Podcasts about rubens

1632 ist das Jahr, in dem Rembrandt van Rijn nach Amsterdam zieht, seinen Namen zur Marke macht und in zwölf Monaten 32 Gemälde schafft. Die Sonderausstellung „Rembrandt 1632 – Entstehung einer Marke" im Schloss Wilhelmshöhe in Kassel nimmt genau dieses Schlüsseljahr in den Blick. Im Gespräch mit Kurator Dr. Justus Lange und Kunsthistorikerin Marina Heß von Hessen Kassel Heritage entfaltet sich ein Rembrandt, der zugleich Künstler, Stratege und Unternehmer war. Themen sind Werkstattpraxis, Zuschreibung, der Vergleich mit Rubens und die Frage, was Originalität bedeutet - damals wie heute. Eine Folge über Kunst, Markt und die langen Linien menschlicher Ambition.

Paciência e o Medo - Ap Rubens de Mattos Antônio 31/05/2026 by Ministrações CCP

Quando Estamos no Lugar Errado - Ap Rubens de Mattos Antônio 28/05/2026 by Ministrações CCP

De Saturno a la locura: ciencia en el Museo del Prado es la nueva obra de Álvaro Martínez Camarena, profesor de química y divulgador galardonado. El libro propone un enfoque profundo y sorprendente al centrarse específicamente en cuatro obras maestras del museo, entre las que se encuentran el Saturno devorando a un hijo de Rubens y la Extracción de la piedra de la locura del Bosco. A través de estas piezas, el autor no solo analiza la química de los pigmentos, sino que relata historias sobre los avances científicos y la medicina de cada época. Destaca, por ejemplo, cómo Rubens plasmó en sus lienzos las observaciones astronómicas que Galileo realizó en 1610 sobre los anillos de Saturno y la Vía Láctea. En palabras de Dani Torregrosa, autor del prólogo, la obra invita a descubrir cómo el arte ha intentado representar el dilema humano de comprender lo incomprensible.

The work of history's greatest composers resonates through the centuries, inspiring us with passionate expressions of music at its finest. And quite often, those symphonic masterpieces informed the work of great visual artists too. Numerous examples include Bach and Rubens, Mozart and Reynolds, Beethoven and Constable. But what inspired these maestros when they sat down to create these great works? For many, their work expressed the heart and voice of God, who they believed was the ultimate Creator. Join Horizon for MAESTROS, revealing God's beauty through music and art.

EM ESTADO DE CHOQUE - 31/05/2026 - PR. RUBENS MARTIMSeja muito bem-vindo!Neste Podcast você vai encontrar tempos preciosos de orações e pregações inspiradas pelo Espírito Santo de Deus, o único capaz de transformar os corações por inteiro, conduzindo para uma profunda intimidade com o Pai e equipando sua vida para falar do amor de Jesus a todos os povos.Que o fogo do Espírito Santo queime em seu coração em cada vídeo/aúdio, despertando sua vida para o chamado de Deus para estes últimos dias.Inscreva-se no canal e compartilhe para que mais pessoas sejam abençoadas pela pregação do evangelho do Reino de Jesus Cristo.Leia a bíblia!https://www.instagram.com/casa.comunidadecrista/https://www.instagram.com/rubens_martim/https://www.instagram.com/falaprapsico.julianamartins/

Madelene kollar på Enhanced Games och kommer fram till att doping trots allt inte är så bra, medan Oskar betygsätter Ruben Östlunds och Felix Herngrens filmbetygsdödare. Dessutom: filmkupp, fimpar och fräcka finansiärer.Podden görs av Magasinet Filters redaktion. Prenumerera på Filter här.Foto: Nadim Elazzeh

Francesco Parisi"Il Simbolismo in Italia"Origini e sviluppi di una nuova estetica 1883-1915Fondazione Magnani Rocca, Mamiano di Traversetolo (Parma)Fino al 28 giugno 2026www.magnanirocca.itBellezza, mistero, ossessione. Una delle più grandi mostre mai dedicate al Simbolismo italiano.Più di 150 opere — dipinti, sculture, incisioni — rivelano al grande pubblico la stagione più visionaria dell'arte italiana tra Otto e Novecento: un capitolo che si sviluppò in dialogo serrato con una tendenza internazionale che muoveva da varie declinazioni del preraffaellismo e da una cultura francese e mitteleuropea che aveva in Gustave Moreau e Arnold Böcklin alcuni dei suoi principali riferimenti. Eppure la via italiana al Simbolismo seppe elaborare una propria fisionomia, riconoscibile nella convergenza tra istanze spirituali e la costante riflessione sul mito e sul paesaggio capace di tenere insieme tradizione e modernità.La natura come organismo vivente, il mito come esperienza perturbante, la figura femminile come presenza ambivalente, il paesaggio come spazio dell'interiorità, il segno grafico come veicolo dell'invisibile: sono i nuclei tematici delle sette sezioni della mostra, concepite per restituire tutta la complessità e l'ampiezza dell'immaginario simbolista italiano.La mostra Il Simbolismo in Italia. Origini e sviluppi di una nuova estetica 1883-1915, curata da Francesco Parisi e Stefano Roffi, compie un'operazione critica necessaria: distingue gli artisti che elaborarono consapevolmente un lessico simbolista da quelli che aderirono occasionalmente a mode iconografiche. Ne emerge la ricostruzione filologica di un linguaggio autonomo, sviluppato in dialogo serrato con le ricerche europee ma dotato di caratteri propri.Tra gli artisti in mostra: Giovanni Segantini, Giuseppe Pellizza da Volpedo, Gaetano Previati, Arnold Böcklin, Edward Burne-Jones, Franz von Stuck, Max Klinger, Domenico Morelli, Giulio Aristide Sartorio, Galileo Chini, Luigi Russolo, Leonardo Bistolfi, Adolfo Wildt, Giulio Bargellini, Adolfo De Carolis, Francesco Paolo Michetti, Plinio Nomellini, Emilio Longoni, Ettore Tito, Carlo Fornara, Duilio Cambellotti, Felice Carena, Alberto Martini, Cesare Saccaggi, Libero Andreotti, Ettore Ximenes, Mario De Maria, Mariano Fortuny.Catalogo e apparato scientifico. Il catalogo della mostra, curato da Francesco Parisi e Stefano Roffi, pubblicato da Dario Cimorelli Editore, costituisce un importante strumento critico sul Simbolismo italiano. Saggi di Alessandro Botta, Niccolò D'Agati, Mario Finazzi, Eugenia Querci, Sergio Rebora, Alessandra Tiddia, oltre ai contributi dei curatori.La Fondazione Magnani-Rocca è una delle più importanti istituzioni artistiche d'Italia. La Villa dei Capolavori, sede della Fondazione a Mamiano di Traversetolo presso Parma, ospita la collezione d'arte di Luigi Magnani: opere di Tiziano, Dürer, Rubens, Goya, Canova, Monet, Renoir, Cézanne, Burri e la più significativa raccolta di lavori di Giorgio Morandi. Immersa nella campagna parmense, la Villa conserva il fascino della dimora di un grande collezionista, con arredi neoclassici e impero, circondata dal Parco Romantico con piante esotiche, alberi monumentali e i celebri pavoni bianchi e colorati, non a caso emblema del movimento simbolista.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Onze nationale kunstgeschiedenis is een schatkamer van LGBTQ-kunst. Soms als krachtig statement, vaak subtiel versluierd. Jonas Roelens en Thijs Dekeukeleire verzamelen in hun boek 'Kunst uit de kast' vijftig queer kunstwerken. Van een perfect gepositioneerde pijloker bij Rubens tot een queerbewuste koekoek bij Kasper Bosmans. Van een middeleeuwse Vernietiging van Sodom tot een collage van Sofie Muller als verknipte genderidentiteit.

