Podcasts about Unbearable Lightness

Writer and artist Martina Skála grew up in Prague's picturesque Malá Strana district before leaving for France in the mid-1980s and eventually settling in California. Skála, who studied history and set design, has also had an unusually broad range of jobs, from acting as an advisor to the female leads on The Unbearable Lightness of Being to literally dancing with horses.

The Unbearable Lightness of Data // MLOps Podcast #295 with Rohit Krishnan, Chief Product Officer at bodo.ai.Join the Community: https://go.mlops.community/YTJoinIn Get the newsletter: https://go.mlops.community/YTNewsletter // AbstractRohit Krishnan, Chief Product Officer at Bodo.AI, joins Demetrios to discuss AI's evolving landscape. They explore interactive reasoning models, AI's impact on jobs, scalability challenges, and the path to AGI. Rohit also shares insights on Bodo.AI's open-source move and its impact on data science.// BioBuilding products, writing, messing around with AI pretty much everywhere// Related LinksWebsite: www.strangeloopcanon.comIn life, my kids. Professionally, https://github.com/bodo-ai/Bodo ... Otherwise personally, it's writing every single day at strangeloopcanon.com! ~~~~~~~~ ✌️Connect With Us ✌️ ~~~~~~~Catch all episodes, blogs, newsletters, and more: https://go.mlops.community/TYExploreJoin our slack community [https://go.mlops.community/slack]Follow us on X/Twitter [@mlopscommunity](https://x.com/mlopscommunity) or [LinkedIn](https://go.mlops.community/linkedin)] Sign up for the next meetup: [https://go.mlops.community/register]MLOps Swag/Merch: [https://shop.mlops.community/]Connect with Demetrios on LinkedIn: /dpbrinkmConnect with Rohit on LinkedIn: /rkris

SLEERICKETS is a podcast about poetry and other intractable problems. My book Midlife now exists. Buy it here, or leave it a rating here or hereFor more SLEERICKETS, check out the SECRET SHOW and join the group chatLeave the show a rating here (actually, just do it on your phone, it's easier). Thanks!Wear SLEERICKETS t-shirts and hoodies. They look good!SLEERICKETS is now on YouTube!Some of the topics mentioned in this episode:– Woman of Letters by Naomi Kanakia– Is literary criticism just a school of sophistry? by Naomi Kanakia– English class teaches students to be afraid of literature by Naomi Kanakia– Is literature a false God? by Naomi Kanakia– The new issue of Literary Matters!– My poem Letter to a Middle-Aged Poet in First Things– The Versecraft episode where we all traded poems, Pt. 1 & Pt. 2– AWP 2025– What is art? by Leo Tolstoy– The Secret Show episode on What is art?, Pt. 1 & Pt. 2– The Unbearable Lightness of Being by Milan Kundera– Crisis of European Sciences and Transcendental Phenomenology by Edmund Husserl– Naomi's review of James by Percival Everett in The Metropolitan Review– Moby Dick by Herman Melville– Against Interpretation by Susan Sontag– The Case of the Wolf Man from the History of Infantile Neurosis by Sigmund Freud– Mary Jo Salter– The Norton Anthology of Poetry– The Poem's Heartbeat by Alfred Corn– The Canterbury Tales by Geoffrey Chaucer– On Close Reading by John GuilloryFrequently mentioned names:– Joshua Mehigan– Shane McCrae– A. E. Stallings– Ryan Wilson– Morri Creech– Austin Allen– Jonathan Farmer– Zara Raab– Amit Majmudar– Ethan McGuire– Coleman Glenn– Chris Childers– Alexis Sears– JP Gritton– Alex Pepple– Ernie Hilbert– Joanna PearsonOther Ratbag Poetry Pods:Poetry Says by Alice AllanI Hate Matt Wall by Matt WallVersecraft by Elijah BlumovRatbag Poetics By David Jalal MotamedAlice: Poetry SaysBrian: @BPlatzerCameron: CameronWTC [at] hotmail [dot] comMatthew: sleerickets [at] gmail [dot] comMusic by ETRNLArt by Daniel Alexander Smith

Today's Affirmation:"She Let's Me Watch Her Mom and Pop Fight"Writers: N. Blagman*, S. BobrickAlthough she isn't much to look at,And she isn't very bright.I love her, I love her,Oh boy how I love her'Cuz she let's me watch her mom and pop fight.To see a lamp go through the windowAnd watch them kick and scratch and bite.I love her, I love her,Oh boy how I love her'Cuz she lets me watch her mom and pop fight.And Friday night,It's something wonderful to seeWhen her pop comes home withOnly half his check.We split a candy barAnd watch World War III,It's got necking beat to heck!I'm gonna make that gal my steadyBecause they're at it every night.I love her, I love her,Oh boy how I love her'Cuz she let's me watch her mom and pop fight.

A version of this essay has been published by Open Magazine at https://openthemagazine.com/columns/shadow-warrior/I have been thinking about the ongoing vilification of Hindus in the media/social media for some time, e.g. the Economist magazine's bizarre choice of Bangladesh as its country of the year while Bangladeshis are genociding Hindus. The simplest way I could account for it is as the very opposite of Milan Kundera's acclaimed novel The Unbearable Lightness of Being. There is some karma at play here, and it is very heavy.The nation of immigrants, or to be more precise, its Deep State, is apparently turning against some of its most successful immigrants: law-abiding, tax-paying, docile ones. Irony, while others go on murderous sprees. In an insightful article in Open magazine, Amit Majmudar explains Why They Hate Us.There has been an astonishing outpouring of pure hatred against Indians in general, and Hindus in particular, on the Internet in the wake of Sriram Krishnan's seemingly accurate statement that country caps on H1-B visas are counterproductive. But this was merely a spike: for at least a year, Hindus have been vilified and name-called as “pajeets” and “street-shi**ers” on the net.It is intriguing that in 2024, both Jews and Hindus have been targeted: Jews by the extreme left on Gaza, and Hindus by both the extreme left and the extreme right, on what is, basically, a non-issue. H1-B is a very minor issue compared to, say, the wars and the US national debt.In fact, the H1-B brouhaha may well turn out to be a medium-term plus for India if it compels young Indians to seek employment at home. It will of course be a minus for the million-plus Indian-origin individuals who are in line for Green Cards, given the per-country cap of 9800 per year: mathematically, it will take them over a century to gain permanent residence.From the host country's point of view too, it is necessary to distinguish between generally desirable immigrants who contribute to the national wealth, as opposed to others who are a net burden on the exchequer, as I wrote recently.On reflection I attribute the withering assault on Hindus to four things: racism, religious bigotry, economics and geo-economics, and narrative-building.Presumably, all this had something to do with British colonial propaganda, which painted India as an utterly horrifying and pestilential country. Motivated and prejudiced imperialists ranging from James Mill to Winston Churchill were considered truthful historians. And it continues. I mentioned above the Economist magazine's baffling decision to certify Bangladesh's Islamist reign of terror.In another instance, in the Financial Times, a British chess correspondent (a nonagenarian named Leonard Barden), was underwhelmed by D Gukesh's staggering feat of becoming world champion at a teenager, and seemed to suggest that a) Gukesh won because his opponent Ding Liren of China was ill, b) Gukesh would have lost to either of two Americans, Caruana and Nakamura (both immigrants to the US, incidentally) if they had been in the fray. Barden, who probably remembers imperial times, also seemed to think poorly of the emerging Indian challenge in chess. These Anglosphere prejudices affect Americans.I also have some personal experience of American racism, as someone who went to the US on a student visa, got his Green Card and stayed on for twenty years before returning to India. A factor in my return was alienation, and the feeling of being an unwanted outsider, engendered by casual racism, even though on the face of it, I had a great life: good job in Silicon Valley, nice house, dream car. Obama's and Biden's regimes did nothing to change that feeling. Trump's second coming may not either.RacismIn general, I find Americans to be very nice people, gregarious, friendly and thoughtful: I had a number of good friends when I lived there. But I also think that racism is inbuilt into the culture (after all, it has not been that long since Brown v. Board of Education, Bull Connor, Jim Crow, George Wallace; and earlier the Asian Exclusion Act).There have been many acts of discrimination and racism against Hindus (although the term “Hindoo” [sic] included Sikhs and Muslims as well). See, e.g., the serious anti-Indian riots in Bellingham, WA in 1907 when “500 working class white men violently expelled Hindoo migrants from the city”. (both images courtesy @Hindoohistory on Twitter).Another remarkable story was the saga of Bhagat Singh Dhind, a Sikh, who was granted US citizenship three times, only to have it be taken away twice. The first time, in 1913, it was because, although ‘Hindoos' are Caucasians, they are not white. The second time, because the Supreme Court ruled in 1923 (US v Bhagat Singh Thind) that it would retrospectively cancel the citizenship of some 77 naturalized ‘Hindoos' based on the 1917 Immigration Act.The “Barred Zone” provision in that 1917 Act denied citizenship to Indians and Southeast Asians by making a large swathe of territory in Asia verboten. Curiously, Japanese, Koreans and some Chinese were exempt. Iranians, some Afghans (and some Baloch, if you look at the map closely) were deemed white. So far as I know, that is still the working definition of “white” in the US. (source: qz.com)There were real human costs: there is the sad story of Vaishno Das Bagai, a San Francisco businessman, who was rendered stateless after denaturalization, and seeing no way out (he was a Ghadar Party activist against British rule in India) committed suicide.Anyway, Dhind, evidently a persistent fellow, got his citizenship a third time because he had served in the US Army in World War I. Third time lucky: his citizenship was not revoked again.After the Luce-Celler Act of 1946, 100 Indians and 100 Filipinos a year were allowed to immigrate to the US, with the prospect of future naturalization as US citizens. Race based limitations were replaced with a quota system by the 1952 Immigration and Nationality Act (aka McCarran-Walter Act), but it still retained significant caps based on national origin; that Act also introduced the H-1 category for skilled immigrants.As a result of all this, the number of Indian immigrants to the US (e.g. nurses) started going up. The general euphoria surrounding the Civil Rights Movement also conferred a certain respect upon Gandhi, because Martin Luther King reportedly was inspired by his non-violent techniques of protest.But that did not mean US blacks made common cause with Indians, because often unofficial ‘minority quotas' were achieved by bringing in Indians and Chinese, which in effect meant blacks did not get the jobs they legitimately spilled their blood for.I was one of those who went through the ‘labor certification' process in the 1980s, when it was relatively easy to get a Green Card because there were very few Indians applying. The trickle became a flood after the Y2K issue when a lot of Indians arrived on H1-Bs.I personally experienced mild forms of public racism, for instance from Latinos in New Jersey calling me a ‘dot-head', to an unseen voice shouting “No Indians wanted here” when I was being shown apartments in NJ. This was around the time Navroze Mody was beaten to death in Hoboken, NJ by ‘Dotbusters'.Later, there were whites asking if I were leaving the country when I walked out of a mall with a suitcase in Fremont, California. When I said yes, they expressed their approval.Religious bigotryThe death of former US President Jimmy Carter at the age of 100 is a reminder of the power of fundamentalist Christians in the US. He was a faithful member of the Baptist Church, and in his eulogies, he was praised as a simple and decent man who upheld his Christian beliefs.But the impression of Baptists, and American evangelists in general, in India is vastly different. They were implicated in the story of the fervid young American man who attempted to evangelize the famously hostile tribals of North Sentinel Island. They promptly shot him dead with arrows for his pains.The result of Christian conversion in India has often been negative, contrary to pious platitudes. It has created severe fissures in society, turning family members against each other. The net result of conversion has been to create separatism.Verrier Elwin, a missionary, converted large numbers of people in the Northeast of India, and the result has been calls for a separate Christian nation in that area. Sheikh Hasina, before being deposed, claimed that there were plans afoot for a Christian “Zo” nation, for Zo/Kuki/Mizo/Naga converted tribals, to be carved out of India and Bangladesh.There are precedents, of course: the Christian nations of South Sudan (from Sudan) and East Timor (from Indonesia).The Indian state of Manipur which has seen a lot of conversion recently, is also troubled, with armed Kuki Christian terrorists killing Hindu Meiteis. .The bottom line is that the very precepts of Abrahamisms, of an exclusive god (or god-equivalent), an in-group out-group dichotomy, and the demonization of non-believers as the Other, are antithetical to the Hindu spirit of inclusivity and tolerance.Hindumisia or Hindu hatred is rampant in the West, and increasingly on the Internet. The evolution of this hostility can be seen in a taxonomy of monotheistic religions:* paleo-Abrahamisms: Zoroastrianism, Judaism* meso-Abrahamisms: Christian, Islamic religions* neo-Abrahamisms: Communism, Fascism, Nazism, DMK-ism, Ambedkarism, and so onThe arrival of Christians in India was far from peaceful; the historical record shows that the Jesuit Francis Xavier was proud of his idol-breaking. Claude Buchanan made up lurid tales about his alleged encounters with Hindu practices; William Bentinck and his alleged abolition of sati were lionized far beyond reason, because sati was a very isolated practice.The continued deprecation of Hindus by Christians can be seen vividly in Kerala, where Christians are considerably more prosperous than Hindus (data from C I Issac, himself a Christian and a historian). Here's an American of Kerala Christian descent hating on Hindus, perhaps unaware that “Thomas in India” is pure fiction, and that Francis Xavier, the patron saint of Christians in India, was a fanatic and a bigot. ‘Syrian' Christians of Kerala who claim (without proof) to be ‘upper caste' converts discriminate harshly against ‘lower-caste' converts to this day. Hardly all ‘children of god'.Incidentally, there may be other, political, considerations here. This woman is apparently married into the family of Sydney Blumenthal, which is part of the Clinton entourage, i.e. Democrat royalty. Tablet magazine discussed the ‘permission structure' used by Democrats, especially Obama, to manufacture consent. Hindus may be getting ‘punished' for supporting Trump.I personally experienced Christian bigotry against Hindus at age 10 in Kerala. My classmate Philip (a local Malayali) told me casually: “All your gods are our devils”. Reflexively, I told him, “Your gods are our devils, too”, although no Hindu had ever told me Christian gods were devils.Others have told me identical stories from places like Hyderabad. This meme likely came from Francis Xavier himself. It may well be taught to impressionable children as an article of faith in church catechism.Francis Xavier invited the Inquisition to Goa, and many, if not most, of the victims were Hindus. Here's an account from Empire of the Soul by Paul William Roberts:“The palace in which these holy terrorists ensconced themselves was known locally as Vadlem Gor – the Big House. It became a symbol of fear… People in the street often heard screams of agony piercing the night… Children were flogged and slowly dismembered in front of their parents, whose eyelids had been sliced off to make sure they missed nothing. Extremities were amputated carefully, so that a person would remain conscious even when all that remained was a torso and head. Male genitalia were removed and burned in front of wives, breasts hacked off and vaginas penetrated by swords while husbands were forced to watch”.Below is a tweet by another American presumably suffused with Christian compassion. I am reminded of a Kerala Christian woman repeatedly trying to convert a Scheduled Caste friend, using similar memes denigrating Kali. Finally, my friend got fed up and asked her: “You worship the mutilated corpse of a dead Arab stuck on a stick. And that's better?”. Her jaw dropped, and she blubbered: “But… but, that's a metaphor”. My friend retorted: “Then realize that Kali is a metaphor too”. Not much self-awareness on the part of the would-be converter.Therefore, the religion factor, of Hindus being the ultimate Other, cannot be overstated. There is basically no way to reconcile the Hindu world view with the Christian. Dharma is incompatible with Abrahamisms/Semitisms. And no, it's not Jimmy Carter who's relevant, it's Francis Xavier.Economics and Geo-economicsThere is a serious issue with the engineering community in the US, which has nothing to do with the H1-B program. Engineers have been unable to unite, create a cartel, keep their numbers low and value to the consumer high, and bargain to keep salaries high. This is a signal failure on the part of the US engineers, and blaming others isn't going to solve the problem.Consider, in contrast, doctors (and to a lesser extent, nurses). They keep their numbers very low, successfully portray their contribution to society as very high, and keep out foreign doctors as much as possible: the result is that their salaries are astronomical (a recent Medscape survey suggests that the top-earning specialty, Orthopedics, earns an average of $568,000 a year. And that's the average).In contrast, according to Forbes in 2023 the highest-paid engineering specialty, Petroleum Engineering, earned only $145,000, and in fact wages had actually declined. Even much-ballyhooed software engineers ($103,000 ) and AI engineers ($128,000) make very little. And lest you think H1-B depresses wages, there are almost no H1-B petroleum engineers. The bottom line is that engineering is not a high-income occupation in the US. Why? No syndicate.How about nurses? According to a report, Nurse Anesthetists make an average of $214,000.And there are plenty of Indian-origin doctors and nurses in the US. Why does this not create a hue-and-cry? The answer is two-fold: one, the scarcity value, and two, those in medicine have created a narrative, and the public has bought it, that their services are so valuable that the nation must spend 20% of its GDP on what is, by objective measures, pretty poor outcomes in health: ranking tenth out of 10 in high-income countries, at very high cost.There have been grumbles about the helplessness of American engineers for years: I remember forty years ago some guy whose name I forget constantly complaining in the IEEE's email groups about immigrant engineers enabling employers to lower the salaries they pay.In addition, engineers regularly go through boom-and-bust cycles. They have no leverage. I remember after a boom period in the 1970s, unemployed aerospace engineers were driving taxis. If there is another ‘AI winter', then we'll find unemployed AI engineers on the street as well, despite massive demand right now.It is true that there may be subtle intricacies, too. The US companies that contract out their positions to H1-B engineers may well be paying prevailing wages, say $60 an hour. But there are middlemen: big IT services companies who take on the contracts, and provide ‘body-shopping' services. They may well be severely underpaying the actual engineers at only, say, $35 an hour, in a bizarre revivification of ‘indentured labor', i.e. wage slavery. It is difficult for those on H1–Bs to change employers, so they are stuck.There is a larger geo-economic angle as well. The US likes being the top dog in GDP, as it has been since 1945. Unfortunately, through the fecklessness of all Presidents from Nixon onwards, they have somehow allowed China to ascend to a strong #2 position. At this point, I suspect the Deep State has concluded that it would be impossible to dislodge China, given its manufacturing clout.I wrote a year ago that a condominium with China may well be the best Plan B for the US. Let us consider what has happened to the other countries that were at the top of the economic pyramid: Germany and Japan.The 1985 Plaza Accord whereby the US dollar was depreciated led to a Lost Decade for Japan, which has turned into a Lost Four Decades; that country which was booming in the 1980s lost, and never regained its momentum.Germany was doing pretty well until the Ukraine War and the arrival of the Electric Vehicle boom. But at this point, it has more or less lost its machine tools business, its automobile business; add its social and political views, and its future looks grim.If this is what has happened to #3 and #4, we can expect that an aspiring #3, namely India, will face a concerted effort to ruin it. It is in the interests of both the US and China to suppress a potential competitor, especially when there is the tiresome mantra of “India is the fastest growing large economy in the world”.The Bangladesh coup, which benefits both the US and China by creating a massive new war front on India's East, is therefore possibly the result of a tacit collusion between the Deep State and the CCP. Similarly, the sudden spike in anti-Hindu rhetoric and this H1-B hoo-haa may well be financed by Xinhua, and it clearly benefits the Democrats, as it has driven a wedge between Christian fundamentalist MAGA types and other Trump supporters. It also puts the Indian-origin and/or Hindu members of Trump's team on notice: they better self-censor.Even immigrant Elon Musk, not to mention Vivek Ramaswamy, Kash Patel, Jay Bhattacharyya, and the non-Indian Hindu Tulsi Gabbard, are all in the firing line of the Deep State. Even though the IEEE has been moaning about depressed engineering salaries for half a century, it is curious that this became a cause celebre just days before Trump's accession to the Presidency.Narrative-buildingThere was a sobering incident in New York's subways on December 22nd, when a woman, now identified as 61 year old Debrina Kawam, was set on fire by an illegal immigrant, Sebastian Zapeta, from Guatemala, who had been deported earlier but came back to the US. I saw a video purportedly of her burning to death, shockingly without screaming, rolling on the ground to douse the flames, or anything else. She just stood and burned, as Zapeta fanned the flames.A New York City subway policeman walked by. The people who were busy capturing the footage on their smartphones did not intervene or help. It reminded me of Kitty Genovese, a 28 year old woman who was raped and stabbed to death on March 13, 1964, in full view of onlookers in the apartment block where she lived in Queens, New York. Nobody bothered to intervene as she died, screaming.It is really odd when people refuse to get involved in helping a dying person. There's something morally wrong here, and it should have been worth exploring in the very articulate media.Yes, Debrina Kawam's baffling story got widespread airplay immediately after it happened, but it died surprisingly quickly. Here's the Google Trends index of interest in that story.The big new story was H1-B, which shot up and displaced the subway murder story. Note the respective timelines: the Google Trends below is about H1-B. It is hard to believe this was an organic shift. It was “manufacturing consent” with placement aforethought.I wrote recently about how narratives are created out of thin air with the intent of manufacturing consent. The abrupt U-turn on Sheikh Hasina was one of the examples. Now the neat and abrupt switch from the NYC subway burning-alive also points to something that is deliberately planted to divert attention away from inconvenient questions.Let us now see how the H1-B narrative survives the New Orleans story of the son of immigrants, ex-soldier, and ISIS member driving a truck and ploughing into a New Year crowd, killing many. Of course, the narrative will carefully not say anything rude about the religion of the alleged perpetrator, because there will be… consequences.ConclusionThe furious drama and narrative about H1-B will subside soon; ironically, it may well be to the benefit of the Indian nation if this kind of propaganda reduces the attractiveness of the US for talented would-be Indian immigrants, who might stay on at home and build innovative companies. Canada and Britain have already ceased to be desired destinations.However, the underlying issues of racism, religious bigotry, economic warfare and astroturfed narrative are real and will not go away. These are danger signals about “life, liberty and the pursuit of happiness” for Indian migrants to the US, and that's a sad start to 2025.3450 words, Jan 2, 2025Here's the AI-generated podcast from NotebookLM by Google: This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit rajeevsrinivasan.substack.com/subscribe

What says “Merry Christmas” more than a sexy tale of infidelity and alienation set against the backdrop of soviet invasion and oppression?  In the Criterion Collection?  Not much. Join us as we discuss Phillip Kaufman's adaptation of Milan Kundera's novel of Prague Spring and its aftermath, starring some distractingly beautiful people. Join the Random Acts of Cinema Discord server here! *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you'd like to watch ahead for next week's film, we will be discussing and reviewing Nobuhiko Obayashi's House (1977).

