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A poem about a map opens North and South, the first collection of the great twentieth century poet Elizabeth Bishop, and since, maps have been associated with her poetic vision—at once telescoping and binocular—and with the polarities and preoccupations of her work. The map's privileged, sweeping, bird's eye view of the earth is also hand-held, man-made, intimate. Depending on its level of minuteness or obsession, it can contain the tiniest details as well as, let's say, the whole enchilada. And though it purports to be scientific and objective, it is representational and therefore subjective, particular, imaginative, and personal. For several episodes, Wes & Erin will be reading a selection of some of Bishop's most anthologized poems, starting with “The Moose” as expressions of, among other things, her map-like imagination. Upcoming Episodes: Nolan’s adaptation of “The Odyssey”; more Elizabeth Bishop poetry: “First Death in Nova Scotia,” “One Art.” Pre-order Erin’s forthcoming book “Avail” here: http://subtextpodcast.com/avail For bonus content, become a paid subscriber at Patreon or directly on the Apple Podcasts app. Patreon subscribers also get early access to ad-free regular episodes. This podcast is part of the Airwave Media podcast network. Visit AirwaveMedia.com to listen and subscribe to other Airwave shows like Good Job, Brain and Big Picture Science. Email advertising@airwavemedia.com to enquire about advertising on the podcast. Follow: Twitter | Facebook | Website Transcript 0:11 Erin: A poem about a map opens north and south, the first collection of the great 20th century poet Elizabeth Bishop. And since maps have been associated with her poetic vision, at once telescoping and binocular, and with the polarities and preoccupations of her work. The map's privileged, sweeping, bird's eye view of the earth is also handheld, man made intimate. Depending on its level of minuteness or obsession, it can contain the tiniest details as well as, let's say, the whole enchilada. And though it purports to be scientific and objective, it is representational and therefore subjective, particular, imaginative and personal. Over the next few episodes, we'll be reading a selection of some of Bishop's most anthologized poems, starting with the moose as expressions of, among other things, her map, like imagination. This is Erin O'Luanaigh. And this is Wes Alwan, and you're listening to Subtext. Wes, have you ever seen a moose in the wild? 1:12 Wes: I have not, but I have seen Instagram videos of them and people getting too close, and I've heard that they actually are quite dangerous. 1:23 Erin: Oh, perfectly harmless. 1:24 Wes: As cute as they look. So not safe as houses. Which is a very surprising line, unless you think that houses maybe aren't as safe as they seem or ought to be. But that's something we'll talk about later. How about you? 1:38 Erin: I have not. And I actually, it's become a running joke among certain friends of mine that I haven't seen a moose because I long to see a moose in the wild. This is my dearest wish. 1:52 Wes: Is that the first time anyone said that in history? I long to see. 1:56 Erin: I don't know. 1:57 Wes: It's a good first line for a poem, actually. Why do you long. Long to see a moose in the wild? 2:03 Erin: Really? Maybe because of the poem. I don't know. I just really want to, but I. Maybe this will become significant without getting too personal or maybe with getting too personal. With apologies to the listeners. Ten years ago now, when my grandfather passed that summer, my grandmother wanted to go up to Maine and revisit certain places that she had been with him. And we ended up going to Acadia. And I was so excited to see. Am just. I got it into my head that I had to go to Acadia and see a moose. And I even bought a sweatshirt. I'm not wearing it right now. I looked down to see if I was wearing it. It's the same size and shape as this one. This is a Yankees, 1996 World Series sweatshirt. 2:42 Wes: It's not a Rocky and Bullwinkle sweatshirt, is it? 2:45 Erin: No, no, no. It's an acadia and it has a. It has a mousse on it. And so I bought it the first day that I was there and I was like, this is my sweatshirt and it has a moose on it. And I'm gonna. I'm gonna see a moose. And I did not see a moose. And then I. I bought a moose sweatshirt in, I think Grand Teton, and I was like, I'm gonna see a moose. And I did not see a moose. And then I lived obviously many years in Utah, and things would happen. Everybody knew I wanted to see a moose. And I would go to these trails where you could see moose. And I would like be going up a trail and someone would be coming down saying, there are moose up there. We just saw a moose. You just saw baby moose. I'd get all upsided and I would. I would run up and it was gone and people would taunt me. 3:32 Wes: So you don't want to see like a magic white heart or something like that? 3:38 Erin: No, no, I just want to see him. Even the garden variety moose? No, no. Just a humble moose will hide itself from me when. When it knows that I am after it. 3:49 Wes: Because they are a goofy, right? Are they majestic? Are they goofy looking? Are they both? 3:55 Erin: I think they're both. And I think that kind of qual quality is really well captured in the poem. No, I mean that quality of if not being then looking safe as houses or being a gargantuan size, and yet having. I know this is a female moose, which I believe is called a cow, as opposed to a bull. Right. But the bulls, even their horns have that hand like quality to them. You know, it looks kind of like an outstretched hand. 4:22 Wes: Interesting. 4:24 Erin: Yeah. They're not majestic. 4:25 Wes: Yeah, I think that's important to the poem. It's not some obviously majestic creature, although it is large and there is majesty in it in the poem, but it's not the typical majesty that you can just get from, oh, look at this beautiful animal. 4:41 Erin: Yeah. And this is kind of why I brought up my grandfather. There was some connection for me as I think there is something quite personal going on with the moose at the end, other than the shared experience of everybody in the bus, all of that. Like there's something bigger than us, more than us, and yet familiar in a way. And it's magical in a sense, because to see it is kind of a rare thing. Yet it also comes out of the landscape that she's that she's grown up in and that she's part of. I think there's a. Yeah. A lot of interesting dualities going on. 5:17 Wes: Okay. So maybe you can read the whole thing and then you could give a little bit. Or we could give a little bit of the biographical background because this is a bus trip she actually took. Right. 5:26 Erin: Yeah. 5:27 Wes: The significance of Nova Scotia, which is where she's departing from in the poem and all of that stuff. But. Yeah. Do you want to start by reading? 5:35 Erin: Sure. The moose from narrow provinces of fish and bread and tea, home of the long tides, where the bay leaves the sea twice a day and takes the herrings long rides where if the river enters or retreats in a wall of brown foam depends on if it meets the bay. Coming in the bay, not at home, where silted red sometimes the sun sets facing a red sea and others veins the flats. Lavender rich mud and burning rivulets. On red gravelly roads, down rows of sugar maples, past clapboard farmhouses and neat clapboard churches, bleached ridged as clam shells, past twin silver birches through late afternoon a bus journeys west, the windshield flashing pink, pink glancing off of metal, brushing the dented flank of blue beat up enamel, down hollows, uprises and waits patient, while a lone traveler gives kisses and embraces to seven relatives and the collie supervises goodbye to the elms, to the farm, to the dog. The bus starts. The light grows richer. The fog shifting, salty, thin, comes closing in. Its cold round crystals form and slide and settle in the white hen's feathers in gray glazed cabbages on the cabbage roses and lupins like apostles. The sweet peas cling to their wet white string on the whitewashed fences. Bumblebees creep inside the foxgloves and evening commences. One stop at Bass river, then the economies, lower middle, upper five islands. Five houses where a woman shakes a tablecloth out after supper. A pale flickering gone the Tantramar marshes and the smell of salt hay. An iron bridge trembles and a loose plank rattles but doesn't give way. On the left a red light swims through the dark. A ship's port lantern. Two rubber boots show illuminated, solemn. A dog gives one bark. A woman climbs in with two market bags. Brisk, freckled, elderly. A grand night. Yes, sir. All the way to Boston. She regards us amicably. Moonlight as we enter the New Brunswick woods. Hairy, scratchy, splintery moonlight and mist caught in them like lamb's wool. On bushes in a pasture the passengers lie back, snores some long sighs. A dreamy divagation begins in the night, a gentle auditory slow hallucination in the creakings and noises, an old conversation not concerning us but recognizable somewhere back in the bus, grandparents, voices uninterruptedly talking in eternity, names being mentioned. Things cleared up finally. What he said, what she said, who got pensioned. Deaths, deaths and sicknesses. The year he remarried, the year something happened, she died in childbirth. That was the son lost when the schooner foundered. He took to drink. Yes, she went to the bad when Amos began to pray, even in the store and finally the family had to put him away. Yes, that peculiar affirmative. Yes, a sharp indrawn breath, half grown, half acceptance. That means life's like that, we know it. Also death talking the way they talked in the old featherbed, peacefully on and on, dim lamplight in the hall, down in the kitchen, the dog tucked in her shawl. Now it's all right now, even to fall asleep, just as on all those nights. Suddenly the bus driver stops with a jolt, turns off his lights. A moose has come out of the impenetrable wood and stands there, looms rather in the middle of the road. It approaches, it sniffs at the bus's hot hood, towering antlerless, high as a church, homely as a house or safe as houses, a man's voice assures us, perfectly harmless. Some of the passengers exclaim in whispers, childishly, softly, sure are big creatures. It's awful plain. Look, it's a she. Taking her time. She looks the bus over, grand, otherworldly. Why. Why do we feel. We all feel the sweet sensation of joy? Curious creatures, says our quiet driver, rolling his Rs. Look at that, would you? Then he shifts gears for a moment longer by craning backward. The moose can be seen on the moonlit McAdam. Then there's a dim smell of moose, an acrid smell of gasoline. 11:05 Wes: Thank you. Very nice. It's really great to hear it spoken out loud. Spoken is the wrong word. It's the word read, performed. Do you want to say anything about the form of the poem before I ask you about some of the autobiographical background? 11:22 Erin: Yeah. Short lines, six line stanzas, 20, I believe. 28 stanzas in all. Irregularly rhymed, should we say? Kind of like a lot of bishop, you know, we get A, B, C. Then sometimes not rhymed where you might expect. So the rhymes peek their heads out and then. And then recede. Chatty a little bit in places, lots of repetitions of words. But that. That's something we could talk about More. But, yeah, kind of. Kind of mysterious form. One of the best things I've ever heard or read, I guess, about Bishop was by Michael Hoffman, who wrote quite a bit about her. And he said that it seems as though every time Bishop is writing, whether in form or in a kind of nonce form that she's creating, that she seems to be just inventing every form, like from scratch. You know, there's no blueprint. She doesn't have a familiar style in which she writes or particular kind of verse form that she seems to gravitate to. And when she writes, you know, a sistina or a villanelle or a sonnet or something like that, it seems like she's almost inventing the form as she goes along. And in this instance, there's a real. I keep wanting to say homemade after Crusoe in England. But, yeah, I think that's maybe what he was trying to get at, that homemade quality, that sort of bespoke kind of quality. And in the places where the rhyme goes in and out, I think that's really exemplified. 12:53 Wes: Well, it better be bespoke. She took forever to write it. 12:55 Erin: Yeah, that's right. She started this in, I think, 1946. 13:01 Wes: And then she finished it when this 13:04 Erin: was published in Geography 3. So she finished it in the 70s. 13:07 Wes: Okay. 13:08 Erin: Geography 3 came out in 1977. And this must have been published before then, individually, perhaps in the New Yorker, I think. Oh, geography three is 76. I would say maybe 72 is the date that comes to mind. Don't quote me on that. 13:24 Wes: Do we know why it took her so long? Obviously, she put it down for a couple days here and there. 13:29 Erin: It was the July 15th issue, 1972. So close to the day that we're recording. Why did it take her so long? She just worked on things forever and ever and ever. You see it, if you read. I highly recommend to listeners that they Get Words in Air. A very, very thick book of all the letters between Bishop and her friend Robert Lowell. You see her bringing up things or even mentioning in a description that she's writing to Lowell in a letter, a line that will later show up in a poem. Yeah. Low rate of productivity is great to. 14:08 Wes: You know, I can relate to that. 14:11 Erin: I take it as my model, honestly. Like, you know, live. Live Large and die with a slim Collected is kind of a. 14:19 Wes: Kind of a great Monroe Doctrine. But call it. What's another name? Bishpro. 14:28 Erin: That's right. 14:29 Wes: Is it right that she was forced to complete it because she agreed to read it this is something for deadlines. Right. At Harvard's Phi Beta Kappa ceremony. 14:38 Erin: I didn't know that. I know she read it at that ceremony, but I didn't know that that's what. The impetus for completing it. But that doesn't surprise me. 14:45 Wes: Yeah. So deadlines help every once in a while. 14:47 Erin: Absolutely, absolutely. 14:49 Wes: And then biographically. Right. This is based on a trip that she actually took, and she. She'd been to visit relatives in Nova Scotia and then came back on this bus trip. And the. There really was a moose. There really was a collie. Seven relatives for the rest of it. Yeah, yeah. Seven else. 15:11 Erin: Yeah, yeah. The specificity and all of it's. You know, there is a kind of like a photo realism, not just in the style, but in the. You know, we could sort of be certain that these things happened the way that she is recording them somehow, and yet she's spinning it into something more than just reportage. 15:30 Wes: So she was raised partly by her grandparents in Great Village, Nova Scotia. Right. Her. Her father had died in infancy and her mother was institutionalized. 15:41 Erin: That's right, yeah. 15:41 Wes: She aged at. When she was 5. 15:43 Erin: That's right. 15:44 Wes: So it's important just because. Yeah. The bus is leaving Nova Scotia, but go. Go ahead. 15:48 Erin: Yeah, it is important. She was born in 1911 in Worcester, Massachusetts, and she's buried there. I've seen her grave up there. It has a line or two lines from the bite on her tombstone. All the untidy activity continues. Awful but cheerful. Yeah. So she was born in 1911. Her father died, I think, of Bright's disease when she was 8 months old. And then her mother was institutionalized when she was 5, and she never saw her again. She didn't die until the 30s, I think, while Bishop was at Vassar. 16:23 Wes: Do we know what she was institutionalized for? Mental illness in general? 16:28 Erin: Yes. I don't know exactly what. In a short story of Bishop's, she describes as her. A scream coming from her mother. And whatever was wrong was exacerbated by her husband's death. And so then Elizabeth was left to be raised by her grandparents in Nova Scotia who were quite poor. And I guess she was kind of running around barefoot on the farm and stuff like that. And her father's family were very wealthy, and so when they came up to visit Elizabeth, they were, I guess, horrified by the fact that she was just like, you know, running around, hanging out with farm animals. And they took her to. Back with him to Worcester, and she was very unhappy there. Very ill child. She had asthma and eczema. And really, like, I think almost died of both at one time or other, very unhappy. And then eventually she moved to an aunt's house in, I want to say, in Revere, Massachusetts, and she was a little happier there. And then she went to Vassar, and I've been to the Vassar campus to see various buildings associated with Bishop and also to see. They did a really fabulous exhibition of her postcards at the Vassar Library a couple of years ago, which I really loved, seeing her hand and her little. In jokes and asides and really amazing to see. Anyway, at Vassar, the librarian there set up a meeting between Bishop and Marianne Moore, who became a mentor to her. They were very close. And then also over the course of her life, she was very close with and had an important friendship with Lowell. Hence the enormous book of letters. I have it here. It's so heavy I could barely pick it up. But this is a great book. It's kind of like an epistolary novel. Yeah. And she was. I think it's important to say, too, that she was a lesbian who had a very long relationship with a Brazilian architect named Lota de Mecedo Soares, who was her partner in Brazil for 15 years. She lived down there, known for travel. A lot of her collections, whether it's Geography three, which is the most obvious one, or north and south, have. There are a lot of Brazilian pumps. There are a lot of geographical poems. The first poem in her first collection, north and south, was the Map, which is often read as a kind of ars poetica. She's known for these types of, you know, sweeping landscapes that the moose begins with, and an interest in landscape and in this kind of bird's eye view. But then also you get these telescoping details, like a cinematic close up interspersed. Much is made of that in Bishop, of that kind of vision of hers, and specifically of, I don't know, the idea that she creates these. These beautiful miniatures, which is true, but maybe sometimes can be a little. I mean, she's revered, as she should be, and she's one of the most popular poets and she also has a great ear and she has so many other great things going on. So I don't want to exclusively focus on that kind of visual element, though it's there and it's very rich. 19:43 Wes: So from narrow provinces of fish and bread and tea. That's a very good opener. Why are they narrow provinces? And what is the. What are the fish and bread and tea doing? Fish and bread sounds vaguely like it could be a biblical reference, but maybe it's not. But you add tea. Right. There's something mundane here and perhaps restricted, provincial. And that's what she's going to be departing from. I mean, well, begins with the tides, but. 20:12 Erin: Yeah, right. Yeah, that's right. Narrow in a few kinds of ways. Because there's a strange. Because of the Bay of Fundy, there's almost that like U shaped corridor of land around it. So Nova Scotia is kind of narrow. And then up into. Then there's the narrow isthmus. I don't know, I don't know if I'm using that word correctly. Up into New Brunswick. Yeah, so there's something maybe a little, I don't want to say spiritually narrow, maybe somewhat limited or like practical. Practical and, you know, just the necessities and a place we learn that that is. That maybe has to be stalwart in response to the vagaries of the water around it. The Bay of Fundy, I was reading online, the tide, over the course of just one tide, can rise and fall 50ft because the bay is like a giant funnel. When it goes out, it just leaves this vast, open, muddy plain basically behind it. 21:16 Wes: She portrays this very beautifully. We get the image of the tide retreating and then the flats that are being illuminated by the setting sun as burning rivulets. And then there's almost a transition into the bus ride when she says on red gravelly roads, eventually the subject of that is going to be the bus. Although in the beginning, before we get to the bus, it looks like the rivulets have almost become roads. So you almost get the sense like the tides come in and it's going to go further inward, it's going to go all the way to Boston, but it's going to become the inhabitants of the bus who are much like the herrings. Right. In the first stanza. The herrings on the tides take herrings on long rides. So it's almost as if as the tide comes in, she is caught in the tide and brought along with it towards her destination. 22:08 Erin: That's right, yeah. And the bay itself, the water itself is also like a traveler, you know, you might go to visit it and find it's not at home, it's gone out for on a trip or something. So there's also that connection as well. Whereas the roads are part of this more solid and dependable and the water being fickle and not always depended on to be there. 22:31 Wes: Well, I was going to say there's something very poignant about the way she describes the tides and whether they're in or out. And I can't put my finger on it exactly. It's almost. It's this idea of. Right. Where if the river enters or retreats in a wall of brown foam depends on if it meets the bay. Coming in the bay, not at home. If the tide is in or coming in the river clashes with it in a wall of brown foam. Is that the idea now? And what's the image there? Is it always a wall of brown foam? Well, either way, I just. Something about this idea of. It depends on whether the bay is at home or something like that. It's a poignant image. 23:12 Erin: It is. It's that sense of just. Of disappointment or just missing someone, like a missed opportunity. Seems kind of surprisingly emotionally resonant, considering that she's talking about a tide. 23:25 Wes: And we. You know, it introduces the idea of home and. Which I think will be significant. And later on we'll talk about whether the moose is safe as houses and the reflections of the elderly and all that stuff. But. 23:40 Erin: And boundaries, too, right. You have very slippery boundary between the bay and the. And the sea, between the rivers and the bay that feeds them. And I think that boundary very much plays into the idea of home. And you could say that the bus seems to be a part of that too. Right. Like the bus becomes the home. So there's a little bit of the slippery idea of this transposition of home life into the bus, or the people on the bus all becoming the. We like a family within it. The way that it can literally cross national boundaries. It's going to Boston across the border. 24:18 Wes: Yeah. And then they'll be observing provincial life, I guess, from within the bus. And. And, you know, a woman shaking out an apron, for instance, or home life. But, yeah, I had the same thought to you. The bus. The interior of the bus becomes its own kind of mobile home, I guess. I guess the wall brown foam part. There's that push and pull, or it's a matter of who's doing the pushing. Right. In one case, the brown foam. The wall of brown foam is caused as. As the river pushes on the retreating tide. And the other case, it's the tide pushing back against the river as it comes in. But in either case, there's a clash there. 24:58 Erin: Then there are places, though, where there's blurring of boundaries. Like one of my favorite lines in the whole poem, the idea of the churches as ridged as clamshells. She always takes that. This is much remarked upon among scholars of Bishop. Where you get the thing that's. That's really big, suddenly reduced in size to the handheld, but coming out of the same idiom. You know, both the clamshell and this clapboard church are in a way equally native to Nova Scotia. The brilliance of connecting those two things and fishing being an industry in the area, you know, sort of springing out of the fishing industry. 25:42 Wes: Yeah. And shells are what's left as the tide retreats. Right. As it's as if the houses are just the natural residue of a retreating tide. 25:52 Erin: That's great. 25:52 Wes: From the beginning of the poem, there's a sense of momentum, and almost like you, at least in my case, I felt like I'm on a camera moving over the landscape, and it starts with the tide, and then it moves to the burning rivulets. Right. So now we're hovering over. I don't know what you would call it, a. A tidal plane. Anyway, she calls it the flats. Right. So all the silt, and we're moving along there, and then suddenly we're on a gravelly road. So the sun takes over from the sea. The redness of the sun. And then the bus takes over from the sun. But that's the momentum of the poem is from sea to sun to bus. 26:37 Erin: Yeah. The bus flashes pink. We get lots of pairs of the same word, creating a kind of chime with each other. So we get the windshield flashing pink. Pink glancing off of metal. And we wonder, I suppose, because part of the reason why the roads are red is because of the clay content. Right. Of the road itself. So we get that combination of, like, something red in the road or in the composition of the soil and rock of the area. 27:07 Wes: Laterite, I think, which I only know because of Graham Green, who I've been reading. Oh, and what heart of the matter. He's talking about laterite houses, like. So from the red clay, you can make, you know, homes from as well, and common in Sierra Leone. So he used the word like a hundred times before he finally looked it up. All right. There must be something that's going to not know what he's talking about. I'm like, oh, okay, now I get it. Yeah. 27:41 Erin: So that's the mineral, the. 27:44 Wes: It's reddish. Yeah. Reddish clay type of soil, topsoil or something like that. I should know more about this because I used to write about this, too, when I was writing about transportation and engineering. 27:56 Erin: Right. 27:57 Wes: It's important what kind of soil you're building on. But anyway, I remember nothing about that. But, yeah. So it could be the right word. Who knows? But. But, yeah. So you're getting at the. Yeah. The way the redness of the sun is interacting with the. 28:12 Erin: Yes, it's coming. 28:13 Wes: The redness of the soil. 28:14 Erin: Yeah. And that kind of redness coming from below and above to glint off of the bus. The windshield is flashing pink from the sun and the metal is flashing pink from the road. They're both brushing the dented flank of the blue beat up enamel from one direction or the other, it seems. Yeah. Sort of tunnel of red in which the. In which the bus is traveling. 28:41 Wes: Such a vivid image that she gives us. It made me think, you know, sometimes it's almost better than film. It's more vibrant or more. Don't know how to say it, but I was thinking about this because in some of the philosophy podcasts we do, there are philosophers who deny that we have imagery in our head. Exactly. Or we can never. Which seems true. Right. We can't imagine anything with the vividness that we would have if we actually saw it. But it makes me think when I read a poem like this, but also. And also reading some of the novels I've been reading. Well, there's a special kind of vividness to figurative language that perception can't capture. In some ways it's more. More vivid, definitely. 29:26 Erin: I think the sonic quality of the word, the repeated. Right. It's on the one hand a repeated image, but then it also creates that kind of just the soundscape, makes them feel somehow more synesthetic to say, but somehow more picturable or more tangible or more. I don't know, the pink glancing off metal, the dented flank beat up enamel. You know, there's just. It's like. I think that's contributing to it, to the vividness of the image. And yeah, you talked about momentum, too. I mean, this entire. This whole first sentence is six stanzas long. It ends with. And Akali supervises. So there's also that kind of. Yeah. Locomotive propulsion of the camera work, so to speak, Zooming in and then following the road into the bus. And then the bus arrives to sort of catch again, quite cinematically the scene that's actually happening or the place where the eye, if there is an eye in the poem, actually is the lone traveler embracing these relatives with the collie watching on. So there's a sense in which the I eye of the poem doesn't actually catch up with the speaker until stanza six and the end of this first sentence until we get goodbye to the elms, to the farm, to the dogs. So there's kind of lamination at that moment of the I eye and the capital I. 30:49 Wes: We seem to be gradually getting more of a point of view. Right. It's very omniscient in the beginning, hovering over the landscape. And I think gradually we're going to be getting a her point of view in the bus and then a we. But also just to note, this is one. I think this is the first of three pauses. Right. There's gonna. It's gonna pause here, the bus. The momentum is gonna stop as the bus lets on the lone traveler, which I presume is her. Right. Her saying goodbye. And then there'll be a pause when the amicable freckled woman gets on. She's there because we need everything to be in threes. And then we. Then we're gonna pause for the moose in the very end. I didn't miss anything. Right. There's not other places where we stop? 31:32 Erin: No. I mean, there are, of course, stanzas that end some more definitively than others and stopped with a period. There's a stop at Bass River. Right. So there is a little bit of that kind of start. Stop syntactically. But I think you're right that those are the stops where there's content. 31:49 Wes: Content goes. 31:50 Erin: Yes. And where there's a very particular. Yeah, the content of the bus, except for the moose obviously doesn't get on the bus. But there's a stop that's motivated, let's say, rather than just being described as various stops along the way where we don't know who got on and who got off or whatever. Certainly there's also a movement toward that more personal experience of the speaker. But then there are also things that the speaker couldn't possibly know or you know, because once she's said goodbye to everyone and gets on the bus, then we also get the sort of nature show close ups. The crystals of fog, the lupins like apostles, the sweet peasants clinging. One of my favorite parts, clinging to their wet white string on the whitewashed fences. Again, we get two uses of white right next to each other. Bumblebees creeping in the foxgloves. All things you really can't see from certainly from a moving bus. 32:43 Wes: Yeah, the point of view gets focused very, very gradually, maybe through the whole palm. Maybe it's not fully focused until the very end, but. Yeah. So you're pointing out something important which is at the sort of omniscient point of view is still here in these very. What do you call it when you take a close up with your phone? Macro, ironically. Yeah. These very close up pictures of flora and fauna and very Beautiful. 33:12 Erin: Yeah. They compound and then they get more and more loaded and mysterious. And just when we're about to maybe go over the edge, we get recalled back a little bit. That's at least how I'm reading, for instance, stanza 12, about the ship's port lantern and the boot and the bark of the dog. And then suddenly a woman climbs on the bus. And so we're sort of stopped from going off into some sort of train of thought that you could follow there down a rabbit hole. But I love that stanza on red light swimming through the dark. It reminds me of the last stanza of disillusionment, of 10 o'. Clock. Do you know the old sailor, drunk and asleep in his boots, catches tigers in red weather? I think that's how it goes, the Stevens bomb, because we get the boots and the red light in the ship, so they're probably. No. No real connection there. 34:07 Wes: So all of these little intricate descriptions that she's giving, right. It begins with the light growing richer, which I take it mean, means we're approaching dusk and evening, or we're in dusk and it's evening is approaching and a kind of mini winter, Right. Something. It's a diurnal cycle, but there's a bit of a parallel to something seasonal. Right. So we get crystals forming and the images like sweet peas clinging and the bumblebees inside foxgloves. As evening commences, it's almost like. I don't know if this is true, but it's almost as if we're getting the response of the animals and flora and fauna to the commencement of evening. That's our first indication of it. So I was surprised to see, okay, it's still light out enough for us to see a woman shaking a tablecloth out after supper. And that is beautifully described as a pale flickering. Right. Almost as if that's something like the light reflecting off the enamel bus, or not pink anymore, but just a flickering of pale light and then gone, I suppose. Does that mean that we're now without light? Is that sort of the way nighttime is ushered in by the end of the next stanza? And it's in the next stanza that we see a red light in the dark. Now we have a ship in the dark. So it's almost as if. Yeah, the shaking of the tablecloth is like a magician. Abracadabra. Now it's nighttime, Right? 35:39 Erin: Yeah. I love that. Yeah. You're making me realize how many connections there are to Keats in this poem. Right. There's something Keatsian about it, very. To Autumn, you get the sweet peas clinging on the fence. You get that image of fecundity things on top of other things. You know, the mossed cottage trees and the late flowers for the bees. And then the shaking out of the tablecloth is like the hair lifted by the winnowing wind. Right. Because there's. There's wind, there are flowers and bees. And then there's also, of course, redness and that image of, you know, like the evening. Autumn. Evening redness. And maybe this is. Yeah. Rows of sugar maples. Those could be red as well. If we're in an autumnal landscape, can't be too late because everything is, you know, it's got to be like August, maybe because we have this. Or. No, I guess maybe not. Gray glazed cabbages. I don't know enough about cabbages to know at what point in their development. 36:40 Wes: Yeah. Whatever season it is. I just think that the evening is almost like a mini winter. It gets colder and we see the. 36:46 Erin: Definitely. 36:47 Wes: We see the effects of it. But, yeah, maybe autumn is probably the logical season for. 36:53 Erin: Right. Yeah. And that point. Or that point in the transition from summer to autumn where, I mean, even on a summer night in Nova Scotia, the evening temperature is quite autumnal regardless. And so when the woman climbs on with the market bags, we get. 37:09 Wes: Shall we take a. Shall we? 37:12 Erin: Oh, yes. 37:13 Wes: Let's let the freckled amicable woman on in part two. 37:17 Erin: She'll have to wait. 37:18 Wes: Let's not let her on the bus yet. 37:20 Erin: You have to wait for everyone else to get off before you can get on. It's one of the cardinal rules of public transportation. Okay, we will continue in part two. Thank you. 37:29 Wes: Thank you.

