Podcasts about Penguin

Gonzo journalist and writer John Safran on why he decided to squat in a Hollywood mansion belonging to Kanye West.John Safran has made a career out of getting into places he probably shouldn't be, from breaking into Disney Land, to infiltrating fascist strongholds in Australia.A couple of years ago, one of his journalistic expeditions saw him squatting in an abandoned Hollywood mansion belonging Kanye West.John had seen a clip of the hip hop start denying the Holocaust, defending Adolf Hitler, and claiming that Black people cannot be anti-Semitic because they are actually Jewish.His week writing and snooping in this strange house, with no running water and a vulture in the roof, made John go increasingly loopy as he tried to understand what pushed this critically acclaimed artist from celebrity eccentric to seriously 'out there'.This episode of Conversations was first broadcast in 2024It explores Kanye West, Judaism, antisemitism, Hollywood, hip hop, Christianity, Nazism, racism, hip hop, squatting, the Donda Academy, journalism, Adidas, money, fame, documentary, writing, the Holocaust, mental health, celebrity, mansionsFurther informationSquat is published by Penguin.

Horror history gets iconic, aquatic, gothic, apocalyptic, and completely unhinged this week as This Week in Horror History travels through June 15–21 with motel terror, shark sequels, dark superhero nightmares, zombie blockbuster chaos, and one wild space-vampire cult classic that brings cosmic horror crashing down on Earth.This episode digs into a packed week of classic horror movies, cult horror, summer blockbusters, gothic comic-book horror, zombie disaster cinema, and 1980s Cannon Films madness, including the New York premiere of Psycho, the U.S. release of Jaws 2, the theatrical arrival of Batman Returns, the blockbuster zombie outbreak of World War Z, and the Deep-Cut Spotlight on Tobe Hooper's bizarre 1985 space vampire epic Lifeforce.Inside this episode:• Psycho rewrites the rules of horror moviegoing, turns the Bates Motel into a nightmare landmark, and makes one ordinary shower one of the most famous crime scenes in cinema.• Jaws 2 drags audiences back to Amity Island for more shark terror, seaside panic, and one of horror's most frustrating “nobody believes the guy who is right” sequel setups.• Batman Returns transforms Gotham into a twisted Christmas horror fairy tale full of sewer lairs, circus gangs, stitched leather, abandoned children, corporate monsters, Catwoman, and the Penguin.• World War Z reimagines the zombie apocalypse as global disaster cinema, with the undead moving less like slow corpses and more like a rushing human flood.• The Deep-Cut Spotlight goes to Lifeforce, Tobe Hooper's strange, ambitious, and deeply excessive Cannon Films cult classic about Halley's Comet, alien vampires, life-draining seduction, plague victims, and London falling apart under cosmic horror.Plus: a horror birthday roll featuring Courteney Cox, Laurie Metcalf, John Carl Buechler, and Nicole Kidman, a creepy look at how horror became a massive summer marketing event, and a weekly recommendation for Hammer's Dracula, also known as Horror of Dracula, starring Christopher Lee and Peter Cushing.From Norman Bates and shark-infested beaches to Gotham monsters, zombie swarms, Halley's Comet, space vampires, Hammer horror, and Cannon Films insanity, this week proves horror history can be classic, blockbuster-sized, cult, strange, seductive, and absolutely impossible to ignore.

The Pirates drop another series at PNC Park as the Marlins took 2 of 3 over the weekend. The Buccos have dropped 7 of their last 9 games. Poni called out Paul Skenes – saying we need more from the ace. He wasn't bad against the Marlins, but he has to take control of a game like that. Is it fair to blame Skenes at all? People seem afraid to do so. Paul Skenes is against a salary cap or floor in baseball. Is that a quick way to get the fans to turn on you in a place like Pittsburgh? HOCKEY TALK! Jordan Staal is a Stanley Cup champion yet again. The former Penguin also captured the Conn Smythe award after the Hurricanes won their first Cup in 2 decades. How far away are the Penguins from the top?

On this episode of THE GEEK BUDDIES, John Rocha and Shannon McClung talk the breaking news that Sebastian Stan is Victor Zsasz and Bryan Tyree Henry is Harvey Dent in The Batman Part 2. They also speculate who Scarlett Johansson and Charles Dance are playing and what it means that The Penguin is not coming back for a Season 2. They also talk the news that 24 Jump Street is a go with Jonah Hill, Channing Tatum and Ice Cube coming back, George Miller wants one more Mad Max film and TV series before giving it up and the trailers for The Social Reckoning, Whalefall, Gatto, and Heart of the Beast. Remember to Like and Share this episode on your social media and to Subscribe to The John Rocha Channel below. #DC #Superman #backrooms #obsession #jamesgunn #manoftomorrow #johnrocha #michaelvogel #shannonmcclung #thegeekbuddies ____________________________________________________________________________________ Chapters: 0:00 INTRO AND RUNDOWN 2:35 24 Jump Street is a Go with Jonah Hill, Channing Tatum and Ice Cube 12:32 George Miller Wants One More Mad Max Film and TV Series 20:42 The Social Reckoning, Whalefall, Gatto, and Heart of the Beast Trailers Talk 47:39 Reports That Sebastian Stan is Victor Zsasz, Bryan Tyree Henry is Harvey Dent in Batman II FOLLOW THE GEEK BUDDIES: Twitter: https://twitter.com/Geek_Buddies Follow John Rocha: https://twitter.com/TheRochaSays​​​​​ Follow Michael Vogel: https://twitter.com/mktoon Follow Shannon McClung: https://twitter.com/Shannon_McClung Instagram: https://www.instagram.com/the_geek_bu... ____________________________________________________________________________________

# SEO-Friendly Podcast Episode Description ## James Webb Space Telescope: Latest Discoveries from the Cosmic Frontier | The Space Cowboy Podcast Join The Space Cowboy for an exciting journey through the latest groundbreaking discoveries from the **James Webb Space Telescope (JWST)**. This episode explores cutting-edge astronomy news, from ancient galaxies to exoplanet atmospheres. ### What You'll Discover: **Early Universe Mysteries:** - Unexpectedly massive galaxies appearing just hundreds of millions of years after the Big Bang - The mysterious "little red dots" – compact, distant galaxies challenging our understanding of cosmic evolution - Supermassive black holes that grew faster than theoretical models predicted **Stellar Birth & Star Formation:** - Stunning infrared views inside dust-shrouded stellar nurseries - The iconic "Penguin and Egg" interacting galaxies revealed in unprecedented detail - How Webb pierces cosmic dust to witness the birth of new solar systems **Exoplanet & Solar System Research:** - Detailed atmospheric analysis of hot gas giant exoplanets - Water vapor, methane, and carbon dioxide detected in alien skies - Europa and Enceladus ice moon observations revealing potential for life **Cosmic Measurements:** - Refined Cepheid variable observations improving universe expansion rate calculations - New insights into the Hubble constant tension - Brown dwarf weather patterns and atmospheric dynamics Perfect for space enthusiasts, astronomy fans, and anyone curious about **NASA discoveries**, **deep space exploration**, and the **origins of the universe**. **Keywords:** James Webb Space Telescope, JWST discoveries, NASA news, early universe galaxies, exoplanet atmospheres, supermassive black holes, astrobiology, Europa ocean, space exploration podcast

“Poetry should be horrifying,” says Rachel Mann. “It should be … on the edge of the edge of what could be said.” We are delighted to bring you this vibrant conversation featuring Rachel and Yomi Ṣode speaking with Pádraig Ó Tuama at the 2024 StAnza Poetry Festival in Scotland. Rachel and Yomi each read poems, and then go on to discuss grace, who receives it, and who deserves it; the place of grief and remembrance in their work; and how writing about historical figures is a way to disrupt and re-vision both the past and the present.   We invite you to subscribe to Pádraig's weekly Poetry Unbound Substack, read the Poetry Unbound books and his newest work, Kitchen Hymns, or listen to all our Poetry Unbound episodes.   Rachel Mann is a priest, writer, and broadcaster. Her second poetry collection, Eleanor Among the Saints, was published by Carcanet in January of 2024.  Yomi Ṣode is an award-winning Nigerian-British writer. His debut poetry collection, Manorism, was published by Penguin in October of 2022.   Find the transcript for this show at onbeing.org. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Episode 110: Our Town by Thornton Wilder Host: Douglas Schatz Guest: Howard Sherman Welcome to The Play Podcast where we explore the greatest new and classic plays. Each episode we choose a single play to talk about in depth with our expert guest. We'll discuss the play's origins, its themes, characters, structure and impact. For us the play is the thing. Playwright Edward Albee described Thornton Wilder's Our Town as "the greatest American play ever written." In fact Wilder's quintessential portrait of rural America in a bygone time has somehow transcended its iconic American setting to become a universal meditation on mortality, community, and how we live our individual lives, wherever that may be. The play premiered on Broadway in 1938, winning Wilder the Pulitzer Prize, and it has been a staple of school, amateur and stock performance ever since. In fact, according to critic John Lahr writing in the introduction to the text of the Penguin edition, "the play is performed somewhere in the world every day." Howard Sherman, author of Another Day's Begun – Thornton Wilder's Our Town in the 21st Century, joins me to explore this American classic.

“It became acceptable. It's okay to ask people to pay for your creative work... every minute that you spend working on these projects is valued.” Simon Haisell I sat down with the wonder that is Simon Haisell in Spring to chat more about his patron model here on Substack (the one I always use as an example). It was such a precious conversation about the magic of Substack and community. I know you'll be super inspired. If you've not heard of Simon - you'll be enchanted to meet him - he's the creator behind Footnotes and Tangents on Substack which is now in year 3. He's based in the North East of England (like me) and I always adore supporting North East creative minds - this conversation was just an honour. Simon runs slow read-alongs of classic and literary fiction (his flagship being a chapter-a-day of Leo Tolstoy's War and Peace across a full year).He started the book club on Instagram before moving to Substack around end of 2023. “You read a chapter (of War and Peace) each day and you're living the life with the characters rather than racing to the end... it does allow you to make connections with your own life.”The conversation covers his journey from passion project to full-time Substack creator, how word of mouth (including a major Gretchen Rubin (!!) shoutout) drove lots of his growth.We talk about why he uses a “soft paywall” model including complimentary subscriptions for anyone who can't pay, and how he intentionally stays off the leaderboard numbers to protect the soul of his work. We also touch on how we manage our nervous systems in relation to ‘leaderboards' and ‘being' online. The episode ends with exciting news: Simon has just signed with literary agency Curtis Brown and been in conversation with Penguin, directly because of his Substack presence. What a well deserved whirlwind. I can't wait to see what happens next!! “If I chased the numbers and tried to make the world's biggest book group, all of the soul would suck out of it very quickly... what comes across in my writing is my love of the books, that's why I'm here.” Simon Haisell War and Peace Daily - https://footnotesandtangents.substack.com/s/2026-war-and-peace-dailyFree Masterclass with me - The four types of monetisation on Substack. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit sparkleon.substack.com/subscribe

Chris Hipkins discusses Labour's new transport policy; Officials told govt there was a low need for LNG facility; Wellington mayor stands by evacuation orders; ProCare boss discusses use of AI in health sector; Penguin gets stuck in soccer net in New Plymouth garden

With the Football World Cup kicking off in a little over 24 hours, there will be many balls in the back of the net over the coming weeks. But one little penguin unfortunately found itself tangled in a football net in a New Plymouth garden. Ten -year-old Ezra made the discovery, before alerting his grandmother, Jackie Tomlinson who spoke to Ingrid Hipkiss.

