Podcasts about Tempest

This week Howie talks about current events and takes viewer questions.Links Shared During the Stream:Howie Hawkins, “Pricey Propaganda Against Ukraine Solidarity,” Tempest, July 2, 2023, https://tempestmag.org/2023/07/pricey-propaganda-against-ukraine-solidarityBill Weinberg, "Podcast: Hasan Piker & the pro-fascist pseudo-left,” May 31, 2026, https://countervortex.org/blog/podcast-hasan-piker-the-pro-fascist-pseudo-leftStreamed on 6/13/26Watch the video at: https://youtube.com/live/Xegt4Atgq-sGreen Socialist Notes is a weekly livestream/podcast hosted by 2020 Green Party/Socialist Party presidential nominee, Howie Hawkins.  Started as a weekly campaign livestream in the spring of 2020, the streams have continued post elections and are now under the umbrella of the Green Socialist Organizing Project, which grew out of the 2020 presidential campaign.  Green Socialist Notes seeks to provide both an independent Green Socialist perspective, as well as link listeners up with opportunities to get involved in building a real people-powered movement in their communities.Green Socialist Notes PodcastEvery Saturday at 3:00 PM EDT on Facebook, YouTube, and Twitch.Every Monday at 7:00 AM EDT on most major podcast outlets.Music by Gumbo le FunqueIntro: She Taught UsOutro: #PowerLoveFreedom

Protestors set fire to bus as disorder flares in Belfast after knife attack, Kemi Badenoch says we should be able to stop & search more - as it saves young black lives, and a baby disrupts Kenneth Branagh's performance of the Tempest.

Last weekend Mickey-Jo headed to the Royal Shakespeare Company in Stratford upon Avon to watch two strikingly different pieces of theatre in one day.These were: The Resistible Rise of Arturo Ui, starring Mark Gatiss, and The Tempest starring Kenneth Branagh.Check out this double bill review to find out what Mickey-Jo thought of these two plays...• 00:00 | introduction01:46 | The Resistible Rise of Arturo Ui 11:10 | The Tempest 23:59 | conclusion About Mickey-Jo:As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠MickeyJoTheatre⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 95,000 subscribers. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows in New York, London, Edinburgh, Hamburg, Toronto, Sao Pãolo, and Paris. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK, Musicals Magazine and LondonTheatre.co.uk. Instagram/TikTok/X: @MickeyJoTheatre Hosted on Acast. See acast.com/privacy for more information.

Send us Fan MailWelcome to Guilders-Ford Radio, a Necromunda podcast broadcasting from the East Gate Docks of Hive Primus (via Guildford Games Club, Surrey, UK).Episode 42 of Guilders-Ford Radio plays host to a reduced team, with Papa Nurgle taking up residency with Gaz, and Rosco lost in deepest darkest Cornwall... we've sent in the Ratskins, but even they can't find him!Dixie and Leigh are joined by Mike from Tempest Terrain to tell us about his amazing Sci-Fi Collection Kickstarter, and his Rapid Fire diceboxes that have proved a great success at Salute, Adepticon and across the Internet.  We get into the specifics of 3D Printing, and lots of ideas for Necromunda-style terrain ideas.If you like what you hear, Mike has very graciously provided a discount for GFR Listeners at the Tempest Terrain webstore - use code ‘GFR10' at checkout.Along with our usual hobby round up, Leigh and Dixie go through the numerous community events that are upcoming, and lament their consistent inability to get hold of tickets.We'd like to take the opportunity to thank all our listeners who have chosen to support us on Patreon & Buzzsprout - your contributions help us make a better show!• Flow • Denny Wright • Stefan Sahlin  • Matt Miler  • Matti Puh  • Nick McVett  •Warhammer in the Dark  •From_Somewhere • Alfonso  • The Traitor • Johnny DeVille • Stephan B • Jeff Nelson • Lankydiceroller • Morskul • Beau  • Justin Clark • Dr.Toe • Mikael Livas • Josh Reynolds • StandStab • ChestDrain • Scott Spieker • Tucker Steel • Shaughn • Stewart Young • Goatincoat  • Jason • Joseph Serrani • Billy  • Phil • Stephen Griffiths  • Søren D • Spruewhisperer • Kevin Fowler • Scott Spieker • Andy Tabor  • TheMichaelNimmo • Tucker Steel  • Dave Shearman  • Shaughn  • Stewart Young •Damien Davis • Wayne Jeffrey   •  Frawgenstein • Matthey Mulcahy   • William Payne •Thomas Laycock • Stephen Livingston • Tyler Anderson • McGobbo • Jed Tearle • Gene Archibald • James Marsden • John Haynes • Ryan Taylor • Yuki van Elzelingen  • Dick Linehan • Rhinoxrifter • Shawn Hall  • Eric McKenzie  • Paul Shaw  • Jenifer • Drew Williams  • Greg Miller • Andy Farrell  • Nate Combrink •  Don Johnson • Michael Yule • Joe Roberts • TheRedWolf • Lukasz Jainski • Aaron Vissers • One Punch Orlock (Tom) • Matt Price • ShnubutsSupport the showHelp us make better content, and download free community resources!www.patreon.com/guildersfordradioAny comments, questions or corrections? We'd love to hear from you! Join the Guilders-Ford Radio community over at;https://linktr.ee/guildersfordradiowww.instagram.com/guildersfordradiowww.facebook.com/guildersfordradioGuildersFordRadio@Gmail.com** Musical Attribution - Socket Rocker by (Freesound - BaDoink) **

Tempest Slinger. Was ever lawyer better named?

