Podcasts about Patricia Highsmith

Patricia Highsmith is both a terrible person and a great author who's Tom Ripley character was adapted into so many different movies and recently a Netflix mini-series.   Here, I get to do an overview of the different portrayals of the character as well as why this con artist turned murderer is so endlessly fascinating to see adapted!

Hey writers! Sarina here! I have never been quiet about how much I enjoy Karin Slaughter's work. So when the opportunity arose for me to read her brand new book, We Are All Guilty Here, and then interview her about it, I raised my hand faster than an extra in a deodorant ad. The new book is a series starter with a kickass female heroine, and I could not have loved it more! Join as as I quiz Karin on: * How to write a sweeping series starter* Small towns as a setting. How small is too small?* The difference between a procedural and psychological suspense* Character development and much more! Karin is incredibly smart and such an important voice in suspense. You won't want to miss this one!Other favorite's of Karin's that we discussed include:Pieces of Her The Grant County seriesHey, Jess here to talk to you about a series I have created just for supporters of the #AmWriting Podcast.I met an aspiring author and speaker who has an idea for a book that just knocked me over. I said, please, please write that book. This is someone who had an idea that has a place in the market. It's timely. She's the perfect person to write it, and I asked her, I begged her, if I could please mentor her through this process publicly on the podcast.So while we're not giving her full name and we're not giving the actual title of the book, because we don't want to hand those things away, I am coaching her through the entire process, from preparing her book proposal to querying an agent. I'm going through the whole thing with her. She knows nothing about the publishing industry, she knows very little about how one goes about writing a book—so essentially, this is as I mentioned before, from soup to nuts, From Authority to Author, and hopefully we'll get her there.But really, whether or not this book ends up selling, whether after this book she ends up having a speaking career, this is about the process of preparing to do that. I hope you'll join us.This series is for supporters only, so if you are a free subscriber right now, consider upgrading. Remember, if you upgrade, you'll also get the ability to submit for our First Pages Booklab, and lots of other fun stuff that we put out just for supporters—So come join us. It's a lot of fun.Transcript below!EPISODE 461 - TRANSCRIPTJess LaheyHey, Jess here to talk to you about a new series I have created just for supporters of the Hashtag AmWriting Podcast. I met an aspiring author and speaker who has an idea for a book that just knocked me over. I said, please, please write that book. This is someone who had an idea that—it has a place in the market, it's timely, she's the perfect person to write it—and I asked her, I begged her, if I could please mentor her through this process publicly on the podcast. So while we're not giving her full name and we're not giving the actual title of the book, because we don't want to hand those things away, I am coaching her through the entire process, from preparing her book proposal to querying an agent. I'm going through the whole thing with her. She knows nothing about the publishing industry. She knows very little about how, you know, one goes about writing a book. And so she—essentially, this is, as I mentioned before, From Soup to Nuts, From Authority to Author, and hopefully we'll get her there. But really, whether or not this book ends up selling, whether this book—she ends up having a speaking career—this is about the process of preparing to do that. How do you write a book? How do you prepare to become a speaker on the back of that book? So I hope you join us. This is a series for supporters only, so if you are a free supporter—or if you're a free subscriber right now—consider upgrading. Remember, if you upgrade, you'll also get access to the ability to submit for our First Pages Booklab and lots of other fun stuff that we put out just for supporters. So come join us. It's a lot of fun.Multiple SpeakersIs it recording? Now it's recording, yay. Go ahead. This is the part where I stare blankly at the microphone. I don't remember what I'm supposed to be doing. All right, let's start over. Awkward pause. I'm going to rustle some papers. Okay, now one, two, three.Sarina BowenHello, my name is Sarina Bowen, and you're listening to the AmWriting Podcast. This is the podcast about writing all the things—short things, long things, fictional things, non-fictional things, pitches and proposals—in short, this is the podcast about sitting down and getting the work done. I am alone today with an interview that I could not be more excited about. I don't know how I drew the long straw here, but today I have the pleasure of interviewing Karin Slaughter. She is the author of more than 20 instant New York Times best-selling novels, including the Edgar-nominated Cop Town and standalone novels The Good Daughter, Pretty Girls, and Girl Forgotten. That's actually an amazing one, by the way—go read it. She's published in 120 countries, with more than 40 million copies sold across the globe. She also has a number one Netflix series and another long-running series. She has hit all the bells and checked all the boxes in thriller land, and she is also just one of my favorite writers. So happy to be here. Welcome, Karin Slaughter.Karin SlaughterIt's my pleasure. Thank you.Sarina BowenWe're here to talk about your August release, which is called We Are All Guilty Here. I received this ARC a few months ago—actually read it immediately—because I love your suspense, and I also was really excited to see that it was clear as day on the release. So you owe me now that it's a series starter.Karin SlaughterIt is, yeah. It was a lot of fun planning it out.Sarina BowenOh, good, yeah. And I want to hear a little bit about that, but I'm just going to read the very short flap copy for We Are All Guilty Here so we all know what we're talking about.[Reads flap copy]The first thrilling mystery in the new North Falls series from Karin Slaughter. Welcome to North Falls—a small town where everyone knows everyone. Or so they think. Until the night of the fireworks, when two teenage girls vanish and the town ignites. For Officer Emmy Clifton, it's personal. She turned away when her best friend's daughter needed help—and now she must bring her home. But as Emmy combs through the puzzle the girls left behind, she realizes she never really knew them. Nobody did. Every teenage girl has secrets. But who would kill for them? And what else is the town hiding?So, flap copy very much pitched as a thriller. Here is the problem here—you know, we're wanting the solution, but I would argue that your novels are always, always about bigger than the problem and its solution. So how did you conceive of this town, and what does North Falls mean to you as you were getting into it?Karin SlaughterWell, I mean, North Falls is a very small town inside of a larger county. So it's rural, but it's not tiny like my Grant County Series. And I think that I learned some lessons in Grant County—mainly, make it a larger town so there's more people you can kill, because at a certain point, why would anyone live in this tiny town? But also, I knew going into it that it was going to be a series. And so, you know, unlike Grant County and Will Trent—which I was hoping would be series, but I wasn't sure, and I was at a different point in my writing life—you know, I'm pretty sure, 25 books in, that they're going to publish at least two or three more of my books. So I thought, let me set this up as a series, and let me do this world building that can carry on into several books, and let's make this town. You know, North Falls is the seat of the county, but it's also in a county called Clifton County. And the main narrator you meet is called Emmy Clifton, and she's a sheriff's deputy. Her father, Gerald Clifton, is the sheriff of this county. There are Cliftons everywhere—there are rich Cliftons and poor Cliftons—and so you have this family saga potential. But also, it gave me the opportunity to plant a lot of different seeds that will later grow into novels. So I was really happy about that, but I definitely structured the county in a way where there's plenty of space to tell stories.Sarina BowenRight. So I noticed, and when I read a book like this, I am reading it as a reader, but also as a writer.Karin SlaughterYes.Sarina BowenAnd so I really noticed how long the character count in this book is—by which I mean how many characters there really are, how many named characters. There's so many of them, and that felt really fearless to me, you know, like you weren't sitting there at your keyboard wondering if you were going to ask your reader to remember this other family member, but you just went for it. And is that something that you ever try to balance? Like, you're not taking it easy on us here, and ultimately, I loved every word of it. But do you ever worry about that? Like, do you let that voice from other books past into your brain to say, like, well, that one time…Karin SlaughterNot really. You know, I think a writer's job is to trust the reader, and it's certainly my job to tell a story that is gripping and that makes sense and that pulls them into the world. And so what I was thinking about as I was writing this was, I need to write these characters in such a way that you care about them; otherwise, you won't care what happens. And, you know, Emmy is in a pretty universal position for a lot of millennial women. She's in a marriage that's not a great marriage. She's trying to raise her son. Her parents are starting to get older—you know, they're failing a little bit—so she's noticing that. And in the middle of this, she has this horrific crime happen where these two girls are abducted. And because they are in this small town, she knows one of these girls, who's actually a stepdaughter of her best friend—her best friend since kindergarten—and so just that one thing happening blows her world apart. To me, that's what the hook is. You know, there's this greater mystery of what happened to these girls, what's going to happen, who took them—all those things—but there's also something that I rely on a lot in my books, which is the mystery of character, and people wanting to know more about how does Emmy navigate this. What happens to her brother and her sister-in-law, and this handsome guy who is the school resource officer? You know, how does this all play out? And that, to me, is the job of the writer—to make these characters interesting and make the plot and the balance of the character stories fit together in a way that, you know, when there's not a car chase or a gunfight or whatever, you still want to keep reading because you're involved in the mystery of the character.Sarina BowenYeah, and we sure are. And Emmy is just the beating heart of this book, but she is not your only point of view character. And how—is that something you really have to fiddle with as you go, like, do you try on other point of view characters and then pick the winners as you go?Karin SlaughterYeah... I never have, you know, I think that I'm a very opinionated writer. I have a very firm sense of point of view. And so I knew that Emmy was going to get the bulk of the first part of the story. And then I knew that Jude was going to come in when she came in, and that I would have to build out, like, just drop the reader in this unfamiliar, new world, right in San Francisco, with like, a completely different character, and you don't know what's going on, and you make assumptions about her based on what she does for a living and all this other stuff. And you know, I knew that was coming all along and that the book would be told from these two women's points of view. I never felt—other than the early part with Madison, one of the girls who is abducted—I never really felt like anyone else could tell these stories.Sarina BowenOkay! And you mentioned that you learned some things from writing your Grant County Series that informed your choice of the size and milieu of what you chose for North Falls and for Clifton County. What do you think? How did it feel to start a series in 2025 versus starting one, you know, a decade ago? Like, is there anything about the world that made your choices different, or is it all, um, you know, coming from what you've learned as an author?Karin SlaughterYeah, I think it's cumulative. I mean, the point of being an author with a 25-year career is to learn from each book, and I never want to feel like when I finish a book, oh, that's perfect. I can't do better than that. I always, you know, want to learn something, and then the next book I want to try something new. I mean, I could have just kept writing Will Trent novels and occasionally standalones for the rest of my life. I mean, and I am going to write more Will Trent novels interspersed with North Falls. It's really important to me to—I love that character, I love Sara Linton, and I want to keep telling those stories. And I actually have another idea for a standalone I want to do. But, you know, the point of being a writer is to get better at it. I think anybody who loves writing and the challenge of writing, and feels a calling, wants to be better with each story—to hone certain skills, to do novel things (to use a pun there) in their writing that challenge them and make the work more interesting—and that's what I try to do with every book. So starting North Falls this far into my career was a leap, but I think, hopefully, it's one that has paid off for me as a writer, just to have the ability to tell new stories and kind of prove that I've got more stories in me.Sarina BowenYeah, I confess that I regularly have moments where I stop myself and ask, have I said this before this way? Have I done this little thing before? And what would you tell me about that—like, to just, like, get over myself? Or, you know, what happens when you come to a moment like that in your own story craft?Karin SlaughterWell, I mean, in polite terms, you could think of it as an homage to yourself. I mean, honestly, I'm writing about murder. I'm writing about violence against women. I mean, I do write about men dying, but no one seems to care—so sorry, guys. You know, I had one book where I killed, like, six men, and then the next one I killed one woman, and they were like, wow, this return to violence. I'm like, come on, guys. But yeah, you know? So I think how you do it is you have to think of it through the lens of the character, and that's a choice I made in Grant County and Will Trent—was that they were going to be affected by what happened in the previous book, right? So, you know, you don't have a situation—you know, I love series novels, but there are some where… and Jack Reacher is an exception because I love Jack Reacher, and every Reacher book is: he gets to a new town, people are doing bad s**t, and he shoots a lot of people, and he makes it right, you know. And I love Jack Reacher. But, you know, some writers do write the same thing over and over again—they have the same concept or the same gimmick—and that's never been a career that I'm interested in. For me, I want to tell new stories and do new things. And, you know, after a while you run out of crimes that are new crimes. You know, I've written about abduction before, I've written about abuse before, but it's the character—the way the character sees a story, and the connection, the emotional connection the character has—that makes a difference. And, you know, in many ways, it's harder to write a novel in North Falls, where Emmy has a personal connection to the crimes that are occurring, as opposed to writing a Will Trent novel set in Atlanta, where, you know, it's a stranger to them. And so I have to...Sarina BowenIf Will Trent knew—yeah, if Will Trent knew every dead person, that would just seem weird.Karin SlaughterYeah, exactly, yeah. And so I have to find a way into the story, and with Will and Sara, for instance, it's a little more difficult than something where, okay, there's this immediate emotional connection, because I'm writing in North Falls more psychological thrillers, as opposed to Will Trent, which is more procedural.Sarina BowenOkay, can I poke you about that a little bit? Because, um, these words are used a lot. Procedural, to me, I've always understood to be a professional character. So Emmy Clifton