Sarah Wilson has built a career on telling uncomfortable truths, including about sugar, anxiety, and about how we're living. Her new book, I Eat the Stars: How to Live Fully and Beautifully in a Collapsing World, goes further than anything she's written before. It argues we are already inside systemic collapse and experiencing the same pattern every complex civilisation before us has followed. The way through is to stop performing hope and start experiencing the world around us./ In this conversation with Angela Priestley, Sarah explains what "collapse" actually means, why women may be uniquely placed to lead through it, and what she calls "fierce mother energy" — the antidote to the "fierce toddler energy" of the men currently running the world. She also tackles the question every parent is asking: how do we talk to our kids about this? It is, against all odds, a hopeful listen.I Eat the Stars is out now in Australia and New Zealand via Penguin, with global release on 16 June 2026.The Women's Agenda Podcast is produced by Agenda Media, publisher of Women's Agenda. Sign up to our free daily news update here. Thank you to this week's sponsor of the podcast, The Women in Leadership Summit. You can find out more about the event and here. Our partner's message: Leadership isn't built in a single moment - it's built through momentum. In partnership with UN Women Australia - The Women in Leadership Summit is coming to a city near you this September. Australia's Queen of Comedy, Celeste Barber, headlines a lineup of leaders worth clearing your calendar for. Forget the one-off event - this is a leadership journey, designed to build momentum before, during and after the Summit. Every ticket also directly supports UN Women Australia's work advancing women's economic empowerment, leadership and safety. Find out more and register at australia.womenleadersummit.com. Hosted on Acast. See acast.com/privacy for more information.

Ian Hunter has spent four decades building miniatures, supervising visual effects and thinking like a filmmaker on some of the most demanding productions in Hollywood. In this episode, he traces a career that began in a garden shed with a punched-up piece of German black velvet and ended up — via James Cameron, Tim Burton, the Coen Brothers, and Christopher Nolan — on some of the most iconic screens in the world.Ian grew up surrounded by art. His father painted oils and acrylics, played music and did pastel portraits, and encouraged his three sons to make things — even when those things destroyed the materials he'd given them. The moment that really clicked, Ian recalls, was being handed a model kit as a kid and taking to it immediately. That creative instinct only grew stronger. In high school, he and his brothers were making Super 8 films, scratching laser effects onto the film with a pin and blowing up overloaded resistors for explosions. One of those films required them to fake-rob a local bank — and the encounter that followed, with the surprisingly enthusiastic vice president of the Monrovia Wells Fargo, led to a meeting with the mother of Rick Baker, whose work Ian had recently encountered in a traveling special effects exhibition and been completely floored by.After drifting away from an aerospace course at Cal Poly Pomona and working in an acid bath plastics factory, Ian answered a classified ad looking for model makers — and on the strength of a modest portfolio, was hired the same day. His first feature was The Abyss. He and fellow model maker Jim McGee built the flooded engine room of the Montana submarine with almost no direction beyond James Cameron's bare-bones description, and shipped it to South Carolina having never seen a frame of the live action. The production was not without its disasters — Ian found himself entangled in the notorious wax crane fiasco, and talks about the valuable early lesson of knowing when to call something out before it goes wrong.From there, a friend pointed him toward Boss Film, Richard Edlund's company in Marina del Rey, where a chance encounter with departing model supervisor Mark Stetson changed everything. What was supposed to be a one-week favour on a music video turned into six years. Working with Stetson took Ian from being a junior model maker building things in isolation to visiting sets, talking directly with directors, and understanding that miniature work only succeeds when it becomes invisible — just more shots in a movie, telling the story rather than showing off the technique.Among the projects from that period, Ian talks at length about Total Recall — including the behind-the-scenes chaos of a scale miscommunication on the final day of shooting, a scene involving a little person that nobody had accounted for, and the moment he glued a Coke can to a model building because they were running out of time. That Coke can, dressed up and shot from the front, made it into the finished film. So did one in Waterworld. And Inception. And Interstellar. And, after the story apparently got around, director Fede Álvarez greeted Ian on Alien: Romulus by asking exactly where he was planning to hide it.Ian built the suburb for Edward Scissorhands — deliberately making it more bland and mundane than real life — and talks about one of his proudest in-camera shots: the final view through the bedroom window and out over the snow-dusted neighbourhood, achieved with a 1:24 scale model and real snow shakers on the night. On Batman Returns he built the Penguin's zoo, and describes receiving one of his all-time favourite compliments from Tim Burton — who, after watching a pyrotechnics test, asked simply: "Where did you shoot this?" Not realising he was looking at a miniature. The zoo also gave Ian one of his best examples of a happy accident: a polar bear sculpture that was supposed to explode but instead toppled slowly sideways with flames coming out of its feet. Tim Burton loved it. The entire subsequent engineering challenge was figuring out how to recreate the mistake.On the X-Files movie, Ian and his partner Matthew Gratzner built a collapsing federal building on a tight budget, referencing Oklahoma City bombing photographs for the detail of damaged concrete and exposed floors. The late Roger Ebert reviewed the finished film and said the sequence should have been cut — because it was too reminiscent of real tragedy. Ian reflects on that as a marker: they'd gotten past the technique and into the emotion.The conversation turns to Christopher Nolan, with whom Ian has worked across multiple films. Ian describes Nolan as collaborative but definitive, someone who discusses a shot in depth and then tells you exactly what he wants. He talks about the liberation Nolan offered on Interstellar when he told the crew to stop following the previs — pre-vis is just a guy at a computer on a Friday trying to get the shot out the door, Nolan told them; if you can see a better angle, do that instead. The result was that the miniature crew started shooting faster, and a number of shots that had been planned as digital moved across to the physical side. Ian also describes the meticulous sun-angle calculation that went into matching the Inception hospital sequence — setting up models in a parking lot at a precisely calculated skewed angle to hit the exact quality of light that had been captured in Calgary on a specific date.On First Man with Damien Chazelle, Ian had drawn storyboards before the first meeting proposing a documentary approach — cameras attached to the spacecraft, nothing sweeping or cinematic, everything either very close or very wide as if shot from another ship. Chazelle walked in and described exactly the same idea. They spent twenty minutes together going through the sequence, working to an animatic cut to music, and Ian went off and shot it. That shorthand — that moment of being in sync before the conversation has really started — is something Ian describes as central to how he has survived in an industry where so many practical effects houses have not. He's a model maker, yes. But more than that, he's a filmmaker.This podcast is completely independent and made possible by listener support. If you'd like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning Watch more on YouTube:Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentariesAll my links

Benvenuti in un nuovo episodio del podcast Inside the elite.Pronti a parlare del fallout di Double or nothing e di tutte le ultime novità dal mondo AEW.Buon ascolto! clicca qui per donarci un coffeeMetti mi piace alla nostra pagina facebook.Seguici su X.Seguici su instagramIscriviti al nostro canale youtubeSegui il nostro canale twitchClicca qui per entrare nel nostro gruppo Telegram.

Handless woman arrested for phone in hand :: Cop caught red handed :: Skeeter calls Penguin out for "lies" :: The honorable, scrupulous, ethical Ricky from the Commonwealth pays his debt to Rich E Rich :: Luckily, we are not currently third world in the US :: How long will the dollar have the petrodollar status? :: Uber Jorge talks about why he quit the TSA :: You can't send your own property overseas without it getting stolen by the boarder control in this circumstance :: RER comes out as pro dress code :: End qualified immunity :: Cop shot through front door, charged :: The Enhanced Olympics, athletes on steroids :: Bonnie hits the wall :: Dave Ridley vibe coding :: Angela McArdle more successful than any LP member :: Jeremy Cuckman? :: 2026-05-31 Hosts: Bonnie, Rich E Rich, Penguin

Erik Tait takes a slight detour on this week's podcast to address a situation that's been brewing this week. We discuss AI, how it's used at Penguin, how it shouldn't be used to alter people's images, internet bullying, and a lot more. This one is a bit of a rant. Buckle up.

Today’s episode we welcome Nick Bonino, a 15 year NHL veteran and a two-time Stanley Cup champion with the Pittsburgh Penguins. Nick was a key member of the Penguin’s famous “HBK line” along with Carl Hagelin and Phil Kessel. After being drafted in the 6th round of the 2007 NHL Entry Draft by the San Jose Sharks, Bonino was a key member of Boston University NCAA National Champion team in 2009. Before playing a game for San Jose, he was traded to the Anaheim Ducks where he started his 15 NHL career in 2010. In June of 2025, Nick retired as an active player to join the Pittsburgh penguins coaching staff with head coach, Dan Muse, who had coached Bonino while he played with the New York Rangers in the 2023-24 season. Please welcome our good friend - Nick Bonino!See omnystudio.com/listener for privacy information.

Handless woman arrested for phone in hand :: Cop caught red handed :: Skeeter calls Penguin out for "lies" :: The honorable, scrupulous, ethical Ricky from the Commonwealth pays his debt to Rich E Rich :: Luckily, we are not currently third world in the US :: How long will the dollar have the petrodollar status? :: Uber Jorge talks about why he quit the TSA :: You can't send your own property overseas without it getting stolen by the boarder control in this circumstance :: RER comes out as pro dress code :: End qualified immunity :: Cop shot through front door, charged :: The Enhanced Olympics, athletes on steroids :: Bonnie hits the wall :: Dave Ridley vibe coding :: Angela McArdle more successful than any LP member :: Jeremy Cuckman? :: 2026-05-31 Hosts: Bonnie, Rich E Rich, Penguin

Hay historias que por currículo, lejanía o sesgo no te enseñan en la escuela española... y es una lástima porque tienen como sorprendente consecuencia, ser la cause de infraestructuras faraónicas como Itaipú, la tercera represa eléctrica más grande del mundo en potencia instalada y la segunda en producción anual.En el pod de hoy vamos a aprender historia, energía, adn paraguayo y el porqué del encaje de la minería bitcoin en el país latinoamericano. Y todo de la mano de Cecilia Llamosas, directora de Energía en Penguin.LINKSX de Cecilia https://x.com/cecilia_lldpPodcast de Cecilia https://www.mujeresconenergia.com/Únete a mi correo 

It's another watch-a-long and another Penquin episode to boot, as the boys end their time in the old studio and Jimmy's neighbors carry on in the background for your listening enjoyment!

Hear what the 3BI guys have to say about their favorite food to grill...maybe a penguin??