What a lot of fun I had talking to Zena Hitz about Gulliver's Travels. As well as discussing Swift, slavery, genocide, rationality, Christianity, and science, Zena told me that good philosophy is like a box of cake mix and that a liberal education requires you to be freed of false expertise. I also took Zena on a detour to discuss Iris Murdoch, the Catherine Project, and modern philosophy. TRANSCRIPTHENRY OLIVER: Today I am talking to Zena Hitz. Zena is a tutor at St. John's College. She is a philosopher, the author of Lost in Thought. She runs the Catherine Project. She's famous on Twitter. We don't know how she does it all. Zena, welcome.ZENA HITZ: Thank you, Henry. It's great to be here.OLIVER: And we're talking about Gulliver's Travels because it is 300 years since it was published, and it's a book that you love.HITZ: A book that I've loved for a long time.First Encounter with Gulliver's TravelsOLIVER: So tell me, when did you first read it?HITZ: Well, it was an important moment for me. I was in high school, and I was admitted to a scholarship summer program which offered college courses at different campuses. There were some normal-looking college courses at normal-looking colleges. And then there was this course at St. John's called Science as Literature, Literature as Science. [laughs] It had this description that was just unbelievable. And I thought to myself, “This is the one, obviously the one to go to.”So I went, and we read books that no one in their right mind would assign to high school students now, and maybe not then. The fragments of Parmenides, Plato's Timaeus, selections from Aristotle's Physics, Gulliver's Travels. After reading a number of—preface to Ptolemy's Almagest, geocentric astronomy. And we read Gulliver's Travels after reading selections from Hooke's Micrographia, so the inventor of the microscope, and Galileo's Starry Messenger, which is one of the great first uses of the telescope to discover the nature of the moon and the satellites of Jupiter.So then we read Gulliver's Travels. We also read Emma and Flannery O'Connor and various other things. And one of the faculty who was running it said at one point, “Well, we thought we'd throw a bunch of things together and see what you could do, what you could make of it. We didn't actually have an idea of how these all fit together,” which I think was probably true.At any rate, I think I came to Gulliver's Travels thinking about these scientists who were looking at very large things and very small things, and thinking in general about the follies of human perception, whether that was shown in literature or philosophy or what have you, the ways in which human perception and knowledge don't work very well. And I think Swift is still one of the best people to—Gulliver's Travels is still one of the best books about that because it's in the mode of a travel diary, an eyewitness account.Gulliver is trained as a surgeon, by his own account. He at one point says he was a bit of a projector in his younger days, someone who undertook scientific projects. And he's a terrible observer, the worst imaginable observer, and Swift so brilliantly lets us see through his eyes, lets us see all the things he doesn't see. And I think it's not just about seeing and knowing. It has a very profound, I think, moral and political set of commitments. So it's a very humane book. It's social criticism, but from a point of view of a very deep humanity. So I've always loved the book for these reasons since then.I came back to it more recently because it is part of the curriculum at St. John's. So when I came back to teach there, I began to reread it. The other experience I had was that I wrote a long essay on it when I was an undergraduate. So those are my—I'm not any kind of expert. My knowledge of the historical context of the book is limited. It's not zero, but it's limited. But I have always loved it as an account of human understanding and its failures and the way that might impact how we live and how happy we can be.The Houyhnhnm ProblemOLIVER: Have you changed how you think about it as you've taught it?HITZ: I have not really changed the way I think about it. It gets more—like all of these books, the more you read them, the more comes out of them, the more details come up. Hilarious. The more jokes you get, the more . . .I think the one more recent insight I had was, I hadn't understood the full horror of the Houyhnhnms in the last book until relatively recently. I think that took me some time to really take on. It's one of the cases where Gulliver's misperceptions are a bit harder to see, and I think many readers just assume that Swift is endorsing the praise of the Houyhnhnms in some sense or other.OLIVER: There are some very serious critics in the past who have called them Swift's ideal beings. Which at this point in history seems unthinkable, but it has been a belief among serious readers.HITZ: Yes, yes. And also common among students. Yes, it's absolutely one of the wrongest opinions you could have about anything, I think.OLIVER: Why does Swift allow us to make that mistake? Are we bad readers out of the context, or has he made too good a job of his diversions and concealments and ironies?HITZ: That's a great question, and I'll just take a stab at it. I think that he has hit on a mode of misperception which is very deep to us, and it's something that we're much more guilty of. We could imagine that if we were in a place where everyone was small or everyone was large, we might make mistakes like Gulliver makes. But we all live, I think, in communities that are a bit like the Houyhnhnms. And so we are all very subject to these kinds of deceptions, and I think that's how he gets us.That's not to really excuse the bad readings because, you know, Gulliver does leave the land of the Houyhnhnms with a boat made out of human skin, which should—I think that moment should make you realize, if you haven't yet, that something is very seriously wrong with Gulliver. Gulliver has been kind of destroyed as a person by his travels, and especially by this last trip. But if you pass over that little detail, maybe you think, “Oh, wow, he found some very simple beings.”OLIVER: Well, there's also the great council where they debate the genocide of the Yahoos.HITZ: [laughs] Yes.OLIVER: And it directly contradicts several things Gulliver has come to believe about the Houyhnhnms, about the Yahoos, and about himself. And he's completely unaware of these contradictions and so in awe of the Houyhnhnms that he doesn't quite understand, I think, that he's accounting a genocide.HITZ: That's right. That's right.OLIVER: Even though he uses a phrase from Genesis that's very unmistakable. It's a sort of remarkable moment of—particularly to us, having had the 20th century. I think that's why Swift came back into favor in a way, because people used to say, Swift's unbearable view of human nature . . .This is a great bit in Boswell's Life of Johnson where, when they're traveling through Scotland, they're with a lady, and she says to Johnson, “Is any man naturally good?” And Johnson says, “No, no more than a wolf.” And Boswell says, “Well, sir, what about ladies?” And Johnson says, “God, no, absolutely not.” And this woman says, “Oh my God, this is worse than Swift,” utterly horrific view of human nature.But of course, we can actually say, did he go far enough? [laughter] I mean, Swift clearly understands something very real and deep. The council of genocide is horrifyingly familiar to us. And I think that's much to Swift's credit that he can see that, and to show that Gulliver would blind himself to it. And people still blind themselves to it, right?HITZ: That's right. And I wonder—you would know more about this than me because it is a bit of a historical question, but my understanding is that quite a lot of the savagery, the worst parts of rule over men that we see in Gulliver's Travels are pictures of Ireland in the 17th, 18th centuries. And I wonder if that took some time to reveal itself to the British, and in some ways it's still not really as known as it might be. We think of the colonial project as being something that was directed at India and Africa—OLIVER: Faraway countries.HITZ: —faraway countries where people looked really different. And we're not as familiar with the kinds of things that were done to the cuddly Irish with their nice music, and who we don't think of as being people that you would savagely oppress like that. So I think—OLIVER: So, I think partly the English are not interested in their own history in the way that they are expected to be. And partly the English interest in Irish history has become very focused on the more recent events. And it's very hard to get back past that. And it all becomes very complicated, and it's a sort of different country. So there's some of that, but I think generally we don't want to know what we did, yes.HITZ: Well, and I think in anglophone countries in general, there's going to be a history of something like that. To attribute it to the British is not to say that—I mean, Americans have chattel slavery and the genocide of the natives, and the Australians have their own situation. All of the anglophone countries have something like this on their conscience.I think that obscures the meaning of that final book. I think we don't recognize—and that's really to Swift's credit, to have a social critique that is so real and so deep that you may not even recognize yourself in the picture.Slavery in Gulliver's TravelsOLIVER: Yes. When I read it again—I read it as an undergraduate, but I really was actually more interested in the other parts of Swift's work. And I thought it was brilliant, and then I read it again. And it was more recently that—I didn't understand how I couldn't have seen it, but it's basically a book about slavery, as I come back to it.And in each of the books there is enslavement of a different sort. So, to begin with, Gulliver is the one being kept in a box or kept in a house, or he's chained up by the Lilliputians or Glumdalclitch.HITZ: Right. That's right.OLIVER: She's a very nice sort of master, as it were, [laughter] but he has that box that can be sealed, and the dwarf has him swiping at the wasps. And then the enslavement that the flying island has of the country below is like England and Ireland. And then in the final book, you know, the Houyhnhnms are whipping the Yahoos.HITZ: That's right.OLIVER: The slavery thing gets worse and worse as the book goes on. And one of the things that's clever is that it's funny when Gulliver is enslaved, right? When the wasps are let out and he has to—and Swift sort of does that clever thing where he undermines things by making it a joke at the end. By the book of the Houyhnhnms, there is really very little humor. And the twist at the end is always dark.Gulliver can't see that—he can see that he's a bit like the Yahoos. But he can't see that they've been enslaved in the way that he—the farmer wanted to take him around the kingdom and show him off, and he says, “I couldn't possibly have had children in that condition because I couldn't have it on my conscience that I had begotten a slave, someone born into slavery. I couldn't do that.”HITZ: Right.OLIVER: Then he's in the Houyhnhnms and he can't—it's quite remarkable.HITZ: [laughs] Yes. I don't think it's quite true that in the end there's no humor. I read it with some Catherine Project group a couple of years ago, and one of the readers pointed out that it's not obvious Gulliver isn't leaving his home and sitting out in the ocean and always landing on England every single time; just every time, he lands there.And there's something hilarious about an Englishman that discovers a place where there's all horses, [laughter] and his love of horses overwhelms him, and he becomes persuaded that they're the only rational beings that there are. I mean, that is funny.OLIVER: Yes, I agree. There's a lot of irony and stuff. But I think it's in Lilliput when he describes their manner of writing. And he says they don't write from left to right as we do in England, or from right to left, or up-down like the Chinese, but from one corner to the other, as the ladies do in England. This is very funny, dry humor, and that sort of thing is gone. And the things that surprise you at the end of a sentence or a paragraph are more like, “Oh, and of course I used Yahoo skin to cover the boat.” And you're like, oh my God, this is not a joke anymore.You know, in A Modest Proposal, he makes real humor out of those kind of horrors. And with the Houyhnhnms, I think he actually refuses the joke to make you feel the disgust, in a way.HITZ: Yes, that might be right. That might be right.Swift and PhilosophyOLIVER: What do you think about the idea that the Houyhnhnms are drawn from the Phaedrus and Socrates's idea of the soul with the two horses? And there's the good, rational horse and the vulgar, passionate horse, and the Yahoos are the other horse. You see what I mean?HITZ: Yes, yes.OLIVER: Is Swift showing us the two sides, and Gulliver's mistake is to prefer the one and not the—HITZ: Right, I think I have heard something like this before. I'm a bit skeptical. Swift doesn't strike me as someone who uses philosophy in quite that way. I think he's much more interested in Gulliver's—the Houyhnhnms' self-deception about the kinds of beings they are. They do not say “the thing which is not,” yet Gulliver's master hides from him this conversation about the genocide for quite some time. And maybe we don't know if he tells him quite the whole truth about it. So there's—OLIVER: And he also conceals the fact that the others don't like Gulliver because he's a partial—a reasonable Yahoo, as it were.HITZ: Right. So their self-deception, Gulliver's being taken in by their self-deception, the ways in which they—this is one of the ways that I think it's profound about the nature of slavery. And to cheer us all up, I'll make a Holocaust analogy, as you also did.When I was traveling in Germany some years ago, in one of their Holocaust museums, there was an image from a Nazi-era German newspaper of Jewish people living in complete squalor in the ghetto. And of course, they had forced them into squalor. But somehow they forced them into squalor, and then this reinforces the sense that they're these rat-like beings.And there's something very similar that the Houyhnhnms do to the Yahoos. They force them into this animal state, and then they say, “Oh God, look, these people are disgusting. They just don't know how to act.” That seems to me the kind of level at which Swift is working. He is interested in the nature of a human being, but not in the abstract Platonic sense, I don't think.He strikes me as someone who believes in common sense, common decency, basic freedom, and basic use of reason. And he finds in his time that there's distorting teachings, distorting ways of behavior that have gotten people far off track. To me, that's what it feels like it comes from. It doesn't feel like Plato is in the background to me.OLIVER: Is there an extent to which, though, it's a work of sort of anti-philosophy? As you say, Swift, he likes common sense. He likes ordinary reason, and he likes what he would call the revealed truth of Christianity. So he talks, in his sermons about people, it comes to you from God like a light. It's revealed to you. And he doesn't like this idea that the philosophers can work it all out.And in a way, that's the same sort of mistake that the scientists think they can discover all this stuff, and they go in these crazy ways. And the Houyhnhnms are a bit like that. If you had philosopher-kings, they would end up being perverted examples of rationality because they're ignoring the—so do you think it's anti-philosophy in a way? The book is saying, “No, no, I don't want philosophers”?Criticizing Elite Intellectual CultureHITZ: That's definitely a plausible reading. But it's hard to tell whether it's anti-philosophy or anti a particular style of thinking. It's worth pointing out, in that light, that Gulliver, when he arrives in the land of the Houyhnhnms, before he even meets a horse, he sees a Yahoo who, from what I can tell from the text, is trying to wave at him and say hello, who recognizes him. And he's horrified. He sees him instantly as a monster.So I think immediately upon landing, he sees the Yahoos as monstrous, and that tells me that he must already be off kilter. So he's not just corrupted by the Houyhnhnms; he's been somehow led off track, away from the capacity to recognize fellow human beings before that.And he's come from this—the third book is all about various kinds of inquiry, scientific endeavors, practical endeavors, talking to the greats of the past, necromancy, and various kinds of inquiry into wisdom or things like wisdom. And somehow that's the thing that seems to push him to the point where he can no longer tell what a human being is.OLIVER: One of my favorite parts is when he's with the wizards, and he asks to be shown Homer and Aristotle and all their commentators. And he says that there were vast rooms full of these commentators, endless numbers of them. But Homer and Aristotle didn't recognize any of them because they were all so ashamed of the terrible things they'd said about these great men's works that they kept themselves forever in a different part of the underworld. They couldn't bear the shame of being revealed to having told lies and said second-rate things.It's very, very funny. And I think that's another sort of angle on which the book says, “You're so tempted to make a comment and have an idea and be a philosopher, and you should just accept the revealed truth of what is known. Just stop it. Just stop it.” [laughter]HITZ: Well, I suppose maybe I would also put it this way, that Swift sees the condition of 18th-century Ireland, which is quite poor, very bad. And it's ruled in a savage way by the English, who have a quite flourishing intellectual culture, as it happens, at this time.So I think what he might be is not a critic of philosophy so much as a critic of intellectual culture. Because intellectual culture seems to not only not help with existential concerns like slavery and oppression and savage poverty, but even serves to mask and hide and create illusions behind it.So that's, I guess, how it strikes me, as a book that's hostile to what you'd now call elite intellectual culture. And I don't know how fundamental that critique is, in light of its inability to solve problems for real human beings or to obscure the causes of what's going on with real human beings.OLIVER: I think it's quite fundamental because outside of Gulliver's—I think this comes into Gulliver's Travels, but what he might have said more explicitly elsewhere is, there are people starving in the streets of Dublin. And we've got corrupt politicians and intellectuals saying all these things, but you know, here she is starving. You don't need to work that out. [laughter] There's no question—the reveal—just be a Christian and, like, for goodness' sake . . .HITZ: Yes.OLIVER: And when, for example, he talks to the king of Brobdingnag, and there's that wonderful satire of the English government and everything. And he says, “Those people understood mathematics and poetry and whatever, but I could never drive into their head any sense of the abstract or any of these speculative—they simply didn't know what that was. They didn't know what I was saying.” [laughter]And so in a way, his ideal government is anti-philosophical because it would just look at the human problem in front of it. It wouldn't do speculative science. It wouldn't think of itself as rational, all this Platonic stuff. It would just—she's in rags, she has bare feet, you know?HITZ: Yes, that's right.OLIVER: What do we need a philosopher-king? Like, what are you talking about?HITZ: Exactly.OLIVER: The priest understands this because he's there in the city doing it. And is there something of that in the book, that constant resistance of the cleverness of people who cannot see daily life?HITZ: I think that's absolutely true, and I think it's probably one of the things I love about the book, because I think this somehow gets to something in my own heart. Even though I'm a professional intellectual—I have been my whole life—the distance between the concerns of professional intellectuals and the concerns of living, real people in various parts of the world is very large.And it's even worse when, as it was when I was coming up in grad school, there's a ton of explicit concern and various operations underway to improve life for others, which have zero connection with anything that anyone actually does. So I think the Laputans, which is the beginning of the third book, when Gulliver—OLIVER: The flying island.HITZ: Yes, when Gulliver visits the people on the flying island, who have one eye towards the heavens and one eye pointed inward. And they study music and mathematics, and they live in a giant flying saucer, which has the—OLIVER: And the flappers.HITZ: That's right. [laughter] When someone needs to talk to them, someone flaps their ears so that they pay attention. And their wives all run off with working people because they can't bear to be treated the way they are by men like this. And the flying saucer is not just distant. It also has the power to crush the towns underneath it if it judges them to be rebellious.This image will stick with you for the rest of your life. I mean, it's absolutely perfect, and the perfect image of bad government of a kind when intellectual culture is prized. And it's hinted early on in the book in Lilliput, when the rulers in Lilliput have to do these elaborate dances with ropes.OLIVER: Oh, with the king and the chief minister hold the pole, funny angles, and if you get under it, you get a green ribbon or a red ribbon.HITZ: Exactly. [laughter] And they have these athletic contests of grace and various colored ribbons, and that determine how far you get in the halls of power.OLIVER: Yes. Are you a cabinet minister or a junior minister? Yes, yes.HITZ: Exactly. So there, it's all just a funny joke. But it develops, I think, into the Laputans, people who have kinds of expertise that are actually hostile to them doing any kind of humane governing. So yes, that seems right to me.Christianity in GulliverOLIVER: To what extent is it a Christian book?HITZ: That's an interesting question. I've never found a strong Christian element in it myself. There are satires of religious wars, both in Lilliput, where Lilliput's at war with its neighboring city. Oh, wait a second, there's two different disputes in Lilliput. One is about what side you cut your egg on.OLIVER: There are the Little-Endians and the Big-Endians,HITZ: Right. And then there's also one about heel size. So there's two different kinds of disputes.OLIVER: With the marvelous image that the king is a Short-Heeler. But they think that the heir to the throne might be favorable to the High-Heelers because he has one heel slightly higher than the other, and he walks with a wobbly gait.HITZ: [laughs] That's right. This, again, in Lilliput is just utterly hilarious, outrageous, very silly, obviously a parody of religious wars between different kinds of Christians. But it resurfaces towards the end. It's the Houyhnhnms, where he talks to the Master Horse—OLIVER: And the horse sort of pretends to this great rationality, simply can't understand that men would kill each other over the question of whether flesh is bread or bread is flesh.HITZ: That's right. That's right. That's right. So there's definitely disparaging remarks about religious wars. And as you're talking about it, where along with Swift's praise of common sense, there's a kind of basic Christian morality, which is that the poor and the suffering need attention. That all strikes me as Christian. Apart from that, I'm not sure. If you have a religious take, I'd be interested to hear it.OLIVER: I find it very interesting that Swift had quite strict beliefs. He was not in favor of Catholics. He thought Dissenters should be tolerated, but he wanted the Test Act. He was very particular about all these things. And in his other works, he's quite direct about that. But in this book, he achieves a kind of high ambivalence. And he's not a Little-Ender or a Big-Ender.HITZ: That's right.OLIVER: And he says the religious text on which this is based simply says that you must break the egg at the most convenient end.HITZ: [laughs] That's right.OLIVER: Now, of course, in reality, he's a Little-Ender, and he's very committed to the Reformation, and he thinks it's all terrible that they're not. And it's interesting that someone with such angry, insistent beliefs on the Anglican Church would take this ambivalent position.And he satirizes so much. But the anti-slavery stuff, the description of the Laputans bringing the island down, and then he says, “I've never seen so much want and misery, and there's a wild look in their eyes, and they're wearing rags.” I mean, this is Dublin, right? This is just, along with the slavery, this basic Christian concern for the oppressed, the poor, the suffering.HITZ: Yes, that's right.OLIVER: And so I don't quite know. It's almost like the book is saying, again with this anti-intellectual thing, all these doctrinal disputes and which church this and who believes that. And here we have slaves and poor people and beggars and starving people.HITZ: Right.OLIVER: Christianity should deal with that first. So is the implicit criticism of his fellow Christians, in a way, that they're more interested in these disputes than in the fact that there are enslaved people and suffering people and—you see what I mean?HITZ: Yes, that's right.OLIVER: And Gulliver—the Houyhnhnms are highly rational but not Christian, which is a significant omission. And by the end, are you supposed to wonder if Gulliver actually isn't very much of a Christian? Because he can see this suffering and not respond to it at all.HITZ: Right, when maybe the—is the best person in the book the King of Brobdingnag? Does that seem right? The person with the—at least who says the best things?OLIVER: He says the best things. I think the best person is Glumdalclitch. She shows real charity and real love towards him.HITZ: What about the Houyhnhnm, the one who likes him, who says, “Fare thee well, gentle Yahoo”? It's tear-jerking—OLIVER: Oh, the sorrel nag.HITZ: The sorrel nag. I can literally weep at that moment when she says, “Fare thee well, gentle Yahoo.”OLIVER: That's true. That's true. She and Glumdalclitch are maybe more similar characters. Yes, yes, yes.HITZ: They're similar characters. Okay.OLIVER: And they have that basic, you don't need to call it Christian. You don't need—it doesn't need theology.HITZ: Humane. I would call it humane. Yes.OLIVER: They have that basic love of their fellow. You know, Glumdalclitch doesn't say, “Oh, how amusing this little man is, or how entertaining, or I can make—” She says, “He must be cared for. He looks a bit like me. He must be cared for.”HITZ: Right.OLIVER: And the sorrel nag, again, has the love of the fellow creature.HITZ: That's right. That's right.OLIVER: So I think Swift might be bringing in this, what he thinks of as the revealed truth of Christianity. Like, you shouldn't need telling, you shouldn't need to argue. It's there.HITZ: Right. This is just me making things up, which is what I'm here for. We're podcasting. Yes.OLIVER: Yes, of course. Also, is that not what the philosophers would do? That's what Swift would say.HITZ: But if I was going to make something up, what I would say is something like this: that Swift to me, from the testimony of Gulliver's Travels, which is the book of his I really know the best. I don't know much about the rest of it. He has a level of self-awareness and sophistication. So, he knows that that religious difference is being used as a pretext. He knows that it is obscuring the suffering of these people. So, for the purposes of the book, he says, “Look, if you're a smart person, if you're a smart ruler, if you're an actually humane, intelligent, commonsensical ruler, you know that the fact that they have the wrong religious views is not a reason for them to be enslaved and oppressed and starved.” So that would be my suspicion.And that's why I think, to me, the religion is so light, because it's not really a religious problem. It's actually just a human problem and a political problem that is, how do you run your country so that these subject peoples are allowed to be free and develop themselves and be full human beings? That would be my made-up guess.Students' Views of GulliverOLIVER: What do undergraduates think? What is it that they find interesting in the book, and what do they like or dislike?HITZ: It's been a couple of years. I think they like this idea that—we all think travel is very broadening, a great way to think about the world. You know, you can learn so much about one's fellow human beings. And whatever else is going on in Gulliver's Travels, travel does not necessarily produce enlightenment.So I think they like the attention to the ways in which, even when we are trying to learn, we fail to learn. And the ways in which structures of learning, like traveling or studying science, might actually make you worse and not better, things like that. But it's not a book—I think it's fair to say it's not one of the favorite books of the undergraduates.OLIVER: Okay.HITZ: I think they find it a little bit distant, and I'm not sure why that is.OLIVER: Is it because it sort of looks like a novel, but it's not what we have come to expect a novel to be? And it sort of has that—HITZ: I think that's right.OLIVER: The pre–Jane Austen novel is kind of weird to us now.HITZ: Well, they love Don Quixote.OLIVER: Okay.HITZ: And that is a challenge of a similar kind. It's a novel which doesn't quite read like a novel, and the humor is kind of old. I mean, it's also true—undergraduates, in my experience, in general—I hope they'll forgive me for saying this on a podcast—they're not always good at comedy. They tend to think that serious things must be tragic.OLIVER: You can't get an A by making a joke.HITZ: Well, more that they have a sense that an intellectual life is something serious. It's serious.OLIVER: Oh, yes. Okay. And the syllabus slightly reinforces that, doesn't it?HITZ: Well, it's sort of self-reinforcing because we used to read more Aristophanes. We used to read Rabelais.OLIVER: If you do Shakespeare, it'll be the tragedies.HITZ: No, no, we do Shakespeare comedies.OLIVER: Oh, you do? Okay.HITZ: Yes. We have As You Like It and The Tempest. And do we have more tragedies? Maybe one more tragedy than comedy, but not a terrible imbalance.OLIVER: Well, that's good.HITZ: It's not Shakespeare-type comedy that's—maybe, correct me if I'm wrong, a Shakespeare comedy is something that ends in a marriage, more or less.OLIVER: More or less.HITZ: It's things that are funny—they don't necessarily think that humor is a way of thinking.OLIVER: Do they struggle with irony?HITZ: No, not usually. As long as it's serious irony, Anyway, I'm not sure why. I think I'm making things—I'm going too far out of the grounds for drawing conclusions.Favorite Parts of the BookOLIVER: Sure. Do you have a favorite passage?HITZ: One of my favorites is the part—is it Balnibarbi where they have people who try to speak with objects?OLIVER: Oh, yes, yes, yes.HITZ: And they have to carry around wagons full of things because they never know what you might want to talk about. [laughter] That's so weird. Because I think I spent a lot of time studying with philosophers, there's a bit of—something's on the nose about this.OLIVER: Yes.HITZ: You know, it's like, “No, you've got to say exactly—no, that's too imprecise. You have to say exactly what you mean.” Bernard Williams, the great philosopher, has something complaining about how contemporary philosophers are very controlling of their readers. They don't want anyone to make the slightest mistake about what they mean by a particular word. That's how the people who speak by objects strike me.OLIVER: Do you think that is a problem of contemporary philosophy?HITZ: Oh, sure. Yes, absolutely. Yes. The way Williams puts it is that when you write something, it should be like a cake mix, and the reader should be able to put their own egg and bake the cake themselves.OLIVER: Oh, I see. You mean like a box of mix, yes.HITZ: Yes, yes, exactly. It's like a box of cake mix. Whereas making the cake painstakingly and force-feeding it bite by bite to the reader is not actually an—OLIVER: Telling them how it tastes.HITZ: Telling them how it tastes is not an educational endeavor.OLIVER: When does this become too dominant in philosophy?HITZ: It's a feature of 20th-century analytic philosophy to be very careful with the meanings of words. And it's by no means universal; it's just a natural vice to the territory.Iris MurdochOLIVER: Is this a problem for someone like Iris Murdoch, or is it more the A. J. Ayer type?HITZ: No, it's the A. J. Ayer type, not Iris Murdoch. No, Iris Murdoch is heterodox outside of the—OLIVER: Do you like her philosophy?HITZ: I do, yes.OLIVER: What do you like about it? Platonic?HITZ: Now, see, I came here to talk about Swift. [laughter]OLIVER: I know, but you made such a good point about the satire of philosophers.HITZ: I like her writing for a more general educated audience, her not making assumptions about the philosophical training of her readers, and her use of Plato for sure, which is quite interesting and creative. She sort of ingests Plato and does something with it that I think is very interesting.OLIVER: Is she properly appreciated as a Platonist, or do you think there's more attention to be paid?HITZ: There's probably more attention to be paid, but she gets some attention. She gets some attention. I also don't think it was particularly helpful, these two books that came out a couple of years ago about Murdoch, Foot, Midgley, and Anscombe.OLIVER: Oh, yes, yes, yes. I only read one of those. It was quite good.HITZ: It might be quite good, but those four women are quite different from one another. So it's an example of where attention to identity could obscure as much as it—OLIVER: Well, one of the books was more about the ideas—they were both obviously about the ideas—and one of them was more about the fact that they were together in Oxford. And that they benefited from hanging out, talking, doing different sorts of work, sleeping with each other's husbands, et cetera.HITZ: Yes, all the good stuff.OLIVER: And from the more sociological point of view, it was very interesting to see that, actually, a lot of what Murdoch did was bound up with her friendships and relationships, in that the argument basically is, A. J. Ayer and the others get sent away because of the war. So these four women are actually—they've been banned from this seminar and told they're not allowed.Well, now they can sit around and do what they want to do. And it worked, and they all produced very interesting things. So from that point of view, I think it was—but I agree with you, Elizabeth Anscombe and Iris Murdoch are not the same. [laughter]HITZ: Not even particularly similar. I also feel like I've read enough of Murdoch's novels to have a sense of what the sociological situation was like.OLIVER: You like the novels?HITZ: I do like them, yes.OLIVER: Do you have favorites?HITZ: I can't remember the name of my favorite because I haven't read them for years. It's one of the things I read years ago, the one—I'd remember it if I saw the title. There's an LSD trip at the beginning of it.OLIVER: Oh, The Good Apprentice. I love that book.HITZ: The Good Apprentice, yes. I think that was my favorite. But I never fell in love with it. I just liked it, and I found it interesting, and I found the sociology interesting. Okay, this is what academics at this time period were doing.What to Pair with SwiftOLIVER: We got diverted.HITZ: “We” got diverted. [laughs]OLIVER: We did. If Swift is on a great books syllabus, what is it good to pair him with? If people are reading Swift, on or off a syllabus, do you think there are other—Hooker, you said, which I think would be interesting.HITZ: No, Hooke. It's Hooke.OLIVER: Hooke. Hooke. That's a very good point.HITZ: The guy who wrote Micrographia, who has the enormous picture of the flea.OLIVER: Yes, yes, yes. So that would be good. But any other? Is it worth reading Plato alongside him?HITZ: Well, I like to—he's on the list for something we called Life of the Mind Seminar at Catherine Project, which is our introduction to the life of the mind.OLIVER: And just to tell people, the Catherine Project—this is not a university. Anyone can join a seminar.HITZ: That's right. It's an open online readers community. Consists of small, high-quality conversations, mostly on Zoom, some in person.OLIVER: You could be some kid, an accountant, a dentist, whatever, and you come and do a—you've got a PhD running a seminar, and you get that experience.HITZ: Right. Some of them are peer led, so they're not necessarily PhDs running them. The reading groups are not necessarily run by PhDs. But the core program in which the Life of the Mind Seminar is—either a PhD or an ABD [all but degree] or someone with some academic experience is usually leading that. We have it there, and we have it there with a set of books that are meant to disorient rather than to orient.So one of the difficulties with reading great books with more or less random selections of adults is that people feel uncertain, out of place. And they bring expertise, real or fake, to the table, which makes it very difficult to have a conversation. It's usually fake expertise, for what it's worth.OLIVER: Give us an example of what you mean by fake expertise.HITZ: Well, so someone will have—we'll be, say, reading Hamlet. Someone will have taken a class on Shakespeare in college, and they'll say, “Actually, we're asking this question. But what I learned, my professor told me, is that Hamlet actually symbolizes—he has an Oedipus complex and blah, blah, blah, blah, blah, and then this is what this means, and this is what that means.” And then your conversation's over, because you need to focus just on the text that's shared between the—OLIVER: It's not a crossword puzzle.HITZ: Exactly. It's not a crossword puzzle, and it's not something where—or the other—people often, again, they feel a bit on their back feet. So they'll google a bunch of stuff about the author, and they'll start tossing out random facts about the book or about the author, about the context. And again, you don't get really into the meat of the book that way.So, Gulliver's Travels is there to help us think about ways in which we might not be expert in things we're expert. Ways in which we might think we understand something and not understand it. And ways in which people who, with every appearance of seriousness and scientific principle, can just say unbelievably stupid things.So it's a very, very good book for that, where in that sense, it's I think very good for any liberal education program. It's liberating that way. One of the things we need to be liberated from is false expertise.OLIVER: You're talking really about these secondhand opinions that you haven't interrogated and come to understand yourself.HITZ: Exactly. Exactly, exactly, exactly.OLIVER: This is what Mill says. Everything is new to someone, and the real genius is that you find it out.HITZ: Exactly.OLIVER: You don't get taught it. Yes, yes.HITZ: Exactly, exactly. So real learning is things you find for yourself. Anyway, that's what I like it with. As for pairing it, yes, I think it would just depend on what you were—I don't have a clear thought about that. I think it'd be good to pair it with Galileo's Starry Messenger and preface to Hooke's Micrographia.But you could also pair it with Emma. Be quite good, actually, because Emma is also about someone who really doesn't know what they're doing and has no idea. Thinks they know what's going on; they really have no idea what's going on.OLIVER: Yes. Hamlet as well, in fact.HITZ: I guess so. Does he not know what's going on?OLIVER: Who's diverting now? [laughter] Well, there's an interesting question, isn't there, about whether Hamlet has legitimate doubts. So he says, “This ghost could be a demon. I should be careful. I don't know what I'm doing. I'm going to pretend to be mad. I'm going to find out.” Or whether he just doesn't want to see the truth in front of him, and he quote-unquote “delays” because of that. I don't know if you have a view.HITZ: I don't think he's deluded. I think the problem is something different, but I haven't thought enough about it recently to know what his volitional obstacle is. But I don't think he's deluded. I think he sees what's going on, but there's something about acting that doesn't work for him.OLIVER: An internal—HITZ: Something internal. Something internal. In a way, I find the play very hard. I don't know what, for instance, what does that obstacle have to do with Ophelia? What's going on with that? Anyway, he's very mysterious, but I don't—yes, that'd be my sense, is that he's not—OLIVER: Do you buy this idea that he's a nihilist?HITZ: No, although he's definitely faced with something like nihilism. He has to look at it. And of course, the play does end with everyone dead, [laughs] so it's not obvious that he's wrong.Sympathy for GulliverOLIVER: This question hangs over Gulliver as well. Is the problem by the end that he's basically become a nihilist? His response to the Yahoos is to deny meaning, deny the possibility of meaning, to shut himself away.HITZ: He is a true misanthrope. He hates human beings and refuses to interact with them and in that sense, in some way, removes himself from any further mistakes. In another way, the mistake that he's in is so massive that that hardly seems like a consolation. But yes, he's definitely stuck, and he's stuck in a place where who he is—because he's a human being. We have to remember that.So he's in a place of total self-hatred and the hatred of his neighbor, what you'd call from the Christian perspective a total loss of charity. Is that nihilist? I don't know, but it's definitely bad. It's not a good state to be in. Maybe I don't know what you mean by nihilism exactly.OLIVER: Are we supposed to disapprove of him at the end or sympathize with him?HITZ: Disapprove, I think.OLIVER: Yes? You don't feel sorry for him?HITZ: I do a bit.OLIVER: But not much.HITZ: Well, should I?OLIVER: I have come to believe—yes, this is what I've come to feel in subsequent readings, is that Gulliver, as you say, is very mistaken. He thinks he understands things that he does not understand. He has the sort of pretense of rationality, but he lacks any sort of meta rationality to see what his limits are.And he becomes, therefore—he doesn't advocate genocide, and he doesn't take any pleasure in using Yahoo skin, but he's just completely null to it. There's a sort of void there where human feeling ought to be. And it's tragic for him. It's a tragic ending that he is so isolated. And we can't sympathize with him, as it were, but we can feel sort of awful that he's shriveled into this state rather than judging or blame.I think one of the persistent themes of the book is, as I say, this kind of basic love of fellow creature, the Glumdalclitch or the sorrel. And if you take that from the book, you will wish you could bring Gulliver back.HITZ: Right. What you're saying reminds me that there is an interesting parallel in Plato's dialogues that I hadn't thought of before, Plato's Parmenides, which is perhaps the most difficult Plato's dialogue. So it's a conversation between young Socrates and the philosopher Parmenides. The first third of it is relatively clear, some arguments against what people think of as Plato's theory of forms.Then there's an extensive, insane dialectical process where various theses about the connection between being and oneness are both argued for and then refuted, and argued for and then refuted, pages and pages and pages and pages of it. So this seems to be—it's Parmenides and Zeno who are running Socrates through this ringer.And the person at the very beginning of the dialogue who they have to go find, to tell him the story of how Socrates met Parmenides, used to study philosophy. But now he just trains horses. [laughs] One of my teachers pointed this out to me, and I've never been able to get over it, that he spent this time doing philosophy, and he's like, “You know what? I'm going to work with horses for the rest of my life. If I never hear another human voice, that's fine with me.”So I think that is an interesting parallel. And I think it is not really that uncommon to see people who are totally disillusioned with relating to humans, who then relate to animals instead, like they devote themselves to animals.OLIVER: But on that reading, it might be a disillusionment with philosophical humanity. It might be philosophy that's killed Gulliver's human feeling.HITZ: That's right. Well, I think that's one possibility, one very strong possibility. That's why I think the Houyhnhnms come after the Laputans. Going to the furthest reaches of his intellectual interests just destroys his humanity.But it doesn't seem like exhaustion in the same way that whoever, I can't remember his name, the character who relates the Parmenides, where you just think he must be exhausted from having heard more than one conversation like this. [laughter] And just in the stable with the horses eating oats, I mean, it's just delightful. It's just so peaceful, you know?OLIVER: Bucolic, pastoral, yes.HITZ: Yes, exactly. Exactly. Maybe you're right that we should be more sympathetic to someone in that situation.OLIVER: Well, next time you read it, you can tell me if you change your mind.HITZ: All right. I will tell you if I change my mind.OLIVER: Very good. Zena Hitz, thank you very much.HITZ: Thank you very much, Henry Oliver. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

