Podcasts about regency

durée : 00:03:49 - Le Regard culturel - par : Zoé Sfez - Deux séries de romances adaptées occupent l'attention mondiale : "Bridgerton", héritière des codes du Regency novel ; et "Heated Rivalry", exploration contemporaine de l'homosexualité masculine dans le milieu du hockey. Entre corsets et vestiaires, c'est "Heated Rivalry", qui impose sa suprématie.

Author Julia Quinn published The Duke and I, the first novel in her eight-part Bridgerton series, in 2000. Twenty years later the adaption of her books would become a television phenomenon. Julia reflects on the place of class, race, and sex in her Regency romances and why getting a call from one of television's most successful producers was such a transformative moment for the genre that she loves.With the government proposing an overnight visitor levy or ‘tourism tax' in England, Nick talks to travel journalist Simon Calder and CEO of London's Southbank Centre, Elaine Bedell. They discuss the potential impact of the levy and whether some of the revenue should be ringfenced for arts and culture.There's a new Rembrandt in town. Art historian Bendor Grosvenor on the newly attributed painting that's about to go on show at the Rijksmuseum in Amsterdam.Beneath the Sheets: Anatomy, Art and Power is a new exhibition at the Thackray Museum of Medicine in Leeds. Curator Jack Gann discusses how attempts to understand the human body fused art and science.Presenter: Nick Ahad Producer: Ekene Akalawu

durée : 00:03:49 - Le Regard culturel - par : Zoé Sfez - Deux séries de romances adaptées occupent l'attention mondiale : "Bridgerton", héritière des codes du Regency novel ; et "Heated Rivalry", exploration contemporaine de l'homosexualité masculine dans le milieu du hockey. Entre corsets et vestiaires, c'est "Heated Rivalry", qui impose sa suprématie.

On this episode, we discuss our February 2026 book club pick, Behind Frenemy Lines by Zen Cho, a romantic comedy about two Asian lawyers in London who share an (kinda?) adversarial relationship who end up sharing an office and perhaps become something more as they find themselves in a pseudo fake relationship to help with each other's personal troubles. We read Zen Cho's Regency era fantasy romance Sorcerer to the Crown almost a decade ago and were very excited to see what a contemporary Zen Cho romance looks like.Books & Boba is a podcast dedicated to reading and featuring books by Asian and Asian American authorsSupport the Books & Boba Podcast by:Joining our Patreon to receive exclusive perksPurchasing books at our bookshopRocking our Books & Boba merchFollow our hosts:Reera Yoo (@reeraboo)Marvin Yueh (@marvinyueh)Follow us:InstagramTwitterGoodreadsFacebookThe Books & Boba May 2025 pick is Butter by Asako YuzukiThis podcast is part of Potluck: An Asian American Podcast CollectiveMentioned in this episode:Don't miss Chinese Republicans, a new play from Alex LinComing to the Roundabout Theatre Company this winter, Chinese Republicans is a biting new satirical drama from Alex Lin, directed by Chay Yew, following three high-powered businesswomen who meet for lunch every month to discuss their latest career triumphs, as they've done for decades. But the group is jolted when Katie, a bright-eyed 24-year-old new to the workforce, joins to navigate the world of corporate finance. As each of the women attempts to steer Katie towards what they're certain is best, they're forced to grapple with how much they already have and are willing to sacrifice to climb the corporate ladder. Tickets for Chinese Republicans on sale now!

This episode marks the Northern Miner Podcast's second day of coverage from the Prospectors & Developers Association of Canada (PDAC) conference in Toronto. Host Adrian Pocobelli sits down with U.S. Department of Energy CMEI Assistant Secretary Audrey Robertson to discuss how the United States is working to strengthen and secure its critical minerals supply chain. UK Deputy High Commissioner David Prodger also joins the program to outline the United Kingdom's strategy and perspective on resource security. In addition, show sponsors Gerald Panneton of Gold Terra Resource and Bruce Bragagnolo of Regency Silver share updates on their respective projects in Canada and Mexico. All this and more with host Adrian Pocobelli. “Rattlesnake Railroad”, “Big Western Sky”, “Western Adventure” and “Battle on the Western Frontier” by Brett Van Donsel (⁠www.incompetech.com⁠). Licensed under Creative Commons: By Attribution 4.0 License ⁠creativecommons.org/licenses/by/4.0⁠ Apple Podcasts:⁠ https://podcasts.apple.com/ca/podcast/the-northern-miner-podcast/id1099281201⁠ Spotify:⁠ https://open.spotify.com/show/78lyjMTRlRwZxQwz2fwQ4K⁠ YouTube:⁠ https://www.youtube.com/@NorthernMiner⁠ Soundcloud:⁠ https://soundcloud.com/northern-miner

Send a textWe can't interview them all, but I can for sure tell you the best books out there. Here is the latest release of books I don't want you to miss.Rebel of the Regency by Ann FosterUntil the Last Gun is Silent by Matthew Delmont The Science of Second Chances by Jennifer Doleac Heiresses by Miranda Kauffman Empire of Orgasm by Ellen Huet Support the show

As Bridgerton fans around the world binge on part two of its fourth season this week, the Regency era romance has continued to make a statement about diversity and inclusion. In a reimagining of Britain during the reign of King George III and Queen Charlotte, rank, title and wealth are not the sole purview of the white aristocracy. In fact the "ton", as the upper class is known, is racially diverse and inclusive. This season goes a step further with the introduction of a character called Hazel, a young maid with a disability. Hazel is played by 23-year-old Gracie McGonigal who has a congenital limb deficiency. Gracie talks to Mihingarangi about what this role means for the visibility of disabled actors plus she shares some behind the scenes stories from the set of Netflix' global hit.

Corsets are back - “shelf cleavage” is having a moment, and apparently, we're all meant to look like we've stepped out of Bridgerton or at least off the red carpet with Margot Robbie and Charli XCX.But before we start lacing ourselves into Regency-era scaffolding, one Columnist says she's sitting this trend out…Tanya Sweeney, Columnist with the Irish Independent, joins Seán to discuss.

Corsets are back - “shelf cleavage” is having a moment, and apparently, we're all meant to look like we've stepped out of Bridgerton or at least off the red carpet with Margot Robbie and Charli XCX.But before we start lacing ourselves into Regency-era scaffolding, one Columnist says she's sitting this trend out…Tanya Sweeney, Columnist with the Irish Independent, joins Seán to discuss.

This week's episode is a crossover we've been manifesting forever: Katy welcomes Ann Foster of the Vulgar History podcast for a messy, delightful deep dive into the Regency era—and one of its biggest villains: George IV. Ann brings the tea from her new book, Rebel of the Regency, as we unpack Regency vibes vs. reality, the absolute chaos of royal relationships, and why Caroline of Brunswick became such a lightning rod for public sympathy. If you love historical mess, flawed royals, and women who refuse to behave, this one's for you. Make sure you're subscribed to our Patreon for a giveaway of her book!

Pride and Prejudice by Jane Austen is a sharp, witty exploration of love, class, and social expectation in Regency-era England, centered on the spirited Elizabeth Bennet and the enigmatic Mr. Darcy. As misunderstandings and first impressions give way to self-awareness, the novel reveals how pride and prejudice can obscure, and ultimately illuminate, the path to happiness.Alexandra Potter always dreamed of becoming a writer. After graduating from the University of Liverpool with a degree in English Literature, she moved to London, where she worked for various magazines. A brief detour—sparked by redundancy—led her to travel to Sydney, where she secured a position at Vogue. It was during this time that a chance article about novelists under the age of thirty inspired her to finally take the leap and try her hand at writing a novel.Her latest book, So I Met This Guy, is out now, and she will be embarking on a book tour in both the US and the UK Tickets Here!Nothing pairs more with English sensibility than a cuppa tea, which Alex and I both enjoyed during our conversation across the pond!In This EpisodeBrontë ParsonageLizzy Bennett Diaries - web seriesMe and Mr. Darcy by Alexandra PotterChawton HousePride and Prejudice BBCPride and Prejudice (2005)Bridget Jones Diary by Helen Fielding

This post contains affiliate links, which means I may earn a small commission at no extra cost to you.Quick Note Before You Press Play: The audio quality on this episode isn't my usual standard (thank you for your grace

Hope you all sent your Victorian Valentines because we're back with a new season, and this week Kim and Alice review proposal-a-thon, Far from the Madding Crowd. It's every girl's dream (cucumbers and a piano) mixed with every girl's nightmare (swordplay cringe) and a great reason to talk about sheep baths.Sound Engineer: Keith NagleEditor: Keith NagleProducer: Helen HamiltonIf you enjoy this podcast, come with us on a romp through the Regency era with our sister podcast, Austen After Dark. Listen to all episodes now. Hosted on Acast. See acast.com/privacy for more information.