Turd calls in anticipation of a new matrix server :: Matrix gives the user more control :: Rob from VT calls about bad cops (all cops) :: Forkfest is going to be rad :: Sarah in NM calls about more noise cameras :: Cops in Gilford NH behaving badly again :: Skeeter calls to cry "hypocrite!", but just sounds dumb again :: Kalliste calls about the Libertarian National Convention :: router takeover by governments :: thinkpenguin.com :: David in NM calls about wifi routers being able to "see" :: Dave Ridley calls about an openAI whistleblower not dying or going missing :: 2026-05-24 Hosts: Stu, Angelo, Mr. Penguin

Ryan, Miles, and Pete go over the new Erratas and Bans that were just released. Then Ian joins us to talk about his new adventure of studying penguins in Antarctica

Scientists warn we are in an age of mass-extinction. Entire species are ceasing to exist at unprecedented rates. When did this age begin, and when did humans start to confront their impacts on ecosystems and living populations? Sadiah Qureshi explores extinction as ‘unnatural' and inherently political, by placing humanity at the centre of her latest book, 'Vanished: an Unnatural History of Extinction'. In conversation with Bertie, she traces the history of the concept of extinction in European thought and its connection with settler-colonial politics. Bertie and Sadiah also discuss present day conservation policy, and echoes of imperialist thought within it. Sadiah Qureshi is a Chair of Modern British History at the University of Manchester, and a historian of science, race and empire. Further reading‘Vanished: An Unnatural History Of Extinction,' is available to purchase from Penguin here.This week, Professor Qureshi delivered the annual Wilkins-Bernal-Medawar Prize Lecture for the Royal Society. You can watch that here.'What can histories of Empire teach us about modern environmental efforts?', The British Academy, December 2025'Reversing extinction', aeon '‘A billionaire will pay a lot of money to shoot a recreated being': historian Sadiah Qureshi on extinction and empire', The Guardian, June 2025Send us Fan MailClick here for our website to read all our most recent Land and Climate Review features and pieces.

Turd calls in anticipation of a new matrix server :: Matrix gives the user more control :: Rob from VT calls about bad cops (all cops) :: Forkfest is going to be rad :: Sarah in NM calls about more noise cameras :: Cops in Gilford NH behaving badly again :: Skeeter calls to cry "hypocrite!", but just sounds dumb again :: Kalliste calls about the Libertarian National Convention :: router takeover by governments :: thinkpenguin.com :: David in NM calls about wifi routers being able to "see" :: Dave Ridley calls about an openAI whistleblower not dying or going missing :: 2026-05-24 Hosts: Stu, Angelo, Mr. Penguin

Ronaldo Fagarazzi joins Caroline for a 1920s serial killer mystery. No major plot spoilers until you hear Caroline say we are "entering the spoiler zone", at 21:21. After that, expect full spoilers. Read more about John Rhode at Ronaldo's blog, witnesstothecrime.wordpress.com. A full list of titles in the Penguin series can be found at penguinfirsteditions.com. The next book discussed in this series will be Mr Justice Raffles by E.W. Hornung. Support the podcast by joining the Shedunnit Book Club and get extra Shedunnit episodes every month plus access to the monthly reading discussions and community: shedunnitbookclub.com/join. Books mentioned in this episode:— Have His Carcase by Dorothy L. Sayers— The Murders in Praed Street by John Rhode— Bloody Murder by Julian Symons— Dead Men at the Folly by John Rhode— The Secret of High Eldersham by Miles Burton— Devil's Reckoning by Miles Burton— The Thinking Machine by Jacques Futrelle— Hendon's First Case by John Rhode— Death in the Tunnel by Miles Burton— The Lodger by Marie Belloc Lowndes— The Silk Stocking Murders by Anthony Berkeley— Murder Gone Mad by Philip MacDonald— Some Must Watch by Ethel Lina White— The A.B.C. Murders by Agatha Christie— The Case of the Monday Murders by Christopher Bush— Howard's End by E.M. Forster— The Paddington Mystery by John Rhode— Dr Priestley's Quest by John Rhode— The Mystery of Angelina Frood by R. Austin Freeman— The Aluminium Dagger by R. Austin Freeman— The Wheel Spins by Ethel Lina White— Green for Danger by Christianna Brand Related Shedunnit episodes:— The Telephone Call— The Detection Club To be the first to know about future developments with the podcast, sign up for the newsletter at shedunnitshow.com/newsletter. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode #425 of BGMania: A Video Game Music Podcast. Today on the show, Bryan closes out the month of May 2026 with another eclectic mix in Radio Hour, Volume 87! Back to normal this month with 14 tracks for your listening pleasure. We're covering a wide variety of moods and genres with this one, so there's sure to be something for everyone. Vocal tracks, slow gorgeous pieces, new releases, Nintendo charm, Mega Man excellence, it's all here. Strap in and enjoy! Email the show at bgmaniapodcast@gmail.com with requests for upcoming episodes, questions, feedback, comments, concerns, or any other thoughts you'd like to share! Special thanks to our Executive Producers: Jexak, Xancu, Jeff & Mike. EPISODE PLAYLIST AND CREDITS Fuse Man Stage Theme from Mega Man 11 [Marika Suzuki, 2018] Firstborn from Diablo IV: Lord of Hatred [Ted Reedy feat. Asja Kadric & Uyanga Bold, 2026] Chasing the Koopalings 1 from Super Mario Bros. Wonder + Meetup in Bellabel Park [Shiho Fujii & Yuka Usui, 2026] Dead Air from Directive 8020 [Blood Red Shoes, 2026] Main Theme from Elementallis [Raúl Sangonzalo, 2026] Rogentia Volcano from Elementallis [Raúl Sangonzalo, 2026] Aether Temple from Elementallis [Raúl Sangonzalo, 2026] Scud from The Need for Speed Special Edition [Saki Kaskas, 1996] Friends from Gurumin: A Monstrous Adventure [Wataru Ishibashi feat. Ayako Shibazaki, 2004] The Penguin from LEGO Batman: Legacy of the Dark Knight [Simon Withenshaw, 2026] Station Core from A.R.E.S. Extinction Agenda [Hyperduck, 2010] Roller Mobster from Hotline Miami 2: Wrong Number [Carpenter Brut, 2015] Eryth Sea -Night- from Xenoblade Chronicles: Definitive Edition [Manami Kiyota, 2020] First Light from 007: First Light [David Arnold feat. Lana Del Rey, 2026] LINKS Patreon: https://patreon.com/bgmania Website: https://bgmania.podbean.com/ Discord: https://discord.gg/cC73Heu Facebook: BGManiaPodcast X: BGManiaPodcast Instagram: BGManiaPodcast TikTok: BGManiaPodcast YouTube: BGManiaPodcast Twitch: BGManiaPodcast PODCAST NETWORK Very Good Music: A VGM Podcast Listening Religiously

Boston, 1720. 14- letni Benjamin pochyla się nad książką pożyczoną na jedną noc.Świeca dogasa.Jeśli zaśnie, brat go znowu zbije.Jeśli ojciec zobaczy światło, zacznie się to wszystko od nowa.W drugiej części serii o Benjaminie Franklinie opowiadam, jak chłopak bez szkoły, bez pieniędzy i bez wolności stał się w 5 lat mistrzem prozy, wegetarianinem szokującym purytański Boston i świadkiem epidemii, która rozdarła miasto na pół.Czego się dowiesz: 6- stopniowa metoda nauki pisania, którą szesnastoletni Franklin wymyślił sam, w pustej drukarni o piątej rano. Metoda, która działa do dziś i nie wymaga ani nauczyciela, ani kursów.Wegetariańska herezja Franklina – dlaczego przestał jeść mięso w mieście, gdzie to był społeczny skandal. Jak chleb z rodzynkami i szklanka wody dały mu dwie rzeczy, których nikt się nie spodziewał.Epidemia ospy 1721 roku, która podzieliła Boston na dwa wrogie obozy. Spór o szczepienia, granat rzucony w okno i pierwsza naprawdę wolna gazeta w Ameryce.3 lekcje z tego odcinka możesz zastosować u siebie jeszcze w tym tygodniu.Wesprzyj podcast: patronite.pl/podcastlepiejteraz  Postaw kawę: suppi.pl/lepiejterazŹRÓDŁA ODCINKAŹródła główne (pierwotne):Benjamin Franklin, The Autobiography of Benjamin Franklin, część I (napisana w Twyford, Anglia, 1771). Wydanie autorytatywne: J.A. Leo Lemay & P.M. Zall (red.), Benjamin Franklin's Autobiography: An Authoritative Text, W.W. Norton, 1986. Polskie tłumaczenie: Żywot własny, Państwowy Instytut Wydawniczy, 1960.„Silence Dogood, No. 1–14″ (2 IV – 8 X 1722), pełne teksty w: The Papers of Benjamin Franklin, vol. 1, ed. L. W. Labaree, Yale University Press, 1959. Online: Founders Online (founders.archives.gov).„The Printer to the Reader”, New-England Courant, No. 80, 11 II 1723. Online: Founders Online.Diary of Cotton Mather, vol. II (Massachusetts Historical Society Collections, 7th Series, vol. VIII).Journal of the House of Representatives of Massachusetts, sesja 1722, s. 21 (postanowienie Council z 12 VI 1722 o uwięzieniu Jamesa Franklina).Massachusetts House Journals, sesja styczeń 1723 (postanowienie z 15 I 1723 o zakazie druku New-England Courant).Zabdiel Boylston, An Historical Account of the Small-Pox Inoculated in New England, Londyn 1726.Boston News-Letter, 14 VIII 1721 (potwierdzenie pierwszego numeru Couranta) i 20 XI 1721 (relacja z zamachu na Mathera).Źródła wtórne:J.A. Leo Lemay, The Life of Benjamin Franklin, Volume 1: Journalist, 1706–1730, University of Pennsylvania Press, 2006.Walter Isaacson, Benjamin Franklin: An American Life, Simon & Schuster, 2003, rozdziały 2–3.H.W. Brands, The First American: The Life and Times of Benjamin Franklin, Doubleday, 2000.Carl Van Doren, Benjamin Franklin, Viking, 1938 (Pulitzer).Nick Bunker, Young Benjamin Franklin: The Birth of Ingenuity, Knopf, 2018.Gordon S. Wood, The Americanization of Benjamin Franklin, Penguin, 2004.Edmund S. Morgan, Benjamin Franklin, Yale University Press, 2002.Claude-Anne Lopez, „Three Buns at a Time: When Did Benjamin Franklin Arrive in Philadelphia?”, Yale Library Gazette, 1980 (ustalenie daty 6 X 1723 jako niedzieli przybycia).David Larson, „Benjamin Franklin's Youth, His Biographers, and the Autobiography”, Pennsylvania Magazine of History and Biography, vol. CXIX, no. 3 (lipiec 1995).Źródła internetowe i archiwalne:Colonial Williamsburg — „The Printer in Eighteenth-Century Williamsburg”.Founders Online — founders.archives.gov (wszystkie 14 listów Silence Dogood; pełna korespondencja Franklina).Massachusetts Historical Society — masshist.org (Cotton Mather Diary; mapy Bostonu z 1722).American Antiquarian Society, Worcester (oryginalne numery New-England Courant).Library of Congress, Research Guides — New-England Courant.Harvard University, „Contagion” Digital Exhibits — „The Boston Smallpox Epidemic, 1721″.Colonial Society of Massachusetts — „Bibliographical Notes: New-England Courant” (colonialsociety.org).