is a law enforcement officer—she's a pro—so in strictly, strict definition, this is a procedural novel. But how do you feel the difference between psychological versus procedural functions in those two series?Karin SlaughterWell, you know, I think absolutely, if you want to be strictly by definition, it would be procedural. But, you know, the thing about thrillers is they're all things now, right? I mean, you could call it domestic—a domestic thriller, or domestic mystery, or whatever—you could call it, you know, a family story. And I think of it more as a saga, because it is about a family spanning generations, and this town spanning generations. But, you know, yeah, there's a procedural element. There's also—like, it's very emotionally tied into the character. There's a darkness to it, so it's psychologically, you know, you're very close to the bone on it. And I think that's why I would call it more of a psychological thriller, as opposed to Will Trent where, you know, it's very led by the investigatory steps, right? Like, you know, if Will Trent is going to be there, they're going to talk to witnesses, they're going to talk to suspects, they're going to, you know, have to fill in with their boss. There are just different parts of that that, in one way, the structure makes it easier to write than something like We Are All Guilty Here. But, you know, with this in particular, where you have it talking about not just the crime, but how f*****g hard it is to grow yourself into a woman, as Emmy says, and friendships and relationships and family and dealing with aging parents and, you know, siblings and that sort of stuff—that, to me, is what makes it more in the realm of psychological.Sarina BowenOkay. I've actually really admired the way that you sometimes walk the line on this. For example, I really enjoyed Girl Forgotten, which is the character that is first introduced in Pieces of Her, where she is not a professional. And then in Girl Forgotten, she has joined a law enforcement agency, but it's still her first day on the job—which is just such a wonderfully fun way to throw things at that character—because then it becomes both a procedural and not. Like, she is technically a professional, but she doesn't know what the heck she's doing, and not everybody there is willing to help her. So to me, that was a fantastically fun way of making both things true at once. And when I was reading that book, and of course then this one, I wonder—how you get the legal—the law enforcement stuff? So, like, how did…I know that by now, at this point in your career, you must have many people you can talk to about this, but how did you start that? Like, how did you inform yourself of what you didn't know so that you could fix it and not get those things wrong?Karin SlaughterYeah, you know, when I wrote my second book, I had met a guy who's a doctor, and he is married to a pediatrician, and his brother works on a body farm in Texas. So this is, like, the perfect family for me for what I'm doing to make Sara the smartest doctor on the entire planet. Because, you know, it might take my friend David, who advises me, four days to come up with a solution, but Sara has to do it in half a paragraph. So she's definitely the doctor you want if anything very unusual happens. I mean, her career would be the subject of scholarly articles forever.Sarina BowenZebra is not horses for her.Karin SlaughterExactly, yeah. And so I am…I have them—I have a lot of police officers I speak to, a lot of retired GBI officers. One of them was very helpful in this novel because, you know, the GBI—it escalates, you know, crimes in the state of Georgia escalate completely when there's a child involved, just because, you know, somebody who's in Fulton County can't jump to Acworth, for instance, as far as policing, but the GBI is in charge of the entire state—Georgia Bureau of Investigation—so they handle a lot of kidnappings and abductions. And most of the time, you know, it's statistically…there's a 1% chance it's going to be a stranger. Usually it's a parent or “Uncle Bob,” or, you know, the youth pastor, or someone like that who has access to a child. And so she hooked me into the Center for Missing and Exploited Children, which is a remarkable resource. And, I mean, I think they're just amazing in what they do. But, you know, the thing is, as much as I know about this stuff, I always check my work because I'm not a professional. And, you know, it's very rare these days, I think, for people to say, hey, I'm not an expert in this, let me talk to someone who is and has spent 20 years becoming an expert. But it's really important to me to get those details as correct as I can. Now, they're not always going to be 100% accurate because I'm telling a story, you know? If putting in a chest tube takes 20 different steps…Sara's going to do it, you know, in like a sentence.Sarina BowenRight.Karin SlaughterSo I have to—but I feel like I need to know the rules and I need to know the facts before I fudge them so that I can still give them a sense of believability. I'm writing…not writing textbooks, I'm writing fiction, but I want to be as accurate as possible, and I think that's really important, you know? And I know that a lot of my readers are very immersed in true crime and podcasts and all these sorts of things. And sometimes you can get the accurate information from those. A lot of times you don't. And I want them to say, wait a minute, you know, on “Murder Death Podcast”, they said this would never happen, and if they look it up, or they talk to an expert, they'll be like, ha, “Murder Death Podcast” was wrong. You know, maybe I shouldn't trust this guy or gal who's doing a podcast out of the backseat of her car for my forensic knowledge. So that's my job as a writer—to get it as factually accurate as I can.Sarina BowenYeah, and there are areas, um, where readers care more. Like, when I ask readers, um, what do you—what drives you nuts in research? It's the nurses are really, like, um, triggered by bad medicine. But…Karin SlaughterYeah.Sarina BowenBut there are some areas, you know, like technology, and there are some places where, you know, less accuracy—or more creative accuracy—is more excusable than if you do the nurse thing wrong, because they will come for you.Karin SlaughterYeah, yeah, they will. Or guns…Sarina BowenRight.Karin SlaughterYou know? And it's really because the armorer for the GBI—I actually confirmed some details with him in a book—and, like, some guy in, I don't know, Idaho sent me this angry email saying I got it wrong. And I'm like, talk to the armorer, right? I mean, people…people just want to fight sometimes. But yeah, nurses can be brutal when they come for you. It's like, come on, man. It's funny that you mentioned doctors, actually; doctors are like, you know, people get it wrong, but nurses are like, no, you got this wrong, you need to apologize.Sarina BowenIt's funny that you mentioned the guns, because I heard last year Gregg Hurwitz speak, and he said, “Don't get the guns wrong. The gun people will come for you. And don't hurt the cat, because the cat people will come for you.”Karin SlaughterTrue. It's true. I would say the cat people are more brutal than the gun people.Sarina BowenYeah.Karin SlaughterAs it should be. You should never hurt an animal in a book.Sarina BowenRight. So back to the idea of a series again. I was so excited to see that this will be a series, and I—the expansiveness of the first book makes a lot of sense series-wise. What do you think is actually harder about writing a series versus a standalone, or the reverse?Karin SlaughterWell, you know, in a standalone, the stakes can be much higher because you're not going—you can damage these characters. I mean, you can kill the characters. You can kill them all by the end of the book, you know? So the sense of jeopardy is always heightened in a standalone, at least in my standalones, because I'm not precious with people, even if they're narrators. But, you know, I think it's really important to—no matter what you're writing—just keep in mind that there's someone out there who has experienced the crimes you're writing about. And, you know, a case of gender violence is happening right now, and right now, right now, and right now, right? So it's like every second of the day in the world, it's happening somewhere. And I keep that in mind when I'm writing, and I want to make it matter. I don't want to use it for effect—it's not titillating or sexualized, or any of those things. So, you know, when I'm writing—whether it's a standalone or a series—I want to set up that world where the lives of these people matter, and you understand that the loss of life is felt in the community, and by the family, and the characters, and the investigators, and everyone there. And so, you know, the challenge with the standalone is finding that world, building that world, and then leaving that world, right? It's a lot of work, as opposed to in a series where you know you're going to carry it on. So you have to be a little careful about how you structure things, and you don't want to leave your character in a place where the next book you don't know how they're going to go on, also. And so you have to have some sense of hope, or some sense of closing that one chapter and moving on to the other. I mean, I use a lot of humor in my books. I get a lot of questions about the violence, but I never get questions about the humor. I think it's really important to have that lightness among the darkness. I mean, my grandmother used to say, “You can't fall off the floor,” and I'm a big proponent of that. I think at some point, you know, you have to have some relief from it. And in a standalone, you know, you have a very short runway to do that, but in a series, you have a longer…you know, you can trust the reader, as they get to know these characters, that they have a little more empathy and sympathy with what they're going through.Sarina BowenYeah, so you mentioned darkness, and I've been thinking a lot about this. And your books have some very dark topics and themes, as they must, because you are carrying storylines that are, um, can be very dramatic and have very high stakes. One thing I've noticed about your books, and why I like them so much, is that even in the year of our Lord 2025, when I pick up a Karin Slaughter book, it could be dark as anything, but I know from at least chapter one and a half who I am rooting for and who I care about. So Emmy is a wonderful example of this. Ten minutes into my journey with her, I know that she's my girl. You know, I'm very invested in her, even though that does not mean she has to be perfect, that she isn't flawed, or that she even knows what's going on—but I know, because of the cues that you've given me, that I'm supposed to care about her, and I do instantly. So when I began reading lots and lots of suspense three or four years ago, as I was writing my own, I very quickly sorted all of the suspense in the world that's selling right now into two pots, without trying to—which is the books where I know who I'm supposed to root for immediately, and the books where you don't. And I noticed that that second category is awfully popular now, and maybe is sort of on an upswing, like where the mystery, the story, might be very beautifully rendered, but I don't necessarily care about any of the people, or I'm not sure who to pull for. And that's not because these books aren't well written, but because that's a mood, and I wonder if you've noticed that, and, um, and how you feel about it, just from a writerly perspective. Like, what is going on there? Like, why is there so much darkness in the reader's perspective, and, you know, not just in the themes right now?Karin SlaughterWell, I mean, I think it's where we are, just in the world, right? You had a lot of that before 9/11, and then there was a need after—I mean that, and I speak to 9/11 because that's…my first book was published a few days after 9/11, so…Sarina BowenOh, wow.Karin SlaughterAnd there was this idea, like, you saw it in the TV show 24, where there's good and bad, and there's, you know, black and white. It's very—and then we've moved definitively toward grays. But, you know, I like books where you know where you stand. And I have written books with unreliable narrators at times, and, you know, Gillian Flynn did it best and kicked that off. But, you know the thing about an unreliable narrator or an antagonist being your narrator is, I prefer a Tom Ripley, right? I mean, Tom Ripley, Patricia Highsmith's character, is decidedly a bad guy. He murders and steals and, you know, but you're rooting for him, even not to get caught, you know. And a lot of the tension comes from him making really stupid mistakes, and you're cringing as a reader and thinking, God, how's he going to get out of this? And I don't want him to get arrested, even though he's this bad guy. And I love books that play against that. I think sometimes we have books where people—I mean, what you're saying about not knowing who to root for—I mean, if they're a good antagonist or they're a good foil, like a Moriarty…I mean, a lot of times you're not rooting for Sherlock, you're rooting for Moriarty. It just depends on how it's drawn. But for me, I just felt like, you know, this is sort of a return to Grant County, which is…I started writing Grant County, and, you know, you believe that Jeffrey and Sara and Lena, for the most part, were always trying to do the right thing. And I think we've lost the benefit of the doubt for a lot of people—particularly police officers have lost the benefit of the doubt—which is very troubling, because they police with our consent. And we need to understand who we're giving consent to. And we need to understand—you know, “defund the police” has been, like, a buzz…buzzword, phrase, whatever, for a while now, but rural areas, particularly in smaller states, have been defunding the police for years. And it's not a movement or anything; it's just not paying people enough money to live off of, right? So we've got police officers who have two or three jobs, rather than professionals who have one job, and that pays their bills, and they can take care of their responsibilities with that. So we've been defunding them. We don't give them enough training, and we're just seeing an erosion of that. And so it's something that I'm going to talk about a little bit in this next novel—is that defunding of police and how it's been, like, a nationally…it's been a real issue. We're seeing a deterioration in police forces because of it, and particularly in retention. And so that's definitely something I want to talk about, but I think you have to put it in context and take the politics out of it, because it's not politics. It's just people not having money to pay, or choosing not to pay for services that they really need.Sarina BowenRight. Or it is politics. It's just not party politics. It's just…Karin SlaughterExactly, yeah, yeah.Sarina BowenIt's just bad politics.Karin SlaughterYeah, well, it's bad social engineering.Sarina BowenYes.Karin SlaughterBasically. So it's there…if you could look at it from a sociological standpoint, it's just a really bad idea. And, you know, you don't retain good officers. So what do you have when that's over? You know, and not to say, like, paint entire police forces as bad because they're just not making money—but, you know, it takes…all it takes is a few bad cops, and a police force is in jeopardy.Sarina BowenRight, like, would you rather live in a state where the cops and the teachers were paid well, or a state where they weren't and…?Karin SlaughterYeah, yeah.Sarina BowenWell, I really appreciate you taking the time to talk with us today about all of these story craft problems that were mired in all week along. If listeners want to find you, where is the best place for them to look, besides the bookstore, where this this book is coming?Karin SlaughterWell, I I'm all over social media. All you have to do is search for me. You see a little black cat with gorgeous green eyes. That's my baby boy, Dexter. So that gives you an indication of it. You're in the right place, or Facebook, obviously, but yeah, I'm all over the place.Sarina BowenWonderful! Thank you so much for being with us today, and listeners, until next week—keep your butts in the chair and your heads in the game.Jess LaheyThe Hashtag AmWriting Podcast is produced by Andrew Perilla. Our intro music, aptly titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output, because everyone deserves to be paid for their work. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

