spotify.com/show/04IMtdIrCIvbIr7g6ttZHiAll other streaming platforms: https://linktr.ee/goodnoisepodcastBandcamp: https://goodnoiserecords.bandcamp.com/

Episode 392 is up and live now with Eric Egan from Heart Attack Man! This dude rules and this conversation was incredible. Don't miss it and check out the new record, "Joyride the Pale Horse" out now! We are now proudly presented by Sound Talent Media.  @stmpodcasts   Love the show? Sign up for Premium Pleasure ⁠⁠Http://peerpleasure.supportingcast.fm⁠⁠   Visit the website at: ⁠⁠www.peerpleasurepodcast.com⁠⁠   Go Rate, Write a Review and subscribe to the show now on Apple Podcasts, Google Play, Stitcher or wherever you listen to podcasts.   You can now rate the show on Spotify! Please take a moment to do that now if you are streaming on Spotify. Follow the show on Instagram: @peerpleasurepod Follow the show on Twitter: @podpeerpleasure Follow the show on Facebook: @peerppod You can email me at: ⁠⁠peerpleasurepod@gmail.com⁠⁠ Don't forget to check out our amazing sponsors! Go to distrokid.com/vip/ppp for 30% off your years membership to get your music distributed online everywhere! Thank you DistroKid! @thunderboltguitars @ryderevanrobison.studio @stringjoy @distrokid @hearinglife Music Credits: Opening theme song, "Trans-Am Sunday" by Hobosexual Closing theme song, "My (fucking) Deer Hunter" by Fear Before The March Of Flames Learn more about your ad choices. Visit megaphone.fm/adchoices

In episode 266 of the podcast, we're joined by Eric Egan, vocalist and front person of the band Heart Attack Man.We dig into Eric's early days in bands, 90's music, the Cleveland scene, finding your voice as an artist, and their excellent new album, ‘Joyride the Pale Horse', out April 25, 2025. Big things are coming for HAM with this release, and we really think you'll dig this convo. Follow Eric and Heart Attack Man here:Web: https://heartattackman.com/Eric IG/X: @derrickdeganHAM IG: @heartattackmanofficialHAM X: @heartattackmaneHAM TikTok: @heart_attack_manPhoto Credit: Sam Skapin (IG/X: @samskapin)Podcast theme performed by Trawl. Follow them here: Web: https://www.trawlband.com/IG/X/TikTok: @trawlbandWe'd love for everyone to hear this episode! Support the Podioslave family by rating, subscribing, sharing, storying, tweeting, etc — you get the vibe. Peace, love, and Podioslave. Check us out here:Web: https://www.podioslave.comIG/Threads/X/TikTok: @PodioslaveYoutube: Podioslave PodcastEmail: Podioslavepodcast@gmail.com

In this episode of Crawlspace, Tim Pilleri & Lance Reenstierna are joined by Scott Payne, aka - Pale Horse. Scott spent years infiltrating hate groups and white supremacy cells in the United States in an attempt to eradicate as much hate as possible. He made it out alive and shares some of his most harrowing stories in this episode. To pick up your copy of Code Name: Pale Horse: Bookshop: https://bookshop.org/p/books/code-name-pale-horse-how-i-went-undercover-to-expose-america-s-nazis-michelle-shephard/20713084?ean=9781668032909&next=t. Simon and Schuster: https://www.simonandschuster.com/books/Code-Name-Pale-Horse/Scott-Payne/9781668032909. Follow Scott: IG: https://www.instagram.com/scottpaynebigcountry/. Listen to Agent Pale Horse: https://www.cbc.ca/listen/cbc-podcasts/1031-white-hot-hate. Follow Missing: IG: https://www.instagram.com/MissingCSM/. TT: https://www.tiktok.com/@missingcsm. FB: https://www.facebook.com/MissingCSM. X: https://twitter.com/MissingCSM. Spotify: https://open.spotify.com/show/0yRXkJrZC85otfT7oXMcri. Youtube: https://www.youtube.com/missingcsm. Apple: https://podcasts.apple.com/us/podcast/missing/id1006974447. Follow Crawlspace: IG: https://www.instagram.com/Crawlspacepodcast. TT: https://www.tiktok.com/@crawlspacepodcast. FB: https://www.facebook.com/Crawlspacepodcast. X: https://twitter.com/crawlspacepod. Spotify: https://open.spotify.com/show/7iSnqnCf27NODdz0pJ1GvJ. Youtube: https://www.youtube.com/crawlspace. Apple: https://podcasts.apple.com/us/podcast/crawlspace-true-crime-mysteries/id1187326340. Check out our entire network at http://crawlspace-media.com/. Learn more about your ad choices. Visit megaphone.fm/adchoices