What if the reason your big break hasn't happened yet… is because you haven't taken the shot? In this episode, we're diving into the mindset, fear, self-doubt, and hesitation that stop so many people from going after the opportunities they truly want. From pitching myself for speaking gigs and podcast interviews to landing a Penguin book deal, building a global brand, and creating opportunities from scratch, I'm sharing the real truth behind success: The people creating extraordinary lives are willing to ask, risk rejection, and move before they feel ready. Inside this episode we uncover: Why most people stay stuck waiting for permission Why boldness matters more than perfection The truth about creating opportunities (& importance of resourcefulness) How to stop talking yourself out of your dreams The mindset shift that changes everything This episode is a powerful reminder that your dream life won't arrive by accident. You have to move toward it. READY TO BUILD YOUR AUTHORITY, CONFIDENCE & PERSONAL BRAND?

Last episode's discussion about performative art consumption continues. Now it's time to analyse blokes in their 20s walking around with a Penguin classic under their wing. They've got ulterior motives, Luke reckons.Also on the table today: clothing and confidence, the brilliance of Danny Kelly and some illuminating listener correspondence about drones.Send us your latest stories, questions and comments here: hello@lukeandpeteshow.com.The Luke and Pete Show is the sometimes ridiculous, always funny podcast with Luke Moore and Pete Donaldson: two men who have time on their hands and a good idea of how to waste it. Subscribe to get your comedy podcast fix every Monday and Thursday. Hosted on Acast. See acast.com/privacy for more information.

The 90s were the best :: VPNs :: Ricky has restored his honor :: Is inflation theft? :: 2026-05-16 :: No one knows who they're voting for :: Felons and voting rights :: Wild new idea; parents should do the parenting :: 2026-05-17 Hosts: Lori, Rich E. Rich, Penguin

The 90s were the best :: VPNs :: Ricky has restored his honor :: Is inflation theft? :: 2026-05-16 :: No one knows who they're voting for :: Felons and voting rights :: Wild new idea; parents should do the parenting :: 2026-05-17 Hosts: Lori, Rich E. Rich, Penguin

Megan chats with Yumna Jawad about building a multi-revenue food blogging business through cookbooks, partnerships, affiliate marketing, speaking opportunities, and physical products. Yumna Jawad, who was born in Africa to Lebanese parents and moved to the US at 11 years old, is beloved by millions of fans globally on Instagram, TikTok, and her website, Feel Good Foodie for her unique, delicious, creative and easy recipes that often go viral on social media. She has grown her massive following from scratch the past decade and has recently founded a new culinary venture, Oath Oats, launched in November 2022. Yumna's viral food trends have been featured by Live with Kelly & Ryan, The Today Show, Good Morning America, PEOPLE, Vogue, and the New York Times. A graduate from the University of Michigan Business School, she now lives in Grand Rapids, Michigan, with her husband and two kids. Yumna's parents are both Lebanese so she proudly features Lebanese, middle eastern and Ramadan recipes as part of her heritage. Her first cookbook, The Feel Good Foodie Cookbook, launched in May 2024 (Penguin) and is filled with over 100 approachable, unique and delicious "Middle Eastern meets Midwestern" recipes for the entire family. The cookbook hit the bestseller lists on Amazon, USA Today and Publisher's Weekly. Ad revenue is no longer enough to support a long-term food blogging business. In this episode, Yumna shares the exact ways she diversified Feel Good Foodie into a recognizable brand with multiple income streams. This conversation is packed with practical ideas for experienced food bloggers who want more stability, visibility, and long-term growth. Key Topics Discussed: - Build revenue streams before traffic declines force you to. - Long term brand partnerships outperform one off sponsorships. - A cookbook strengthens authority far beyond direct sales. - Affiliate income grows faster when personality leads the content. - Email works best when it builds relationships instead of pushing recipes. - Video creates stronger audience connection than static content alone. Connect with Yumna Jawad Website | Instagram

Why we think what we think! The factors beyond our control that form our beliefs!Nick Cohen chats to author, journalist and entrepreneur Turi Munthe about his latest book "Why We Think What We Think," which explores how non-rational factors significantly influence political and social beliefs.In an increasingly polarised and fractious world, the issue of people's beliefs and think and why they hold them is becoming increasingly of importance, and for our sinister tech giants, of monetary value!Turi Munthe discusses various research findings showing how physical attributes like beauty, neurological differences, climate, and cultural background shape political preferences, including examples like taste bud variations between liberals and conservatives, and how collectivist versus individualist cultures affect moral reasoning. Turi's research also reveals how factors such as good looks can have an inordinate influence on people''s belief systems and how they succeed or fail in life.Nick and Turi discuss concerns about using biological research to pathologise political differences, the importance of free speech in allowing different perspectives to emerge, and how gender differences in political attitudes have shifted over time. Turi concludes by emphasising that humans think better in conversation than alone, suggesting that robust debate remains essential for understanding and potentially overcoming our predisposed opinions.Read all about it!Turi Munthe FRSA is an Anglo-French journalist and entrepreneur. He is the founder of Demotix, which became the largest network of photo-journalists in the world, as well as Parlia, an encyclopaedia of opinion. His book Why we think what we think, The unexpected origins of our deepest beliefs is published by Penguin. Nick Cohen's @NickCohen4 latest Substack column Writing from London on politics and culture from the UK and beyond. Hosted on Acast. See acast.com/privacy for more information.

The boys are back to discuss the first of two episodes featuring that waddling master of fowl play and his diabolical ducky boat!

Mark is joined by Penguin and Baby Penguin Rutger McGroarty to talk about Wilkes' playoff run. Tim Benz joins the show to talk about a bit of everything See omnystudio.com/listener for privacy information.

Fluent Fiction - Catalan: Penguin Antics: The Hilarious Day Jordi Lost a Shoe Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ca/episode/2026-05-15-22-34-01-ca Story Transcript:Ca: A l'Aquarium de Barcelona, ple de famílies i turistes, Jordi, Mercè i Pau feien fila per veure els pingüins.En: At the Aquarium de Barcelona, filled with families and tourists, Jordi, Mercè, and Pau were standing in line to see the penguins.Ca: Era primavera i a fora feia bon temps, però dins el recinte, l'ambient estava fresc i ombrívol.En: It was spring, and the weather outside was nice, but inside the building, the atmosphere was cool and shady.Ca: Grans vidres mostraven el món submarí i les ombres aquàtiques ballaven al terra, creant una il·lusió de calma infinita.En: Large glass panels revealed the underwater world, and aquatic shadows danced on the ground, creating an illusion of infinite calm.Ca: En Jordi estava entusiasmat.En: Jordi was enthusiastic.Ca: Volia demostrar a la Mercè que podia comunicar-se amb els animals.En: He wanted to show Mercè that he could communicate with animals.Ca: Un cop davant dels pingüins, es van quedar mirant-los amb admiració.En: Once in front of the penguins, they stood admiring them.Ca: Les criatures es movien amb elegància, indiferents a les mirades dels humans.En: The creatures moved gracefully, indifferent to the humans' gazes.Ca: En Jordi, amb un to juganer, va dir: "Mireu com em segueixen!".En: Jordi, in a playful tone, said, "Watch how they follow me!"Ca: En Pau, sempre amb ganes de broma, va riure: "A veure si ets un encanteri de pingüins!".En: Pau, always ready for a joke, laughed: "Let's see if you're a penguin charmer!"Ca: Llavors, es va produir el desastre.En: Then, disaster struck.Ca: Un pingüí, més llest que la resta, va acostar-se molt a prop del vidre.En: A penguin, smarter than the rest, came very close to the glass.Ca: Jordi, amb ganes d'impressionar, va treure la sabata per fer veure que li oferia.En: Jordi, eager to impress, took off his shoe to pretend to offer it.Ca: El pingüí, ràpid com una fletxa, va agafar la sabata i va córrer dins la seva piscina.En: The penguin, quick as an arrow, grabbed the shoe and ran into the pool.Ca: "Jordi, què fas?", va dir la Mercè, sorpresa i rient.En: "Jordi, what are you doing?" Mercè said, surprised and laughing.Ca: Els altres pingüins començaven a veure què passava i tot es convertí en una meravellosa embolic.En: The other penguins began to realize what was happening, and everything turned into a wonderful mess.Ca: Els turistes van començar a gravar i a fer fotos mentre en Jordi, decidit, es va pensar el seu següent moviment.En: Tourists started recording and taking pictures while Jordi, determined, considered his next move.Ca: Amb calma i seguretat, va entrar a la zona dels pingüins.En: With calm and confidence, he entered the penguin area.Ca: Un vigilant es va apropar, però en veure la situació, es va quedar a un costat, curiosos per com acabaria.En: A guard approached, but upon seeing the situation, he stood aside, curious about how it would end.Ca: Els pingüins voltaven per la piscina, gaudint de la comèdia que en Jordi protagonitzava.En: The penguins were circling the pool, enjoying the comedy Jordi was starring in.Ca: El pingüí principal jugava a estira i arronsa amb la sabata fugida.En: The main penguin was playing a tug-of-war with the runaway shoe.Ca: En un cop de geni, en Jordi es va apropar a un tanc proper i va agafar un peix.En: In a stroke of genius, Jordi approached a nearby tank and grabbed a fish.Ca: Amb el peix a la mà, es va apropar al pingüí líder i, amb veu suau, li va oferir l'intercanvi.En: With the fish in hand, he approached the lead penguin and, in a soft voice, offered the exchange.Ca: El pingüí, intrigat, va deixar anar la sabata i va prendre el peix amb entusiasme.En: The penguin, intrigued, let go of the shoe and eagerly took the fish.Ca: La Mercè i en Pau aplaudien mentre en Jordi, finalment, comprenia que el seu esforç per impressionar no era necessari.En: Mercè and Pau applauded while Jordi finally realized that his effort to impress was unnecessary.Ca: La Mercè l'estimava tal com era, divertit, espontani i autèntic.En: Mercè loved him just as he was—funny, spontaneous, and authentic.Ca: Ja fora de la piscina, amb els pantalons mullats però el cor lleuger, en Jordi va riure amb els seus amics mentre decidien on anar a dinar.En: Now out of the pool, with wet pants but a light heart, Jordi laughed with his friends as they decided where to go for lunch.Ca: El dia a l'aquarium havia estat inoblidable, no per l'encanteri dels pingüins, sinó pel riure i la companyonia d'un guarnit matí primaveral a Barcelona.En: The day at the aquarium had been unforgettable, not because of the penguin charm, but for the laughter and camaraderie of a lovely spring morning in Barcelona. Vocabulary Words:aquarium: l'Aquariumbuilding: el recinteglass panel: els vidresunderwater: submaríshadow: l'ombraillusion: la il·lusiócreature: la criaturagaze: la miradatone: el todisaster: el desastrearrow: la fletxashoe: la sabataguard: el vigilanttug-of-war: estira i arronsagenius: el cop de genitank: el tancexchange: l'intercanvienthusiasm: l'entusiasmeeffort: l'esforçfriend: el/la amic/amigajoke: la bromacharm: l'encanteriinfinite: infinitcurious: curióslead penguin: el pingüí lídercomedy: la comèdiacalm: la calmaenthusiastic: entusiasmatspontaneous: espontanispring: la primavera

We've got some superheroes on this week's Moviecast. We give our spoiler-free thoughts on Daredevil: Born Again's second season finale. Visionquest is coming in October. The Penguin's second season is also on the way. Also, Ahsoka's season 2 is coming in 2027. #dardevilbornagain #vsionquest #ahsoka #marvel #starwars #dc #netflix #disney

Sometimes we have to remember penguins attack humans and others so they can waddle drunk back fromFlagstaff !