Paciência na Ansiedade - Ap Rubens de Mattos Antônio 24/05/2026 by Ministrações CCP

Pressionados mas não Desanimados - Ap Rubens de Mattos Antônio 21/05/2026 by Ministrações CCP

The work of history's greatest composers resonates through the centuries, inspiring us with passionate expressions of music at its finest. And quite often, those symphonic masterpieces informed the work of great visual artists too. Numerous examples include Bach and Rubens, Mozart and Reynolds, Beethoven and Constable. But what inspired these maestros when they sat down to create these great works? For many, their work expressed the heart and voice of God, who they believed was the ultimate Creator. Join Horizon for MAESTROS, revealing God's beauty through music and art.

Les témoignages des militants de la flottille de Gaza font état de mauvais traitements, d'agressions sexuelles, et même de viols. C'est à lire notamment dans le Times of Israël : « Plusieurs personnes ont été hospitalisées pour des blessures, et au moins 15 ont signalé des agressions sexuelles, dont des viols », notamment « des pénétrations forcées avec une arme de poing ». Accusations que rejette l'État hébreu, précise le Times of Israël. De son côté, l'Orient-le Jour revient sur les images qui ont fait le tour du monde, montrant le ministre d'extrême droite Itamar Ben Gvir humilier certains des militants de la flottille de Gaza. Pour le journal francophone libanais, « le traitement dégradant infligé aux activistes internationaux rappelle des méthodes carcérales déshumanisantes, ancrées depuis des décennies dans le traitement réservé aux Palestiniens ». « Les images choquantes montrant des militants détenus et violentés par la police israélienne, diffusées par le ministre israélien de la Sécurité nationale, accuse l'Orient-le-Jour, n'ont hélas rien d'inédit. Ces corps agenouillés, têtes contre le sol, placés en file indienne avant d'être envoyés dans des centres de détention sans l'ombre d'un jugement… toutes ces images font partie du quotidien des Palestiniens de Cisjordanie et de Gaza depuis de longues années, avec une fréquence et une violence décuplées dans l'Israël post-7-Octobre ».  À lire aussiDe retour à Paris, les Français membres de la flottille pour Gaza décrivent les violences subies en Israël De Boston au Honduras Aux États-Unis, une nouvelle affaire d'expulsion pose question. C'est le Boston Globe qui nous raconte l'histoire d'Any Lucia Lopez Belloza, 20 ans, une étudiante « expulsée par erreur à l'automne dernier vers le Honduras », pays qu'elle a quitté avec sa mère à l'âge de huit ans, explique le quotidien américain. Or, la jeune fille « ignorait qu'un ordre d'expulsion avait été émis à son encontre lorsqu'elle avait 11 ans », il y a donc neuf ans. Et c'est cet ordre d'expulsion qui a été mis en application par l'ICE, la police de l'immigration, de sinistre réputation. Mais sur le plan juridique, les avocats d'Any Lucia Lopez Belloza espèrent soulever une anomalie, la jeune fille ayant été transférée, lors de son arrestation, de Boston à l'État du Texas, « sans lui permettre d'avertir qui que ce soit », « ni donner la possibilité à un avocat de déterminer où elle avait été conduite, ni par qui elle était détenue ». Ce qui pourrait changer la donne pour la jeune fille qui a fait appel de son expulsion. En attendant, elle vit chez ses grands-parents, au Honduras, et suit désormais ses études à Boston, à distance. À lire aussiExpulsés des États-Unis, des milliers de Honduriens démunis après la fin d'un programme d'aide au retour Respect pour les rondeurs Enfin, le Times s'intéresse aux progrès que la Joconde pourrait permettre dans la lutte contre la grossophobie, autrement dit, la stigmatisation et la discrimination des personnes perçues comme « grosses ». Le très sérieux quotidien britannique nous explique « pourquoi la Joconde peut nous apprendre l'art de respecter une silhouette plus ronde ». « De la Joconde [peinte par Léonard de Vinci au 16e siècle et considérée comme le tableau le plus célèbre du monde], aux nus féminins de Rubens, explique le journal, l'art regorge de chefs-d'œuvre représentant des femmes aux formes généreuses. » Or, une étude, poursuit le Times, « suggère que les médecins s'inspirent de ces représentations artistiques « positives » de l'obésité, pour se montrer moins critiques et plus empathiques envers leurs patients ». Cette même étude « laisse entendre qu'à l'avenir, les portraits pourraient être fortement influencés par les injonctions à la perte de poids, avec la mise en scène de silhouettes très amaigries, caractéristiques d'une perte de poids rapide et importante ». Ce qui n'est finalement guère plus souhaitable qu'un surpoids dangereux pour la santé. Mais pour le Times, l'idée est visiblement d'encourager le respect et la tolérance. À lire aussiCatherine Pégard: «La loi sur les restitutions des biens culturels est un point de départ»

A Promessa é que Venceremos - Ap Rubens de Mattos Antônio 14/05/2026 by Ministrações CCP

Paciência para a Sabedoria - Ap Rubens de Mattos Antônio 17/05/2026 by Ministrações CCP

1 op de 5 mannen tussen de 18 en 24 jaar kan zich een situatie inbeelden waarin een man een vrouw mag slaan. Dat blijkt uit een groot onderzoek in opdracht van VRT. Hoe ga je in gesprek met jongeren die er zulke gedachten op nahouden? In Limburg is er weerstand tegen een mogelijke kaviaarkwekerij. Waarom? En hoe wordt kaviaar eigenlijk gekweekt? En het Rubenshuis zal een zeldzame brief van Rubens tentoonstellen. Wat leert dat stukje papier ons over de Antwerpse meester?

The work of history's greatest composers resonates through the centuries, inspiring us with passionate expressions of music at its finest. And quite often, those symphonic masterpieces informed the work of great visual artists too. Numerous examples include Bach and Rubens, Mozart and Reynolds, Beethoven and Constable. But what inspired these maestros when they sat down to create these great works? For many, their work expressed the heart and voice of God, who they believed was the ultimate Creator. Join Horizon for MAESTROS, revealing God's beauty through music and art.

Disciplinas que Curam - Ap Rubens de Mattos Antônio 07/05/2026 by Ministrações CCP

O Caminho da Paciência - Ap Rubens de Mattos Antônio 10/05/2026 by Ministrações CCP

Nous sommes le 12 août 1838. Alexandre Dumas est en visite à Anvers. C'est là qu'il prend la pleine mesure de l'œuvre de Rubens et se découvre une proximité de tempérament avec le génie du baroque. Deux ans plus tard, exilé à Florence, l'écrivain se voit confier la rédaction des portraits de peintres pour la Galerie des Offices. Il se met donc à écrire, entre autre, sur le flamand et s'intéresse aux tableaux que celui-ci a réalisé d'après les commandes de Marie de Médicis, reine de France et de Navarre, épouse d'Henri IV. Chemin faisant, il s'intéresse à Louis XIII, fils d'Henri IV et de Marie de Médicis et mais aussi au Duc de Buckingham, un proche de Rubens… Et l'on peut lire, ainsi, en genèse, quelques éléments fondamentaux qui donneront, quelques années plus tard, l'un des monuments de la littérature mondiale : « Les trois mousquetaires ». Ce que Dumas doit à Rubens, c'est la leçon du jour … Sujets traités : Alexandre Dumas, Rubens, écrivain, Marie de Médicis, Henri IV, mousquetaire Avec nous : Jean-François Viot, maître en lettres romanes et en études théâtrales. Spécialiste d'Alexandre Dumas, père, auteur de « Gustave et Alexandre » ( adaptation pour le théâtre des Mémoires d'Alexandre Dumas) et du commentaire de l'ouvrage de Dumas « Rubens » sorti réédité par les éditions du CEP. Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

73 Meisterwerke aus dem Bohdan und Varvara Khanenko Nationalmuseum in Kyjiw sind erstmals in Deutschland zu sehen. Das 2022 eröffnete Christian Schad Museum in Aschaffenburg hat für die Alten Meister aus der Ukraine zwei Etagen geöffnet. Rubens, Bellotto, Jordaens, Bosch, Rembrandt, Canova: Was erzahlen diese Bilder heute? Und was bedeutet es, Kunst zu schützen und sie gleichzeitig sichtbar zu halten? Dr. Thomas Schauerte, Direktor der Museen der Stadt Aschaffenburg und Kurator der Ausstellung, spricht über das Khanenko Museum als Institution mit Biografie, über Bohdan und Varvara Khanenko als Sammlerpaar mit Vision – und darüber, warum diese Ausstellung eine klare Aussage über Europa macht.