FBI undercover agent Scott Payne's job was to infiltrate the most dangerous gangs of our times: outlaw bikers, drug cartels and the international neo-Nazi networks hellbent on inciting a race war. He was taking down these groups from within. And Scott was good at it — people confided in him their most audacious plans for mass violence and domestic terrorism.In the second season of White Hot Hate, host Michelle Shephard gives you an unvarnished view of a life undercover. Because after a 28-year-long career pretending to be somebody else, Agent Payne is ready to tell his side of the story. This series was produced alongside a book co-written by Scott Payne and Michelle Shephard titled Code Name: Pale Horse: How I Went Undercover to Expose America's Nazis.More episodes of White Hot Hate: Agent Pale Horse are available at: https://link.mgln.ai/rN3swb

Scott Payne is an undercover FBI agent who infiltrated America's modern Nazis under the ominous alias Pale Horse. Plus, Trump's back on the tariff train, this time hitting autos, but we dig into the unseen economic cost of shoehorning jobs into unproductive places. And part 4 of the discussion of a police shooting in the NYC subway becomes a case study in media malpractice, this time focusing on public radio. Produced by Corey Wara Email us at thegist@mikepesca.com To advertise on the show, contact sales@advertisecast.com or visit https://advertising.libsyn.com/TheGist Subscribe to The Gist: https://subscribe.mikepesca.com/ Subscribe to The Gist Youtube Page: https://www.youtube.com/channel/UC4_bh0wHgk2YfpKf4rg40_g Subscribe to The Gist Instagram Page: GIST INSTAGRAM Follow Mikes Substack at: Pesca Profundities | Mike Pesca | Substack Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome to Crawlspace. In this new episode, Tim Pilleri & Lance Reenstierna are joined by Scott Payne, aka - Pale Horse. Scott spent years infiltrating hate groups and white supremacy cells in the United States in an attempt to eradicate as much hate as possible. He made it out alive and shares some of his most harrowing stories in this episode. To pick up your copy of Code Name: Pale Horse, go to... https://bookshop.org/p/books/code-name-pale-horse-how-i-went-undercover-to-expose-america-s-nazis-michelle-shephard/20713084?ean=9781668032909&next=t Follow Scott: IG: https://www.instagram.com/scottpaynebigcountry/ Listen to Agent Pale Horse: https://www.cbc.ca/listen/cbc-podcasts/1031-white-hot-hate Follow Missing: TikTok: https://www.tiktok.com/@missingcsm. YouTube: https://www.youtube.com/missingcsm. IG: https://www.instagram.com/MissingCSM/. Twitter: https://twitter.com/MissingCSM. FB: https://www.facebook.com/MissingCSM. Follow Crawlspace: Twitter: https://twitter.com/crawlspacepod . Facebook: https://www.facebook.com/Crawlspacepodcast . Instagram: https://www.Instagram.com/Crawlspacepodcast. TikTok: https://www.tiktok.com/@crawlspacepodcast. Check out our entire network at http://crawlspace-media.com/. Learn more about your ad choices. Visit megaphone.fm/adchoices

How do ordinary people become dangerous extremists? Former FBI agent Scott Payne infiltrated America's most violent hate groups and reveals their playbook. What We Discuss with Scott Payne: Scott Payne worked as an undercover FBI agent infiltrating various extremist organizations, including white supremacists like the KKK and accelerationists such as The Base, which aimed to trigger societal collapse and establish a white ethnostate. Accelerationist groups differ from traditional white supremacist organizations in that they don't believe in political solutions, but train for violence and "Boogaloo" (race war), preparing with tactical gear and weapons while planning attacks on infrastructure and targeted individuals. During his undercover work, Scott encountered disturbing rituals and behaviors, including a goat sacrifice during which members drank blood and took LSD as part of a neo-pagan ceremony associated with white supremacist ideology. White supremacist recruitment often targets vulnerable individuals from broken homes who are seeking belonging and connection, with online platforms like Telegram and Gab serving as recruitment grounds where extremist content can radicalize disaffected youth. Deescalation and communication skills proved to be Scott's most valuable tools throughout his career. His experience shows that even in hostile environments, the ability to talk through situations and remain calm under pressure is often more effective than physical confrontation — a skill anyone can develop and apply to their own difficult interactions. And much more... Full show notes and resources can be found here: jordanharbinger.com/1132 And if you're still game to support us, please leave a review here — even one sentence helps! Consider including your Twitter handle so we can thank you personally! This Episode Is Brought To You By Our Fine Sponsors: jordanharbinger.com/deals Sign up for Six-Minute Networking — our free networking and relationship development mini course — at jordanharbinger.com/course! Subscribe to our once-a-week Wee Bit Wiser newsletter today and start filling your Wednesdays with wisdom! Do you even Reddit, bro? Join us at r/JordanHarbinger!