Ten weeks into the war with Iran, the Strait of Hormuz remains largely closed. The ceasefire is officially holding, but occasional attacks on ships and installations continue. A difficult question is coming into focus: what if the strait never fully reopens?Host Ed Crooks is joined by regular contributor Amy Myers Jaffe, Director of the Global Energy, Climate, and Sustainability Lab at NYU, alongside two guests. Edward (Eddie) Fishman is a Senior Fellow at the Council on Foreign Relations and author of Choke Points, a history of economic warfare. Christopher Aversano is Wood Mackenzie's Director of Maritime Partnerships, returning to give the view from the shipping industry.Chris reports that the number of ships passing through the Strait of Hormuz had risen from around 10 a day at the low point to roughly 25 a day, but then dropped off again as tensions escalated and the threat of renewed fighting rose. Even at their best, the number of transits has been just a fraction of the 150-170 a day that was normal before the war began at the end of February.Some ships are still making it through the strait. Some LNG carriers have “gone dark”, shutting off their transponders, later reappearing weeks later on the other side of the world. Ship owners are pragmatic, Chris says, and high commodity prices create a strong financial incentive for tankers to pass through the strait when they can. But questions of insurance, crew safety, and freedom of navigation through the strait remain unresolved.Eddie says the US decision on what to do next is like a choice between two doors . Door one would be a negotiated deal that leaves Iran as gatekeeper of the Strait of Hormuz. Door two would be full-scale military intervention, which seems politically impossible. With neither option palatable, the result is drift. His base case is that Iran retains permanent control. A toll of $2 million per ship passing through the strait could generate $30-100 billion a year for Tehran, potentially exceeding its oil export earnings. The drones needed to enforce the closure can cost as little as $20,000 each.Amy argues the full impact of closing the strait has not yet hit. Emergency releases of oil from reserves, shadow cargoes from sanction ed countries that were already on the water, and seasonal refinery maintenance have all cushioned the blow. The real test comes in the weeks ahead, as those buffers run out. Ed argues that if the strait stays closed for six more months, oil at $150-$200 a barrel may be needed to balance the market, with a global recession as the likely consequence.The conversation broadens into the geopolitics of the dollar. Eddie explains why the US currency remains the backbone of global trade, involved in 90 per cent of all foreign exchange transactions, and why that gives the US government powerful strategic leverage. Amy suggests that China may see US entanglement in the strait as strategically useful, draining American resources without it lifting a finger.The episode closes with a warning. Eddie argues the weaponisation of American economic power against allies as well as adversaries risks fragmenting the global trading system further, with potentially disastrous consequences. History shows that when states cannot secure resources through open exchange, they tend to be tempted into conquest.‘Chokepoints : American Power in the Age of Economic Warfare' by Edward Fishman, published by Penguin, is available from bookstores now. This episode is sponsored by Bechtel. Nuclear is back — and Bechtel is helping build what comes next.For more than 70 years, Bechtel has helped shape the nuclear industry, from work on the world's first commercial nuclear reactor to designing, constructing, and servicing more than 150 nuclear plants worldwide. Bechtel has helped bring more than 76,000 megawatts of nuclear power online globally. Today, Bechtel is helping deliver the next generation of nuclear energy — from large-scale plants to small modular and advanced reactors — using the company's decades of mega-project delivery experience to bring new nuclear online safely, reliably, and at scale.Learn more at bechtel.com/nuclear See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

An essential guide to healing from oppression-based trauma, for everyone left outside of mainstream conversations There are many books on trauma healing that can change people's lives. Yet when queer and trans people, people of color, and all of us living at the margins look for books that reflect our own experiences and that specifically name the oppression we experience as trauma, we're left empty-handed. There's little that speaks to the specific traumas we experience: homophobia, transphobia, institutional injustices, isolation, medical trauma, and discrimination at every turn. We deserve to have ourselves reflected and considered in the world of trauma recovery. In Healing the Oppressed Body: A Therapeutic Guide for Radical Self-Liberation (Penguin, 2026), somatic therapist Andrea Gutiérrez-Glik provides the best tools and approaches to healing trauma and filters them through an anti-oppression lens, making sure they're uniquely impactful for all of us at the margins. In these pages, you'll learn how trauma is stored and processed by our minds and bodies and how we can work with our amazingly flexible brains and nervous systems to create pathways to healing. You'll understand just how and why trauma that occurs in our earliest days can affect us throughout our lives. You'll learn to embrace your Internal Family, making yourself whole. In Healing the Oppressed Body, Andrea Gutiérrez-Glik lovingly offers us the best, most radical solutions to tap into our sources of healing. Along the way, you'll discover tools and techniques for emotional regulation and therapeutic modalities to heal from oppression-based trauma. Whether inside the therapy room or on your own, in the pages of Healing the Oppressed Body, you'll learn how to heal through growing compassion for all parts of yourself and others, finding community support and love, and celebrating the freedom to be your true self.Andrea Gutiérrez-Glik, LCSW, is a psychotherapist specializing in treating OCD, cPTSD, and PTSD, prioritizing women, survivors, and queer and trans folks. She utilizes EMDR, IFS, I-CBT, and ERP to help clients feel safe in the present and come home to themselves. Gutiérrez-Glik is also an EMDRIA-approved consultant for therapists getting certified in EMDR and a regular teacher at Alma, the Trauma of Money(tm), and other mental health organizations. She lives in St. Louis, Missouri, on occupied Osage and Kaskaskia land, with her wife and their child. Helena Vissing, PsyD, SEP, PMH-C is a Licensed Psychologist practicing in California and Associate Professor at California Institute of Integral Studies. She can be reached at contact@helenavissing.com. She is the author of Somatic Maternal Healing: Psychodynamic and Somatic Treatment of Trauma in the Perinatal Period (Routledge, 2023). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychoanalysis

l⁠⁠⁠inktr.ee/CatchingUpOnCinemaThis week, in a very special video edition of Catching Up On Cinema, Trevor is joined by his buddy Levi AKA Your Captain Speaking, to review Don Bluth's, The Pebble and the Penguin (1995)!Trevor and Levi are both editors for the Red Cow Arcade YouTube channel, and can be found in the Red Cow Discord.

An essential guide to healing from oppression-based trauma, for everyone left outside of mainstream conversations There are many books on trauma healing that can change people's lives. Yet when queer and trans people, people of color, and all of us living at the margins look for books that reflect our own experiences and that specifically name the oppression we experience as trauma, we're left empty-handed. There's little that speaks to the specific traumas we experience: homophobia, transphobia, institutional injustices, isolation, medical trauma, and discrimination at every turn. We deserve to have ourselves reflected and considered in the world of trauma recovery. In Healing the Oppressed Body: A Therapeutic Guide for Radical Self-Liberation (Penguin, 2026), somatic therapist Andrea Gutiérrez-Glik provides the best tools and approaches to healing trauma and filters them through an anti-oppression lens, making sure they're uniquely impactful for all of us at the margins. In these pages, you'll learn how trauma is stored and processed by our minds and bodies and how we can work with our amazingly flexible brains and nervous systems to create pathways to healing. You'll understand just how and why trauma that occurs in our earliest days can affect us throughout our lives. You'll learn to embrace your Internal Family, making yourself whole. In Healing the Oppressed Body, Andrea Gutiérrez-Glik lovingly offers us the best, most radical solutions to tap into our sources of healing. Along the way, you'll discover tools and techniques for emotional regulation and therapeutic modalities to heal from oppression-based trauma. Whether inside the therapy room or on your own, in the pages of Healing the Oppressed Body, you'll learn how to heal through growing compassion for all parts of yourself and others, finding community support and love, and celebrating the freedom to be your true self.Andrea Gutiérrez-Glik, LCSW, is a psychotherapist specializing in treating OCD, cPTSD, and PTSD, prioritizing women, survivors, and queer and trans folks. She utilizes EMDR, IFS, I-CBT, and ERP to help clients feel safe in the present and come home to themselves. Gutiérrez-Glik is also an EMDRIA-approved consultant for therapists getting certified in EMDR and a regular teacher at Alma, the Trauma of Money(tm), and other mental health organizations. She lives in St. Louis, Missouri, on occupied Osage and Kaskaskia land, with her wife and their child. Helena Vissing, PsyD, SEP, PMH-C is a Licensed Psychologist practicing in California and Associate Professor at California Institute of Integral Studies. She can be reached at contact@helenavissing.com. She is the author of Somatic Maternal Healing: Psychodynamic and Somatic Treatment of Trauma in the Perinatal Period (Routledge, 2023). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

微信公众号：「慕柏读书」（mubaidushu)。主播：慕柏，365天每天更新一期。 文字版已在微信公众号【慕柏读书】发布 。V：mubaidushu365 背景音乐：1.出原速夫 - Penguin-juvenile；2.Ludwig van Beethoven - Piano Sonata No.8 in C minor, Op.13 -＂Pathétique＂： Adagio cantabile；3.Maria Joao Pires - Piano Sonata No. 12 in F Major, K. 332：II. Adagio；4.James Galway - Piano Concerto No.21 in C, K.467 - Arranged by Andreas Tarkmann：2. Andante。

On today's Legally Speaking Podcast, I'm delighted to be joined by Felix Riley. Felix is a Business/Moonshot Strategist, passionate about helping organisations take a creative approach to problem-solving and growth. He has a wealth of experience as a comedy writer, Global Executive at an NYSE-listed brokerage, and is the author of two best-selling Penguin novels,‘The Set Up' and ‘The Inside Job'. Felix is committed to equipping teams with practical frameworks for thinking differently and driving meaningful change in their organisations So why should you be listening in? You can hear Rob and Felix discussing:- Helping Law Firms Stop Playing Small- A Positive AI Revolution- AI enabling Quicker and Further Progress- The Importance of Brainstorming and Reimagining Work- Functional Tasks Being Done Quckly and Effectively by Machines.Connect with Felix Riley here - https://uk.linkedin.com/in/felix-riley-brilliant-thinking