In this episode, we welcome Oscar-nominated writer/director Joachim Trier and Oscar-nominated editor Olivier Bugge Coutté, the longtime collaborators behind Sentimental Value. The film has earned nine Academy Award nominations, including recognition for both of their work. Trier and Coutté have also collaborated on films such as The Worst Person in the World, Reprise, Oslo, August 31st, Louder Than Bombs, and Thelma. In our chat, Joachim shares on developing the story and writing the screenplay, while both dive deep into their creative partnership. They also offer practical advice for emerging writers, directors, and editors navigating their own creative paths.The Making Of is presented by AJA:From cinema to proAV: gaining a competitive edge with streaming knowledgeThe worlds of cinema production and proAV are converging. Cinema-grade equipment is making its way into more stadiums, houses of worship, and concert venues. Because of this, professionals that understand the tools and disciplines powering both will stand out. Get ahead of the curve with the latest streaming insights and gear from AJA.‘The 2026 Oscar Nominated Short Films' Review: Major Themes, Minor LengthsThree critics briefly consider the short films nominated for the 98th Academy Awards.From dive-bar patrons to Regency paramours, cross-generational friendship to same-sex longing, and chilly science fiction to Middle Eastern politics, this year's live action category of Oscar nominated shorts is refreshingly varied.Read more hereNow with Massive 8TB Capacity—Thunderbolt 5 SpeedThe OWC Envoy Pro Ultra now comes in a new 8TB capacity, pairing enormous space with next‑generation Thunderbolt 5 performance. With real‑world speeds over 6000 MB/s and a rugged, bus‑powered design, it's perfect for 4K/8K workflows, on‑location shoots, and fast media offloads. High‑speed, high‑capacity, and ready for serious creative work.Browse hereShowcase Your Brand: Feature your products or services in this newsletter and reach 250K film, TV and broadcast industry pros each week. To learn more, please email mvalinsky@me.comZEISS Aatma – Contemporary Full Frame Primes with a Soulful Legacy LookZEISS introduces the new Aatma, set of nine high-end full frame T1.5 cinema primes (18mm, 25mm, 35mm, 40mm, 50mm, 65mm, 85mm, 100mm, and 135mm) designed to marry the benefits of modern optical design with the nostalgic image characteristics that are popular today. Drawing inspiration from some of the most beloved ZEISS lenses of the 20th century, Aatma combines an emotion-driven look with the mechanical reliability, data integration, and workflow compatibility that's expected for current production. Read more hereA New Solution from Atomos: The Atomos Shogun AV-19 Rack-Mounted 4K HDR Monitor/Recorder/Switcher is your all-in-one solution for professional live production, combining a stunning 19” 4K HDR DCI-P3 display with quad-channel switching, real-time ISO recording of up to four camera feeds plus program out, and support for 10-bit Apple ProRes, ProRes RAW, and Avid DNx recording to CFexpress or USB-C media. Perfect for studios, video village, and broadcast environments, it delivers the monitoring accuracy and workflow efficiency your production demands. The Atomos Shogun AV-19 is available for pre-order now for $2,099.00. Learn more at Videoguys.com or call our production experts at 800-323-2325 today!OWC Exclusive Listener Offer:Enjoy 10% off your next order as a thank-you for tuning in to The Making Of! Whether you're upgrading your workflow or adding pro-level gear, OWC has you covered. Use your exclusive listener link below and save on the tools that help bring your creative vision to life. Explore herePodcast Rewind:Feb. 2026 - Ep. 119. Get full access to The Making Of at themakingof.substack.com/subscribe

DAPHNE & SIMON FIND LOVE + LADY WHISTLEDOWN FINALLY REVEALED!! With the first part of Bridgerton Season 4 streaming on Netflix now, John & Greg continue Lady Whistledown's scandal sheet! Visit https://huel.com/rejects to get 15% off your order BRIDGERTON 1x6 Reaction Highlights:    • BRIDGERTON 1x6 REACTION – DID THEY CROSS A...   BRIDGERTON 1x5 Reaction Highlights:    • BRIDGERTON 1x5 REACTION – SIMON & DAPHNE M...   BRIDGERTON 1x4 Reaction Highlights:    • BRIDGERTON S1 EPISODE 4 REACTION – ONE KIS...   BRIDGERTON 1x3 Reaction Highlights:    • BRIDGERTON SEASON 1 EPISODES 1 & 2 REACTIO...   BRIDGERTON 1x1 & 1x2 Reaction:    • BRIDGERTON SEASON 1 EPISODES 1 & 2 REACTIO...   Gift Someone (Or Yourself) An RR Tee! https://shorturl.at/hekk2 Greg Alba & John Humphrey react to and review Bridgerton Season 1, Episodes 7 & 8 — the dramatic conclusion to Daphne and Simon's whirlwind romance in Netflix's global Regency-era hit created by Chris Van Dusen and produced by Shonda Rhimes. Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Elizabeth Bathory is currently in the Guinness Book of World Records as the most prolific female serial killer. But was she? Author Shelley Puhak's new book The Blood Countess: Murder, Betrayal, and the Making of a Monster interrogates how and why Elizabeth Bathory got such a killer reputation, and what may have really happened all those years ago in her castle. Buy a copy of The Blood Countess (affiliate link) — ⁠⁠Order a copy ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠of Ann's book, Rebel of the Regency!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠Info on Ann's upcoming live events!⁠ — Get 15% off all the gorgeous jewellery and accessories at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠common.era.com/vulgar⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠commonera.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and use code VULGAR at checkout — Get Vulgar History merch at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.com/store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (best for US shipping) and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.redbubble.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (better for international shipping) — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support Vulgar History on Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Vulgar History is an affiliate of Bookshop.org, which means that a small percentage of any books you click through and purchase will come back to Vulgar History as a commission. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Use this link to shop there and support Vulgar History.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Debut author R. K. Harrington reads from her Regency romance, KINDRED SCHEMES. We talk about what it is like to transition from reader to writer, why engineering is just as creative as writing novels, and why she loves to add mystery into her romance plots.    00:00 Welcome to the Historical Romance Sampler 00:33 Introducing RK Harrington and Kindred Schemes 01:36 Reading from Kindred Schemes 15:32 Discussing the Scene and Ballroom Dynamics 19:49 Exploring Writing Processes and Inspirations 26:48 Love It or Leave It: Romance Tropes 29:47 Where to Find RK Harrington and Her Books 30:52 Closing Remarks and Subscription Reminder   Find out more about R. K. Harrington at https://www.rkharrington.com/   HRS is an affiliate of Libro.fm! Sign up for a new monthly membership and get three audiobooks for the price of one with code HISTORICAL! (As an affiliate, HRS may earn a portion of your purchase, for which we thank you!) Check out the official HRS playlist at: https://tidd.ly/4hgCquh    Shop the official HRS bookshelves on Bookshop.org to support authors, independent bookstores, and this podcast! Check it out at https://www.bookshop.org/shop/katherinegrantromance   Follow HRS on Instagram (@historicalromancesampler)    Find out more about your host Katherine Grant: Instagram (@katherine_grant_romance) TikTok (@katherinegrantromance) Facebook (@Katherinegrantromanceauthor)  Goodreads (https://www.goodreads.com/author/show/19872840.Katherine_Grant) Bookbub (https://www.bookbub.com/authors/katherine-grant)

In this special trashy crossover episode, Vulgar History's Ann Foster joins Alicia to talk about her new book, Rebel of the Regency: The Scandalous Saga of Caroline of Brunswick, Britain's Queen Without a Crown. Caroline's life was pretty incredible and she should be remembered much more in history. This one has everything – a plucky heroine and a trashy king, marital misadventure, affairs, fashion, riots, scandal and everything else there is to love about the Regency Period. ⁠Learn more about Ann at her website! Want early, ad-free episodes, regular Dumpster Dives, bonus divorces, limited series, Zoom hangouts, and more? Join us at patreon.com/trashydivorces! Want a personalized message for someone in your life? Check us out on Cameo! To advertise on our podcast, please reach out to info@amplitudemediapartners.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Anne, Charlotte, and Emily Brontë were all accomplished novelists. Charlotte's famous work is Jane Eyre, and Emily's is Wuthering Heights. But how did three sisters all become popular authors at the same time? Could it have been the cemetery water they grew up drinking?? Jane Eyre superfan Lana Wood Johnson joins us to discuss the tuberculosis-laden lives of these Northern English authors (with Irish accents). — ⁠⁠Order a copy ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠of Ann's book, Rebel of the Regency!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Watch the Rebel of the Regency livestream on YouTube on February 13th! Info on Ann's upcoming live events! — Get 15% off all the gorgeous jewellery and accessories at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠common.era.com/vulgar⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠commonera.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and use code VULGAR at checkout — Get Vulgar History merch at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.com/store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (best for US shipping) and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.redbubble.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (better for international shipping) — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support Vulgar History on Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Vulgar History is an affiliate of Bookshop.org, which means that a small percentage of any books you click through and purchase will come back to Vulgar History as a commission. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Use this link to shop there and support Vulgar History.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