**THIS EPISODE CONTAINS FULL SPOILERS**Fake it till you make it… or murder your way there. This week on Film Is Lit, we dive deep into "The Talented Mr. Ripley," a sun-drenched psychological thriller soaked in envy, identity, and deception. Written by Patricia Highsmith and adapted for the screen with elegance and dread by Anthony Minghella, the film features standout performances from a stacked cast. We also pay tribute to one of our all-time favorites, Philip Seymour Hoffman, who steals every scene he's in as the effortlessly snarky Freddie Miles.#filmislitpodcast #thetalentedmrripley #patriciahighsmith #mattdamon #judelaw #gwynethpaltrow #CateBlanchett #philipseymourhoffman #jackdavenport #filmnoirvibes #thrillerfilms #adaptationanalysis #booksvsmovies #filmpodcast #cinephiles #litlovers #criterioncollection #90scinema #filmcommunity #nowplaying #spoileralert #moviepodcast

Catherine Lacey returns to the podcast to talk about The Möbius Book; reportedly, Patricia Highsmith was a hard boss; Lori is interviewed on Beyond the Zero podcast; kudos to the second annual Inside Literary Prize, judged by 300 men and women incarcerated in the US.https://podcasts.apple.com/us/podcast/lori-feathers/id1578980767?i=1000717836220Thank you for listening! If you like what you hear, give us a follow at: X: Across the Pond, Galley Beggar Press, Interabang Books, Lori Feathers, Sam JordisonInstagram: Across the Pond, Galley Beggar Press, Interabang Books, Lori Feathers, Sam JordisonFacebook: Across the Pond, Galley Beggar Press, Interabang BooksBluesky: @acrossthepondbooks.bsky.socialThe Big Book Project https://substack.com/@thebigbookprojectTheme music by Carlos Guajardo-Molina

Como todos los viernes, Matías Claro, de Truman Libreros, llegó con nuevas recomendaciones literarias: "Extraños en un tren", de Patricia Highsmith, y "República luminosa", de Andrés Barra.