Is AI really the end of creativity, or the biggest emancipation of creative energy we've ever seen? How can authors thrive in a time of super abundance, when anyone can make anything? What happens when publishers become technology providers, and agents start shopping for books on our behalf? With Nadim Sadek. In the intro, my AI-Assisted Artisan Author webinars. This show is supported by my Patrons. Join my Community and get articles, discounts, and extra audio and video tutorials on writing craft, author business, and AI tools, at Patreon.com/thecreativepenn Nadim Sadek is a serial entrepreneur and the founder and CEO of Shimmr AI, an AI-powered book marketing company, as well as the bestselling author of children's books and non-fiction books, including Quiver, don't Quake: How Creativity Can Embrace AI. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Using AI as a research partner, editor, and constructive critic when writing a book The ratio of dreaming to execution Why publishers still draw red lines at AI-written words, and why that may change Inside Shimmr's three-engine advertising system: Strategizer, Generator, and Deployer Multimodal interactivity, agentic purchasing, and the idea of the Panthropic You can find Nadim on LinkedIn or at NadimSadek.com. Transcript of Interview with Nadim Sadek Jo: Nadim Sadek is a serial entrepreneur and the founder and CEO of Shimmr AI, an AI-powered book marketing company, as well as the bestselling author of children's books and non-fiction books, including Quiver, don't Quake: How Creativity Can Embrace AI. So welcome to the show, Nadim. Nadim: It is lovely to be here. I feel very privileged to be invited onto this. Thank you. Jo: Oh, I'm excited to talk to you today, and we're really talking about AI. I wanted to start with the fact that you do seem to have a sort of relentless optimism. How do you remain so optimistic about AI when the publishing industry that we both work in seems so overwhelmingly negative? Lift our eyes to the horizon—what is the bigger picture? Nadim: Oh my goodness. That is a big one. I think my optimism is quite confined actually in the area of publishing. If you were to ask me to speak about AI more broadly—which you're not, but I'm going to give you a little bit of it—I've got lots of concerns. That includes the advent of autonomous weapons and economic singularity, where the wealth from AI as an industry is going into just a few hands, and energy usage, and cultural homogenisation, I suppose, and the potential for brain rot. There's a whole pile of stuff which is really not very good about AI, and all the normal things about fraud and theft and so on. However, if you recognise that and then you say what's going on in publishing, then the obvious thing that you first have to deal with is what did happen with copyright. Is it appropriate to say that things have been stolen and taken without permission and so on? It is. It's going through the American courts at one pace. I saw that Penguin Random House have started a case against OpenAI in Germany, where there will be a much faster legal conclusion—a judge's conclusion, I think. This will begin to put parameters on how copyrighted materials can be used, and possibly also some retrospective judgment about what has happened to this point and what can be done about it. So it's good that you've asked questions so early in our conversation, because I think —  It's important to contextualise my optimism. It is whilst noting with regret the behaviour of the AI industry—the models themselves—in not dealing with copyright in the most generous or appropriate fashion. I think we should also recognise that copyright probably wasn't designed for machine learning in the way that it is. Probably the industry wasn't terribly well prepared to note, negotiate with, and navigate the very fast-moving technological culture of AI companies. So I think lots of mistakes have been made on both sides. When you put all that to one side, what's left for me is an amazing emancipation of creative energy and also a huge efficiency being brought to the publishing industry. We can talk about both those things further, but for me that is what's going on. The efficiency of bookmaking and publishing generally—the whole workflow of getting a book out of somebody's head and into a reader's hands—I think is immensely streamlined and improved by AI. Actually, if you talk about it carefully, which I'm sure we will do, the ability of creators to share and let others experience their creative endeavours becomes so much better, so much fuller, so much richer. So that's why I'm excited about it. Jo: Well, let's get into those two things then. You mentioned the emancipation of creative energy, and you've worked with various AI tools as part of your creative and business processes. You've said that AI can be a creative companion. So specifically when it comes to Quiver, don't Quake, for example— How are you using the various tools in such an emancipated way? Nadim: Well, just to put a bit of a broader context on it, we're an AI-native company at Shimmr, and separately I wear a hat as an author. You mentioned the AI books and the children's books. I'm also writing a book about the psychology of motorcycling. So it's a very odd authorial footprint, but it means that I kind of tramp around the place and learn different things. What I've noticed, even within Shimmr, is that the whole team has been using AI tools very differently. Lots of people are very bright in the company. They're all brighter than me, and I salute them and love them. But they've all used AI to become more creative in their own ways. For example, our Chief Commercial Officer is very numerate and logical, and not loquacious. She prefers to say things straight and simply. She has become an unbelievably creative financial modeller and analyst because she uses AI in lots of different ways. So she has flourished and grown so much, and is creative in a way that she never could be before—not only around numeracy and financial matters, but in thinking through new concepts for sales and marketing and for our commercial development. I've just noticed all around me this going on. When it comes to me, I prefer to express myself through writing. I talk a bit as well, as you can tell, but my favourite means of communication is just writing. When I was writing Quiver, don't Quake, I would use AI in a number of different fashions. One would be for research. One of the chapters is about the psychology of creativity. I'm a psychologist, so I tend to come at things from a psychological perspective. What is the psychology of creativity? Well, here comes a million-word answer from an AI—this person said this, this person said that. Then I kind of focused my research in particular areas and assembled them by drawing from the outputs of several AIs about what has been said about AI, what the science says about it, what sociology says about it, what particular creatives that we're all aware of say about it, whether they're in the advertising industry or musicians or artists or whatever. So that was a very rich way of researching things. I would often put a chapter in—this is a slightly different use—a manuscript that I'd written and say, “Read this as if you're somebody just coming across my book, and tell me where the reader might struggle between one paragraph and another, or where there's a logical fallout, or where the concept isn't really very fully excavated and developed.” It would occasionally prompt me to say, “You could probably do with a line that brings the reader from this point to that point.” And usually I listened to that and then wrote something new. In another use case, I eventually gave it the whole book and said, “I think I've done an okay job here and I quite like the flow and I'm sort of satisfied enough, but before I send it to the publisher and say, ‘there you go,' what do you think? Are there any ways in which this book could become a better and more interesting read?” It came back fairly promptly and said, “Well, what you haven't really done is considered what all the naysayers would say. You've done your dark moments of militarism and all that stuff, but what about some of the other stuff closer to publishing or creativity?” So off I went on a new round of research, and did some myself and used the AI for other bits. The funny thing, really the ironic thing here, is that the book is much better, and most people salute the book for the eighth to ninth chapter that talks about the constructive critics. I assemble them all and articulate all their arguments and say how hideous AI is and how terrible it is for the world and all of us. And then I try to repudiate some of them, not in a defensive way, but just to say, actually, yes, that's one perspective and here's another one. That chapter, ironically, about how AI is terrible was prompted by AI. It said, “You should really have a go at me.” And so I did. So that was another use case. Then finally—perhaps I'll say this—I have a friend who is, I think, the Editor-in-Chief of Penguin in India. I got to know her at a book fair or something. We started chatting, and I told her about my kids' books. I said, “I could really do with an editor on these ten books that are due to be published.” She very generously, amiably, and very constructively gave me feedback on each individual book and then on the whole set. I was really happy with it. I said to her, “That was a delight.” She said, “You'd be much better off working with Editrix.” I said, “What's Editrix?” She said, “Well, it's an AI platform I've created where you can go and self-edit.” I said, “You must be kidding. I'd much prefer chatting to you and our interactions.” She said, “Yes, well, go and try it.” So I got an account for the Editrix AI. Off I went, gave it my books, and lo and behold, it came up with some incredibly sophisticated and subtle observations on the books that neither Meru nor I had seen. For example, there's a story where a boy who lives in a house on a hill meets another boy on a bridge, and they end up in a silly confrontation. They're young and foolish, and it sort of transpires that the other boy lived in a local village. Now, I suppose in retrospect, it's pretty obvious that this could be seen to be colonialist, imperialist, and a sense of entitlement from the boy at the top of the hill crossing the bridge first and so on. Hadn't crossed my mind. The AI said, “I can tell from the rest of your writing that you don't really have a sort of racist or imperialist or superior attitude to things, but in this story, there could be a misapprehension that you do.” I thought, wow, what a great warning. So I changed it. There are almost endless ways—and I can tell you others, because I'm writing a book about clouds at the moment—in which AI can help you as an author. I've just shared some of those with you. Jo: Yes, well, I love that. I also use it for research. I definitely use the “give me feedback as a reader avatar, as a reader of this type of genre” or whatever. Nadim: Yes. Jo: I use different tools as well, so I agree with you. All of that is, I think, what a lot of people are doing. You also said you did a lot of the writing and rewriting, so the human was very much there. This was not an AI-generated work in any way. It was using an AI as a sort of collaborator—a creative companion, to use your words—which I think is great. One of the things that AI-positive people like us are finding is that there's so much negativity around the traditional publishers, around other authors, around supposedly negative backlash from readers. I think there's a lot of very noisy people who are probably making this sound worse than it is. Since you are so embedded in traditional publishing in so many ways, how are publishing people thinking about this? Do you think it's just different in terms of the creative side versus say the marketing side? What is happening there, and what do you recommend for authors? Nadim: What I'm observing is that there is increasingly confident adoption of AI for corporate efficiency, which is a polite way of saying where one can see profitability being improved. Could you streamline legal contracting? Yes. Can you manage royalty payments better? Yes. Are there better sustainability prospects with managing a warehouse and distribution and so on with AI? Yes. Could you improve your marketing by looking at competitive titles and trends, and optimising your metadata and your SEO and now your GEO, all using AI? Yes, yes, yes, yes, yes. All of these things can be assisted. Can you manage much more of your backlist, where you don't have the human or financial capital to manage all of those titles in a truly respectful and invested way? Yes, yes, yes. So wherever there's corporate efficiency, I see publishers being increasingly bold about saying they have integrated AI into their workstreams. What's much more tentative and hesitant is where there's discussion of authors—and I do hesitate to use the right words here—being assisted by, employing, working with AI. I kind of shorthand it as creative emancipation. It really means very many different things. Let me give you the example that I referred to briefly a second ago of Cloud Land, which is probably my first real novel. I'm very lucky. I sit working every day at a desk that's got three windows, and I look at the sky, and every day it's different, and I'm fascinated by it. I've been flying around the world since I was very young—my father worked for the World Health Organization, we moved between many countries—so I've also seen clouds from the sky a lot. I've noticed that in different parts of the world there are different cloud formations. It came to me one day that it would be very interesting if the clouds were somehow sentient, and that there is a cloud society, and that Cloud Land lived above human land and absorbed and observed us. Actually, the more I started thinking about it, the more I thought, well, we kind of evaporate. We give off vapour all the time and it rises up to clouds and maybe we're sending DNA signals to it, and it condensates and sends rain and storms and winds and lightning and thunder and all. There's a huge amount of interaction between Cloud Land and human land if you think about it. So I went into an AI. I said, “Hey, I've been thinking about this, blah, blah, blah. Any observations on what I've been saying so far?” I think one of the first things it said to me was, “You are actually playing with quantum physics.” I had no idea what quantum physics were really. I thought, well, this is interesting. I went and researched quantum physics, and actually there is some of that in it. If you count Cloud Land as a creative notion— The original idea, the creativity, came wholly from me, and then the development of it has been assisted by working with AI. I as a creator have spent much more time originating ideas about a story than would historically have been true. I probably would have gone to a library, tried to find the right geography textbook, read up about clouds, discovered what the nomenclature is, thought about whether I could put characters to cumulonimbus versus stratus something or other, and kind of worked my way gradually through it. There is something that I refer to in Quiver, don't Quake, which is what I call the ratio of dreaming to execution. I think previously, without AI, creators would probably spend 80% of their time researching and trying to get information and assembling things and editing documents and spell-checking and doing a whole pile of different tasks None of which I actually dismiss, because I think sometimes those difficult and “menial” tasks give you time to let ideas percolate and flourish and grow. It's just part of the process. But whereas before, I think we probably spent 20% of our time originating and 80% of our time assembling, I think it's inverted now. You can probably do 80% of the time you want creating and 20% of the time fiddling about getting your act together. So I feel that that's a huge emancipation of individual creativity. There's also—and we can talk about this if you wish—I think a much broader sociological phenomenon going on, which is really about every person in the world, all 8 billion of us, being creatives. That's the way I see the world. I think that only a minority of that 8 billion have the gift of craft that we recognise—of writing or drawing or making music or being an architect or a biomedical scientist or something that's creative and assembling things. And AI gives you courage and helps you to identify what you wish to make. I really don't mean creating the artefacts. I don't mean painting or making a song or writing a book. I just mean helping one to express and articulate oneself so that one's creative idea is shareable and experienceable by others. Jo: Well, it's interesting. I mean, everything that we've discussed, you're really saying that the main line is the actual writing of the words, because none of us can articulate how ideas come. Especially with Claude, we might have a creative spark, but I'm sure you've found the same: if I go to Claude, which is my favourite, with my creative spark, by the time we've discussed it, possibly over days, I've lost track of who said what. The idea definitely started with me, because the AI at the moment doesn't have its own creative spark in terms of its own drive to write a book, for example. So it starts with me, but then it goes back and forth, back and forth—sparks new ideas, something it wrote makes me think about something else. I think the difficulty with how publishing seems to be doing this at the moment is that it is just the written words on the page that is their red line around “have you used AI to generate a book?” But even that, I just think, surely that will change. For example, in the publishing industry, ghost writing—or writing dead authors, like Wilbur Smith—I was going to say Wilbur Smith is a good one. I mean, we've seen them, just different dead authors essentially writing in the voice of those people. So I just see that there are many possible places where publishers might want this kind of tool. I don't know— Do you see any openness to the actual words themselves? Nadim: I think you're right to identify that that is the place that it gets stickiest. What you kind of do in your private time—imagining and dreaming things up and interacting—it's a facsimile for talking to your friends or another author or something. It's just an AI companion. So I think that that is, you're right, less scrutinised. It is when one examines the words on the page. It's funny—it's almost as if it's a measure of how hard did you work to do this? Or did you just splatter it down on the page by pressing a button somewhere? It's almost as if, as creatives, we have to evidence that we have suffered, you know? I think there's a different form of suffering when you write with AI. It's true that if you command AI in some way to write for you, the default writing will be pretty anodyne, pretty bland, pretty mundane. It is deliberately so. AI is created and it is tuned to be inoffensive, to please most people, to be accessible to most readers and consumers of it. So it's another thing that I encourage people to do: don't approach AI with a kind of Google mindset where you just do a question and answer—”what time is it in New York now?” “Well, it's five hours behind” or whatever. Instead you say, “Hey, listen, I'm thinking about clouds, but I want a bit of spittle going up and down between the two, and I'd quite like a crazy cloud that harasses us.” Well, now I'm putting in some of my idiosyncrasy and my eccentricity and my personal perspective. The more you do that, the more that even if you did press a button and say, “Command, I want you to write this book,” that will no longer be a bland and mundane bit of output. It'll be very tuned by your interactions, and it'll exhibit some of your nature. So I think there probably are factories—there's always factories. They're probably—and actually I know this—writing a lot of romance, writing a lot of porn, things which are fairly well parametered. You know what happens in both of those genres more or less, so it's pretty easy for a machine to emulate what an author might write there and go and do it. But if you get into something like, “a sand dune was my cousin”—like, okay, well that's a bit different. What do you mean? And there it becomes a much more interesting bit of writing. So I think we're going to see a spectrum. To come back to your question about where publishers draw red lines, I think it's where they just see straight away mundane output that doesn't feel like it had a lot of craft or ingenuity or hard work to it. But I believe that as we go on, that's going to become harder and harder to establish. As we become more sophisticated users of AI, and AI's capabilities to understand us and to work with us become better, then I don't think it'll be such a big question where the words came from. What we'll feast on with each other is our creative ideas and how they're expressed, but not how they were produced. Jo: I mean, I always say to people, I'm not a word generator. That's not what makes me or my books worthy. It is what I do with it. It's the stories I tell, or it's the personal things behind it. So generating millions and millions of words, whether you generate them by typing or handwriting or AI or whatever, it isn't the word generation that is the point. It's all of the things that make that finished thing what it is. So anyway, let's come back to the other thing, because you mentioned that publishers seem very happy around corporate efficiency, anything that drives profitability. You also mentioned that Shimmr is an AI-native company. Now, I, and many people listening—we are a one-person company. So I run my own company. It's a publishing company. I do all my publishing, I do all my marketing, I do all my business as just me. So I also use AI for a lot of this stuff. I wondered— How do you see publishers changing to become more AI-native? How can we as individual author-publishers do that too? Because it feels like a massive mindset shift, not just plug in Opus 4.7 here. Nadim: I have been found saying at various publishing events—and it is deliberately a little bit provocative—that I believe that publishers have always been technology providers to creatives. It's not only what they do, but it is a part that they don't seem to embrace very hard. Even if you just go back to Gutenberg—I mean, here's a printing press, it's a bit of technology. “I'll make your book, I'll make your words into books.” It started there, and it's always been. That applies to distribution and e-commerce and audiobook manufacture and all sorts of other things along the way. So I encourage publishers to accept the notion that what they should do to attract authors in the future is partly—only partly—develop their own house AIs. It can be as ethically trained as that house wishes to deal with the copyright furore. It can be tuned to do editing in a particular way. It can have a specific way of copy editing. It can have a collaborative notion. It can have an assistant that helps you understand genres and hotspots and competitive titles. It can help you to think about, as Americans might say, what's hot and what's not in the world at the moment. So you might be more attuned to what the market demands, if that affects you at all. Some writers don't care, and that's fine. It can certainly help with all the marketing then. How can you produce social media content that's appropriate to your book, and all the rest of it. So I think there's a way in which publishers could massively enable authors. I talk to tons and tons of authors clearly about Shimmr, and what they all resent, I would say, is finding their time stolen by trying to flog their work rather than make it. Jo: Yes. Nadim: So the marketing process is just theft of creative time for most authors, and they hate doing it, and they're often not very good at it, because it's a completely different skillset from creating great stories or writing non-fiction books about particular subjects. So I believe that authors should be embracing the notion that publishers will create their own house AIs. And goodness me, we might even decide which publisher we prefer to go to on the strength of their AI position. Wouldn't that be interesting? But that is what I see the future being. Jo: Yes. I mean, definitely there's some quite significant authors—Dean Koontz, probably one of the biggest—who went to Amazon because of their technical ability around publishing and marketing. He was like, “Yes, I want this because of this.” Not that he'd be in bookshops or whatever—of course Dean Koontz is—but yes, so I think you're right there. For individuals also, as you know, we can use AI to help us market. I upload my books to Claude when they're finished, and I've just been marketing today. I'll say, “create 10 Midjourney images based on this book and give me all the marketing copy.” So I think we can use it now to help us be more efficient. On the other side of that, I think the bigger thing that's starting to happen is marketing is now much easier in one way. Nadim: Yes. Mm-hmm. Jo: So it's getting fuller, or even more. Nadim: Yes. Jo: So how do we deal with this? Because Shimmr is an AI marketing company. How are you thinking about the predominance of very, very good AI marketing now? Nadim: Yes, and it gets better all the time. It's a great question. Obviously, strategically, as an enterprise, we've really had to think about this one. If I go back one step, I always believe that innovation succeeds when it starts in a narrow space. So when Shimmr launched, we put ourselves forward and were quickly embraced, I have to say, as automated advertising that sells books. Nothing particularly more complicated than that. “Okay, you do ads, you automate it for me, and it'll help flog my books. Yes, that's it.” We had a rush. We've worked with about 250 publishers. As you might anticipate, it started with smaller ones, then got bigger. We now work with the biggest as well. That notion of automated advertising selling books was successful. Actually, that was about three years ago—a bit shorter than three years ago. What's happened in that time is that we have now collected a ton of data, and meanwhile the AI models have become more sophisticated and competent. Maybe I should just pause briefly and say what Shimmr actually does. We've got three main engines that are all chained together, to use pretty old language. The first one is what we call the Strategizer. It reads the book, it understands what we call its book DNA. So it's the structural elements of what the narrative is, who the protagonists are, and all the rest of it. It's also a psychological study of it—what's going on, what are the emotions or the values, what are the interests, how they intersect, where are the tensions, all those sorts of things. The Strategizer decides, “Well, reading everything between the covers of this book and understanding the author's intent, this is the best way to put this book forward because here are its strong points.” It hands that off to the second machine, which we call the Generator, which says, “Thanks for the creative brief. I'll make you the ads now.” It does videos and music and captions and all the rest of it. Then it presents its newly baked campaign to the third machine, which is the Deployer, that says, “Okay, well, I know where to find the audiences for this. If that's the DNA of the book and this is the campaign that manifests it, then I know where to find these people.” It goes and autonomously deploys it in various media channels to specific audiences who might be interested in that content. So that's what we started doing, and that generated a huge amount of data. Where we've got to recently—really in the last six months—is understanding that, as you've just said, most people can generate their own stuff. So in some ways they can look just like a mini Shimmr. The thing that differentiates the content is always the strategy. What we have learned to do now—and it's because of an agentic framework—is we've moved beyond what's between the covers of the book to look at life. We look at culture, what's going on, what are the trends, what's in and what's out. Even if you take a particular trend—let's say, fascism—what's the language associated with it that's being treated positively and respectfully, and what's the stuff that leads to it being dismissed straight away? All those sorts of nuances around everything. But equally, as well as going deep with a set of agents on what fascism might be in today's culture, we also go wide and say, “Well, how does that sit next to loyalty or hedonism or ambition or something else?” So we get this very, very circumspect analysis of the market. Then, indeed, if you do write a book about—I'm really going off-piste here, but you know, the hedonism of fascism, like, God, that would be a weird book—you discover that actually you're not really competing with another book, but you are competing with that specific podcast and this movie that came out, and another movement that's born in Italy but it's moving across Europe now or something. So we were able to produce strategies which now lead to a much broader offer, one which is much more sophisticated and much more likely to drive success in a book or in a creative enterprise. It informs product listings, metadata, author communications, PR, SEO, GEO, and of course the thing that we started with, advertising. So things that you see made by Shimmr should be much more resonant and much more attuned to the world, and commercially much more likely to drive success, than simply saying, “Here's a book, make ten Midjourney images out of it.” Jo: Mm-hmm. Nadim: It's really about the quality of the briefing and the quality of the assets that you're able to produce by having a much more sophisticated Strategizer. So we've gone back into the intellectual property and the human analysis, in a way, of the world. To understand where a specific piece of creative work sits in culture and society has become a much bigger proposition. Jo: Right. So you did mention podcasts there. So as in, you might present to a publisher “these are the podcasts that they should pitch” for example? Nadim: There's that, of course, but it's also, don't think that this book is competing with these three titles which your team put together. It's more that, if people want to listen to hedonistic fascism, they can listen to that podcast before they read this book. Jo: Okay, that's interesting. Interesting times. So we don't have much time left, but I think one of the biggest questions that people have—even if they're AI-positive, as I am and many people listening are—it's not that we're worried about AI replacing us, because we know we're individuals and all that, but we are slightly concerned about the volume of books in the market. And not just books, but TV shows and YouTube and TikTok. It's very hard to stand out. You do say in the book: “When anyone can make, maybe creativity lies not in the making, but in making others care.” How can I move up the value chain? So for many of us who make an income this way, what are your recommendations? Nadim: Great question. And actually I think it's really central. My latest catchphrase is that in a time of super abundance, we need super discoverability. So it's exactly as you just said—tons of work, tons of movies, tons of podcasts, and tons of everything. If you believe in what I've been saying, which is that we're emancipating the creative spark of 8 billion people, there's going to be even more. So I believe that the solution is what I call multimodal interactivity. That doesn't mean multimedia—it means multimodal. Multimodal means you can engage with an experience in different modalities—the same idea. So my conviction is that if you write a book or make a painting or have a piece of music that you've come up with—or anything really, creatively—and you wish it to both survive the first six weeks of its birth and then thrive in a more perpetual way in society and culture, then people have to be able to experience and engage with your idea in multiple modalities. I would always write a book, because that's what I do. Others produce a podcast or write a piece of music—whatever the same sort of things. Any one of us needs to make sure that that reappears and is experienceable and interactable with in different modalities. So my book should have some Instagram reels. There might be YouTube shorts, there might be a podcast, there might be a piece of music associated with it, it could be a movie. It could be a game, it could be an app. You really have to think about allowing your creative idea—more than your creative artefact—to live in culture. Sure, you want to make an income from the artefact that you are good at producing. As many of your listeners, and I, would be writers of books, we want that to persist as a revenue stream, and it should do. I would simply argue that making sure that whatever you've produced in your book is manifest, and people can interact with it in other modalities, is the surest way to get it seen and discovered. Jo: Yes, it's interesting. I've actually started looking at making my non-fiction books into skills. Nadim: Yes. Jo: And also making markdown MD files—books as markdown files for agents to buy. Nadim: Very good. You are way ahead of the curve. Jo: Well, I sell on Shopify, as do many listeners, and Shopify, as I'm sure you know, is now enabled for agentic purchasing. We are in ChatGPT. So it's really interesting to think, well, if the agents go shopping for people now and in the future, what you want is to be able to find it. Also, I haven't actually put an explicit licence, but people email me and say, “Can I upload your books into an LLM?” And I'm like, “If you buy a copy from me, then yes, you can.” Nadim: Yes. Jo: So I think it's changing. And as you say, I do think that people are more and more going to want to say “buy the PDF and put it in NotebookLM” or use it as a skill. Nadim: That's right. Jo: That kind of thing. Nadim: Yes, and then they go on a walk with their dog and they listen to the podcast about your book, which they've created on NotebookLM. It's exactly that. I think my worst fear for publishers is that they lose so much of the value chain—distribution, creative collaboration, all sorts of things along the way—that the worst position they could end up in is simply as book manufacturers, which would be just one small manifestation of a creative idea. Jo: Well, I'm excited about the future. I hope you are too. I think you are. What are you particularly excited about in terms of the changes coming? Nadim: Well, if I can be my most extravagant now, my greatest excitement about AI and the changes that are coming are that it'll produce what I describe as the Panthropic. The Panthropic is a way of seeing AI not as a companion or some anthropomorphic being, but instead the repository of everything that humans have ever thought or felt or created or shared, accessible to us all in an anonymised way. It's just a repository of interactable information. My excitement about it is that the liberation that that gives to information—which becomes knowledge, which of course we all know leads to some power—should result in truly new thinking, new philosophy, new spiritualism, possibly new questions about what it is to be a human being and what life on Earth is all about. New economics, new employment, new education. I think one can too easily underestimate the massive liberation of intellectual consideration and creativity that's about to surf across the globe, and I'm so excited by it. Jo: Mm-hmm. Yes, me too. Very interesting times ahead. So where can people find you and your books and everything you do online? Nadim: I think the easiest thing is just to go to LinkedIn and find me there as Nadim Sadek. You can also go to my personal website, which is NadimSadek.com, and that'll take you wherever you want on different journeys and different parts of my career. It'll also give you links to books. Of course, they're available in all formats—audio, paperback, ebook—and in many different languages, all through Amazon and other platforms, and Spotify and Audible and all the usual things. Jo: All the usual things. Well, thanks so much for your time, Nadim. That was great. Nadim: It's a pleasure. Thank you so much for having me.The post AI, Creativity, And The Future of Publishing with Nadim Sadek first appeared on The Creative Penn.