In this special trashy crossover episode, Vulgar History's Ann Foster joins Alicia to talk about her new book, Rebel of the Regency: The Scandalous Saga of Caroline of Brunswick, Britain's Queen Without a Crown. Caroline's life was pretty incredible and she should be remembered much more in history. This one has everything – a plucky heroine and a trashy king, marital misadventure, affairs, fashion, riots, scandal and everything else there is to love about the Regency Period. Learn more about Ann at her website! Listen ad-free at patreon.com/trashyroyalspodcast. To advertise on this podcast, reach out to info@amplitudemediapartners.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Lambda Literary Award finalist TJ Alexander returns to the podcast to read from their upcoming Regency romance, A LADY FOR ALL SEASONS! They talk about writing in Lord Byron as a supporting character, the role of poetry and gossip in the novel, and exploring themes of commercial art versus art for art's sake. Then they help me debut a brand new segment: Katherine's Quick Questions! 00:00 Introducing TJ Alexander  03:07 Reading from A LADY FOR ALL SEASONS 15:43 Interview: Lord Byron and Writing Process 29:09 Katherine's Quick Questions with TJ Alexander 33:48 Conclusion   Find out more about TJ Alexander at: https://tjalexander.com/   HRS is an affiliate of Libro.fm! Sign up for a new monthly membership and get three audiobooks for the price of one with code HISTORICAL! (As an affiliate, HRS may earn a portion of your purchase, for which we thank you!) Check out the official HRS playlist at: https://tidd.ly/4hgCquh    Shop the official HRS bookshelves on Bookshop.org to support authors, independent bookstores, and this podcast! Check it out at https://www.bookshop.org/shop/katherinegrantromance   Follow HRS on Instagram (@historicalromancesampler)    Find out more about your host Katherine Grant: Instagram (@katherine_grant_romance) Facebook (@Katherinegrantromanceauthor)  Goodreads (https://www.goodreads.com/author/show/19872840.Katherine_Grant) Bookbub (https://www.bookbub.com/authors/katherine-grant)

In this episode of the Fresh Fiction Podcast, historical romance authors Cathy Maxwell and Eliana Piers discuss the creation of the Busty Bodice Club—a collaborative Regency romance series celebrating body-positive heroines, creative freedom, and sisterhood. From writing one shared story chapter-by-chapter to publishing independently, this conversation explores how romance authors are reimagining the genre while delivering the escapist love stories readers crave.

Former Garda Assistant Commissioner Michael O'Sullivan speaks to Mick and Paul on the Shattered Lives podcast about the Regency Hotel shooting, ten years after the attack that reshaped organised crime in Ireland. In this exclusive interview, Mr O'Sullivan, who led the Drugs and Organised Crime Bureau at the time, defends Garda intelligence before the shooting and says that even the Kinahan cartel, who he claims had stronger criminal intelligence, did not anticipate the attack. He explains why gardaí were not actively surveilling either side and why officers cannot monitor individuals without a clear intelligence purpose. The former senior garda also addresses the attempted murder of Gerry Hutch in Lanzarote, the killing of Gary Hutch in Spain, and reports of an alleged attempt on Daniel Kinahan at the Red Cow Inn in late 2015. He also describes the chaos in the hours after the Regency shooting and the scale of the Garda response on the ground. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Detective Chief Superintendent Seamus Boland, Head of the Garda's Drugs and Organised Crime Bureau, speaks to Crime Correspondent, Paul Reynolds, about the intelligence failure ahead of the Regency Hotel attack ten years ago.

Ten years ago today, a gun attack at the Regency Hotel sent shockwaves through Ireland and marked a turning point in modern gangland history. In broad daylight, heavily armed men disguised as gardaí stormed a boxing weigh-in, killing David Byrne and triggering a violent feud that would leave Dublin gripped by fear for years to come. ­ Former senior garda Michael O'Sullivan looks back on the day that reshaped Irish organised crime, and its lasting consequences.See omnystudio.com/listener for privacy information.

Ten years ago today, gunmen opened fire on a crowded boxing weigh-in at Dublin's Regency Hotel. Among thoes outside the hotel that day were two journalists from The Sunday World, reporter Alan Sherry and photographer Ernie Leslie. Rachel spoke to Ernie Leslie about that day.

It is exactly 10 years ago today, when one of the most horrific gangland attacks took place in this country. The Regency Shooting marked a significant turning point in the Hutch-Kinahan feud. . Our reporter, Josh Crosbie has been examining the social impact the feud has on communities affected by gangland activity. And he joined Shane and Ciara to discuss

"I don't want you like a best friend." What happens when we view Taylor Swift's music through the lens of Regency era romance? In this week's Show & Tell episode, we explore Taylor Swift's songs through Shonda Rhimes's Netflix adaptation of Julia Quinn's “Bridgerton” novels to uncover how Taylor's songs capture the tension, longing, and swoony moments that define the series. From secret romances in crowded rooms to enemies-to-lovers slow burns, we connect three iconic Bridgerton couples to Taylor Swift songs that perfectly capture their love stories. Whether you're Team Daphne and Simon, obsessed with Kate and Anthony, or rooting for Colin and Penelope, this episode has something for every Bridgerton fan. Subscribe for free to get episode updates or upgrade to paid to get our After School premium content: aptaylorswift.substack.com/subscribe. After School subscribers get monthly bonus episodes, exclusive content, and early access to help shape future topics! Stay up to date at aptaylorswift.com  Mentioned in this episode: Bridgerton Series, Julia Quinn The Duke and I (Bridgerton #1), Julia Quinn The Viscount Who Loved Me (Bridgerton #2), Julia Quinn Romancing Mister Bridgerton (Bridgerton #4), Julia Quinn Bridgerton Netflix Series Queen Charlotte: A Bridgerton Story Marie Antoinette (2006), Sofia Coppola Romeo + Juliet (1996), Baz Luhrmann Moulin Rouge (2001), Baz Luhrmann Pride and Prejudice, Jane Austen E31: Shakespeare    Episode Highlights:  [00:26] Bridgerton Overview [13:05] “I Wish You Would,” 1989 [24:08] “Wildest Dreams,” 1989 [34:18] “Dress,” Reputation  Follow AP Taylor Swift podcast on social!  TikTok → tiktok.com/@APTaylorSwift Instagram → instagram.com/APTaylorSwift YouTube → youtube.com/@APTaylorSwift Link Tree →linktr.ee/aptaylorswift Bookshop.org → bookshop.org/shop/apts Libro.fm →  tinyurl.com/aptslibro Contact us at aptaylorswift@gmail.com  Affiliate Codes:  Krowned Krystals - krownedkrystals.com use code APTS at checkout for 10% off!  Libro.fm - Looking for an audiobook? Check out our Libro.fm playlist and use code APTS30 for 30% off books found here tinyurl.com/aptslibro   This podcast is neither related to nor endorsed by Taylor Swift, her companies, or record labels. All opinions are our own. Intro music produced by Scott Zadig aka Scotty Z.  

In this episode, USA Today bestselling author Sheila Roberts shares her journey from aspiring songwriter to successful novelist. She recounts her early adventures in Nashville and the unexpected turn that led her to writing. Sheila emphasizes that it's never too late to start a new career, encouraging listeners to pursue their passions regardless of age. She also discusses her experiences with book adaptations into movies, highlighting the joy of seeing her stories come to life on screen. Throughout the conversation, Sheila reflects on the challenges she faced in her writing career, including moments of burnout and career setbacks. She shares valuable insights on the importance of taking breaks, reinventing oneself, and the necessity of perseverance in the face of adversity. Sheila's advice for aspiring authors includes the significance of understanding the business side of writing, the value of critique groups, and the need for thorough editing to stand out in a crowded market. Her journey is a testament to resilience and the joy of storytelling, reminding writers to embrace their unique voices and keep pushing forward. Chapters 00:00 Introduction to Sheila Roberts 01:21 The Journey from Songwriting to Writing Novels 02:59 Facing Challenges in a Writing Career 04:51 Reinventing Yourself as a Writer 07:30 Learning from Career Stumbles 15:02 Advice for New Authors 19:19 The Importance of Quality in Writing 30:14 Finding Balance and Taking Breaks Author's Website: www.sheilasplace.com Social Media Links: https://www.facebook.com/people/Sheila-Roberts/100044180452595/ Author Bio: USA Today and Publisher's Weekly best-selling author and fan favorite, Sheila Roberts has almost fifty books to her credit. Under different names she's written Regency romance novels as well as devotionals and personal development books. She did lots of things before settling into her writing career, including owning a singing telegram company and playing in a band. Her band days are over, but she still enjoys writing songs. Her novel “On Strike for Christmas” was a Lifetime Network movie and her novel “The Nine Lives of Christmas” was made into a movie for the Hallmark channel. When she's not speaking to women's groups or hanging out with her husband or her girlfriends she can be found writing about those things near and dear to women's hearts: family, friends, and chocolate. Sheila divides her time between Washington State and California. Book Link: https://sheilasplace.com/the-man-next-door/ Love this episode? Rate it ⭐️ Thumbs Up

Dearest gentle listeners, today we welcome a true diamond of the podcasting world: Lady Brit Madrid‑Mogenson, esteemed friend of the pod and keen observer of society's most captivating dramas. Together, we don our Regencycore accessories and dive into Bridgerton Season 4, Part 1—every stolen glance, every ballroom betrayal, and every heart laid bare in the ton.We chat about:First reactions to the Season 4 Part 1 drop and whether the premiere felt slow or perfectly pacedThe upstairs–downstairs world‑building, masquerade ball, and why this season feels like a Cinderella storySophie as a ward, Lady Araminta's “evil stepmother” energy, and what being a ward meant in Regency‑era London“Learning to leisure,” influencer‑coded Bridgerton kids, and how GRWM for the ball would look todayOur hot takes, favorite moments, and bold predictions for Part 2So pour the tea, adjust your corset, and ready your fan—this affair is most worthy of your attention.

