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The centerpiece of Melodrama as Provocateur (Duke UP, 2026) is an essay by Linda Williams (1946–2025). Williams was Professor of Film Studies and Rhetoric at the University of California, Berkeley. Her highly influential work reframed some of cinema's most neglected or denigrated genres from a feminist perspective, including documentary, pornography, horror, and melodrama. Melodrama is the focus of what would become Williams's final project. In the last few years of her life, she was working on a project that traced melodrama's divergent fortunes in France and the US—and argued for its enduring relevance in contemporary life and culture. Williams's work on this project was curtailed when she suffered a stroke, the complications of which led to her death in 2025. In the wake of her passing, some of her friends, collaborators, and admirers joined together to make a book that honors and memorializes her. Not only sharing Williams's unfinished work with the world, Melodrama as Provocateur also expands on that work through a series of essays by scholars working in melodrama studies across time, place, and media. For New Books in Film, Alix Beeston sits down with the three editors of Melodrama as Provocateur: Christine Gledhill, an esteemed scholar of film and feminism who is presently a Visiting Professor of Cinema Studies at the University of Leeds; Laura Horak, Professor of Film Studies at Carleton University; and Elisabeth R. Anker, Professor of American Studies and Political Science and Director of Film Studies at the George Washington University. Celebrating the model of incisive and generous research, teaching, mentorship, and collaboration Williams provided, the editors of Melodrama as Provocateur discuss the unique shape of a scholarly book generated in response to a colleague's unfinished labor. They also take up some of Williams's provocations, including the political possibilities of melodrama in contemporary culture—from Trumpian discourse to trans cinema and beyond—and explore the kinds of labor, thought, and feeling necessary for studying melodrama as a form that moves or provokes us. Like their book, a work forged in grief and loss, Gledhill, Horak, and Anker's conversation casts film and media scholarship as an act of collectivity and love: a bid for a better kind of world. 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
The centerpiece of Melodrama as Provocateur (Duke UP, 2026) is an essay by Linda Williams (1946–2025). Williams was Professor of Film Studies and Rhetoric at the University of California, Berkeley. Her highly influential work reframed some of cinema's most neglected or denigrated genres from a feminist perspective, including documentary, pornography, horror, and melodrama. Melodrama is the focus of what would become Williams's final project. In the last few years of her life, she was working on a project that traced melodrama's divergent fortunes in France and the US—and argued for its enduring relevance in contemporary life and culture. Williams's work on this project was curtailed when she suffered a stroke, the complications of which led to her death in 2025. In the wake of her passing, some of her friends, collaborators, and admirers joined together to make a book that honors and memorializes her. Not only sharing Williams's unfinished work with the world, Melodrama as Provocateur also expands on that work through a series of essays by scholars working in melodrama studies across time, place, and media. For New Books in Film, Alix Beeston sits down with the three editors of Melodrama as Provocateur: Christine Gledhill, an esteemed scholar of film and feminism who is presently a Visiting Professor of Cinema Studies at the University of Leeds; Laura Horak, Professor of Film Studies at Carleton University; and Elisabeth R. Anker, Professor of American Studies and Political Science and Director of Film Studies at the George Washington University. Celebrating the model of incisive and generous research, teaching, mentorship, and collaboration Williams provided, the editors of Melodrama as Provocateur discuss the unique shape of a scholarly book generated in response to a colleague's unfinished labor. They also take up some of Williams's provocations, including the political possibilities of melodrama in contemporary culture—from Trumpian discourse to trans cinema and beyond—and explore the kinds of labor, thought, and feeling necessary for studying melodrama as a form that moves or provokes us. Like their book, a work forged in grief and loss, Gledhill, Horak, and Anker's conversation casts film and media scholarship as an act of collectivity and love: a bid for a better kind of world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies
The centerpiece of Melodrama as Provocateur (Duke UP, 2026) is an essay by Linda Williams (1946–2025). Williams was Professor of Film Studies and Rhetoric at the University of California, Berkeley. Her highly influential work reframed some of cinema's most neglected or denigrated genres from a feminist perspective, including documentary, pornography, horror, and melodrama. Melodrama is the focus of what would become Williams's final project. In the last few years of her life, she was working on a project that traced melodrama's divergent fortunes in France and the US—and argued for its enduring relevance in contemporary life and culture. Williams's work on this project was curtailed when she suffered a stroke, the complications of which led to her death in 2025. In the wake of her passing, some of her friends, collaborators, and admirers joined together to make a book that honors and memorializes her. Not only sharing Williams's unfinished work with the world, Melodrama as Provocateur also expands on that work through a series of essays by scholars working in melodrama studies across time, place, and media. For New Books in Film, Alix Beeston sits down with the three editors of Melodrama as Provocateur: Christine Gledhill, an esteemed scholar of film and feminism who is presently a Visiting Professor of Cinema Studies at the University of Leeds; Laura Horak, Professor of Film Studies at Carleton University; and Elisabeth R. Anker, Professor of American Studies and Political Science and Director of Film Studies at the George Washington University. Celebrating the model of incisive and generous research, teaching, mentorship, and collaboration Williams provided, the editors of Melodrama as Provocateur discuss the unique shape of a scholarly book generated in response to a colleague's unfinished labor. They also take up some of Williams's provocations, including the political possibilities of melodrama in contemporary culture—from Trumpian discourse to trans cinema and beyond—and explore the kinds of labor, thought, and feeling necessary for studying melodrama as a form that moves or provokes us. Like their book, a work forged in grief and loss, Gledhill, Horak, and Anker's conversation casts film and media scholarship as an act of collectivity and love: a bid for a better kind of world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts
The centerpiece of Melodrama as Provocateur (Duke UP, 2026) is an essay by Linda Williams (1946–2025). Williams was Professor of Film Studies and Rhetoric at the University of California, Berkeley. Her highly influential work reframed some of cinema's most neglected or denigrated genres from a feminist perspective, including documentary, pornography, horror, and melodrama. Melodrama is the focus of what would become Williams's final project. In the last few years of her life, she was working on a project that traced melodrama's divergent fortunes in France and the US—and argued for its enduring relevance in contemporary life and culture. Williams's work on this project was curtailed when she suffered a stroke, the complications of which led to her death in 2025. In the wake of her passing, some of her friends, collaborators, and admirers joined together to make a book that honors and memorializes her. Not only sharing Williams's unfinished work with the world, Melodrama as Provocateur also expands on that work through a series of essays by scholars working in melodrama studies across time, place, and media. For New Books in Film, Alix Beeston sits down with the three editors of Melodrama as Provocateur: Christine Gledhill, an esteemed scholar of film and feminism who is presently a Visiting Professor of Cinema Studies at the University of Leeds; Laura Horak, Professor of Film Studies at Carleton University; and Elisabeth R. Anker, Professor of American Studies and Political Science and Director of Film Studies at the George Washington University. Celebrating the model of incisive and generous research, teaching, mentorship, and collaboration Williams provided, the editors of Melodrama as Provocateur discuss the unique shape of a scholarly book generated in response to a colleague's unfinished labor. They also take up some of Williams's provocations, including the political possibilities of melodrama in contemporary culture—from Trumpian discourse to trans cinema and beyond—and explore the kinds of labor, thought, and feeling necessary for studying melodrama as a form that moves or provokes us. Like their book, a work forged in grief and loss, Gledhill, Horak, and Anker's conversation casts film and media scholarship as an act of collectivity and love: a bid for a better kind of world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications
The centerpiece of Melodrama as Provocateur (Duke UP, 2026) is an essay by Linda Williams (1946–2025). Williams was Professor of Film Studies and Rhetoric at the University of California, Berkeley. Her highly influential work reframed some of cinema's most neglected or denigrated genres from a feminist perspective, including documentary, pornography, horror, and melodrama. Melodrama is the focus of what would become Williams's final project. In the last few years of her life, she was working on a project that traced melodrama's divergent fortunes in France and the US—and argued for its enduring relevance in contemporary life and culture. Williams's work on this project was curtailed when she suffered a stroke, the complications of which led to her death in 2025. In the wake of her passing, some of her friends, collaborators, and admirers joined together to make a book that honors and memorializes her. Not only sharing Williams's unfinished work with the world, Melodrama as Provocateur also expands on that work through a series of essays by scholars working in melodrama studies across time, place, and media. For New Books in Film, Alix Beeston sits down with the three editors of Melodrama as Provocateur: Christine Gledhill, an esteemed scholar of film and feminism who is presently a Visiting Professor of Cinema Studies at the University of Leeds; Laura Horak, Professor of Film Studies at Carleton University; and Elisabeth R. Anker, Professor of American Studies and Political Science and Director of Film Studies at the George Washington University. Celebrating the model of incisive and generous research, teaching, mentorship, and collaboration Williams provided, the editors of Melodrama as Provocateur discuss the unique shape of a scholarly book generated in response to a colleague's unfinished labor. They also take up some of Williams's provocations, including the political possibilities of melodrama in contemporary culture—from Trumpian discourse to trans cinema and beyond—and explore the kinds of labor, thought, and feeling necessary for studying melodrama as a form that moves or provokes us. Like their book, a work forged in grief and loss, Gledhill, Horak, and Anker's conversation casts film and media scholarship as an act of collectivity and love: a bid for a better kind of world. Learn more about your ad choices. Visit megaphone.fm/adchoices
Rod Liddle was a columnist and broadcaster who strongly divided opinion. Some saw him as an entertaining satirist, others, a bigot. As a teenager he joined a punk band and studied social psychology at the London School of Economics. He was politically active too, first as a member of Socialist Workers Party and then a Labour speech writer. He later joined the BBC as a trainee producer, working his way up to become editor of the Today programme. His former boss, Roger Mosey, told us how he immediately stood out from the crowd.Vicki Wickham was one of the music industry's most influential managers with clients including Marc Almond, Morrissey, and Dusty Springfield. She landed the job of booking acts for ITV's Ready Steady Go! despite knowing little about music and became the driving force behind the show, arranging appearances by the likes of Jimi Hendrix and The Beatles. Vicki's friend Simon Napier Bell, who himself managed artists like Wham!, Marc Bolan and Ultravox, recalls the lasting impact she had on the industry.Simone Forti was the pioneering dancer and choreographer whose pieces often use improvisation and draw on inspiration from the world around her using everyday objects like rope and wood alongside the human body. Simone's start in life was challenging. Her Jewish family had to flee from the increasing threat of the Italian fascist dictator Benito Mussolini. Her biographer Ann Cooper Albright shares her story.Justin Hardy was a Bafta and Emmy-nominated director known for historical films. His father was Robin Hardy the director of cult classic The Wicker Man. Robin had eight children by five different women and the making of the tortured film tore Justin's family apart. Justin went onto make a documentary with his half-brother Dominic Hardy, Children of the Wicker Man, where they interrogated their childhood using newly discovered documents from his father. Justin also completed his father's Wicker Man trilogy with new film Wrath of the God's - the release of which he never saw.Presenter: Matthew Bannister Producer: Ben Mitchell Assistant producer: Catherine Powell Researcher: Jesse Edwards Editor: Andrea KennedyArchive: Channel 4 News, 19/06/2014, YouTube; BBC Two, Have I Got News For You, 19/10/2002; BBC Radio 4, Start the Week, 02/06/2014; LA Women, EZTV, Kate Crash, 15/10/2012, YouTube; Huddle, Friends of the High Line, 12/11/2013, YouTube; Simone Forti, Slant Board, 1961. © 2026 The Museum of Modern Art, New York, Audio courtesy of MOCA - The Museum of Contemporary Art, Los Angeles, Performed January 29, 2023, during the exhibition Simone Forti (presented at MOCA Grand Avenue, January 15 – April 3, 2023); BBC World Service, Outlook, 09/04/2024
In this week's Media Confidential, Alan and Lionel discuss the contentious legacy of Rod Liddle, Spectator columnist and Times radio presenter, who died earlier this week. A divisive figure in British journalism, the hosts examine his style and career as a writer and provocateur.They also delve into reporting around climate change, as ideological fractures emerge in the Daily Telegraph. Should Tories see the preservation of the climate as a conservative responsibility? Or should we give up on climate action and embrace a Mediterranean summer?Plus, Alan and Lionel discuss about a big Ebay settlement with two citizen journalists, following a lawsuit around the 2019 corporate stalking scandal. And, in his own case against the BBC, has Donald Trump bitten off more than he can chew? Hosted on Acast. See acast.com/privacy for more information.