Another conversation with Dr. Nick Boulis Find the video of this conversation at https://youtu.be/2Tx4yNNJZbA

The memoir is a fascinating form to explore. I'm always intrigued as to how an author can adapt their life and fit it into the confines of a page. How does one capture all its complexities, contradictions, and fleeting moments, in a narrative that feels both honest and coherent? My guest today is Susanna Crossman, a British-French writer, essayist, and clinical arts therapist, who has just published Home is Where We Start with Penguin Random House. The book is her own account of growing up in ‘the fallout of the Utopian Dream' – in a politically revolutionary Community in the late 1970s. In the fascinating work, she blends memoir and social commentary, weaving philosophical ideas into the wider narrative of her own experiences with community and disillusionment. It was great talking with Susanna today, and I'm so pleased to be able to share her insightful, nuanced thoughts about literature in general. Susanna has recently started a Substack, which you can check out here. Susanna Crossman's four books were: On The Banks of Plum Creek, Laura Ingalls Wilder (1937) The Unbearable Lightness of Being, Milan Kundera (1984) Memoirs of Hadrian, Marguerite Yourcenar (1951) What is Ancient Philosophy?, Pierre Hadot (1995) Lit with Charles loves reviews. If you enjoyed this episode, I'd be so grateful if you could leave a review of your own, and follow me on Instagram at @litwithcharles. Let's get more people listening – and reading!

This is a seriously special episode this week-and the story my guest, John Brink shares, is nothing short of spectacular! John shares so much this week-his childhood during the end of WWII, how Canadians freed his village in Holland, and how he was forever changed by their generosity and kindness. John was so captivated by these men that he decided he would leave his homeland and emigrate to Canada, so many years later-and that, as they say, has made all the difference. It also allowed Spirit to demonstrate to John that we are all connected in one great beautiful life-fabric and there's no getting away from destiny! John's story is so dang powerful, I dare you to walk away from this one saying there is no method to the madness that is this life-and that the miracle was simply a coincidence! I dare you!  As for John, he is busy living life the only way he knows how-with grace and resilience and with the eternal hope that we are all striving to make this world a better place for everyone! To read more about John and his good works, click here to see his website! To buy his books AGAINST ALL ODDS, LIVING YOUNG, DYING OLD, FINDING YOUR PASSION and ADHD UNLOCKED, click here! PLEASE DO SUBSCRIBE TO THIS PODCAST SO AS TO NEVER MISS AN EPISODE! And remember, ratings and reviews are where it's at, so please do consider rating the pod! Your bit of beauty this week? this Tedx talk by Jane Caro entitled "Growing Old, The Unbearable Lightness of Aging." Related with a wink and a smile, this video encourages us to embrace the aging process and to do it like John does, with a sense of humor, with grace, and with humility!

This is a seriously special episode this week-and the story my guest, John Brink shares, is nothing short of spectacular! John shares so much this week-his childhood during the end of WWII, how Canadians freed his village in Holland, and how he was forever changed by their generosity and kindness. John was so captivated by these men that he decided he would leave his homeland and emigrate to Canada, so many years later-and that, as they say, has made all the difference. It also allowed Spirit to demonstrate to John that we are all connected in one great beautiful life-fabric and there's no getting away from destiny! John's story is so dang powerful, I dare you to walk away from this one saying there is no method to the madness that is this life-and that the miracle was simply a coincidence! I dare you!  As for John, he is busy living life the only way he knows how-with grace and resilience and with the eternal hope that we are all striving to make this world a better place for everyone! To read more about John and his good works, click here to see his website! To buy his books AGAINST ALL ODDS, LIVING YOUNG, DYING OLD, FINDING YOUR PASSION and ADHD UNLOCKED, click here! PLEASE DO SUBSCRIBE TO THIS PODCAST SO AS TO NEVER MISS AN EPISODE! And remember, ratings and reviews are where it's at, so please do consider rating the pod! Your bit of beauty this week? this Tedx talk by Jane Caro entitled "Growing Old, The Unbearable Lightness of Aging." Related with a wink and a smile, this video encourages us to embrace the aging process and to do it like John does, with a sense of humor, with grace, and with humility!

A thousand times at least I asked my Guru to give Nothingness a name. Then I gave up. What name can you give to the source from which all names have sprung? –Lal DedLanguage has a trickster quality. At one moment it limits. We find ourselves hard pressed to find the word that captures a feeling, mind state or emotion. Other times, a single word can invoke so many meanings and associations that we are left with a number of mind tangents or in a conversation with people who have very different images in their hearts.For example—the other day I was working with a colleague to come up with a name for an event that we are collaborating on. They wanted to use the word “vessel”, I said it reminded me of deep sea submarines, they said they thought of a cup or chalice, another friend said they immediately thought of blood flowing through their veins.Needless to say, we scrapped vessel.But, how often does this happen?One of my favorite books as a college student was The Unbearable Lightness of Being by Milan Kundera (who is a Czech writer and somehow captures something I know so deeply in my bones growing up in a large close knit Catholic extended family with Czech ancestry). In the book he defines words according to the different characters, which opens up a reflection on how a single word also contains personal meaning based on our histories. We all have experience with hearing a word, and an image appears in our mind, and suddenly we are in a scene from 10 years ago—smelling the ocean, filled with longing for a lost love or time of connection—or something else.Given our wide range of life experience and associations, how is it that we are able to communicate at all?In spiritual practice, we play the trickster, using language we point beyond concepts to a truth outside of our shared vernacular— a secret language of the innermost heart.Yet, the words themselves can act as traps. We say one thing, and the other side isn't expressed. Our words amount to an incomplete teaching, a partial truth. As practitioners on this path of freedom—we learn to liberate language. To hear beyond the words. To—at times—forget words. Deviating from conventional conceptualizations — playing in pure potentiality. If a tree wasn't a tree, what would you call it?If love wasn't called love, how would you name it?What is the sound you would give to oneness? How would you capture Nothingness?Don't tell me about it, my teacher would say in sanzen, show me!…For the month of September my dharma talks/podcasts will be exploring the relationship between the oneness and the many, or sameness and difference. We will be using the Zen poem by Shitou called the Sandokai, which is translated as the Harmony of Difference and Sameness or the Identity of Relative and Absolute. This podcast introduces the poem and some other teachings from Shitou, just to give you a flavor for his teaching style. On Monday Sept 16, I plan to zoom out and explore the ways sameness + difference show up in our lives + practice, exploring how we can practice integrating the teaching of one + many in our relational lives.Another theme I have been reflecting on lately, and this very much is part the exploration of oneness and many—is the relationship between Spirit and Soul in dharma practice. Almost every retreat I have led in a Zen context, someone asks at some point, where is the joy? And while I have found great joy in simply sitting in the stripped down style of a Zen sesshin. I also know that Joy, Beauty, Art, Wonderment and Ecstasy are potent elements to the unfolding and embodiment of dharma in our lives.Jogen and I have been envisioning a practice space that is both committed to the spiritual practice of waking up, while also exploring together elements of soul work. I am excited to introduce……sky + rose: an emergent, on-line contemplative community braiding Spirit and SoulMeets monthly on Sundays from 10:30A PT - 12:30P PT / 1:30P ET - 3:30P ETJoin us for our first practice session : The Ritual of LiminalitySunday October 27Spirit (sky): indestructible stillness-openness, clarity, perfection beyond the mind's capacity to grasp or reconcile, the felt unity of all this multiplicity, the cosmos in your cup of coffee. Unstoppable, ever-graceful flow.Soul (rose): everything alive as Beauty. Art in the everyday quirks, cares, agonies and curiosities. Tending the need to create, relate, build and destroy. Reconciling Psyche's movement towards wholeness. Answering the call to heal the meanness and alienation that fractures our worlds. Putting on the Altar the dark places and shining light in the shadowy corners of our very human hearts. The love and meaning for the flowers popping up in the cracks.This is a place for kisei and jogen to weave in practices and explorations of Soul Work that are typically not highlighted in the Buddhist tradition but that have nonetheless been sources of vitality, expansion and joy. Here we ask together: What if we lived as if Love were the point?We will:* Create a practice ethos of radical non-duality, a commitment to see into the dream of the self. Grounding in dharma practices of stillness, inquiry and openness.* Center parts work practices to explore the fluidity, span and dream of who we are - somebody, nobody, everybody.* Do interpersonal and group meditation practices of seeing, being and awakening.* Directly explore emotional embodiment & shadow work* Include Beauty, Art & Wonderment as core practice elementsWe initiate Sky & Rose as an experiment in embracing Spirit and Soul simultaneously, together imagining and practicing collective liberation, playfulness and spaciousness in this time of deep adaptation.We will begin with monthly 2 hour online sessions on Sundays. Each month we will have a different theme. The schedule for a session can be found below. We ask each person to commit to coming for the entire session.Opening—Sacred Invocation (10 min)Meditation/Universe Somatic (45 min)Group Shadow Work / Relational Practices (1hr)Closing Dedication ….I'm Amy Kisei. I am a Zen Buddhist Teacher, Spiritual Counselor, budding Astrologer and Artist. In my Spiritual Counseling Practice, I practice at the confluence of spirituality and psychology, integrating mind, body and spirit. I am trained in Internal Family Systems (IFS), Dream Work, Hakomi (Somatic Therapy) and Mindful Eating.I also lead a weekly online meditation group through the Zen Community of Oregon and am leading a class series on the Zen Bodhisattva Precepts this Fall. Also if you are interested in workshopping your meditation practice join me in collaboration with Pause Meditation for a 5-week online class series called Beyond Mindfulness. More information can be found below.Monday Night Meditation + DharmaEvery Monday 6P PT / 9P ETJoin me on zoom for 40 minutes of meditation and a dharma talk. We are currently exploring the freedom, spontaneity and love of our original nature through the teachings of the Zen koan tradition. Koans invite us into the mythos of practice awakening, gifting us with the ordinary images of our lives, they help awaken us to the wonder, intimacy and compassion of life as it is!All are welcome to join. Drop in any time.Zoom Link for Monday NightLiving the Questions: 16 Bodhisattva Precepts Class SeriesBe patient with all that is unsolved in your heart. Try to love the questions themselves. Do not seek the answers, which can not be given to you, because you would not be able to live them. And the point is to live everything. Live the questions now. And perhaps you will then gradually…find yourself living the answer. — RilkeFar from being a set of rules or doctrine that we must follow, the Bodhisattva precepts act as koans, inquiries that we are empowered to take into our life. They ask us to consider, what does love look like in this situation? In this relationship, how do I work with my anger? Who is it who wants to gossip, or inflate one's self? How can I show up authentically in the world?With the final five grave precepts, pure precepts and refuges as our guide we will explore the heart of what it means for each one of us to live a life of integrity and love. We will explore how each precept touches the personal, interpersonal, global and secret dimensions of our living.Beyond Mindfulness: Deepening Your Meditation Practice Class SeriesThis workshop style course is designed to provide a map of the meditation path as well as:* Introduce you to the five main styles of meditation (calm-abiding, concentration, heart-based practices, inquiry and open-awareness)* Help you understand the intention of each method and how to practice it* Help you understand how the various methods and techniques fit together and support each other* Provide a fun, non-judgmental learning environment where you can try things out, ask questions and explore* Give you the opportunity to work with a teacher with an extensive background in various meditation techniquesI currently live in Columbus, Ohio with my partner Patrick Kennyo Dunn, we facilitate an in-person meditation gathering every Wednesday from 7P - 8:30P at ILLIO in Clintonville through Mud Lotus Sangha. If you happen to be in Columbus, feel free to stop by. We have weekly meditation gatherings, and are offering a day of meditation in October.Earth Dreams is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amykisei.substack.com/subscribe

This is a text about a specific painting: The Unbearable Lightness of Forgetting My Name by Noorain Inam, that I saw a couple months back at Noorain's solo show, Go back to sleep, it's just the wind at Indigo + Madder. It's also a text about painting and imagining, your mind's eye and clarity, about feeling like things are over there but then also within you. read it here: thewhitepube.co.uk/noorain-inam-TULOFMN & if u don't know, now u know: you can pre-order our book, ⁠⁠⁠⁠Poor Artists, here⁠⁠⁠⁠ (& ⁠⁠⁠⁠here if ur in the US⁠⁠⁠⁠). Thank you to our ⁠⁠⁠⁠friends & supporters on Patreon⁠⁠⁠⁠ -- if you'd like to support our work, ⁠⁠⁠⁠pls see our support page⁠⁠⁠⁠ for all the many ways u can do that. & HAVE A NICE BANK HOL!!! love u! xxxx

On this week's show, we...spend quality time with new records from Wilco, A. Lee Edwards and Bruce Hazel & John William Harrell spin fresh tracks from Japandroids, The The & Kim Dealcheck out the new Tom Petty tribute Debts No Honest Man Can Pay started in 2003 at WHFR-FM (Dearborn, MI), moved to WGWG-FM (Boiling Springs, NC) in 2006 & Plaza Midwood Community Radio (Charlotte, NC) in 2012, with a brief pit-stop at WLFM-FM (Appleton, WI) in 2004.

This episode is about the liminal space we find ourselves in when we're in the process of becoming.I talk about the temptation to maintain the status quo, the importance of trusting in our desires, and the power of leaning wholly into our ever-changing selves.I hope this episode gives you comfort, reassurance, or reminds you that you can trust that the key to clicking back into place is to just keep becoming who we are.Mentioned:The Unbearable Lightness of Being by Milan Kundera https://www.goodreads.com/book/show/9717.The_Unbearable_Lightness_of_BeingWitchy Business is my monthly group coaching experience to help entrepreneurs cultivate the courage and openness necessary for integrity in this personal growth crucible called entrepreneurship. Send me an email if you're interested in joining myself and many amazing entrepreneurs: nataliekmiller@gmail.comMake Magic:Take comfort in knowing you're not alone. Trust in your desires and intuitions, and allow yourself to embrace the lightness of becoming. Reach out for support if you need it, and remember, the only way out is through. Keep becoming who you are meant to be.

Atlas gon' complain, and he's gonna complain HARD. Thanks to our $10 patrons! -Darren G -Cole Green -Josh Donaldson -Jeremy Lyons -GR -Ali -Tony Follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ @NexusatNight, (tell us what you would like to see from us!) ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠or support us on Patreon!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠We got MERCH!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠We got playmats for sale too!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Use the promo code "atnight" at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠50Cards for 5% off your order!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check us out on Youtube!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow Atlas on Twitter, Instagram, or Tiktok @atlasnovack Follow Matt on Twitter @wiggumzz Follow Alvin/Root Beer on Twitter @plasmaeclipse Don't forget to send us Create-a-Card ideas if you got em, with the hashtag #nexuscards!  Send us episode ideas, questions, or just come say hi! --- Support this podcast: https://podcasters.spotify.com/pod/show/nexusatnight/support

The 5th Hydrogen Energy Ministerial in Tokyo announced that by 2030, the world would produce and use 90 million tonnes of renewable and low-carbon hydrogen. Then, last year, the 6th Hydrogen Energy Ministerial not only reiterated the 90 million tonne target, but went further, promising that the overall market for hydrogen would grow to 150 million tonnes by 2030. All very exciting, and it helped to ensure that hydrogen was one of the hot topics at COP 28 in Dubai a few months later. But these targets are unachievable. The issue is simple: it's money. The biggest challenge facing low emission hydrogen is that it is expensive to produce, expensive to transport, expensive to store, expensive to distribute, and expensive to use. Whether you're switching existing users to clean hydrogen or pushing hydrogen into sectors where it's not currently used, it takes money - and lots of it. In this week's episode of Cleaning Up, we find how much and how much more governments would have to spend for hydrogen to live up to its hype. This audio blog is adapted from a piece Michael wrote at the end of last year for BloombergNEF, entitled "Clean Hydrogen's Missing Trillions", which estimated that hitting the Hydrogen Energy Ministerial target of 90 million tonnes of clean energy by 2030 would require subsidies of at least $2.3 trillion to be on the table right now, while the actual figure at the end of last year was 1/10th of that. Although the figures have changed a bit since then, the message remains the same: the subsidy gap remains in the multiple trillions of dollars. It should not therefore be surprising that the news is full of projects being cancelled and delayed. In fact, that will be one of the main hydrogen stories through to 2030 and beyond. Please like, subscribe and leave a review. Follow us on Twitter, LinkedIn, Facebook or Instagram, and sign up for the Cleaning Up newsletter at https://cleaninguppod.substack.com. Find our archive of over 160 hours of conversations with extraordinary climate leaders at https://cleaningup.live. LinksMichael's December 2023 BloombergNEF piece - "Clean Hydrogen's Missing Trillions", on which this audio blog is based: https://about.bnef.com/blog/liebreich-clean-hydrogens-missing-trillions/Michael's September 2023 BloombergNEF Piece - "The Five Horsemen of the Transition": https://about.bnef.com/blog/liebreich-net-zero-will-be-harder-than-you-think-and-easier-part-i-harder/Michael's December 2022 BloombergNEF piece - "The Unbearable Lightness of Hydrogen": https://about.bnef.com/blog/liebreich-the-unbearable-lightness-of-hydrogen/The Chair's Summary of the 6th Hydrogen Energy Ministerial: https://hem-2023.nedo.go.jp/wp-content/themes/suiso2023--THEME/files/charis-summary-en.pdfThe US National Petroleum Council Report - "Harnessing Hydrogen": https://harnessinghydrogen.npc.orgThe PwC Report - "Navigating the Global Hydrogen Ecosystem": https://www.strategyand.pwc.com/de/en/industries/energy-utilities/navigating-the-hydrogen-ecosystem.htmlThe IEA's 2023 Net Zero Roadmap: https://iea.blob.core.windows.net/assets/13dab083-08c3-4dfd-a887-42a3ebe533bc/NetZeroRoadmap_AGlobalPathwaytoKeepthe1.5CGoalinReach-2023Update.pdfThe IEA's Global Hydrogen Review: https://iea.blob.core.windows.net/assets/8d434960-a85c-4c02-ad96-77794aaa175d/GlobalHydrogenReview2023.pdf Related EpisodesAudioblog 11 - The Five Horsemen of the Transition: https://www.cleaningup.live/audioblog-11-net-zero-will-be-harder-than-you-think-and-easier-part-i-harder-1/Audioblog 8- The Unbearable Lightness of Hydrogen: https://www.cleaningup.live/cleaning-up-audioblog-episode-8-the-unbearable-lightness-of-hydrogen/