Paciência - Ap Rubens de Mattos Antonio 03/05/2026 by Ministrações CCP

Livrando-nos dos Planos do Inimigo - Ap Rubens de Mattos Antonio 30/04/2026 by Ministrações CCP

Geo har fortrudt sin nuværende boligsituation, og Niarn har fået fixet kaffekværnen. Geo har fået den ultimative Alexandra Granoli talebesked, og Niarn har fået en pizza fra Pizza Azura. Geo har været ved at køre en renseri-ansat af vejen, og Niarn føler, at Ruben Sølberg ikke kender ham godt nok. Og så ringer drengene til deres ven Chili Klaus, da Niarn har brug for lidt råd og vejledning. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

The work of history's greatest composers resonates through the centuries, inspiring us with passionate expressions of music at its finest. And quite often, those symphonic masterpieces informed the work of great visual artists too. Numerous examples include Bach and Rubens, Mozart and Reynolds, Beethoven and Constable. But what inspired these maestros when they sat down to create these great works? For many, their work expressed the heart and voice of God, who they believed was the ultimate Creator. Join Horizon for MAESTROS, revealing God's beauty through music and art.

PARE DE ESPERAR AS ÁGUAS SE MOVEREM - 03/05/2026 - PR. RUBENS MARTIMSeja muito bem-vindo!Neste Podcast você vai encontrar tempos preciosos de orações e pregações inspiradas pelo Espírito Santo de Deus, o único capaz de transformar os corações por inteiro, conduzindo para uma profunda intimidade com o Pai e equipando sua vida para falar do amor de Jesus a todos os povos.Que o fogo do Espírito Santo queime em seu coração em cada vídeo/aúdio, despertando sua vida para o chamado de Deus para estes últimos dias.Inscreva-se no canal e compartilhe para que mais pessoas sejam abençoadas pela pregação do evangelho do Reino de Jesus Cristo.Leia a bíblia!https://www.instagram.com/casa.comunidadecrista/https://www.instagram.com/rubens_martim/https://www.instagram.com/falaprapsico.julianamartins/

«Strano, che la tua mano sappia infondere non solo bellezza, ma anche fuoco». Nelle parole del poeta inglese Edmund Waller si cela una caratteristica fondamentale dell'opera di Anton van Dyck: un artista che non si limitò a ritrarre l'aristocrazia, ma ne colse l'anima più inquieta.La biografia di Anton van Dyck è stata spesso raccontata in chiave aneddotica: il bambino prodigio di Anversa, l'allievo brillante di Rubens, il pittore di corte cosmopolita la cui eleganza divenne cifra di un'epoca. Questa narrazione ormai canonica tende a lasciare nell'ombra un'esistenza che riflette molte delle tensioni proprie del Seicento. Oggi una grande mostra ci consente di ribaltare la prospettiva per scoprire da vicino il percorso e l'evoluzione artistica di Van Dyck, testimone privilegiato della crisi del Seicento: “Van Dyck l'Europeo”, aperta a Genova, Palazzo Ducale fino al 19 luglio. Ospite: Anna Orlando, co-curatrice della mostra, storica dell'arte specialista in pittura genovese e fiamminga antica e profonda conoscitrice del patrimonio culturale e artistico ligure.Al centro dell'inserto della settimana c'è un'altra forte personalità artistica che ha saputo interpretare il proprio tempo: Kurt Schwitters, uno dei più importanti esponenti dell'avanguardia artistica internazionale del periodo tra le due guerre. Al microfono di Emanuela Burgazzoli il curatore Martin Waldmeier ci racconta la mostra “Schwitters. Oltre l'avanguardia”, allestita al Zentrum Paul Klee di Berna fino al 21 giugno 2026.Prima emissione: 19 aprile 2026

«Strano, che la tua mano sappia infondere non solo bellezza, ma anche fuoco». Nelle parole del poeta inglese Edmund Waller si cela una caratteristica fondamentale dell'opera di Anton van Dyck: un artista che non si limitò a ritrarre l'aristocrazia, ma ne colse l'anima più inquieta.La biografia di Anton van Dyck è stata spesso raccontata in chiave aneddotica: il bambino prodigio di Anversa, l'allievo brillante di Rubens, il pittore di corte cosmopolita la cui eleganza divenne cifra di un'epoca. Questa narrazione ormai canonica tende a lasciare nell'ombra un'esistenza che riflette molte delle tensioni proprie del Seicento. Oggi una grande mostra ci consente di ribaltare la prospettiva per scoprire da vicino il percorso e l'evoluzione artistica di Van Dyck, testimone privilegiato della crisi del Seicento: “Van Dyck l'Europeo”, aperta a Genova, Palazzo Ducale fino al 19 luglio. Ospite: Anna Orlando, co-curatrice della mostra, storica dell'arte specialista in pittura genovese e fiamminga antica e profonda conoscitrice del patrimonio culturale e artistico ligure.Al centro dell'inserto della settimana c'è un'altra forte personalità artistica che ha saputo interpretare il proprio tempo: Kurt Schwitters, uno dei più importanti esponenti dell'avanguardia artistica internazionale del periodo tra le due guerre. Al microfono di Emanuela Burgazzoli il curatore Martin Waldmeier ci racconta la mostra “Schwitters. Oltre l'avanguardia”, allestita al Zentrum Paul Klee di Berna fino al 21 giugno 2026.Prima emissione: 19 aprile 2026

Transformed by the Light of Christ The Gospel from Gospel of John emphasizes that true life comes through receiving the Body and Blood of Christ. Jesus teaches that whoever partakes in Him remains united with Him and gains eternal life. The Homily connects this teaching to the dramatic conversion of Saint Paul. Though Saul was actively persecuting Christians, Christ sought him out first . . . revealing that God takes the initiative in seeking us. Through this encounter, Saul is transformed, illustrating that encountering Christ brings about a “new creation.” Believers are Truly United with Jesus A key insight is that Christ identifies personally with His followers (“Why are you persecuting me?”), showing that believers are truly united with Him. This unity extends to how we treat others—what we do to others, we do to Christ. Finally, the Eucharist is presented as both nourishment and mission: receiving Christ in the Eucharist gives spiritual strength and eternal life, while also calling us to become Christ to others. We are urged not to take this gift for granted, but to allow it to transform our lives. Listen to this Meditation Media: Transformed by the Light of Christ ---------------------------------------------------------------- Art Work Conversion of Saint Paul: Flemish Artist and Painter: Peter Paul Rubens: 1610–1612 ---------------------------------------------------------------- Why this panting was selected: Rubens' painting emphasizes the overwhelming light and transformation that marks Paul's conversion . . . mirroring the Homily's theme of becoming a new creation in Christ.