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Histórias sobre escolher quem – e o que – fica pra trás. No primeiro ato: os desafios de crescer. Por Natália Silva. No segundo ato: a maior escritora lésbica brasileira da qual você nunca ouviu falar. Por Flora Thomson-DeVeaux, Ana Júlia Prado, e Ingrid Fagundez. Que tal deixar a sua jornada de trabalho mais leve, criativa e menos estressante? O navegador Opera Air acaba de chegar ao Brasil e traz muitas ferramentas para uma navegação eficiente, segura e que não te deixa esquecer o principal: do outro lado da tela, tem uma pessoa que também precisa de um respiro. Baixe aqui o navegador para computador e experimente uma rotina de trabalho mais equilibrada: opera.com/air Acompanhe a Rádio Novelo no Instagram: https://www.instagram.com/radionovelo/ Siga a Rádio Novelo no TikTok: https://www.tiktok.com/ Palavras-chave: infância, adolescência, amadurecimento, paternidade, maternidade, adoção, Eudemônia, As Traças, Eu sou uma lésbica, Patricia Highsmith, O Preço do Sal Learn more about your ad choices. Visit megaphone.fm/adchoices

"Now & again I am able to live expansively, to feel expansive, with nothing & no one to do it for. Then I am happy, or happier than otherwise" April 18, 1951 Patricia Highsmith, Her Diaries and NotebooksWelcome to Episode #111:This episode comes after a week of travelling solo in Italy reflecting on events and pivotal moments that led me to taking time in Italy to restore balance and beauty in life, to let Italy and Paris work its magic. It's not exactly a perfect introduction, there is grief and emotional baggage but life and blessed time in Italy is a guaranteed source to move me forward into writing and reading. The simple pleasures of time alone and enjoying cafe life in Paris and Italy do work their magic. The gifts of travel, to old and new places help integrate and challenge me to move forward, to honour myself and make peace with a challenging time in life.Find all Shownotes at  michellejohnston.lifeMy book:  In the Shadow of a Cypress - An Italian Adventure Book Link for  MichelleJohnston.life© 2025  A Writer In Italy - travel, books, art and lifeMusic Composed by Richard Johnston © 2025Support the showSupport the show

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Hello friends and fellow travelers! We bring June to a close in the Italian seaside villas that we all can so easily afford with The Talented Mr. Ripley. The 1999 thriller features a stacked ensemble including Matt Damon, Jude Law, and Gwyneth Paltrow. We dive deep into our syllabi this week before discussing homoeroticism, misogyny, Patricia Highsmith, complex characters and narrative, and much, much more! Join us now as we invite The Talented Mr. Ripley to the analysis table!

On this episode of Remainders we watch the 2005 film A History of Violence. David Cronenberg adapts the graphic novel by John Wagner about a small town family man who becomes a local hero after killing two men during an armed robbery. This gets the attention of a mob boss who believes Tom is a man with a violent past. Beast mode performances by Viggo Mortenson, Ed Harris, and William Hurt elevate A History of Violence into epic territory.Other topics include Viggo's career post-Lord of the Rings, Cronenberg's filmography, best Ed Harris and William Hurt performances, Brad Pitt and sports movies, plus Ripley and the history of the character from Patricia Highsmith's novel.Songs of the WeekVoicemail by Meat WaveSave Me by Aimee MannDear John by Aimee MannRemainders Podcast Jukebox PlaylistWebsiteFacebookInstagramYouTubeTwitter

This week's podcast covers Alfred Hitchcock's classic murder swap thriller, Strangers on a Train. A tennis player has a chance meeting on a train that suddenly turns his world upside down.***SPOILER ALERT*** We do talk about this movie in its entirety, so if you plan on watching it, we suggest you watch it before listening to our takes.A Warner Brothers Picture. Released on June 30, 1951. Produced and Directed by Alfred Hitchcock. Written by Raymond Chandler, Czenzi Ormonde and Whitfield Cook based on the novel by Patricia Highsmith.Starring Farley Granger, Robert Walker, Ruth Roman, Patricia Hitchcock, Kasey Rogers, Leo G. Carroll, and Marion Lorne. Cinematography by Robert Burks. Edited by William Ziegler. Music by Dimitri Tiomkin. Ranking: 7 out of 52. Ranking movies is a reductive parlor game. It's also fun. And it's a good way to frame a discussion. We aggregated over 70 ranked lists from critics, fans, and magazines Strangers on a Train got 2,722 ranking points.

In dieser Folge besucht Julia die Buchhandlung Albertine in New York, sowie das Hotel Chelsea, das eine wichtige Rolle in "Just Kids" von Patti Smith spielt. In der 23. Straße macht sie außerdem einen kurzen Halt bei Edith Whartons Wohnhaus, kurz vor einem Abstecher in die Buchhandlung Rizzoli. Weitere New York-Bücher in unserem Podcast sind "Eine Tochter Harlems" von Louise Meriwether und "Carol" von Patricia Highsmith. Mehr New York Tipps gibt's übrigens bei Isabella Caldart (@isipeazy).

Adnan Bostancıoğlu'ndan polisiyenin ustalarıyla dolu bir bayram programı!

Hirayami ist so etwas wie ein analoges Fossil in einer digitalisierten Welt. Jeden Morgen noch vor Sonnenaufgang fährt er mit seinem Bully los, um die schicken öffentlichen Klos des Tokio Toilet Projects zu reinigen. Er hört klassische Rock & Roll Musik auf seinem Kassettenplayer, knipst Fotos von Bäumen mit einer einfachen Analogkamera und liest Patricia Highsmith und Aya Kōda. Er ist bei seiner Arbeit pflichtbewusst, meistens schweigsam und verkehrt immer in den gleichen Restaurants und Bars. Aufgebrochen wird sein routinierter Alltag von verschiedenen Begegnungen: Da ist zum Beispiel die Hostesse Aya, die Hirayamis lauten Kollegen Takashi datet und bei einer Fahrt mit seinem Bully in die Musik von Patti Smith verliebt. Da ist ein anonymer Toilettenbenutzer, mit dem Hirayami Fern-Tic-Tac-Toe spielt. Da ist der Obdachlose, der gerne Bäume in Park umarmt. Da ist die Bar-Besitzerin, die auf wundervolle Weise “The House of the Rising Sun” in einer japanischen Variante singt. Und da ist Niko, Hirayamis junge - lange nicht gesehene - Nichte, die plötzlich unerwartet vor seiner Tür steht. Hirayamis Alltag ist einfach, ohne große Dramen, ohne große Abwechslung. Und doch erlebt er in den Wochen, von denen Wim Wenders' Film aus dem Jahr 2023 erzählt, die titelgebenden Perfect Days. Johannes, als ausgesprochener Fan von Heldengeschichten, Konflikten und Charakterentwicklungen… war dir das zu wenig?

In this episode, Sarah welcomes Cobby back to the podcast! They dive into The Talented Mr. Ripley, comparing Patricia Highsmith's chilling 1955 novel with Anthony Minghella's 1999 film adaptation. How does the psychological tension of the book translate to the screen? What changes in character, tone, and setting shift our understanding of Tom Ripley? We hope you enjoy the episode!Get in touchInstagram | TikTok | Voice message | Substack | Patreon | Ko-fiSupport The Bookcast ClubYou can support the podcast on Patreon. Our tiers start at £2 a month. Rewards include early access to the podcast, 'close friends' feed on Instagram, monthly bonus episodes, tailored book recommendations and books in the post. You can now try our Patreon FREE for 7 days. If you would like to make a one-off donation you can do so on Ko-fi. A free way to show your support is to mention us on social media, rate us on Spotify or review us on Apple Podcasts.NewsletterSign up to our monthly newsletter on Substack for more book recommendations, reviews, new releases, podcast recommendations and the latest podcast news. Come and chat to us in the comments. Hosted on Acast. See acast.com/privacy for more information.