For centuries, powerful women have been punished for speaking, leading, provoking, and telling inconvenient truths. They wanted our mouths reserved for pleasing men—not building movements, challenging systems, or changing culture. It's time to reclaim your greatest asset: your voice. Because the most dangerous thing a woman can do isn't simply express her erotic power…it's use her mouth to influence the world, command rooms, tell the truth, and get paid obscene amounts of money for it. Inside this episode you'll hear… Why history has always censored powerful women, from Mary Magdalene to the courtesans, and what that reveals about women's power today. The surprising reason your voice, especially when powered by erotic energy, is one of your greatest wealth-building and influence-building assets. How erotic power transforms your words into a force that attracts opportunities, clients, money, and cultural impact. Why women are conditioned to stay silent and compliant and how to break free from the good woman bondage that's been keeping you small, trapped, and underpaid. How to become the woman whose voice shapes conversations, challenges systems, and leaves a legacy long after she's gone. AKA the woman who knows how to work her mouth…and get paid for it. House of the Courtesan is where we go deeper into the history, psychology, politics, erotic intelligence, influence, wealth, and power of the women who learned to bend a world that was never designed for them. You'll study the scandalous arts of the courtesans and reclaim the codes they left behind to become an unforgettable woman in your own era. For a limited time, House of the Courtesan is 40% off, and you'll also receive The Erotic Inheritance as a bonus, where we unravel the inherited shame around sex, money, power, and leadership and replace it with a legacy that actually serves you. If you're craving personalized mentorship, applications are open for my year-long private experiences: Provocateur is for the woman with a bold, taboo, or culture-shifting message who is ready to become more visible, more influential, and more unapologetically herself. One woman. One year. Courtesan's Lineage is my highest-level experience for the woman who wants to master erotic leadership, wealth, influence, and legacy with intimate support by her side. VIP weekend in Chicago with wine bath at AIRE included. DM me on Instagram @theamberrenee to claim your spot in either or have a conversation about claiming your spot. And if you're just discovering my work, enter my world through one of my free experiences: Lead From Your Erotic Edge or The Woman Who Commands. If this provocative conversation made you think of a woman who has been censoring herself (or being censored online), send this episode to her. Because every time a woman uses her mouth in the way they fear most—to tell the truth, challenge the rules, lead, influence, and make obscene amounts of money—the world changes a little more. Let's get social, sexy: Instagram: https://www.instagram.com/theamberrenee/ TikTok: https://www.tiktok.com/@theamberrenee Threads: https://www.threads.net/@theamberrenee YouTube: https://www.youtube.com/@TheAmberRenee/ Facebook: https://www.facebook.com/share/16E3eSNDNM/?mibextid=wwXIfr Blog page for this episode: https://missamberrenee.com/use-your-mouth-in-the-way-they-fear-most-get-paid-for-it/
This is the story of one of the most extreme shock rockers in music history. On stage, Wendy O. Williams would smash TV sets with a sledgehammer, chainsaw electric guitars in half, and blow up Cadillacs. Her reputation for chaos, violence, and sexual provocation was so extreme that it led to a brutal assault by police officers in Milwaukee. But what happened to such a fearless, uncompromising artist that she would take her own life? Listen to hear this unbelievable and tragic story. To see the full list of contributors, see the show notes at www.disgracelandpod.com. To listen to Disgraceland ad free and get access to exclusive bonus content and more, become a Disgraceland All Access member at disgracelandpod.com/membership. Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - GET THE NEWSLETTER Follow Jake and DISGRACELAND: Instagram YouTube X (formerly Twitter) Facebook Fan GroupSee omnystudio.com/listener for privacy information.