Um Toque de Fé - Ap Rubens de Mattos Antonio 23/04/2026 by Ministrações CCP

Obedecer com Integridade - Ap Rubens de Mattos Antonio 26/04/2026 by Ministrações CCP

The work of history's greatest composers resonates through the centuries, inspiring us with passionate expressions of music at its finest. And quite often, those symphonic masterpieces informed the work of great visual artists too. Numerous examples include Bach and Rubens, Mozart and Reynolds, Beethoven and Constable. But what inspired these maestros when they sat down to create these great works? For many, their work expressed the heart and voice of God, who they believed was the ultimate Creator. Join Horizon for MAESTROS, revealing God's beauty through music and art.

UM ANO DE FIDELIDADE - 26/04/2026 - PR. RUBENS MARTIMSeja muito bem-vindo!Neste Podcast você vai encontrar tempos preciosos de orações e pregações inspiradas pelo Espírito Santo de Deus, o único capaz de transformar os corações por inteiro, conduzindo para uma profunda intimidade com o Pai e equipando sua vida para falar do amor de Jesus a todos os povos.Que o fogo do Espírito Santo queime em seu coração em cada vídeo/aúdio, despertando sua vida para o chamado de Deus para estes últimos dias.Inscreva-se no canal e compartilhe para que mais pessoas sejam abençoadas pela pregação do evangelho do Reino de Jesus Cristo.Leia a bíblia!https://www.instagram.com/casa.comunidadecrista/https://www.instagram.com/rubens_martim/https://www.instagram.com/falaprapsico.julianamartins/

The work of history's greatest composers resonates through the centuries, inspiring us with passionate expressions of music at its finest. And quite often, those symphonic masterpieces informed the work of great visual artists too. Numerous examples include Bach and Rubens, Mozart and Reynolds, Beethoven and Constable. But what inspired these maestros when they sat down to create these great works? For many, their work expressed the heart and voice of God, who they believed was the ultimate Creator. Join Horizon for MAESTROS, revealing God's beauty through music and art.

CINZAS OU GLÓRIA? - 19/04/2026 - PR. RUBENS MARTIMSeja muito bem-vindo!Neste Podcast você vai encontrar tempos preciosos de orações e pregações inspiradas pelo Espírito Santo de Deus, o único capaz de transformar os corações por inteiro, conduzindo para uma profunda intimidade com o Pai e equipando sua vida para falar do amor de Jesus a todos os povos.Que o fogo do Espírito Santo queime em seu coração em cada vídeo/aúdio, despertando sua vida para o chamado de Deus para estes últimos dias.Inscreva-se no canal e compartilhe para que mais pessoas sejam abençoadas pela pregação do evangelho do Reino de Jesus Cristo.Leia a bíblia!https://www.instagram.com/casa.comunidadecrista/https://www.instagram.com/rubens_martim/https://www.instagram.com/falaprapsico.julianamartins/

O Roda Viva desta segunda-feira (13) recebe o embaixador Rubens Barbosa. Com a vasta experiência de quem chefiou as embaixadas brasileiras em Washington e Londres, o embaixador traz uma leitura crítica sobre a crise nas instituições multilaterais e o impacto direto dos conflitos bélicos na estabilidade econômica e na soberania brasileira.O debate busca entender como o Brasil deve se posicionar diante de um mundo em transformação e quais são as saídas diplomáticas em um cenário de incertezas.O Roda Viva vai ao ar toda segunda, a partir das 22h, na TV Cultura, no site da emissora e no YouTube!#RodaViva #TVCultura #SomosCultura #Embaixador #Economia

The work of history's greatest composers resonates through the centuries, inspiring us with passionate expressions of music at its finest. And quite often, those symphonic masterpieces informed the work of great visual artists too. Numerous examples include Bach and Rubens, Mozart and Reynolds, Beethoven and Constable. But what inspired these maestros when they sat down to create these great works? For many, their work expressed the heart and voice of God, who they believed was the ultimate Creator. Join Horizon for MAESTROS, revealing God's beauty through music and art.

O SELO DA LIBERDADE REJEITADA - 12/04/2026 - PR. RUBENS MARTIMSeja muito bem-vindo!Neste Podcast você vai encontrar tempos preciosos de orações e pregações inspiradas pelo Espírito Santo de Deus, o único capaz de transformar os corações por inteiro, conduzindo para uma profunda intimidade com o Pai e equipando sua vida para falar do amor de Jesus a todos os povos.Que o fogo do Espírito Santo queime em seu coração em cada vídeo/aúdio, despertando sua vida para o chamado de Deus para estes últimos dias.Inscreva-se no canal e compartilhe para que mais pessoas sejam abençoadas pela pregação do evangelho do Reino de Jesus Cristo.Leia a bíblia!https://www.instagram.com/casa.comunidadecrista/https://www.instagram.com/rubens_martim/https://www.instagram.com/falaprapsico.julianamartins/

O ESCÂNDALO DA TUMBA VAZIA - 05/04/2026 - PR. RUBENS MARTIMSeja muito bem-vindo!Neste Podcast você vai encontrar tempos preciosos de orações e pregações inspiradas pelo Espírito Santo de Deus, o único capaz de transformar os corações por inteiro, conduzindo para uma profunda intimidade com o Pai e equipando sua vida para falar do amor de Jesus a todos os povos.Que o fogo do Espírito Santo queime em seu coração em cada vídeo/aúdio, despertando sua vida para o chamado de Deus para estes últimos dias.Inscreva-se no canal e compartilhe para que mais pessoas sejam abençoadas pela pregação do evangelho do Reino de Jesus Cristo.Leia a bíblia!https://www.instagram.com/casa.comunidadecrista/https://www.instagram.com/rubens_martim/https://www.instagram.com/falaprapsico.julianamartins/

Niarn har besøg af en vaskeægte stakit-entreprenør, og Geo har opklaret hvem der står for håndværkernes playliste. Niarn vil brevstemme resten af sit liv, og Geo synes Kasper Schmeichel skal fortsætte med at gå i sin fars fodspor. Og så er der opkald fra Effie og opkald til the one and only Ruben Sølberg. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

La reina Isabel de Farnesio se apodera de Arte compacto con la voz de Noelia García Pérez, directora del 'Prado en femenino' y catedrática de Historia del Arte en la Universidad de Murcia, donde dirige también el grupo de investigación Arte, Poder y GéneroElisabetta Farnese, como la llamaron al nacer, no solo fue reina consorte de España al casarse con Felipe V: fue una de las grandes mentes políticas del siglo XVIII y una mujer que entendía perfectamente el valor del arte, porque con muy buen criterio coleccionó obras de Velázquez, Ribera, Bartolomé Esteban Murillo (su favorito), Clara Peeters, David Teniers, Correggio, Rubens, Luca Giordano, Guido Reni, Guercino, Anton van Dyck, Pieter Brueghel el Joven, Parmigianino, o Watteau.En este episodio tercer episodio (yay) junto a Noelia García Pérez nos metemos en la cabeza de una mujer que no solo acumuló poder en la corte española del siglo XVIII, sino que también construyó una colección artística con criterio, intención y muchísimo ojo. Esto se puede comprobar si visitas la colección de escultura clásica del Museo del Prado y buscas todas las flores de lis que identifican las obras que pertenecieron a Isabel de Farnesio (y antes a Cristina de Suecia).Porque no hablamos de comprar por decorar, aunque el destino fuese el palacio de la Granja de San Ildefonso, en Segovia: hablamos de saber qué estaba comprando, por qué y para qué.Entre estrategias dinásticas, decisiones políticas y obras clave, descubrimos a una figura mucho más compleja de lo que suele contarse: una reina cultísima que utilizó el arte como herramienta de poder y estatus.