The 2026 MomAdvice Summer Reading Guide is here! Discover 70 must-read titles and 57 pages of fresh picks for your best summer yet. It's time for one of my favorite episodes: the official reveal of the 2026 MomAdvice Summer Reading Guide! This year's edition showcases 70 carefully curated titles spanning every genre, so you can find the perfect read for every summer mood. In this special Book Gang episode, I'm sharing this year's reading challenges with the buzziest books that didn't deliver but ultimately changed my sails towards the unexpected, from magical days at the library for backlist fun to under-the-radar gems like the ones I'm debuting today. Out of the 114 books I read to prepare for this one, I'm spotlighting five unforgettable novels that deserve a spot on your TBR. These new voices captured my heart, and I hope you'll fall in love with them, too. Grab your notebook (or open your Libby app!)—let's dive into the WHY behind this year's selections and get ready to build your summer reading stack. GET THE GUIDE: Browse the 2026 MomAdvice Summer Reading Guide (with ads) or receive the 57-page reading guide download ($7) to support our show. If you are a show patron, check your inbox for your copy as part of your member benefits- thank you for supporting my small business!   Meet Amy Allen Clark Amy Allen Clark is the founder of MomAdvice.com, a vibrant online community she has nurtured since 2004. Through this platform, Amy shares practical advice on recipes, DIY projects, and book recommendations for her readers. In 2013, Amy authored The Good Life for Less, published by Penguin, and offered families tips for running their households on a shoestring budget. Amy launched the Book Gang Podcast in 2021. The book podcast celebrates debut authors, explores backlist titles, and highlights under-the-radar book selections. Through engaging conversations with writers and fellow book enthusiasts, Amy aims to connect you with your new favorite book. Mentioned in this episode: NEW: Buy the 2026 Summer Reading Guide (help our show stay on air) 2026 MomAdvice Book Club Books (All 12 Selections) Join the May Book Club 4/30 at 8 PM ET (What Kind of Paradise) Ellery Adams talks Invasive Species: Horror in the Neighborhood Substack on Yesteryear (the religious perspective) Stormy Daniels Isn't Backing Down 17 Years After The Help, Kathryn Stockett Returns to Mississippi   Connect With Me: Connect with Amy on Instagram, TikTok, or MomAdvice Support the Show With a Tip on Buy Me a Coffee

Penguin hates the word "bro" :: Is Ian autistic? :: Public school made Bonnie bad at math :: FreeIanNow.org :: Fidelity Investments lost a woman's savings, Bitcoin fixes this :: Social media forcing ID verification in the UK, it's coming here :: "For the children" :: AI already helping people in Australia to bypass the ID verification :: It's not immoral to lie to the police :: DARE caused more drug use but put money in police pockets :: School district in California sending kids "of color" to enriching programs but not white kids on every tax payer's dime :: Chris calls Bonnie racist but she's not, just making a point :: Does LPNH or anyone else represent you? :: 2026-04-26 :: Hosts: Bonnie, Penguin, Rich E Rich

Daniel sits down with top prosthetic makeup designer Mike Marino, who has transformed actors for over 100 shows and movies including SNL, Coming 2 America, and The Penguin. Join our Patreon for exclusive content: http://patreon.com/toshshow

Today's guest proves that a creative career doesn't have to rely on algorithms, going viral, or luck. If you've ever wondered how to strategize your creativity like a real profession—and build a living from your work—this conversation is for you.Kern Carter is a former indie and current traditionally published author writing books for Penguin and Scholastic. He writes essays at the intersection of publishing and pop culture, offering candid insight into what it actually takes to make a living as an author and creative entrepreneur.www.kerncarter.comhttps://www.linkedin.com/in/kerncarter/In the past year alone, Kern has sold approximately 15,000 books—without being popular on any social media platform—by intentionally building and leveraging community. His journey includes dropping out of high school at 18 when he became a father, earning a full athletic scholarship, self-publishing his first books, securing an agent, and signing multiple traditional publishing deals beginning in 2021.Beyond books, Kern runs a thriving creative business spanning film production (with a film on Amazon Prime Video), ghostwriting, and platforms that support emerging writers. His story is one of perseverance, planning, and playing the long game.1) Designing a Creative Career on PurposeKern, you've said you're living the life you told yourself you'd live at eight years old—and that it didn't happen by accident. How did you approach building a creative career the way someone might approach a traditional profession, with strategy, planning, and long-term vision?2) Prioritizing Yourself While Raising a ChildYou became a father very young, yet you still prioritized your creative ambitions. That's a difficult balance for many people. How did you navigate that tension—and what impact did that decision have on both your career and your relationship with your daughter?3) Selling Books Without Social Media FameYou've sold roughly 15,000 books in the last year without being popular on social media, which goes against most advice writers hear today. What role has community building played in your success, and how can writers start building real relationships instead of chasing followers?4) Playing the Long GameYour journey took 15 years to reach what many would call “overnight success.” How did you stay motivated through the slower seasons, and what mindset shifts helped you keep going when results weren't immediate?5) Education, Income, and the Future of Creative WorkYou've been outspoken about what formal education gets wrong when it comes to preparing writers to earn a living. What do you think aspiring authors really need to learn—and how are you personally adapting to changes like AI entering creative industries?For creatives listening who feel behind, discouraged, or unsure if their plan is working—what's one thing you want them to remember about patience, strategy, and belief in themselves?

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