Screenwriter and playwright Phyllis Nagy joins moderator Patrice Petro for a discussion of Alfred Hitchcock's 1951 classic Strangers on a Train. Adapted from Patricia Highsmith's debut novel, the film follows tennis player Guy Haines (Farley Granger), who meets the charming but disturbed Bruno Anthony (Robert Walker) during a chance encounter on a train. Bruno proposes they “swap” murders—he'll kill Guy's wife, and Guy will kill Bruno's father—eliminating any obvious motive. When Bruno follows through, Guy finds himself caught in a dangerous game of blackmail and suspense. Known for its striking visual style and psychological complexity, Strangers on a Train is celebrated as one of Hitchcock's most influential thrillers, offering a masterclass in tension and moral ambiguity. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 40542]

Screenwriter and playwright Phyllis Nagy joins moderator Patrice Petro for a discussion of Alfred Hitchcock's 1951 classic Strangers on a Train. Adapted from Patricia Highsmith's debut novel, the film follows tennis player Guy Haines (Farley Granger), who meets the charming but disturbed Bruno Anthony (Robert Walker) during a chance encounter on a train. Bruno proposes they “swap” murders—he'll kill Guy's wife, and Guy will kill Bruno's father—eliminating any obvious motive. When Bruno follows through, Guy finds himself caught in a dangerous game of blackmail and suspense. Known for its striking visual style and psychological complexity, Strangers on a Train is celebrated as one of Hitchcock's most influential thrillers, offering a masterclass in tension and moral ambiguity. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 40542]

Screenwriter and playwright Phyllis Nagy joins moderator Patrice Petro for a discussion of Alfred Hitchcock's 1951 classic Strangers on a Train. Adapted from Patricia Highsmith's debut novel, the film follows tennis player Guy Haines (Farley Granger), who meets the charming but disturbed Bruno Anthony (Robert Walker) during a chance encounter on a train. Bruno proposes they “swap” murders—he'll kill Guy's wife, and Guy will kill Bruno's father—eliminating any obvious motive. When Bruno follows through, Guy finds himself caught in a dangerous game of blackmail and suspense. Known for its striking visual style and psychological complexity, Strangers on a Train is celebrated as one of Hitchcock's most influential thrillers, offering a masterclass in tension and moral ambiguity. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 40542]

Screenwriter and playwright Phyllis Nagy joins moderator Patrice Petro for a discussion of Alfred Hitchcock's 1951 classic Strangers on a Train. Adapted from Patricia Highsmith's debut novel, the film follows tennis player Guy Haines (Farley Granger), who meets the charming but disturbed Bruno Anthony (Robert Walker) during a chance encounter on a train. Bruno proposes they “swap” murders—he'll kill Guy's wife, and Guy will kill Bruno's father—eliminating any obvious motive. When Bruno follows through, Guy finds himself caught in a dangerous game of blackmail and suspense. Known for its striking visual style and psychological complexity, Strangers on a Train is celebrated as one of Hitchcock's most influential thrillers, offering a masterclass in tension and moral ambiguity. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 40542]

Falls ihr in den Osterferien noch Lesestoff sucht, haben Karla und Günter heute eine wunderbare Mischung aus Liebesroman, Sachbuch, Familienchronik und Krimi mitgebracht. Hier ist garantiert für jede*n die passende Lektüre dabei! Ein norwegischer Küstenort in den 1940er Jahren: Eine Frau vertraut einem Fremden ihre Lebensgeschichte an. Schonungslos berichtet sie von ihrer besessenen Liebe als 18-Jährige zu ihrem Lehrer. “Nichts wächst im Mondschein“ von Torborg Nedreaas ist eine aufwühlende literarische Wiederentdeckung aus Norwegen. Oft ist ein herzhaftes “Ich weiß es doch auch nicht“ wohltuender als ein besserwisserischer Ratschlag. Das findet auch Mareice Kaiser und leistet uns in ihrem gleichnamigen Anti-Sachbuch auf witzige Weise Beistand im Nicht-Wissen. Mit liebevollen Illustrationen von Slinga. Wer die politische Situation im Osten besser verstehen möchte, dem sei der Roman “Die Möglichkeit von Glück“ von Anne Rabe ans Herz gelegt. Er geht den Verletzungen einer Familie zwischen Diktatur und Demokratie nach und forscht nach den Ursprüngen von Rassismus und Gewalt.Ein Toter, hingestreckt auf einer Chaiselongue: Dies ist der Ausgangspunkt, von dem Butler Christian den Aufstieg und Fall der Familie Hobbs schildert. Verena Roßbacher ist mit “Ich war Diener im Hause Hobbs“ eine unterhaltsame Mischung aus Patricia Highsmith und Downton Abbey gelungen. Die Titel dieser Folge: “Nichts wächst im Mondschein“ von Torborg Nedreaas (Luchterhand), “Ich weiß es doch auch nicht” von Mareice Kaiser (Penguin), “Die Möglichkeit von Glück” von Anne Rabe (btb), “Ich war Diener im Hause Hobbs” von Verena Roßbacher (btb). +++ Viel Spaß mit dieser Folge. Wir freuen uns auf euer Feedback an podcast@penguinrandomhouse.de! +++ Unsere allgemeinen Datenschutzrichtlinien finden Sie unter https://art19.com/privacy. Die Datenschutzrichtlinien für Kalifornien sind unter https://art19.com/privacy#do-not-sell-my-info abrufbar.

"Retreat is a knockout! With keenly observed depictions of elite society, Krysten Ritter takes us on a journey with con artist Liz Dawson when a new opportunity lands her in a world of trouble. A razor sharp and utterly shocking twist propels the roller-coaster ending. Fans of First Lie Wins will devour this clever, masterfully plotted novel. Not to be missed! This book has bestseller written all over it!" - Wendy Walker, bestselling author of What Remains "Multitalented Krysten Ritter is back with a sexy, breakneck thriller that immerses readers in the sometimes-glamorous and sometimes-deadly life of a con artist. Full of surprises and edge-of-your-seat scenes, RETREAT is a wild ride." - Mary Kubica, New York Times bestselling author of She's Not Sorry Beloved star of Marvel's Jessica Jones, Krysten Ritter is also an internationally bestselling writer whose first suspense novel, Bonfire, drew comparisons to Patricia Highsmith and Gillian Flynn-Flynn herself praised it as "a phenomenal, haunting debut." Ritter's much-awaited second thriller, RETREAT is the addictive, twisty, and atmospheric story of a beautiful con artist who insinuates herself into a wealthy socialite's world. It could be the con of her life-or it could be the thing that ends it. Blending the juicy vibe of White Lotus with the dark deceit of The Undoing and Ripley, RETREAT is, "Smart, sexy and wickedly fun," says Ellery Lloyd, bestselling author of The Club, " . everything you want in a sun-drenched thriller." Liz Dawson is very good at the game. She's clever, cool, and confident, moving effortlessly among the elite. In short: a brilliant serial con artist. When the beautiful, wealthy Isabelle Beresford, who owns a fabulous villa on the Mexican coast, offers Liz a job handling the installation of some art at the vacant Casa Esmeralda, it is an offer she cannot refuse. Time alone at an exclusive beach retreat could be the perfect opportunity for Liz to reset, and maybe finally shed the grip of her addiction to the perfect con. Liz does not anticipate being mistaken for Isabelle, though, and the temptation to slip into the socialite's identity proves irresistible. Yet, once she has "become" Isabelle, Liz discovers some truths about the absent woman and the dangers that surround her. Dangers that now surround Liz as well.As an actor, writer, producer and director, Krysten Ritter is known throughout the entertainment industry. She brings her wealth of knowledge to RETREAT with an eye to produce and star in a future dramatic adaptation.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