SÉRIE: BATALHAS DA ALMA - QUANDO TUDO SE CALA - 29/03/2026 - PR. RUBENS MARTIMSeja muito bem-vindo!Neste Podcast você vai encontrar tempos preciosos de orações e pregações inspiradas pelo Espírito Santo de Deus, o único capaz de transformar os corações por inteiro, conduzindo para uma profunda intimidade com o Pai e equipando sua vida para falar do amor de Jesus a todos os povos.Que o fogo do Espírito Santo queime em seu coração em cada vídeo/aúdio, despertando sua vida para o chamado de Deus para estes últimos dias.Inscreva-se no canal e compartilhe para que mais pessoas sejam abençoadas pela pregação do evangelho do Reino de Jesus Cristo.Leia a bíblia!https://www.instagram.com/casa.comunidadecrista/https://www.instagram.com/rubens_martim/https://www.instagram.com/falaprapsico.julianamartins/

Originally part of the residence of the Medici dynasty, the Palatine Gallery encompasses the entire second floor of the Pitti Palace in Florence, Italy. Its collection includes the largest concentration of paintings by Raphael in the world, as well as works by Titian, Artemisia Gentileschi, Andrea del Sarto, Caravaggio, and Rubens. The paintings in their lavish frames entirely cover the walls of the rooms. 

Dans ce 55eme épisode , les Tontons Golfeurs vous propose un nouveau format, une première pour vos tontons, car nous aurons la chance de faire une partie de l'épisode avec le Docteur Apard , chirurgien orthopédique spécialisé dans la main, puis nous partirons visiter le Centre Rubens à Versailles, pour découvrir la Photobiomodulation avec Maud.

From Seed to Sanctuary: Cultivating Garden-Centered Classrooms with Sara RubensWhat if your classroom didn't just have a garden… but was shaped by one?In this episode of the Outdoor Classrooms Podcast, Victoria sits down with Sara Rubens, author of A Love Letter for a Garden-Centered Life, to explore how gardens can become living, breathing learning environments for children.Together, they discuss:What it truly means to live — and teach — a garden-centered lifeHow gardens support inquiry, literacy, science, and social-emotional growthCreating rhythms and rituals that connect children to the landTurning any outdoor space into a sanctuary for learningSarah shares how tending a garden mirrors the work of educators: planting seeds, nurturing growth, trusting seasons, and believing in what is not yet visible.Whether you're building a school garden, reimagining your outdoor classroom, or simply longing to deepen children's connection to nature, this conversation will inspire you to see your teaching space differently.

Im back, we talk furries, neo-pronoun Alex Jones, pills that make you bust instantly and Rubens spot on Jeffery Epstein impersonation. Youtube: https://youtu.be/uW0Td0URnJk Ivy's twitch: https://www.twitch.tv/professorgetter Patreon: https://homie.gives/ https://xenotransmissions.substack.com/ Merch: https://www.redbubble.com/people/HomiesOnly/shop?asc=u Other stuff: https://linktr.ee/OccultnicHomie Discord: https://discord.gg/ua6FjftA5w

This week, we're joined again by Erin Herle! Erin is a certified mental performance consultant and a black belt under Rubens "Cobrinha" Charles. In this episode, Erin explains how to develop a sense of self-worth in Jiu-Jitsu. She discusses the problem of "performance-based self-worth" and why we should not base our identity around belts, wins, rankings, or comparisons with others.Follow Erin on Instagram:https://instagram.com/erinherleWork with Erin:https://www.erinherle.comMental models discussed in this episode:Keep Your Identity Smallhttps://bjjmentalmodels.com/keep-your-identity-smallContinuum of Motivationhttps://bjjmentalmodels.com/continuum-of-motivation ⬆️ LEVEL UP with BJJ Mental Models Premium!The world's LARGEST library of Jiu-Jitsu audio lessons, our complete podcast network, online coaching, and much more! Your first week is free:https://bjjmentalmodels.comNeed more BJJ Mental Models?Get the legendary BJJMM newsletter:https://bjjmentalmodels.com/newsletterLearn more mental models in our online database:https://bjjmentalmodels.com/databaseFollow us on social:https://instagram.com/bjjmentalmodelshttps://threads.com/@bjjmentalmodelshttps://bjjmentalmodels.bsky.socialhttps://youtube.com/@bjjmentalmodelsMusic by Enterprize:https://enterprize.bandcamp.com⚠️ NEW course from BJJ Mental Models!MINDSET FOR BETAS, our new Jiu-Jitsu audio course with Rob Biernacki, is now available on BJJ Mental Models Premium! For a limited time, get your first month FREE at:https://bjjmentalmodels.com/beta

Where Christ Is, There Is Our Home Where Christ Is, . . . Today's Homily on the Feast of the Epiphany explores the manifestation of Christ . . . . . . not only to Israel, but to all nations. Through the journey of the Magi, the Homily reveals God's universal plan of salvation and the deeply personal invitation each person receives to seek, meet, and honor Christ. The Magi's response to the star becomes a spiritual model: they step outside the ordinary, look up, and allow themselves to be guided by a light beyond themselves. Seeing the star is not enough . . . they move toward Christ, recognizing that His coming is for them. Their journey reflects the innate human longing for God, a desire placed in every heart that, when followed, leads closer to Christ. . . . There Is Our Home The gifts of gold, frankincense, and myrrh symbolize enduring spiritual virtues . . . charity, prayer, and self-denial . . . virtues acquired along the journey rather than possessed at the outset. In contrast, Herod and Jerusalem represent resistance to grace: agitation without movement, power without surrender. Ultimately, the Epiphany is not merely an ancient story but the ongoing rhythm of Christian life. Like the Magi, believers are drawn week after week to Christ's presence, where He not only receives their offerings but gives Himself in return, gathering not just some, but all, into His saving light. Listen to this Meditation Media. Listen to: Where Christ Is, There Is Our Home -------------------------------------------------------------------------------- Art Work The Adoration of the Magi: Flemish Artist and Painter: Peter Paul Rubens: 1609 -------------------------------------------------------------------------------- Why was this image selected: Rubens' dynamic composition draws all attention toward Christ at the center. Earthly power fades into the background, underscoring the homily's teaching that the true Jerusalem is not a place, but a Person . . . Jesus Christ. -------------------------------------------------------------------------------- Gospel Reading: Matthew 2: 1-12 First Reading: Isaiah 60:1-6 Second Reading: Ephesians 3:2-3, 5-6