I welcome Dutch historian Rutger Bregman to the podcast after first messaging him on Instagram and we talk about what I took from his book Humankind and my own wish to bring people together to remember friendship and kindness. Rutger reflects on Dutch directness and equality shaped by living with water, from the 1953 flood to the Delta Works, and shares why he writes for a general audience about big questions of human nature. We discuss his challenge to the “veneer theory” and his belief in “survival of the friendlies,” alongside a real shipwreck story near Tonga where six boys survived 15 months through cooperation. Our conversation turns to bullying, family and attachment, the Second World War and Rutger's research for Moral Ambition on how resistance spreads simply by asking others to help.01:10 Dutch Culture and Directness04:01 Water Engineering and Delta Works05:41 Early Civilizations and Conflict06:58 Why Bregman Writes Big History08:12 Debunking Human Nature Myths10:07 Cooperation at Highclere Today12:49 Tempest and Amoral People13:55 Real Lord of the Flies Story19:00 Bullying Attachment and Family21:41 Victorian Fathers Revisited22:40 Reform Politics And Women23:28 Why Study War24:04 Resistance Myth Debunked25:24 Heroes Are Asked27:29 Unconventional Organizers30:25 Kindness After Loss32:19 Kindness Is Contagious35:03 Lessons From Animals36:18 Veneer Theory And Dickens37:59 British IndirectnessYou can hear more episodes of Lady Carnarvon's Official Podcasts at https://www.ladycarnarvon.com/podcast/New episodes are published on the first day of every month. 

Send us Fan MailEpisode 264The sea is restless.Under a vast sky streaked with silver and gold, waves roll endlessly toward the shore. Sailors scan the horizon for signs of changing weather while fishing boats rise and fall with the rhythm of the water. In the distance, dark clouds gather, hinting at the power that lies beneath the sea's tranquil surface.Along the northern coast of the Black Sea, in a bustling port town where merchants, fishermen, and travellers crossed paths, a young boy would spend hours watching this ever-changing world. The ocean could be calm and inviting one moment, violent and terrifying the next. It was unpredictable, majestic, and impossible to ignore.For most people, the sea was simply a fact of life. For one boy, it became an obsession. Long before his name was known across Europe, before emperors sought his work and galleries displayed his paintings, Ivan Aivazovsky stood at the water's edge and watched. The sea would become his greatest teacher, his lifelong companion, and the subject of thousands of masterpieces.Support the showInsta@justpassingthroughpodcastContact:justpassingthroughpodcast@gmail.com

Sean Keilen, professor of literature at the University of California, Santa Cruz, talks with Chris about his new book, Shakespeare's Scholars: Three Lessons from the Liberal Arts. They discuss how Shakespeare depicts the role of scholars in Hamlet and The Tempest, what Shakespeare can teach us about the scholar's proper relationship to the public, and the current […]

St. Louis Shakespeare Festival's fast-moving production of "The Tempest" in Forest Park sets the story to the tune of sea chanteys and folk songs, performed live on two stages. As St. Louis Public Radio's Jeremy Goodwin reports, the production evokes the magic encountered by its characters … with music.

Worship for Pentecost Sunday May 24, 2026, from Queen Anne Lutheran Church in Seattle, our 10:00 service— Pastor Dan Peterson; Cantor Kyle Haugen Prelude— Organ settings of Luther's Pentecost hymn, KOMM HEILIGER GEIST (ELW 395, “Come, Holy Ghost, God and Lord”) by Baroque composers—Matthias Weckmann (1616–1674)  •  Dietrich Buxtehude (1637–1707) • Processional Hymn—O Holy Spirit, Enter In (ELW 786) • First Reading— Acts 2:1-21 • Psalm 104:24-34, 35b • Second Reading— 1 Corinthians 12:3b-13  • Gospel—John 20:19-23  • Sermon—Pastor Dan Peterson—"The Job of the Spirit" • Hymn of the Day—Spirit of God, Descend Upon My Heart (ELW 800) • Offertory—Psalm 68:28b–29 • Distribution Hymn—Eternal Spirit of the Living Christ (ELW 402) • Sending Hymn —God of Tempest, God of Whirlwind ELW 400) • Postlude— from an organ partita on KOMM, HEILIGER GEIST, Matthias Weckmann⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Link here to view the bulletin⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Enjoying our worship recordings? Consider giving. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Visit this link⁠⁠⁠⁠⁠⁠.

Lynn & Carl are joined this week by cartoonist & local animator Glenn McCoy talking about his new films The Sheep Detectives, Animal Farm and Minions & Monsters. Next, STL Shakes Artistic Director Tom Ridgely talks about their production of The Tempest. Plus, Lynn saw Backrooms and Tuner; while Carl saw The Mandolorian & Grogu (of course).

Not-so-hot take: you can't play Centipede or Missile Command with a joystick. Tempest isn't Tempest without a spinner. Twin-stick shooters like Robotron: 2084 demand TWIN STICKS. And even Pac-Man and Donkey Kong with an 8-way restrictor gate is a big NO-NO. Let's talk about why your favorite classic arcade video games just aren't the same without the correct original authentic controls... even down to the buttons!Welcome to The Coin Jam Podcast, a show about repairing, restoring, and collecting classic coin-operated amusement machines. We cover everything from #arcade video games and #pinball machines, to jukeboxes, redemption games, and more. If you've ever wanted to listen to a group of guys ramble on about multimeters, Molex connectors, desoldering tools, CRT monitor chassis, bondo, and blown fuses... then this is the podcast for you! Hosted by Liam from Retrobotics, Chance from The Canadian Arcade, Charlie from Overtime Arcade, and K' from Prime Arcade Sales & Repair. https://www.youtube.com/@retrobotics https://www.youtube.com/@TheCanadianArcade https://www.youtube.com/@overtimearcade https://www.youtube.com/@primearcadetx https://www.tiktok.com/@prime_arcade https://www.facebook.com/primearcade

This week, our guest is Jeff Hiller. The veteran comedian and actor is hardly a newcomer, but it's his recent role on the television series Somebody Somewhere that has finally brought him widespread recognition. In 2025, he earned an Emmy for Outstanding Supporting Actor in a Comedy Series for that performance. Hiller talks about the journey in his memoir, Actress of a Certain Age: My Twenty-Year Trail to Overnight Success.  Fans have appreciated his captivating and heartfelt humor for decades at stand-up shows; in theater performances including Bloody, Bloody Andrew Jackson, The Tempest, and most recently the 2025 revival of Urinetown; and on television series like 30 Rock, Unbreakable Kimmy Schmidt, and Community.On May 8, 2026, Hiller came to the Sydney Goldstein Theater in San Francisco to talk to Poulomi Saha about comedy, friendship, and success.  Saha is an English professor and the Co-Director of the Program in Critical Theory at UC Berkeley.  The evening was co-presented with San Francisco Public Library and a supporting non-profit, Friends of the San Francisco Public Library.

BEST SHOW BESTS! In this classic clip, Tom gets a call from 80s hard rock singer, BLUE SAVAGE'S JAKE TEMPEST! (Originally Aired On August 4th, 2015)New to the Best Show? Check out Best Show Bests, the greatest hits of The Best Show! Available every Friday on your podcast app.SUPPORT THE BEST SHOW ON PATREON! WEEKLY BONUS EPISODES & VIDEO EPISODES!https://www.patreon.com/TheBestShowWATCH THE BEST SHOW LIVE EVERY TUESDAY NIGHT 6PM PT ON TWITCHhttps://www.twitch.tv/bestshow4lifeFOLLOW THE BEST SHOW:https://twitter.com/bestshow4lifehttps://instagram.com/bestshow4lifehttps://tiktok.com/@bestshow4lifehttps://www.youtube.com/bestshow4lifeTHE BEST SHOW IS A FOREVER DOG PODCASThttps://thebestshow.nethttps://foreverdogpodcasts.com/podcasts/the-best-showHEARD IT ON THE BEST SHOW PLAYLISThttps://open.spotify.com/playlist/2XIpICdeecaBIC2kBLUpKL?si=07ccc339d9d84267See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Antoni Cimolino is beginning his final season as the artistic director of Ontario's Stratford Festival, the largest repertory theatre company in North America. Antoni started working at Stratford as an actor in 1988, eventually becoming a director at the festival, and then moving up to the role of artistic director in 2012. He joins Tom to talk about his life in theatre, the challenges he's faced along the way, and why he's chosen The Tempest as his Shakespearean swan song.

This is your Myth and Wyrm Report. Seasonal updates to help you find the best nightcrawler supplies and avoid dangerous sea monsters. This message will repeat. More about Slumberland at this link. Quincy Dintz performed by Catty Donnelly. Visit Catty's website! The song "Last Slate of the Roof" by Doctor Turtle. creative commons license CC BY 4.0 Purchase this music at Bandcamp The track On Gravest Occasions by Blue Dot Sessions (www.sessions.blue) The song "Tempest" by Agent-X from the album Rituals. The sound design in this episode owes thanks to Freesound Project contributors: klankbeeld, juskiddink, gaby7129, kvgarlic, taxmanforever, funzerker, pooyawork, pfranzen, ivanmilic, sonotical, trp, taure, realmadpuppy, sillygrizzlies, timbre, and zappa_was_god. Thank YOU for listening to Slumberland!

Microsoft disrupts malware-signing-as-a-service Critical flaw found in industrial robot OS CISA admin leaks keys Get the show notes here: https://cisoseries.com/cybersecurity-news-microsoft-hits-fox-tempest-robotics-os-flaw-cisa-admins-leaks-keys/  Thanks to our episode sponsor, ThreatLocker ThreatLocker is extending Zero Trust beyond endpoint control. With their recent release of Zero Trust Network Access and Zero Trust Cloud Access, access isn't based on credentials alone, it requires the right user, the right device, and the right conditions. Because as we've seen in recent large-scale CRM breaches, stolen credentials and misconfigurations can expose massive amounts of data. With ThreatLocker, nothing is exposed, and access is limited to exactly what's needed. Learn more and start your free trial today at ThreatLocker.com/CISO.

This week on Talk World Radio we're talking about abolishing the police. Our guest, brian bean, is the author of Their End Is Our Beginning: Cops, Capitalism, and Abolition, which I've just read and highly recommend. brian bean is a Chicago-based socialist organizer, writer, and agitator originally from North Carolina. They are one of the founding editors of Rampant magazine. Their work has been published in Truthout, Jacobin, Tempest, Spectre, Red Flag, New Politics, Socialist Worker, International Viewpoint, and more. They coedited and contributed to the book Palestine: A Socialist Introduction.

Review các phim ra rạp từ ngày 08/05/2026:YÊU NỮ THÍCH HÀNG HIỆU 2 – T13Đạo diễn: David FrankelDiễn viên: Meryl Streep, Anne Hathaway, Emily BluntThể loại: Hài, Tâm LýHai mươi năm sau màn hóa thân kinh điển vào các vai diễn Miranda, Andy, Emily và Nigel — Meryl Streep, Anne Hathaway, Emily Blunt và Stanley Tucci sẽ chính thức trở lại với những con phố thời thượng của New York và văn phòng sang trọng của Tạp chí Runway trong "The Devil Wears Prada 2" (Yêu Nữ Thích Hàng Hiệu 2). Đây là phần phim tiếp theo cực kỳ được mong đợi từ 20th Century Studios, kế thừa sức hút từ hiện tượng điện ảnh năm 2006 từng định hình phong cách cho cả một thế hệ. Bộ phim được đạo diễn bởi David Frankel, kịch bản bởi Aline Brosh McKenna, sản xuất bởi Wendy Finerman, điều hành sản xuất bởi Michael Bederman, Karen Rosenfelt và Aline Brosh McKenna.THẨM MỸ VIỆN ÂM PHỦ - T16Đạo diễn: NGUYỄN HỮU HOÀNGDiễn viên: Ngọc Trinh, Xuân Lan, Lê Xuân TiềnThể loại: Hồi hộp, Kinh DịKhi cái đẹp trở thành nỗi ám ảnh. Để cứu người yêu đang hôn mê, Thanh chấp nhận làm việc tại một thẩm mỹ viện hẻo lánh. Nhưng nơi đây nhanh chóng biến thành cơn ác mộng với những nghi lễ ma quái, những hồn ma vất vưởng và một bí mật kinh hoàng phía sau vẻ hào nhoáng. Khi bị cuốn vào nghi lễ “đi thiếp”, Thanh phải đối diện lựa chọn sinh tử: ở lại cõi âm bên người mình yêu, hay chiến đấu để thoát khỏi thế lực hắc ám.MORTAL KOMBAT: CUỘC CHIẾN SINH TỬ II – T18Đạo diễn: Simon McQuoidDiễn viên: Karl Urban, Adeline Rudolph, Jessica McNamee, Josh Lawson, Thể loại: Hành Động, Phiêu Lưu, Thần thoạiHãng phim New Line Cinema, phần tiếp theo đầy kịch tính trong loạt phim bom tấn chuyển thể từ trò chơi điện tử đình đám – Mortal Kombat II – trở lại với tất cả sự tàn bạo vốn có. Lần này, những nhà vô địch được yêu thích – nay có sự góp mặt của chính Johnny Cage – sẽ đối đầu với nhau trong trận chiến đẫm máu, không khoan nhượng, nhằm đánh bại thế lực đen tối của Shao Kahn đang đe dọa đến sự tồn vong của Earthrealm và các chiến binh bảo vệ nó.PHỔI SẮT – T18Đạo diễn: MarkiplierDiễn viên: MarkiplierThể loại: Hồi hộp, Kinh DịIRON LUNG - Từ tựa game indie kinh dị trở thành phim điện ảnh TOP 1 PHÒNG VÉ thị trường nội địa ngay từ ngày đầu công chiếu! Khi Trái Đất bỗng bốc hơi chỉ sau vài giây, một tù nhân không gian buộc phải khám phá biển máu trên hành tinh còn sót lại cùng con tàu "Iron Lung" để tìm kiếm hy vọng sống cuối cùng cho nhân loại cũng như tìm được tự do cho chính mình.THE SHEEP DETECTIVES - KĐạo diễn: Kyle BaldaDiễn viên: Hugh Jackman, Emma Thompson, Nicholas Braun, Nicholas Galitzine, Molly Gordon. Hong Chau, Thể loại: Bí ẩn, Hài, Hành ĐộngTrong bộ phim trinh thám hài hước, độc đáo này, George (Hugh Jackman) là một người chăn cừu, mỗi tối đều đọc tiểu thuyết trinh thám cho đàn cừu yêu quý nghe, nghĩ rằng chúng không thể hiểu được. Nhưng khi George bất ngờ qua đời trong một sự cố bí ẩn trên trang trại, đàn cừu quyết định tự mình trở thành thám tử. Lần theo manh mối và điều tra các nghi phạm là con người, chúng chứng minh rằng ngay cả cừu cũng có thể phá án xuất sắc.LÚC ĐÓ TÔI ĐÃ CHUYỂN SINH THÀNH SLIME: NƯỚC MẮT ĐẠI DƯƠNG – T13Đạo diễn: Yasuhito KikuchiThể loại: Hoạt HìnhLúc đó tôi đã chuyển sinh thành Slime: Nước Mắt Đại Dương là phần phim điện ảnh thứ 2 thuộc franchise anime nổi tiếng "Lúc đó tôi đã chuyển sinh thành Slime". Lấy bối cảnh sau Lễ hội Khai quốc Tempest, Rimuru cùng những người bạn đồng hành quyết định ghé thăm một khu nghỉ dưỡng sang trọng do Elmesia, người đứng đầu Đế chế Pháp Thuật Sarion, cai quản, để tận hưởng thời gian thư giãn hiếm hoi sau những biến cố. Tuy nhiên, chuyến nghỉ dưỡng nhanh chóng bị xáo trộn khi nhân vật bí ẩn tên Yura xuất hiện, kéo theo một chuỗi những sự kiện bí ẩn và mối nguy đang âm thầm trỗi dậy dưới đại dương.---------------------------------#8saigon #thammyvienamphu #mortalkombat2026 #doithamtucuu #phimphosat #reviewphimrap

The Tempest crew face off against the leaders of multiple other factions, some allies and some enemies.

NOTE: For Ad-Free Episodes, 100+hrs of Bonus Content and More - Visit our Patreon at https://www.patreon.com/thewheelweavespodcastFind us on our Instagram, Twitter, YouTube & Website, and join the conversation on Discord!In this episode Dani and Brett discuss Chapter 31 of A Memory of Light!!!We would like to thank and welcome Jordan Simoncic, and JosieOsie to the Wheel Weaves Patreon Team!! Thank you so much for your generosity and support!!We would like to acknowledge and thank our Executive Producers Brandy and Aaron Kirkwood, Sean McGuire, Janes, LightBlindedFool, Big C, Deyvis Ferreira, Green Man, Bennett Williamson, Hannah Green, Noralia, Greysin Ishara, Helena Jacobsen, Matthew Mendoza, Sims, Cyndi, Manethraen, Andrew Scarponi, Mr. Boddy's Body, David, and HoneyBunchesOfJason!The Wheel Weaves is hosted and edited by Dani and Brett, produced by Dani and Brett with Passionsocks, Cody Fouts, Mozyme, Jamie Young, Jared Berg, Rikky Morrisette, Matt Truss, Antoine Benoit, MKM, Magen, Colby T, Gabby Young, Ricat, Chris G., Sarah Creech, Saverio Bartolini, Mag621, William Johnson, Courtney B, and Hammar's Lament; with music by Audionautix.Check out our partner - the Spoiler-Free Wiki - Spliki.com - Your main first time reader, Spoiler-Free WoT information source!Don't forget to leave us that 5 star review if you enjoy the show for a chance to win exclusive merchandise!Check out https://www.thewheelweavespodcast.com for everything The Wheel Weaves!Become a supporter of this podcast: https://www.spreaker.com/podcast/the-wheel-weaves-podcast-a-wheel-of-time-podcast--5482260/support.

We would love to hear from you. Send us your thoughts or suggestions. Dell just got thrown from her horse at the end of The Way Home Episode 4 — and she may have seen Colton in the woods right before it happened. Meanwhile, Julian is quietly reading Shakespeare's The Tempest, and we think that's not a coincidence at all.•       Why Thomas showing up again has Eric half-convinced the entire show might be taking place inside Jacob's head — and why Andrea is absolutely not going along with that theory•       Nick is back in Port Haven, and both of us agree he's bringing the energy this season didn't know it needed — every scene he's in is just fun•       The Tempest breakdown: who the treacherous brother maps to, why the boats keep connecting, and what it might all mean for Griffin's role in the pond's history•       Fern's jaw-drop moment seeing Tessa in 1979 — and why something clearly went down between them that we haven't fully seen yet•       Sam's barn scene: the one line that stopped Eric mid-note, and why we're both firmly Team Sam over Julian•       Why Kat and Elliot have officially become the most frustrating characters on the show this season — and why Alice is starting to head in that direction too CHAPTERS0:00 - Wet Hair, Wet Jeans & Jumping Right In2:00 - Thomas Is Back: Figment or Future Storyline?5:00 - Cliff's Line & Nick's Grand Return to Port Haven8:00 - The Tempest Theory: What Julian's Book Tells Us About Griffin11:00 - Fern & Tessa: Something Happened in the Seventies14:00 - What Didn't Work: Kat, Elliot & the Hiding-Behind-Everything Spy Sequence17:00 - Standout Scenes: Sam's Barn Confession & Fern's Jaw-Drop19:30 - Julian vs. Sam: Who Belongs With Dell?21:30 - Dell's Fall, Jacob's Future & What We Need From Episode 524:13 - Until Next Time - Enjoy the PondAre you Team Sam or Team Julian for Dell — and had you already clocked The Tempest connection before this episode, or are you just now building the corkboard?SUBSCRIBE New episodes every week — subscribe and hit the bell so you never miss a Hallmark deep dive.#TheWayHome #HallmarkChannel #HallmarkMysteriesAndMore #TheWayHomeReview #HallmarkPodcast #HallmarkFans #TheWayHomeHallmark #HallmarkMysteries #CozyTV #PodcastReview #HallmarkSeries #TimeTravel #EpisodeReview #HallmarkFandomFollow us on social media: Instagram and TikTok: @hallmarkmysteriesandmoreYoutubeOr visit our website. This podcast was created by fans for fans and is NOT affiliated with or sponsored by Hallmark or the Hallmark Channel. 

The Polish Home Army makes a last-ditch effort to assert the authority of the government in exile, while Romania successfully switches sides.

 Chris Mackowski on “A Tempest of Iron and Lead: The Battle of Spotsylvania Court House” for more info: www.chicagocwrt.org For twenty-two straight hours, in torrential downpours, up to their knees in mud and blood, Federals and Confederates slugged it out in the most intense sustained hand-to-hand combat of the war. A panoply of horror, one soldier called it. A Saturnalia of blood. Hell's Half-Acre. The slaughter pen of Spotsylvania. Most remember it simply as the Bloody Angle. Chris Mackowski, Ph.D., is the editor-in-chief and co-founder of Emerging Civil War and the series editor of the award-winning Emerging Civil War Series, published by Savas Beatie. Chris is a writing professor in the Jandoli School of Communication at St. Bonaventure University in Allegany, NY, where he also serves as associate dean for undergraduate programs. Chris is also historian-in-residence at Stevenson Ridge, a historic property on the Spotsylvania battlefield in central Virginia. He has worked as a historian for the National Park Service at Fredericksburg & Spotsylvania National Military Park, where he gives tours at four major Civil War battlefields (Fredericksburg, Chancellorsville, Wilderness, and Spotsylvania), as well as at the building where Stonewall Jackson died. Chris has authored or co-authored nearly two dozen books and edited a half-dozen essay collections on the Civil War, and his articles have appeared in all the major Civil War magazines 

Rev. Brad Williams teaches from the series: Acts, in the book of Acts, verses 27:13 - 44

We'll look at two piano sonatas from Op. 31: No. 2 in D Minor (“Tempest”) and No. 3 in E-flat Major (“Hunt”).

Tuck teases a very personal recent Gender Conceal episode and a big, exciting upcoming experiment. Then, Ozzy chats with Tempest Creation (she/her) about her short film Birth of the Hive Queen. Topics include how to cast moths for a movie, why Tempest's films all have "hooker brain," and whether trans cinema has a coherent aesthetic beyond being dark and crazy :) :) Listen to the full episode on Patreon to hear Tempest discuss alienating her YouTube transition vlog audience, choosing her name, and being banned by the Library of Congress?! Find Tempest at tempestcreation.com and @tempestcreation. Birth of the Hive Queen is available to watch on our Patreon through May. Senior Producer: Ozzy Llinas Goodman Logo: Ira M. LeighMusic: Breakmaster CylinderAdditional Music: Blue Dot Sessions

Kae Tempest is widely regarded as one of Britain's greatest wordsmiths. In a career of ferocious creativity, he has received multiple prizes and critical recognition across the many forms he works in. Beginning as a lyricist and songwriter in his teens, Tempest threw himself fully into whichever discipline he could find work in; gigging as a poet, writing for the theatre or busking with his band. A decade later, this obsessive compulsion to push his writing as far and as hard as he could, secured him a record deal with UK independent label Big Dada and a poetry publishing contract with Picador. Tempest's work has always sought to pull the focus between the global or national concerns of a character, and the private, very intimate experiences of their lives; the minuscule and the mundane peering out from behind the incomprehensibly large and overpowering. Whether it's austerity, addiction, communal disassociation, the planet in crises, or the death of our prevailing myths, the bigger picture is always made up of tiny parts. We were joined by Tempest live on stage at St George's, Bristol as he discussed his much anticipated return to fiction. His first novel in a decade, Having Spent Life Seeking is the story of Rothko Taylor, who returns to their hometown of Edgecliff, seeking a place to belong after fifteen years in the wilderness. It weaves together themes that have shaped Tempest's work to date: family and forgiveness; redemption and atonement; desire and abandon; selfhood and community. Themes that are dealt with in this new novel, with a deeper resolve and a new clarity of intent. ---  If you'd like to become a Member and get access to all our full ad free conversations, plus all of our Members-only content, just visit intelligencesquared.com/membership to find out more. For £4.99 per month you'll also receive: - Full-length and ad-free Intelligence Squared episodes, wherever you get your podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series - 15% discount on livestreams and in-person tickets for all Intelligence Squared events  ...  Or Subscribe on Apple for £4.99: - Full-length and ad-free Intelligence Squared podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series … Already a subscriber? Thank you for supporting our mission to foster honest debate and compelling conversations! Visit intelligencesquared.com to explore all your benefits including ad-free podcasts, exclusive bonus content and early access. … Subscribe to our newsletter here to hear about our latest events, discounts and much more. https://www.intelligencesquared.com/newsletter-signup/ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Kae Tempest is widely regarded as one of Britain's greatest wordsmiths. In a career of ferocious creativity, he has received multiple prizes and critical recognition across the many forms he works in. Beginning as a lyricist and songwriter in his teens, Tempest threw himself fully into whichever discipline he could find work in; gigging as a poet, writing for the theatre or busking with his band. A decade later, this obsessive compulsion to push his writing as far and as hard as he could, secured him a record deal with UK independent label Big Dada and a poetry publishing contract with Picador. Tempest's work has always sought to pull the focus between the global or national concerns of a character, and the private, very intimate experiences of their lives; the minuscule and the mundane peering out from behind the incomprehensibly large and overpowering. Whether it's austerity, addiction, communal disassociation, the planet in crises, or the death of our prevailing myths, the bigger picture is always made up of tiny parts. We were joined by Tempest live on stage at St George's, Bristol as he discussed his much anticipated return to fiction. His first novel in a decade, Having Spent Life Seeking is the story of Rothko Taylor, who returns to their hometown of Edgecliff, seeking a place to belong after fifteen years in the wilderness. It weaves together themes that have shaped Tempest's work to date: family and forgiveness; redemption and atonement; desire and abandon; selfhood and community. Themes that are dealt with in this new novel, with a deeper resolve and a new clarity of intent. --- This is the first instalment of a two-part episode. If you'd like to become a Member and get access to all our full ad free conversations, plus all of our Members-only content, just visit intelligencesquared.com/membership to find out more. For £4.99 per month you'll also receive: - Full-length and ad-free Intelligence Squared episodes, wherever you get your podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series - 15% discount on livestreams and in-person tickets for all Intelligence Squared events  ...  Or Subscribe on Apple for £4.99: - Full-length and ad-free Intelligence Squared podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series … Already a subscriber? Thank you for supporting our mission to foster honest debate and compelling conversations! Visit intelligencesquared.com to explore all your benefits including ad-free podcasts, exclusive bonus content and early access. … Subscribe to our newsletter here to hear about our latest events, discounts and much more. https://www.intelligencesquared.com/newsletter-signup/ Learn more about your ad choices. Visit podcastchoices.com/adchoices

At a quarter past four in the morning on the 13th of June 1944, the world's first cruise missile fell out of the sky onto a railway bridge in the East End of London. It killed six people. One of them was 19-year-old Ellen Woodcraft. Another was her eight-month-old son. Their husband and father was a soldier in Normandy. He would not learn of their deaths for days.In this episode, Mat McLachlan tells the story of Hitler's V-1 — the buzz bomb, the doodlebug, the first robot weapon ever used in war. From the secret laboratories at Peenemünde to the photo-interpretation tables at Medmenham, from the Guards Chapel disaster on Waterloo Sunday to the Tempest pilots tipping flying bombs out of the sky with their wingtips, this is the eighty-eight-day campaign that brought a new kind of terror to a city that thought the Blitz was over.Through authentic voices from the summer of 1944, we hear George Orwell guiltily hoping the next bomb falls on someone else, the diarist Vere Hodgson writing that the brain of man has gone so far beyond his morals that the only thing to do is scrap him and begin again, and Field Marshal Alan Brooke recording his disgust as the Home Secretary panics in front of the War Cabinet. We meet R.V. Jones, the 28-year-old scientist who'd been hunting the V-weapons since 1939, and the Double Cross Committee that fed Berlin a brilliant lie that saved central London — at the cost of the working-class boroughs to the south. We follow Wing Commander Roland Beamont and the Belgian ace Remy Van Lierde hunting buzz bombs over Romney Marsh, and the Australian pilot Ken Collier who accidentally invented the wingtip technique that would become the defining image of the doodlebug summer.Why did Hitler refuse to aim the V-1 at the Allied invasion ports, where it might have changed the war? Why did the British government deliberately steer bombs onto Croydon and Wandsworth instead of Westminster — and keep it secret for thirty years? How did a robot bomb costing five thousand Reichsmarks come closer to ending the war than any other weapon Germany ever built? Mat explores these questions through the words of those who were there — the scientists, the pilots, the cabinet ministers, and the Londoners who lived under the buzz.A clear-eyed look at one of the most futuristic weapons of the Second World War, and the man who threw it away. Hitler had the world's first cruise missile. He used it to kill people in their beds. And he lost the war anyway.“Hitler, and all of us, hoped this new weapon would sow horror, confusion and paralysis in the enemy camp. We far overestimated its effect.” — Albert Speer, Nazi Minister of ArmamentsEpisode Length: 40 minutesFeatures: First-hand accounts from George Orwell, Vere Hodgson, Field Marshal Alan Brooke and Hans Speidel; Wing Commander Roland Beamont's recollections of hunting the V-1; the testimony of fireman Harold Chisnell from the Imperial War Museum sound archive; Hitler's confrontation with Rommel and Rundstedt at Margival on the eve of the Normandy collapse; and the story of the Double Cross deception that saved central London.Presenter: Mat McLachlanProducer: Jess StebnickiSail through history with Mat McLachlan! Join a 2027 history cruise: https://battlefields.com.au/history-cruises-2027Find out everything Mat is doing with books, tours and media at https://linktr.ee/matmclachlanFor more great history content, visit www.LivingHistoryTV.com, or subscribe to our YouTube channel at https://www.youtube.com/@MatMcLachlanHistory Hosted on Acast. See acast.com/privacy for more information.

The Tempest crew find themselves at the fulcrum of a major shift in the galactic balance of power.

Veteran character actor James Karen appeared in over 80 movies, more than 100 television shows and a staggering 5,000 TV commercials. In a career spanning nearly 7 decades (!), he's worked with Frederic March, Lauren Bacall, Gene Hackman, Steven Spielberg, Jane Fonda, Robert Redford and Will Smith, to name a few. Gilbert and Frank phoned James to cover a wide range of topics, including his film debut in the immortal “Frankenstein Meets the Space Monster,” his years-long friendship with the legendary Buster Keaton and his experience sharing a townhouse with Marlon Brando, Wally Cox and Maureen Stapleton. Also, James “sells” Craig T. Nelson a haunted house, a Boy Scout uniform leads to an acting career and a controversial “Jeffersons” episode nearly torpedoes a TV pitchman gig. PLUS: James parties with Clark Gable! Gilbert gets a one-cent residual check! Moe Howard recites from “The Tempest”! And James teaches a teenaged Michael Douglas to drive! Learn more about your ad choices. Visit megaphone.fm/adchoices

Ok, ok . . . easy . . . slow and steady does it. Now the electronics of this lock are TEMPEST-resistant, so we're going to have to handle this old school. The molybdenum magnets should help with that; the glass packs and the relockers rule out any brute force methods so this is going to have to be surgical. No, don't be an idiot; using soup is out of the question, and so is bumping the rig. Set up the diamond-tip drill but keep the tungsten carbide bit handy. Once we get past the outers, the thermic lance should get us through the inner reinforced barrier. Good, good. Hey, relax! You wanted the best Peter man available and you got him! Let's be calm. Let's be professional. Panic is the enemy. Just remember the payoff; there's thirty million inside this . . . yes! We got it! Get the satchels ready, we're . . . wait a sec . . . what's that smell? Those don't look like stacks of money . . . they look like . . . oh no . . . it's not thirty million dollars! It's thirty million kabookies! What do you mean, “how much is that in U.S. dollars?” Nothing! Kabookies are pancakes! DAMMIT! Well, let's hope the cast of this week's “This Looks Like a Good Place for a Stickup” have better luck with their score. They've certainly got a heck of a team assembled: Robert Deniro, Edward Norton, and Marlon Freakin' Brando! Plus, they've got Angela Bassett. How can they go wrong? Give a listen and find out! Poll question: what real-world crime has never gotten a movie but deserves one? Leave a comment or call our Crime Reporting Hotline at 617-398-7266 and leave a message!

Enjoy a classic story in English, and learn 10 uses of ‘storm'. FIND BBC LEARNING ENGLISH HERE: Visit our website ✔️ https://www.bbc.co.uk/learningenglish Follow us ✔️ https://www.bbc.co.uk/learningenglish/followus SUBSCRIBE TO OUR NEWSLETTER: ✔️ https://www.bbc.co.uk/learningenglish/newsletters LIKE PODCASTS? Try some of our other popular podcasts including: ✔️ 6 Minute English ✔️ Learning English from the News ✔️ Learning English Conversations They're all available by searching in your podcast app.

Driven from England as the fires of Marian persecution begin to consume the very church he helped build, John Knox watches from exile as his friends burn, his flock scatters, and his life's work is undone. What begins as grief hardens into fury, as Knox wrestles not only with the suffering of his people but with his own absence from their trials, forced into a retreat that feels like betrayal. But the terror engulfing England was not born overnight. Behind the flames lies a dynastic crisis decades in the making—Henry VIII's obsession with legacy, a marriage unraveling under political and theological strain, and a young princess shaped from birth to be a pawn in the ruthless game of European power. As Queen Mary ascends the throne, the personal becomes apocalyptic: a kingdom convulses, a church is purged by fire, and Knox is left to ask not only how it happened, but what must now be done. Warning: This episode contains some graphic depictions of Martyrdom so listener discretion is advised. If you enjoy this episode, you can access tons of content just like this at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠wm.wts.edu⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. If you would like to join us in our mission to train specialists in the bible to proclaim the whole counsel of God for Christ and his global church, visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠wts.edu/donate⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Thanks for listening!

Blake Ellis is the Artistic Director of Fresno's Chanticleer Shakespeare Company, Fresno's only resident professional theatre. Directing the company's upcoming production of The Tempest, Blake stopped by for an extended conversation (two segments) on how he's staging this Shakespearean classic including a major twist in the story you don't often see, how iambic pentameter works and how he arrived at deciding on The Tempest. The Christopher Gabriel Program ----------------------------------------------------------- Please Like, Comment and Follow 'The Christopher Gabriel Program' on all platforms: The Christopher Gabriel Program is available on the KMJNOW app, Apple Podcasts, Spotify, YouTube or wherever else you listen to podcasts. --- The Christopher Gabriel Program | Website | Facebook | X | Instagram | --- Everything KMJ KMJNOW App | Podcasts | Facebook | X | Instagram See omnystudio.com/listener for privacy information.

Blake Ellis continued discussing Chanticleer Shakespeare Company's upcoming production of The Tempest. A big part of this staging will be original musical underscoring from members of the Fresno Philharmonic. This is built in to many of Shakespeare's shows but often overlooked by the producing company... not Chanticleer Shakes! Also, Blake gets into why audiences should never "fear" the language because the stories themselves are timeless. The Christopher Gabriel Program ----------------------------------------------------------- Please Like, Comment and Follow 'The Christopher Gabriel Program' on all platforms: The Christopher Gabriel Program is available on the KMJNOW app, Apple Podcasts, Spotify, YouTube or wherever else you listen to podcasts. --- The Christopher Gabriel Program | Website | Facebook | X | Instagram | --- Everything KMJ KMJNOW App | Podcasts | Facebook | X | Instagram See omnystudio.com/listener for privacy information.

Send us Fan MailS6: E4: Jyotsna G. Singh on Shakespeare, Postcoloniality, and Global InterconnectednessFor a complete episode transcript, http://www.womenandshakespeare.comInterviewer and Producer: Varsha PanjwaniGuest: Jyotsna G. SinghTranscript: Benjamin PooreArtwork: Wenqi WanSuggested Citation:  Singh, Jyotsna G. in conversation with Panjwani, Varsha (2026). S6: E4: Jyotsna G. Singh on Shakespeare, Postcoloniality, and Global Interconnectedness.Women & Shakespeare [podcast], Series 6, Ep.4. http://womenandshakespeare.com/Insta: earlymoderndocEmail: earlymoderndoc@gmail.com

Join the crew as they answer questions about life, themselves, and the show.

Thursday, Third Thursday Artist Alley Open House at the South Hill Business Campus, Jazz & Blues with London McDaniel at Ithaca 5 & Dime, and Night Eagle presents Tempest at the Lansing Area Performance Hall. [...]

What makes someone English - and who gets to decide?In this episode of Off Script, Dash Arts' Artistic Director Josephine Burton is joined by choreographer Shobana Jeyasingh, born in India, raised in Sri Lanka and Malaysia, and educated in the UK, whose internationalism has always been at the heart of her practice.Shobana and Josephine explore what Englishness and Britishness actually mean, and why the tension between them matters. Shobana reflects on how English literature and a culture of open debate shaped her own values, even as she felt, in many ways, an outsider looking in.At the centre of the conversation is Shobana's production We Caliban, which draws on Shakespeare's The Tempest to interrogate the encounter between non-European cultures and the colonising gaze of Prospero. It's a work about empire, migration, and the questions that remain stubbornly unresolved. The Tempest is also the source material for Dash Arts' forthcoming production, Our Public House. Together, Josephine and Shobana make the case for why the arts, more than politics or policy, can hold the complexity that simple definitions of belonging refuse to.You can now buy tickets for our new touring theatre production, Our Public House. Find out more on the Dash Arts website : https://www.dasharts.org.uk/our-public-house Hosted on Acast. See acast.com/privacy for more information.

The Tempest Is Brewing

Host and conductor Devin Patrick Hughes welcomes pianist David Korevaar to One Symphony for a rich conversation on Beethoven's piano sonatas and Korevaar's newly released complete recording of the cycle on Prospero Classical. Together they explore why Beethoven still feels so relevant today, how the sonatas trace his artistic evolution, and why they can feel like the closest thing we have to a musical autobiography. The conversation moves from the familiar nicknamed sonatas — including the Moonlight, Tempest, and Les Adieux — into the deeper world of Beethoven's middle and late periods, from the symphonic scale of works like the Appassionata to the daring vastness of the Hammerklavier and the transcendent farewell of Op. 111. Along the way, Korevaar reflects on Beethoven's sonatas as a compositional laboratory, the challenge of hearing beyond the famous openings, the role of patrons and titles, recommended entry points for new listeners, and the enduring mystery of Beethoven's metronome markings. All music featured in this episode is composed by Ludwig van Beethoven and performed by David Korevaar from his newly released recording, Beethoven: The Complete Piano Sonatas, available on Prospero Classical.

Send us Fan MailIn this episode of the Magick Kitchen Podcast, Leandra Witchwood and Elyse Welles welcome back Laura Tempest Zakroff to talk about their new book, Tarot by Tempest, and they approach to reading tarot through pattern, rhythm, imagery, and elemental relationships. Together, they explore why tarot does not have to be intimidating, how the Minor Arcana can become more accessible, and why rigid meanings often get in the way of real spiritual insight.They also dive into Laura's work on the Witches' Ally Oracle, the relationship between art and divination, and the importance of building connection with the decks and tools you actually use. Along the way, this conversation touches on sigil witchery, creative practice, collaboration, magical resistance, and what it means to let tarot become a living relationship rather than a memorization exercise.If you have ever felt overwhelmed by tarot, or wanted a more intuitive and embodied way into the cards, this episode is a rich and refreshing place to begin.  You can explore more of Laura's work through their Instagram at https://www.instagram.com/owlkeyme.arts/ and their website aJoin monthly coven classes and experiences.  A Five-Day Audio Program to Clear the Noise and Transform Your Practice. This is where serious Witches belong. The Witch's Reset exists for witches who are done dabbling,who are ready to stop circling the work and step into competence, coherence, and embodied trust.  https://leandrawitchwood.com/witchs_reset The Healing Our Feminine Wounding Immersive is a sacred retreat devoted to untangling inherited shame, silence, and survival patterns carried in the feminine body. Through ritual, reflection, and land based temple arts, we work gently and honestly with what has been passed down so that a truer, steadier way of being can emerge. Sacred Wild Wednesdays is a live weekly gathering with Elyse Welles featuring tarot readings for participants, magickal musings, and grounded spiritual teaching. Held in real time, this space offers guidance, perspective, and connection for those walking the Path of the Sacred Wild.Support the Podcast!

“For there stood by me this night the angel of God.” — Acts 27:23 Tempest and long darkness, coupled with imminent risk of shipwreck, had brought the crew of the vessel into a sad case; one man alone among them remained perfectly calm, and by his word the rest were reassured. Paul was the only […]

Maddox and the Tempest crew receive orders from an old ally to investigate the circumstances around the deadly collision.

Well... life has been life-ing... mostly good things, but still time-consuming! We apologize for the long delay in posting this episode, but anytime Maggie and Charlie stop by, you know it will be a fun listen (even if its a bit late). The Tempest Raven competition has concluded, but we hope you'll still find value and joy in listening to our genre and prompt reactions! Maybe listening to this episode will help generate excitement about the upcoming Verdant Owl competition.**SPONSOR INFO**We have two sponsors we'd like to include this episode:The first sponsor: Alexandria Bellani is promoting a new flash competition, Odd Embers! It's run by a very talented friend and fellow Contest Goblin, and is an absolutely amazing competition focusing on weird fiction and unique, inspiring prompts (and based on chatter in various writing groups after the first challenge, it seems to have followed through on that prompt promise!).Their next contest, “Drabble-abble-abble”, kicks off on Friday 10 April (registration closes 9 April), and will challenge writers to submit a single, cohesive story between 290-310 words. There will be three sets of prompts provided to the writers who will need to choose one prompt from each set to include in their stories. The prompt chosen from the first set of prompts must first appear in the first 100 words of the story, the prompt chosen from the second set of prompts must first appear in the second 100 words, and then the third prompt must first appear in the last 100 words. Once a prompt has been introduced, it can flow through into the rest of the story, but each prompt must appear for the first time within its designated 100 word section.Odd Embers encourages weird, wild takes across all genres and is primarily targeted at the community of masochists who dread any weekend where they haven't signed up for a writing competition. It's really fun, quirky, and inspiring, and is really just intended for all of us to have a lot of fun writing!The second sponsor: Maggie Schreier is promoting Autumn Bettinger's new book: Bella Donna. Although the book is not quite available for preorder yet, here is the link to watch for when it is available, and here is a link to Autumn's personal website. Below is the blurb Maggie wrote for the back cover:"Belladonna" by Autumn Bettinger is a lush garden of short fiction –- sometimes disturbing, sometimes weird, often poignant, but always beautiful. Read like a botanical guide, this book explores the joy and sorrow of the human experience in masterfully articulated bite-sized tales.            --  MM Schreier, author of "Monstrosity, Humanity" and "Bruised, Resilient"**PATREON INFO**3 prizes from our most recent giveaway have been shipped and received! We hope you all enjoy!If you would like to join our WiPpersnapper Patreon community, here's everything you need to know:You can join at https://www.patreon.com/WritinginProgressPodcast(Check other episodes for further description, I've maxed out the character limit for this epsiode description with the two sponsors.)

Zach sits down with Ron and Catrina, a married couple behind the YouTube music show Covers on the Spot, to find out what happens when you treat a relationship like a live recording session. Ron is the creative director and host of the show, where bands are given a song they have never heard and tasked with covering it in a single day. Catrina is a graphic designer on the same media team at Musora and the quieter half of a pairing that, by their own description, sounds like "something harmonic." Together, they have three kids, a shared workplace, and a relationship built on aligned values and very different processing speeds.Using a "covers on the spot" framework for the conversation, Zach gives Ron and Catrina relationship prompts and asks them to riff. What comes out is a candid look at how they handle conflict, protect their time together, and keep choosing each other through the daily grind of parenting and working side by side. Catrina is open about her tendency toward passive aggression and the work she is doing to change it. Ron talks honestly about learning to stop "winning" arguments and start listening instead. One of the most striking moments comes when Catrina says their relationship at its best sounds like silence: quiet, smooth, still moving.Zach ties it all together with a Ben Folds story about orchestras resolving dissonance, not just difference, and drops one of his signature reframes: repair is more important than resolve. This is an episode for anyone who has ever stayed up until 2 a.m. trying to fix something with their partner and wondered if there was a better way.Key TakeawaysWinning the argument is not the same thing as being right about the relationshipGiving your partner time to process is not waiting. It is participating.A relationship is not something you find. It is something you build with someone who wants to build with you.Repair is more important than resolve. You can go to bed without solving it and still be okay.Protecting your time together matters more than filling your calendar with activityThe best relationships keep evolving their sound. What worked five years ago may not be the song you need now.Constraints (kids, time, fatigue) can actually sharpen how a couple communicates, not just limit itVulnerability is daring to be fully honest with someone, not just showing them the version of yourself you think they wantGuest InfoRon (Catrina's husband): Producer and host of Covers on the Spot, a YouTube music show where bands cover a song they have never heard in a single day. Former high school musical theater teacher. Based in Chilliwack, British Columbia.Catrina (Ron's wife): Graphic designer at Musora. Handles YouTube thumbnails, Instagram assets, and physical product design. Former theater student (played Ariel in The Tempest). Self-described introvert.They have three children.They started dating January 1, 2011 after being friends since high school.Covers on the Spot: YouTube PlaylistMusora (music lessons platform): musora.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This is a free preview of a paid episode. To hear more, visit www.politix.fmDonald Trump seems to want out of the Iran war AND out of the Department of Homeland Security shutdown. But only if he can get out by being an even bigger asshole. In this Matt and Brian discuss:* Trump's latest, inscrutable, and quite likely corrupt machinations to end his war of choice (or at least prosecute the war without throttling global oil supply);* Signs that Republicans are catching more heat than Democrats for the DHS shutdown (and the ensuing long lines at airports);* Whether it was wise or unnecessarily risk averse for Democrats to offer to fund TSA and other non-immigration components of DHS (to avoid blowback from weary travelers).Then, does the fact that Democrats have maintained unity in this fight for the past 40 days redeem Chuck Schumer at all? (No.) If not, does it suggest that the Senate Democrats who lost confidence in him aren't really that interested in fighting after all? Will this kind of fighting help Democrats improve their abysmal approval numbers and lagging generic-ballot numbers? Or are they simply unpopular because they're out of step, policy-wise, with the electorate?All that, plus the full Politix archive are available to paid subscribers—just upgrade your subscription and pipe full episodes directly to your favorite podcast app via your own private feed.Further reading:* Brian argues that the real problem with Democrats' policy agenda isn't that it's too far left, per se, but that it will, once again, crowd out the more pressing matters of democracy protection and accountability for fascism.* Matt on the most perverse reason Trump hasn't quite chickened out of the war.* Perception of partisan ideology, by party ID.