durée : 00:03:20 - Géopolitique - par : Pierre Haski - Le ministre israélien des Affaires étrangères a désavoué son collègue de la Sécurité intérieure pour une vidéo humiliante qui a valu à Israël des condamnations internationales. Mais Itamar Ben Gvir se moque des critiques, il a un agenda extrémiste et la provocation fait partie de son mode d'action. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France
durée : 00:03:20 - InterNational - par : Pierre Haski - Le ministre israélien des Affaires étrangères a désavoué son collègue de la Sécurité intérieure pour une vidéo humiliante qui a valu à Israël des condamnations internationales. Mais Itamar Ben Gvir se moque des critiques, il a un agenda extrémiste et la provocation fait partie de son mode d'action. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France
The guys then deep dive into the massive internet fallout surrounding Chud the Builder, tracking his controversial public altercations in Nashville, his recent heavy legal trouble, and Nick Fuentes' sudden stance against public clout-chasing provocateurs. Stanley also shares a first-hand account of getting cornered by an aggressive IRL streamer right inside Grand Central Station.Plus: Security guard standoffs with trespassers on Epstein Island, analyzing a legendary 4chan thread about an underwater alien headquarters, King Charles' tracking initiatives, and the massive corporate rush for AGI data infrastructure. To wrap it all up, the guys consult Claude AI to design a highly questionable, completely unhinged new energy business plan to power the future surveillance state.Rise up in the comments: Are we heading toward an AI utopia, or are the 4chan ocean base theorists completely right?Air Date 5/14/26DON'T FORGET TO WATCH FAGA'S NEW SPECIAL "BURN AFTER SAYING" ON THE HSR YOUTUBE PAGE!https://www.youtube.com/watch?v=TxIHJU2LotUSupport Our Sponsors!Body Brain Coffee: https://bodybraincoffee.com/ - Grab A Bag of Body Brain Coffee with Promo Code HSR20 to get 20% off!YoKratom: https://yokratom.com/ 3rd Mic Harrington: https://3rdmicharrington.com/High Society Radio is 2 native New Yorkers who started from the bottom and didn't raise up much. That's not the point, if you enjoy a sideways view on technology, current events, or just an in depth analysis of action movies from 2006 this is the show for you.Chris Stanley is the on air producer for Bennington on Sirius XM.Chris Faga is a lifelong street urchin, a former head chef, county comitteman and supposed comedian. Twitter: https://twitter.com/ChrisFromBklynInstagram: https://www.instagram.com/chrisfrombklynEngineer: DomExecutive Producer: JorgeInstagram: https://www.instagram.com/themharrington/Twitter: https://twitter.com/TheMHarringtonSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Pascal Praud revient pendant deux heures, sans concession, sur tous les sujets qui font l'actualité. Vous voulez réagir ? Appelez le 01.80.20.39.21 (numéro non surtaxé) ou rendez-vous sur les réseaux sociaux d'Europe 1 pour livrer votre opinion et débattre sur les grandes thématiques développées dans l'émission du jour.Vous voulez réagir ? Appelez-le 01.80.20.39.21 (numéro non surtaxé) ou rendez-vous sur les réseaux sociaux d'Europe 1 pour livrer votre opinion et débattre sur grandes thématiques développées dans l'émission du jour.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
[REDIFFUSION] Bienvenue dans Les Fabuleux Destins ! Découvrez l'histoire d'un écrivain très controversé. Provocateur insultant pour une partie du monde musulman, libre-penseur et génie littéraire pour les pays occidentaux, il a suscité colère et émotions aux quatre coins du monde. L'un de ses romans, en particulier, a eu l'effet d'une bombe. Son nom : Salman Rushdie. Entre protection policière et fureur religieuse, découvrez son fabuleux destin. L'écrivain qu'on voulait assassiner Salman Rushdie naît en 1947 à Bombay, en Inde, dans une famille laïque relativement aisée. Bon élève à l'école, il part en Angleterre dès l'âge de 13 ans. Il étudie à la Rugby School, l'un des plus vieux et prestigieux établissements du pays, puis à King's College, rattaché à Cambridge. Très vite, le jeune homme se passionne pour la littérature. L'ourdou est sa langue maternelle, mais l'anglais a un vocabulaire si vaste, une musicalité si riche qu'il en tombe amoureux. Un podcast Bababam Originals Ecriture : Elie Olivennes Voix : Andréa Brusque Learn more about your ad choices. Visit megaphone.fm/adchoices
En 1479, Louis XI, pour punir Arras de sa révolte, la dépeuple et la rebaptise Franchise. Plongez dans l'histoire des grands personnages et des évènements marquants qui ont façonné notre monde ! Avec enthousiasme et talent, Franck Ferrand vous révèle les coulisses de l'histoire avec un grand H, entre mystères, secrets et épisodes méconnus : un cadeau pour les amoureux du passé, de la préhistoire à l'histoire contemporaine.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
The singer and songwriter Niia has spent much of her career confounding expectations. She's done smoky versions of old jazz standards as well as original songs that draw on dance music, hip hop and R&B, and live The self-dubbed "goth jazz princess" is something of a provocateur, with her sensual music "living in the tension between control and collapse". Niia and her band play some of the songs from her latest release, V, in-studio. Set list: 1. Pianos & Great Danes 2. fucking happy 3. Maria in Blue
Hunter Baker sits down with Douglas Wilson to explore his rise, his controversies, and the questions Christians cannot ignore
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