Join host Manya Brachear Pashman for a powerful conversation about Red Alert, the Critics Choice Award-nominated Paramount+ docu-series that confronts the October 7 Hamas massacre with unflinching honesty. Producer Lawrence Bender (Pulp Fiction, Good Will Hunting) shares why this project couldn't wait—launched in real time to push back against denial, disinformation, and a world struggling to absorb the scale of the tragedy. Bender reflects on the courage and trauma of the ordinary Israelis whose stories anchor the series, including survivors like Batsheva Olami, whose resilience changed the production team forever. Hear how filming during an active war shaped the storytelling, the emotional toll on everyone involved, and why capturing these true accounts is essential to ensuring October 7 is neither minimized nor forgotten. Key Resources: AJC.org/Donate: Please consider supporting AJC's work with a year-end gift today. Right now, your gift will be matched, dollar-for-dollar, making double the impact. Every gift matters. Every dollar makes a difference in the fight for a strong and secure Jewish future. Listen – AJC Podcasts: Architects of Peace The Forgotten Exodus People of the Pod Follow People of the Pod on your favorite podcast app, and learn more at AJC.org/PeopleofthePod You can reach us at: peopleofthepod@ajc.org If you've appreciated this episode, please be sure to tell your friends, and rate and review us on Apple Podcasts or Spotify. Transcript of the Interview: [Clip from Red Alert] Manya Brachear Pashman:   Academy Award nominated film producer Lawrence Bender has quite a repertoire for both feature films and documentaries: Pulp Fiction, Inglorious Bastards, Good Will Hunting and Inconvenient Truth. In fact, his works have earned 36 Academy Award nominations.  His most recent TV miniseries is a more personal project on the second anniversary of the October 7 Hamas terror attacks on Israel, Paramount Plus began streaming a four episode series called red alert about the attack on festival goers, innocent passers by and families waking up to terrorists inside their Israeli homes that day, a tragedy that many of us, either on this podcast or listening have watched with overwhelming grief for the last two years. Lawrence is with us now to talk about how he grappled with this attack on Israel and the rise of antisemitism that followed.  Lawrence, welcome to People of the Pod. Lawrence Bender:   Thank you, Manya, it's good to be here.  Manya Brachear Pashman:   So that clip that we played at the top of this episode, it's one of the few clips in English. Most of the dialog in this show is in Hebrew with subtitles. But that scene is a woman, Bathsheba and her two daughters. They're walking across a field trying to return home, and her son has been taken. Her husband is gone. This series weaves together her story and three or four other ordinary civilians fighting for their lives on October 7, 2023. You know, as someone personally who's been immersed in this subject matter for two years, to be honest, I had to muster the energy to watch this, and I'm so glad that I did. But why are, I mean, as we're still waiting for the last hostage to be returned, why was it important for this show to air now? Lawrence Bender:   Well, thank you so much for doing this with me, and thank you for playing that clip. I have to tell you first, I love that clip. I love that scene because one of the things about the show and the stories that we portrayed is that even with the horrific things that happened on that day, people still were able to fight back. People were still able to be strong. A mother with her daughter and her infant stood in the face of a terrorist and stood him down in real life, this happened.  Now, not everybody was so fortunate, and her husband Ohad was not fortunate, and her son was taken hostage, as you mentioned, but it does show her personal power in this horrific situation. And I just thought, you know, this woman is a real hero. I've spent a lot of time with her, Batsheva Olami, she's really an extraordinary human in all ways. So thank you for playing that clip.  So in terms of the show, I felt on October 8, it's just amazing how quickly, before Israel did anything, the entire world quickly turned against the very people who were the victims and having spent subsequently, a lot of time with people on the set, because, as you mentioned, this show was about real people, and those real people spent a lot of time on the set with us. And the very people that were traumatized, felt isolated, they felt alone, and they're the very ones that need to be loved, that need to be hugged, they need to be supported. Anyway, I just felt like I needed to do something fast to try to show the world what really happened. AndRed Alert is the result of that. Manya Brachear Pashman:   Do you fear that the world has already moved on? Lawrence Bender:   Oh, that's a good question. It feels like we've passed a tipping point, actually, in terms of Jew hatred and anti-Israel and antisemitism. Even as we are now trying to have a peace process, right, that somehow we are stumbling forward, and if that's going to happen, people need to understand why we're here and why we're here happened on October 7. And if you watch the show, hopefully you're pulled into the show, and you have a, you know, you have an emotional journey, and then you understand, oh, this really happened. And you understand that's the truth. And only when you really understand the truth of October 7 do I really think that you can really get some sort of peace. Manya Brachear Pashman:   So is this different from other historical events? You know, a lot of movies and television shows commemorate historical events, like the Holocaust, for example, but they happen years later. They're made years later. I kind of call it the never forget genre. But is October 7 unique in that it's not a question of whether people will forget or move on. It's a question of whether they believe that this present is actually true. Lawrence Bender:   That's right, there's the deniers. There's people that just don't know. There's people that forgot, maybe you know, there are people who I know that I had to explain. Like, you know, it's interesting. As an example, when you see the show and you see all these Hamas terrorists invading the kibbutz, and Ohad says to her, his wife, Bathsheva, he whispers in her ear, I just saw about 20 terrorists, and someone said to me, who's not unintelligent, I didn't realize there are that many. I didn't realize that. And if you're not really paying attention, maybe you don't really know. And look, they're the haters, haters which are never going to change. But I think there's a large group of people that just don't really understand, and they're the ones that I feel we have a shot at showing this to and having a conversation with. Manya Brachear Pashman:   In fact, are you actually introducing or experimenting with a new genre of truth or facts in the face of fiction. Lawrence Bender:   I guess that's true. I mean, this just happened. And some people ask over this last, you know, when I released, and we were paramount, released the show. You know, I've been asked a question, is it too soon? And my answer is, I feel like it's not soon enough. And I felt like immediately I needed to work on something, and this is the result of that. For me, personally, there are many collaborators of people on this show that incredible Israeli partners, my American partners. I mean, there's a lot of amazing people that came together to work on this, to make this show, but we really felt like time was of the essence, because the world was shifting so quickly, we wanted this to get out there, to show the world what really happened. Manya Brachear Pashman:   One of the reasons I'm pressing you on this, this was not a fiction film. This was based in reality. You said you met Bathsheba, the actors prepared for their roles by meeting with the very real people who they were portraying in this show whose stories they were recreating. I'm curious what some of the takeaways were for you, for your colleagues, from your encounters with these victims, with these survivors, and did anything about the production ever change after they got involved? Lawrence Bender:   It was truly a life changing experience for myself, but really for everyone involved, of course, myself and my partner, Kevin Brown and Jordana Rubin, and we were basically the only non Israelis that were full time producing the show. And everyone else was a citizen of the country. Everyone else, you know, was affected dramatically, everything but from like our key grips brother ran the kibbutz Raim, where we filmed that area that was a kibbutz overrun by terrorists, right? His brother survived. So it was really like every single person at some point, you know, we call it triggered, but it really happened quite often where you have a scene and people just have to stop for a second and take a moment, whether it's an actor finishing a scene or a crew member, you know, partaking in the making of the scene. But lots of things happen. I'll tell you one story which was, you know, quite interesting. We're working at the Nova festival scene, and one of the actors, Moran, her niece, was on vacation in Greece, and her niece told her, if a red headed police woman shows up on the set, she's the one who saved my life. And indeed, her name was Bat, she showed up, and we said, we need you to meet somebody. And we FaceTimed Moran's niece with Bat, and the young lady she's like in her early 20s, said, You're the one who saved my life. You're the one I was hiding by your feet while you were firing. And we asked, Did you remember the people that you saved? And she said, I really only remember the people I didn't save. You really felt the pain that she is still at that point a year and a half later, this is. In April, May, suffering from what she went through. RPG hit nearby her. She went flying through the air. She had had half reconstructive surgery, on and on and on. It was obviously an extremely traumatic day for her to you know, a moment where there's a woman on the set whose daughter was murdered, and someone on my crew, actually, Mya Fisher, has said, you know, there's someone here I want to introduce you to. It's after lunch. And I spent some time with her, and I asked her, you know, like, how do you go? Fine, I can't, you know, I can't imagine losing my son in this way. It's just unimaginable. And I asked her, do you have a rabbi? What do you do to survive?  And it was a very difficult emotional exchange. And sometime later, she had sort of retold that encounter to somebody else on the set who came to me and said, you know that woman you're talking to. She told me what happened, you know this conversation? And she said, You know this Hollywood producer came all the way from California, she doesn't know me, from Adam, and sat down with me for an hour to hear my story, and it clearly meant a lot to her. And again, you realize that the very people who are traumatized directly are not getting the love, are so isolated and people are against them, and it made me feel even more determined to tell these stories for the world to understand.  Every day we had these type of difficult, emotional and to be honest, I was extremely honored every time I met someone. I spent every Saturday night at Hostage Square because we were making the show, I got to spend time backstage with all the families who had loved ones in the tunnels. There was a deep dive into this. Now, I have to tell you, on the other hand, the filming while a war is still going on is quite it's like things you don't have to think about normally, right? So, as an example, we were in a town and we're shooting a shootout. We're filming a shootout between the IDF actors and the Hamas actor. They're actors. I keep saying they're actors, right? Because they are actors. But the mayor and the chief of police in the town were extremely worried, because they look real, right? They look like real people. And unfortunately, the cemetery is littered with people who have been murdered and killed by the Hamas. And all the other men who are there, they have guns, they carry, and if something's happening, they're going to run towards the problem. So he's worried, what if someone walks by, or someone's up in a building. He looks down and they see an actor who looks like Hamas, they are going to shoot him. So we literally had speakers every 10 yards, like all up and down the street, and every like 15-20 minutes, saying, don't worry, in Hebrew, of course, this is a movie, everything's okay. We had a drone up in the air, never coming down, on a tether with a police officer. They're a full big screen watching case someone walks down the street.  We dressed up the Hamas actors as they're walking from the holding area to the area where they're filming, we put them in these kind of white hazmat-like suits so that they couldn't confuse them, and when they got done filming, we put them right back in these hazmat white suits and brought them back to the holding area. We all had to dress up, and we had to wear these very, very light blue shirts the entire crew, so nobody looked like anything but a crew member. It was something, right?  Manya Brachear Pashman:   I did not even think about that. I mean, I knew that you had filmed on location in Israel, and I knew you had filmed during the war. In fact, I was going to explain to listeners who don't know Red Alert is what Israelis call the sirens and the phone alerts when there are rockets being fired upon Israel and they have time to seek shelter. I was going to ask you if you had been there during a red alert and had to seek shelter, but I didn't even think about the possibility of people confusing the filming with actual war activity. I imagine you were there during a red alert, and did have to seek shelter, yes? Lawrence Bender:   so there's different types of alerts in the south. We did shoot in the guys called the Gaza envelope. We shot within less than a mile away from the Gaza border. So a scene that comes soon after the one that you showed. They're resting under a tree, and we are in the Gaza envelope. And this is a scene where they're running from the Hamas. They're running, they're bare feet, and they're out of breath, and they stop under this tree that's hot, and so forth. And you can hear, just a mile away, the war going on in Gaza. Hear the bombs and everything, and we weren't worried about we're going to be attacked, but it was eerie hearing a war go on, and we're filming a scene where they're running from that war, right?  