Auch in der Ferienzeit sind wir für euch da, wenn auch mit eher dünner Newslage. Max meldet sich aus dem italienischen Hinterland mit entsprechend italienischer Internetqualität, ich glühe bei 35 Grad in Deutschland. Zu Beginn gibt es ein kurzern Rant über die Marketing-Eskalation der Frontier Labs, bei der gerade jeder das gefährlichste Modell haben muss.Erstes und durchaus ernstes Thema: Seit Ende Juli gab es wohl koordinierte Angriffe auf über 30 kommunale Wassersysteme in Minnesota, mittlerweile sind daneben mindestens zwölf andere Bundesstaaten betroffen. Einfallstor waren dabei wohl unter anderem internet-exponierte PLCs, teils mit Werkspasswörtern. Die Trinkwasserversorgung war nach Aussagen der offiziellen Stellen nicht gefährdet, mehrere Kommunen sind schlicht auf manuellen Betrieb umgestellt. US-Ermittler halten Iran-nahe Akteure für wahrscheinlich verantwortlich, eine formale Attribution gibt es nicht. Trump hat stattdessen medial Governor Tim Walz verantwortlich gemacht, der wiederum auf die ausgedünnte CISA verweist. Beides greift zu kurz: Wenn PLCs offen im Internet stehen, kann man auch mal die Betreiber an der Nase fassen. Der eigentliche Lichtblick war, dass die manuellen Notfallprozesse scheinbar funktioniert haben.Zweites Thema, dabei deutlich unterhaltsamer: Ein Mann aus Melbourne bat seinen OpenClaw-Agenten mit Claude, ihn in einen beliebten Fitnesskurs einzubuchen. Der Agent fand eine Schwachstelle im Buchungssystem, buchte Kurse Monate im Voraus, und als er nach einer besseren Warteliste-Position gefragt wurde, stornierte er die Reservierung der Person auf Platz eins. Die API hatte keinerlei Autorisierungsprüfung für fremde Buchungen. Niemand hatte dem Agenten gesagt, dass er das nicht tun soll, und Subtext versteht so ein System nicht.Zwölf Bundesstaaten melden Angriffe auf Wassersysteme (CBS News) https://www.cbsnews.com/news/more-states-water-systems-cyberattacks-iran-backed-hackers/CISA Advisory: Iranische Akteure und PLCs https://www.tenable.com/blog/coordinated-cyberattack-on-minnesota-water-utilities-what-you-need-to-knowKI-Agent hackt Fitnessstudio-Buchungssystem (ABC News) https://www.abc.net.au/news/2026-08-10/ai-agent-hacks-gym-booking-system/106051234

Check out Cam's latest novel / audio drama here! Jane Schoenbrun has done something absolutely extraordinary with their latest film, Teenage Sex and Death at Camp Miasma. This is a horror movie by horror fans for horror fans that is also about being a horror fan. The density, the efficiency, the provocation — there is so much to love here, and even more to discuss! This is a fantastic slasher movie just as much as it is a rigorous academic dissection of the slasher genre. It might even end up being our favorite "meta" horror movie ever made. LINKS: Patreon, YouTube, Spotify, Instagram Feedback & Theories: secondbreakfastpod@gmail.com 00:00 VHS Worship 02:00 Fandom vs. Analysis 05:35 Text vs. Subtext 08:52 Fun Factor 11:15 Metatextual Storytelling 15:44 Curiosity in Horror 20:46 Gillian Anderson 23:00 Closing Thoughts

This synopsis of the review for Christopher Nolan's film, The Odyssey, explores the movie through the lens of “meta-script” analysis rather than traditional film criticism.Review Date: July 27, 2026IntroThe speaker provides a follow-up analysis of Christopher Nolan's The Odyssey, explicitly stating that the review ignores cinematography and acting to focus on predictive programming subtext. The goal is to identify how the film serves as a “companion piece” to Nolan's previous work, Oppenheimer, specifically regarding the symbolic framing of nuclear weapons and “prefabricated” history.Bullet Points: Key Topics* The Trojan Horse as an Atomic Metaphor: The film presents the Trojan Horse not just as a gift, but as an analogy for the atomic bomb, with imagery—such as the horse being elevated—paralleling the lifting of the nuclear sphere in Oppenheimer.* Odysseus and Oppenheimer Parallel: Both protagonists are portrayed as brilliant but tortured “meta-scriptors” whose ingenious inventions reshape civilization and leave them haunted by the guilt of their creation.* Consistent Trailer Messaging: The theater experience is described as a “data dump” where seven out of nine trailers (including Godzilla Minus Zero and Whale Fall) utilized nuke-related analogies, Leviathans, or direct references to nuclear engineering.* The Role of Poseidon: The speaker correctly predicted the nuke subtext based solely on the inclusion of Poseidon, whom they interpret as a symbol for a nuclear submarine.* Decompartmentalization of Reality: The review argues that mainstream entertainment is used to “habituate” and “prime” the public for incoming manufactured historical events, creating a secondary timeline of scripted reality.ThemeThe central theme is the transgression of moral and cosmic boundaries. The speaker argues that just as Oppenheimer's bomb dissolved the trust between nations, Odysseus's violation of Zeus's law at Troy—via the “trick” of the horse—represented a calculated annihilation that changed the moral rules of the world forever.7 Key Quotes* “I'm merely looking at it for any sort of predictive programming subtext consistent with that particular director...”* “There does seem to be this deliberate analogy, I was thinking, between Odysseus and Oppenheimer, the Trojan horse and the nuke.”* “It is as though the Trojan horse anticipates the atomic bomb.”* “Odysseus becomes a kind of Oppenheimer. Standing before the consequences of his creation, his guilt is twofold.”* “We're looking at authors or directors and writers whose work is being used to help frame our prefabricated manufactured history.”* “The trailers have all referenced the nuke directly or indirectly, or the associated symbol, which happens to be the Godzilla, Leviathan, or Kraken.”* “This future script, this meta script is what I call it, is a description of future events that will shape the course of our collective history.”SummaryThe review concludes that The Odyssey is a propaganda tool designed to provide emotional and mythological “color” to an incoming, engineered nuclear event. By linking ancient mythology to modern science, the film reinforces a singular objective: to maintain a worldview monopoly where the public is conditioned to accept a scripted future as an inevitable reality. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit infiniteplanesociety.substack.com/subscribe

In this episode, Kyle Torpey, CIO of Subtext, shares insights into the student housing market, including investment strategies, market trends, and operational challenges. Discover how long-term trends and demographic shifts are shaping the future of student housing investments.   Professional Real Estate Investors - How we can help you: Investor Fuel Mastermind:  Learn more about the Investor Fuel Mastermind, including 100% deal financing, massive discounts from vendors and sponsors you're already using, our world class community of over 150 members, and SO much more here: http://www.investorfuel.com/apply   Investor Machine Marketing Partnership:  Are you looking for consistent, high quality lead generation? Investor Machine is America's #1 lead generation service professional investors. Investor Machine provides true 'white glove' support to help you build the perfect marketing plan, then we'll execute it for you…talking and working together on an ongoing basis to help you hit YOUR goals! Learn more here: http://www.investormachine.com   Coaching with Mike Hambright:  Interested in 1 on 1 coaching with Mike Hambright? Mike coaches entrepreneurs looking to level up, build coaching or service based businesses (Mike runs multiple 7 and 8 figure a year businesses), building a coaching program and more. Learn more here: https://investorfuel.com/coachingwithmike   Attend a Vacation/Mastermind Retreat with Mike Hambright: Interested in joining a "mini-mastermind" with Mike and his private clients on an upcoming "Retreat", either at locations like Cabo San Lucas, Napa, Park City ski trip, Yellowstone, or even at Mike's East Texas "Big H Ranch"? Learn more here: http://www.investorfuel.com/retreat   Property Insurance: Join the largest and most investor friendly property insurance provider in 2 minutes. Free to join, and insure all your flips and rentals within minutes! There is NO easier insurance provider on the planet (turn insurance on or off in 1 minute without talking to anyone!), and there's no 15-30% agent mark up through this platform!  Register here: https://myinvestorinsurance.com/   New Real Estate Investors - How we can work together: Investor Fuel Club (Coaching and Deal Partner Community): Looking to kickstart your real estate investing career? Join our one of a kind Coaching Community, Investor Fuel Club, where you'll get trained by some of the best real estate investors in America, and partner with them on deals! You don't need $ for deals…we'll partner with you and hold your hand along the way! Learn More here: http://www.investorfuel.com/club   —--------------------

Ireen Amnes is a multifaceted artist, producer, and DJ recognized for her contributions to the techno and experimental music scenes. She began her musical journey as a singer and instrumentalist in metal bands before transitioning into electronic music In 2015, Ireen founded Under My Feet., a London-based collective and label that has become a hub for provocative exhibitions and showcases blending power electronics with experimental sounds. A decade later, she launched REVERSE at Säule Berghain, a party series dedicated to amplifying women, trans, and non-binary artists and creating uncompromised space for expression within the underground techno scene. Ireen bridges the worlds of experimental, electronic, and techno music as a versatile artist and resident DJ at the iconic Tresor Berlin. Alongside her musical career, Ireen is actively involved in education. With support from organizations such as Polyphase and Subverted, and funding from the Berlin Music Board, she has conducted Ableton workshops specifically designed for women and non-binary individuals, empowering underrepresented communities in electronic music. Her educational initiatives have also extended to institutions like Berklee College of Music and Ramp Music Academy. DJ, producer and composer Chloe Lula is known for her deep, atmospheric and hypnotic sound. Originally trained as a classical cellist, Chloe left the conservatory at 18 when she discovered electronic music, moving to Berlin shortly thereafter to immerse herself in the city's blossoming techno scene. The confluence of these worlds has forged her textural approach to techno and inspired her to return to her instrument. Today, she uses the cello to write full-length ambient, electroacoustic live shows as well as deconstructed tones and timbres that help form the unique character of her releases for the dance floor. Chloe is a resident at Tresor and has played widely across Asia, India, Europe, and North and South America. She has released on Tresor, Mord, Blueprint, Non Series and her own label, Syntax Records. As a composer, she has scored for theater and TV, and her debut instrumental full-length ‘Oneiris' came out on James Ginzburg's Subtext label in November 2024, which she currently tours as a live AV show. Beyond the studio, Chloe curates, hosts and produces interviews for Resident Advisor, and programs the publication's talk programming and workshops at festivals like Atonal, Nuits Sonores, Dekmantel, Unsound, Rewire and many more. Ireen Amnes IG: https://www.instagram.com/ireenamnes/ Chloe Lula IG: https://www.instagram.com/chloe.lula Tracklist via -Spotify: bit.ly/SRonSpotify -Reddit: www.reddit.com/r/Slam_Radio/ -Facebook: bit.ly/SlamRadioGroup Archive on Mixcloud: www.mixcloud.com/slam/   Subscribe to our podcast on -iTunes: apple.co/2RQ1xdh -Amazon Music: amzn.to/2RPYnX3 -Google Podcasts: bit.ly/SRGooglePodcasts -Deezer: bit.ly/SlamRadioDeezer   Keep up with SLAM: https://fanlink.tv/Slam  Keep up with Soma Records: https://linktr.ee/somarecords    For syndication or radio queries: harry@somarecords.com & conor@glowcast.co.uk Slam Radio is produced at www.glowcast.co.uk

Happy Hour 7.15.26 - Bonus Hour: NFL Top 10 Edge Rushers, NFL Top 100 + The Subtext full 5077 Wed, 15 Jul 2026 22:23:01 +0000 lAE5A70hdaoeCrk40Pill9XOOHrAJZlK sports The Firm of Harris and Marang sports Happy Hour 7.15.26 - Bonus Hour: NFL Top 10 Edge Rushers, NFL Top 100 + The Subtext Fast paced and local, giving in depth insights to the Trail Blazers, baseball, college football and the NFL. With the right kind of weird to get Portland through the workday. © 2025 Audacy, Inc. Sports https://pla

In June of 2026, rapper Mystikal pleaded guilty to third-degree rape and was sentenced to 20 years in prison. In this episode, Kendra and Rich talk about what he was initially charged with, his history of sexual assault, and the frustration of repeat offenders being able to plea to lesser charges when charged with sexual assault.enough. is a podcast centering on surviving abuse, harassment, and assault in the music scene. To help spread the word, please like and subscribe and share with your friends. In 2026, we're looking to speak with anyone who has a story to share about their experience with the darker side of the music scene. From avid show-goers to bookers to band members, we've all seen something. If you feel ready to share your story, we'd love to hear from you. Find us on Instagram at enough.podcast, or email us at ⁠⁠⁠⁠⁠thisisenoughpodcast@gmail.com⁠⁠⁠⁠⁠.REFERENCESRapper Mystikal sentenced to 20 years in Louisiana rape caseRapper Mystikal sentenced to 20 years in Louisiana rape caseRapper Mystikal pleads not guilty to rape, drug chargesSexual assault charge dropped against rapper MystikalRapper Mystikal surrenders on rape charge in LouisianaRapper Mystikal sentenced to six years (CNN)Mystikal Indicted on Rape, Kidnapping ChargesSPD: Rapper "Mystikal" one of two sought in alleged sexual assault

At Tangle, we want to be a source of trustworthy news, thought-provoking analysis, and robust community engagement. As part of that commitment, we interact with the community in several forums — the website comment section, our Subtext texting service, our Reddit page, our staff email, and at live events. We also answer reader and listener questions throughout the week in our newsletter and podcast. Every few months, after we've built up a queue of queries from readers and listeners, we dedicate a Friday edition to answering some of your questions and feedback en masse. Today, we're opening up the mailbag to tackle a range of topics, from press accountability, to the true cost of the Iran war, to the Hurricane Helene recovery, to a Texas law mandating Biblical teachings, and much more. We've pulled our whole editorial team together for this one, and identified which member of the staff was responsible for answering each question, though the whole team participated in editing every reply. In the spirit of this edition, let us know your thoughts (and other questions) in the comments. Enjoy!Ad-free podcasts are here!To listen to this podcast ad-free, and to enjoy our subscriber only premium content, go to ReadTangle.com to sign up! You can subscribe to Tangle by clicking here or drop something in our tip jar by clicking here. Our Executive Editor and Founder is Isaac Saul. Our Executive Producer is Jon Lall.This podcast written by: Isaac Saul, Will Kaback, Audrey Moorehead, Russell Nystrom, Isaac Wood, Carina Pacheco, Ari Weitzman and audio engineered and edited by Dewey Thomas. Music for the podcast was produced by Diet 75.Our newsletter is edited by Managing Editor Ari Weitzman, Senior Editor Will Kaback, Lindsey Knuth, Bailey Saul, and Audrey Moorehead. Hosted on Acast. See acast.com/privacy for more information.

On this episode of U in the Ring, Edie answers the age old question: What is SUBtext, anyway? The on-campus consignment store is more than just a place to put your books; it showcases some of the amazing student artists on campus. Hear from creatives that you could pass in the hallways unknowingly about how their identity connects them to their artwork, and the communities that help them to grow confident. You can support the artists in this podcast by going to SubText on the UVic campus, buying their art online, or following them on Instagram:Kishal: @kishallll.Sebastian: @sebs_creations.Arianna: @beading_by_ari.SUBtext: @subtext_uvss.Want more U in the Ring? Follow CFUV and Edie for updates:CFUV: @cfuvmusic.Edie Davies: @mediabyediea.Music from https://cfuv.bandcamp.com/. Peach Pyramid - Wear Sunscreen.Sister Ray - Change. 

Gregg Allman lived inside the central contradiction of American music — a white Southern kid who built his art on the blues, fled his demons while pouring them into song, and emerged as one of rock's most essential voices. Gregg Allman: The Music of My Soul traces that journey from a childhood shattered by his father's murder to the soulful authority the Allman Brothers Band carved out through relentless touring and hard-won survival.Mike talks with director James Keach — whose previous documentary Glen Campbell: I'll Be Me earned an Oscar nomination — and producer Michael Lehman, Allman's longtime manager, about the making of an honest film about a complicated man. They discuss the archival footage, the band's quietly radical racial politics, and the personal losses — Duane's death, the addiction years, the very public marriage to Cher — that gave the music its weight.Gregg Allman: The Music of My Soul opens in theaters June 17, 2026.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth--5513239/support.Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth 

Gregg Allman lived inside the central contradiction of American music — a white Southern kid who built his art on the blues, fled his demons while pouring them into song, and emerged as one of rock's most essential voices. Gregg Allman: The Music of My Soul traces that journey from a childhood shattered by his father's murder to the soulful authority the Allman Brothers Band carved out through relentless touring and hard-won survival.Mike talks with director James Keach — whose previous documentary Glen Campbell: I'll Be Me earned an Oscar nomination — and producer Michael Lehman, Allman's longtime manager, about the making of an honest film about a complicated man. They discuss the archival footage, the band's quietly radical racial politics, and the personal losses — Duane's death, the addiction years, the very public marriage to Cher — that gave the music its weight.Gregg Allman: The Music of My Soul opens in theaters June 17, 2026.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth--5513239/support.Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth 

Folk-punk musician Chris Clavin's Plan-It-X Records helped to launch the careers of many artists and bands well known in the punk and indie music scenes. But allegations in 2017 against Clavin resulted in the shuttering of the label and his willing removal from the scene. Kendra and Rich discuss Clavin's weight in the scene, the outcome of the allegations, and why no one is ever really “cancelled."enough. is a podcast centering on surviving abuse, harassment, and assault in the music scene. To help spread the word, please like and subscribe and share with your friends. In 2026, we're looking to speak with anyone who has a story to share about their experience with the darker side of the music scene. From avid show-goers to bookers to band members, we've all seen something. If you feel ready to share your story, we'd love to hear from you. Find us on Instagram at enough.podcast, or email us at ⁠⁠⁠⁠thisisenoughpodcast@gmail.com⁠⁠⁠⁠.REFERENCESChris Clavin accused of assault, Clavin responds, bands react (Punknews)kimyadawson (Tumblr)Jeffrey Lewis show cut short after he declined to comment on Chris Clavin allegations (Brooklyn Vegan)Whatever happened to Chris Clavin after all the allegations on him came to light?

Listen to learn the emotional impact of revealing secrets vs discovering them. In this episode Stu, Chas and Mel apply the Landmark–Hidden–Secret framework (from DZ-126) across two very different genres: the thriller SIDE EFFECTS (2013) and the tragicomic pilot of SHRINKING. SIDE EFFECTS is a film of two genres. The first half plays as a drama about depression and over-medication; the second half is a 90s thriller. We talk about how every time Dr Jonathan Banks uncovers a new piece of information, it puts him in danger — and that danger motivates him to uncover more. In SHRINKING, we see a different use of the framework. "What are psychologists but detectives of the mind?" Rather than the cost of finding secrets, it's about the cost of sharing them. Chas also comes out of this with a paradigm he's been building toward (but we're keeping what that is secret until you listen!) And inevitably we go on some tangents: whether SIDE EFFECTS should even have been an erotic thriller! As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes. LIKE THIS EPISODE? Discuss with our Patrons on Patreon. Join the discussion on Reddit. Watch and comment on YouTube. Send us feedback. Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily. → Read the transcript for this episode. ——— "Every time Dr Jonathan Banks uncovers a new piece of information, it puts him in danger -- and that danger motivates him to uncover more." — Chas Fisher @ 00:26:04 ——— CHAPTERS 00:00:00 – Cold Open 00:00:16 – Intro: Secrets and Clues 2 - the Cost of Revelation 00:01:03 – Previously on Secrets and Clues (Recap of Part 1) 00:04:24 – Flashforward Insights 00:09:29 – SIDE EFFECTS 00:20:18 – › The First Half: Push and Misdirection 00:28:41 – › Genre Shift: Banks Becomes the Detective 00:48:06 – SHRINKING 01:00:02 – › The Inverted Paradigm: When Everyone Knows 01:07:47 – › The Cost of Sharing 01:22:02 – › Power Through Honest Acknowledgement 01:35:37 – The Key Tool Chas Learned 01:39:28 – Key Learnings & Wrap Up 01:50:48 – Many Thanks to our Patrons! FILMS SIDE EFFECTS (2013) — (w) Scott Z Burns (d) Steven Soderbergh SHOWS SHRINKING 1x1 "Coin Flip" — James Ponsoldt (d), Brett Goldstein, Jason Segel, Bill Lawrence (w) SCRIPTS Study the script: SIDE EFFECTS (2013) — Scott Z Burns LINKS Website: DIY & dragons: Landmark, Hidden, Secret Website: The Alexandrian » Advanced Node-Based Design Website: Ascii Dreams: The Quest for Quests Website: Ascii Dreams: The Quest for Quests EPISODES IN THE SECRETS AND CLUES SERIES DZ-126: Secrets and Clues DZ-127: Secrets and Clues 2 - The Cost of Revelation RELATED EPISODES DZ-90: Setups & Payoffs in EVERYTHING EVERYWHERE ALL AT ONCE ——— More Draft Zero is brought to you by our awesome Patreons. If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser. We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter. Full show notes at: https://draft-zero.com/2026/dz-127/ Download episode: DZ-127.mp3

Greg dives into a surprising pattern that keeps surfacing in Catholic-Protestant conversations: why so many objections to Catholicism quickly circle back to sex, sexuality, and gender. From the intense pushback on Mary's perpetual virginity and clerical celibacy, to contraception, the male-only priesthood, divorce, and the endless cultural tropes about “sexy nuns,” repressed priests, and naughty Catholic schoolgirls, these issues generate unusually visceral reactions. Greg asks the provocative question: Does this fixation tell us more about certain Protestant assumptions about the human body than it does about Catholic teaching? He traces how a quiet but seismic shift during the Reformation—and the cultural currents that followed—created two genuinely different visions of what it means to be embodied, sexual, male-and-female creatures made for communion. The result is a fascinating, charitable look at why these flashpoints keep dominating the conversation and what the Catholic vision of the body actually offers in a world that's more confused than ever about sex, marriage, and human flourishing. SUPPORT THIS SHOW Considering Catholicism is 100% listener-supported. If this podcast has helped you on your journey, please become a patron today! For as little as $5/month you get: • Every regular episode ad-free and organized into topical playlists • Exclusive bonus content (extra Q&As, Deep-Dive courses, live streams, and more) • My deepest gratitude and a growing community of like-minded listeners ➡️ Join now: https://patreon.com/consideringcatholicism (or tap the Patreon link in your podcast app) One-time gift: Donate with PayPal! CONNECT WITH US • Website & contact form: https://consideringcatholicism.com • Email: consideringcatholicism@gmail.com • Leave a comment on Patreon (I read every one!) RATE & REVIEW If you enjoy the show, please leave a rating (and even better, a review) on Apple Podcasts, Spotify, or wherever you listen — it really helps new listeners find us. SHARE THE SHOW Know someone who's curious about Catholicism? Send them a link or share an episode on social media. Thank you! Christus vincit, Christus regnat, Christus imperat.

Brian Morrissey (The Rebooting) joins Matt and Kolby to talk about his three-archetype theory of modern media, why most TBPN streaming-show clones will fail, the real strategic value of SMS, and why aging out of LinkedIn is a bigger flex than flying private.Timestamps: 00:00 Intro 00:06 The 3 Media Archetypes: Artists, Suits, Engineers 05:54 Streaming Media and MTS vs TBPN 08:00 Why Webinars Punch Above Their Weight 12:37 The Power of Parasocial Podcast Connections 16:09 Is Streaming A Fad? Neo-Traditional Media 20:18 The Underpants Gnome Problem With Clips 24:03 Is SMS The New Email? 26:45 The Hardest Part Is Having The Audience 29:51 Brian's Writing Process (No Audience In Mind) 34:36 Smart SMS Use Cases (Events, Subtext) 40:00 Building A Strategic Reserve Of Phone Numbers 42:59 Why SMS Crushes For Webinar Registrations 49:47 NoScroll And Anonymous X Accounts 53:22 Aging Out Of LinkedIn Is The Real Flex 54:05 Where To Find Brian

Kendra and Rich discuss the lo-fi indie and r&b artist D4vd, a rising star whose career has come to a halt over the discovery of 14-year old Celeste Rivas Hernandez's mutilated body inside the trunk of his abandoned Tesla.enough. is a podcast centering on surviving abuse, harassment, and assault in the music scene. To help spread the word, please like and subscribe and share with your friends. In 2026, we're looking to speak with anyone who has a story to share about their experience with the darker side of the music scene. From avid show-goers to bookers to band members, we've all seen something. If you feel ready to share your story, we'd love to hear from you. Find us on Instagram at enough.podcast, or email us at ⁠⁠⁠thisisenoughpodcast@gmail.com⁠⁠⁠.REFERENCES:Questions surround US singer D4vd weeks after teen's body found in his Tesla (BBC)US singer D4vd pleads not guilty to murder in death of missing teen girl (BBC)Girl, 14, found in singer D4vd's car died of 'multiple injuries' (BBC)Singer D4vd arrested on suspicion of murdering teenage girl (BBC)Singer D4vd confirmed as 'target' of investigation into murder of teen (BBC)What we know about the 14-year-old girl singer d4vd is accused of killing (CNN)The girl whom singer d4vd is charged with killing died of ‘multiple penetrating injuries,' autopsy findsD4vd Had ‘Significant Amount' of Child Pornography in iCloud Account, Prosecutors Say (Variety)New Video with Homicide Victim Celeste RivasD4vd murder case: How a 2022 California law could protect the singer's lyrics from a jury (Fox)

This week, authors Anna Mercier and Lyssa Mia Smith discuss everything about subtext. It's the words left unsaid, the hidden agendas that keep us turning the page, the implications that have us hooked on every word.Join the Turning to Story Substack!

Der britische König Charles III. besucht Washington – und bringt Charme, Symbolik und feine Seitenhieben mit in die US-Hauptstadt. Vor den beiden Kongresskammern lässt er im Subtext durchaus Kritik an Trumps Politik anklingen. Kann der König die Spannungen zwischen den USA und Großbritannien entschärfen? Und welche Rolle spielt Deutschland in Trumps neuer Weltordnung? "Amerika-Effekt – Donald Trump und die neue Weltordnung" nimmt jede Woche unter die Lupe, wie die USA – und vor allem Donald Trump – die globale Politik neu vermessen. WELT-USA-Korrespondentin Stefanie Bolzen spricht mit den WELT-Redakteuren Antonia Beckermann und Wim Orth sowie internationalen Korrespondenten über Machtverschiebungen, Allianzen und Konflikte. Ob harte Handelspolitik und neue Zölle, der veränderte Umgang mit NATO-Partnern oder der Druck auf internationale Institutionen – der Podcast zeigt, wie Trumps Kurs bereits konkrete Folgen für Europa, China und den Nahen Osten hat. Analytisch, nah dran und verständlich erklärt, ordnet „Der Amerika-Effekt“ das tägliche Washington-Rauschen ein und macht klar, warum Entscheidungen im Weißen Haus die Welt weit über die USA hinaus verändern. Wenn Euch der Podcast gefällt, dann lasst gerne eine Bewertung für uns da. Feedback gerne auch an usa@welt.de Impressum: https://www.welt.de/services/article7893735/Impressum.html Datenschutz: https://www.welt.de/services/article157550705/Datenschutzerklaerung-WELT-DIGITAL.html

Send us a text! We'd love to hear your thoughts on the show.If you've ever found yourself polishing the first chapter of your novel over and over again while the rest of the story stubbornly refuses to move forward, this episode is going to feel very familiar—and very reassuring.In this conversation, I'm joined by editor, author, and book coach Rebecca Pickens, and we talk about something that doesn't always get as much attention as plot or structure, but might actually matter more than anything else: emotional impact.Rebecca works with a lot of writers on their debut novels, and she sees a very common pattern. Writers learn all the craft tools—story structure, narrative arc, opening hooks, character arcs—and they apply them carefully and thoughtfully. But somewhere along the way, they start to lose touch with the very thing that made them want to write the story in the first place: the emotional heart of the story and the characters they fell in love with.As Rebecca points out, writers often love craft, but readers love characters. Readers remember characters who feel real, complicated, and emotionally alive, even more than they remember perfectly structured plots or beautiful sentences.We talk about how emotional impact often comes from two key tools: interiority and subtext. Interiority is what the character is thinking and feeling inside—the things they don't say out loud. When readers are given access to those private thoughts and feelings, they feel closer to the character and more invested in what happens to them.Subtext, on the other hand, is what's happening beneath the surface of a scene. Instead of telling the reader exactly what a character is feeling, we show it through their behavior, their reactions, and what they don't say. Readers get to connect the dots themselves, and that makes the story more engaging and more emotionally powerful.Rebecca also talks about how emotions become more compelling when they are connected to a character's identity—who they believe they are, what they fear, what they want their life to mean. When conflict threatens a character's identity, the emotional stakes become much higher and the story becomes much more compelling.We also talk about when writers should think about emotional impact—during outlining, drafting, revising, or editing—and why, for many writers, it's actually easier to put all the emotional material into the first draft and then shape it later, rather than trying to add emotional depth after the story is written.Finally, we talk about endings—why writers often get stuck when they reach the end of their manuscript, and why a satisfying ending usually depends less on the final chapter and more on whether the character has truly earned that ending through a believable character arc.Rebecca has also created a free workbook to help writers craft stronger endings, with prompts and checklists you can use to evaluate whether your story is landing the way you want it to. You can download that free workbook here and use it as you revise your ending.This is a thoughtful, practical, and encouraging conversation about how to make readers not just read your story—but feel it.

An essential part of Tangle is engaging with readers — through live events, email exchanges, and now in social channels like Reddit and our new texting platform, Subtext. One of the things we've done since the beginning is answer a reader question in our main newsletter. Over time, we've gotten more questions than we can answer — but many of the questions that haven't made it into the daily newsletter or podcast are still worth answering. So every now and then, we devote a members-only Friday edition to getting to our backlog of reader questions. A lot of these allow us to get into more detail and cover ground we might not cover in the daily newsletter, so we love the opportunity to dig in and go deep. Today, the entire Tangle editorial team is answering questions on everything from whether we've started to lean more left, to how we spot AI-produced content, to what has actually happened to DOGE. It's a wide-ranging, jam-packed, fun edition. Enjoy!Ad-free podcasts are here!To listen to this podcast ad-free, and to enjoy our subscriber only premium content, go to ReadTangle.com to sign up!You can subscribe to Tangle by clicking here or drop something in our tip jar by clicking here. Our Executive Editor and Founder is Isaac Saul. Our Executive Producer is Jon Lall.This podcast was written by: Isaac Saul, Ari Weitzman, Will Kaback, Audrey Moorehead, Lindsey Knuth, Kmele Foster and audio edited and mixed by Dewey Thomas. Music for the podcast was produced by Diet 75.Our newsletter is edited by Managing Editor Ari Weitzman, Senior Editor Will Kaback, Lindsey Knuth, Bailey Saul, and Audrey Moorehead. Hosted on Acast. See acast.com/privacy for more information.

On Wednesday, the Supreme Court heard arguments in Trump v. Barbara, a case challenging President Donald Trump's executive order restricting birthright citizenship. While a majority of justices seemed skeptical of the Trump administration's argument that the order should be upheld, several conservative justices appeared similarly unconvinced by the plaintiffs' case. President Trump attended the arguments, a first for a sitting president, though he left before they concluded. Ad-free podcasts are here!To listen to this podcast ad-free, and to enjoy our subscriber only premium content, go to ReadTangle.com to sign up!Get texts from us.After oral arguments in the birthright citizenship case concluded yesterday, subscribers to Tangle's free SMS messaging service, Subtext, got a first peek at Isaac's analysis of the case. For more instant commentary on the biggest stories, as well as chances to help Tangle choose daily topics and occasional looks behind-the-scenes, join our Subtext channel by clicking here or texting TANGLE to (850) 338-9163.You can read today's podcast⁠ ⁠⁠here⁠⁠⁠, our "The road not taken." ⁠here⁠. story and today's “Have a nice day” story ⁠here⁠.You can subscribe to Tangle by clicking here or drop something in our tip jar by clicking here. Take the survey: How do you think the Supreme Court will rule in this case? Let us know.Our Executive Editor and Founder is Isaac Saul. Our Executive Producer is Jon Lall.This podcast was written by: Isaac Saul and audio edited and mixed by Dewey Thomas. Music for the podcast was produced by Diet 75.Our newsletter is edited by Managing Editor Ari Weitzman, Senior Editor Will Kaback, Lindsey Knuth, Bailey Saul, and Audrey Moorehead. Hosted on Acast. See acast.com/privacy for more information.

In this episode of Subtext, Kendra and Rich dig into the history of former Of Mice and Men and Attack! Attack! frontman Austin Carlile. They discuss his history of leaving / getting kicked out of bands and the multitude of allegations levied against him. They also talk about how Alternative Press Magazine was in the midst of releasing an article covering the allegations and the mystery around the article never getting published. enough. is a podcast centering on surviving abuse, harassment, and assault in the music scene. To help spread the word, please like and subscribe and share with your friends. In 2026, we're looking to speak with anyone who has a story to share about their experience with the darker side of the music scene. From avid show-goers to bookers to band members, we've all seen something. If you feel ready to share your story, we'd love to hear from you. Find us on Instagram at enough.podcast, or email us at ⁠⁠thisisenoughpodcast@gmail.com⁠⁠.REFERENCES:Attack! Attack! [still] hate Austin Carlile (Under The Gun)Of Mice & Men respond to Austin Carlile sexual assault allegations (Metal Hammer)Austin Carlile is not who you all think he is. Wake up. (reddit)Ex-frontman Austin Carlile of OM&M said to be a serial rapist (reddit)Austin Carlile Accused of Rape + Sexual Assault by Multiple Women; Alternative Press Addresses Shelving Investigation (Loudwire)Austin Carlile responds to sexual abuse allegations; read here. (wikiMetal)

In this episode of The Sacred Speaks, host Dr. John W Price sits down with mythologist and storyteller Dr. John Bucher, Executive Director of the Joseph Campbell Foundation, to explore how story functions as a living force that shapes our lives, culture, and sense of meaning. They trace John's early "graduate degree in storytelling" in a small Texas video store, move through themes like the quest to come home, reconciliation with the father, and the "magical orphan," and show how our favorite films reveal the deep mythic patterns we're unconsciously living. The conversation dives into archetypes, subtext, AI as a new cultural story, the loss of shared myths in a hyper-individualized media landscape, and the possibility of a "collective heroic journey" where groups answer a shared call of desperation rather than a single hero saving the day. John also offers very practical tools for "telling a better story" in our own lives, from changing our information diet to small daily rituals that reorient us toward hope, connection, and agency. Key Takeaways: John Bucher: Telling A Better Story Stories and myths are the "operating system" of the human mind, shaping how we make sense of everything from traffic to transcendence. What truly draws us into stories is not plot but theme, like coming home or reconciling with the father. Our favorite movies quietly reveal our core genres, themes, and unresolved psychological material. We are losing shared cultural stories, which contributes to loneliness and fragmentation. Finding a "better story" starts locally: in our media diet, daily practices, and small collective actions. Timestamps (00:00) Meet Mythologist John Bucher (00:58) Housekeeping (03:45) The Storytelling Almanac & Why Story Matters (05:52) East Texas Video Store as a Storytelling School (09:36) Theme Over Plot (Homecoming & Other Motifs) (12:56) Genre as a Mirror (18:27) Cinderella, Hope, and "Telling a Better Story" (20:45) So What Is Story? (23:49) Myth vs History: When Religion Literalizes Story (29:13) Subtext, Symbol, and What's Unsaid (31:56) Stepping Outside Old Stories, Grief, and Trying on New Identities (37:48) Grace, identity & the 'fedora guy' (39:21) AI as a cultural story (41:06) Ritual and the last 'collective story' (42:37) Beyond the Hero's Journey (44:26) What we lose with curated, individualized media (46:09) Addicted to hope: choosing a better collective future (48:43) History & pop culture (51:56) Why stories repeat (54:19) What is an archetype? (58:15) Back to AI: tool vs. threat (01:06:55) Hearing the local call and joining the collective journey (01:10:22) Practical antidotes to despair (01:16:53) Closing gratitude & where to find John's work Connect with John Bucher Website: https://www.tellingabetterstory.com Link hub (books, podcast, etc.): https://linktr.ee/tellingabetterstory X (Twitter): https://x.com/johnkbucher Instagram (personal): https://www.instagram.com/johnkbucher Instagram (Telling a Better Story): https://www.instagram.com/tellingabetterstory Joseph Campbell Foundation profile / team page: https://www.jcf.org/about-joseph-campbell-foundation/team Pacifica Graduate Institute faculty page: https://www.pacifica.edu/faculty/john-bucher "Learning to Tell a Better Story" YouTube interview: https://www.youtube.com/watch?v=uLIOUw4dAB0 Connect with John Price Website: http://www.drjohnwprice.com YouTube: https://www.youtube.com/channel/UCOAuksnpfht1udHWUVEO7Rg Instagram: https://www.instagram.com/thesacredspeaks/ Facebook: https://www.facebook.com/thesacredspeaks/ Brought to you by: https://www.thecenterforhas.com Theme music provided by: http://www.modernnationsmusic.com

On Friday, the Bureau of Labor Statistics (BLS) reported that nonfarm payroll employment decreased by 92,000 in February and unemployment rose from 4.3% to 4.4%. Healthcare, along with leisure and hospitality, accounted for the majority of losses, though the BLS recorded losses in nine of the 14 sectors it tracks. The numbers fell short of economists' expectations, raising concern about the stability of the labor market. Ad-free podcasts are here!To listen to this podcast ad-free, and to enjoy our subscriber only premium content, go to ReadTangle.com to sign up!Did you know?We've got more offerings than just the Tangle newsletter. The daily email is where you get long-form, deeply considered analysis of the day's big issues. But for up-to-the-minute coverage, breaking news, video clips and snap analysis from our team, you should follow our Instagram and sign up for Subtext. Both are completely free and provide two of the best ways to connect personally with the Tangle staff and community. For even more community engagement, check out our Reddit page. You can read today's podcast⁠ ⁠⁠here⁠⁠⁠, our “Under the Radar” story ⁠here and today's “Have a nice day” story ⁠here⁠.You can subscribe to Tangle by clicking here or drop something in our tip jar by clicking here. Take the survey: What do you think the latest jobs report tells us about the U.S. economy? Let us know.Our Executive Editor and Founder is Isaac Saul. Our Executive Producer is Jon Lall.This podcast was written by: Ari Weitzman and audio edited and mixed by Dewey Thomas. Music for the podcast was produced by Diet 75.Our newsletter is edited by Managing Editor Ari Weitzman, Senior Editor Will Kaback, Lindsey Knuth, Bailey Saul, and Audrey Moorehead. Hosted on Acast. See acast.com/privacy for more information.

For over 40 years, Anthony Kiedis and his band, Red Hot Chili Peppers, have been the soundtrack for frat parties and music festivals with their brand of funk influenced alternative rock. However, behind the music is a dark history of sexual assault, drug abuse, and a lack of accountability. In this episode, Kendra and Rich dive into Kiedis' past from his childhood with a drug dealer father, through his sexual battery conviction, and his multiple relationships with women one third his age.enough. is a podcast centering on surviving abuse, harassment, and assault in the music scene. To help spread the word, please like and subscribe and share with your friends. In 2026, we're looking to speak with anyone who has a story to share about their experience with the darker side of the music scene. From avid show-goers to bookers to band members, we've all seen something. If you feel ready to share your story, we'd love to hear from you. Find us on Instagram at enough.podcast, or email us at ⁠thisisenoughpodcast@gmail.com⁠.REFERENCES:Actress Ione Skye claims Red Hot Chili Peppers frontman Anthony Kiedis got her pregnant at 17, paid for abortion (Page Six)Former Music Exec Says She Was Sexually Harassed By 2 Of The Red Hot Chili Peppers (Huffington Post)Singer Anthony Kiedis convicted of sexual battery, indecent exposure (UPI)Good, We're Talking About Anthony Kiedis Now… (Medium)Indecent exposure, underage girls, and sexual battery: The uncomfortable truth about Anthony Kiedis (Far Out)Does Child Abuse and Neglect Increase Risk for Perpetration of Violence Inside and Outside the Home? (NIH)The Medium is the Mayhem (The Washington Post)Anthony Kiedis: The Cycle of Abuse (Delinquent Films via YouTube)Interviewer gets ANGRY at Anthony Kiedis & Flea and ENDS the broadcast (YouTube)

On Sunday, Mexican security forces killed cartel leader Nemesio Oseguera Cervantes — known as “El Mencho” — and multiple others in a military operation assisted by U.S. intelligence in Tapalpa, Jalisco, in Western Mexico. Oseguera was wounded in a violent clash with Mexican special forces and died while being flown to Mexico City. In response to the killing, shootouts, explosions, and over 250 vehicle blockades and arson attacks spread across Jalisco, as well as the nearby states of Michoacán, Guanajuato, Colima, and Tamaulipas. Follow the State of the Union live with Tangle. Tonight, President Donald Trump will deliver the first official State of the Union address of his second term. Tangle will be covering the event live on our social media channels, sharing clips and instant analysis, so be sure to follow us on: InstagramFacebookXBlueSkyNot a social media person? Sign up for our Subtext messaging service to receive a recap at the end of the night. You can sign up here or text TANGLE to (850) 338-9163.Ad-free podcasts are here!To listen to this podcast ad-free, and to enjoy our subscriber only premium content, go to ReadTangle.com to sign up!You can read today's podcast⁠ ⁠⁠here⁠⁠⁠, our “Under the Radar” story ⁠here and today's “Have a nice day” story ⁠here⁠.You can subscribe to Tangle by clicking here or drop something in our tip jar by clicking here. Take the survey: What do you think Mexico's stance against the cartel should be? Let us know.Our Executive Editor and Founder is Isaac Saul. Our Executive Producer is Jon Lall.This podcast was written by: Will Kaback and audio edited and mixed by Dewey Thomas. Music for the podcast was produced by Diet 75.Our newsletter is edited by Managing Editor Ari Weitzman, Senior Editor Will Kaback, Lindsey Knuth, Bailey Saul, and Audrey Moorehead. Hosted on Acast. See acast.com/privacy for more information.

On this episode of Buckeye Talk, Stephen Means, Stefan Krajisnik, and Andrew Gillis take questions from Subtext subscribers on a range of topics. Thanks for listening to Buckeye Talk and sign up to get text messages from experts Stephen Means, Stefan Krajisnik and Andrew Gillis at 614-350-3315. Get the insider analysis, have your voice heard on the Buckeye Talk podcast and connect with the best Buckeye community out there. Learn more about your ad choices. Visit megaphone.fm/adchoices

On January 14, the Trump administration announced the start of “phase two” of the ceasefire agreement between Israel and Hamas in Gaza. White House Special Envoy Steve Witkoff said the second phase will transition from “ceasefire to demilitarization, technocratic governance, and reconstruction.” On Thursday, President Donald Trump formally launched the Gaza “Board of Peace,” initially presented as a transitional body to oversee Gaza's reconstruction. However, the board's charter has since been expanded to cover a broader mandate for peace globally, raising questions about how it will interact with the United Nations (UN). Ad-free podcasts are here!To listen to this podcast ad-free, and to enjoy our subscriber only premium content, go to ReadTangle.com to sign up!Want to get texts from Tangle?Since October, over 13,000 Tangle readers have joined us on Subtext, our free SMS messaging service that lets us connect directly with readers. Subtext subscribers can weigh in on our coverage through topic polls, receive analysis on developing stories straight from Isaac, and get occasional peeks behind the scenes at Tangle's operations. You can sign up for Subtext here!(Note: Subtext is currently only available for subscribers based in the U.S. and Canada.)You can read today's podcast⁠ ⁠⁠here⁠⁠⁠, our “Under the Radar” story ⁠here and today's “Have a nice day” story ⁠here⁠.You can subscribe to Tangle by clicking here or drop something in our tip jar by clicking here. Take the survey: What do you think about the prospect of peace in Gaza? Let us know.Our Executive Editor and Founder is Isaac Saul. Our Executive Producer is Jon Lall.This podcast was written by: Isaac Saul and audio edited and mixed by Dewey Thomas. Music for the podcast was produced by Diet 75.Our newsletter is edited by Managing Editor Ari Weitzman, Senior Editor Will Kaback, Lindsey Knuth, Bailey Saul, and Audrey Moorehead. Hosted on Acast. See acast.com/privacy for more information.

On Saturday, U.S. Customs and Border Patrol (CBP) shot and killed a 37-year-old man in Minneapolis, Minnesota, following an altercation with federal agents. Earlier this month, an Immigration and Customs Enforcement (ICE) officer shot and killed Renee Good, 37, in her vehicle in a Minneapolis neighborhood, setting off large-scale protests. The latest shooting led to renewed calls from state officials for President Donald Trump to pull federal immigration enforcement agents out of the state. Ad-free podcasts are here!To listen to this podcast ad-free, and to enjoy our subscriber only premium content, go to ReadTangle.com to sign up!Want to get texts from Tangle?Since October, over 13,000 Tangle readers have joined us on Subtext, our free SMS messaging service that lets us connect directly with readers. Subtext subscribers can weigh in on our coverage through topic polls, receive analysis on developing stories straight from Isaac, and get occasional peeks behind the scenes at Tangle's operations. You can sign up for Subtext here!(Note: Subtext is currently only available for subscribers based in the U.S. and Canada.)You can read today's podcast⁠ ⁠⁠here⁠⁠⁠, our “Under the Radar” story ⁠here and today's “Have a nice day” story ⁠here⁠.You can subscribe to Tangle by clicking here or drop something in our tip jar by clicking here. Take the survey: What do you think of the latest DHS shooting in Minnesota? Let us know.Our Executive Editor and Founder is Isaac Saul. Our Executive Producer is Jon Lall.This podcast was written by: Isaac Saul and audio edited and mixed by Dewey Thomas. Music for the podcast was produced by Diet 75.Our newsletter is edited by Managing Editor Ari Weitzman, Senior Editor Will Kaback, Lindsey Knuth, Bailey Saul, and Audrey Moorehead. Hosted on Acast. See acast.com/privacy for more information.

On Wednesday, President Donald Trump addresseda gathering of prominent global figures at the World Economic Forum (WEF) in Davos, Switzerland. The conference comes amid rising tensions between Europe and the United States over Trump's efforts to acquire Greenland, and several world leaders gave critical remarks about the U.S. prior to the speech. However, later on Wednesday, Trump said that he discussed a framework of a deal related to Greenland with North Atlantic Treaty Organization (NATO) Secretary General Mark Rutte that gives the U.S. “everything we needed.” Ad-free podcasts are here!To listen to this podcast ad-free, and to enjoy our subscriber only premium content, go to ReadTangle.com to sign up!Want to get texts from Tangle?Since October, over 13,000 Tangle readers have joined us on Subtext, our free SMS messaging service that lets us connect directly with readers. Subtext subscribers can weigh in on our coverage through topic polls, receive analysis on developing stories straight from Isaac, and get occasional peeks behind the scenes at Tangle's operations. You can sign up for Subtext here!(Note: Subtext is currently only available for subscribers based in the U.S. and Canada.)You can read today's podcast⁠ ⁠⁠here⁠⁠⁠, our “Under the Radar” story ⁠here and today's “Have a nice day” story ⁠here⁠.You can subscribe to Tangle by clicking here or drop something in our tip jar by clicking here. Take the survey: What do you think of the speeches from Trump and Carney at Davos? Let us know.Our Executive Editor and Founder is Isaac Saul. Our Executive Producer is Jon Lall.This podcast was written by: Isaac Saul and audio edited and mixed by Dewey Thomas. Music for the podcast was produced by Diet 75.Our newsletter is edited by Managing Editor Ari Weitzman, Senior Editor Will Kaback, Lindsey Knuth, Bailey Saul, and Audrey Moorehead. Hosted on Acast. See acast.com/privacy for more information.

On Thursday, January 15, President Donald Trump announced several proposals to lower health insurance costs, which he called “The Great Healthcare Plan.” The healthcare-reform framework focuses on four broad initiatives: lowering drug prices, lowering insurance premiums, holding big insurance companies accountable, and maximizing price transparency. Although the White House has not announced specific legislative proposals to enact the policy, Trump specified he would seek to make more medications available over the counter, regulate pharmacy benefit managers (PBMs), and require insurance companies to explain their costs in simple and clear language.Ad-free podcasts are here!To listen to this podcast ad-free, and to enjoy our subscriber only premium content, go to ReadTangle.com to sign up!Want to get texts from Tangle?Since October, over 13,000 Tangle readers have joined us on Subtext, our free SMS messaging service that lets us connect directly with readers. Subtext subscribers can weigh in on our coverage through topic polls, receive analysis on developing stories straight from Isaac, and get occasional peeks behind the scenes at Tangle's operations. You can sign up for Subtext here!(Note: Subtext is currently only available for subscribers based in the U.S. and Canada.)You can read today's podcast⁠ ⁠⁠here⁠⁠⁠, our “Under the Radar” story ⁠here and today's “Have a nice day” story ⁠here⁠.You can subscribe to Tangle by clicking here or drop something in our tip jar by clicking here. Take the survey: Which healthcare reforms would you support? Let us know.Our Executive Editor and Founder is Isaac Saul. Our Executive Producer is Jon Lall.This podcast was written by: Will Kaback and audio edited and mixed by Dewey Thomas. Music for the podcast was produced by Diet 75.Our newsletter is edited by Managing Editor Ari Weitzman, Senior Editor Will Kaback, Lindsey Knuth, Bailey Saul, and Audrey Moorehead. Hosted on Acast. See acast.com/privacy for more information.

Want to know your English level? Take our free English-level quiz here to find out what your current English level is.  Do you love All Ears English?  Try our other podcasts here: Business English Podcast: Improve your Business English with 3 episodes per week, featuring Lindsay, Michelle, and Aubrey IELTS Energy Podcast: Learn IELTS from a former Examiner and achieve your Band 7 or higher, featuring Lindsay McMahon and Aubrey Carter with Jessica Beck in previous episodes Visit our website here or https://lnk.to/website-sn If you love this podcast, hit the follow button now so that you don't miss five fresh and fun episodes every single week.  Don't forget to leave us a review wherever you listen to the show. Send your English question or episode topic idea to support@allearsenglish.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

On this episode of Buckeye Talk, Stephen Means and the Subtext subscribers rant about how Ohio State fans feel about the transfer portal. Stephen takes thoughts from the fanbase on how they feel about player departures and the implications of NIL on recruiting strategies. The evolving landscape of college football is examined, highlighting the challenges and opportunities that come with increased parity. Expectations for Ohio State remain high, and the importance of having a solid plan for recruiting and player development is emphasized.  Thanks for listening to Buckeye Talk and sign up to get text messages from experts Stephen Means, Stefan Krajisnik and Andrew Gillis at 614-350-3315. Get the insider analysis, have your voice heard on the Buckeye Talk podcast and connect with the best Buckeye community out there. Learn more about your ad choices. Visit megaphone.fm/adchoices

1150. This week, we look at "impact" as a verb and why it's a pet peeve for so many editors and readers. Then, we look at the linguistic shift between sympathy and empathy, exploring how "sympathy" began to sound patronizing and how "empathy" expanded to fill the gap.Links to Get One Month Free of the Grammar Girl Patreon (different links for different levels)Order of the Snail ($1/month level): https://www.patreon.com/grammargirl/redeem/687E4Order of the Aardvark ($5/month level): https://www.patreon.com/grammargirl/redeem/07205Keeper of the Commas ($10/month level): https://www.patreon.com/grammargirl/redeem/50A0BGuardian of the Grammary ($25/month level): https://www.patreon.com/grammargirl/redeem/949F7

In this episode, I break down the subtext of power and why real power is quiet, not loud. Power usually lives in what is not said, in the signals people feel and read without words. I talk about how dominance is communicated through presence, not performance, and how most communication is nonverbal. When you understand this, you stop trying to look powerful and start actually being it. This is about giving off real signals that come from who you are, not something you fake. Show Notes: [02:35]#1 Power is established without words.  [06:44]#2 Subtext comes from control, not force.  [14:16]#3 People respond to the energy beneath your actions.  [20:00] Recap Next Steps: --- Power Presence is not taught. It is enforced. If you are operating in environments where hesitation costs money, authority, or leverage, the Power Presence Mastermind exists as a controlled setting for discipline, execution, and consequence-based decision-making. Details live here: http://PowerPresenceProtocol.com/Mastermind  This Masterclass is the public record of standards. Private enforcement happens elsewhere. All episodes and the complete archive: → WorkOnYourGamePodcast.com 

1149. This week, we look at the life and legacy of Samuel Johnson, the man behind the 1755 Dictionary of the English Language. We talk with John Overholt, curator at Harvard's Houghton Library, about Johnson's eclectic career. We also look at what it's like to manage a collection of 4,000 rare books and why even the most "unremarkable" items deserve a home in a library.Find John Overholt on Mastodon.Houghton Library's websiteLinks to Get One Month Free of the Grammar Girl Patreon (different links for different levels)Order of the Snail ($1/month level): https://www.patreon.com/grammargirl/redeem/687E4Order of the Aardvark ($5/month level): https://www.patreon.com/grammargirl/redeem/07205Keeper of the Commas ($10/month level): https://www.patreon.com/grammargirl/redeem/50A0BGuardian of the Grammary ($25/month level): https://www.patreon.com/grammargirl/redeem/949F7

1148. This week, we look at penny idioms that are still "legal tender" in our language even as the U.S. penny is retired. We look at the history of phrases like "a bad penny" and "penny wise and pound foolish." Then, we look at the linguistic history of procrastination, explaining how human nature changed words like "soon," "anon," and "presently" from meaning "at once" to "in a little while."The penny segment was written by Karen Lunde, a longtime writer and editor turned web designer and marketing mentor. Solo service business owners come to her for websites where beautiful design meets authentic words that actually build connections. Find her at chanterellemarketingstudio.com.The linguistics of procrastination segment was written by Valerie Fridland, a professor of linguistics at the University of Nevada in Reno and the author of "Like Literally, Dude: Arguing for the Good in Bad English." You can find her at valeriefridland.com.Find a link to the old Tanner Tour brochure mentioned in today's familect story. Links to Get One Month Free of the Grammar Girl Patreon (different links for different levels)Order of the Snail ($1/month level): https://www.patreon.com/grammargirl/redeem/687E4Order of the Aardvark ($5/month level): https://www.patreon.com/grammargirl/redeem/07205Keeper of the Commas ($10/month level): https://www.patreon.com/grammargirl/redeem/50A0BGuardian of the Grammary ($25/month level): https://www.patreon.com/grammargirl/redeem/949F7

1147. In this bonus segment that originally ran in October, we look at the fascinating history of the "new letters" of the alphabet — V, W, X, Y, and Z. Danny Bate explains why T was the original end of the alphabet and how letters were added by the Greeks and Romans. We also look at the origin of the letter Y, which was originally a vowel, and the two historical reasons we call the final letter “zee” or “zed.”Find Danny Bate on his website, Bluesky or on X. Get the book, "Why Q Needs U."Listen to Danny's podcast, "A Language I Love Is..."Links to Get One Month Free of the Grammar Girl Patreon (different links for different levels)Order of the Snail ($1/month level): https://www.patreon.com/grammargirl/redeem/687E4Order of the Aardvark ($5/month level): https://www.patreon.com/grammargirl/redeem/07205Keeper of the Commas ($10/month level): https://www.patreon.com/grammargirl/redeem/50A0BGuardian of the Grammary ($25/month level): https://www.patreon.com/grammargirl/redeem/949F7

1146. This week, we look at the history of Braille, from the tragic accident that inspired Louis Braille's six-dot system to the "War of the Dots"—a decades-long conflict over competing reading standards in the U.S. Then, we look at the origin of the phrase "pitch black," revealing how the intensifier "pitch" refers to an ancient, dark wood tar and how the word traces its roots back to Old English.The braille segment was written by Karen Lunde, a longtime writer and editor turned web designer and marketing mentor. Solo service business owners come to her for websites where beautiful design meets authentic words that actually build connections. Find her at chanterellemarketingstudio.com.The pitch black segment was run by Samantha Enslen who runs Dragonfly Editorial. You can find her online at dragonflyeditorial.com.Links to Get One Month Free of the Grammar Girl Patreon (different links for different levels)Order of the Snail ($1/month level): https://www.patreon.com/grammargirl/redeem/687E4Order of the Aardvark ($5/month level): https://www.patreon.com/grammargirl/redeem/07205Keeper of the Commas ($10/month level): https://www.patreon.com/grammargirl/redeem/50A0BGuardian of the Grammary ($25/month level): https://www.patreon.com/grammargirl/redeem/949F7

1145. In this bonus segment from October, I talk with Ben Zimmer about "hella" and how even yearbook messages can be digitized to help preserve the language record. Ben shares the full story of this slang term, and we also talk about the detective work that led to the OED using Run DMC's use of "drop" in “Spin Magazine” as a citation.Ben Zimmer's website: Benzimmer.comBen Zimmer's social media: Bluesky. Facebook. Links to Get One Month Free of the Grammar Girl Patreon (different links for different levels)Order of the Snail ($1/month level): https://www.patreon.com/grammargirl/redeem/687E4Order of the Aardvark ($5/month level): https://www.patreon.com/grammargirl/redeem/07205Keeper of the Commas ($10/month level): https://www.patreon.com/grammargirl/redeem/50A0BGuardian of the Grammary ($25/month level): https://www.patreon.com/grammargirl/redeem/949F7

1144. This week, we look at the origin of the letter X as the variable for the unknown in algebra. Then, we look at the phrase "how come," explaining why it's more informal than "why" and how its grammar subtly differs from other question words.That X segment was written by Peter Schumer, Professor of Mathematics and Natural Philosophy at Middlebury College, and it originally appeared on The Conversation and appears here through a Creative Commons license.Links to Get One Month Free of the Grammar Girl Patreon (different links for different levels)Order of the Snail ($1/month level): https://www.patreon.com/grammargirl/redeem/687E4Order of the Aardvark ($5/month level): https://www.patreon.com/grammargirl/redeem/07205Keeper of the Commas ($10/month level): https://www.patreon.com/grammargirl/redeem/50A0BGuardian of the Grammary ($25/month level): https://www.patreon.com/grammargirl/redeem/949F7

1143. This week, we look at the 2025 words of the year with Jess Zafarris and Danny Hieber. We look at viral slang like "six seven" and cultural terms like "rage bait" and "fatigued." We also look at the dramatic rise of "slop" to describe low-quality AI content and how words like "parasocial" are changing function.Find Jess Zafarris at UselessEtymology.com, or find her podcast Words Unravelled on YouTube.Find Danny Hieber at LingusiticDiscovery.com or on his Substack.Links to Get One Month Free of the Grammar Girl Patreon (different links for different levels):Order of the Snail ($1/month level): https://www.patreon.com/grammargirl/redeem/687E4Order of the Aardvark ($5/month level): https://www.patreon.com/grammargirl/redeem/07205Keeper of the Commas ($10/month level): https://www.patreon.com/grammargirl/redeem/50A0BGuardian of the Grammary ($25/month level): https://www.patreon.com/grammargirl/redeem/949F7

1142. This week, we look at the history of the phrase "pride and prejudice," which was used frequently before Jane Austen's 1813 novel. Then, we look at whether Parson Brown from “Winter Wonderland” was a real person, and why his name is sometimes replaced with a “circus clown.” Links to Get One Month Free of the Grammar Girl Patreon (different links for different levels)Order of the Snail ($1/month level): https://www.patreon.com/grammargirl/redeem/687E4Order of the Aardvark ($5/month level): https://www.patreon.com/grammargirl/redeem/07205Keeper of the Commas ($10/month level): https://www.patreon.com/grammargirl/redeem/50A0BGuardian of the Grammary ($25/month level): https://www.patreon.com/grammargirl/redeem/949F7

1141. We look at the controversy that caught Stefan Fatsis by surprise when he defined the word "sheeple" for Merriam-Webster, leading to public complaints. We also look at the origin and purpose of the obscure "Backward Index" invented by Webster's Third editor Philip Gove and how quickly Merriam added COVID-related words to the dictionary.Find Stefan Fatsis on his website, Bluesky or Facebook. Get the book, Unabridged.

Erin just published her first book, "Avail," which you can order here: https://www.pauldrybooks.com/products/avail "Avail" features a long prose-poem which titles the book and winds through sections of lineated, often formal poems. The prose-poem comprises a series of lyric meditations on the image of the veil—from religious and cultural veils, to veils imbedded in idiom and metaphor, to veiled women in art and classic films, to veils drawn and parted by illness and death—which slowly divulge the harrowing details of the poet's blood disorder. Throughout, allusions to classic film, literature, and art serve as the "veils" with which the poet attempts to obscure the self-estrangement and vulnerability her illness has induced—insecurities which follow her long after her recovery. In a poem about a break-up set during her career as a jazz singer and against the backdrop of a 1930s screwball comedy, she longs "to shake life by the martini (but stay self- / possessed), to star in the movie of myself / instead of playing second lead." During a visit to Naples, Mt. Vesuvius becomes "a Crawford eyebrow / arched over the bay." And in California, after a trip to the Getty Villa, she recalls Sontag's "missive on allusion, that no part / of any work is new, that all is reproduction." By the end of the collection, O'Luanaigh has fashioned from the sum of these various allusions her own poetic identity, unveiled in the poems themselves.

1139. In this bonus discussion with Martha Barnette back in March, we look at Martha's pivotal twelve-year journey with a polyglot tutor who transformed her understanding of ancient Greek, starting with the etymology of "Oedipus." We also look at her beekeeping adventures, including the unknown-to-me history of the term 'queen bee' and a unique book on spotting them.Martha Barnette's websiteMartha's book, “Friends with Words: Adventures in Languageland”Martha's podcast, "A Way with Words"

This week, in honor of National Cookie Day, we look at the vocabulary split between British and American English, including the differences between a cookie and a biscuit, and the two meanings of "pudding." Then, we look at anthimeria, the advertising trend of turning one part of speech into another, as in the slogan "Together makes progress."The anthimeria segment was by Ben Yagoda,whose books include "Gobsmacked! The British Invasion of American English" and the novel "Alias O. Henry." His podcast is "The Lives They're Living."

In this bonus conversation with Rob Drummond from back in June, he and I get into the fascinating concept of "languaging" — the idea that speaking is an active process we use to constantly shape and project our identities. Rob explains how our "speaking identities" are incredibly fluid, changing based on context, audience, and even the language we're using. Rob Drummond - https://bsky.app/profile/robdrummond.bsky.socialRob's book, "You're All Talk"

1136. This week, we go full Thanksgiving, talking about the origin of butter knives, forks, and more. You'll love all the tidbits you can share with your family or friends during dinner.