"Retreat is a knockout! With keenly observed depictions of elite society, Krysten Ritter takes us on a journey with con artist Liz Dawson when a new opportunity lands her in a world of trouble. A razor sharp and utterly shocking twist propels the roller-coaster ending. Fans of First Lie Wins will devour this clever, masterfully plotted novel. Not to be missed! This book has bestseller written all over it!" - Wendy Walker, bestselling author of What Remains "Multitalented Krysten Ritter is back with a sexy, breakneck thriller that immerses readers in the sometimes-glamorous and sometimes-deadly life of a con artist. Full of surprises and edge-of-your-seat scenes, RETREAT is a wild ride." - Mary Kubica, New York Times bestselling author of She's Not Sorry Beloved star of Marvel's Jessica Jones, Krysten Ritter is also an internationally bestselling writer whose first suspense novel, Bonfire, drew comparisons to Patricia Highsmith and Gillian Flynn-Flynn herself praised it as "a phenomenal, haunting debut." Ritter's much-awaited second thriller, RETREAT is the addictive, twisty, and atmospheric story of a beautiful con artist who insinuates herself into a wealthy socialite's world. It could be the con of her life-or it could be the thing that ends it. Blending the juicy vibe of White Lotus with the dark deceit of The Undoing and Ripley, RETREAT is, "Smart, sexy and wickedly fun," says Ellery Lloyd, bestselling author of The Club, " . everything you want in a sun-drenched thriller." Liz Dawson is very good at the game. She's clever, cool, and confident, moving effortlessly among the elite. In short: a brilliant serial con artist. When the beautiful, wealthy Isabelle Beresford, who owns a fabulous villa on the Mexican coast, offers Liz a job handling the installation of some art at the vacant Casa Esmeralda, it is an offer she cannot refuse. Time alone at an exclusive beach retreat could be the perfect opportunity for Liz to reset, and maybe finally shed the grip of her addiction to the perfect con. Liz does not anticipate being mistaken for Isabelle, though, and the temptation to slip into the socialite's identity proves irresistible. Yet, once she has "become" Isabelle, Liz discovers some truths about the absent woman and the dangers that surround her. Dangers that now surround Liz as well.As an actor, writer, producer and director, Krysten Ritter is known throughout the entertainment industry. She brings her wealth of knowledge to RETREAT with an eye to produce and star in a future dramatic adaptation.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Hay novelas que te devuelven a tus orígenes como lector, a ese momento fundacional en el que tedas cuenta de que te podrías pasar la vida leyendo esa novela que te ha transformado, abriéndola ycerrándola, una y otra vez. A mí me pasó con El túnel. Y ahora, cuarenta años después, me heencontrado con otra obra que tiene muchos puntos de contacto con el clásico de Ernesto Sabato.Hay un muerto. Un personaje perturbado, una mujer, peleando con la locura que le distorsiona aveces la realidad. Y sobre todo, una historia rica en matices, condensada en apenas 200 páginas quecomprenden un mundo complejo. Y esa es la gran virtud de El final del bosque, publicada por Siruela.En esas 200 páginas entran asuntos como el amor, las relaciones paterno-filiales, el dolor cuando tienes lacerteza de que tu padre se está muriendo, e incluso los pactos de silencio entre tres hermanos, que secitan en el bosque que vio cómo crecían, cuando eran niños.María Fasce es editora. Pero sobre todo, es lectora y mujer a la que su medio siglo de vida ya le haaportado experiencias y riquezas que eran imprescindibles para escribir una novela, queseguramente con treinta años no estaría en condiciones de escribir. Sin la experiencia de perderantes de tiempo a su padre, no habría sido posible que escribiera las páginas memorables en las queLola ve cómo el cáncer repta por el cuerpo de su padre. En la entrevista que le hicimos en Madridse emociona, pero no ya por transmitir la pasión que le produce hablar de El final del bosque, sinode su padre, y en su mirada hay una especie de brillo, el de recuerdos o episodios felicescompartidos con él, y que se han quedado guardados en la memoria, como tesoros.El final del bosque conecta con las emociones íntimas de María, pero también con sus lecturas.La novela rinde un homenaje declarado a Patricia Highsmith, tiene ese aire de thriller en el quesentimos inquietud desde la primera página, desde la primera línea, cuando leemos que “El perroladraba desesperado. Ernesto ya tendría que haberlo sacado a pasear”. Highsmith acompañó a María Fasce en el proceso de escritura, pero también Annie Ernaux, a la que leyó y volvió mientras dabaforma a los personajes de esta novela ganadora del Premio Café Gijón. Y leyéndola percibimostambién con claridad la devoción que siente por John Banville y el gusto por la palabra, por la fraseconstruida con paciencia de artesano, con ese gusto por el detalle, el mismo que usa cuando seretoca el rojo del carmín de los labios antes de que le hagamos la foto que acompaña este reportajede Onda Regional.Una vez acabada la lectura de esta novela tenemos la seguridad de que hay libros y fotografías quete tocan físicamente. El final del bosque es uno de esos libros.

Welcome to another episode of the Bowie Book Club, where wild speculation and grasping for straws about Bowie's favorite books has reigned supreme since 2016. This time we read Strangers on a Train by Patricia Highsmith, which is about how awful it was to travel before you could use noise-canceling headphones to eliminate any possibility of getting into a conversation with someone about murder.

Nos visita el dúo Fetén Fetén, formado por Diego Galaz y Jorge Arribas, para presentar Florilegio, su nuevo vinilo lleno de esencia y creatividad.Dani Galindo nos acerca a los actores nominados a los Premios Goya con raíces teatrales, mientras que Miguel Ángel nos descubre la sorprendente relación entre música y ciencia a través del libro El cerebro musical de Michel Rochon, publicado por Ático de los Libros. Un tema fascinante que nos lleva a reflexionar sobre cómo las artes y el conocimiento se entrelazan.En el ámbito del arte, Íñigo Picabea nos habla de la llegada a Madrid de 18 óleos y un dibujo de Francesco Guardi, junto con una obra de su hijo Giacomo, procedentes de la prestigiosa Colección Gulbenkian de Lisboa. Una oportunidad única para disfrutar del legado de uno de los artistas más representativos de esta colección.Además, Ana Zurita nos recuerda a Patricia Highsmith en el 30º aniversario de su fallecimiento. La creadora de Tom Ripley revolucionó la novela policíaca con sus thrillers psicológicos, explorando temas como la culpa, la inocencia y los límites entre el bien y el mal.En El Ojo Crítico defendemos las conexiones entre arte y ciencia, rescatamos historias imprescindibles y descubrimos lo mejor de la cultura actual. Escúchanos en Radio Nacional y acompáñanos en este viaje cultural lleno de inspiración y conocimiento.Escuchar audio

Eddie Murphy is set to star in the two-hander action comedy “Blue Falcon" while Anton Corbijn's thriller Switzerland starring Helen Mirren as crime novelist Patricia Highsmith gets underway in Rome.

Join us in this special episode as we celebrate the 25th anniversary of Anthony Minghella's captivating psychological thriller, “The Talented Mr. Ripley”. Based on Patricia Highsmith's chilling novel, this film brought together an exceptional cast led by Matt Damon, Jude Law, Gwyneth Paltrow, Cate Blanchett, Philip Seymour Hoffman, and Jack Davenport. We dive deep into the intricacies of the film, exploring themes of identity, obsession, and deception that make it a timeless classic. Tune in as we dissect the performances of these iconic actors and examine the film's stunning cinematography and score. We'll also reflect on its impact on the thriller genre and discuss why it continues to resonate with audiences today. Joining in on this special episode is frequent guest JC of @mercwiththemovies! Whether you're a long-time fan or new to the story, this episode promises to offer fresh insights and a nostalgic look back at one of the most intriguing films of the late '90s. Don't miss it! Links For Guest: MercWithTheMovies

To match our recent See Also presents Carol cinema screenings, we've pulled out this classic ep from a few Christmases ago. Join The Hogg Hive on Patreon to hear last week's mini ep and an upcoming Best Of 2024.For a very special holiday Poodle, Kate is joined by Chelsea Fairless, co-host of Every Outfit for a virtual glove-lunch. Together, they play 1950s and devolve into "dyke debauchery" while discussing our fave and yours: Carol, based on crime novelist Patricia Highsmith's "The Price of Salt" starring Cate Blanchett and Rooney Mara. They cover the martinis and creamed spinach, Our Cate's voice and her period-inappropriate manicure. Also: Alsos!See Also:The original short story Carol/The Price of Salt is based onScreenwriter Phyllis Nagy discussing the way the film finally came togetherKate McKinnon's Carol parody for the Film Independent Spirit AwardsKing Princess song 1950, inspired by CarolForbidden Love: The Passions behind Patricia Highsmith's "The Price of Salt""Carol" Up CloseWatch Also:TárLoving Highsmith (with caveats discussed in the episode)Nelly & NadineWord is Out: These are the Stories of Some of our LivesThe Children's HourThe Killing of Sister GeorgeDesert HeartsHigh ArtThe L Word & The L Word: Generation Q (LOL)Also Alsos:Chels recommends: Byredo lipstick in Subtropical, Lana Del Rey - Did you know that there's a tunnel under Ocean BlvdJinxy recommends: her Zodiac Club extended playlist on Spotify, Gay Bar: Why We Went Out by Jamie Atherton Lin, Je Tu Il Elle Find us on Instagram @seealsopodcast Hosted on Acast. See acast.com/privacy for more information.

This week, we celebrate the season with Todd Haynes' 2015 holiday romance, Carol. Cate Blanchett and Rooney Mara star in this adaptation of the 1952 Patricia Highsmith novel.

Christopher Bollen's work is often compared to Patricia Highsmith's and film makers like Alfred Hitchcock. In part a psychological horror novel his latest “Havoc” explores generational conflict taken to extremes and springs from a question at the forefront in recent times: "Do we sacrifice the young for the old or the old for the young?" The new novel is “Havoc” and is written by Christopher Bollen.