Report from Barry Lenihan

Tomorrow marks 10 years since the Regency Hotel shooting. Ciara and Shane were joined by Paul Williams, Author & Crime Journalist, to take us back to this seminal event in the history of organised crime in Ireland...

Last time, we discussed the first part of Georgiana's life. This time, we get into all the illegitimate children of it all, with bonus visits to Revolution-era Paris and also Earl Grey tea time. With special guest, royal commentator Amanda Matta (matta_of_fact on social media). ⁠Watch this episode as a video.⁠⁠ Support the fundraiser for Minnesota Georgiana, Anne Damer, and Elizabeth Lamb's witch portrait Shop at Teapothecary Tea — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Preorder info for Ann's upcoming book, Rebel of the Regency!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Get 15% off all the gorgeous jewellery and accessories at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠common.era.com/vulgar⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠commonera.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and use code VULGAR at checkout — Get Vulgar History merch at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.com/store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (best for US shipping) and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.redbubble.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (better for international shipping) — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support Vulgar History on Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Vulgar History is an affiliate of Bookshop.org, which means that a small percentage of any books you click through and purchase will come back to Vulgar History as a commission. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Use this link to shop there and support Vulgar History.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

A few months ago, Puerto Rican rapper Bad Bunny guest hosted an episode of “Saturday Night Live” where he appeared in a skit as a Spanish nobleman from the Middle Ages wearing an inky blue robe with gold threading on the collar and sleeves. The costume he wore didn’t come from the show’s wardrobe department. Instead, it was shipped overnight by the Oregon Shakespeare Festival Costume Rentals department in Talent.    As profiled in a recent article in Oregon ArtsWatch, for more than 20 years, OSF Costume Rentals has been making costumes and accessories that were created for its productions available to rent by local theater companies, academic institutions, film and photo shoots and TV shows like “SNL.” The vast digital inventory is searchable online and spans more than 30,000 costumes and accessories, from elaborate Elizabethan gowns and silky Regency dresses to velour smoking jackets and butterfly-collared shirts.    OSF Costume Rentals supervisor Celina Gigliello-Pretto and OSF Director of Productions Malia Argüello share how OSF is preserving its costumes and helping other productions reimagine their possibilities.  