So it was dramatic every week or so still at that point, the Hamas would lob a missile bomb into southern Israel and an alert would go off. You have 15 seconds to. Get into. So we had to bring these portable concrete safe rooms with us so that crew, at any given moment can run quickly into one of these concrete things. We couldn't always do it. So there's always this conversation, and by the way, it costs a lot of money, so everything you're always carrying these things. There's a lot of planning that went on. But I have to tell you, as an American showing up in Israel for the first time after October 7, I wasn't used to these alarms going off, so we were fortunate that while we were filming in the south, no missiles were lobbed at us. However, my first day there, I'm in a meeting on the eighth floor. It was a Friday morning. I got in there on a Thursday evening, 10 o'clock in the morning, the alarm goes up. I mean, just like that, right? And it's loud.  And you have these buzzers. Everyone's phone is buzzing, not like the Amber Alerts we have, like, really buzzing loud. And everyone stops and looks at me, and they apologize to me. They apologize and they go, Oh, we're really sorry, but it's an alert. We have to go into a safe room. Oh, don't worry, it's just from the Houthis. It takes eight minutes to get here. Now it's an intercontinental ballistic missile. These are real big missiles. They can really do bad damage. Don't worry, the Iron Dome usually gets them. It's really okay. So we go, you know, we go into and they pick up their danish and their coffee, and of course, I take out my cell phone and I'm videotaping. And then we go in there, and when it's off, we go back to the meeting. The meeting starts as if it never happened. And then they stop, and they go, Oh, how was that for you? And then I just didn't realize, what with the emotion that was going on because we're not used to having missiles shot at us. It's not normal. And I started to bubble up with emotion, and I had to, like, stop myself, I didn't want to cry in front of all these people that I barely knew. So I had to suppress my feelings. Like, don't worry, it's okay. You're having a normal reaction, right? And that happened quite often while I was there.  Now, you do get used to it. And the last night I was there, I was having dinner outside, tables outside, you know, in restaurants everywhere. So we're having a typical outside dinner, and they're handing the fish, and the alarm goes off, and we go, let's eat. And we don't go into the restaurant where they're called maamads. You don't go into the safe room. So that's kind of the quote, unquote normal life. Now you imagine here in the United States we get a missile from Mexico or Canada or wherever. No one's going to put up with that. That's just insane. It's insane what people in Israel have to go through. Manya Brachear Pashman:   it really is. But it's interesting that you've kind of adopted the nonchalance that your colleagues had at the very beginning of the trip, and wow, certainly no apologies. I want to know if there's a missile headed my way. Thank you. It does sound like October 7 changed you personally. And I'd like to know as a progressive Jew, on what level did it change you as a human being. I mean, how did it change you the most? Lawrence Bender:   I've been an active Jewish person for maybe 20, somewhere, 2025, years. I went to Israel My first time. I was ready. As far as I'm concerned. I was too old already to go for the first time. It was like 2003 I went with the Israeli policy forum, and we met with a lot of people there, and we ended up going to Ramallah, met with Abu Mazen, we went to Cairo and met with the president there, Barak, and met with a lot of people in Israel and so forth. And I've been involved one way or another for quite a while. But of course, October 7 was dramatic. Of course, I was safe in my house in Los Angeles, but I still watched in horror. And of course, October 8, it's just hard to understand what happened. It was the latent antisemitism, Jew hatred, that sits there. I still don't quite understand that.  It feels like antisemitism never went away, but it was underneath, and it just gave a good excuse to come out, and now the world is where it is. So yeah, for me, I became much more active than I was before. It became much more important to me, my Jewishness, my relationship to Israel. I want to protect Israel as much as I have that power to you know, whatever my ability is, like a lot of people, I know it's become a really important part of my existence, and it's like a new chapter in my life. I'm absolutely looking for more Jewish or Israeli projects. You know, I'm looking to do as much as possible in this area. Manya Brachear Pashman:   A number of your colleagues in Hollywood have proposed boycotting Israeli film festivals, institutions, projects, they're going the opposite direction that you are. And I'm curious if you had difficulty finding an American network to air this series, and what do you say when you confront colleagues who do want to boycott and are hostile toward Israel? Lawrence Bender:   You know, there's different groups of people. They're the true haters. I don't think that you can ever even have a conversation with them. There are people who just don't understand, and there's people you can and there are people who you know they're trying to be good people. They're trying to understand, like, What don't you understand about women being brutally raped and murdered? It's a little hard for me to understand that, actually. But there are a lot of good people who just are either confused or got too much of the wrong message.  But the one thing I would say straight up is, let's take an analogy. You know, there's very few people that I know that you see on TV, on any news show, that is very empathetic with the regime in Iran as an example, right? That means a brutal regime. If you're a liberal or if you're a conservative, there's very few people who support that regime here in this country, right? But they don't boycott their filmmakers, right? They actually give their filmmakers Academy Awards. So why is that with Israel? I feel like there's something very misguided here in Hollywood. Now, we got really lucky when it came to distribution. I just have to say, because we were supposed to go out to sell the show like it was fully financed from equity and from Keshet, who's the local Israeli. This is the biggest network in Israel, by the way. It's the biggest drama in Israel in the last decade. It really performed well there. But now we're going to go sell it here in the United States and the rest of the world, and it's early September, which is our deadline to do that, and Israel bombs Qatar, and then this boycott letter is signed. And I have to tell the investors. You know, it's like, this is not a good time. We cannot go sell. We're just gonna fail, and there's no second chances.  And you know, I was getting into dramatic arguments with my investors because they really felt strong. You got to be like that character in your show, the police officer is going to save his wife and you know, nothing's going to stop you. And I said, Yes, I'm with you. I developed that character I know in the Middle East arguments. I was at Skip Brittenham's memorial. Skip is like this beautiful man who was like the Mount Rushmore of lawyers here in LA. He's just a great human and one of those guys that wants to make deals, not just take everything and have the other guy get nothing. He was just like a he's just a real mensch, right? And well, loved anyway. Unfortunately, he passed, but I was at his memorial, and I ran into David Ellison. Now, I know David a little bit, not well, but I know him a little bit, and I also know that, you know, he loves Israel, from what I've read and so forth. And so I went up to him and said, Hey, man, we talked. I said, you got to know what I'm doing. And it probably got three words out of my mouth, and you can see him go, I'd love to see this. This sounds amazing, and sounds like it's exactly the timing we need.  And we sent him the material, and he watched every episode himself, and then he gave it to Cindy Holland, who runs paramount, plus his main person. And you know, they said, we do this. We want this. It would be an honor to be your partner in this is actually quite humbling. And it was an incredible moment for us to have David Ellison, Cindy Holland, say, hey. You know, we want this now. Then they said, We need to drop it. We want to drop all the episodes on October 7? Well, by the time they got those episodes, it was like two weeks to go before October 7, or a couple days before, because we couldn't give it to them in the midnight before October 7, obviously. And they had pretty much final picture edit, but we had temporary sound, temporary music, temporary effects, and so we had to work double triple shifts to get it done. But of course, we did. Manya Brachear Pashman:   This actually reminds me of a conversation I had with playwright, screenwriter, Oren softy for the Forgotten Exodus, which is a podcast series we did about Jews from the Middle East. He spoke about his father's side of the family, which hails from Aleppo, Syria, and he shared a lot of his frustrations with the modern anti Israel movement and sentiments in Hollywood, the protests which he's been trying to combat in theater and on the stage. And he actually said that investors had pulled out of a film project about Israel when tensions flared. So it's interesting to hear your investors took the opposite approach, but he told me in our conversations, he told me that being Jewish is about stepping up. That's how he sees it. It's about stepping up. And I'm curious if that rings true to you, and do you feel like this series and your plans to do more, is that your way of stepping up? Lawrence Bender:   Hmm, that's beautiful, and I'm so glad to hear you recount that story with him. I'd love to talk to him about that I feel like, without really understanding that it's built into me genetically, right? My grandparents, far as you go back, my family is Jewish, right? From Romania, from Hungary, from Minsk Belarus. So it's the way that you're brought up as a Jew. It's just always been a part of our lives, and we're pretty much taught that that's part of being Jewish, right? So, you know, I've always felt like it's important for me.  Now I tell you, you know, it's interesting, and I think about as we're talking so in the 90s, when I was getting started, and I was actually doing pretty well this one year, I had Good Will Hunting and Jackie Brown and a price above Rubens, those three movies, and things were going well, but I felt like something was missing in my life. And then we screened Good Will Hunting and Camp David in 1998 and it was an amazing moment. And that was like one of these light bulb moments for me. You know, I met the President and Mrs. Clinton and Madeleine Albright, Secretary of State, and Secretary of Defense, Sandy Berger and the Chief of Staff and Senate Majority Leader, and on and on, right? They're all there.    And it was Matt Damon, Ban Affleck, Gus Van Zant, Robin Williams, et cetera, et cetera, right? And I felt like these guys are making a difference, and that's what was missing in my life. And so since 1998 I've been always looking for ways that I'm and that's that's that becomes like a more of a fulfilling way of living right for myself. So yes, I would answer that. That's a long way to get to yes. Manya Brachear Pashman:   Wow, Camp David, that's awesome. Lawrence, thank you so much for joining us and for talking about the impetus behind this series. I encourage everyone to take some time, brace yourself emotionally, but do sit down and watch Red Alert. It is really quite worthwhile. Thank you so much. Lawrence Bender: Thank you. Manya Brachear Pashman:   If you missed last week's episode, be sure to tune in for my conversation with AJC colleague, Dr Alexandra Herzog, the granddaughter of Chaim Herzog, Israel's Irish born sixth president. She shared how an attempt by Dublin officials to strip her grandfather's name from a community park illustrates how criticism of Israel can veer into an effort to erase Jewish memory. As I mentioned in my conversation with Lawrence, it took some degree of wherewithal to watch Red Alert, as we've spent the last two years on this podcast speaking with the families of hostages, former hostages themselves, and survivors of the October 7 massacre. I've wanted nothing more than to make sure their voices are heard. We end this week's episode with the voice of Orna Neutra, the mother of Omer Neutra. Orna recently spoke at the AJC Long Island meeting, shortly after the return of her son's remains more than two years after his death, followed by a word from AJC Long Island Director Eric Post. Orna Neutra: When Omer was taken, our world collapsed. But something else happened too. People stood up. People showed up. And many of you here showed up. This community, the broader Long Island Jewish community, AJC, our friends, colleagues, neighbors, complete strangers, carried us. You wrote, you marched, you advocated, you pressured you called you consoled and refused to let the world look away. To our personal friends and honorees here tonight, Veronica, Laurie, and Michael, your leadership has not been symbolic. It has been practical, steady and deeply felt by our family.  Like you said, Veronica, on the first days when we were barely understanding what was going on, you connected us to Senator Schumer's office, and Michael, you helped us write a letter to the White House on October 8, and that was the first sign from hostage families that the White House received. We know that Secretary Blinken had the letter in his hands on October 8, indicating that Omer was probably a hostage.  And AJC as an organization, beyond your many actions and advocacy, I want to specifically acknowledge your DC team. It was mentioned here tonight, throughout our many, many, many visits to Capitol Hill, AJC professionals were instrumental. They arranged meetings, they walked us through endless hallways, opened doors, prepared us and stood beside us, and they're still doing that for us, and we will see them this week. Always professional, with purpose and humanity, and we will never forget that. Over these two years, we learned something essential: that when Jewish families are in danger, the responsibility belongs to all of us, across movements, across generations, across continents. This work is the work that AJC does every day. This is the work that everyone here in this room understands. Eric Post:  Since the horrors of October 7, AJC has been empowering leaders around the world to take action against antisemitism and stand with Israel. But we cannot succeed alone. Please consider supporting AJC's work with a year-end gift today. Right now, your gift will be matched, dollar-for-dollar, making double the impact.  Every gift matters. Every dollar makes a difference in the fight for a strong and secure Jewish future. Donate at AJC.org/donate – that's www - dot - AJC - dot org  slash donate.

Greg Jenner is joined in 16th-century Italy by historian Professor Jill Burke and comedian Tatty Macleod to learn all about Renaissance beauty standards and treatments.Early modern Italy is renowned for the gorgeous artworks created by painters like Titian, Rubens and Botticelli, many of them featuring beautiful women looking at themselves in mirrors or getting made up for a night out. In this episode, we take you through a Renaissance Get Ready With Me as we explore how these women would have been taking care of their hair and skin. We look at what hairstyles and makeup men and women wore, how often they bathed, whether or not they removed their body hair, and how they shaped their bodies through dieting and underwear. Along the way, we dive into the recipes for popular cosmetics and skincare treatments, ask where Renaissance beauty standards came from, and uncover the sexist, racist and classist ideas that often underpinned them. But we also explore how their beauty routines could be an avenue for women's self-expression, and show the importance of the history of beauty, even amidst the turbulent politics and warfare of the early modern period.This is a radio edit of the original podcast episode. For the full-length version, please look further back in the feed.Hosted by: Greg Jenner Research by: Emma Bentley Written by: Emmie Rose Price-Goodfellow, Emma Nagouse, and Greg Jenner Produced by: Emmie Rose Price-Goodfellow and Greg Jenner Audio Producer: Steve Hankey Production Coordinator: Gill Huggett Senior Producer: Emma Nagouse Executive Editor: Philip Sellars