The 5th Hydrogen Energy Ministerial in Tokyo announced that by 2030, the world would produce and use 90 million tonnes of renewable and low-carbon hydrogen. Then, last year, the 6th Hydrogen Energy Ministerial not only reiterated the 90 million tonne target, but went further, promising that the overall market for hydrogen would grow to 150 million tonnes by 2030. All very exciting, and it helped to ensure that hydrogen was one of the hot topics at COP 28 in Dubai a few months later. But these targets are unachievable. The issue is simple: it's money. The biggest challenge facing low emission hydrogen is that it is expensive to produce, expensive to transport, expensive to store, expensive to distribute, and expensive to use. Whether you're switching existing users to clean hydrogen or pushing hydrogen into sectors where it's not currently used, it takes money - and lots of it. In this week's episode of Cleaning Up, we find how much and how much more governments would have to spend for hydrogen to live up to its hype. This audio blog is adapted from a piece Michael wrote at the end of last year for BloombergNEF, entitled "Clean Hydrogen's Missing Trillions", which estimated that hitting the Hydrogen Energy Ministerial target of 90 million tonnes of clean energy by 2030 would require subsidies of at least $2.3 trillion to be on the table right now, while the actual figure at the end of last year was 1/10th of that. Although the figures have changed a bit since then, the message remains the same: the subsidy gap remains in the multiple trillions of dollars. It should not therefore be surprising that the news is full of projects being cancelled and delayed. In fact, that will be one of the main hydrogen stories through to 2030 and beyond. Please like, subscribe and leave a review. Follow us on Twitter, LinkedIn, Facebook or Instagram, and sign up for the Cleaning Up newsletter at https://cleaninguppod.substack.com. Find our archive of over 160 hours of conversations with extraordinary climate leaders at https://cleaningup.live. LinksMichael's December 2023 BloombergNEF piece - "Clean Hydrogen's Missing Trillions", on which this audio blog is based: https://about.bnef.com/blog/liebreich-clean-hydrogens-missing-trillions/Michael's September 2023 BloombergNEF Piece - "The Five Horsemen of the Transition": https://about.bnef.com/blog/liebreich-net-zero-will-be-harder-than-you-think-and-easier-part-i-harder/Michael's December 2022 BloombergNEF piece - "The Unbearable Lightness of Hydrogen": https://about.bnef.com/blog/liebreich-the-unbearable-lightness-of-hydrogen/The Chair's Summary of the 6th Hydrogen Energy Ministerial: https://hem-2023.nedo.go.jp/wp-content/themes/suiso2023--THEME/files/charis-summary-en.pdfThe US National Petroleum Council Report - "Harnessing Hydrogen": https://harnessinghydrogen.npc.orgThe PwC Report - "Navigating the Global Hydrogen Ecosystem": https://www.strategyand.pwc.com/de/en/industries/energy-utilities/navigating-the-hydrogen-ecosystem.htmlThe IEA's 2023 Net Zero Roadmap: https://iea.blob.core.windows.net/assets/13dab083-08c3-4dfd-a887-42a3ebe533bc/NetZeroRoadmap_AGlobalPathwaytoKeepthe1.5CGoalinReach-2023Update.pdfThe IEA's Global Hydrogen Review: https://iea.blob.core.windows.net/assets/8d434960-a85c-4c02-ad96-77794aaa175d/GlobalHydrogenReview2023.pdf Related EpisodesAudioblog 11 - The Five Horsemen of the Transition: https://www.cleaningup.live/audioblog-11-net-zero-will-be-harder-than-you-think-and-easier-part-i-harder-1/Audioblog 8- The Unbearable Lightness of Hydrogen: https://www.cleaningup.live/cleaning-up-audioblog-episode-8-the-unbearable-lightness-of-hydrogen/

Welcome Back! Sean and Claude took a little Spring Break and we hope you were able to do the same. For our 70th episode, we take a peek at two films that involve couples dealing with life on the other side of the Iron Curtain. Part One features The Unbearable Lightness of Being, directed by Philip Kaufman and starring Daniel Day-Lewis, Juliette Binoche and Lena Olin. In this film we have a couple who find themselves going from the Prague Spring to the Soviet invasion of Czechoslovakia and the events afterward. How they deal with life, love and the things that are thrown their way, you'll find quite touching. In Part Two, we'll look at a rather star-crossed couple that finds itself on opposite sides of many different lines, in 2018's Cold War. --- Support this podcast: https://podcasters.spotify.com/pod/show/wordsandmovies/support

We're here to shamrock your world with a brand-new episode of Lovett or Leave It. Chelsea Peretti has us Dublin over with laughter. Emily Heller needs a lucky charm to win our version of Jeopardy, and we bring it all home with a round of Patron Saints, for the love of all things holy.Tour dates & cities: crooked.com/events

The Unbearable Lightness of the Corrosion of Conformity. Life has this odd tension between wanting to fit in, go along and get along, be a good teammate or co-worker or whatever, and then at the same time, fully inhabiting your own identity (whatever that is) in order to stand out and remind yourself that you're […]

A bittersweet episode of Book Chat has Pandora and Bobby discussing two fittingly bittersweet books: Stoner by John Williams and The Unbearable Lightness of Being by Milan Kundera. Also, “some news”, a hearty goodbye, and a look back on some of our Book Chat faves from episodes past.You can get in touch bookchatpod@gmail.com Books/articles mentioned:Stoner and Butcher's Crossing by John WilliamsThe Unbearable Lightness of Being by Milan KunderaLand of Milk and Honey by C Pam ZhangThe Science of Storytelling by Will StorrEmily, Bella, Harriet, Octavia, Prudence and Imogen by Jilly CooperThe Great Gatsby by F. Scott FitzgeraldMy Name Is Lucy Barton by Elizabeth StroutOne Day by David NichollsBlack Butterflies by Priscilla Morris Fleishman is in Trouble by Taffy Brodesser-AknerThe Greatest American Novel You've Never Heard Of by Tim Kreider for The New Yorker – https://www.newyorker.com/books/page-turner/the-greatest-american-novel-youve-never-heard-of Stoner: the must-read novel of 2013 by Julian Barnes for The Guardian – https://www.theguardian.com/books/2013/dec/13/stoner-john-williams-julian-barnes Hosted on Acast. See acast.com/privacy for more information.

Law firms may hem and haw about raises, but they're still doing more than all right for themselves. Rudy's defamation trial did not go well. Before the latest development in the case, we talked about Michael Cohen's fake case brief and the implications of legal technology on criminal justice.

Law firms may hem and haw about raises, but they're still doing more than all right for themselves. Rudy's defamation trial did not go well. Before the latest development in the case, we talked about Michael Cohen's fake case brief and the implications of legal technology on criminal justice.

The Patočka Booth is a three-part series of interviews on the Czech philosopher and dissident, Jan Patočka (1907–77). Interviews will explore his philosophical and political thought, his biography and context, and his import for theology. Erin Plunkett is Senior Lecturer in Philosophy and Religious Studies at the University of Hertfordshire, UK. She is the editor of the Selected Writings of Jan Patočka: Care for the Soul (2022) and Kierkegaard and Possibility (2023) and the author of A Philosophy of the Essay (2018).  PODCAST LINKS: Dr. Plunkett's Twitter: https://twitter.com/jd_silentio Dr. Plunkett's academia.edu page: https://herts.academia.edu/ErinPlunkett Dr. Plunkett's research profile: https://researchprofiles.herts.ac.uk/en/persons/erin-plunkett Dr. Plunkett's website: https://erinshalonplunkett.wordpress.com The Selected Writings of Jan Patočka: Care for the Soul: https://www.amazon.com/Selected-Writings-Jan-Patocka-Care/dp/1350139092 Kierkegaard and Possibility: https://www.amazon.com/Kierkegaard-Possibility-Erin-Plunkett/dp/1350298980   CONNECT: Website: https://wipfandstock.com/ Twitter: https://twitter.com/wipfandstock Facebook: https://www.facebook.com/wipfandstock Instagram: https://www.instagram.com/wipfandstock/    SOURCES MENTIONED: Derrida, Jacques. The Gift of Death. ———. Hospitality. 2 vols. Heidegger, Martin. “The Question Concerning Technology.” Husserl, Edmund. The Crisis of European Sciences and Transcendental Phenomenology: An Introduction to Phenomenological Philosophy. Kundera, Milan. The Unbearable Lightness of Being. Musil, Robert. The Man Without Qualities. Patočka, Jan. Heretical Essays in the Philosophy of History. ———. Plato and Europe. ———. The Selected Writings of Jan Patočka: Care for the Soul. Plunkett, Erin, ed. Kierkegaard and Possibility. Ricœur, Paul. “Jan Patocka: A Philosopher of Resistance.” The Socrates of Prague. Documentary. Tava, Francesco, and Darian Meacham, eds. Thinking After Europe: Jan Patočka and Politics.   OUTLINE: (01:39) – Discovering “the myth of Patočka” (06:18) – Roundtable: Patočka, Nietzsche, Foucault, Arendt (09:51) – The life of Patočka in the century of war (15:37) – Key themes: Movement, care for the soul, sacrifice (21:03) – Relationship to Husserl and Heidegger (25:02) – Husserlian transcendence vs. Patockian transcendence (27:36) – The “limping pilgrim” and the “sacrifice for nothing” (32:05) – Patočka, Heidegger, and Husserl on science and technology (38:09) – “Asubjective phenomenology” (43:05) – Aesthetic and literary criticism (48:35) – “The solidarity of the shaken” (52:28) – Patočka and Derrida (54:08) – The failure of the European project (59:32) – What's next for Dr. Plunkett (01:00:55) – Where to find Dr. Plunkett

This week, we flash back to our time in Edinburgh for a conversation with a Carita Wallgren-Lindholm.  Carita is an experienced arbitrator and formerly of the ICC Commission.  She stopped by for a candid conversation as Scottish ArbFest wrapped up.     Opening Notes - :32 Episode Begins - 2:30 Personal Interest - 37:08 Closing Notes - 45:10   BOOKS: 1) Unbearable Lightness of Being by Milan Kundera 2) A Gentleman in Moscow by Amor Towles   MUSICS: 1) Opera 2) Country Music    Feedback and comments welcome to: TalesOfTheTribunal@Gmail.com   None of the views shared today or any episode of Tales of the Tribunal is presented as legal advice nor advice of any kind.  No compensation was provided to any person or party for their appearance on the show nor do any of the statements made represent any particular organization, legal position or view point.  All interviewees appear on an arms-length basis and their appearance should not be construed as any bias or preferred affiliation with the host or host's employer.  All rights reserved.

During the rise of Sam Bankman-Fried, Michael Lewis got closer to him than anybody else. But the fall of the crypto baby gave the Moneyball author a different story. When people turned on Bankman-Fried, Michael Lewis knew they would turn on him too. In the second part of his interview on Free State, Michael Lewis talks about why he took on the story and what kept him going.In May 2021, Michael Lewis's daughter Dixie was killed in a car accident in California. Dixie was nineteen years old. He talks to Dion and Joe about how he struggled through the jungle of grief, why Dixie's spirit has sustained him as his book is published and what he told Bankman-Fried's mother about loss as they prepare for their son's incarceration.Free State with Joe Brolly and Dion Fanning is a Gold Hat Production in association with SwanMcG.For more on Free State: https://freestatepodcast.com/To get in touch with the podcast: info@freestatepodcast.com Hosted on Acast. See acast.com/privacy for more information.

In this episode, we finally lay out a firm and simple spectrum with which to rate all games, and it goes from narcissism to nihilism. Don delights in the pure semiotics of Akka Arrh. Christian plays Season, “non-dystopian, post-apocalyptic bicycle scrapbook game” in which anxiety over the future doesn't necessarily have to mean panic. We talk about Dredge and reminisce on fishing minigames of times gone by, because fishing is golf.Also, this episode is kind of an old one! We shifted the release schedule because we really wanted to make sure our episode with Caroline and Taylor got up on the website while the Queer Games Bundle was still on sale. Therefore, in this episode, we'll offer some predictions about what Tears of the Kingdom will be like, because it wasn't out yet. All our predictions were 100% correct, of course.Roger talks Dead Cells and Castlevania, Nate complains about the Unbearable Lightness of Mario, and we all get to share our favorite long falls in video games. Don wins the podcast: “If Cuphead and Flamehead got together, they could make Crème-brûlée-head.” It's a super blast.

As part of my effort to understand Nietzche's ideas I want to take you through the concept of Eternal Recurrence. Also I will do a quick review of Milan Kundera's Book 'The Unbearable Lightness of Being. Please share your thoughts on Spotify and also connect with me on my Telegram Podcasters Group: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://t.me/+SYHDtmGQRv5lOTA1 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Connect on Social Media - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@PahayanMedia on Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  English Podcast ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Penpositive Outclass English Podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube Channels ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pahayan Media Youtube Channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠Agile Malayali YouTube Channel⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Penpositive YouTube Channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ScrumPositive YouTube Channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Agile Indian Hindi Channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ --- Send in a voice message: https://podcasters.spotify.com/pod/show/pahayan/message