Julian, Madeline, and Emilio kick off their "Holiday Suggestion Box" episode cycle by discussing "Carol" (2015), the great Christmastime-set queer romance directed by Todd Haynes, holding up his title as the most-covered director on the podcast. A re-watch for Madeline and Julian and a first-time viewing for Emilio, the group discuss such topics as the film's status as an adaptation (of Patricia Highsmith's "The Price of Salt"), why it works as a holiday movie, and its balance of finely tuned 1950s period detail and the timeless appeal of its love story. Additionally, utilizing their refined attention to Todd Haynes' distinct touches as a director, Madeline praises the film's affecting portrayals of complex female characters, Emilio touches on Haynes' delicacy with varied male archetypes, and Julian points out some highlight moments of the film's subtly expressive visual language.If you enjoy our podcast, please rate and review us on your podcast platform of choice.  This really helps us find new listeners and grow!Follow us on IG and TikTok: @sleeplesscinematicpodSend us an email at sleeplesscinematicpod@gmail.comOn Letterboxd? Follow Julian at julian_barthold and Madeline at patronessofcats      

We're back! This episode kicks off a new season of the podcast, and this one's all about noir. In our first installment, guest Sarah Weinman (author of Scoundrel, and The Real Lolita) joins us to discuss a Patricia Highsmith novel, The Blunderer, about a rather hapless man who, despite not actually killing his wife, manages to convince nearly everyone that he has. If you like the show, and want more of it in your life, consider subscribing to our Patreon, where during this season we'll be watching a series of noir and neo-noir films, including Double Indemnity, The Third Man, Blade Runner, and more. Five bucks a month gets you those bonus episodes, plus access to our entire back catalog of bonus material: https://www.patreon.com/c/BookFight Thanks for listening!

Returning GMs Katie Walsh and Louis Peitzman join us for the next chapter of Literacy Month, ranking the 7 best films adapted from the works of the Talented Ms. Highsmith!

durée : 01:27:24 - Toute une vie - par : Françoise Estèbe - Née au Texas en 1921, morte en février 1995 en Suisse, Patricia Highsmith aurait organisé méticuleusement son "long et merveilleux suicide". Homosexuelle avec qui il était impossible d'évoquer le sujet, alcoolique vivant avec ses chats et ses escargots, voici sa vie et ses œuvres ici racontées. - réalisation : Annie Douel - invités : François Rivière Romancier, critique littéraire, éditeur, traducteur, biographe et scénariste de bande dessinée; Josyane Savigneau Écrivaine et journaliste; François Guérif Critique de cinéma, éditeur, historien du polar

Send me a text messageA Talent for Murder follows Martha, a newly married librarian who suspects her husband Alan, a traveling salesman, might be involved in a series of murders. Martha enlists the help of her old friend Lily to investigate Alan's activities, which uncovers other mysterious individuals tracking him.  In this episode, we also discuss some of Peter Swanson's other works and classic mystery authors, such as Patricia Highsmith and Agatha Christie.  Peter also shares insights about the influence of these authors on his writing and provides some of his favorite book recommendations.

"His stories were good because he imagined them intensely, so intensely that he came to believe them." So wrote Patricia Highsmith in her seminal literary thriller The Talented Mr. Ripley in 1955. You might also characterise the work of our guest today, the talented Mr. Steven Zaillian, this way. The worlds and characters of his films and TV shows are imagined in such rich detail and complexity that you can absolutely imagine him believing them to be real as he crafts them on the page. In fact, that level of detail and depth has been his calling card for over thirty decades in Hollywood now. From 1990's Awakenings and 1993's Schindler's List, which won Steven an Oscar, all the way to films like Gangs of New York, American Gangster, Moneyball, The Girl With The Dragon Tattoo and The Irishman, there's a thrillingly convincing quality about whatever story he's telling – oftentimes, his characters are people you can imagine pulling up a barstool next to you and telling you a tale you'll never forget.This month, he's up for an Emmy for his work with Ripley – a Netflix adaptation of Highsmith's novel, that Steven acted as showrunner for, writing and directing every episode. The series is a hypnotising ten hours in the company of a conman, Tom Ripley, who's hired by a wealthy businessman to convince his son to return home from a life of leisure abroad on the Italian coast. But the more Tom – played here by Andrew Scott – ensconces himself in the lives of Dickie Greenleaf, played by Johnny Flynn, and Dakota Fanning as his partner, Marge Sherwood, the more his lies and his lust for what Dickie has mutates into something murderous. In the spoiler conversation you're about to hear, Steven tells us about the relevance of fraudster stories in a time of Trump and other public deceivers. We get into the writing tricks and tips that make you root for the morally thorny characters he often writes. And the rationale behind every change from both the novel and the Matt Damon-starring 1999 adaptation of Ripley is uncovered too, as we delve into the slightly different ending to this version of the tale and the meaning of Italian artist Caravaggio's presence throughout this story.  Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Twitter and Instagram, or email us on thescriptapartpodcast@gmail.com.Support for this episode comes from ScreenCraft, Final Draft and WeScreenplay.To get ad-free episodes and exclusive content, join us on Patreon.Support the Show.

In her 1955 novel, “The Talented Mr. Ripley,” Patricia Highsmith introduced readers to the figure of Tom Ripley, an antihero who covets the good life, and achieves it—by stealing it from someone else. On this episode of Critics at Large, the staff writers Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss the long tail of Highsmith's work, which has been revived in adaptations like René Clément's 1960 classic, “Purple Noon”; the definitive 1999 film starring Matt Damon and Jude Law; and this year's Netflix series, “Ripley,” which casts its protagonist as a lonely middle-aged con man. In all three versions, Dickie Greenleaf, a wealthy acquaintance of Ripley's, becomes his obsession and eventually his victim. The story resonates today in part because we're all in the habit of observing—and coveting—the life styles of the rich and famous. Social media gives users endless opportunities to study how others live, such as the places they go, the meals they consume, and the objects they possess. “One of the reasons that the character of Ripley is forever sympathetic is the yearning and striving to be something other than himself, following an example that's set out to him,” Fry says. “For him, it's someone like Dickie. For us, it might be someone online.”Read, watch, and listen with the critics:“The Talented Mr. Ripley,” by Patricia Highsmith“The Talented Mr. Ripley” (1999)“Purple Noon” (1960)“Ripley” (2024)“Saltburn” (2023)“The White Lotus” (2021—)This episode originally aired on April 4, 2024. New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.  

Patricia Highsmith's 1955 thriller “The Talented Mr. Ripley” follows a young, down-on-his-luck scammer, Tom Ripley, who is looking to reverse his fortunes. When he receives a job offer to go to Italy and retrieve Dickie Greenleaf, a rich socialite on an endless holiday, Tom finds the perfect opportunity to work his way into the upper crust. But as he becomes more and more obsessed with Dickie and Dickie's life, the breezy getaway turns into something much more sinister, sending them down a dangerous path.In this week's episode, the Book Review's MJ Franklin discusses the book with his colleagues Tina Jordan, Sadie Stein and Sarah Lyall, our thrillers columnist. Caution: Spoilers abound.

Our latest guest on Soundtracking is actor Andrew Scott, who joined Edith in front of an audience as part of our Everyman Soundtracking Film Club to discuss the critically-lauded Netflix series, Ripley. Shot in black and white, it's a dark, brooding and beautiful retelling of Patricia Highsmith's classic novel The Talented Mr Ripley - in which Andrew delivers a performance as the titular antihero described by the Guardian newspaper as 'absolutely spellbinding'.

The brilliant writer-director Steven Zaillian (Searching for Bobby Fischer) is a strong Emmy contender for his eight-part adaptation of Patricia Highsmith's Ripley novels, along with the collaborators we spoke to: composer Jeff Russo (an Emmy winner for Fargo), Oscar-nominated production designer David Gropman, and editors David Rogers and Joshua Lee. Even if you haven't yet watched the series on Netflix it's fascinating to listen to these creative people talk about what they bring to every film or show they take on. 