Sharing an episode of Agent Pale Horse. It tells the story of FBI undercover agent Scott Payne, whose job it was to infiltrate the most dangerous gangs of our times: outlaw bikers, drug cartels and the international neo-Nazi networks hellbent on inciting a race war. He was taking down these groups from within. And Scott was good at it —  people confided in him their most audacious plans for mass violence and domestic terrorism. After a 28-year-long career pretending to be somebody else, agent Payne is ready to tell his side of the story, and an unvarnished view of a life undercover. In this episode, Scott has his first in-person meeting with The Base. Alone. He needs to convince the international neo-Nazi network that he's one of them. Learn more about your ad choices. Visit podcastchoices.com/adchoices

A Note from James:As you listen to this episode, ask yourself: would you do what my guest Scott Payne did for 28 years? He's a retired undercover FBI agent who spent nearly three decades infiltrating some of the most dangerous groups in America—white supremacist organizations, outlaw biker gangs, and domestic terror cells. His new book, Code Name: Pale Horse, reveals the harrowing details of his undercover life, including moments where he was seconds away from being exposed and killed.Scott spent 18 months embedded with the Outlaws motorcycle gang. In one chilling moment, they decided to strip-search him while he was wired up, a scenario that could have ended him on the spot. He also infiltrated the KKK in Alabama, adopting the codename Pale Horse to penetrate a violent neo-Nazi cell known as The Base, which was actively planning attacks and preparing for a so-called race war.This is raw, unfiltered, and straight from the front lines of America's most dangerous extremist groups. Scott took unimaginable risks to save lives and bring criminals to justice—all while balancing a wife, two daughters, and his faith. This episode is an unmissable look at the dark corners of our country and the people working to expose them.Episode Description:What does it take to spend 28 years undercover, living among America's most dangerous criminals? Scott Payne knows firsthand. As an FBI agent, he infiltrated violent white supremacist groups, outlaw biker gangs, and domestic terror cells. In this conversation, Scott shares never-before-heard stories from his career, including how he convinced extremists that he was one of them, how he barely escaped being exposed, and the mental toll of living a double life.Scott's new book, Code Name: Pale Horse, pulls back the curtain on his undercover operations. He details how groups like The Base aren't just talking about hate—they're planning violence, training for guerrilla warfare, and actively trying to accelerate societal collapse. This episode provides a rare look inside these organizations and the tactics used to dismantle them.We also discuss the modern landscape of extremism, the role of AI in radicalization, and what everyday citizens can do to spot warning signs before it's too late.What You'll Learn:The chilling reality of undercover work inside violent extremist groups.How Scott Payne survived a strip search while wired up by an outlaw motorcycle gang.The tactics white supremacist accelerationists use to create chaos and violence.How radicalization is happening online—and why it's spreading faster than ever.The psychological toll of pretending to be someone else for nearly three decades.What law enforcement and the public can do to stop domestic terrorism.Timestamped Chapters: [00:00] Introduction to Scott Payne's Undercover Life [01:32] Infiltrating the Outlaws Motorcycle Gang [02:15] The Strip Search Incident [04:01] Navigating Undercover Risks [21:35] Balancing Personal and Professional Life [24:23] Understanding Modern White Supremacist Groups [35:32] Misconceptions About Terrorist Profiles [36:15] The Role of Technology in Monitoring Threats [36:59] Balancing Privacy and Security [38:10] Challenges in Identifying Domestic Terrorists [39:04] Infiltrating Hate Groups [40:35] The Reality of Undercover Work [42:48] The Threat of Radicalization [48:47] The Importance of Communication and Vigilance [51:12] The Psychological Toll of Undercover Operations [01:06:14] The Future of Law Enforcement and Counterterrorism [01:10:01] Conclusion and Future EndeavorsAdditional Resources:Code Name: Pale Horse by Scott PayneLife After Hate – Organization helping people leave extremist groupsEradicate Hate Global SummitSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.