How can indie authors raise their game through academic-style rigour? How might AI tools fit into a thoughtful research process without replacing the joy of discovery? Melissa Addey explores the intersection of scholarly discipline, creative writing, and the practical realities of building an author career. In the intro, mystery and thriller tropes [Wish I'd Known Then]; The differences between trad and indie in 2026 [Productive Indie Fiction Writer]; Five phases of an author business [Becca Syme]; Bones of the Deep – J.F. Penn; Today's show is sponsored by Bookfunnel, the essential tool for your author business. Whether it's delivering your reader magnet, sending out advanced copies of your book, handing out ebooks at a conference, or fulfilling your digital sales to readers, BookFunnel does it all. Check it out at bookfunnel.com/thecreativepenn This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Melissa Addey is an award-winning historical fiction author with a PhD in creative writing from the University of Surrey. She was the Leverhulme Trust Writer in Residence at the British Library, and now works as campaigns lead for the Alliance of Independent Authors. 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 Making the leap from a corporate career to full-time writing with a young family Why Melissa pursued a PhD in creative writing and how it fuelled her author business What indie authors can learn from academic rigour when researching historical fiction The problems with academic publishing—pricing, accessibility, and creative restrictions Organising research notes, avoiding accidental plagiarism, and knowing when to stop researching Using AI tools effectively as part of the research process without losing your unique voice You can find Melissa at MelissaAddey.com. Transcript of the interview with Melissa Addey JOANNA: Melissa Addey is an award-winning historical fiction author with a PhD in creative writing from the University of Surrey. She was the Leverhulme Trust Writer in Residence at the British Library, and now works as campaigns lead for the Alliance of Independent Authors. Welcome back to the show, Melissa. MELISSA: Hello. Thank you for having me. JOANNA: It's great to have you back. You were on almost a decade ago, in December 2016, talking about merchandising for authors. That is really a long time ago. So tell us a bit more about you and how you got into writing and self-publishing. MELISSA: I had a regular job in business and I was writing on the side. I did a couple of writing courses, and then I started trying to get published, and that took seven years of jumping through hoops. There didn't seem to be much progress. At some point, I very nearly had a small publisher, but we clashed over the cover because there was a really quite hideous suggestion that was not going to work. I think by that point I was really tired of jumping through hoops, really trying to play the game traditional publishing-wise. I just went, you know what? I've had enough now. I've done everything that was asked of me and it's still not working. I'll just go my own way. I think at the time that would've been 2015-ish. Suddenly, self-publishing was around more. I could see people and hear people talking about it, and I thought, okay, let's read everything there is to know about this. I had a little baby at the time and I would literally print off stuff during the day to read—probably loads of your stuff—and read it at two o'clock in the morning breastfeeding babies. Then I'd go, okay, I think I understand that bit now, I'll understand the next bit, and so on. So I got into self-publishing and I really, really enjoyed it. I've been doing it ever since. I'm now up to 20 books in the last 10 or 11 years. As you say, I did the creative writing PhD along the way, working with ALLi and doing workshops for others—mixing and matching lots of different things. I really enjoy it. JOANNA: You mentioned you had a job before in business. Are you full-time in all these roles that you're doing now, or do you still have that job? MELISSA: No, I'm full-time now. I only do writing-related things. I left that in 2015, so I took a jump. I was on maternity leave and I started applying for jobs to go back to, and I suddenly felt like, oh, I really don't want to. I want to do the writing. I thought, I've got about one year's worth of savings. I could try and do the jump. I remember saying to my husband, “Do you think it would be possible if I tried to do the jump? Would that be okay?” There was this very long pause while he thought about it. But the longer the pause went on, the more I was thinking, ooh, he didn't say no, that is out of the question, financially we can't do that. I thought, ooh, it's going to work. So I did the jump. JOANNA: That's great. I did something similar and took a massive pay cut and downsized and everything back in the day. Having a supportive partner is so important. The other thing I did—and I wonder if you did too—I said to Jonathan, my husband, if within a year this is not going in a positive direction, then I'll get another job. How long did you think you would leave it before you just gave up? And how did that go? Because that beginning is so difficult, especially with a new baby. MELISSA: I thought, well, I'm at home anyway, so I do have more time than if I was in a full-time job. The baby sleeps sometimes—if you're lucky—so there are little gaps where you could really get into it. I had a year of savings/maternity pay going on, so I thought I've got a year. And the funny thing that happened was within a few months, I went back to my husband and I was like, I don't understand. I said, all these doors are opening—they weren't massive, but they were doors opening. I said, but I've wanted to be a writer for a long time and none of these doors have opened before. He said, “Well, it's because you really committed. It's because you jumped. And when you jump, sometimes the universe is on board and goes, yes, all right then, and opens some doors for you.” It really felt like that. Even little things—like Writing Magazine gave me a little slot to do an online writer-in-residence thing. Just little doors opened that felt like you were getting a nod, like, yes, come on then, try. Then the PhD was part of that. I applied to do that and it came with a studentship, which meant I had three years of funding coming in. That was one of the biggest creative gifts that's ever been given to me—three years of knowing you've got enough money coming in that you can just try and make it work. By the time that finished, the royalties had taken over from the studentship. That was such a gift. JOANNA: A couple of things there. I've got to ask about that funding. You're saying it was a gift, but that money didn't just magically appear. You worked really hard to get that funding, I presume. MELISSA: I did, yes. You do have to do the work for it, just to be clear. My sister had done a PhD in an entirely different subject. She said, “You should do a PhD in creative writing.” I said, “That'd be ridiculous. Nobody is going to fund that. Who's going to fund that?” She said, “Oh, they might. Try.” So I tried, and the deadline was something stupid like two weeks away. I tried and I got shortlisted, but I didn't get it. I thought, ah, but I got shortlisted with only two weeks to try. I'll try again next year then. So then I tried again the next year and that's when I got it. It does take work. You have to put in quite a lot of effort to make your case. But it's a very joyful thing if you get one. JOANNA: So let's go to the bigger question: why do a PhD in creative writing? Let's be clear to everyone—you don't need even a bachelor's degree to be a successful author. Stephen King is a great example of someone who isn't particularly educated in terms of degrees. He talks about writing his first book while working at a laundry. You can be very successful with no formal education. So why did you want to do a PhD? What drew you to academic research? MELISSA: Absolutely. I would briefly say, I often meet people who feel they must do a qualification before they're allowed to write. I say, do it if you'd like to, but you don't have to. You could just practise the writing. I fully agree with that. It was a combination of things. I do actually like studying. I do actually enjoy the research—that's why I do historical research. I like that kind of work. So that's one element. Another element was the funding. I thought, if I get that funding, I've got three years to build up a back catalogue of books, to build up the writing. It will give me more time. So that was a very practical financial issue. Also, children. My children were very little. I had a three-year-old and a baby, and everybody went, “Are you insane? Doing a PhD with a three-year-old and a baby?” But the thing about three-year-olds and babies is they're quite intellectually boring. Emotionally, very engaging—on a number of levels, good, bad, whatever—but they're not very intellectually stimulating. You're at home all day with two small children who think that hide and seek is the highlight of intellectual difficulty because they've hidden behind the curtains and they're shuffling and giggling. I felt I needed something else. I needed something for me that would be interesting. I've always enjoyed passing on knowledge. I've always enjoyed teaching people, workshops, in whatever field I was in. I thought, if I want to do that for writing at some point, it will sound more important if I've done a PhD. Not that you need that to explain how to do writing to someone if you do a lot of writing. But there were all these different elements that came together. JOANNA: So to summarise: you enjoy the research, it's an intellectual challenge, you've got the funding, and there is something around authority. In terms of a PhD—and just for listeners, I'm doing a master's at the moment in death, religion, and culture. MELISSA: Your topic sounds fascinating. JOANNA: It is interesting because, same as you, I enjoy research. Both of us love research as part of our fiction process and our nonfiction. I'm also enjoying the intellectual challenge, and I've also considered this idea of authority in an age of AI when it is increasingly easy to generate books—let's just say it, it's easy to generate books. So I was like, well, how do I look at this in a more authoritative way? I wanted to talk to you because even just a few months back into it—and I haven't done an academic qualification for like two decades—it struck me that the academic rigour is so different. What lessons can indie authors learn from this kind of academic rigour? What do you think of in terms of the rigour and what can we learn? MELISSA: I think there are a number of things. First of all, really making sure that you are going to the quality sources for things—the original sources, the high-quality versions of things. Not secondhand, but going back to those primary sources. Not “somebody said that somebody said something.” Well, let's go back to the original. Have a look at that, because you get a lot from that. I think you immerse yourself more deeply. Someone can tell you, “This is how they spoke in the 1800s.” If you go and read something that was written in the 1800s, you get a better sense of that than just reading a dictionary of slang that's been collated for you by somebody else. So I think that immerses you more deeply. Really sticking with that till you've found interesting things that spark creativity in you. I've seen people say, “I used to do all the historical research. Nowadays I just fact-check. I write what I want to write and I fact-check.” I think, well, that's okay, but you won't find the weird little things. I tend to call it “the footnotes of history.” You won't find the weird little things that really make something come alive, that really make a time and a place come alive. I've got a scene in one of my Regency romances—which actually I think are less full of historical emphasis than some of my other work—where a man gives a woman a gift. It's supposed to be a romantic gift and maybe slightly sensual. He could have given her a fan and I could have fact-checked and gone, “Are there fans? Yes, there are fans. Do they have pretty romantic poems on them? Yes, they do. Okay, that'll do.” Actually, if you go round and do more research than that, you discover they had things like ribbons that held up your stockings, on which they wrote quite smutty things in embroidery. That's a much more sexy and interesting gift to give in that scene. But you don't find that unless you go doing a bit of research. If I just fact-check, I'm not going to find that because it would never have occurred to me to fact-check it in the first place. JOANNA: I totally agree with you. One of the wonderful things about research—and I also like going to places—is you might be somewhere and see something that gives you an idea you never, ever would have found in a book or any other way. I used to call it “the serendipity of the stacks” in the physical library. You go looking for a particular book and then you're in that part of the shelf and you find several other books that you never would have looked for. I think it's encouraging people, as you're saying, but I also think you have to love it. MELISSA: Yes. I think some people find it a bit of a grind, or they're frightened by it and they think, “Have I done enough?” JOANNA: Mm-hmm. MELISSA: I get asked that a lot when I talk about writing historical fiction. People go, “But when do I stop? How do I know it's enough? How do I know there wasn't another book that would have been the book? Everyone will go, ‘Oh, how did you not read such-and-such?'” I always say there are two ways of finding out when you can stop. One is when you get to the bibliographies, you look through and you go, “Yep, read that, read that, read that. Nah, I know that one's not really what I wanted.” You're familiar with those bibliographies in a way that at the beginning you're not. At the beginning, every single bibliography, you haven't read any of it. So that's quite a good way of knowing when to stop. The other way is: can you write ordinary, everyday life? I don't start writing a book till I can write everyday life in that historical era without notes. I will obviously have notes if I'm doing a wedding or a funeral or a really specific battle or something. Everyday life, I need to be able to just write that out of my own head. You need to be confident enough to do that. JOANNA: One of the other problems I've heard from academics—people who've really come out of academia and want to write something more pop, even if it's pop nonfiction or fiction—they're also really struggling. It is a different game, isn't it? For people who might be immersed in academia, how can they release themselves into doing something like self-publishing? Because there's still a lot of stigma within academia. MELISSA: You're going to get me on the academic publishing rant now. I think academic publishing is horrendous. Academics are very badly treated. I know quite a lot of academics and they have to do all the work. Nobody's helping them with indexing or anything like that. The publisher will say things like, “Well, could you just cut 10,000 words out of that?” Just because of size. Out of somebody's argument that they're making over a whole work. No consideration for that. The royalties are basically zilch. I've seen people's royalty statements come in, and the way they price the books is insane. They'll price a book at 70 pounds. I actually want that book for my research and I'm hesitating because I can't be buying all of them at that price. That's ridiculous. I've got people who are friends or family who bring out a book, and I'm like, well, I would gladly buy your book and read it. It's priced crazy. It's priced only for institutions. I think actually, if academia was written a little more clearly and open to the lay person—which if you are good at your work, you should be able to do—and priced a bit more in line with other books, that would maybe open up people to reading more academia. You wouldn't have to make it “pop” as you say. I quite like pop nonfiction. But I don't think there would have to be such a gulf between those two. I think you could make academic work more readable generally. I read someone's thesis recently and they'd made a point at the beginning of saying—I can't remember who it was—that so-and-so academic's point of view was that it should be readable and they should be writing accordingly. I thought, wow, I really admired her for doing that. Next time I'm doing something like that, I should be putting that at the front as well. But the fact that she had to explain that at the beginning… It wasn't like words of one syllable throughout the whole thing. I thought it was a very quality piece of writing, but it was perfectly readable to someone who didn't know about the topic. JOANNA: I might have to get that name from you because I've got an essay on the Philosophy of Death. And as you can imagine, there's a heck of a lot of big words. MELISSA: I know. I've done a PhD, but I still used to tense up a little bit thinking they're going to pounce on me. They're going to say that I didn't talk academic enough, I didn't sound fancy enough. That's not what it should be about, really. In a way, you are locking people out of knowledge, and given that most academics are paid for by public funds, that knowledge really ought to be a little more publicly accessible. JOANNA: I agree on the book price. I'm also buying books for my course that aren't in the library. Some of them might be 70 pounds for the ebook, let alone the print book. What that means is that I end up looking for secondhand books, when of course the money doesn't go to the author or the publisher. The other thing that happens is it encourages piracy. There are people who openly talk about using pirate sites for academic works because it's just too expensive. If I'm buying 20 books for my home library, I can't be spending that kind of money. Why is it so bad? Why is it not being reinvented, especially as we have done with indie authors for the wider genres? Has this at all moved into academia? MELISSA: I think within academia there's a fear because there's the peer reviews and it must be proven to be absolutely correct and agreed upon by everybody. I get that. You don't want some complete rubbish in there. I do think there's space to come up with a different system where you could say, “So-and-so is professor of whatever at such-and-such a university. I imagine what they have to say might be interesting and well-researched.” You could have some sort of kite mark. You could have something that then allows for self-publishing to take over a bit. I do just think their system is really, really poor. They get really reined in on what they're allowed to write about. Alison Baverstock, who is a professor now at Kingston University and does stuff about publishing and master's programmes, started writing about self-publishing because she thought it was really interesting. This was way back. JOANNA: I remember. I did one of those surveys. MELISSA: She got told in no uncertain terms, “Do not write about this. You will ruin your career.” She stuck with it. She was right to stick with it. But she was told by senior academics, “Do not write about self-publishing. You're just embarrassing yourself. It's just vanity press.” They weren't even being allowed to write about really quite interesting phenomena that were happening. Just from a historical point of view, that was a really interesting rise of self-publishing, and she was being told not to write about it. JOANNA: It's funny, that delay as well. I'm looking to maybe do my thesis on how AI is impacting death and the death industry. And yet it's such a fast-moving thing. MELISSA: Yes. JOANNA: Sometimes it can take a year, two years or more to get a paper through the process. MELISSA: Oh, yes. It moves really, really fast. Like you say, by the time it comes out, people are going, “Huh? That's really old.” And you'll be going, “No, it's literally two years.” But yes, very, very slow. JOANNA: Let's come back to how we can help other people who might not want to be doing academic-level stuff. One of the things I've found is organising notes, sources, references. How do you manage that? Any tips for people? They might not need to do footnotes for their historical novel, but they might want to organise their research. What are your thoughts? MELISSA: I used to do great big enormous box files and print vast quantities of stuff. Each box file would be labelled according to servant life, or food, or seasons, or whatever. I've tried various different things. I'm moving more and more now towards a combination of books on the shelf, which I do like, and papers and other materials that are stored on my computer. They'll be classified according to different parts of daily life, essentially. Because when you write historical fiction, you have to basically build the whole world again for that era. You have to have everything that happens in daily life, everything that happens on special events, all of those things. So I'll have it organised by those sorts of topics. I'll read it and go through it until I'm comfortable with daily life. Then special things—I'll have special notes on that that can talk me through how you run a funeral or a wedding or whatever, because that's quite complicated to just remember in your head. MELISSA: I always do historical notes at the end. They really matter to me. When I read historical fiction, I really like to read that from the author. I'll say, “Right, these things are true”—especially things that I think people will go, “She made that up. That is not true.” I'll go, “No, no, these are true.” These other things I've fudged a little, or I've moved the timeline a bit to make the story work better. I try to be fairly clear about what I did to make it into a story, but also what is accurate, because I want people to get excited about that timeline. Occasionally if there's been a book that was really important, I'll mention it in there because I don't want to have a proper bibliography, but I do want to highlight certain books. If you got excited by this novel, you could go off and read that book and it would take you into the nonfiction side of it. JOANNA: I'm similar with my author's notes. I've just done the author's note for Bones of the Deep, which has some merfolk in it, and I've got a book on Merpeople. It's awesome. It's just a brilliant book. I'm like, this has to go in. You could question whether that is really nonfiction or something else. But I think that's really important. Just to be more practical: when you're actually writing, what tools do you use? I use Scrivener and I keep all my research there. I'm using EndNote for academic stuff. MELISSA: I've always just stuck to Word. I did get Scrivener and played with it for a while, but I felt like I've already got a way of doing it, so I'll just carry on with that. So I mostly just do Word. I have a lot of notes, so I'll have notepads that have got my notes on specific things, and they'll have page numbers that go back to specific books in case I need to go and double-check that again. You mentioned citations, and that's fascinating to me. Do you know the story about Angle of Repose by Wallace Stegner? It won the Pulitzer. It's a novel, but he used 10% of that novel—and it's a fairly slim novel—10% of it is actually letters written by somebody else, written by a woman before his time. He includes those and works with them in the story. He mentioned her very briefly, like, “Oh, and thanks to the relatives of so-and-so.” Very brief. He got accused of plagiarism for using that much of it by another part of her family who hadn't agreed to it. I've always thought it's because he didn't give enough credence to her. He didn't give her enough importance. If he'd said, “This was the woman who wrote this stuff. It's fascinating. I loved it. I wanted to creatively respond and engage with it”—I think that wouldn't have happened at all. That's why I think it's quite important when there are really big, important elements that you're using to acknowledge those. JOANNA: That's part of the academic rigour too— You can barely have a few of your own thoughts without referring to somebody else's work and crediting them. What's so interesting to me in the research process is, okay, I think this, but in order to say it, I'm going to have to go find someone else who thought this first and wrote a paper on it. MELISSA: I think you would love a PhD. When you've done a master's, go and do a PhD as well. Because it was the first time in academia that I genuinely felt I was allowed my own thoughts and to invent stuff of my own. I could go, “Oh no, I've invented this theory and it's this.” I didn't have to constantly go, “As somebody else said, as somebody else said.” I was like, no, no. This is me. I said this thing. I wasn't allowed to in my master's, and I found it annoying. I remember thinking, but I'm trying to have original thoughts here. I'm trying to bring something new to it. In a PhD, you're allowed to do that because you're supposed to be contributing to knowledge. You're supposed to be bringing a new thing into the world. That was a glorious thing to finally be allowed to do. JOANNA: I must say I couldn't help myself with that. I've definitely put my own opinion. But a part of why I mention it is the academic rigour—it's actually quite good practice to see who else has had these thoughts before. Speed is one of the biggest issues in the indie author community. Some of the stuff you were talking about—finding original sources, going to primary sources, the top-quality stuff, finding the weird little things—all of that takes more time than, for example, just running a deep research report on Gemini or Claude or ChatGPT. You can do both. You can use that as a starting point, which I definitely do. But then the point is to go back and read the original stuff. On this timeframe— Why do you think research is worth doing? It's important for academic reasons, but personal growth as well. MELISSA: Yes, I think there's a joy to be had in the research. When I go and stand in a location, by that point I'm not measuring things and taking photos—I've done all of that online. I'm literally standing there feeling what it is to be there. What does it smell like? What does it feel like? Does it feel very enclosed or very open? Is it a peaceful place or a horrible place? That sensory research becomes very important. All of the book research before that should lead you into the sensory research, which is then also a joy to do. There's great pleasure in it. As you say, it slows things down. What I tend to say to people if they want to speed things up again is: write in a series. Because once you've done all of that research and you just write one book and then walk away, that's a lot. That really slows you down. If you then go, “Okay, well now I'm going to write four books, five books, six books, still in that place and time”—obviously each book will need a little more research, but it won't need that level of starting-from-scratch research. That can help in terms of speeding it back up again. Recently I wrote some Regency romances to see what that was like. I'd done all my basic research, and then I thought, right, now I want to write a historical novel which could have been Victorian or could have been Regency. It had an openness to it. I thought, well, I've just done all the research for Regency, so I'll stick with that era. Why go and do a whole other piece of research when I've only written three books in it so far? I'll just take that era and work with that. So there are places to make up the time again a bit. But I do think there's a joy in it as well. JOANNA: I just want to come back to the plagiarism thing. I discovered that you can plagiarise yourself in academia, which is quite interesting. For example, my books How to Write a Novel and How to Write Nonfiction—they're aimed at different audiences. They have lots of chapters that are different, but there's a chapter on dictation. I thought, why would I need to write the same chapter again? I'm just going to put the same chapter in. It's the same process. Then I only recently learned that you can plagiarise yourself. I did not credit myself for that original chapter. MELISSA: How dare you not credit yourself! JOANNA: But can you talk a bit about that? Where are the lines here? I'm never going to credit myself. I think that's frankly ridiculous. MELISSA: No, that's silly. I mean, it depends what you're doing. In your case, that completely makes sense. It would be really peculiar of you to sit down and write a whole new chapter desperately trying not to copy what you'd said in a chapter about exactly the same topic. That doesn't make any sense. JOANNA: I guess more in the wider sense. Earlier you mentioned you keep notes and you put page numbers by them. I think the point is with research, a lot of people worry about accidental plagiarism. You write a load of notes on a book and then it just goes into your brain. Perhaps you didn't quote people properly. It's definitely more of an issue in nonfiction. You have to keep really careful notes. Sometimes I'm copying out a quote and I'll just naturally maybe rewrite that quote because the way they've put it didn't make sense, or I use a contraction or something. It's just the care in note-taking and then citing people. MELISSA: Yes. When I talk to people about nonfiction, I always say, you're basically joining a conversation. I mean, you are in fiction as well, but not as obviously. I say, well, why don't you read the conversation first? Find out what the conversation is in your area at the moment, and then what is it that you're bringing that's different? The most likely reason for you to end up writing something similar to someone else is that you haven't understood what the conversation was, and you need to be bringing your own thing to it. Then even if you're talking about the same topic, you might talk about it in a different way, and that takes you away from plagiarism because you're bringing your own view to it and your own direction to it. JOANNA: It's an interesting one. I think it's just the care. Taking more care is what I would like people to do. So let's talk about AI because AI tools can be incredible. I do deep research reports with Gemini and Claude and ChatGPT as a sort of “give me an overview and tell me some good places to start.” The university I'm with has a very hard line, which is: AI can be used as part of a research process, but not for writing. What are your thoughts on AI usage and tools? How can people balance that? MELISSA: Well, I'm very much a newbie compared to you. I follow you—the only person that describes how to use it with any sense at all, step by step. I'm very new to it, but I'm going to go back to the olden days. Sometimes I say to people, when I'm talking about how I do historical research, I start with Wikipedia. They look horrified. I'm like, no. That's where you have to get the overview from. I want an overview of how you dress in ancient Rome. I need a quick snapshot of that. Then I can go off and figure out the details of that more accurately and with more detail. I think AI is probably extremely good for that—getting the big picture of something and going, okay, this is what the field's looking like at the moment. These are the areas I'm going to need to burrow down into. It's doing that work for you quickly so that you're then in a position to pick up from that point. It gets you off to a quicker start and perhaps points you in the direction of the right people to start with. I'm trying to write a PhD proposal at the moment because I'm an idiot and want to do a second one. With that, I really did think, actually, AI should write this. Because the original concept is mine. I know nothing about it—why would I know anything about it? I haven't started researching it. This is where AI should go, “Well, in this field, there are these people. They've done these things.” Then you could quickly check that nobody's covered your thing. It would actually speed up all of that bit, which I think would be perfectly reasonable because you don't know anything about it yet. You're not an expert. You have the original idea, and then after that, then you should go off and do your own research and the in-depth quality of it. I think for a lot of things that waste authors' time—if you're applying for a grant or a writer-in-residence or things like that—it's a lot of time wasting filling in long, boring forms. “Could you make an artist statement and a something and a blah?” You're like, yes, yes, I could spend all day at my desk doing that. There's a moment where you start thinking, could you not just allow the AI to do this or much of it? JOANNA: Yes. Or at least, in that case, I'd say one of the very useful things is doing deep searches. As you were mentioning earlier about getting the funding—if I was to consider a PhD, which the thought has crossed my mind—I would use AI tools to do searches for potential sources of funding and that kind of research. In fact, I found this course at Winchester because I asked ChatGPT. It knows a lot about me because I chat with it all the time. I was talking about hitting 50 and these are the things I'm really interested in and what courses might interest me. Then it found it for me. That was quite amazing in itself. I'd encourage people to consider using it for part of the research process. But then all the papers it cites or whatever—then you have to go download those, go read them, do that work yourself. MELISSA: Yes, because that's when you bring your viewpoint to something. You and I could read the exact same paper and choose very different parts of it to write about and think about, because we're coming at it from different points of view and different journeys that we're trying to explore. That's where you need the individual to come in. It wouldn't be good enough to just have a generic overview from AI that we both try and slot into our work, because we would want something different from it. JOANNA: I kind of laugh when people say, “Oh, I can tell when it's AI.” I'm like, you might be able to tell when it's AI writing if nobody has taken that personal spin, but that's not the way we use it. If you're using it that way, that's not how those of us who are independent thinkers are using it. We're strong enough in our thoughts that we're using it as a tool. You're a confident person—intellectually and creatively confident—but I feel like some people maybe don't have that. Some people are not strong enough to resist what an AI might suggest. Any thoughts on that? MELISSA: Yes. When I first tried using AI with very little guidance from anyone, it just felt easy but very wooden and not very related to me. Then I've done webinars with you, and that was really useful—to watch somebody actually live doing the batting back and forth. That became a lot more interesting because I really like bouncing ideas and messing around with things and brainstorming, essentially, but with somebody else involved that's batting stuff back to you. “What does that look like?” “No, I didn't mean that at all.” “How about what does this look like?” “Oh no, no, not like that.” “Oh yes, a bit like that, but a bit more like whatever.” I remember doing that and talking to someone about it, going, “Oh, that's really quite an interesting use of it.” And they said, “Why don't you use a person?” I said, “Well, because who am I going to call at 8:30 in the morning on a Thursday and go, ‘Look, I want to spend two hours batting back and forth ideas, but I don't want you to talk about your stuff at all. Just my stuff. And you have to only think about my stuff for two hours. And you have to be very well versed in my stuff as well. Could you just do that?'” Who's going to do that for you? JOANNA: I totally agree with you. Before Christmas, I was doing a paper. It was an art history thing. We had to pick a piece of art or writing and talk about Christian ideas of hell and how it emerged. I was writing this essay and going back and forth with Claude at the time. My husband came in and saw the fresco I was writing about. He said, “No one's going to talk to you about this. Nobody.” MELISSA: Yes, exactly. JOANNA: Nobody cares. MELISSA: Exactly. Nobody cares as much as you. And they're not prepared to do that at 8:30 on a Thursday morning. They've got other stuff to do. JOANNA: It's great to hear because I feel like we're now at the point where these tools are genuinely super useful for independent work. I hope that more people might try that. JOANNA: Okay, we're almost out of time. Where can people find you and your books online? Also, tell us a bit about the types of books you have. MELISSA: I mostly write historical fiction. As I say, I've wandered my way through history—I'm a travelling minstrel. I've done ancient Rome, medieval Morocco, 18th century China, and I'm into Regency England now. So that's a bit closer to home for once. I'm at MelissaAddey.com and you can go and have a bit of a browse and download a free novel if you want. Try me out. JOANNA: Brilliant. Well, thanks so much for your time, Melissa. MELISSA: That was great. Thank you. It was fun. The post Research Like An Academic, Write Like an Indie With Melissa Addey first appeared on The Creative Penn.

Ten years on from the Regency attack, Mick and Paul reflect on the day that shocked Ireland and changed the course of gangland violence. Learn more about your ad choices. Visit podcastchoices.com/adchoices

The US Justice Department releases millions more pages of files in its Epstein investigation. Victims of the late sex offender, Jeffrey Epstein, have promised to fight on, after they accused the US Department of Justice of protecting abusers. Also: Mexico's president warns that US tariffs on countries helping Cuba could trigger a humanitarian crisis. Claudia Sheinbaum's comments come after President Trump signed an executive order threatening additional tariffs on countries that sell oil to Cuba. Iran's foreign minister insists his country is ready to discuss its nuclear programme with the US. Anti-ICE protests take place across the US following fatal shootings in Minneapolis. We look back at the life of the Emmy-winning actress, comedian and screenwriter Catherine O'Hara who has died at the age of 71. And, Bridgerton season four is on our screens. The Regency era drama is number 1 on the streaming platform, Netflix.The Global News Podcast brings you the breaking news you need to hear, as it happens. Listen for the latest headlines and current affairs from around the world. Politics, economics, climate, business, technology, health – we cover it all with expert analysis and insight. Get the news that matters, delivered twice a day on weekdays and daily at weekends, plus special bonus episodes reacting to urgent breaking stories. Follow or subscribe now and never miss a moment. Get in touch: globalpodcast@bbc.co.uk

Mick and Paul answer more of your questions from the Regency shooting to being under threat in the job and what laws would they change. Learn more about your ad choices. Visit podcastchoices.com/adchoices

JONATHAN DUELS THE DUKE!! With the first part of Bridgerton Season 4 streaming on Netflix now, John & Greg continue Lady Whistledown's scandal sheet! Visit https://huel.com/rejects to get 15% off your order BRIDGERTON 1x3 Reaction Highlights:    • BRIDGERTON SEASON 1 EPISODES 1 & 2 REACTIO...   BRIDGERTON 1x1 & 1x2 Reaction:    • BRIDGERTON SEASON 1 EPISODES 1 & 2 REACTIO...   Gift Someone (Or Yourself) An RR Tee! https://shorturl.at/hekk2 Greg Alba & John Humphrey react to Season 1, Episode 4 of Netflix's Bridgerton, titled “An Affair of Honor,” a pivotal installment that pushes the Regency-era romance and scandal to new heights. The episode centers on escalating tensions, secret passions, and the looming consequences of reputation in high society. Phoebe Dynevor (Younger, Fair Play) shines as Daphne Bridgerton, whose carefully curated public image begins to fracture as her feelings for Simon Basset, Duke of Hastings deepen. Regé-Jean Page (For the People, Dungeons & Dragons: Honor Among Thieves) delivers one of his most intense performances of the season as Simon, whose unresolved trauma and fear of intimacy explode into a reckless duel that gives the episode its title and emotional backbone. The dramatic dueling sequence at dawn stands out as one of the show's most memorable early moments, blending romance, danger, and societal pressure. Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Dear gentle reader, Bridgerton has returned. We have your first look at season 4 of the much loved Netflix drama. With all the delicious Regency era language (we are petitioning for "rake" to be the word of 2026) and a hot new leading man (without mutton chops). Loosen your corsets, this is going to be steamy.Plus, Em recommends a horror movie?! Our resident scaredy cat loved this latest cinematic release starring Rachel McAdams and Dylan O'Brien. A little bit Survivor, a little bit slasher it might be the perfect first date movie.Need a refresher before watching Bridgerton Season 4? Listen to our all new Bridgerton podcast on Spotify and Apple. THE END BITS Read about all of this week's best new shows from Mamamia's entertainment team HERE Support independent women's media We’re giving away a Your Reformer Pilates bed (worth $3,400) Subscribe to enter Follow us on TikTok, Instagram and Facebook. And subscribe to our Youtube channel. Read all the latest entertainment news on Mamamia... here. Discover more Mamamia Podcasts here. Do you have feedback or a topic you want us to discuss on The Spill? Send us a voice message, or send us an email thespill@mamamia.com.au and we'll come back to you ASAP! CREDITS Hosts: Laura Brodnik and Em Vernem Executive Producer: Monisha Iswaran Audio Producer: Scott StronachBecome a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

I was inspired to interview Maya Jonas-Silver, because of this post she made on Bridge Winners bemoaning the lack of playing opportunities for her recent bridge initiates. After winning the 2023 20-50 Mini McKenney award Maya hasn't stopped. She has become a passionate advocate for bringing young adults into the game. Here she shares her journey from learning bridge at summer camp to becoming a bridge teacher and director at Honors Bridge Club in New York City. Her teaching philosophy, that bridge doesn't need to be intimidating or require years of study before you can actually play and enjoy the game, has helped me be more willing to introduce friends to the game using her framework. Maya believes in getting beginners to the table quickly, and no feedback! We discuss the barriers facing young bridge players, from finding affordable games to navigating the tournament scene without mentors. Maya reflects on the critical moments in her own bridge career, when someone like Yoko Sobel stepped in to encourage her and her husband Jack. She also shares her vision for growing the game, including making beginner classes more accessible, creating online teaching modules, and building a network of bridge mentors to help newcomers transition from lessons to competitive play. Plus, we touch on the joys and challenges of playing bridge with your spouse and balancing bridge with parenthood. _____________________________________________________________ Key Highlights:

Georgiana, Duchess of Devonshire is a key person connecting the French Revolution era to the Regency Era, because she was besties with Marie Antoinette, wore poufs, and then became besties with the Regent himself, George, Prince of Wales. We're joined by Vulgar History returning guest Amanda Matta (matta_of_fact on social media) to talk about the first part of Georgiana's wild life. Watch this episode as a video. Here is a picture of Georgiana in her famous "picture hat". — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Preorder info for Ann's upcoming book, Rebel of the Regency!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Get 15% off all the gorgeous jewellery and accessories at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠common.era.com/vulgar⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠commonera.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and use code VULGAR at checkout — Get Vulgar History merch at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.com/store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (best for US shipping) and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.redbubble.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (better for international shipping) — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support Vulgar History on Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Vulgar History is an affiliate of Bookshop.org, which means that a small percentage of any books you click through and purchase will come back to Vulgar History as a commission. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Use this link to shop there and support Vulgar History.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Linktree: ⁠https://linktr.ee/Analytic⁠Join The Normandy For Additional Bonus Audio And Visual Content For All Things Nme+! Join Here: ⁠https://ow.ly/msoH50WCu0K⁠The Bridgerton Season 4 Official Trailer has dropped on Netflix, teasing the highly anticipated next chapter in the Regency-era romance saga. This season centers on Benedict Bridgerton and the enchanting Sophie Baek, as their Cinderella-inspired love story unfolds amid masked balls, hidden identities, and undeniable chemistry. With Part 1 premiering January 29, 2026, and Part 2 following on February 26, the trailer promises scandal, passion, and fairy-tale magic in the ton.Join Analytic Dreamz on Notorious Mass Effect for an in-depth segment breaking down every detail from the Bridgerton Season 4 official trailer. From Benedict's journey to the new cast dynamics and what fans can expect from this fresh romance arc, this episode delivers thoughtful analysis for Bridgerton enthusiasts and newcomers alike.Dive into the drama, romance, and Regency elegance—listen now to stay ahead of the Netflix premiere. Bridgerton Season 4 | Official Trailer reaction and breakdown only on Notorious Mass Effect with Analytic Dreamz.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsPrivacy & Opt-Out: https://redcircle.com/privacy

In the Regency Era, reputation was all many working-class women had. When Edinburgh schoolteachers Marianne Woods and Jane Pirie were accused of sapphic behaviour by their student Jane Cumming, they lost everything. So they decided to sue their accuser's wealthy grandmother for libel. The legal case, Pirie and Woods vs Cumming Gordon, only fanned the flames of the scandal. This week, our guest Indigo Dunphy-Smith walks us through the racism, classism, and homophobia that turned these rumours into a well-known scandal. Learn more about Indigo's work at A Queer Was Here — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Preorder info for Ann's upcoming book, Rebel of the Regency!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Get 15% off all the gorgeous jewellery and accessories at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠common.era.com/vulgar⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠commonera.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and use code VULGAR at checkout — Get Vulgar History merch at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.com/store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (best for US shipping) and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.redbubble.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (better for international shipping) — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support Vulgar History on Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Vulgar History is an affiliate of Bookshop.org, which means that a small percentage of any books you click through and purchase will come back to Vulgar History as a commission. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Use this link to shop there and support Vulgar History.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

TOP 30 COUNTDOWN BEST OF SERIES 2025

What do #MeToo and Jane Austen have in common? More than you might think. Ever since the novel was invented, women have used it as a platform for sharing ideas about sexual consent. Dr Zoë McGee reveals how Jane Austen, Frances Burney and their now-overlooked contemporaries used their stories to try to change society's mind about rape culture - and to reassure survivors they were not alone. Courting Disaster: Reading Between the Lines of the Regency Novel (Manchester UP, 2025) takes a timely deep-dive into a series of classic novels, comparing them with both historic court records and current events to show that our arguments about consent are not a new phenomenon. With the wit and wryness of a courtship novel, McGee reads between the lines to unveil a quiet feminist movement that still resonates today. Because every novel about marriage is also a novel about consent. In an era that's clamouring for a return to the values of the past, Courting Disaster asks what that would really mean, and whether anyone actually liked it back then anyway. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. 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

It's our Regency Era, which means we had to get Vanessa Riley (current Queen of Regency era fiction) on the podcast. This week we're revisiting out conversation from 2023 about her novel Queen of Exiles, about the life of Haiti's Queen Marie-Louise Christophe. It's interesting to revisit this now, after discussing the Haitian Revolution last series, and seeing Marie-Louise in the context of the Regency Era in England. Plus: bonus! Vanessa joined me again to record a new segment where we honour Marie-Louise with a score on the Scandiliciousness Scale! Learn more about Queen of Exiles on Vanessa's website Buy a copy of Queen of Exiles (affiliate link) Learn more about your ad choices. Visit megaphone.fm/adchoices

The real Pirates of the Caribbean were Black, and women! And Jacquotte Delahaye was the most famous of them all. Author Vanessa Riley's new novel, Fire Sword and Sea, is a sweeping, immersive saga based on the life of the legendary seventeenth-century pirate Jacquotte Delehaye. Vanessa joins us on the podcast to talk all about this lesser-known figure, and how she managed to research this story! Learn more about Vanessa Riley and Fire Sword and Sea. Buy Fire Sword and Sea (affiliate link) — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Preorder info for Ann's upcoming book, Rebel of the Regency!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Get 15% off all the gorgeous jewellery and accessories at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠common.era.com/vulgar⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠commonera.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and use code VULGAR at checkout — Get Vulgar History merch at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.com/store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (best for US shipping) and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.redbubble.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (better for international shipping) — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support Vulgar History on Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Vulgar History is an affiliate of Bookshop.org, which means that a small percentage of any books you click through and purchase will come back to Vulgar History as a commission. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Use this link to shop there and support Vulgar History.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

What does Austen's later writing tell us about her changing ideas? And what factors contributed to her death? In this fourth and final episode of our series chronicling the novelist's life and work, Dr Lizzie Rogers charts the last part of Austen's story, and her enormous continuing influence. ––––– GO BEYOND THE PODCAST Want to go further into the world of Jane Austen and her literary creations? HistoryExtra's Lauren Good rounds up some essential reading, listening and viewing from the HistoryExtra and BBC History Magazine archive to deepen your understanding of Austen's life, her work and the Regency era in which she wrote: https://bit.ly/49F9oUk Learn more about your ad choices. Visit podcastchoices.com/adchoices

It was at Chawton House, a cottage in rural Hampshire, that Jane Austen experienced one of the most fruitful episodes of her writing career. In this third instalment of our four-part series charting the novelist's life and work, Dr Lizzie Rogers tells Lauren Good about this creative flourishing, and explores the popular works that Austen published during the period. ––––– GO BEYOND THE PODCAST Want to go further into the world of Jane Austen and her literary creations? HistoryExtra's Lauren Good rounds up some essential reading, listening and viewing from the HistoryExtra and BBC History Magazine archive to deepen your understanding of Austen's life, her work and the Regency era in which she wrote: https://bit.ly/49F9oUk Learn more about your ad choices. Visit podcastchoices.com/adchoices