Chris and Andy talk about the news that ‘Yellowstone' has started production on the last episodes of it's final season (1:00), and news that ‘Shogun' will actually be coming back for two more seasons (9:54). Then they are joined by ‘Ripley' creator Steven Zaillian to talk about what drew him to make another adaptation of the Patricia Highsmith novel (21:08), and working with actors like Andrew Scott, Kenneth Lonergan, and John Malkovich on the show (38:14). Hosts: Chris Ryan and Andy Greenwald Producer: Kaya McMullen Learn more about your ad choices. Visit podcastchoices.com/adchoices

Susie Boutry (@NovelVisits) and I share our favorite books that missed last year's Summer Reading Guide, some shorter books we think are great for summer reading, and our #1 picks for each category featured in my 2024 Summer Reading Guide. This post contains affiliate links through which I make a small commission when you make a purchase (at no cost to you!). CLICK HERE for the full episode Show Notes on the blog. Access the 2024 Summer Reading Guide Cheatsheet and Free Trial on Patreon here. Summer Reading [9:19] Books That Missed Last Year's Summer Reading Guide [10:14] Sarah All the Sinners Bleed by S. A. Cosby | Amazon | Bookshop.org [10:21] Vera Wong's Unsolicited Guide for Murderers by Jesse Q. Sutanto | Amazon | Bookshop.org [15:22] The Hop by Diana Clarke | Amazon | Bookshop.org [20:22]  Susie Shark Heart by Emily Habeck | Amazon | Bookshop.org [12:58] Perfectly Nice Neighbors by Kia Abdullah | Amazon | Bookshop.org [18:04]  The Last Ranger by Peter Heller | Amazon | Bookshop.org [23:24]  Other Books Mentioned Blacktop Wasteland by S. A. Cosby [11:08] Razorblade Tears by S. A. Cosby [11:10]  Dial ‘A' for Aunties by Jesse Q. Sutanto [16:26] Take It Back by Kia Abdullah [20:07] Shorter Books Great for Summer Reading [26:00] Sarah All Together Now by Matthew Norman | Amazon | Bookshop.org [26:13]  Eight Perfect Murders by Peter Swanson | Amazon | Bookshop.org [31:48] Be spoiler ready: The murders and endings of The A.B.C. Murders by Agatha Christie, Strangers on a Train by Patricia Highsmith, The Red House Mystery by A.A. Milne, Malice Aforethought by Francis Iles, Double Indemnity by James M. Cain, The Drowner by Robert Drewe, The Secret History by Donna Tartt, and Deathtrap by Ira Levin are discussed in detail as noted in the book.  But many readers have lamented that the endings and main plots were also spoiled for The Murder of Roger Ackroyd and And Then There Were None, both by Agatha Christie. FantasticLand by Mike Bockoven | Amazon | Bookshop.org [37:29] Susie Expiration Dates by Rebecca Serle | Amazon | Bookshop.org [28:09]  I'm Thinking of Ending Things by Iain Reid | Amazon | Bookshop.org [33:52] One Woman Show by Christine Coulson | Amazon | Bookshop.org [40:06] Other Books Mentioned In Five Years by Rebecca Serle [28:49] One Italian Summer by Rebecca Serle [28:51]  The Measure by Nikki Erlick [31:00] The Kind Worth Killing by Peter Swanson [31:54] Our #1 Summer Picks by Category  [42:43] Something Light / Fun Sarah: The Husbands by Holly Gramazio | Amazon | Bookshop.org [43:20]  Susie: Annie Bot by Sierra Greer | Amazon | Bookshop.org [46:13]  Other Books Mentioned: The Measure by Nikki Erlick [45:19] The One by John Marrs [45:23] Slow-Burn Suspense Sarah: The God of the Woods by Liz Moore (July 2) | Amazon | Bookshop.org[49:37]  Something Fast-Paced / Intense Susie: What Happened to Nina? by Dervla McTiernan | Amazon | Bookshop.org[51:49]  Something With a Bit More Substance Sarah: Real Americans by Rachel Khong | Amazon | Bookshop.org [55:50]  Susie: Beautyland by Marie-Helene Bertino | Amazon | Bookshop.org [58:11]  Other Books Mentioned: Goodbye, Vitamin by Rachel Khong [57:42] Something Different Sarah: The Wealth of Shadows by Graham Moore (May 21) | Amazon | Bookshop.org [1:02:08]  Susie: Interesting Facts About Space by Emily Austin | Amazon | Bookshop.org [1:05:00]  Other Books Mentioned: We Were the Lucky Ones by Georgia Hunter [1:03:55] Everyone in This Room Will Someday Be Dead by Emily Austin [1:05:50]

Andrew Scott stars as a con artist with no conscience in the new Netflix series Ripley. It's an adaptation of the Patricia Highsmith novel The Talented Mr. Ripley. He spoke with Terry Gross about tapping into his darker side for the role — and playing the "hot priest" in Fleabag.Also, we hear about how cars became our most gendered technology. Women used to be considered unqualified to drive, or just terrible drivers. Glamorous women were used to advertise cars. And yet cars have been designed for male bodies, in ways that put women drivers at risk. Journalist Nancy Nichols is the author of Women Behind the Wheel. Maureen Corrigan reviews Lionel Shriver's latest novel, Mania.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Patricia Highsmith's novel The Talented Mr. Ripley follows a young man named Tom, whose deep-seated jealousy and ambition leads him down a very dark path. He wants the jet-set lifestyle his trust-fund friends are living, and he sets out to get it using his intelligence and skill at deception. Tom Ripley is a pretty realistic depiction of a psychopath. To get close to the wealthy people he envies, he puts on a convincing mask of helpful friendliness. But underneath, he's scheming with every breath—biding his time. And no one is safe around him. Join us for the story of a real-life Mr. Ripley, a man who was good at being charming, but bad at being good. A man who left one person dead, one heartbroken and defrauded, and a pretty little town in shock. Join us for the true story behind the BBC drama The Sixth Commandment--the tale of an aspiring vicar whose pious exterior hid a heart of darkness. Sources:A Plot to Kill by David WilsonITV News: https://www.itv.com/news/anglia/2019-08-09/sadistic-killer-admitted-interest-in-the-extremes-of-deathDaily Beast, Nico Hines: https://www.thedailybeast.com/gaslight-killer-ben-field-who-conned-his-elderly-lovers-is-convicted-of-murdering-peter-farquharBucks Herald, Sam Dean: https://www.bucksherald.co.uk/must-read/ben-field-the-baptist-ministers-son-who-became-a-calculated-and-manipulative-murderer-in-maids-moreton-821818UK Daily Mail, Rory Tingle and Josh White: https://www.dailymail.co.uk/news/article-6984549/Church-warden-callously-videoed-hallucinating-lecturer-trying-murder.htmlFollow us, campers!Patreon (join to get all episodes ad-free, at least a day early, an extra episode a month, and a free sticker!): https://patreon.com/TrueCrimeCampfirehttps://www.truecrimecampfirepod.com/Facebook: True Crime CampfireInstagram: https://gramha.net/profile/truecrimecampfire/19093397079Twitter: @TCCampfire https://twitter.com/TCCampfireEmail: truecrimecampfirepod@gmail.comMERCH! https://true-crime-campfire.myspreadshop.com

On this week's show, the panel is first joined by Slate business and culture writer Nitish Pahwa to discuss Monkey Man, Dev Patel's dazzling but muddled directorial debut. The ultra-violent action flick stars Patel as Kid, a young man who works his way into a secret brothel for the super rich, hell-bent on finding the police chief who murdered his mother and exacting his revenge. It's clearly a political statement of a film, rife with references to real-world controversies and corrupt political, religious, and pedagogical practices (all of which Nitish covers in his piece for Slate, “Monkey Man Has a Bold New Vision”). Then, the three jump into Ripley, a new eight-part Netflix series based on Patricia Highsmith's master novel, The Talented Mr. Ripley, starring 47-year-old Andrew “Hot Priest” Scott as the titular seductive psychopath. Directed by Steven Zaillian (The Night Of, Schindler's List, All the King's Men) and with cinematography by Robert Elswith (Boogie Nights, There Will Be Blood, Good Night, and Good Luck), the series is shot in spectacular black-and-white and co-stars Dakota Fanning as Marge Sherwood and Johnny Flynn as Dickie Greenleaf. Finally, Julia Louis-Dreyfus (of Veep, Saturday Night Live, and Seinfeld fame, obviously) has a podcast, Wiser Than Me, which just entered its second season. On it, she interviews iconic older women like Jane Fonda, Carol Burnett, Bonnie Raitt, and Sally Field about the wisdom they've accrued and asks the question: “Well, how should I live?” While the show doesn't fully avoid the pitfalls of the celebrity interview, secrets and things emerge within the course of a conversation and the framework itself gets to the very core of human existence.  In the exclusive Slate Plus segment, the panel answers a fittingly existential question from listener Gretel: “Wondering how you, high achievers all, balance ambition with contentment. Do you consider yourselves competitive or is your drive innate? I vacillate between pushing myself harder, striving to achieve more, and being grateful for what I have and where I am. Is contentment a noble endgame in your opinions?” Email us at culturefest@slate.com.  Outro music: “Bollywood Star” by Jhukane Bada. Endorsements: Dana: Andrew Scott's performance as Hamlet in 2017. (The full three-hour production can be watched on YouTube.)  Julia: Worn: A People's History of Clothing by Sofi Thanhauser. An absolutely beautiful and fascinating book about the centrality of textile production throughout history.  Stephen: “Lowell, Plath, and Sexton in the Same Room” by Steve Moyer for the National Endowment for the Humanities (Spring 2024, Volume 45.)  Podcast production by Jared Downing. Production assistance by Kat Hong.  Hosts Dana Stephens, Julia Turner, Stephen Metcalf Learn more about your ad choices. Visit megaphone.fm/adchoices

Tom Ripley is back — and still can't be trusted. The character — created by novelist Patricia Highsmith — was made indelible by Matt Damon in the film The Talented Mr. Ripley. Now, he's played by Andrew Scott on a Netflix series called simply Ripley. Tom once again worms his way into the life of one Dickie Greenleaf and attempts to sabotage his luxurious life in the Italian countryside. Subscribe to Pop Culture Happy Hour Plus at plus.npr.org/happyhour Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy