Podcasts about Britain

Good Sunday to you, In the last of this series of interviews recorded at ARC, I sit down with retired (for now) businessman Toby Baxendale to discuss British industry, regulation, sound. money and why he believes Britain is making it increasingly difficult for entrepreneurs to succeed.Toby built a successful business in the meat and fish industries, employing hundreds of people before selling the company. He believes Britain's long-term prosperity depends on creating an economy that rewards production, investment and entrepreneurship once again.Enjoy! (You can listen to the audio via Spotify et al)This interview was filmed in association with The Pure Gold CompanyIf you live in a third world country such as the UK, I urge you to own gold or silver. The pound will be further devalued, as will the euro and dollar. The bullion dealer I use and recommend is The Pure Gold Company. They deliver to the UK, the US, Canada and Europe. More here.In case you missed it, here is this week's piece. There has been a spate of takeovers in the UK this last month, many at 60-80% premiums. We identify the companies that could be next. It is a must read. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.theflyingfrisby.com/subscribe

Following Napoleon Bonaparte's 1798 campaign in Egypt, new possibilities of travel and improvements in printing technology saw an emergence of publishing ventures in France and Britain dedicated to the production of albums and travel accounts featuring images of Muslim Egypt and Islamic architecture and catering to a growing European fascination with the East. In her debut book, Visualizing Egypt: European Travel, Book Publishing, and the Commercialization of the Middle East in the Nineteenth Century (American University in Cairo Press, 2025) Paulina Banas analyzes the context and process of production of these highly illustrated publications, from their conceptualization to the finished product and its afterlife, from marketing to the sales of these books, and from circulation to their reception by nineteenth-century audiences. By tracing the long, arduous, and often risky publishing journeys of the makers of these books, including publishers, writers, and artists, such as the Frenchman Émile Prisse d'Avennes, Banas reveals a complex terrain of changing market demands, collaborations, and conflicting views, and the unsettled authorship of these works, prompting us to think more profoundly about artistic and intellectual exchange in the world of nineteenth-century Orientalist book production. Visualizing Egypt considers nineteenth-century book illustrations on Egypt and the “Orient” not merely as expressions of enduring ideology and colonial propaganda, but as representations shaped by the often-overlooked commercial exigencies of the growing publishing industry and the reckless competition within it. Paulina Banas is an Assistant Professor of Art History at The University of Alabama at Birmingham, where she teaches course on Islamic world arts, 19th century European visual culture, and cross-cultural encounters between Europe and the Middle East. Saman Nasser holds an M.A. in history from James Madison University, where he currently works as an educational staff. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

If you had a choice between instantly receiving £50,000 or a 50% chance to win £1m, which would you pick?When YouGov asked exactly that question to people in the UK, 73% said they would take the £50,000, while 21% opted for the 50/50 chance of winning £1m.As you may or may not have imagined, this finding provoked outrage on Twitter, with people saying the UK appeared incredibly risk averse. “This is what's wrong with Britain,” wrote celebrity polling analyst and More or Less interviewee Nate Silver.But is the result surprising, when you know a bit more about how people make decisions like this? BBC economics editor Faisal Islam explains why he thinks not. CREDITS: Presenter: Lizzy McNeill Series producer: Tom Colls Production co-ordinator: Siobhan Reed Sound mix: Donald MacDonald Editor: Richard VadonImage Credit: Jamie Lawton via Getty

Regular LRB contributor Daniel Trilling has been researching and writing about the far right in Britain and beyond for more than a decade. His latest book If We Tolerate This (Picador), published ahead of the momentous English local, Senedd and Scottish Parliament elections on May 7, is a short and powerful polemic examining how far right ideas have come to dominate the political agenda, and outlining a strategy for how we might combat them. Pankaj Mishra writes ‘Combining forensic enquiry with moral passion, Daniel Trilling has emerged as one of our most intrepid and resourceful reporters.' He was in conversation about his work with William Davies, Professor of Political Economy at Goldsmiths, University of London, and author of This Is Not Normal and Nervous States. You can buy a copy of If We Tolerate This from the London Review Bookshop. Learn more about your ad choices. Visit megaphone.fm/adchoices

Greg Jenner is joined in Victorian England by historian and curator Subhadra Das and comedian Desiree Burch to learn all about the life of scientist and eugenics pioneer Francis Galton. He was many things: a Victorian gentleman scientist, an inventor of whacky devices, a pioneer of fingerprinting technology, the less famous cousin of superstar naturalist Charles Darwin, and an important figure in the development of statistics. But more importantly – and more troublingly – Francis Galton originated the now discredited science of eugenics. His theories about how to apply principles of good breeding to humans, and his advocacy of ways to improve Britain's so-called ‘racial health', led directly and indirectly to many horrors in the decades after his death, from the forced sterilisation of certain groups to the Holocaust. This episode traces his life from child prodigy to prolific scientist, exploring his obsession with understanding the world through measurement and statistics, and how this mindset eventually led him to pioneer eugenic theories. Along the way it takes in his African travels, unwise self-experimentation during his medical degree, and his troubling views on women. If you're a fan of debunked scientific theories, whacky historical inventions and the unsavoury origins of modern beliefs, you'll love our episode on Francis Galton. If you want more biographies with Desiree Burch, listen to our episodes on Pythagoras, Paul Robeson or Lena Horne. And for more on the history of eugenics, check out our episodes on the Kellogg Brothers and Victorian Bodybuilding. You're Dead To Me is the comedy podcast that takes history seriously. Every episode, Greg Jenner brings together the best names in history and comedy to learn and laugh about the past. Hosted by: Greg Jenner Research by: Naomi Weaver Written by: Dr Emmie Rose Price-Goodfellow, Dr Emma Nagouse, and Greg Jenner Produced by: Dr Emmie Rose Price-Goodfellow and Greg Jenner Audio Producer: Steve Hankey Production Coordinator: Gill Huggett Senior Producer: Dr Emma Nagouse Executive Editor: Philip Sellars

Anatol Lieven turns to Britain's new political era under Prime Minister Andy Burnham, who is described as the Labour Party's "last chance" to address a discredited government. Burnham faces immense financial pressure, particularly regarding the costs of healthcare for the elderly and dementia. To succeed, he may need to pivot from "Net Zero" policies to prioritize energy needs and seek a new mandate through an election. (6)

C Constable reports from France on the high heat and smoke impact near Bordeaux. The discussion shifts to surging energy prices, with Brent crude rising 26% and European gas up 36%. Despite high energy costs, rising copper prices suggest potential industrial growth. (1)Simon Constable and Jim McTague continue with a quiz highlighting that typical data centers use 300,000 gallons of water daily, while larger ones can reach 5 million gallons. Currently, most centers are urban, but 67% of planned facilities are rural. In Lancaster County, a "tale of two data centers" emerges as one town embraces the revenue stream while another resists it due to misinformation and fear. (2)Cliff May argues for maximum pressure and coercive diplomacy to prevent the Islamic Republic of Iran from obtaining nuclear weapons. He advocates for a naval blockade, specifically targeting oil exports from Kharg Island to strangle the regime's revenue. May emphasizes that the Iranian leadership's ideology makes them likely to use nuclear weapons, necessitating a strategy to cripple the regime's power. (3)John Hardie and Bill Roggio cover the significant leadership change in Ukraine as General Drapatyi replaces General Syrskyi as commander-in-chief. Drapatyi is seen as a representative of a new, western-style generation of officers who embrace technological innovation and listen to subordinates. The transition aims to "desovietize" the military and maintain the momentum of successful drone offensives against Russian infrastructure. (4)Anatol Lieven examines how the Ukraine and Iran conflicts are merging into one global struggle following a Ukrainiandrone strike on an Iranian vessel. This escalation threatens global energy supplies of refined oil products, as Russianrefineries struggle with capacity. While Ukraine targets the Russian middle class to undermine support for the war, Lieven warns of a widening proxy war involving China, North Korea, and Iran. (5)Anatol Lieven turns to Britain's new political era under Prime Minister Andy Burnham, who is described as the Labour Party's "last chance" to address a discredited government. Burnham faces immense financial pressure, particularly regarding the costs of healthcare for the elderly and dementia. To succeed, he may need to pivot from "Net Zero" policies to prioritize energy needs and seek a new mandate through an election. (6)Salvatore Vitale and Kalin Plunkett of MIT explain hierarchical merging, a process where black holes merge repeatedly to create larger "monsters." By analyzing gravitational waves from 155 binary pairs, they discovered that 14% are second-generation black holes, born from previous mergers rather than stellar collapse. These second-generation black holes are characterized by rapid spin and mass asymmetry, providing clues to how supermassive black holes form in galaxies. (7)Salvatore Vitale and Kalin Plunkett continue: to uncover the origins of the Milky Way's supermassive black hole, scientists propose building larger gravitational wave detectors scaled up by a factor of ten. These advanced observatories would allow researchers to peer further back into cosmic history, potentially detecting black holes from the very early universe. Expanding the global network to four or five detectors would help pinpoint host galaxies and detect the formation of heavy elements. (8)Arthur Herman recounts the historic 1896 meeting where Henry Ford pitched his internal combustion engine to a skeptical Thomas Edison. Edison's encouragement served as the catalyst for Ford's revolution in American transportation. This industrial transformation was further enabled by John D. Rockefeller, whose ability to lower oil prices made gasoline an economically feasible fuel for mass production. The segment also highlights George Washington's vision for a professional Continental Army. (9)Arthur Herman explains the American founders were heavily influenced by the Scottish Enlightenment, particularly the ideas of David Hume and Adam Smith regarding the pursuit of happiness. This subjective right was prioritized over property to potentially allow for the future abolition of slavery. The founding spirit extended to the Northwest Ordinance, creating communities like Marietta, Ohio, that were dedicated to education, religion, and freedom. (10)Arthur Herman characterizes Abraham Lincoln as a founder for his vision of an America without slavery and his willingness to risk the Union to fulfill the Declaration of Independence. His administration's legacy includes the Homestead Act and the Transcontinental Railroad, which expanded the "empire of liberty." Additionally, the Civil War era facilitated the rise of Andrew Carnegie, who later revolutionized the global steel industry using the Bessemerprocess. (11)Arthur Herman reframes the Gilded Age not as an era of greed, but as a period of unprecedented opportunity and connectivity driven by the railroad. James J. Hill's Great Northern Railway fostered regional prosperity and negotiated fairly with Native American tribes. Meanwhile, Thomas Edison's relentless competitiveness and "restless mind" led to the electrification of the nation and the invention of the phonograph, inspiring future generations of founders like Elon Musk. (12)Arthur Herman contrasts Woodrow Wilson's attempt to centrally manage industry during World War I, which resulted in logistical chaos and failure, with FDR's embrace of the private sector for World War II, appointing GM's Bill Knudsento lead mobilization. By relying on the incentives of the marketplace, Knudsen successfully converted American manufacturing into a massive war machine, producing more war material than the world imagined in just 18 months. (13)Arthur Herman presents Martin Luther King Jr. as a founder who refounded the American experiment by taking risks to fulfill the promise of equality. The segment explores the eternal conflict between the bold "founder mindset" and the cautious "manager instinct" that emerged in the 1950s. While managers seek stability and predictability, founders drive innovation and national greatness, preventing the American dream from becoming stagnant and stale. (14)Arthur Herman credits Vannevar Bush's "The Endless Frontier" manifesto with persuading FDR to fund basic scientific research through universities, laying the groundwork for Silicon Valley. This federal support enabled discoveries in information theory and microchip development, transforming the American economy. The evolution from massive mainframes like the IBM 360 to modern microchips illustrates the imaginative leap of founders who see opportunities where others see only current technology. (15)Arthur Herman concludes that today's founders, including Elon Musk and Donald Trump, continue the tradition of taking massive risks to fulfill bold visions. Musk's goals for SpaceX and Mars are described as a step-by-step process of industrial manufacturing and innovation. Central to this enduring success is the Patent Act of 1790, a unique constitutional protection that ensures individuals own the products of their minds, fueling 250 years of American discovery. (16)Corrections applied per the log: John Hardie (transcribed as "Hardy," segment 4) and Labour Party (UK spelling, segment 6). I also dropped the phonetic "(Chopati)" after General Drapatyi in segment 4 — that's Mykhailo Drapatyi, so the first spelling stands. One to confirm for the log: Kalin Plunkett (segments 7–8) — I couldn't verify this MIT researcher's spelling; if it's from audio, it may need checking against the MIT LIGO group roster.

Is Andy Burnham the country's first catholic Prime Minister, and how might it influence his leadership? Despite his faith drawing him to Labour, he doesn't attend mass and rarely emphasises his religion publicly. To unpack his faith and where it might take him, Lara Brown, The Spectator's commissioning editor, is joined by the chief political commentator at The Times, Patrick Maguire, and The Spectator's religion editor, Damian Thompson.Produced by Henry Lloyd and Ed Parker.Become a Spectator subscriber today to access this podcast without adverts. Go to spectator.co.uk/adfree to find out more.For more Spectator podcasts, go to spectator.co.uk/podcasts.Contact us: podcast@spectator.co.uk Hosted on Acast. See acast.com/privacy for more information.

As the magnetic frontman of James, Tim Booth has spent more than four decades turning raw emotion into some of Britain's most loved music - from Sit Down and Laid to a run of acclaimed new records.Tim joins James O'Brien to trace the unlikely journey that led him to the band: a difficult childhood, the brutality of boarding school, a life-changing Patti Smith album and a chance encounter with three teenage musicians in a Manchester bar. Within days, he was on stage; before long, James were building a devoted following through their fiercely independent, improvisational live shows.He reflects on the extraordinary communal power of Sit Down, the band's relationship with The Smiths and Factory Records, and the pressures that eventually drove him to leave. Tim also discusses James's reunion, their distinctive songwriting process and the creative restlessness that continues to push the band into new territory.Along the way, he speaks candidly about illness, dance, meditation and altered states - and the belief that a great gig can become a shared act of transcendence. With a new album in progress and documentary ‘James: Getting Away With It' charting James's four-decade story, this is an intimate, funny and deeply moving conversation about survival, creativity and staying open to the unknown.Find out more about James' tour dates and ‘James: Getting Away With It' documentary hereFull Disclosure is a Global ProductionListen or watch every Friday on Global Player, YouTube or wherever you get your podcasts.

Proletarian TV | 17 July 2026 Joti Brar, Chair of the Communist Party of Great Britain (Marxist-Leninist), discusses in this video how reports concerning rape and sexual violence are being weaponised to promote anti-immigration politics in Britain despite the complete absence of comprehensive ethnicity data. Bad actors, reactionary media commentators and politicians manipulating reports of sexual violence by racialising the information and associating it with the immigrant communities in Britain who are victims of imperialism in their own countries. By adopting such a framing, these bad actors and their ilk are attempting to divert attention from the real institutional and economic failures of our system onto migrants. This is just one of the many problems that are pinned on to migrants; others include: overstretched services, falling wages, deteriorating living standards, et cetera. The reality is that Britain does not have an immigration problem. It has a capitalism problem. ______________________________________________ Subscribe! Donate! Join us in building a bright future for humanity! http://www.thecommunists.org http://www.lalkar.org http://www.redyouth.org Telegram: https://t.me/thecommunists Twitter: / cpgbml Soundcloud: / proletarianradio Rumble: https://rumble.com/c/theCommunists Odysee: https://odysee.com/@proletariantv:2 Facebook: / cpgbml Online Shop: https://shop.thecommunists.org/ Education Program: Each one teach one! http://www.londonworker.org/education... Join the struggle! https://www.thecommunists.org/join/ Donate: https://www.thecommunists.org/donate/

Results season is in full swing, and it's been another bumper week – with the overwhelming majority positive. But there are always laggards, and this week's show dives into one of the FTSE 100's biggest fallers, Rentokil. The pest control business's shares plunged after its half-year figures. Julian Hofmann explains why.Then, we look overseas, with many of the big AI and semiconductor trades going into reverse over recent weeks, including memory-chip makers SK Hynix and Samsung. So what better time to discuss how to pick out the value shares in these global markets. Michael Fahy talks through his favourites. And finally, we look at the consequences of the SpaceX IPO for Britain's investors – not the losses on which they're sitting, but the possibility of it having tipped the first domino on access to US IPOs. Helen Kirrane explains what's going onTimestamps00:00 Introduction00:57 Rentokil10:54 Global value hunting22:33 US IPOsListen to more podcasts from Investors' Chronicle on Apple, Spotify and YouTubeInvestors' Chronicle has supported private investors in the UK for over 160 years by highlighting rewarding investment opportunities. Investors' Chronicle is a service by the Financial Times. Hosted on Acast. See acast.com/privacy for more information.

Is the can finally going to stop being kicked down the road on social care.Andy Burnham has promised to correct what he has called a ‘dereliction of duty' by a generation of politicians.But how does he plan to succeed where so many before him have failed, can he pull it off and who is going to end up paying?On this 31 August 2026 episode of the This is Money Podcast, Georgie Frost, Helen Crane and Simon Lambert discuss how to solve a problem that has defeated successive governments and created a reverse lottery where the unlucky losers can see their wealth wiped out.Meanwhile, there was no move for the Bank of England this week, as interest rates were held again, despite fears that the recent spike in energy prices could prompt another inflation shock. What does it all mean for our money?Plus, would you haggle at a high street store? Our man Toby Walne did, so what happened?And finally, is Britain's beach hut boom over?Follow us on Instagram @dmgnewmedia.Follow us on TikTok @dmgnewmediaFollow us on X @dmgnewmediaEmail us hello@dmgmedia.co.ukText us 020 7938 6000.Hosts: Georgie Frost, Simon Lambert, Lee Boyce, Helen CraneProducer: Georgie Frost Hosted on Acast. See acast.com/privacy for more information.

Today, we trace Julius Caesar's dramatic invasions into Britain - two bold expeditions that tested Rome's reach at the very edge of the known world. Ships were battered by storms, soldiers struggled with unfamiliar tides, and British warriors offered fierce resistance. Caesar never secured a lasting conquest of the island - so what drove him to try? Military necessity, retribution or a calculated move in his rivalry with figures like Pompey?Joining us is historian and author Simon Elliott to unpack the politics, ambition and spectacle behind these campaigns, and to explore how these risky ventures helped shape the larger-than-life reputation that still defines Caesar today.Produced by James Hickmann and edited by Dougal Patmore.We need your help! Let us know what you want from Dan Snow's History Hit by filling in our anonymous survey here: https://forms.gle/PvgayWLkWGjYT4St6Dan Snow's History Hit is now available on YouTube! Check it out at: https://www.youtube.com/@DSHHPodcastSign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe.We'd love to hear your feedback - you can take part in our podcast survey here: https://insights.historyhit.com/history-hit-podcast-always-on.You can also email the podcast directly at ds.hh@historyhit.com. Hosted on Acast. See acast.com/privacy for more information.

Cheltenham in Britain is a wealthy, historic spa town that is a renowned center of cultural activity featuring wonderful Regency architecture. The town has been described as an unspoiled Cotswold town and it lies in the center of the Cotswolds. The very first major investigation by the Society for Psychical Research took place in Cheltenham and the results inspired the story of The Woman in Black. This is a very haunted place with stories of poltergeists, banshees, phantoms, headless horsemen and ghosts of military men and monks. Join us for the history and hauntings of Cheltenham, Britain. The Moment in Oddity features a poop chisel tool. Check out the website: http://historygoesbump.com Show notes can be found here: https://historygoesbump.blogspot.com/2026/07/hgb-ep-648-haunted-cheltenham.html Become an Executive Producer: http://patreon.com/historygoesbump Music used in this episode: Main Theme: Creepy Carnival Theme  Created and produced by History Goes Bump Licensed under Creative Commons: By Attribution 4.0 creativecommons.org/licenses/by/4.0/ (Moment in Oddity) "Vanishing" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ Even Much More Spirits Of The Greenwood by Sasha Ende at Ende.com Licensed under Creative Commons: By Attribution 4.0 creativecommons.org/licenses/by/4.0/

This week, as Britain enters its fourth heatwave amidst blazing wildfires across Europe, Coco & Nish are joined by Climate scientist and educator Simon Clark to ask: is this the new normal? They discuss rising temperatures, online misinformation, fire clouds(!) and which policies the UK government could be championing to both mitigate and adapt to a warming climate–listen up, Andy! Also on the show: as Exeter proposes 150 job cuts which are expected to fall disproportionately on the humanities, Nish speaks to his friend and staff member at Exeter University, Dr Peter J Riley. They dig into the value of a humanities degree and what we're missing when we make everything about money. And: Coco & Nish reflect on the UK's first week with Burnham at the helm, as Labour leads Reform in the polls for the first time in almost 18 months. Is it too early to be optimistic? Plus - bonus content! We bring you a clip from a conversation with actor Siobhan McSweeney and Gazan student Mahmoud Hasanain as they discuss the government's renewed scheme to evacuate Gazan students to study at UK universities–but only if they have fully-funded places. Siobhan, along with many other well-known faces from stage and screen, is auctioning off personal items in a bid to raise funds to support these students. You can catch the full episode on YouTube, and bid online here - until Friday 7th August!   Plus: you listen to Nish & Coco every week, now we want to hear from you! We're launching an audience survey to hear about what you like, dislike, and want to see more of from PSUK. Guests! Live shows! Topics! Explainers! And did we mention there's a prize draw? You've got to be in it to win it - so fill out the survey here: https://forms.gle/fWp9xXb6tcWhPxSm8 GUESTS Simon Clark Dr Peter RileyUSEFUL LINKSAudience survey here: https://forms.gle/fWp9xXb6tcWhPxSm8 University Cuts Petition to stop redundancies at Exeter University: https://www.change.org/p/stop-redundancies-at-the-university-of-exeter-706befbf-8195-4b87-a96c-13666e695878 Exeter UCU: https://www.instagram.com/uniexeterucu/ Climate CrisisDeSmog: https://www.desmog.com/2026/04/30/reform-uk-nigel-farage-millions-donations-fossil-fuel-interests-climate-science-deniers/ Matt Hughes and Nick Ames - Uefa accuses Fifa of ‘enriching themselves and their friends' over World Cup sell-offShare Action: https://shareaction.org/ Cool Earth: https://www.coolearth.org/ Fossil Free Media: https://fossilfree.media/ Gaza Auction: https://www.jumblebee.co.uk/ScholarshipsForGaza Keir's goodbye video: https://www.tiktok.com/@keirstarmer/video/7664565924204203286?lang=en-GB CHECK OUT THESE DEALS FROM OUR SPONSORS VANTA: https://www.vanta.com/PSTUKHEXCLAD: https://www.hexclad.co.uk/PSTUK SHOPIFY: https://www.shopify.co.uk/podsavetheukPod Save the UK is an Intelligence Squared production for Crooked Media.Don't forget you can get in touch! Contact us via email: podsavetheuk@crooked.com if you want to share questions, thoughts, or general musings! Like and follow us on Youtube: https://www.youtube.com/@PodSavetheUK Instagram: https://instagram.com/podsavetheuk TikTok: https://www.tiktok.com/@podsavetheuk BlueSky: https://bsky.app/profile/podsavetheuk.crooked.com Facebook: https://facebook.com/podsavetheuk X: https://x.com/podsavetheuk

One way to understand how the U.S. operates around the world is the Godfather model. Obey the Don and you'll be well rewarded. Cross him up and it's lights out. The U.S. maintains its global power out of the barrel of a gun. Of course, for rhetorical purposes Washington is dedicated to human rights, freedom and democracy. In practice it implements mafia-type rules. In its origins, the Founding Fathers emulated Britain. By the end of World War Two the Union Jack was replaced by the Stars and Stripes and America ruled the waves. It invades, bombs and occupies countries, imposes sanctions and blockades and kidnaps and assassinates leaders. Chomsky says, “Since its founding, America has scarcely had a year without resorting to violence.”

Continuing his tour across the country, Andy Burnham has been in Barrow-in-Furness backing Starmer's investment plan into nuclear submarines. This ties together with a commitment to reindustrialise Britain and promise more apprenticeships for NEETs. But despite policy pledges on employment, the economy and social care this week – small boats have been a story dominating the headlines. Natasha Feroze speaks to Noa Hoffman and James Heale about why Burnham has avoided this issue of immigration so far, and whether the fun could be over for the Prime Minister next week. Become a Spectator subscriber today to access this podcast without adverts. Go to spectator.co.uk/adfree to find out more.For more Spectator podcasts, go to spectator.co.uk/podcasts.Contact us: podcast@spectator.co.uk Hosted on Acast. See acast.com/privacy for more information.

The captain of the HMS Hermione was a sadist even by the not-very-high standards of the British Royal Navy in the 1700's. He was a prolific flogger, subjecting his crew to the cat-of-nine-tails. It was hardly a surprise when his crew rose up and mutinied. Even if the British Navy couldn't for one second let them get away unpunished.This is the brutal and bloody story of Britain's most horrific mutiny, told by the one and only Dan Snow!This episode was edited by Anna Brant. The producer was Tomos Delargy. Senior Producer is Freddy Chick.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe.  You can take part in our listener survey here.All music from Epidemic Sounds.Voting is now open for the Listener's Choice Award at this year's Podcast Awards. Click here to place your vote! Thank you! https://www.britishpodcastawards.com/voting Hosted on Acast. See acast.com/privacy for more information.

Proletarian TV | 20 July 2026 As the living standards within Britain decline, public services deteriorate and discontent amongst the working class grows, Britain's ruling class fabricates the alleged threat from Russia to divert attention from the country's worsening capitalist crisis. Ranjeeet Brar explains within this video how fear is being used to manufacture public consent for militarisation and how Russia has become the convenient scapegoat for the problems at home. ______________________________________________ Subscribe! Donate! Join us in building a bright future for humanity! http://www.thecommunists.org http://www.lalkar.org http://www.redyouth.org Telegram: https://t.me/thecommunists Twitter: / cpgbml Soundcloud: / proletarianradio Rumble: https://rumble.com/c/theCommunists Odysee: https://odysee.com/@proletariantv:2 Facebook: / cpgbml Online Shop: https://shop.thecommunists.org/ Education Program: Each one teach one! http://www.londonworker.org/education... Join the struggle! https://www.thecommunists.org/join/ Donate: https://www.thecommunists.org/donate/

Who should control Britain's biggest water company? Chris Weston, the chief executive of Thames Water, says he "completely agrees" with the Prime Minister that the industry, and Thames Water, needs greater public control. But he draws a clear distinction between stronger public accountability and public ownership, arguing that nationalisation or special administration could delay investment, increase uncertainty and ultimately leave taxpayers carrying the financial risk.Thames spent more than £1bn more than it received last year, with the shortfall currently funded by creditors. Under special administration, Weston says that funding would instead have to come from government while a new owner was sought. Full nationalisation, he argues, would place Thames Water's decade-long infrastructure programme on the public balance sheet alongside defence, health and education. His preferred solution is the proposal from more than 100 creditors to write off around £9bn of debt, inject fresh equity and rebuild the company under a model that promises no dividends for at least ten years. He argues this private-sector restructuring can sit alongside stronger public oversight, clearer government direction, greater regional representation and a more company-specific regulatory regime.The debate over ownership comes as Weston warns Britain faces a much bigger challenge. Drought, he says, is no longer an exceptional event but "the new normal". Despite an unusually wet January and February, no rain fell across the Thames Valley in July, exposing a shortage of water storage across the South East.Thames has not built a reservoir since Farmoor B in 1977. A replacement scheme proposed around 2010 was rejected after the company failed to make its case successfully, and Weston believes the region would not be facing a hosepipe ban today had it been approved. The proposed Whitehorse reservoir near Abingdon remains in the planning process and is not expected to begin filling until 2038, with another three years needed before it reaches capacity.Population growth, government housebuilding targets and the rapid expansion of data centres will place even greater pressure on supplies. Weston questions whether data centres should rely on drinking water for cooling, suggesting treated effluent from sewage works could provide an alternative. He also says households will need to become more mindful of how they use water, with government playing a greater role in encouraging behavioural change.Weston also makes a notable concession about how the industry reached this point. Customers, he says, have "paid too little for water for too long". Thames operates 440 treatment works and a network stretching four times around the circumference of the Earth. Keeping bills low, he argues, meant insufficient investment in maintaining and modernising ageing infrastructure, although he accepts the company's current debt levels are unsustainable.On pollution, Weston accepts Thames must improve but refuses to promise sewage incidents can ever be eliminated entirely. The company treats around 4.3 billion litres of wastewater every day and, he says, succeeds 99.5% of the time on average. Extreme weather, ageing infrastructure and illegal connections mean completely eliminating pollution incidents remains "very, very slim".Presenter: Simon Jack Producer: Olie D'Albertanson/Ollie Smith00:00 BBC Editor, Simon Jack introduces podcast 03:09 Chris Weston joins pod, explains Thames Water's situation 06:18 Bills were too low for too long. 09:32 Unrealistic targets, swage and pollution 12:31 Privatisation of Thames Water 14:50 What's on the table now? 17:28 Greater public control, special administration and nationalisation 28:41 Drought, reservoirs and the new normal 34:29 Staff abuse and his own pay

Today on the show - Marianna Hunt is here to answer the question - how rich are Britain’s pensioners? We've run the numbers on how the UK compares to European rivals on pensioner wealth and income. The full results of Marianna’s analysis are free to read here. Ed Monk is joined by Marianna Hunt to provide a well-balanced take on the latest financial developments together with expert insights to help you grow your capital, manage your investment portfolio and make the most of the money markets. Popular for its jargon-free approach, clear analysis and fresh perspective, The Personal Investor podcast helps shine a light on the latest market developments for the savvy UK investor.See omnystudio.com/listener for privacy information.

A grieving father is convinced the police investigation into Lockerbie got it wrong. Myles Bonnar speaks with Jim Swire, whose daughter Flora died in the explosion. He tells Myles he believes the real culprit is Iran. Jim has always been outspoken about his theories. He claims his rising profile attracted unwanted attention from intelligence agencies, both in Britain and abroad. But what did they want with him? Jim tells Myles about David BenAryeah – a supporter of the Lockerbie group who Jim believed was a member of Israeli intelligence agency, Mossad. But Myles knows him as someone very different. Jim Swire's not the only one who has doubts about who bombed the plane and why. The Lockerbie case has long been at the centre of a complex web of conspiracy. Myles speaks with a member of Abdelbaset al-Megrahi's appeal team who tell him what they believe really happened in the months leading up to the Pan Am explosion.Lockerbie is produced by Caitlin Smith Additional production by Rob Wilson Sound design by Eloise Whitmore Story consultants are Innes Bowen, Jack Kibble White and Graham Russell Fact checking by Faisal Qureshi Research by Rachael O'Neill and Callum McCulloch-Nowlan Original development by Sally Greig Lockwood Executive Producer: Gillian Wheelan BBC Scotland commissioners: Heather Kane Darling and Victoria Easton-Riley For BBC Radio 4, the commissioning executive is Tracy Williams, and commissioning editor is Dan Clarke. Music by Callan Marchetti

Fintan Drury joins This Is Hell! to talk about his new book “Genocide: Sponsoring the Destruction of Palestine”, published by the Irish Academic Press. Fintan will be speaking with us live from Dublin. m(https://www.irishacademicpress.ie/product/genocide-sponsoring-the-destruction-of-palestine/) Fintan was a journalist with RTÉ in the 1980s. Before co-anchoring Morning Ireland for its first three years, he was a correspondent in Northern Ireland and reported from Britain, Europe, Africa, and the United States. In 1985, he volunteered in the then largest refugee camp in the world, in Darfur, with GOAL, an international humanitarian organization that delivers emergency life-saving aid. A longtime activist on migration, he's written extensively on the subject. In 2016 he volunteered in a refugee camp in Athens, which led to a fifteen-part series in The Irish Times on the diary of a Syrian refugee. His 2025 book, “Catastrophe: Nakba II," was released to critical acclaim and was shortlisted for Best Non-Fiction Book of the Year at the An Post Irish Book Awards. Fintan is also chair SARI (Sport Against Racism in Ireland), which "harnesses the power of sport to embrace difference, celebrate diversity and promote social inclusion across Ireland."

Find Fintan on X at @DruryFintan and on Instagram @fintan.drury We will have a new installment of Jeff Dorchen's Moment Of Truth. We will also be sharing your answers to this week's Question from Hell! from Facebook, Welcome To The Hellhole, and Discord. Help keep This Is Hell! completely listener supported and access bonus episodes by subscribing to our Patreon: www.patreon.com/thisishell

Before becoming a No. 1 New York Times bestselling author, and one of the most widely read poets on Instagram, Nikita worked as a cleaner and carer while sharing her poetry online. She moved from New Delhi to Britain in her early twenties to study for a master's degree at the University for the Creative Arts, and felt she ‘disappointed' her parents and faced repeated rejection and misogyny in the process. In this episode, she tells Elizabeth about her unusual childhood at sea, growing up in places marked by contested borders, where bomb scares at school felt routine, and the many obstacles she faced throughout her career. She also reflects on the power of poetry to connect us, why myths still resonate today and how writing became both a form of resistance and survival. IN THIS EPISODE: 00:00 Introduction 03:10 Archivist Heart 04:33 Unheard Voices 07:10 Borders Bomb Scares 09:49 Childhood 11:30 Mythical Power 13:52 Rejection To Breakthrough 25:51 Success Highs and Lows 26:31 Rejection as Return 27:45 Dating and Being Returned 28:11 BuzzFeed Fame Backlash 33:36 Shame and Misogyny Online 34:51 Surviving Internet Pile Ons 39:16 Chronic Pain Finally Named 48:34 Family Grief and Goodbye LINKS + MENTIONS: Nikita's new book, Styx: The River is out this Autumn: www.simonandschuster.co.uk/books/Styx-The-River/Nikita-Gill/9781398537194 Join the How To Fail community: www.howtofail.supportingcast.fm/#content Elizabeth's Substack: www.theelizabethday.substack.com WANT MORE? Michael Rosen - swap.fm/l/TCjvDZaxrZsq4iZRCccm LOVE THIS EPISODE? Subscribe on Spotify, Apple or wherever you get your podcasts Leave a 5⭐ review – it helps more people discover these stories Follow How To Fail & Elizabeth: Instagram: @elizabday TikTok: @howtofailpod Podcast Instagram: @howtofailpod Website: www.elizabethday.org Guest bookings for How To Fail only come from official @sonymusic.com emails Elizabeth and Nikita answer listener questions in our subscriber series: www.howtofail.supportingcast.fm/#content Have a failure you're trying to work through for Elizabeth to discuss? Click here to get in touch: howtofailpod.com Production & Post Production Coordinator: Eric Ryan Engineer: Matias Torres Assistant Producer: Shania Manderson Senior Producer: Hannah Talbot Executive Producer: Alex Lawless Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts To bring your brand to life in this podcast, email podcastadsales@sonymusic.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

In the aftermath of Bunker Hill, both Britain and the Continental Congress took decisive steps that pushed the colonies closer to a complete break with the mother country. Meanwhile, American forces under Richard Montgomery and Benedict Arnold launched a daring invasion of Canada, only to suffer a devastating defeat before the walls of Quebec. As the northern campaign collapsed amid disease, hunger, and retreat, George Washington searched for a way to break the British hold on Boston. The answer came in the form of Henry Knox's remarkable "Noble Train of Artillery," which allowed the Americans to fortify Dorchester Heights and force the British evacuation of the city. Join James and Audrey as they discuss these exciting Revolutionary War events of late 1775 and early 1776.See omnystudio.com/listener for privacy information.

How can building an audience in advance help your stories reach the people who make movies? And how can you prove there's demand for your book or screenplay before you've written it? Brooks Elms shares his advice after more than 20 years as a WGA screenwriter. In the intro, what doesn't work for book marketing and what does [Amy Chan SubStack; Unsingle; Rephonic]; Goodreads giveaway for Bones of the Deep; FutureVision XPrize. This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Brooks Elms is a WGA screenwriter with over 45 scripts, over a dozen sales, and he has directed two indie features. He is the creator of the Answer the Call system and has trained over 1,000 writers. 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 How to see the opportunity in AI when others only see the threat How to test a story with samples, and what a 16-second movie can do Building the trailer before you write the screenplay Letting your audience finance the film once they have validated the idea Why Hollywood still wants existing IP, and what makes them pay attention Feeling safe enough to write the truth, and finding a concrete path forward You can find Brooks on LinkedIn or email him at brooks@brookselms.com. Transcript of the interview with Brooks Elms Jo: Brooks Elms is a WGA screenwriter with over 45 scripts, over a dozen sales, and he has directed two indie features. He is the creator of the Answer the Call system and has trained over 1,000 writers. So welcome to the show, Brooks. Brooks: Thank you. It's awesome to be here. Jo: Fantastic. So first up— Tell us a bit more about you and how you got into screenwriting. Brooks: I started filmmaking first. A buddy came up to me in high school and said, “Hey, we're making a karate movie, do you want to help us?” I was like, “Oh my God, yes, that sounds amazing.” So next thing I know, I had this karate outfit on, and we were just making this completely ridiculous and totally fun movie, and it was amazing. It was so fun. Then it went to a whole other level when we shared it with a friend, this guy Jay Sharon, and he watched the movie and he laughed so hard he literally fell out of his chair. I was like, “Oh my God,” the fun I had making it could actually transfer to somebody else. I was hooked. So from there I went to NYU film school, and then made a few independent feature films which were good but not great in terms of how they were received. They were great for me in terms of enjoyment, but I knew I needed to iterate faster at that point. So then I was like, “Well, it's expensive and it takes a long time to make a movie,” at least back then. So I pivoted to screenwriting, and pumped out two, three scripts a year, got signed at UTA, got writing assignments, and basically launched a screenwriting career. Then I still tried to get some stuff going, but it's hard when movies are so expensive. It's not hard, it's just that it takes a lot of precision in the marketing, and a lot of conversations to find the right matches to finance something, and you're either interested in doing that or you're not. I just was like, “Well, I'll just mostly write screenplays.” Then I started teaching at UCLA Extension and then coaching after that, along with writing. Then all the way up to the future. What's great about moving forward is that with AI, shot-making is becoming very close to cinematic quality. You can actually match cinematic quality in moments in some genres, but probably by next year. Right now you could actually do a really good horror movie all AI for 10, 20,000 bucks, depending on how much you're doing yourself or getting other people to do. So the economics are going to absolutely explode. So I'm sitting on dozens of scripts that didn't get through the Hollywood packaging bottleneck because they're too expensive, and I now have this giant slate that's ready to go, and I'm just absolutely thrilled. It's been a lifelong dream for me. Jo: Oh, so much to come back on there. Where to start? I do want to talk about what you just said there, sitting on dozens of scripts and now seeing the opportunity. I actually wrote down in my journal about a year ago, I see what's coming with AI, and I think that the best thing I can do is create as much original IP as possible, so that I can make the most of the opportunity ahead. So let's just get into the AI, because a lot of people feel it's a super bad thing. Talk about the opportunities and the attitude that you've got [around AI], and that you've seen others have around this, for what is ahead in a positive way. Brooks: It's fascinating to see how people respond to AI. I wonder, when the printing press rolled around, if there was some sort of backlash. Books must be handwritten. They can't be mass-produced. Here's one of my theories. At a deep psychological level, it's so profoundly powerful that I think the default setting is, “Oh, crap.” When I was a kid, some things were hard, and that power imbalance, when something big, new and powerful comes along: I'm going to get screwed, and so this is somehow a bad thing. I think that's the base psychological thing going on with most of the noise. Obviously there are some legit problems, in terms of copyright infringement from learning models, or from some of the environmental situation. So I'm not saying it's all rainbows and butterflies, but I think 90% of the noise around it comes from a fear of change. Here's the other one—a fear of, “Oh, yikes, I'm going to get taken advantage of somehow by either robots, or the corporations are going to use the robots against me,” or something like that. I have real empathy for me when I feel that way a little bit, but I don't feel it much, and for other people that do feel it. The other thing is, you know what it is? I think they fear their own empowerment even more. I had a therapist who was really good. He said, people aren't so much afraid of failing as they are afraid of succeeding. Because if we fail, we're stuck in act one and we don't go anywhere. The fear is answering the call and going to act two, when everything effing changes in the new world. So I think people are afraid of how goddamn powerful they're going to be when they can have a team of AI agents helping them do everything they want in business or life or whatever. I think it's the same thing with the internet. People are like, “Oh, I don't like social media, blah, blah, blah.” And I get it. There's a lot of noise and a lot of crap. Yet we have access to billions of people, and the algorithms in social media right now I think are level three out of 10. They're just going to get better and better. Even as it is now, if I do a post about something and it gets ignored, that's on me. The algorithms are trying to match me to my people. So if I'm not unique enough and authentic enough and aware enough of how virality works, that's on me, and it's a learnable skill that I can embrace and then change and then get better at. So I think people then resist that change. They resist the empowerment of learning the art of virality, or learning the art of some sort of social media stuff or whatever. The last thing I'll say about this rant is, I don't want to act like I'm the guru on the hill that has all the answers. I refuse calls all the time. I'm scared about all sorts of things. I'm certainly not perfect. I feel frustrated when I'm trying to put my big ideas into action and I can't get this technology thing to work or that one, and I throw tantrums. I'm trying to come at it from a real human perspective, but by and large, I've got stars in my eyes. I'm like, “This is amazing. This is going to be so powerful.” For so many people, you just have to be ready to embrace it and just go along for the ride, because there's going to be some big-ass changes. There already are, and that's going to accelerate. Jo: You mentioned there learning the art of whatever it is. One of the things is, I've spent 20 years, and so have you, learning our craft and our art, and now it can be done very easily. I'm generating video, as you mentioned, which is a craft I haven't spent 20 years on, but now I can generate. So things have definitely changed in that way. Just coming to the screenwriting side. Probably about a decade ago now, I did my first screenwriting course. I've written screenplays. Then I looked at the game you have to play and, like you said, the conversations you have to have, the events you have to go and network at, all the things that you have to do to put a screenplay in front of the right person at the right time. I was like, “I cannot do that. It's just not going to happen. I can't do that along with everything else.” So I put it aside, but now I feel maybe it's time to bring it back because things are changing. So can you maybe talk about, if someone has a screenplay now that they've written, or some IP like a book that they have now— What would you recommend people do in terms of wanting to get that [IP] in front of somebody, or doing something with it themselves? Brooks: It's such a good question. By the way, not even a screenplay—you could do the same things with a novel. Let me try to be succinct here, which is a good challenge for me. A simple way to look at it is, you're giving samples. Let's say it's a lemonade stand, and you give out a little shot of your… maybe you have cayenne pepper lemonade, some sort of fun lemonade. If you give out a sample and people are into it, they're going to come back and they're going to tell friends. If you give a sample of the lemonade and they're not into it, then you go back to the kitchen and you mix up a different flavour. So that's some basic business, but the internet allows us to do that at scale. So what I like to encourage people to do when I coach them is come up with the minimum viable material. It can be a 10-second clip. There's a writer in my community who made a really beautiful 16-second movie. It's one shot. I love it so much. It's two wine glasses. There's a lipstick smudge on one of the wine glasses. They're half full, and it's just that shot. It's sitting there, and all of a sudden you hear this thundering, thumping down these stairs, dun, dun, dun, dun, dun, dun. Then you see out of the corner of the frame one person runs by, and then the other person behind her runs by and goes, “Wait.” That's it. That's the whole movie. It's 16 seconds. He did that with his phone. So there's so much going on. There's a couple of basic elements, but he just did it with his phone, and you can evoke enormous emotional impact on people through social media, whether it's just words. You guys have a big advantage as novelists because you're so good with words. Whether it's a little bit longer, like sudden fiction, that's a couple of pages or whatever. Even just copywriters are really in a good position for the future because they're super potent with two words or three words or 10 words. Then novelists are probably really advantageous because it doesn't cost anything to just put some words out on the internet. The point is, if you put something out, it's a signal, and you're talking about billions of people who could find that signal. If you do it and then you look at the response, and then you try again, you look at the response, we can do this iteration infinitely for free. So you can do it already. You've been able to do it for 10, 15, 20 years, just with words. But now you're going to basically be able to do that with movies or clips or trailers. So the thing that I'm leading in my community of writers is having people build trailers in advance, or clips. When a book or a movie is done, how the heck do we get people to see it? One way is a trailer or some sort of behind-the-scenes material. You can just do that stuff now before even writing the screenplay. I saw that you were doing this project, a trailer for this competition. And then you mentioned, “Oh, I've got to write the screenplay.” Not really. You have to develop the story enough to know what you're referring to, and then it's about studying the craft of either trailer construction, or whatever the clips are, or viral clips. They all have a structure, and then you just test it. If you enjoy that testing process, which I find absolutely thrilling, it feels like the filmmaking version of a stand-up comedian. If I did stand-up, I say a joke, they laugh or they don't laugh. It's really beautiful feedback from the universe. Nerve-wracking, right? But we can do that now as storytellers. We put a story out there in any format, and the audience responds. Just like you have to read any room, you have to learn how to read the engagement on social media. What do likes mean? What do shares mean? What do comments mean? How do you deal with trolls? All that is just part of the new art. Once you get good at it, holy smokes, that's the key to the kingdom. You can build audiences in advance, and for movies you could even have them finance your movie in advance, if you've built an email list of 20,000, 30,000, 40,000 people because you kept putting out all these viral clips around your story, novel, or screenplay. Then you go, “Okay, now 30,000 people are on my email list and I tell them about me and my perspective and my world. We're going to make this darn thing with AI for 20,000 bucks. You guys have got to pony up some money. Put in a dollar, five, 10, or you get the VIP $500 experience.” It's like crowdfunding, but much more sophisticated, because most crowdfunding was like begging friends and family to donate to your crazy dream. What I'm talking about is going to the audience directly, developing enough of the story, then going to the audience second, and then only when they validate the idea, to the extent that you're happy with. You could do a crazy idea that's going to have a small audience, and you don't have to have a blockbuster audience. You get to pick the audience size that you want, and then put the samples out there and see if you have a relevant audience size for this next project. Once the audience tells you, “Yes, we want this,” then you go make it. So you're ultimately reducing risk to almost zero. It takes time and you have to learn how to do this stuff, but it's thrilling to me because we just have the capacity to test the material and listen to the audience upfront. The last thing I'll say, and I've rambled a lot, I'm sorry. When I made a movie in 1994, a feature film right out of NYU, it took me three years to find out what the audience thought about that movie. I had to make the damn thing, and then I ran out of money, and that took me years to edit it, and I finally got it, blah, blah, blah. And again, I loved it. I loved every facet of it, and it was fine, but it was super inefficient. Today, I could take those same elements, create an AI trailer this weekend, put it in front of hundreds of thousands of people, and they could tell me right away, “This sucks,” or, “This is interesting,” or, “Holy smokes, this is amazing. I want this.” If it's not, “Holy smokes, this is amazing, I want it,” I can go ahead and re-edit the whole damn trailer, and just keep reiterating at almost no cost. Then once the demand is there, I can take that demand and that audience and go to Hollywood, and that's when they're going to want to work with me. Then it doesn't take a million conversations and finding the needle in the haystack, because Hollywood sees the numbers and they go, “Oh, you're the people we do want to do business with. You've proven demand. We want to do business with you.” Jo: Yes, it's so interesting. I can hear people listening and they're like, “Easier said than done, getting an email list of 40,000 people.” And in fact— It's exactly the same as building up a career as an independent author. This is as a filmmaker, as a visual person, and the industry is visual, so doing a visual trailer is the obvious thing. And as you say, the tools I use just to do this one, I use Midjourney, and I've used Seedance as the main video model. It does take a while, but it is pretty fast now, if you have a visual image of what you want in your head, which obviously you're a visual person as well. But is it… Brooks: Hold on. I want to push back on that a little bit, because I think it's really important. So yes, that's true, but underneath that, my friend, it's a relationship. It's the relationship, and the media is secondary. You have been prolific in connecting with your audience, and that's why I think a lot of people like you, because you share and they get to know you in that sort of cadence. I saw you in another podcast, you mentioned Seth Godin, who just said, “Hey, I want to be the type of person that has this relationship with my audience. I'm going to share some of my thoughts every day.” He happened to do it with words, with his background in marketing, but you could do the same thing with still images. You could do the same thing with a five-second movie clip once a week. It's the relationship you want with your fans. I'm not saying you snap your fingers and you have 50,000 people on your email list. What I'm saying is, what else are you doing? If we're artists and our impulse is to create and share, and if you do it in this way, if I can create and share and inspire trust in this relationship with a stranger because they like my genre thing and they like the way they felt when they experienced my media, words, images, movies, it doesn't matter. They just like the feeling, and they go, “Ooh, I want more of that feeling. How do I get more of that? Oh, this person has this email list or community.” If I can do it with one, then I can scale it out. So getting the first one, or the first 5 or 10 samples, that is a whole process. But then once you do that, scaling up is more of a mechanical thing. It's not even that hard, especially when you can do paid ads. So you can scale up very quickly if you have the sauce. If you don't have the sauce, it doesn't matter who you're related to, you've got to get the sauce right. Jo: Yes, and again, it's so parallel to the indie author community. I've just got to ask you, in the olden days, an author might write a screenplay, or a screenwriter write a screenplay, and then they would send it. They'd find an agent. They'd pitch an agent, and I guess then they'd hope that someone would turn that into a movie. So is that just dead now? Is it realistically that you need to get yourself out there, build the audience in the same way that it often is for authors? Brooks: So, no. I've got two screenplay deals going right now. So here's how it's going to work. Think about Broadway, or the theatre district in Britain. It's like West End or East End or whatever… Jo: The West End. Brooks: Sorry for my American ignorance. West End, okay. So every town on the planet has a stage, but there's only one Broadway, there's only one West End, right? And every town has its own festival, but there are a few significant tastemakers. There's Cannes, there's Sundance, there's Toronto. Hollywood is always going to be a tastemaker in our lifetime, for sure. What they don't have anymore, what they enjoyed for the first 100 years of the industry, is that they had a stranglehold on basically the equipment, the financing, and the audience, and that's all going away. Do you want to hear a fun story about the birth of cinema? Do you know why Hollywood started in Hollywood? Jo: No. Brooks: So Thomas Edison invented the camera, or the type of model camera that they were using in, I don't know, 1910 or something around there. They didn't want to pay his patent. They didn't want to pay the patent to make these movies, so they went all the way across the country, a bunch of outlaws, and they set up shop in California because he couldn't enforce his patent that they were basically stealing. And reason number two, LA enjoys amazing weather almost all year round. The weather here is either nice or really nice. You have mountains, you have beach, you have desert, you have all these different locales. So when it was really important to be on location, LA was the perfect place. Anyway, that is all going away. For many decades, more people could make movies. In the early '90s, Robert Rodriguez made a movie for 9,000 bucks. There was a book in the '80s that I bought that I loved, it was Feature Filmmaking at Used-Car Prices. This guy, Rick Schmidt, I think his name was. There were the independent filmmakers really in the '60s and the '70s. So the cost has been going down and down and down, and now it's less than ever. Once social media came along, now you have access to the audience, so why do you even need Hollywood? That being said, there are tons of people. There are 400,000 people already working in the movie and the TV industry here. And they're voracious. We have a voracious demand. Humans need stories. We need big stories, long stories. We need stories, and Hollywood is so good at giving them stories. And so they have a need for these things, and they're still spending a lot of money on those budgets. So yes, there's still a demand for turning books and optioning them and turning them into movies. Books are great. Any sort of existing IP is great because there are marketing efficiencies there. People already know that stuff, know the vibe of it, and so it's easier to market than something that's totally creative and new. When you're spending that much money, you want those marketing efficiencies. They're really important. So the point being, the power is shifting away from Hollywood. Hollywood will still be a tastemaker, but you and me can reach anybody on the planet now. Almost. Billions of people. If it's making a movie, right now you could make a movie that most people wouldn't realise is an AI movie. If it was a horror film, I know a handful of people that could make a feature-length horror film right now with AI and 99% of the audience couldn't tell, if it was professionally written. Jo: I think the point here though is, I'm an author, the people listening are authors, and we don't want to make movies. We want to license our IP to people who want to make movies. Brooks: Yes. Great. Okay, good. So then you could, if you wanted, build an audience. Hollywood loves when something's already proven, so that's that IP thing, right? So if you just have a great book, then it's all about the sales. You guys have Dragons' Den, we have Shark Tank here. And what's amazing about that show is these are people or entrepreneurs pitching an idea, and there's an amazing rhythm that happens. They say, “We've got this great idea. It's this sort of company.” And the sharks, or the dragons, will listen. And there's a huge turning point when they reveal sales. They're either really excited about the idea and then they go, “Well, how are the sales?” And the person goes, “Well, we don't have any sales yet.” And they go, “Uh,” and they're not interested. Or they might even be like, “Eh, it doesn't seem like a good idea.” And they're like, “Well, how are the sales?” And they're like, “Oh, well, we've sold through the roof.” And then all of a sudden they perk up. So it's all about the sales. So step one is writing something that you want. Step two is making sure other people in your target audience are also loving it as much as you do. Step three is proving in some way at scale that there's real demand for it. So you could do that with trailers, you could do that with clips, you can do that as an indie publisher. There's all sorts of things that you can do. Humans are much more persuaded by concrete data than they are by just vibes. So if you can bring Hollywood concrete data of any type, like viral videos, like audience, like obviously bestsellers. Awards mean something, but not quite as much as sales. Then you're going to get Hollywood's attention because that reduces risk for them. So even now, when Hollywood's definitely shrinking and contracting, there's still very significant money being spent because it's a huge demand. If you ever walk around a studio lot, those things are opulent places. It's stunning. Like, how are they paying for all this stuff? These lots are enormous. It's because humanity is voracious for stories, and movies are one premium type of storytelling. The demand for stories is steady if not going up. It's just that we have a wider variety of types of stories that we can do, whether we're an indie author. So anyway, did I answer the question? You get me too excited with these questions, Jo. It's a problem. Jo: Yes. I think there's a lot of opportunity and a lot of ways in, but the parallels with being an indie author I think are quite clear. One of the things I found interesting about your profile and what you do is that you help clients who are already accomplished but not quite breaking through, and that sounds like a lot of mid-list indie authors, probably a lot of mid-list screenwriters, mid-list filmmakers. This is a hard place to be because, on the one hand, we are grateful for what we have achieved and what we can do, and yet wanting more, wanting that big Hollywood deal or the Netflix deal, or wanting the massive bestseller or whatever. So if someone wants to get to that next level, what are some of the ways that they can perhaps try and get there? Brooks: It's a great question. Coaching is a really wonderful way to learn anything of this sort of complexity and challenge, especially if it's a hyper-competitive business. We need two things, I think, to write a great novel or screenplay or both. A, we need to feel profoundly safe in our space. If we can't really feel deeply authentic about the things that are embarrassing, or that we feel shame about, or just our shadows, or anything that we don't feel completely comfortable saying and sharing in public usually. We need to be able to touch those things, and be articulate about those things, and that's one part of it. Then we need a concrete path forward. Maybe you're thinking about some tragedy that you had in childhood, and how you dealt with it and how difficult that was. So you need to be able to be real precise in those observations about what it felt like, and how you tried to compensate for it, and that didn't work and it made it worse. Whatever your observations are about your life journey, you need to be really specific and really deeply felt. A good coaching relationship allows you to be in that space, to be really honest with yourself and authentic. g Aood coach will push you back and say, “You know what? That sounds interesting, but maybe not quite as true to you deeply.” So that's one piece of it. Then there's a concrete path forward. You need to have the emotional access to that truth, and then you need to know what to do with that truth in a step-by-step way. Because most people, the ones that you're talking about, they're accomplished in something else. What happens is when we first start writing, and maybe this happens with novelists, but for sure it happens to screenwriters, you just start typing words. But you haven't really thought through the theme, the concept, the structure, the character, all the deeper questions that really matter. The milestones, like a North Star: winning a major award, or getting a publisher. That's the direction that we're heading towards, and then you set it and forget it, but you want to keep checking it every week, every month or whatever. But you want it very specific. “I would like to sell a book, or sell a book to Hollywood, or write a screenplay, or get a producer attached to a screenplay.” Whatever the milestone is, make it really specific, really concrete, and then reverse engineer. This is what I do on the concrete path. I reverse engineer every step to get there, starting with a really tiny one we can do today, and I make sure they feel really safe, and then we just walk through. Then what happens is, if you do that, if you feel safe, if you're showing up authentically and you have a process that's repeatable, not just willy-nilly, it's got to be something that's proven to work. It wasn't an accident I wrote 45 scripts. I've got a whole system. But by the way, the first five scripts took me forever. The last movie that I made took me three years to write that script. I can write a better script with those same elements in three months now, because I know I have a concrete path. So if you want to do something new, whether it's playing the piano or getting six-pack abs or writing a screenplay, work with somebody who's got a system that's already proven, and make sure you relate to them, and then just follow the system. Then when the doubts come up, and they will, that's where the feeling safe is really important. Because, oh, I want the six-pack abs, but I don't feel like going to the gym. I want the extra donut. If I'm working with a really good trainer, they go, “Dude, do you want the six-pack abs or not?” And then you go back and forth, and I go, “Okay, now I can make peace with myself and say I can take one tiny bite of the donut and then still do my workout,” and then I'm moving towards that North Star. Does that make sense? Jo: Yes. I think, like many independents, I resist anything that is systematised. I'm a discovery writer, and I follow the muse, and all of that kind of thing. I think I would say something in a similar vein, which is sustainable creativity for the long term, because your 45 scripts are also years of work, and my books are years of work, and we get better at what we do. So my system, I do have a system really, because— My system is that I do the work, and I write my stories, and I get them out there, and I do the marketing. So even if it's not as systematised as such, it's still a process that I have repeated over and over again. Brooks: That's fascinating to me. Would you consider yourself a pantser? You're like, “I've got an idea,” and you just start writing? Jo: I don't use the word pantser. I guess I call it discovery writing, which is… Brooks: That's a better term. Jo: Yes. What I'm writing for this prize, for example, I know the characters, I know now what's happening. When I had the idea, it was very much a vision and a theme, and the competition has a theme: a positive future with AI and technology. But the things that came around that, I then started playing with ideas around the treatment. I haven't written the screenplay yet. I don't do a plot, or I don't follow Save the Cat or any of that kind of thing. When I write a novel, I just explore and I never write in order. Then at some point I stop and then I have to think about the structure and putting it all together, so the edits are quite big. But my fun is in that discovery, really. Brooks: Oh, that's awesome. Okay, so let me ask, that's really fascinating. And by the way, that doesn't, to me, negate the system that I use. The one that I use is ultimately… the thing is, these questions, the audience is wanting your unique answers to. You don't necessarily need to do it in a certain order. I think that's actually really cool that you write out of order and you have a few elements in mind. All that stuff sounds awesome. The only thing that then makes me curious is, how's your pace? Are you actually completing novels at a pace that feels good, or do you feel like you go too fast, too slow? Jo: I do one or two a year at the moment. Well, two a year, really. But I would say I'm not as successful as I'd like to be, so I'm not saying that my system is the best. I'm saying I want to be better. It's just that my fun is this sort of creative chaos, which I then try and control later. One of the things I really like about screenplays and treatments and doing this kind of thing for film is that it is much more structured, I think, than a 70,000-word novel. You can go in all kinds of directions, whereas with screenwriting you do have to be more disciplined really. Brooks: Yes, so this is going to be fun probably, to hear my view for your audience, and the differences as I see them. For starters, you're talking about what, 10, 20, 30 hours reading a novel sometimes, or maybe less, whereas a movie's a 90-minute experience, right? So that's different. Or if it's a TV series, you might see an hour and then an hour. So that's a very different experience. What happens is when it's condensed like that, you're loading up layers. So every scene is stacked with exposition beneath the drama, and done in a certain way. So specifically, movies are only what you can see and only what you hear. Whereas novels, if you can think it, you can write it, it can be in there. So you don't need to have a plot, but if you want to sell your book to Hollywood, it helps. So I was very resistant about structure. I went to NYU film school, where we really just made short films. It was funny, I had friends that were in the dramatic writing department, and I was like, “You guys are wasting your money. You're just learning to write scripts. We learn to write the scripts and make the movies.” What I hadn't realised is it's a different skill set to hold somebody's attention across an hour-long play, or a 90-minute movie, than it is to make a movie that holds their attention for two minutes or five minutes. I found out years later when I made a feature that was like a lot of shorts patched together, and people were not… They liked it, but they didn't love it. I was like, “Well, what's going on?” And so then I learned to really love Save the Cat in particular. It completely changed me. What happened was, I got a big old slice of humble pie. I had made my second feature, and I put everything I had into it, and it had loose structural beginning, middle, end, blah, blah, blah. But I was still, “Eh, Hollywood BS. What do they know? It's all fake.” So I was very anti-Hollywood structure. Then I was like, now I've got two independent films out there, people saw them, liked them, whatever, but it wasn't getting me consistent work. It wasn't really advancing my career in the way that I wanted. And I was like, “Well, maybe there is something to the Save the Cat.” So I went to the Save the Cat workshop with Blake when he was still alive, and he was delightful, a really awesome guy. He's got this kind of cutesy style, for people that don't know. For context, Blake Snyder was a working Hollywood screenwriter, and he had this system called Save the Cat, which actually has some really interesting ideas. He's got this very light, breezy sort of style. A lot of people don't like him and some people really love him, and everything in between. But I took his weekend seminar, and it completely changed me, because at that point, like I said, I took three years to write a script. Then once he had a process and he had a way of thinking about craft that was just much more screenwriter-friendly, I was like, “Oh my God.” It was so much easier, because I was just focused on the right thing at the right time. So it just sped everything up. After that, I was banging out two to three scripts a year, and better and better quality. So for me, because I went from winging it and wrote five scripts in 13 years, and then wrote two to three scripts every year, I became a huge proponent of system and process. Then my own system really came from that, but it's modular. I have a nine-step system, but you don't necessarily have to go in that order, other than the last three steps, but I won't get into the details. Sometimes you kind of jump from two to three and then back to two and then back and forth. So I love that you get the feel for those elements, and then you just felt your way through. But writing screenplay pages doesn't make sense until you really understand concept, you get a deep sense of beginning, middle, end, character arcs, and these other threads. There are just way better tools for those jobs than screenplay format, because it's a really weird format. It's got these weird slug lines at the top that are all in caps, because a screenplay is a blueprint for somebody else to make the movie. It's not an end-user document like a novel. I don't let my clients even go to that format because it just gets them focused on the wrong things. What they really need to know is, what is your perspective about this theme? What happened in your life that you're fascinated with, that you'd even want to write about this? And tell me what your real life lessons are. So we go into… again, I go back to relationship. What's your relationship to the universe? And what's your relationship to your best friends, or where you got your heart broken, or whatever you want to write about. And then we get that clarity, and then I show you how to express it in terms of developing a screenplay. It's really long-form storytelling, and then the structure just makes it build on itself. But with the structure, because you're talking about so much money and people involved to make it, at least traditionally, what ended up happening was narrative structure that was not so much rigid. Because here's the thing, you can look at 50, 100 years of European cinema and you can look at Hollywood cinema, and Hollywood laps them. When I taught at UCLA Extension, I had lots of foreign students. Let's say there'd be two or three students… if there were 12 people in the class, two or three people would be from America, and everybody else would be from other countries. I would go around, I'd be like, “What movies and TV shows have you been watching?” Almost in every single country, they watch half from their own country, half from Hollywood. So Hollywood storytelling works, that's just the data, and they're dominant. The reason it works is what Aristotle was saying thousands of years ago.. There's a way of thinking about beginning, middle, end that just deeply speaks to the psyche, and you can ignore it if you want. I think Godard said, “You need beginning, middle, and end, but not necessarily in that order,” right? Which is great. Just the way we experience life, there's a beginning, a middle, an end to this podcast interview. There's a beginning, middle, end to the day, a beginning, middle, end to me eating lunch. So if you don't lean into the beginning, middle, end psychological aspect of your story, you're going to bore your reader. But to your point, you don't necessarily have to sort that out in the beginning. It's more efficient probably if you do, but you don't have to. Go into it wherever the muse tells you to go, and then at some point, like you do, then you go, “Okay, now I go back and I edit.” If you're saying there's another level, you have another gear in you, then yes, I'd be curious to slowly go through how you're making those decisions. Because what's happening probably is there are ways you're holding back a little bit. There's maybe something you're afraid of being vulnerable about. That's usually where me or other writers are holding themselves back, and we can take a look at that. There are different ways I show writers to do it. Then you can go, “Oh, I was doing it here, and now I can do it there.” And it could be with process, or just a certain creative choice. With story, it's clear and compelling. Those are the simple things. So, is this clear enough? Is it compelling enough? And there are almost always ways to up-level on any facet, whether it's one sentence, or a sentence that describes the whole concept of the book, or a chapter. Each one of those can be looked at with that lens and we can just say, “Hey, this is 70%, 80%,” whatever, and then we say, “Well, how do we get a little bit more?” And then when you do that enough, it piles up. Then especially if you bring in an audience and people are flipping out for your work, they'll tell you. Jo: Yes, I love a challenge, so thank you for everything you've shared today. So where can people find you and everything you do online? Brooks: Well, one way you can find me—if anything I said seemed helpful for you, if you have questions about Hollywood or you have a screenplay in your heart—you can just email me, brooks@brookselms.com. You could look me up on LinkedIn. I'm at Brooks Elms. I also have a Skool community called Screenwriter Marketing, but it's really for any sort of storyteller, and it talks about my favourite way to engage an audience and get through it. So anybody can jump into that if you like my vibe. If you really think anything I've said, or the way I said it, seems like it could be helpful for you, just reach out. Let me know what you're up to, and maybe there's a way I can help you. Jo: Fantastic. Well, thanks so much for your time, Brooks. That was great. Brooks: You're welcome. It was a total pleasure. It was lots of fun, and I really appreciate you.The post How To Prove The Demand For Your Stories And Get The Attention Of Hollywood With Brooks Elms first appeared on The Creative Penn.

Andy is joined by Jonathan Caplan KC, one of the UK's leading criminal barristers and the author of Not for Disclosure: UFOs, The World's Best-Kept Secret.Drawing on five decades of interest in the subject, Jonathan explains why he believes the UFO phenomenon is real, why governments have kept it hidden and why, in his view, the evidence could meet the criminal standard of proof beyond reasonable doubt.The conversation covers the alleged 1994 craft landing in Russia, Britain's historic relationship with the United States on UFO matters, Five Eyes, Majestic 12, Rendlesham Forest, private defence contractors, intimidation of insiders and the limits of the current disclosure process. Jonathan also explains why he believes the phenomenon may involve several different forms of non-human intelligence, rather than a single extraterrestrial source.A wide-ranging discussion about evidence, secrecy, national security and what governments may still be withholding from the public.Get the book - https://amzn.eu/d/00p8uJdK

We are raiding the Guardian long read archives to bring you some classic pieces from years past, with new introductions from the authors. This week, from 2019: Navigating the roadblocks into Britain gets ever more difficult and expensive, as government hostility leaks into every transaction. By Maya Goodfellow. Read by Lucy Scott. Help support our independent journalism at theguardian.com/longreadpod

Andy Burnham's early promises to end rough sleeping and sort out social care won't surprise anyone who's followed his political career, but his apparent interest in the structures of Whitehall was less expected. To discuss what we know so far about the direction of Britain's new government, James is joined by Stephen Bush of the Financial Times and Sienna Rodgers of the House magazine. They talk through what the exclusions from Burnham's cabinet reveal about his political intentions, and why the tax and spending plans inherited from the last government might push him to call a general election next year. Read more on politics in the LRB: ⁠https://lrb.me/lrbpolitics⁠ From the LRB Subscribe to the LRB: ⁠⁠https://lrb.me/subslrbpod Close Readings podcast: ⁠https://lrb.me/crlrbpod⁠ LRB Audiobooks: ⁠https://lrb.me/audiobookslrbpod⁠ Bags, binders and more at the LRB Store: ⁠https://lrb.me/storelrbpod⁠ Get in touch: podcasts@lrb.co.uk Learn more about your ad choices. Visit megaphone.fm/adchoices

Ten years to the day. Two fans who were at Rexall Place for Edmonton night one tell the story - the presale tricks, the tight circle on stage, and the night the building went to church.Episode SummaryEdmonton, night one. July 28th, 2016. Rexall Place - months before Rogers Place opened its doors - and The Tragically Hip's first of two nights in Oil Country on the Man Machine Poem Tour. Ten years later, Yer Hipstories: Reflections From The Final Tour sits down with Britain from Wainwright and Dave from Edmonton, two fans who were in the building. Amber from Meadow Lake joins long enough to drop the ticket story of the series - her seniors' exercise class watching her land eighth row on the floor through the Tales From The Hip fan club presale, in tears - before the connection gremlins claim her. We hope to hear the rest of it someday.The road to tickets is half the fun. Dave is the lapsed fan brought all the way back - off the bus during the Bob Rock years, pulled in by 'In a World Possessed by the Human Mind', then all in the moment the news about Gord broke: two sets of four from Ticketmaster, first spin. Britain - 40 shows deep - worked the presale, then discovered Ticketmaster would upgrade seats right up to showtime, held his target ticket hostage online while he waited on the phone, and turned row 17 into row 11 centre. Then he drove the 200 kilometres from Wainwright and did it all again two nights later.Inside the building, the panel remembers the band opening in that tight huddle at the front of the stage - a support group, buddies in the garage, there for Gord - before the intermission and the thunderstorm video interlude gave way to the full rock show. The album-by-album set list format gets called a stroke of genius, the In Between Evolution sampler delivers 'Gus: The Polar Bear from Central Park' as a sleeper highlight, and 'Scared' - "pleasure doing business with you" - leaves Britain levitating somewhere above the floor. Dave's word for it: church.There's real talk about saying goodbye - during the show, on August 20th, 2016 when CBC paused its own Olympics for 11 million of us, and not until the Long Time Running documentary made it land. The word this panel keeps coming back to: celebration.The PanelBritain from Wainwright - 40 shows and counting, equidistant from everywhere and willing to drive. Video-recorded the entire night from his seat on a monopod; the footage lives on YouTube under his handle, Britstones, and the audio lives in his iTunes library.Dave from Edmonton - the returning fan who got to say goodbye in the same barn where he saw The Hip as a younger man. Now the commissioner of the great Hip song bracket running daily in the Facebook group - 128 songs enter, one leaves.Timestamps00:00 - Welcome and panel introductions02:00 - Dave: a lapsed fan hears the news and is instantly all in04:44 - Amber's presale: eighth row floor, witnessed by a seniors' exercise class05:58 - Britain's Ticketmaster upgrade trick: row 17 becomes row 11 centre09:20 - Rexall Place over Rogers Place: one last night in the old barn12:25 - The set list: album by album, a stroke of genius15:30 - The In Between Evolution set and 'Gus: The Polar Bear'19:14 - The vibe: celebration, church, and levitating through 'Scared'23:21 - Production: the tight circle, the dark stage, the thunderstorm interlude28:31 - When did you start saying goodbye?33:14 - Encores: the 'Courage' singalong, and 'Flamenco' into 'Ahead by a Century'38:19 - August 20th, 2016: watch parties, basements, and CBC pausing the Olympics43:18 - Long Time Running and the Mansbridge interview44:56 - The catalogue: Bob Rock albums, reissue wish lists, and no duds49:54 - The songs that take them back: 'Gus' and 'Scared'57:44 - Final thoughts: once in a lifetime, for good and sad reasons59:49 - Plugs: Britstones on YouTube and the song bracketResources & ReferencesSetlist and tour-debut data: hat tip to setlist.fm - 'Flamenco' made its tour debut this nightAudience recordings of the tour live at The Tragically Hip ArchiveBritain's five-part video of the show: search Britstones on YouTubeThe Escape Is at Hand origin story (and the Neu! 'Hallogallo' connection) comes from This Is Our Life by Michael BarclayThe documentary discussed is Long Time RunningDave's 128-song Hip bracket runs daily at facebook.com/groups/tthpods - round two is going to be brutalRelated listening: Yer Hipstories - Victoria, July 22 2016Join InThis series is a living audio time capsule, and it only works if the community brings the goods. Were you at a stop on the Man Machine Poem Tour? Share your Hipstory and be part of the record. Want more from the network between episodes? Subscribe to Yer Letter, the monthly newsletter from jD.ClosingHuge thanks to Britain from Wainwright and Dave from Edmonton for taking us back inside Rexall Place - and to Amber from Meadow Lake, who the bandwidth gods took from us far too soon. The takeaway this week is the word the panel refused to let go of: celebration. They did it for us. We got to be there. So there's that.Next up, after a day off: Edmonton Night Two, July 30th, 2016, with a whole new panel. Get after it.ConnectFacebook group: community.tthpods.com | Instagram: @tthpods | YouTube: youtube.com/@tthpods | Email: jd@tthpods.com#TheTragicallyHip #TheHip #GordDownie #ManMachinePoem #InGordWeTrust #YerFavouritesSupport this podcast at — https://redcircle.com/tthtop40/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The great M. John Harrison – ‘The closest thing we have to a present-day Wyndham or Ballard' according to the New Statesman – returns to the shop to present his latest novel The End of Everything. In a post-apocalyptic Britain a beachcomber makes his living collecting artefacts washed up on the Channel shore. But when he comes across a strange, shape-shifting creature he realises he must take it inland, before it destroys everything he knows. The author was in conversation with Julia Armfield, author of Private Rites, Our Wives Under the Sea and Salt Slow. You can buy a copy of The End of Everything from the London Review Bookshop. Learn more about your ad choices. Visit megaphone.fm/adchoices

Your mid-week commentary will be later than usual this week. I have something quite special planned. In the meantime, here is another episode of Money Markets and More. Today, I sit down with former Conservative minister Steve Baker to discuss sound money, inflation, taxation, gold and why he believes Britain's monetary system is fundamentally broken.You can either watch the video above or listen via Spotify, Apple Podcasts etcBefore entering politics, Steve served as an engineering officer in the Royal Air Force before working as an aerospace and software engineer. He later became one of Parliament's leading advocates for free markets, lower taxes and sound money, giving him first-hand insight into how economic policy is made and why he believes Britain continues to repeat the same mistakes.This interview was filmed in

Wildfires in France and Spain are only growing worse by the day. We examine what can be done as a future of more fires, and worse ones, becomes more assured. A dig into data on women at work shows several indicators starting to move in the wrong direction. And the American cities rethinking how to handle their after-dark economies.Guests and host:Oliver Morton, planetary affairs editorVinjeru Mkandawire, Britain correspondentDaniella Raz, US corespondentRosie Blau, co-host of “The Intelligence”Jason Palmer, co-host of “The Intelligence”Topics covered: fires, France, Spain, fire ecologywomen in the workplace, equalityAmerica, night-time economyListen to what matters most, from global politics and business to science and technology—subscribe to The Economist. Hosted on Acast. See acast.com/privacy for more information.

Wildfires in France and Spain are only growing worse by the day. We examine what can be done as a future of more fires, and worse ones, becomes more assured. A dig into data on women at work shows several indicators starting to move in the wrong direction. And the American cities rethinking how to handle their after-dark economies.Guests and host:Oliver Morton, planetary affairs editorVinjeru Mkandawire, Britain correspondentDaniella Raz, US corespondentRosie Blau, co-host of “The Intelligence”Jason Palmer, co-host of “The Intelligence”Topics covered: fires, France, Spain, fire ecologywomen in the workplace, equalityAmerica, night-time economyListen to what matters most, from global politics and business to science and technology—subscribe to The Economist. Hosted on Acast. See acast.com/privacy for more information.

Andrew and Tristan Tate, two major “manosphere” influencers, were recently arrested in Miami and now face charges of rape and sex trafficking in Britain. The White House now says Donald Trump will not intervene in their extradition, a turnaround for two top MAGA figures who are close to Trump's inner circle and helped him win young men in 2024. Worse, many MAGA figures are following Trump and deserting the Tates. Still, MAGA is cracking over this: Tucker Carlson and several other figures are expressing sharp skepticism of the charges, treating the Tates as martyrs and raging at the charges as “politically driven.” As Guardian columnist Moira Donegan and I conclude in this episode, their dissent is significant: It's clearly speaking to a sizable chunk of MAGA that actively lionizes the violent misogyny that the Tates represent. We discuss the deeper causes of MAGA's divisions over the Tates, why the MAGA vision of masculinity is imploding, how Democrats got spooked by 2024 into overreading Trump's successes with young men, and how they can speak to this constituency more effectively. Looking for More from the DSR Network? Click Here: https://linktr.ee/deepstateradio Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to The Times of Israel's Daily Briefing, your 20-minute audio update on what's happening in Israel, the Middle East and the Jewish world. Editor David Horovitz joins host Amanda Borschel-Dan for today's episode. Ahead of Prime Minister Benjamin Netanyahu’s meeting with US President Donald Trump today in the White House, mediators believed they were close to a breakthrough that would revive the memorandum of understanding signed by the US and Iran last month. Reportedly, decisions are to be made following the leaders' meetup. Horovitz explains why resurrecting the MOU is not necessarily a positive step for Israel's aims and discusses other points of friction between the two leaders. Also on hand in Washington, DC, is Ukraine's President Volodymyr Zelenskyy, who recently staged an attack on an Iranian vessel in the Caspian Sea. What could Ukraine's flex mean for the balance of the conflict? Last week, Andy Burnham officially became Britain’s new Labour prime minister, raising questions about how he will navigate policy on Israel and rising antisemitism in his country. Horovitz discusses how Burnham came to office, who has so far been appointed to his government and how they may influence UK-Israel relations. And finally, we turn to Israel's upcoming October 27 election and reports last night that a new television poll showed Netanyahu neck and neck with his foremost challenger, former IDF chief Gadi Eisenkot, when respondents were asked who they would choose to lead the country. How do these polls affect public opinion -- and how we report on the run-up to elections? Check out The Times of Israel's ongoing liveblog for more updates. For further reading: Ahead of Netanyahu-Trump meeting, mediators believe US-Iran breakthrough near At odds with Trump on Iran, Netanyahu heads to DC to seek agreement where he still can Where does new UK premier Andy Burnham stand on Israel and antisemitism? UK PM Burnham’s new solicitor general met with Hamas in 2010 10 clues on how new UK Foreign Secretary Ed Miliband could deal with Israel Poll shows Eisenkot and Netanyahu neck and neck as public’s preferred PM Subscribe to The Times of Israel Daily Briefing on Apple Podcasts, Spotify, YouTube, or wherever you get your podcasts. This episode was produced by Yitzchak Ledee.See omnystudio.com/listener for privacy information.

Welcome to the silliest podcast around. It's headphones filled with custard, it's microphones made of cake, it's stink bombs in the studio. And all because we have one of the nation's silliest sausages in our midst: The Prince of Pranks, the goofiest goofball, Mr Elis James.After all the hijinks and japes it's down to serious chat: Elis and John map out the future of AI, which worryingly ends with us being breastfed by computers…All this, plus Elis meets his Moriarty in the Cymru Connection, in an attempt to connect that means so much more than just improving his stats. John unearths yet another talent in this week's paint-based Made Up Game, and we chat to the man who ran across America 4 times, Rob Pope.Do you want to get involved with Silly Sausage Britain? You can by emailing hello@elisandjohn.com.For lots of exclusive EJJR #content, join our Patreon at patreon.com/elisandjohn.For weekly visual highlights, head to youtube.com/@elisandjohn.For everything else, head to elisandjohn.com.The Elis James and John Robins Show is a Significant Production. Hosted on Acast. See acast.com/privacy for more information.

British officials regarded the Acadian population as a security risk and, on 28 July, Lieutenant-Governor Charles Lawrence and his council resolved that the Acadians should be removed and dispersed among Britain's North American ...

Glenn and Jason discuss the latest regarding Dr. Anthony Fauci as segments of his personal diary have been released, offering a deeper look at the COVID-19 pandemic, his views on President Trump, and what exactly he knew about the origin of COVID-19 and when he knew it. Has Canada completely lost its freedom of speech? Glenn monologues on how the First Amendment in America, which gives absolute protection, unlike the offense-based regulations that exist in Canada and Britain, is essential to our constitutional republic. The biggest housing bill in our nation's history became law two weeks ago, but what does it actually do? Glenn lays out everything the bill does, including limitations on business-house ownership, and what this bill will do to the renting industry. Glenn goes through the importance of property rights as places like China ultimately have total control over even private property. Glenn gives his advice to parents who are struggling to talk to their children about the dangers of socialism. Glenn discusses the breaking news of a terrorist attack in Paris, France, where three women were stabbed, with an alleged Islamic extremist identified as the suspect. Glenn discusses the ignorance of the LGBTQ+ crowd who support Islam despite the religion of Islam being one of the most atrocious toward LGBTQ+ individuals.  Learn more about your ad choices. Visit megaphone.fm/adchoices

For the first time, Spain has issued a state of emergency and tens of thousands of people have been evacuated in France as wildfires rage across western Europe. Also, Britain's National Crime Agency says one of the country's biggest cybersecurity threats is the rise of teenage hackers. And, a look at former Nepalese aid workers who have had to turn to sex work amid the fallout from US aid cuts. Plus, we take a listen to the music of young Algerian guitarist Fati Tiniri Tam. Learn about your ad choices: dovetail.prx.org/ad-choices

Forty years ago today, estate agent Suzy Lamplugh disappeared after leaving her office in Fulham to meet a client known only as 'Mr Kipper'. She has never been seen again. In this special anniversary episode, I revisit one of Britain's most enduring mysteries, examining Suzy's life, the investigation, the suspects, and where the case is at four decades later.In a second episode also released today, I interview former Metropolitan Police Detective Chief Inspector Mike Barley about this case. There is nobody out there more qualified to provide insight than Mike who was one of the first officers involved in the investigation, helping to establish the original incident room at Fulham Police Station within hours of Suzy being reported missing. He remained closely involved with the case for more than 12 years, following countless leads, investigating reported sightings, working with Suzy's family and later focusing on convicted murderer and rapist John Cannan.It's a fascinating interview where Mike shares behind-the-scenes insights into one of Britain's most enduring missing person investigations, including the remarkable story of an afternoon spent interviewing John Cannan in prison, during which Cannan briefly admitted killing Suzy before immediately withdrawing his confession.Mike and co-author Russell Barnes have recently published a new book, Suzy Lamplugh: The Inside Story of Britain's Most Notorious Missing Person Investigation, drawing on Mike's decades of first-hand experience of the case. You can buy the book on Kindle by following the link below.I'll be back as normal on Friday for the next episode of the UK True Crime podcast, so do join me for this episode.Buy Mike's bookhttps://www.amazon.co.uk/dp/B0GX81YK1NSupport me at Patreon:https://www.patreon.com/UKTrueCrimeWatch my YouTube Channelhttps://www.youtube.com/@Adam-uktruecrime/videosGet All The News First - Subscribe To My Newsletterhttps://uktruecrime.comJoin UK True Crime Facebook Grouphttps://www.facebook.com/groups/UKTrueCrime Hosted on Acast. See acast.com/privacy for more information.

To mark today, the 40th anniversary of Suzy Lamplugh's disappearance, last week I sat down last week to chat with former Metropolitan Police Detective Chief Inspector Mike Barley.Mike was one of the first officers involved in the investigation, helping to establish the original incident room at Fulham Police Station within hours of Suzy being reported missing. He remained closely involved with the case for more than 12 years, following countless leads, investigating reported sightings, working with Suzy's family and later focusing on convicted murderer and rapist John Cannan.It's a fascinating interview where Mike shares behind-the-scenes insights into one of Britain's most enduring missing person investigations, including the remarkable story of an afternoon spent interviewing John Cannan in prison, during which Cannan briefly admitted killing Suzy before immediately withdrawing his confession.Mike and co-author Russell Barnes have recently published a new book, Suzy Lamplugh: The Inside Story of Britain's Most Notorious Missing Person Investigation, drawing on Mike's decades of first-hand experience of the case. You can buy the book on Kindle by following the link below.I'll be back as normal on Friday for the next episode of the UK True Crime podcast, so do join me then.Buy Mike's bookhttps://www.amazon.co.uk/dp/B0GX81YK1NSupport me at Patreon:https://www.patreon.com/UKTrueCrimeWatch my YouTube Channelhttps://www.youtube.com/@Adam-uktruecrime/videosGet All The News First - Subscribe To My Newsletterhttps://uktruecrime.comJoin UK True Crime Facebook Grouphttps://www.facebook.com/groups/UKTrueCrime Hosted on Acast. See acast.com/privacy for more information.

The Roman pattern didn't end with Rome. It just kept running at a smaller scale.Everywhere the Western Empire had held together — Hispania, Gaul, North Africa, Italy, Britain — the political form gave out, but the substance didn't disappear. It fragmented, reassembled, and kept running the same three-part pattern at a new scale: money weakens the center, borders get harder to defend, and power drifts from institutions to individuals. That's the kill chain. And every post-Roman kingdom ran it, in slightly different form, over the next three centuries.By 800 AD, a Frankish king was crowned Emperor of the Romans by a pope who was still running what was left of Roman administration. 324 years after the "fall." The empire hadn't come back. It had been transformed — Roman memory fused with post-Roman military and economic power, held together by the Church.This is the finale of the "Life After the Fall of Rome" series. It's the synthesis of every argument the series has made: what actually happens when a civilization ends. And it's the setup for what comes next — because the Roman pattern didn't start with the fall. It started centuries earlier in the Republic. That's where we're going next.CHAPTERS:00:00 The Roman Pattern Didn't End with Rome02:03 Money, Borders, Power: The Three Fault Lines08:32 Visigothic Hispania: Religion as a Political Wall15:06 Frankish Gaul: The Most Successful Adaptation22:27 North Africa: Vandals, Byzantines, and Arabs28:13 Lombard Italy: Decentralization as Survival33:23 Anglo-Saxon Britain: The Frontier That Collapsed First38:21 The Papacy: How the Church Kept the Substance41:13 The Byzantine East: The Roman System That Survived47:38 800 AD: Charlemagne Becomes Emperor of the Romans51:24 The Modern Question: Money, Borders, Power Today1:00:33 Where the Pattern Started: The RepublicSOURCESPeter Heather — The Fall of the Roman Empire (2006) — the argument that barbarian kingdoms were assembled from Roman parts, not opposed to RomeMary Beard — the "lights went out" version of the fall was largely invented by later generationsBrian Ward-Perkins — The Fall of Rome and the End of Civilization (2005) — the archaeological evidence for material collapse, especially in BritainProcopius — History of the Wars — Belisarius's secretary, firsthand witness to the Vandal War and Justinian's Italian campaignsThe Corpus Juris Civilis (Justinian Code, compiled 530s) — the surviving Roman legal framework

This week's guest is John Ware. John is an award-winning investigative journalist with over four decades experience reporting on security, intelligence, and public accountability. He's a former BBC Panorama correspondent who has led major investigations into policing, national security, and state power, including extensive reporting on Northern Ireland. He's here to share the story of two of the most significant informants working for British intelligence during The Troubles in Northern Ireland Connect with John: Check out the book, Neither Confirm Nor Deny, here. https://a.co/d/03hklpTn Connect with Spycraft 101: Get Justin's latest book, Murder, Intrigue, and Conspiracy: Stories from the Cold War and Beyond, here. spycraft101.com IG: @spycraft101 Shop: shop.spycraft101.com Substack: spycraft101.substack.com Patreon: Spycraft 101 Find Justin's first book, Spyshots: Volume One, here. Check out Justin's second book, Covert Arms, here. Download the free eBook, The Clandestine Operative's Sidearm of Choice, here. Kruschiki The best surplus military goods delivered right to your door. Use code SPYCRAFT101 for 10% off! https://kruschiki.com/ Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

The cold-blooded assassination of Jill Dando remains Britain's most haunting cold case. At the peak of her fame, the "Golden Girl" of the BBC was executed on her own doorstep in broad daylight—a crime so clinical it stunned the nation. But was it really the work of a "loner," or was Jill the victim of a professional hitman? In this episode of Andrew Gold | Heretics., investigative expert Matthew Steeples dives deep into the dark theories surrounding Dando's death. From Serbian retaliation and underworld revenge to a secret BBC dossier that might have contained too much truth, we rank the most likely suspects and explore the terrifying vulnerability of public figures. Was the real killer hiding in plain sight? We re-examine the evidence of the modified weapon, the silencer, and the chilling precision of the hit that the police may have completely misread. Chapters 00:00 The Day the BBC Lost Its Golden Girl 01:42 A Terrible New Relevance: The Home Invasion Fear 03:22 The Execution: Why It Was a Professional Hit 05:33 Theory 1: The Serbian Retaliation Connection 06:54 Theory 2: Underworld Revenge & the Crime Watch Enemies 09:10 Why the Initial Investigation Failed 12:56 Theory 3: The Secret BBC Dossier & Jimmy Savile 16:17 The High-Profile Friend: A Darker Secret? 18:57 The Enigma of Barry George: Innocent or Obsessed? 21:23 Why the Modified Weapon Changes Everything 24:55 Is Justice Still Possible 27 Years Later? 36:34 Final Ranking: Who Really Killed Jill Dando? Hashtags #JillDando #TrueCrime #ColdCase #UnsolvedMysteries #AndrewGold #MatthewSteeples #BritishHistory #Documentary #Investigation #BBC Learn more about your ad choices. Visit megaphone.fm/adchoices

Alan Philps profiles A.T. Cholerton, the "grand old man" of Moscow correspondents, who lived in a shambolic apartment and possessed an encyclopedic knowledge of the Soviet experiment. Having witnessed the show trials and purges, he was eventually barred from returning to the USSR after a trip to Britain because he "knew too much" and briefed inexperienced reporters on the grim reality behind the scenes. His translator and mistress, Natalia, paid the price for their association; she was arrested and sentenced to ten years in the Gulag on fabricated espionage charges involving her husband, a factory engineer. Cholerton, fearing that any public statement would further endanger her, remained silenced for the rest of his life. Although Natalia survived her sentence, the two never spoke again to ensure her safety in post-Stalin Russia. Philps notes that under the NKVD, an arrest almost inevitably led to a conviction without a fair trial. (1)1902

Alan Philps examines Ralph Parker, a mysterious correspondent for The Times and The New York Times, and his secretary-turned-wife, Valentina. A central event involves a chaotic press conference regarding the Katyn Forestmassacre, where reporter Harold King tried to physically block Valentina, suspecting she was an NKVD colonel. In the ensuing scuffle, Valentina was thrown through a glass door but stoically recovered to attend the conference. Philps explores whether Parker was a spy for Britain, the Soviets, or both, noting his later career representing Soviet artists. Despite the suspicions that she was a high-ranking agent, Valentina died blind and in extreme poverty in a dilapidated apartment. In a poignant display of Russian generosity, she once gave away her wedding ring to a visitor's daughter because "good gold" was scarce, highlighting her dire circumstances at the end of her life. (2)

Britain has named its seventh Prime Minister in ten years, as self-described socialist Andy Burnham takes the helm following Keir Starmer's exit. What does this leftward pivot mean for the UK's economy, global defense commitments, and its relationship with the United States? Earlier this week on The FOX News Rundown, host Dave Anthony spoke with FOX News Senior Correspondent Benjamin Hall about Burnham's ambitious plans to nationalize key industries, decentralize power away from London, and revive 1970s-style economic models. Benjamin Hall discusses what's behind the socialism's ‘surge' in the UK and the political challenges it faces. He also discusses how Burnham could potentially butt heads with President Trump over foreign conflicts, trade and energy policy. We often must cut interviews short during the week, but we thought you'd like to hear the entire interview. Today on the FOX News Rundown Extra, we share our full interview with FOX News Correspondent Benjamin Hall. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today, Andy Burnham says he would be prepared to call out Donald Trump to defend Britain's "national interest before anything else" if it is the right thing to do, in his first major interview as prime minister.Speaking exclusively to the Laura for the BBC, Burnham said he had had a good first exchange with Trump, finding him to be "really warm".Adam and Laura dissect what the Prime Minister said. You'll be able to hear that interview in full tomorrow in the newscast feed. You can now listen to Newscast on a smart speaker. If you want to listen, just say "Ask BBC Sounds to play Newscast”. It works on most smart speakers.You can join our Newscast online community here: https://bbc.in/newscastdiscordGet in touch with Newscast by emailing newscast@bbc.co.uk or send us a WhatsApp on +44 0330 123 9480.New episodes released every day. If you're in the UK, for more News and Current Affairs podcasts from the BBC, listen on BBC Sounds: https://bbc.in/4guXgXdNewscast brings you daily analysis of the latest political news stories from the BBC. The presenters were Adam Fleming and Laura Kuenssberg. It was made by Chris Gray. The technical producer was Stephen Murphy. The assistant editor is Chris Gray. The senior news editor is Sam Bonham.

In the spring of 1977, schoolchildren in the small Welsh village of Broad Haven saw a silver, cigar-shaped craft land just beyond their school fence. When their headmaster separated each child and asked them to draw what they'd seen, each depiction was nearly identical. What followed was one of the most concentrated waves of UFO sightings ever recorded in Britain, making people wonder – what was going on in the Welsh countryside?   For a full list of sources, please visit: https://sosupernaturalpodcast.com/alien-broad-haven-school-ufo   Did you know you can listen to So Supernatural ad-free? Join the Crime Junkie Fan Club! Visit https://crimejunkiepodcast.com/fanclub/ to view the current membership options and policies. So Supernatural is an Audiochuck and Crime House production. Find us on social! Instagram: @sosupernaturalpod Twitter: @_sosupernatural Facebook: /sosupernaturalpod Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.