We finally complete our mini-series on the 1980s movies released by Miramax Films in 1989, a year that included sex, lies, and videotape, and My Left Foot. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we complete our look back at the 1980s theatrical releases for Miramax Films. And, for the final time, a reminder that we are not celebrating Bob and Harvey Weinstein, but reminiscing about the movies they had no involvement in making. We cannot talk about cinema in the 1980s without talking about Miramax, and I really wanted to get it out of the way, once and for all.   As we left Part 4, Miramax was on its way to winning its first Academy Award, Billie August's Pelle the Conquerer, the Scandinavian film that would be second film in a row from Denmark that would win for Best Foreign Language Film.   In fact, the first two films Miramax would release in 1989, the Australian film Warm Night on a Slow Moving Train and the Anthony Perkins slasher film Edge of Sanity, would not arrive in theatres until the Friday after the Academy Awards ceremony that year, which was being held on the last Wednesday in March.   Warm Nights on a Slow Moving Train stars Wendy Hughes, the talented Australian actress who, sadly, is best remembered today as Lt. Commander Nella Daren, one of Captain Jean-Luc Picard's few love interests, on a 1993 episode of Star Trek: The Next Generation, as Jenny, a prostitute working a weekend train to Sydney, who is seduced by a man on the train, unaware that he plans on tricking her to kill someone for him. Colin Friels, another great Aussie actor who unfortunately is best known for playing the corrupt head of Strack Industries in Sam Raimi's Darkman, plays the unnamed man who will do anything to get what he wants.   Director Bob Ellis and his co-screenwriter Denny Lawrence came up with the idea for the film while they themselves were traveling on a weekend train to Sydney, with the idea that each client the call girl met on the train would represent some part of the Australian male.   Funding the $2.5m film was really simple… provided they cast Hughes in the lead role. Ellis and Lawrence weren't against Hughes as an actress. Any film would be lucky to have her in the lead. They just felt she she didn't have the right kind of sex appeal for this specific character.   Miramax would open the film in six theatres, including the Cineplex Beverly Center in Los Angeles and the Fashion Village 8 in Orlando, on March 31st. There were two versions of the movie prepared, one that ran 130 minutes and the other just 91. Miramax would go with the 91 minute version of the film for the American release, and most of the critics would note how clunky and confusing the film felt, although one critic for the Village Voice would have some kind words for Ms. Hughes' performance.   Whether it was because moviegoers were too busy seeing the winners of the just announced Academy Awards, including Best Picture winner Rain Man, or because this weekend was also the opening weekend of the new Major League Baseball season, or just turned off by the reviews, attendance at the theatres playing Warm Nights on a Slow Moving Train was as empty as a train dining car at three in the morning. The Beverly Center alone would account for a third of the movie's opening weekend gross of $19,268. After a second weekend at the same six theatres pocketing just $14,382, this train stalled out, never to arrive at another station.   Their other March 31st release, Edge of Sanity, is notable for two things and only two things: it would be the first film Miramax would release under their genre specialty label, Millimeter Films, which would eventually evolve into Dimension Films in the next decade, and it would be the final feature film to star Anthony Perkins before his passing in 1992.   The film is yet another retelling of the classic 1886 Robert Louis Stevenson story The Strange Case of Doctor Jekyll and Mister Hyde, with the bonus story twist that Hyde was actually Jack the Ripper. As Jekyll, Perkins looks exactly as you'd expect a mid-fifties Norman Bates to look. As Hyde, Perkins is made to look like he's a backup keyboardist for the first Nine Inch Nails tour. Head Like a Hole would have been an appropriate song for the end credits, had the song or Pretty Hate Machine been released by that time, with its lyrics about bowing down before the one you serve and getting what you deserve.   Edge of Sanity would open in Atlanta and Indianapolis on March 31st. And like so many other Miramax releases in the 1980s, they did not initially announce any grosses for the film. That is, until its fourth weekend of release, when the film's theatre count had fallen to just six, down from the previous week's previously unannounced 35, grossing just $9,832. Miramax would not release grosses for the film again, with a final total of just $102,219.   Now when I started this series, I said that none of the films Miramax released in the 1980s were made by Miramax, but this next film would become the closest they would get during the decade.   In July 1961, John Profumo was the Secretary of State for War in the conservative government of British Prime Minister Harold Macmillan, when the married Profumo began a sexual relationship with a nineteen-year-old model named Christine Keeler. The affair was very short-lived, either ending, depending on the source, in August 1961 or December 1961. Unbeknownst to Profumo, Keeler was also having an affair with Yevgeny Ivanov, a senior naval attache at the Soviet Embassy at the same time.   No one was the wiser on any of this until December 1962, when a shooting incident involving two other men Keeler had been involved with led the press to start looking into Keeler's life. While it was never proven that his affair with Keeler was responsible for any breaches of national security, John Profumo was forced to resign from his position in June 1963, and the scandal would take down most of the Torie government with him. Prime Minister Macmillan would resign due to “health reasons” in October 1963, and the Labour Party would take control of the British government when the next elections were held in October 1964.   Scandal was originally planned in the mid-1980s as a three-part, five-hour miniseries by Australian screenwriter Michael Thomas and American music producer turned movie producer Joe Boyd. The BBC would commit to finance a two-part, three-hour miniseries,  until someone at the network found an old memo from the time of the Profumo scandal that forbade them from making any productions about it. Channel 4, which had been producing quality shows and movies for several years since their start in 1982, was approached, but rejected the series on the grounds of taste.   Palace Pictures, a British production company who had already produced three films for Neil Jordan including Mona Lisa, was willing to finance the script, provided it could be whittled down to a two hour movie. Originally budgeted at 3.2m British pounds, the costs would rise as they started the casting process.  John Hurt, twice Oscar-nominated for his roles in Midnight Express and The Elephant Man, would sign on to play Stephen Ward, a British osteopath who acted as Christine Keeler's… well… pimp, for lack of a better word. Ian McKellen, a respected actor on British stages and screens but still years away from finding mainstream global success in the X-Men movies, would sign on to play John Profumo. Joanne Whaley, who had filmed the yet to be released at that time Willow with her soon to be husband Val Kilmer, would get her first starring role as Keeler, and Bridget Fonda, who was quickly making a name for herself in the film world after being featured in Aria, would play Mandy Rice-Davies, the best friend and co-worker of Keeler's.   To save money, Palace Pictures would sign thirty-year-old Scottish filmmaker Michael Caton-Jones to direct, after seeing a short film he had made called The Riveter. But even with the neophyte feature filmmaker, Palace still needed about $2.35m to be able to fully finance the film. And they knew exactly who to go to.   Stephen Woolley, the co-founder of Palace Pictures and the main producer on the film, would fly from London to New York City to personally pitch Harvey and Bob Weinstein. Woolley felt that of all the independent distributors in America, they would be the ones most attracted to the sexual and controversial nature of the story. A day later, Woolley was back on a plane to London. The Weinsteins had agreed to purchase the American distribution rights to Scandal for $2.35m.   The film would spend two months shooting in the London area through the summer of 1988. Christine Keeler had no interest in the film, and refused to meet the now Joanne Whaley-Kilmer to talk about the affair, but Mandy Rice-Davies was more than happy to Bridget Fonda about her life, although the meetings between the two women were so secret, they would not come out until Woolley eulogized Rice-Davies after her 2014 death.   Although Harvey and Bob would be given co-executive producers on the film, Miramax was not a production company on the film. This, however, did not stop Harvey from flying to London multiple times, usually when he was made aware of some sexy scene that was going to shoot the following day, and try to insinuate himself into the film's making. At one point, Woolley decided to take a weekend off from the production, and actually did put Harvey in charge. That weekend's shoot would include a skinny-dipping scene featuring the Christine Keeler character, but when Whaley-Kilmer learned Harvey was going to be there, she told the director that she could not do the nudity in the scene. Her new husband was objecting to it, she told them. Harvey, not skipping a beat, found a lookalike for the actress who would be willing to bare all as a body double, and the scene would begin shooting a few hours later. Whaley-Kilmer watched the shoot from just behind the camera, and stopped the shoot a few minutes later. She was not happy that the body double's posterior was notably larger than her own, and didn't want audiences to think she had that much junk in her trunk. The body double was paid for her day, and Whaley-Kilmer finished the rest of the scene herself.   Caton-Jones and his editing team worked on shaping the film through the fall, and would screen his first edit of the film for Palace Pictures and the Weinsteins in November 1988. And while Harvey was very happy with the cut, he still asked the production team for a different edit for American audiences, noting that most Americans had no idea who Profumo or Keeler or Rice-Davies were, and that Americans would need to understand the story more right out of the first frame. Caton-Jones didn't want to cut a single frame, but he would work with Harvey to build an American-friendly cut.   While he was in London in November 1988, he would meet with the producers of another British film that was in pre-production at the time that would become another important film to the growth of the company, but we're not quite at that part of the story yet. We'll circle around to that film soon.   One of the things Harvey was most looking forward to going in to 1989 was the expected battle with the MPAA ratings board over Scandal. Ever since he had seen the brouhaha over Angel Heart's X rating two years earlier, he had been looking for a similar battle. He thought he had it with Aria in 1988, but he knew he definitely had it now.   And he'd be right.   In early March, just a few weeks before the film's planned April 21st opening day, the MPAA slapped an X rating on Scandal. The MPAA usually does not tell filmmakers or distributors what needs to be cut, in order to avoid accusations of actual censorship, but according to Harvey, they told him exactly what needed to be cut to get an R: a two second shot during an orgy scene, where it appears two background characters are having unsimulated sex.   So what did Harvey do?   He spent weeks complaining to the press about MPAA censorship, generating millions in free publicity for the film, all the while already having a close-up shot of Joanne Whaley-Kilmer's Christine Keeler watching the orgy but not participating in it, ready to replace the objectionable shot.   A few weeks later, Miramax screened the “edited” film to the MPAA and secured the R rating, and the film would open on 94 screens, including 28 each in the New York City and Los Angeles metro regions, on April 28th.   And while the reviews for the film were mostly great, audiences were drawn to the film for the Miramax-manufactured controversy as well as the key art for the film, a picture of a potentially naked Joanne Whaley-Kilmer sitting backwards in a chair, a mimic of a very famous photo Christine Keeler herself took to promote a movie about the Profumo affair she appeared in a few years after the events. I'll have a picture of both the Scandal poster and the Christine Keeler photo on this episode's page at The80sMoviePodcast.com   Five other movies would open that weekend, including the James Belushi comedy K-9 and the Kevin Bacon drama Criminal Law, and Scandal, with $658k worth of ticket sales, would have the second best per screen average of the five new openers, just a few hundred dollars below the new Holly Hunter movie Miss Firecracker, which only opened on six screens.   In its second weekend, Scandal would expand its run to 214 playdates, and make its debut in the national top ten, coming in tenth place with $981k. That would be more than the second week of the Patrick Dempsey rom-com Loverboy, even though Loverboy was playing on 5x as many screens.   In weekend number three, Scandal would have its best overall gross and top ten placement, coming in seventh with $1.22m from 346 screens. Scandal would start to slowly fade after that, falling back out of the top ten in its sixth week, but Miramax would wisely keep the screen count under 375, because Scandal wasn't going to play well in all areas of the country. After nearly five months in theatres, Miramax would have its biggest film to date. Scandal would gross $8.8m.   The second release from Millimeter Films was The Return of the Swamp Thing. And if you needed a reason why the 1980s was not a good time for comic book movies, here you are. The Return of the Swamp Thing took most of what made the character interesting in his comic series, and most of what was good from the 1982 Wes Craven adaptation, and decided “Hey, you know what would bring the kids in? Camp! Camp unseen in a comic book adaptation since the 1960s Batman series. They loved it then, they'll love it now!”   They did not love it now.   Heather Locklear, between her stints on T.J. Hooker and Melrose Place, plays the step-daughter of Louis Jourdan's evil Dr. Arcane from the first film, who heads down to the Florida swaps to confront dear old once presumed dead stepdad. He in turns kidnaps his stepdaughter and decides to do some of his genetic experiments on her, until she is rescued by Swamp Thing, one of Dr. Arcane's former co-workers who got turned into the gooey anti-hero in the first movie.   The film co-stars Sarah Douglas from Superman 1 and 2 as Dr. Arcane's assistant, Dick Durock reprising his role as Swamp Thing from the first film, and 1980s B-movie goddess Monique Gabrielle as Miss Poinsettia.   For director Jim Wynorski, this was his sixth movie as a director, and at $3m, one of the highest budgeted movies he would ever make. He's directed 107 movies since 1984, most of them low budget direct to video movies with titles like The Bare Wench Project and Alabama Jones and the Busty Crusade, although he does have one genuine horror classic under his belt, the 1986 sci-fi tinged Chopping Maul with Kelli Maroney and Barbara Crampton.   Wynorski suggested in a late 1990s DVD commentary for the film that he didn't particularly enjoy making the film, and had a difficult time directing Louis Jourdan, to the point that outside of calling “action” and “cut,” the two didn't speak to each other by the end of the shoot.   The Return of Swamp Thing would open in 123 theatres in the United States on May 12th, including 28 in the New York City metro region, 26 in the Los Angeles area, 15 in Detroit, and a handful of theatres in Phoenix, San Francisco. And, strangely, the newspaper ads would include an actual positive quote from none other than Roger Ebert, who said on Siskel & Ebert that he enjoyed himself, and that it was good to have Swamp Thing back. Siskel would not reciprocate his balcony partner's thumb up. But Siskel was about the only person who was positive on the return of Swamp Thing, and that box office would suffer. In its first three days, the film would gross just $119,200. After a couple more dismal weeks in theatres, The Return of Swamp Thing would be pulled from distribution, with a final gross of just $275k.   Fun fact: The Return of Swamp Thing was produced by Michael E. Uslan, whose next production, another adaptation of a DC Comics character, would arrive in theatres not six weeks later and become the biggest film of the summer. In fact, Uslan has been a producer or executive producer on every Batman-related movie and television show since 1989, from Tim Burton to Christopher Nolan to Zack Snyder to Matt Reeves, and from LEGO movies to Joker. He also, because of his ownership of the movie rights to Swamp Thing, got the movie screen rights, but not the television screen rights, to John Constantine.   Miramax didn't have too much time to worry about The Return of Swamp Thing's release, as it was happening while the Brothers Weinstein were at the 1989 Cannes Film Festival. They had two primary goals at Cannes that year:   To buy American distribution rights to any movie that would increase their standing in the cinematic worldview, which they would achieve by picking up an Italian dramedy called, at the time, New Paradise Cinema, which was competing for the Palme D'Or with a Miramax pickup from Sundance back in January. Promote that very film, which did end up winning the Palme D'Or.   Ever since he was a kid, Steven Soderbergh wanted to be a filmmaker. Growing up in Baton Rouge, LA in the late 1970s, he would enroll in the LSU film animation class, even though he was only 15 and not yet a high school graduate. After graduating high school, he decided to move to Hollywood to break into the film industry, renting an above-garage room from Stephen Gyllenhaal, the filmmaker best known as the father of Jake and Maggie, but after a few freelance editing jobs, Soderbergh packed up his things and headed home to Baton Rouge.   Someone at Atco Records saw one of Soderbergh's short films, and hired him to direct a concert movie for one of their biggest bands at the time, Yes, who was enjoying a major comeback thanks to their 1983 triple platinum selling album, 90125. The concert film, called 9012Live, would premiere on MTV in late 1985, and it would be nominated for a Grammy Award for Best Long Form Music Video.   Soderbergh would use the money he earned from that project, $7,500, to make Winston, a 12 minute black and white short about sexual deception that he would, over the course of an eight day driving trip from Baton Rouge to Los Angeles, expand to a full length screen that he would call sex, lies and videotape. In later years, Soderbergh would admit that part of the story is autobiographical, but not the part you might think. Instead of the lead, Graham, an impotent but still sexually perverse late twentysomething who likes to tape women talking about their sexual fantasies for his own pleasure later, Soderbergh based the husband John, the unsophisticated lawyer who cheats on his wife with her sister, on himself, although there would be a bit of Graham that borrows from the filmmaker. Like his lead character, Soderbergh did sell off most of his possessions and hit the road to live a different life.   When he finished the script, he sent it out into the wilds of Hollywood. Morgan Mason, the son of actor James Mason and husband of Go-Go's lead singer Belinda Carlisle, would read it and sign on as an executive producer. Soderbergh had wanted to shoot the film in black and white, like he had with the Winston short that lead to the creation of this screenplay, but he and Mason had trouble getting anyone to commit to the project, even with only a projected budget of $200,000. For a hot moment, it looked like Universal might sign on to make the film, but they would eventually pass.   Robert Newmyer, who had left his job as a vice president of production and acquisitions at Columbia Pictures to start his own production company, signed on as a producer, and helped to convince Soderbergh to shoot the film in color, and cast some name actors in the leading roles. Once he acquiesced, Richard Branson's Virgin Vision agreed to put up $540k of the newly budgeted $1.2m film, while RCA/Columbia Home Video would put up the remaining $660k.   Soderbergh and his casting director, Deborah Aquila, would begin their casting search in New York, where they would meet with, amongst others, Andie MacDowell, who had already starred in two major Hollywood pictures, 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, and 1985's St. Elmo's Fire, but was still considered more of a top model than an actress, and Laura San Giacomo, who had recently graduated from the Carnegie Mellon School of Drama in Pittsburgh and would be making her feature debut. Moving on to Los Angeles, Soderbergh and Aquila would cast James Spader, who had made a name for himself as a mostly bad guy in 80s teen movies like Pretty in Pink and Less Than Zero, but had never been the lead in a drama like this. At Spader's suggestion, the pair met with Peter Gallagher, who was supposed to become a star nearly a decade earlier from his starring role in Taylor Hackford's The Idolmaker, but had mostly been playing supporting roles in television shows and movies for most of the decade.   In order to keep the budget down, Soderbergh, the producers, cinematographer Walt Lloyd and the four main cast members agreed to get paid their guild minimums in exchange for a 50/50 profit participation split with RCA/Columbia once the film recouped its costs.   The production would spend a week in rehearsals in Baton Rouge, before the thirty day shoot began on August 1st, 1988. On most days, the shoot was unbearable for many, as temperatures would reach as high as 110 degrees outside, but there were a couple days lost to what cinematographer Lloyd said was “biblical rains.” But the shoot completed as scheduled, and Soderbergh got to the task of editing right away. He knew he only had about eight weeks to get a cut ready if the film was going to be submitted to the 1989 U.S. Film Festival, now better known as Sundance. He did get a temporary cut of the film ready for submission, with a not quite final sound mix, and the film was accepted to the festival. It would make its world premiere on January 25th, 1989, in Park City UT, and as soon as the first screening was completed, the bids from distributors came rolling in. Larry Estes, the head of RCA/Columbia Home Video, would field more than a dozen submissions before the end of the night, but only one distributor was ready to make a deal right then and there.   Bob Weinstein wasn't totally sold on the film, but he loved the ending, and he loved that the word “sex” not only was in the title but lead the title. He knew that title alone would sell the movie. Harvey, who was still in New York the next morning, called Estes to make an appointment to meet in 24 hours. When he and Estes met, he brought with him three poster mockups the marketing department had prepared, and told Estes he wasn't going to go back to New York until he had a contract signed, and vowed to beat any other deal offered by $100,000. Island Pictures, who had made their name releasing movies like Stop Making Sense, Kiss of the Spider-Woman, The Trip to Bountiful and She's Gotta Have It, offered $1m for the distribution rights, plus a 30% distribution fee and a guaranteed $1m prints and advertising budget. Estes called Harvey up and told him what it would take to make the deal. $1.1m for the distribution rights, which needed to paid up front, a $1m P&A budget, to be put in escrow upon the signing of the contract until the film was released, a 30% distribution fee, no cutting of the film whatsoever once Soderbergh turns in his final cut, they would need to provide financial information for the films costs and returns once a month because of the profit participation contracts, and the Weinsteins would have to hire Ira Deutchman, who had spent nearly 15 years in the independent film world, doing marketing for Cinema 5, co-founding United Artists Classics, and co-founding Cinecom Pictures before opening his own company to act as a producers rep and marketer. And the Weinsteins would not only have to do exactly what Deutchman wanted, they'd have to pay for his services too.   The contract was signed a few weeks later.   The first move Miramax would make was to get Soderbergh's final cut of the film entered into the Cannes Film Festival, where it would be accepted to compete in the main competition. Which you kind of already know what happened, because that's what I lead with. The film would win the Palme D'Or, and Spader would be awarded the festival's award for Best Actor. It was very rare at the time, and really still is, for any film to be awarded more than one prize, so winning two was really a coup for the film and for Miramax, especially when many critics attending the festival felt Spike Lee's Do the Right Thing was the better film.   In March, Miramax expected the film to make around $5-10m, which would net the company a small profit on the film. After Cannes, they were hopeful for a $15m gross.   They never expected what would happen next.   On August 4th, sex, lies, and videotape would open on four screens, at the Cinema Studio in New York City, and at the AMC Century 14, the Cineplex Beverly Center 13 and the Mann Westwood 4 in Los Angeles. Three prime theatres and the best they could do in one of the then most competitive zones in all America. Remember, it's still the Summer 1989 movie season, filled with hits like Batman, Dead Poets Society, Ghostbusters 2, Indiana Jones and the Last Crusade, Honey I Shrunk the Kids, Lethal Weapon 2, Parenthood, Turner & Hooch, and When Harry Met Sally. An independent distributor even getting one screen at the least attractive theatre in Westwood was a major get. And despite the fact that this movie wasn't really a summertime movie per se, the film would gross an incredible $156k in its first weekend from just these four theatres. Its nearly $40k per screen average would be 5x higher than the next closest film, Parenthood.   In its second weekend, the film would expand to 28 theatres, and would bring in over $600k in ticket sales, its per screen average of $21,527 nearly triple its closest competitor, Parenthood again. The company would keep spending small, as it slowly expanded the film each successive week. Forty theatres in its third week, and 101 in its fourth. The numbers held strong, and in its fifth week, Labor Day weekend, the film would have its first big expansion, playing in 347 theatres. The film would enter the top ten for the first time, despite playing in 500 to 1500 fewer theatres than the other films in the top ten. In its ninth weekend, the film would expand to its biggest screen count, 534, before slowly drawing down as the other major Oscar contenders started their theatrical runs. The film would continue to play through the Oscar season of 1989, and when it finally left theatres in May 1989, its final gross would be an astounding $24.7m.   Now, remember a few moments ago when I said that Miramax needed to provide financial statements every month for the profit participation contracts of Soderbergh, the producers, the cinematographer and the four lead actors? The film was so profitable for everyone so quickly that RCA/Columbia made its first profit participation payouts on October 17th, barely ten weeks after the film's opening.   That same week, Soderbergh also made what was at the time the largest deal with a book publisher for the writer/director's annotated version of the screenplay, which would also include his notes created during the creation of the film. That $75,000 deal would be more than he got paid to make the movie as the writer and the director and the editor, not counting the profit participation checks.   During the awards season, sex, lies, and videotape was considered to be one of the Oscars front runners for Best Picture, Best Director, Best Screenplay and at least two acting nominations. The film would be nominated for Best Picture, Best Actress and Best Supporting Actress by the Golden Globes, and it would win the Spirit Awards for Best Picture, Soderbergh for Best Director, McDowell for Best Actress, and San Giacomo for Best Supporting Actress. But when the Academy Award nominations were announced, the film would only receive one nomination, for Best Original Screenplay. The same total and category as Spike Lee's Do the Right Thing, which many people also felt had a chance for a Best Picture and Best Director nomination. Both films would lose out to Tom Shulman's screenplay for Dead Poet's Society.   The success of sex, lies, and videotape would launch Steven Soderbergh into one of the quirkiest Hollywood careers ever seen, including becoming the first and only director ever to be nominated twice for Best Director in the same year by the Motion Picture Academy, the Golden Globes and the Directors Guild of America, in 2001 for directing Erin Brockovich and Traffic. He would win the Oscar for directing Traffic.   Lost in the excitement of sex, lies, and videotape was The Little Thief, a French movie that had an unfortunate start as the screenplay François Truffaut was working on when he passed away in 1984 at the age of just 52.   Directed by Claude Miller, whose principal mentor was Truffaut, The Little Thief starred seventeen year old Charlotte Gainsbourg as Janine, a young woman in post-World War II France who commits a series of larcenies to support her dreams of becoming wealthy.   The film was a modest success in France when it opened in December 1988, but its American release date of August 25th, 1989, was set months in advance. So when it was obvious sex, lies, and videotape was going to be a bigger hit than they originally anticipated, it was too late for Miramax to pause the release of The Little Thief.   Opening at the Lincoln Plaza Cinemas in New York City, and buoyed by favorable reviews from every major critic in town, The Little Thief would see $39,931 worth of ticket sales in its first seven days, setting a new house record at the theatre for the year. In its second week, the gross would only drop $47. For the entire week. And when it opened at the Royal Theatre in West Los Angeles, its opening week gross of $30,654 would also set a new house record for the year.   The film would expand slowly but surely over the next several weeks, often in single screen playdates in major markets, but it would never play on more than twenty-four screens in any given week. And after four months in theatres, The Little Thief, the last movie created one of the greatest film writers the world had ever seen, would only gross $1.056m in the United States.   The next three releases from Miramax were all sent out under the Millimeter Films banner.   The first, a supernatural erotic drama called The Girl in a Swing, was about an English antiques dealer who travels to Copenhagen where he meets and falls in love with a mysterious German-born secretary, whom he marries, only to discover a darker side to his new bride. Rupert Frazer, who played Christian Bale's dad in Steven Spielberg's Empire of the Sun, plays the antique dealer, while Meg Tilly the mysterious new bride.   Filmed over a five week schedule in London and Copenhagen during May and June 1988, some online sources say the film first opened somewhere in California in December 1988, but I cannot find a single theatre not only in California but anywhere in the United States that played the film before its September 29th, 1989 opening date.   Roger Ebert didn't like the film, and wished Meg Tilly's “genuinely original performance” was in a better movie. Opening in 26 theatres, including six theatres each in New York City and Los Angeles, and spurred on by an intriguing key art for the film that featured a presumed naked Tilly on a swing looking seductively at the camera while a notice underneath her warns that No One Under 18 Will Be Admitted To The Theatre, The Girl in a Swing would gross $102k, good enough for 35th place nationally that week. And that's about the best it would do. The film would limp along, moving from market to market over the course of the next three months, and when its theatrical run was complete, it could only manage about $747k in ticket sales.   We'll quickly burn through the next two Millimeter Films releases, which came out a week apart from each other and didn't amount to much.   Animal Behavior was a rather unfunny comedy featuring some very good actors who probably signed on for a very different movie than the one that came to be. Karen Allen, Miss Marion Ravenwood herself, stars as Alex, a biologist who, like Dr. Jane Goodall, develops a “new” way to communicate with chimpanzees via sign language. Armand Assante plays a cellist who pursues the good doctor, and Holly Hunter plays the cellist's neighbor, who Alex mistakes for his wife.   Animal Behavior was filmed in 1984, and 1985, and 1987, and 1988. The initial production was directed by Jenny Bowen with the assistance of Robert Redford and The Sundance Institute, thanks to her debut film, 1981's Street Music featuring Elizabeth Daily. It's unknown why Bowen and her cinematographer husband Richard Bowen left the project, but when filming resumed again and again and again, those scenes were directed by the film's producer, Kjehl Rasmussen.   Because Bowen was not a member of the DGA at the time, she was not able to petition the guild for the use of the Alan Smithee pseudonym, a process that is automatically triggered whenever a director is let go of a project and filming continues with its producer taking the reigns as director. But she was able to get the production to use a pseudonym anyway for the director's credit, H. Anne Riley, while also giving Richard Bowen a pseudonym of his own for his work on the film, David Spellvin.   Opening on 24 screens on October 27th, Animal Behavior would come in 50th place in its opening weekend, grossing just $20,361. The New York film critics ripped the film apart, and there wouldn't be a second weekend for the film.   The following Friday, November 3rd, saw the release of The Stepfather II, a rushed together sequel to 1987's The Stepfather, which itself wasn't a big hit in theatres but found a very quick and receptive audience on cable.   Despite dying at the end of the first film, Terry O'Quinn's Jerry is somehow still alive, and institutionalized in Northern Washington state. He escapes and heads down to Los Angeles, where he assumes the identity of a recently deceased publisher, Gene Clifford, but instead passes himself off as a psychiatrist. Jerry, now Gene, begins to court his neighbor Carol, and the whole crazy story plays out again. Meg Foster plays the neighbor Carol, and Jonathan Brandis is her son.    Director Jeff Burr had made a name for himself with his 1987 horror anthology film From a Whisper to a Scream, featuring Vincent Price, Clu Gulager and Terry Kiser, and from all accounts, had a very smooth shooting process with this film. The trouble began when he turned in his cut to the producers. The producers were happy with the film, but when they sent it to Miramax, the American distributors, they were rather unhappy with the almost bloodless slasher film. They demanded reshoots, which Burr and O'Quinn refused to participate in. They brought in a new director, Doug Campbell, to handle the reshoots, which are easy to spot in the final film because they look and feel completely different from the scenes they're spliced into.   When it opened, The Stepfather II actually grossed slightly more than the first film did, earning $279k from 100 screens, compared to $260k for The Stepfather from 105 screens. But unlike the first film, which had some decent reviews when it opened, the sequel was a complete mess. To this day, it's still one of the few films to have a 0% approval rating on Rotten Tomatoes, and The Stepfather II would limp its way through theatres during the Christmas holiday season, ending its run with a $1.5m gross.   But it would be their final film of the decade that would dictate their course for at least the first part of the 1990s.   Remember when I said earlier in the episode that Harvey Weinstein meant with the producers of another British film while in London for Scandal? We're at that film now, a film you probably know.   My Left Foot.   By November 1988, actor Daniel Day-Lewis had starred in several movies including James Ivory's A Room With a View and Philip Kaufman's The Unbearable Lightness of Being. He had even been the lead in a major Hollywood studio film, Pat O'Connor's Stars and Bars, a very good film that unfortunately got caught up in the brouhaha over the exit of the studio head who greenlit the film, David Puttnam.   The film's director, Jim Sheridan, had never directed a movie before. He had become involved in stage production during his time at the University College in Dublin in the late 1960s, where he worked with future filmmaker Neil Jordan, and had spent nearly a decade after graduation doing stage work in Ireland and Canada, before settling in New York City in the early 1980s. Sheridan would go to New York University's Tisch School of the Arts, where one of his classmates was Spike Lee, and return to Ireland after graduating. He was nearly forty, married with two pre-teen daughters, and he needed to make a statement with his first film.   He would find that story in the autobiography of Irish writer and painter Christy Brown, whose spirit and creativity could not be contained by his severe cerebral palsy. Along with Irish actor and writer Shane Connaughton, Sheridan wrote a screenplay that could be a powerhouse film made on a very tight budget of less than a million dollars.   Daniel Day-Lewis was sent a copy of the script, in the hopes he would be intrigued enough to take almost no money to play a physically demanding role. He read the opening pages, which had the adult Christy Brown putting a record on a record player and dropping the needle on to the record with his left foot, and thought to himself it would be impossible to film. That intrigued him, and he signed on. But during filming in January and February of 1989, most of the scenes were shot using mirrors, as Day-Lewis couldn't do the scenes with his left foot. He could do them with his right foot, hence the mirrors.   As a method actor, Day-Lewis remained in character as Christy Brown for the entire two month shoot. From costume fittings and makeup in the morning, to getting the actor on set, to moving him around between shots, there were crew members assigned to assist the actor as if they were Christy Brown's caretakers themselves, including feeding him during breaks in shooting. A rumor debunked by the actor years later said Day-Lewis had broken two ribs during production because of how hunched down he needed to be in his crude prop wheelchair to properly play the character.   The actor had done a lot of prep work to play the role, including spending time at the Sandymount School Clinic where the young Christy Brown got his education, and much of his performance was molded on those young people.   While Miramax had acquired the American distribution rights to the film before it went into production, and those funds went into the production of the film, the film was not produced by Miramax, nor were the Weinsteins given any kind of executive producer credit, as they were able to get themselves on Scandal.   My Left Foot would make its world premiere at the Montreal World Film Festival on September 4th, 1989, followed soon thereafter by screening at the Toronto International Film Festival on September 13th and the New York Film Festival on September 23rd. Across the board, critics and audiences were in love with the movie, and with Daniel Day-Lewis's performance. Jim Sheridan would receive a special prize at the Montreal World Film Festival for his direction, and Day-Lewis would win the festival's award for Best Actor. However, as the film played the festival circuit, another name would start to pop up. Brenda Fricker, a little known Irish actress who played Christy Brown's supportive but long-suffering mother Bridget, would pile up as many positive notices and awards as Day-Lewis. Although there was no Best Supporting Actress Award at the Montreal Film Festival, the judges felt her performance was deserving of some kind of attention, so they would create a Special Mention of the Jury Award to honor her.   Now, some sources online will tell you the film made its world premiere in Dublin on February 24th, 1989, based on a passage in a biography about Daniel Day-Lewis, but that would be impossible as the film would still be in production for two more days, and wasn't fully edited or scored by then.   I'm not sure when it first opened in the United Kingdom other than sometime in early 1990, but My Left Foot would have its commercial theatre debut in America on November 10th, when opened at the Lincoln Plaza Cinemas in New York City and the Century City 14 in Los Angeles. Sheila Benson of the Los Angeles Times would, in the very opening paragraph of her review, note that one shouldn't see My Left Foot for some kind of moral uplift or spiritual merit badge, but because of your pure love of great moviemaking. Vincent Canby's review in the New York Times spends most of his words praising Day-Lewis and Sheridan for making a film that is polite and non-judgmental.    Interestingly, Miramax went with an ad campaign that completely excluded any explanation of who Christy Brown was or why the film is titled the way it is. 70% of the ad space is taken from pull quotes from many of the top critics of the day, 20% with the title of the film, and 10% with a picture of Daniel Day-Lewis, clean shaven and full tooth smile, which I don't recall happening once in the movie, next to an obviously added-in picture of one of his co-stars that is more camera-friendly than Brenda Fricker or Fiona Shaw.   Whatever reasons people went to see the film, they flocked to the two theatres playing the film that weekend. It's $20,582 per screen average would be second only to Kenneth Branagh's Henry V, which had opened two days earlier, earning slightly more than $1,000 per screen than My Left Foot.   In week two, My Left Foot would gross another $35,133 from those two theatres, and it would overtake Henry V for the highest per screen average. In week three, Thanksgiving weekend, both Henry V and My Left Foot saw a a double digit increase in grosses despite not adding any theatres, and the latter film would hold on to the highest per screen average again, although the difference would only be $302. And this would continue for weeks. In the film's sixth week of release, it would get a boost in attention by being awarded Best Film of the Year by the New York Film Critics Circle. Daniel Day-Lewis would be named Best Actor that week by both the New York critics and the Los Angeles Film Critics Association, while Fricker would win the Best Supporting Actress award from the latter group.   But even then, Miramax refused to budge on expanding the film until its seventh week of release, Christmas weekend, when My Left Foot finally moved into cities like Chicago and San Francisco. Its $135k gross that weekend was good, but it was starting to lose ground to other Oscar hopefuls like Born on the Fourth of July, Driving Miss Daisy, Enemies: A Love Story, and Glory.   And even though the film continued to rack up award win after award win, nomination after nomination, from the Golden Globes and the Writers Guild and the National Society of Film Critics and the National Board of Review, Miramax still held firm on not expanding the film into more than 100 theatres nationwide until its 16th week in theatres, February 16th, 1990, two days after the announcement of the nominees for the 62nd Annual Academy Awards. While Daniel Day-Lewis's nomination for Best Actor was virtually assured and Brenda Fricker was practically a given, the film would pick up three other nominations, including surprise nominations for Best Picture and Best Director. Jim Sheridan and co-writer Shane Connaughton would also get picked for Best Adapted Screenplay.   Miramax also picked up a nomination for Best Original Screenplay for sex, lies, and videotape, and a Best Foreign Language Film nod for the Italian movie Cinema Paradiso, which, thanks to the specific rules for that category, a film could get a nomination before actually opening in theatres in America, which Miramax would rush to do with Paradiso the week after its nomination was announced.   The 62nd Academy Awards ceremony would be best remembered today as being the first Oscar show to be hosted by Billy Crystal, and for being considerably better than the previous year's ceremony, a mess of a show best remembered as being the one with a 12 minute opening musical segment that included Rob Lowe singing Proud Mary to an actress playing Snow White and another nine minute musical segment featuring a slew of expected future Oscar winners that, to date, feature exact zero Oscar nominees, both which rank as amongst the worst things to ever happen to the Oscars awards show.   The ceremony, held on March 26th, would see My Left Foot win two awards, Best Actor and Best Supporting Actress, as well as Cinema Paradiso for Best Foreign Film. The following weekend, March 30th, would see Miramax expand My Left Foot to 510 theatres, its widest point of release, and see the film made the national top ten and earn more than a million dollars for its one and only time during its eight month run.   The film would lose steam pretty quickly after its post-win bump, but it would eek out a modest run that ended with $14.75m in ticket sales just in the United States. Not bad for a little Irish movie with no major stars that cost less than a million dollars to make.   Of course, the early 90s would see Miramax fly to unimagined heights. In all of the 80s, Miramax would release 39 movies. They would release 30 films alone in 1991. They would release the first movies from Jean-Pierre Jeunet, Quentin Tarantino and Kevin Smith. They'd release some of the best films from some of the best filmmakers in the world, including Woody Allen, Pedro Almadovar, Robert Altman, Bernardo Bertolucci, Atom Egoyan, Steven Frears, Peter Greenaway, Peter Jackson, Neil Jordan, Chen Kaige, Krzysztof Kieślowski, Lars von Trier, and Zhang Yimou. In 1993, the Mexican dramedy Like Water for Chocolate would become the highest grossing foreign language film ever released in America, and it would play in some theatres, including my theatre, the NuWilshire in Santa Monica, continuously for more than a year.   If you've listened to the whole series on the 1980s movies of Miramax Films, there are two things I hope you take away. First, I hope you discovered at least one film you hadn't heard of before and you might be interested in searching out. The second is the reminder that neither Bob nor Harvey Weinstein will profit in any way if you give any of the movies talked about in this series a chance. They sold Miramax to Disney in June 1993. They left Miramax in September 2005. Many of the contracts for the movies the company released in the 80s and 90s expired decades ago, with the rights reverting back to their original producers, none of whom made any deals with the Weinsteins once they got their rights back.   Harvey Weinstein is currently serving a 23 year prison sentence in upstate New York after being found guilty in 2020 of two sexual assaults. Once he completes that sentence, he'll be spending another 16 years in prison in California, after he was convicted of three sexual assaults that happened in Los Angeles between 2004 and 2013. And if the 71 year old makes it to 107 years old, he may have to serve time in England for two sexual assaults that happened in August 1996. That case is still working its way through the British legal system.   Bob Weinstein has kept a low profile since his brother's proclivities first became public knowledge in October 2017, although he would also be accused of sexual harassment by a show runner for the brothers' Spike TV-aired adaptation of the Stephen King novel The Mist, several days after the bombshell articles came out about his brother. However, Bob's lawyer, the powerful attorney to the stars Bert Fields, deny the allegations, and it appears nothing has occurred legally since the accusations were made.   A few weeks after the start of the MeToo movement that sparked up in the aftermath of the accusations of his brother's actions, Bob Weinstein denied having any knowledge of the nearly thirty years of documented sexual abuse at the hands of his brother, but did allow to an interviewer for The Hollywood Reporter that he had barely spoken to Harvey over the previous five years, saying he could no longer take Harvey's cheating, lying and general attitude towards everyone.   And with that, we conclude our journey with Miramax Films. While I am sure Bob and Harvey will likely pop up again in future episodes, they'll be minor characters at best, and we'll never have to focus on anything they did ever again.   Thank you for joining us. We'll talk again soon, when Episode 119 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Anthony and Maureen leave Tommy alone to paint at Hot Off the Press. Is he prepared to face what's behind the "shave and a haircut" knock? Meanwhile Lisa and Max are each forced to deal with the comedy of a simple biological function — much to the delight of their romantic partners. Based on the play Two and Two Together by Peter Cosmas Sofronas. Written, Directed, and Produced by Peter Cosmas Sofronas. Starring (in order of appearance) Chris Rose as Anthony Wallace, Dan Murray as Tommy Hanson, Chrissy Lewis-Pirnie as Maureen Sloan, Peter Cosmas Sofronas as Jason Reyas, Nick Gould as Matt Sharpe, Adam Heroux as David Sharpe, Amanda O'Donnell as Lisa Sharpe, Samuel Berbel as Max, Rachael Rabinovitz as Hayley Gettelman. Credits and Narration by Leonard Caplan. Sound Engineering by Dan Murray. Sound Editing by Peter Cosmas Sofronas. Theme Music by Valerie Forgione. Special thanks to Dan Murray. Extra special thanks to Del Shores and his writing master class.Support the showScripts of Two and Two Together and the first two seasons of Putting 2&2 Together can be purchased at Amazon.com. Merchandise available at TeeSpring. Donations can be made at By Me a Coffee. For further information, please visit puttingtwoandtwotogether.com.

The Drunk Guys drink out of a taxidermied squirrel this week when they read The Unbearable Lightness of Being by Milan Kundera and drink The End of History by Brewdog. Join the Drunk Guys next Tuesday for Hallowe'en Party by Agatha Christie The Drunk Guys now have a Patreon and

The Drunk Guys drink Al-Lat of beer this week when they read The Satanic Verses by Salman Rushdie. They will get fatwa after they drink The Marriage of Heaven and Hell by Root + Branch and Hudson Valley Brewery. Join the Drunk Guys next Tuesday for The Unbearable Lightness of

We continue our miniseries on the 1980s movies distributed by Miramax Films, with a look at the films released in 1988. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we finally continue with the next part of our look back at the 1980s movies distributed by Miramax Films, specifically looking at 1988.   But before we get there, I must issue another mea culpa. In our episode on the 1987 movies from Miramax, I mentioned that a Kiefer Sutherland movie called Crazy Moon never played in another theatre after its disastrous one week Oscar qualifying run in Los Angeles in December 1987.   I was wrong.   While doing research on this episode, I found one New York City playdate for the film, in early February 1988. It grossed a very dismal $3200 at the 545 seat Festival Theatre during its first weekend, and would be gone after seven days.   Sorry for the misinformation.   1988 would be a watershed year for the company, as one of the movies they acquired for distribution would change the course of documentary filmmaking as we knew it, and another would give a much beloved actor his first Academy Award nomination while giving the company its first Oscar win.   But before we get to those two movies, there's a whole bunch of others to talk about first.   Of the twelve movies Miramax would release in 1988, only four were from America. The rest would be a from a mixture of mostly Anglo-Saxon countries like the UK, Canada, France and Sweden, although there would be one Spanish film in there.   Their first release of the new year, Le Grand Chemin, told the story of a timid nine-year-old boy from Paris who spends one summer vacation in a small town in Brittany. His mother has lodged the boy with her friend and her friend's husband while Mom has another baby. The boy makes friends with a slightly older girl next door, and learns about life from her.   Richard Bohringer, who plays the friend's husband, and Anémone, who plays the pregnant mother, both won Cesars, the French equivalent to the Oscars, in their respective lead categories, and the film would be nominated for Best Foreign Language Film of 1987 by the National Board of Review. Miramax, who had picked up the film at Cannes several months earlier, waited until January 22nd, 1988, to release it in America, first at the Paris Theatre in midtown Manhattan, where it would gross a very impressive $41k in its first three days. In its second week, it would drop less than 25% of its opening weekend audience, bringing in another $31k. But shortly after that, the expected Oscar nomination for Best Foreign Language Film did not come, and business on the film slowed to a trickle. But it kept chugging on, and by the time the film finished its run in early June, it had grossed $541k.   A week later, on January 29th, Miramax would open another French film, Light Years. An animated science fiction film written and directed by René Laloux, best known for directing the 1973 animated head trip film Fantastic Planet, Light Years was the story of an evil force from a thousand years in the future who begins to destroy an idyllic paradise where the citizens are in perfect harmony with nature.   In its first three days at two screens in Los Angeles and five screens in the San Francisco Bay Area, Light Years would gross a decent $48,665. Miramax would print a self-congratulating ad in that week's Variety touting the film's success, and thanking Isaac Asimov, who helped to write the English translation, and many of the actors who lent their vocal talents to the new dub, including Glenn Close, Bridget Fonda, Jennifer Grey, Christopher Plummer, and Penn and Teller. Yes, Teller speaks. The ad was a message to both the theatre operators and the major players in the industry. Miramax was here. Get used to it.   But that ad may have been a bit premature.   While the film would do well in major markets during its initial week in theatres, audience interest would drop outside of its opening week in big cities, and be practically non-existent in college towns and other smaller cities. Its final box office total would be just over $370k.   March 18th saw the release of a truly unique film.    Imagine a film directed by Robert Altman and Bruce Beresford and Jean-Luc Godard and Derek Jarman and Franc Roddam and Nicolas Roeg and Ken Russell and Charles Sturridge and Julien Temple. Imagine a film that starred Beverly D'Angelo, Bridget Fonda in her first movie, Julie Hagerty, Buck Henry, Elizabeth Hurley and John Hurt and Theresa Russell and Tilda Swinton. Imagine a film that brought together ten of the most eclectic filmmakers in the world doing four to fourteen minute short films featuring the arias of some of the most famous and beloved operas ever written, often taken out of their original context and placed into strange new places. Like, for example, the aria for Verdi's Rigoletto set at the kitschy Madonna Inn in San Luis Obispo, where a movie producer is cheating on his wife while she is in a nearby room with a hunky man who is not her husband. Imagine that there's almost no dialogue in the film. Just the arias to set the moments.   That is Aria.   If you are unfamiliar with opera in general, and these arias specifically, that's not a problem. When I saw the film at the Nickelodeon Theatre in Santa Cruz in June 1988, I knew some Wagner, some Puccini, and some Verdi, through other movies that used the music as punctuation for a scene. I think the first time I had heard Nessun Dorma was in The Killing Fields. Vesti La Giubba in The Untouchables. But this would be the first time I would hear these arias as they were meant to be performed, even if they were out of context within their original stories. Certainly, Wagner didn't intend the aria from Tristan und Isolde to be used to highlight a suicide pact between a young couple killing themselves in a Las Vegas hotel bathroom.   Aria definitely split critics when it premiered at the 1987 Cannes Film Festival, when it competed for the festival's main prize, the Palme D'Or. Roger Ebert would call it the first MTV opera and felt the filmmakers were poking fun at their own styles, while Leonard Maltin felt most of the endeavor was a waste of time. In the review for the New York Times, Janet Maslin would also make a reference to MTV but not in a positive way, and would note the two best parts of the film were the photo montage that is seen over the end credits, and the clever licensing of Chuck Jones's classic Bugs Bunny cartoon What's Opera, Doc, to play with the film, at least during its New York run. In the Los Angeles Times, the newspaper chose one of its music critics to review the film. They too would compare the film to MTV, but also to Fantasia, neither reference meant to be positive.   It's easy to see what might have attracted Harvey Weinstein to acquire the film.   Nudity.   And lots of it.   Including from a 21 year old Hurley, and a 22 year old Fonda.   Open at the 420 seat Ridgemont Theatre in Seattle on March 18th, 1988, Aria would gross a respectable $10,600. It would be the second highest grossing theatre in the city, only behind The Unbearable Lightness of Being, which grossed $16,600 in its fifth week at the 850 seat Cinerama Theatre, which was and still is the single best theatre in Seattle. It would continue to do well in Seattle, but it would not open until April 15th in Los Angeles and May 20th in New York City.   But despite some decent notices and the presence of some big name directors, Aria would stiff at the box office, grossing just $1.03m after seven months in theatres.   As we discussed on our previous episode, there was a Dennis Hopper movie called Riders on the Storm that supposedly opened in November 1987, but didn't. It did open in theatres in May of 1988, and now we're here to talk about it.   Riders on the Storm would open in eleven theatres in the New York City area on May 7th, including three theatres in Manhattan. Since Miramax did not screen the film for critics before release, never a good sign, the first reviews wouldn't show up until the following day, since the critics would actually have to go see the film with a regular audience. Vincent Canby's review for the New York Times would arrive first, and surprisingly, he didn't completely hate the film. But audiences didn't care. In its first weekend in New York City, Riders on the Storm would gross an anemic $25k. The following Friday, Miramax would open the film at two theatres in Baltimore, four theatres in Fort Worth TX (but surprisingly none in Dallas), one theatre in Los Angeles and one theatre in Springfield OH, while continuing on only one screen in New York. No reported grosses from Fort Worth, LA or Springfield, but the New York theatre reported ticket sales of $3k for the weekend, a 57% drop from its previous week, while the two in Baltimore combined for $5k.   There would be more single playdates for a few months. Tampa the same week as New York. Atlanta, Charlotte, Des Moines and Memphis in late May. Cincinnati in late June. Boston, Calgary, Ottawa and Philadelphia in early July. Greenville SC in late August. Evansville IL, Ithaca NY and San Francisco in early September. Chicago in late September. It just kept popping up in random places for months, always a one week playdate before heading off to the next location. And in all that time, Miramax never reported grosses. What little numbers we do have is from the theatres that Variety was tracking, and those numbers totaled up to less than $30k.   Another mostly lost and forgotten Miramax release from 1988 is Caribe, a Canadian production that shot in Belize about an amateur illegal arms trader to Central American terrorists who must go on the run after a deal goes down bad, because who wants to see a Canadian movie about an amateur illegal arms trader to Canadian terrorists who must go on the run in the Canadian tundra after a deal goes down bad?   Kara Glover would play Helen, the arms dealer, and John Savage as Jeff, a British intelligence agent who helps Helen.   Caribe would first open in Detroit on May 20th, 1988. Can you guess what I'm going to say next?   Yep.   No reported grosses, no theatres playing the film tracked by Variety.   The following week, Caribe opens in the San Francisco Bay Area, at the 300 seat United Artists Theatre in San Francisco, and three theatres in the South Bay. While Miramax once again did not report grosses, the combined gross for the four theatres, according to Variety, was a weak $3,700. Compare that to Aria, which was playing at the Opera Plaza Cinemas in its third week in San Francisco, in an auditorium 40% smaller than the United Artist, grossing $5,300 on its own.   On June 3rd, Caribe would open at the AMC Fountain Square 14 in Nashville. One show only on Friday and Saturday at 11:45pm. Miramax did not report grosses. Probably because people we going to see Willie Tyler and Lester at Zanie's down the street.   And again, it kept cycling around the country, one or two new playdates in each city it played in. Philadelphia in mid-June. Indianapolis in mid-July. Jersey City in late August. Always for one week, grosses never reported.   Miramax's first Swedish release of the year was called Mio, but this was truly an international production. The $4m film was co-produced by Swedish, Norwegian and Russian production companies, directed by a Russian, adapted from a Swedish book by an American screenwriter, scored by one of the members of ABBA, and starring actors from England, Finland, Norway, Russia, Sweden and the United States.   Mio tells the story of a boy from Stockholm who travels to an otherworldly fantasy realm and frees the land from an evil knight's oppression. What makes this movie memorable today is that Mio's best friend is played by none other than Christian Bale, in his very first film.   The movie was shot in Moscow, Stockholm, the Crimea, Scotland, and outside Pripyat in the Northern part of what is now Ukraine, between March and July 1986. In fact, the cast and crew were shooting outside Pripyat on April 26th, when they got the call they needed to evacuate the area. It would be hours later when they would discover there had been a reactor core meltdown at the nearby Chernobyl Nuclear Power Plant. They would have to scramble to shoot in other locations away from Ukraine for a month, and when they were finally allowed to return, the area they were shooting in deemed to have not been adversely affected by the worst nuclear power plant accident in human history,, Geiger counters would be placed all over the sets, and every meal served by craft services would need to be read to make sure it wasn't contaminated.   After premiering at the Moscow Film Festival in July 1987 and the Norwegian Film Festival in August, Mio would open in Sweden on October 16th, 1987. The local critics would tear the film apart. They hated that the filmmakers had Anglicized the movie with British actors like Christopher Lee, Susannah York, Christian Bale and Nicholas Pickard, an eleven year old boy also making his film debut. They also hated how the filmmakers adapted the novel by the legendary Astrid Lindgren, whose Pippi Longstocking novels made her and her works world famous. Overall, they hated pretty much everything about it outside of Christopher Lee's performance and the production's design in the fantasy world.   Miramax most likely picked it up trying to emulate the success of The Neverending Story, which had opened to great success in most of the world in 1984. So it might seem kinda odd that when they would open the now titled The Land of Faraway in theatres, they wouldn't go wide but instead open it on one screen in Atlanta GA on June 10th, 1988. And, once again, Miramax did not report grosses, and Variety did not track Atlanta theatres that week. Two weeks later, they would open the film in Miami. How many theatres? Can't tell you. Miramax did not report grosses, and Variety was not tracking any of the theatres in Miami playing the film. But hey, Bull Durham did pretty good in Miami that week.   The film would next open in theatres in Los Angeles. This time, Miramax bought a quarter page ad in the Los Angeles Times on opening day to let people know the film existed. So we know it was playing on 18 screens that weekend. And, once again, Miramax did not report grosses for the film. But on the two screens it played on that Variety was tracking, the combined gross was just $2,500.   There'd be other playdates. Kansas City and Minneapolis in mid-September. Vancouver, BC in early October. Palm Beach FL in mid October. Calgary AB and Fort Lauderdale in late October. Phoenix in mid November. And never once did Miramax report any grosses for it.   One week after Mio, Miramax would release a comedy called Going Undercover.   Now, if you listened to our March 2021 episode on Some Kind of Wonderful, you may remember be mentioning Lea Thompson taking the role of Amanda Jones in that film, a role she had turned down twice before, the week after Howard the Duck opened, because she was afraid she'd never get cast in a movie again. And while Some Kind of Wonderful wasn't as big a film as you'd expect from a John Hughes production, Thompson did indeed continue to work, and is still working to this day.   So if you were looking at a newspaper ad in several cities in June 1988 and saw her latest movie and wonder why she went back to making weird little movies.   She hadn't.   This was a movie she had made just before Back to the Future, in August and September 1984.   Originally titled Yellow Pages, the film starred film legend Jean Simmons as Maxine, a rich woman who has hired Chris Lemmon's private investigator Henry Brilliant to protect her stepdaughter Marigold during her trip to Copenhagen.   The director, James Clarke, had written the script specifically for Lemmon, tailoring his role to mimic various roles played by his famous father, Jack Lemmon, over the decades, and for Simmons. But Thompson was just one of a number of young actresses they looked at before making their casting choice.   Half of the $6m budget would come from a first-time British film producer, while the other half from a group of Danish investors wanting to lure more Hollywood productions to their area.   The shoot would be plagued by a number of problems. The shoot in Los Angeles coincided with the final days of the 1984 Summer Olympics, which would cut out using some of the best and most regularly used locations in the city, and a long-lasting heat wave that would make outdoor shoots unbearable for cast and crew. When they arrived in Copenhagen at the end of August, Denmark was going through an unusually heavy storm front that hung around for weeks.   Clarke would spend several months editing the film, longer than usual for a smaller production like this, but he in part was waiting to see how Back to the Future would do at the box office. If the film was a hit, and his leading actress was a major part of that, it could make it easier to sell his film to a distributor.   Or that was line of thinking.   Of course, Back to the Future was a hit, and Thompson received much praise for her comedic work on the film.   But that didn't make it any easier to sell his film.   The producer would set the first screenings for the film at the February 1986 American Film Market in Santa Monica, which caters not only to foreign distributors looking to acquire American movies for their markets, but helps independent filmmakers get their movies seen by American distributors.   As these screenings were for buyers by invitation only, there would be no reviews from the screenings, but one could guess that no one would hear about the film again until Miramax bought the American distribution rights to it in March 1988 tells us that maybe those screenings didn't go so well.   The film would get retitled Going Undercover, and would open in single screen playdates in Atlanta, Cincinnati, Dallas, Indianapolis, Los Angeles, Nashville, Orlando, St. Louis and Tampa on June 17th. And as I've said too many times already, no reported grosses from Miramax, and only one theatre playing the film was being tracked by Variety, with Going Undercover earning $3,000 during its one week at the Century City 14 in Los Angeles.   In the June 22nd, 1988 issue of Variety, there was an article about Miramax securing a $25m line of credit in order to start producing their own films. Going Undercover is mentioned in the article about being one of Miramax's releases, without noting it had just been released that week or how well it did or did not do.   The Thin Blue Line would be Miramax's first non-music based documentary, and one that would truly change how documentaries were made.   Errol Morris had already made two bizarre but entertaining documentaries in the late 70s and early 80s. Gates of Heaven was shot in 1977, about a man who operated a failing pet cemetery in Northern California's Napa Valley. When Morris told his famous German filmmaking supporter Werner Herzog about the film, Herzog vowed to eat one of the shoes he was wearing that day if Morris could actually complete the film and have it shown in a public theatre. In April 1979, just before the documentary had its world premiere at UC Theatre in Berkeley, where Morris had studied philosophy, Herzog would spend the morning at Chez Pannise, the creators of the California Cuisine cooking style, boiling his shoes for five hours in garlic, herbs and stock. This event itself would be commemorated in a documentary short called, naturally, Werner Herzog Eats His Shoe, by Les Blank, which is a must watch on its own.   Because of the success of Gates of Heaven, Morris was able to quickly find financing for his next film, Nub City, which was originally supposed to be about the number of Vernon, Florida's citizens who have “accidentally” cut off their limbs, in order to collect the insurance money. But after several of those citizens threatened to kill Morris, and one of them tried to run down his cinematographer with their truck, Morris would rework the documentary, dropping the limb angle, no pun intended, and focus on the numerous eccentric people in the town. It would premiere at the 1981 New York Film Festival, and become a hit, for a documentary, when it was released in theatres in 1982.   But it would take Morris another six years after completing Vernon, Florida, to make another film. Part of it was having trouble lining up full funding to work on his next proposed movie, about James Grigson, a Texas forensic psychiatrist whose was nicknamed Doctor Death for being an expert witness for the prosecution in death penalty cases in Texas. Morris had gotten seed money for the documentary from PBS and the Endowment for Public Arts, but there was little else coming in while he worked on the film. In fact, Morris would get a PI license in New York and work cases for two years, using every penny he earned that wasn't going towards living expenses to keep the film afloat.   One of Morris's major problems for the film was that Grigson would not sit on camera for an interview, but would meet with Morris face to face to talk about the cases. During that meeting, the good doctor suggested to the filmmaker that he should research the killers he helped put away. And during that research, Morris would come across the case of one Randall Dale Adams, who was convicted of killing Dallas police officer Robert Wood in 1976, even though another man, David Harris, was the police's initial suspect. For two years, Morris would fly back and forth between New York City and Texas, talking to and filming interviews with Adams and more than two hundred other people connected to the shooting and the trial. Morris had become convinced Adams was indeed innocent, and dropped the idea about Dr. Grigson to solely focus on the Robert Wood murder.   After showing the producers of PBS's American Playhouse some of the footage he had put together of the new direction of the film, they kicked in more funds so that Morris could shoot some re-enactment sequences outside New York City, as well as commission composer Phillip Glass to create a score for the film once it was completed. Documentaries at that time did not regularly use re-enactments, but Morris felt it was important to show how different personal accounts of the same moment can be misinterpreted or misremembered or outright manipulated to suppress the truth.   After the film completed its post-production in March 1988, The Thin Blue Line would have its world premiere at the San Francisco Film Festival on March 18th, and word quickly spread Morris had something truly unique and special on his hands. The critic for Variety would note in the very first paragraph of his write up that the film employed “strikingly original formal devices to pull together diverse interviews, film clips, photo collages, and” and this is where it broke ground, “recreations of the crime from many points of view.”   Miramax would put together a full court press in order to get the rights to the film, which was announced during the opening days of the 1988 Cannes Film Festival in early May. An early hint on how the company was going to sell the film was by calling it a “non-fiction feature” instead of a documentary.   Miramax would send Morris out on a cross-country press tour in the weeks leading up to the film's August 26th opening date, but Morris, like many documentary filmmakers, was not used to being in the spotlight themselves, and was not as articulate about talking up his movies as the more seasoned directors and actors who've been on the promotion circuit for a while. After one interview, Harvey Weinstein would send Errol Morris a note.   “Heard your NPR interview and you were boring.”   Harvey would offer up several suggestions to help the filmmaker, including hyping the movie up as a real life mystery thriller rather than a documentary, and using shorter and clearer sentences when answering a question.   It was a clear gamble to release The Thin Blue Line in the final week of summer, and the film would need a lot of good will to stand out.   And it would get it.   The New York Times was so enthralled with the film, it would not only run a review from Janet Maslin, who would heap great praise on the film, but would also run a lengthy interview with Errol Morris right next to the review. The quarter page ad in the New York Times, several pages back, would tout positive quotes from Roger Ebert, J. Hoberman, who had left The Village Voice for the then-new Premiere Magazine, Peter Travers, writing for People Magazine instead of Rolling Stone, and critics from the San Francisco Chronicle and, interestingly enough, the Dallas Morning News. The top of the ad was tagged with an intriguing tease: solving this mystery is going to be murder, with a second tag line underneath the key art and title, which called the film “a new kind of movie mystery.” Of the 15 New York area-based film critics for local newspapers, television and national magazines, 14 of them gave favorable reviews, while 1, Stephen Schiff of Vanity Fair, was ambivalent about it. Not one critic gave it a bad review.   New York audiences were hooked.   Opening in the 240 seat main house at the Lincoln Plaza Cinemas, the movie grossed $30,945 its first three days. In its second weekend, the gross at the Lincoln Plaza would jump to $31k, and adding another $27,500 from its two theatre opening in Los Angeles and $15,800 from a single DC theatre that week. Third week in New York was a still good $21k, but the second week in Los Angeles fell to $10,500 and DC to $10k. And that's how it rolled out for several months, mostly single screen bookings in major cities not called Los Angeles or New York City, racking up some of the best reviews Miramax would receive to date, but never breaking out much outside the major cities. When it looked like Santa Cruz wasn't going to play the film, I drove to San Francisco to see it, just as my friends and I had for the opening day of Martin Scorsese's The Last Temptation of Christ in mid-August. That's 75 miles each way, plus parking in San Francisco, just to see a movie. That's when you know you no longer just like movies but have developed a serious case of cinephilea. So when The Nickelodeon did open the film in late November, I did something I had never done with any documentary before.   I went and saw it again.   Second time around, I was still pissed off at the outrageous injustice heaped upon Randall Dale Adams for nothing more than being with and trusting the wrong person at the wrong time. But, thankfully, things would turn around for Adams in the coming weeks. On December 1st, it was reported that David Harris had recanted his testimony at Adams' trial, admitting he was alone when Officer Wood stopped his car. And on March 1st, 1989, after more than 15,000 people had signed the film's petition to revisit the decision, the Texas Court of Criminal Appeals overturned Adams's conviction “based largely” on facts presented in the film.   The film would also find itself in several more controversies.   Despite being named The Best Documentary of the Year by a number of critics groups, the Documentary Branch of the  Academy of Motion Pictures Arts and Sciences would not nominate the film, due in large part to the numerous reenactments presented throughout the film. Filmmaker Michael Apted, a member of the Directors Branch of the Academy, noted that the failure to acknowledge The Thin Blue Line was “one of the most outrageous things in the modern history of the Academy,” while Roger Ebert added the slight was “the worst non-nomination of the year.” Despite the lack of a nomination, Errol Morris would attend the Oscars ceremony in March 1989, as a protest for his film being snubbed.   Morris would also, several months after Adams' release, find himself being sued by Adams, but not because of how he was portrayed in the film. During the making of the film, Morris had Adams sign a contract giving Morris the exclusive right to tell Adams's story, and Adams wanted, essentially, the right to tell his own story now that he was a free man. Morris and Adams would settle out of court, and Adams would regain his life rights.   Once the movie was played out in theatres, it had grossed $1.2m, which on the surface sounds like not a whole lot of money. Adjusted for inflation, that would only be $3.08m. But even unadjusted for inflation, it's still one of the 100 highest grossing documentaries of the past forty years. And it is one of just a handful of documentaries to become a part of the National Film Registry, for being a culturally, historically or aesthetically significant film.”   Adams would live a quiet life after his release, working as an anti-death penalty advocate and marrying the sister of one of the death row inmates he was helping to exonerate. He would pass away from a brain tumor in October 2010 at a courthouse in Ohio not half an hour from where he was born and still lived, but he would so disappear from the spotlight after the movie was released that his passing wasn't even reported until June 2011.   Errol Morris would become one of the most celebrated documentarians of his generation, finally getting nominated for, and winning, an Oscar in 2003, for The Fog of War, about the life and times of Robert McNamara, Richard Nixon's Secretary of Defense during the Vietnam War era. The Fog of War would also be added to the National Film Registry in 2019. Morris would become only the third documentarian, after D.A. Pennebaker and Les Blank, to have two films on the Registry.   In 1973, the senseless killings of five members of the Alday family in Donalsonville GA made international headlines. Four years later, Canadian documentarian Tex Fuller made an award-winning documentary about the case, called Murder One. For years, Fuller shopped around a screenplay telling the same story, but it would take nearly a decade for it to finally be sold, in part because Fuller was insistent that he also be the director. A small Canadian production company would fund the $1m CAD production, which would star Henry Thomas of E.T. fame as the fifteen year old narrator of the story, Billy Isaacs.   The shoot began in early October 1987 outside Toronto, but after a week of shooting, Fuller was fired, and was replaced by Graeme Campbell, a young and energetic filmmaker for whom Murder One would be his fourth movie directing gig of the year. Details are sketchy as to why Fuller was fired, but Thomas and his mother Carolyn would voice concerns with the producers about the new direction the film was taking under its new director.   The film would premiere in Canada in May 1988. When the film did well up North, Miramax took notice and purchased the American distribution rights.   Murder One would first open in America on two screens in Los Angeles on September 9th, 1988. Michael Wilmington of the Los Angeles Times noted that while the film itself wasn't very good, that it still sprung from the disturbing insight about the crazy reasons people cross of what should be impassable moral lines.   “No movie studio could have invented it!,” screamed the tagline on the poster and newspaper key art. “No writer could have imagined it! Because what happened that night became the most controversial in American history.”   That would draw limited interest from filmgoers in Tinseltown. The two theatres would gross a combined $7k in its first three days. Not great but far better than several other recent Miramax releases in the area.   Two weeks later, on September 23rd, Miramax would book Murder One into 20 theatres in the New York City metro region, as well as in Akron, Atlanta, Charlotte, Indianpolis, Nashville, and Tampa-St. Petersburg. In New York, the film would actually get some good reviews from the Times and the Post as well as Peter Travers of People Magazine, but once again, Miramax would not report grosses for the film. Variety would note the combined gross for the film in New York City was only $25k.   In early October, the film would fall out of Variety's internal list of the 50 Top Grossing Films within the twenty markets they regularly tracked, with a final gross of just $87k. One market that Miramax deliberately did not book the film was anywhere near southwest Georgia, where the murders took place. The closest theatre that did play the film was more than 200 miles away.   Miramax would finish 1988 with two releases.   The first was Dakota, which would mark star Lou Diamond Phillips first time as a producer. He would star as a troubled teenager who takes a job on a Texas horse ranch to help pay of his debts, who becomes a sorta big brother to the ranch owner's young son, who has recently lost a leg to cancer, as he also falls for the rancher's daughter.   When the $1.1m budgeted film began production in Texas in June 1987, Phillips had already made La Bamba and Stand and Deliver, but neither had yet to be released into theatres. By the time filming ended five weeks later, La Bamba had just opened, and Phillips was on his way to becoming a star.   The main producers wanted director Fred Holmes to get the film through post-production as quickly as possible, to get it into theatres in the early part of 1988 to capitalize on the newfound success of their young star.    But that wouldn't happen.   Holmes wouldn't have the film ready until the end of February 1988, which was deemed acceptable because of the impending release of Stand and Deliver. In fact, the producers would schedule their first distributor screening of the film on March 14th, the Monday after Stand and Delivered opened, in the hopes that good box office for the film and good notices for Phillips would translate to higher distributor interest in their film, which sorta worked. None of the major studios would show for the screening, but a number of Indies would, including Miramax. Phillips would not attend the screening, as he was on location in New Mexico shooting Young Guns.   I can't find any reason why Miramax waited nearly nine months after they acquired Dakota to get it into theatres. It certainly wasn't Oscar bait, and screen availability would be scarce during the busy holiday movie season, which would see a number of popular, high profile releases like Dirty Rotten Scoundrels, Ernest Saves Christmas, The Naked Gun, Rain Man, Scrooged, Tequila Sunrise, Twins and Working Girl. Which might explain why, when Miramax released the film into 18 theatres in the New York City area on December 2nd, they could only get three screens in all of Manhattan, the best being the nice but hardly first-rate Embassy 4 at Broadway and 47th. Or of the 22 screens in Los Angeles opening the film the same day, the best would be the tiny Westwood 4 next to UCLA or the Paramount in Hollywood, whose best days were back in the Eisenhower administration.   And, yet again, Miramax did not report grosses, and none of the theatres playing the film was tracked by Variety that week. The film would be gone after just one week. The Paramount, which would open Dirty Rotten Scoundrels on the 14th, opted to instead play a double feature of Clara's Heart, with Whoopi Goldberg and Neil Patrick Harris, and the River Phoenix drama Running on Empty, even though neither film had been much of a hit.   Miramax's last film of the year would be the one that changed everything for them.   Pelle the Conquerer.   Adapted from a 1910 Danish book and directed by Billie August, whose previous film Twist and Shout had been released by Miramax in 1986, Pelle the Conquerer would be the first Danish or Swedish movie to star Max von Sydow in almost 15 years, having spent most of the 70s and 80s in Hollywood and London starring in a number of major movies including The Exorcist, Three Days of the Condor, Flash Gordon,Conan the Barbarian, Never Say Never Again, and David Lynch's Dune. But because von Sydow would be making his return to his native cinema, August was able to secure $4.5m to make the film, one of the highest budgeted Scandinavian films to be made to date.   In the late 1850s, an elderly emigrant Lasse and his son Pelle leave their home in Sweden after the death of the boy's mother, wanting to build a new life on the Danish island of Bornholm. Lasse finds it difficult to find work, given his age and his son's youth. The pair are forced to work at a large farm, where they are generally mistreated by the managers for being foreigners. The father falls into depression and alcoholism, the young boy befriends one of the bastard children of the farm owner as well as another Swedish farm worker, who dreams of conquering the world.   For the title character of Pelle, Billie August saw more than 3,000 Swedish boys before deciding to cast 11 year old Pelle Hvenegaard, who, like many boys in Sweden, had been named for the character he was now going to play on screen.   After six months of filming in the summer and fall of 1986, Billie August would finish editing Pelle the Conquerer in time for it to make its intended Christmas Day 1987 release date in Denmark and Sweden, where the film would be one of the biggest releases in either country for the entire decade. It would make its debut outside Scandinavia at the Cannes Film Festival in May 1988, where it had been invited to compete for the Palme D'Or. It would compete against a number of talented filmmakers who had come with some of the best films they would ever make, including Clint Eastwood with Bird, Claire Denis' Chocolat, István Szabó's Hanussen, Vincent Ward's The Navigator, and A Short Film About Killing, an expanded movie version of the fifth episode in Krzysztof Kieślowski's masterful miniseries Dekalog. Pelle would conquer them all, taking home the top prize from one of cinema's most revered film festivals.   Reviews for the film out of Cannes were almost universally excellent. Vincent Canby, the lead film critic for the New York Times for nearly twenty years by this point, wouldn't file his review until the end of the festival, in which he pointed out that a number of people at the festival were scandalized von Sydow had not also won the award for Best Actor.   Having previously worked with the company on his previous film's American release, August felt that Miramax would have what it took to make the film a success in the States.   Their first moves would be to schedule the film for a late December release, while securing a slot at that September's New York Film Festival. And once again, the critical consensus was highly positive, with only a small sampling of distractors.   The film would open first on two screens at the Lincoln Plaza Cinemas in midtown Manhattan on Wednesday, December 21st, following by exclusive engagements in nine other cities including Los Angeles, Philadelphia, San Francisco, Seattle and Washington DC, on the 23rd. But the opening week numbers weren't very good, just $46k from ten screens. And you can't really blame the film's two hour and forty-five minute running time. Little Dorrit, the two-part, four hour adaptation of the Charles Dickens novel, had been out nine weeks at this point and was still making nearly 50% more per screen.   But after the new year, when more and more awards were hurled the film's way, including the National Board of Review naming it one of the best foreign films of the year and the Golden Globes awarding it their Best Foreign Language trophy, ticket sales would pick up.   Well, for a foreign film.   The week after the Motion Picture Academy awarded Pelle their award for Best Foreign Language Film, business for the film would pick up 35%, and a third of its $2m American gross would come after that win.   One of the things that surprised me while doing the research for this episode was learning that Max von Sydow had never been nominated for an Oscar until he was nominated for Best Actor for Pelle the Conquerer. You look at his credits over the years, and it's just mind blowing. The Seventh Seal. Wild Strawberries. The Virgin Spring. The Greatest Story Ever Told. The Emigrants. The Exorcist. The Three Days of the Condor. Surely there was one performance amongst those that deserved recognition.   I hate to keep going back to A24, but there's something about a company's first Oscar win that sends that company into the next level. A24 didn't really become A24 until 2016, when three of their movies won Oscars, including Brie Larson for Best Actress in Room. And Miramax didn't really become the Miramax we knew and once loved until its win for Pelle.   Thank you for joining us. We'll talk again soon, when Episode 117, the fifth and final part of our miniseries on Miramax Films, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Man's Search For Meaning by Viktor E. Frankl w/ Richard Messing--- Richard S. Messing LinkedIn - https://www.linkedin.com/in/richardmessing/ World Ethics Organization - https://worldethicsorganization.org/ Kotel Group - https://kotelgroup.com/ Episode #63 - The Myth of Sisyphus by Albert Camus w/Claire Chandler Episode #6 - The Unbearable Lightness of Being by Milan Kundera w/David Baumrucker Episode #16 - The Gulag Archipelago/One Day in the Life of Ivan Denisovich by Aleksandr I. Solzhenitsyn --- Pick up your copy of 12 Rules for Leaders: The Foundation of Intentional Leadership NOW on AMAZON! Check out the 2022 Leadership Lessons From the Great Books podcast reading list! --- Check out HSCT Publishing at: https://www.hsctpublishing.com/. Check out LeadingKeys at: https://www.leadingkeys.com/ Check out Leadership ToolBox at: https://leadershiptoolbox.us/ Contact HSCT for more information at 1-833-216-8296 to schedule a full DEMO of LeadingKeys with one of our team members. --- Leadership ToolBox website: https://leadershiptoolbox.us/. Leadership ToolBox LinkedIn: https://www.linkedin.com/company/ldrshptlbx/. Leadership ToolBox YouTube: https://www.youtube.com/channel/UCJvVbIU_bSEflwYpd9lWXuA/. Leadership ToolBox Twitter: https://twitter.com/ldrshptlbx. Leadership ToolBox IG: https://www.instagram.com/leadershiptoolboxus/. Leadership ToolBox FB: https://www.facebook.com/LdrshpTlb

Rev. Dr. Jarrod Longbons will be preaching on "The Unbearable Lightness of Patience." Our scripture for this sermon is Romans 8:12-25. Peachtree Christian Church is a cathedral for the city. It is an Atlanta Institution. It wishes to serve the city, and it wishes to belong to the city. Peachtree Christian Church is a Disciples of Christ denomination church located in midtown Atlanta, Georgia. Learn more at peachtree.org

Ukraine's president says it is "absurd" that there is no timeline for his country's NATO accession (02:36). China's business community is showing interest in investing in the Solomon Islands (09:01). And the author of "The Unbearable Lightness of Being" has died at the age of 94 (53:00).

“The Unbearable Lightness of Being” by Milan Kundera is one of the most beautiful and complex novels I've discovered. It's reflecting on something that I'm struggling with a lot right now: lightness versus heaviness. Commitment versus freedom. As I'm writing on my 6th book, I'm going to share some of the books and authors I'm reading, studying and finding comfort in and that will massively influence my new book.

This is a free preview of a paid episode. To hear more, visit wisdomofcrowds.liveThis week, Damir stages an intervention for Shadi.Lately, Shadi's become gradually detached from the world of current events and political media. Damir probes to understand why, therein unraveling an episode that goes off the beaten path to discuss progress, happiness and meaning at a time when everything feels existential.Shadi maintains that while he isn't divorcing himself from the commentariat, he's recognizing the limited fulfillment political awareness can deliver — particularly when progress can never seem to be satiated. Scoffing at Damir's notion he's become a conservative, Shadi laments what he sees as more pressing matters, including crime and the unintended impacts of legal marijuana dispensaries in D.C. All of this prompts Damir to press Shadi on how he reconciles this detachment with participation in democracy.In the full episode (for paying subscribers only), the guys pivot toward a critique of the mental health subculture. Damir believes the level of introspection offered by therapy may make us more miserable. Shadi agrees and questions how healthy it is that we seem to be seeking out more reasons to seek therapy. The pod ends on a higher note, however, with Damir and Shadi finding contentment in pursuing Wisdom of Crowds' mission.Paying subscribers will also be able to watch the whole conversation on video and take note of our facial expressions. We're really excited to be offering this new subscriber benefit, so please consider joining us.Required Reading:* The Open Letter to President Biden that Shadi helped organize on Tunisia.* “Is It Enough to Tie Your Camel and Trust in God?” by Shadi Hamid (Wisdom of Crowds).* 's tweet thread* “Pot and Pathology,” by (Institute For Family Studies).* “How I Changed my Mind About Marijuana,” by Charles Fain Lehman on his Substack, .* “You're Better Off Not Knowing,” by Shadi Hamid (The Atlantic).* Four Thousand Weeks: Time Management for Mortals, by Oliver Burkeman (Amazon).* The Unbearable Lightness of Being: A Novel, by Milan Kundera (Amazon).* “ChatGPT and Me,” by Damir Marusic (Wisdom of Crowds).* “How AI could change computing, culture and the course of history,” (The Economist).* Shadi Hamid's essay on suicide (Washington Examiner).* “It's not too late: How to save Tunisian democracy,” by Shadi Hamid and Sharan Grewal (Brookings Institution).Wisdom of Crowds is a platform challenging premises and understanding first principles on politics and culture. Join us!

في الحلقة الرابعة من كلام مع طارق قابلت عمر زهيري، المخرج صاحب البصمة المميزة والأسلوب الفريد واللي فاز عن فيلمه الطويل الأول "ريش" بجائزة أسبوع النقاد في مهرجان كان 2021. اتكلمنا عن بداياته وعن مسيرته وعن إزاي بيفكر في صناعة أفلامه القصيرة والطويلة، وإزاي بيتعامل مع تحديات صناعة السينما بشكل عام. عمر الزهيري مخرج مصري درس السينما في معهد القاهرة للسينما وعمل كمساعد مخرج إلى جانب بعض أبرز المخرجين المصريين، بما في ذلك يوسف شاهين ويسري نصر الله وشريف عرفة. فاز فيلمه القصير الأول "زفير" (2011) بجائزة لجنة التحكيم الخاصة في مهرجان دبي السينمائي الدولي. في عام 2014، كان فيلمه القصير الثاني " ما بعد وضع حجر الأساس لمشروع الحمام بالكيلو 375" أول فيلم مصري يتم اختياره لمسابقة سيني فونداسيون لمهرجان كان السينمائي عام 2014. عرض الفيلم في العديد من المهرجانات السينمائية حول العالم وفاز بالعديد من الجوائز، بما في ذلك أفضل فيلم قصير في مهرجان ديربان السينمائي الدولي وأفضل فيلم قصير للطلاب في مهرجان بالم سبرينجز الدولي للأفلام القصيرة. "ريش" هو أول فيلم روائي طويل لزهيري. فاز الفيلم سابقا بالجائزة الكبرى لأسبوع النقاد الدولي في مهرجان كان السينمائي 2021، وهو أول فيلم مصري طويل يحصل على هذه الجائزة في تاريخ المهرجان، جائزة FIPRESCI لأفضل فيلم روائي طويل في الأقسام الموازية لمهرجان كان. كما عُرض في العديد من المهرجانات السينمائية الدولية الفائزة بجوائز، بما في ذلك أفضل فيلم في جوائز روبرتو روسيليني لمهرجان بينجياو السينمائي الدولي، تنويه خاص في مهرجان نيو هورايزونز السينمائي الدولي في بولندا ونجمة الجونة لأفضل فيلم روائي عربي في مهرجان الجونة السينمائي، إضافة إلى العديد من الجوائز في الدورة 32 لأيام قرطاج السينمائية، حيث فاز ب4 جوائز: جائزة التانيت الذهبي للفيلم الروائي الطويل، وجائزة لجنة تحكيم الفيلم الأول، وذهبت إلى عمر الزهيري. جائزة أفضل سيناريو منحت للزهيري وأحمد عامر وجائزة أفضل أداء نسائي من نصيب دميانة نصار. Follow: Tarek Talks

While I was traveling in Europe, I read The Unbearable Lightness of Being by Milan Kundera. It inspired me to think about the weight that is present in life, from what we do to what we say to how we show up as people. It was a lot to mentally digest, so I wanted to take some time to share some of those reflections here. I hope you find some value in them. Thank you for listening. As always, Much Love ❤️ and please take care. --- Support this podcast: https://podcasters.spotify.com/pod/show/matt-best/support

Sean and PTF are back with a freeform conversation that touches on Forte's run in the Fountain of Youth, Sean's betting last week in Hong Kong, the shocking payout in the Gotham, and the relevance of Milan Kundera's most famous book to horse racing.Here is a link to the article PTF references in this episode from his ancient blog.

Sean and PTF are back with a freeform conversation that touches on Forte's run in the Fountain of Youth, Sean's betting last week in Hong Kong, the shocking payout in the Gotham, and the relevance of Milan Kundera's most famous book to horse racing.Here is a link to the article PTF references in this episode from his ancient blog.

Greetings, Dreamers! After a couple months' hibernation, we have returned to start bringing you content once again, as we enter the enchanted realm of 2nd edition... so of course, we must begin with the corebook, a tome near and dear to both our hearts. We really tried to rein it in, and this still ended up being our longest episode yet (by the merest of hairs). This is still a legacy edition, but nearer to the most recent incarnation of the game, and still chock-full of useful material for any player or Storyteller. And frankly, the book is just beautiful, in an era when beautiful TTRPG books were by no means a given like they (kind of) are today. First, let us dust off our social media profiles so that you can reach out to us if you desire... Discord (with a shiny new link! that hopefully works!): https://discord.me/ctpEmail: podcast@changelingthepodcast.comFacebook: https://www.facebook.com/profile.php?id=100082973960699Mastodon: https://dice.camp/@ChangelingPodPatreon: https://www.patreon.com/changelingthepodcast ...and then, if you're inclined to purchase the PDF online, behold the link to do so: https://www.drivethrurpg.com/product/1624?affiliate_id=3063731 We have most of this shiny new Season 2 planned out, with book dives and interviews and inspirational tidbits and more, so if you haven't subscribed, we hope that you'll consider doing so! Stay tuned for (mostly) weekly episodes and see what dreams they muster... your hosts Josh Hillerup (any pronoun) once invoked the Dragon's Ire at a coffeeshop when the barista accidentally used hemp milk. Pooka G (any pronoun/they) only commits Rhapsody on affluenzic "influencers" who need to be put in their place. "Dreaming is...a game of the imagination, a game that is a value in itself." —Milan Kundera, The Unbearable Lightness of Being

I discuss the concept of existential weight through the analysis of Milan Kundera's novel, "The Unbearable Lightness of Being". I draw from the writings of Frederick Nietzsche, Jean Paul Sartre, as well as a few others. Check out On Death and God by clicking on the previous episode or simply going to my website at into-the-absurd.com Outro provided by Brock Tanya Peace out. References: Nietzsche's The Gay Science, "The Greatest Weight" Milan Kundera's "The Unbearable Lightness of Being"

The Ramayana is not one book, but a living text with countless versions across languages, each reflecting the values of its time and place. Arshia Sattar joins Amit Varma to share her insights from decades of study. Also discussed: the art of translation -- and our search for dharma. (FOR FULL LINKED SHOW NOTES, GO TO SEENUNSEEN.IN.) Also check out 1. Arshia Sattar on Amazon, Open and Wikipedia. 2. Valmiki's Ramayana -- Translated by Arshia Sattar. 3. Maryada: Searching for Dharma in the Ramayana -- Arshia Sattar. 4. Lost Loves: Exploring Rama's Anguish -- Arshia Sattar. 5. AK Ramanujan on Amazon and Wikipedia. 6. Wendy Doniger on Amazon and Wikipedia. 7. Alf Hiltebeitel on Amazon and Wikipedia. 8. 300 Ramayanas — AK Ramanujan. 9. On Hinduism and The Hindus — Wendy Doniger. 10. Yuganta — Irawati Karve. 11. The Loneliness of the Indian Woman — Episode 259 of The Seen and the Unseen (w Shrayana Bhattacharya). 12. The Loneliness of the Indian Man — Episode 303 of The Seen and the Unseen (w Nikhil Taneja). 13. 'I Have a Dream' (video) (transcript) -- Martin Luther King. 14. Whatever happened To Ehsan Jafri on February 28, 2002? — Harsh Mander. 15. The Gita Press and Hindu Nationalism — Episode 139 of The Seen and the Unseen (w Akshaya Mukul). 14. Gita Press and the Making of Hindu India — Akshaya Mukul. 15. The Shah Bano case, the Sati at Deorala and the banning of Satanic Verses. 16. 1968: The Year that Rocked the World -- Mark Kurlanksy. 17. The Rooted Cosmopolitanism of Sugata Srinivasaraju — Episode 277 of The Seen and the Unseen. 18. Girish Karnad on Amazon and Wikipedia. 19. Understanding India Through Its Languages — Episode 232 of The Seen and the Unseen (w Peggy Mohan). 20. Wanderers, Kings, Merchants: The Story of India through Its Languages — Peggy Mohan. 21. Early Indians — Episode 112 of The Seen and the Unseen (w Tony Joseph). 22. Early Indians — Tony Joseph. 23. Who We Are and How We Got Here — David Reich. 24. Nissim Ezekiel on Amazon, Wikipedia and All Poetry. 25. The Seven Basic Plots — Christopher Booker. 26. The Long Road From Neeyat to Neeti -- Episode 313 of The Seen and the Unseen (w Pranay Kotasthane and Raghu S Jaitley). 27. Sansar Se Bhage Phirte Ho — Song from Chitralekha with lyrics by Sahir Ludhianvi. 28. Episodes of the Seen and the Unseen on Mughal history with Ira Mukhoty, Parvati Sharma, Rana Safvi and Manimugdha Sharma. 29. Tales from the Kathasaritsagara -- Somadeva (translated by Arshia Sattar). 30. The Second Game of Dice -- Amit Varma. 31. Range Rover -- The archives of Amit Varma's column on poker for the Economic Times. 32. Critical Theory and Structuralism. 33. The Missing Queen -- Samhita Arni. 34. Ramcharitmanas (Hindi) (English) (Wikipedia) -- Tulsidas. 35. Krittivasi Ramayan (Bengali) (Wikipedia) -- Krittibas Ojha. 36. The Kamba Ramayana -- Translated by PS Sundaram. 37. The Odyssey and The Iliad by Homer. 38. David Shulman on Amazon and Wikipedia. 39. Narendra Modi takes a Great Leap Backwards — Amit Varma (on demonetisation). 40. Bimal Krishna Matilal on Amazon and Wikipedia. 41. Dharma: Dimensions of Asian Spirituality -- Alf Hiltebeitel. 42. Understanding Gandhi. Part 1: Mohandas — Episode 104 of The Seen and the Unseen (w Ram Guha). 43. Understanding Gandhi. Part 2: Mahatma — Episode 105 of The Seen and the Unseen (w Ram Guha). 44. The Origins of Evil in Hindu Mythology -- Wendy Doniger. 45. Raja Ravi Varma. 46. Shoodhra Tapasvi -- Kuvempu. 47. Ludwig Wittgenstein on Amazon, Wikipedia, Britannica and Stanford Encyclopedia of Philosophy. 48. The Art of Translation — Episode 168 of The Seen and the Unseen (w Arunava Sinha). 49. The Life and Times of Shanta Gokhale — Episode 311 of The Seen and the Unseen. 50. The Life and Times of Jerry Pinto -- Episode 314 of The Seen and the Unseen. 51. RRR -- SS Rajamouli. 52. The Girish Karnad Podcasts: The Rover Has No Fear of Memories -- An oral history enabled by Arshia Sattar and Anmol Tikoo. 53. This Life At Play: Memoirs -- Girish Karnad. 54. Kind of Blue -- Miles Davis. 55. Elena Ferrante on Amazon. 56. The Door -- Magda Szabó. 57. The Mahabaharata -- Peter Brook. 58. The Discreet Charm of the Bourgeoisie, The Phantom of Liberty, That Obscure Object of Desire — Luis Buñuel. 59. The Unbearable Lightness of Being — Philip Kaufman. 60. The Line -- An Apple Original podcast. This episode is sponsored by CTQ Compounds. Check out The Daily Reader and FutureStack. Use the code UNSEEN for Rs 2500 off. Check out Amit's online course, The Art of Clear Writing. And subscribe to The India Uncut Newsletter. It's free! Episode art: ‘Searching for Dharma' by Simahina.

This week on the podcast, Rachel and Lynne talk to freelance writer, podcaster and multi-tasker Lee Tran Lam about food, podcasting and trying to carve out a career as a freelancer, while still doing what you love. We talk about: The need to support young journalists Why podcasting is the future - and how you can make it pay Creating a podcast with the Powerhouse museum Her favourite meals and why writing about it helps to capture those moments forever How her early days as a subeditor informed and helped her writing Where to find Lee Tran Instagram: https://www.instagram.com/leetranlam/ Patreon podcast and newsletter: https://www.patreon.com/leetranlam  Culinary Archive podcast (for the Powerhouse): https://omny.fm/shows/culinary-archive-podcast New Voices On Food #1:  https://somekindpress.com/products/new-voices-on-food New Voices On Food #2: https://somekindpress.com/products/new-voices-on-food The Unbearable Lightness of Being Hungry podcast: https://theunbearablelightnessofbeinghungry.com/   Where to find us: Rachel's website https://rachelsmith.com.au/  Lynne's website https://lynnetestoni.com/  Rachel's List https://rachelslist.com.au/   As always, thanks to Rounded for sponsoring The Content Byte!

She's been a novelist, a playwright, a critic, an essayist, a memoirist, a journalist, a writer for cinema and a historian of theatre -- in both English and Marathi. Shanta Gokhale joins Amit Varma in episode 311 of The Seen and the Unseen to talk about her remarkable life and times. (For full linked show notes, go to SeenUnseen.in.) Also check out: 1. Shanta Gokhale on Amazon, Wikipedia and her own website. 2. One Foot on the Ground -- Shanta Gokhale. 3. Living With Father: A Memoir -- Shanta Gokhale. 4. आमची आई : इंदिरा गोपाळ गोखले -- Shanta Gokhale. 5. The Engaged Observer: The Selected Writings of Shanta Gokhale -- Edited by Jerry Pinto. 6. Rita Velinkar (Marathi) (English) -- Shanta Gokhale. 7. Tya Varshi/Crowfall (Marathi) (English) -- Shanta Gokhale. 8. Playwright at the Centre: Marathi Drama from 1843 to the Present -- Shanta Gokhale. 9. Shivaji Park: Dadar 28: History, Places, People -- Shanta Gokhale. 10. Satyadev Dubey: A Fifty-Year Journey Through Theatre -- Edited by Shanta Gokhale. 11. The Scenes We Made: An Oral History of Experimental Theatre in Mumbai -- Edited by Shanta Gokhale. 12. Avinash: The Indestructible -- Shanta Gokhale. 13. Smritichitre: The Memoirs of a Spirited Wife -- Lakshmibai Tilak (translated by Shanta Gokhale). 14. The Loneliness of the Indian Man — Episode 303 of The Seen and the Unseen (w Nikhil Taneja). 15. The Adda at the End of the Universe -- Episode 309 of The Seen and the Unseen (w Vikram Sathaye and Roshan Abbas). 16. Caste, Capitalism and Chandra Bhan Prasad — Episode 296 of The Seen and the Unseen. 17. The Never Never Nest -- Cedric Mount. 18. The Life and Times of Mrinal Pande — Episode 263 of The Seen and the Unseen (w Mrinal Pande). 19. The Female Eunuch -- Germaine Greer. 20. The Second Sex -- Simone de Beauvoir. 21. A Godless Congregation — Amit Varma. 22. Agarkar's Donkeys: A Meditation on God — Amit Varma. 23. The Life and Times of Urvashi Butalia — Episode 287 of The Seen and the Unseen. 24. The Kavita Krishnan Files — Episode 228 of The Seen and the Unseen. 25. Films, Feminism, Paromita — Episode 155 of The Seen and the Unseen (w Paromita Vohra). 26. The Will to Change — bell hooks. 27. The Loneliness of the Indian Man — Episode 303 of The Seen and the Unseen (w Nikhil Taneja). 28. The Three Languages of Politics — Arnold Kling. 29. Memories and Things — Episode 195 of The Seen and the Unseen (w Aanchal Malhotra). 30. History of European Morals — WEH Lecky. 31. The Expanding Circle: Ethics, Evolution, and Moral Progress — Peter Singer. 32. The Nurture Assumption — Judith Rich Harris. 33. Phineas Gage. 34. Don't think too much of yourself. You're an accident — Amit Varma's column on Chris Cornell's death. 35. The Rooted Cosmopolitanism of Sugata Srinivasaraju — Episode 277 of The Seen and the Unseen. 36. Dnyaneshwar, Tukaram, Arun Kolatkar and Dilip Chitre. 37. GN Devy on Amazon and Wikipedia. 38. Navyug Vachanmala and Arun Vachan -- PK Atre's series for elementary school and middle school respectively. 39. The State of Our Farmers — Episode 86 of The Seen and the Unseen (w Gunvant Patil). 40. Varun Grover Is in the House — Episode 292 of The Seen and the Unseen. 41. Hussain Haidry, Hindustani Musalmaan — Episode 275 of The Seen and the Unseen. 42. Storytel. 43. Pu La Deshpande, Raag Darbari and Kashi Ka Assi on Storytel. 44. The Refreshing Audacity of Vinay Singhal — Episode 291 of The Seen and the Unseen. 45. Stage.in. 46. A Doll's House -- Henrik Ibsen. 47. Looking for Ibsen in Maharashtra -- Shanta Gokhale. 48. The Vintage Book Of Indian Writing 1947 - 1997 -- Edited by Salman Rushdie and Elizabeth West. 49. The Picador Book of Modern Indian Literature -- Edited by Amit Chaudhuri. 50. Episodes of The Seen and the Unseen on the creator ecosystem with Roshan Abbas, Varun Duggirala, Neelesh Misra, Snehal Pradhan, Chuck Gopal, Nishant Jain, Deepak Shenoy and Abhijit Bhaduri. 51. 1000 True Fans — Kevin Kelly. 52. 1000 True Fans? Try 100 — Li Jin. 53. Namdeo Dhasal on Amazon and Wikipedia. 54. Alice Munro on Amazon and Wikipedia. 55. Squid Game on Netflix. 56. Yada Kadachit (Part 1) (Part 2) -- Written and directed by Santosh Pawar. 57. Sakharam Binder (Marathi) (English) -- Vijay Tendulkar. 58. A Cricket Tragic Celebrates the Game -- Episode 201 of The Seen and the Unseen (w Ramachandra Guha). 59. सप्तरंगी कोरिया एक अनुभव -- Sudha Hujurbajar-Tumbe. 60. Suyash Rai Embraces India's Complexity -- Episode 307 of The Seen and the Unseen. 61. Alice in Wonderland -- Lewis Carroll. 62. Charles Dickens, William Wordsworth, JB Priestley, George Bernard Shaw and William Shakespeare on Amazon. 63. The Lost Daughter -- Elena Ferrante. 64. The Lost Daughter -- The film by Maggie Gyllenhaal. 65. The Shadow Lines -- Amitav Ghosh. 66. Enid Blyton on Amazon. 67. This Life At Play: Memoirs -- Girish Karnad. 68. Sunil Shanbag and Shanta Gokhale in conversation with Girish Karnad. 69. Aranyer Din Ratri -- Satyajit Ray. 70. Messy: How to Be Creative and Resilient in a Tidy-Minded World -- Tim Harford. 71. A Room of One's Own -- Virginia Woolf. 72. A Passage to India -- EM Forster. 73. Kumar Shahani on Wikipedia and IMDb. 74. Middlemarch -- George Eliot. 75. Anna Karenina -- Leo Tolstoy. 76, Far From the Madding Crowd -- Thomas Hardy. 77. Vanity Fair -- William Makepeace Thackeray. 78. Ulysses -- James Joyce. 79. Picnic at Hanging Rock -- Peter Weir. 80. Why Read the Classics? -- Italo Calvino. 81. The Memoirs of Dr Haimabati Sen — Haimabati Sen (translated by Tapan Raychoudhuri). 82. Hercule Poirot on Amazon, Wikipedia and Britannica. 83. The Golden Age of Murder — Martin Edwards. 84. PG Wodehouse on Amazon, Wikipedia and Britannica. 85. A Meditation on Form — Amit Varma. 86. The Creative Process: A Symposium -- Edited by Brewster Ghiselin. 87. Nissim Ezekiel and Satyadev Dubey. 88. Avadhya -- CT Khanolkar. 89. Masaan — Directed by Neeraj Ghaywan and written by Varun Grover. 90. Tanjore Painting and Prabhakar Barwe. 91. Profit = Philanthropy — Amit Varma. 92. Where Have All The Leaders Gone? — Amit Varma. 93. What Have We Done With Our Independence? — Episode 186 of The Seen and the Unseen (w Pratap Bhanu Mehta). 94. The Gentle Wisdom of Pratap Bhanu Mehta — Episode 300 of The Seen and the Unseen. 95. Memoirs -- Habib Tanvir. 96. Sulabha Deshpande on Wikipedia and IMDb. 97. Sunil Shanbag on Wikipedia, IMDb and Instagram. 98. Atul Pethe on Book My Show and Facebook. 99. Shanta Gokhale's cameo in Ardh Satya (at 1:36:10). 100. My Friend Sancho -- Amit Varma. 101. Bend it Like Beckham -- Gurinder Chadha. 102. We Should Celebrate Rising Divorce Rates (2008) — Amit Varma. 103. Indira Sant on Amazon and Wikipedia. (And a translation of Ekti by Vinay Dharwadkar.) 104. The Loneliness of the Indian Woman — Episode 259 of The Seen and the Unseen (w Shrayana Bhattacharya). 105. Desperately Seeking Shah Rukh — Shrayana Bhattacharya. 106. Private Truths, Public Lies — Timur Kuran. 107. Ranjit Hoskote, Arundhati Subramaniam and Jerry Pinto on Amazon. 108. Alt News, The News Minute and Scroll. 109. The Reflections of Samarth Bansal — Episode 299 of The Seen and the Unseen. 110. The Intellectual Foundations of Hindutva — Episode 115 of The Seen and the Unseen (w Aakar Patel). 111. Aakar Patel Is Full of Hope — Episode 270 of The Seen and the Unseen. 112. Narendra Modi takes a Great Leap Backwards — Amit Varma (on Demonetisation). 113. Enabled by technology, young Indians show what it means to be a citizen — Amit Varma. 114. Beware of Quacks. Alternative Medicine is Injurious to Health — Amit Varma. 115. The Life and Times of Teesta Setalvad -- Episode 302 of The Seen and the Unseen. 116. Madame Bovary -- Gustave Flaubert. 117. The Brothers Karamazov -- Fyodor Dostoevsky. 118. The World as India -- Susan Sontag. In addition to the links above, Shanta recommended: Books: Women in Love (DH Lawrence), Metamorphosis (Franz Kafka), Ways of Seeing (John Berger), 84, Charing Cross Road (Helene Hanff), The Old Man and the Sea (Ernest Hemingway), The Tin Drum (Gunter Grass), The Shadow Lines, The Glass Palace, Hungry Tide (all Amitav Ghosh), Solo (Rana Dasgupta), The Unbearable Lightness of Being (Milan Kundera), Respected Sir (Naguib Mahfouz), One Hundred Years of Solitude (Gabriel Garcia Marquez), Midnight's Children (Salman Rushdie), The Sense of an Ending, Flaubert's Parrot, The Noise of Time, Levels of Life (all Julian Barnes). Hindustani Classical Vocal: Bade Ghulam Ali Khan, Ustad Amir Khan, Bhimsen Joshi, Padma Talwalkar, Dinkar Kaikini,  Venkatesh Kumar, Ulhas Kashalkar, Uday Bhawalkar (dhrupad), Mukul Shivputra. Carnatic Vocal: MS Subbulakshmi, DK Pattamal, TM Krishna, Sanjay Subrahmanyan. Instrumental: TR Mahalingam (flautist), Lalgudi Jayaraman (violin). Others: Geet Varsha (Kumar Gandharva), Aaj Jaane Ki Zid Na Karo (Farida Khanum), Dnyaneshwari (Lata Mangeshkar). This episode is sponsored by CTQ Compounds. Check out The Daily Reader and FutureStack. Use the code UNSEEN for Rs 2500 off. Check out Amit's online course, The Art of Clear Writing. And subscribe to The India Uncut Newsletter. It's free! Episode art: ‘Reading the World' by Simahina.

This week's episode is a recording of Michael's latest blog post for BloombergNEF: https://about.bnef.com/blog/liebreich-the-unbearable-lightness-of-hydrogen/Our thanks to BloombergNEF for allowing us to record it and share it with our Cleaning Up audience.

ဆရာဒီနိုဗို မြန်မာပြန်ထားတဲ့ ချက်စာရေးဆရာ မီလန်ကွန်ဒရာ ရဲ့ မခံနိုင်အောင်ပေါ့ပါး ဘ၀နေ့ညများ စာအုပ်ကို အသံထွက်ဖတ်ပြတာပါ။ မူရင်းစာရေးဆရာ မီလန်ကွန်ဒရာသည် အရေးပါဆုံး ခေတ်ပြိုင် ချက်စာရေးဆရာများထဲမှ တယောက်ဖြစ်သည်။ နိုင်ငံတကာ အသိအမှတ်ပြုမှုကို ရရှိခဲ့သည့် အနည်းငယ်မျှသော ချက်စရာရေးဆရာများထဲတွင် ပါဝင်သည်။ သူ၏ ဖန်တီးမှုတိုင်း၊ နိုင်ငံရေးနှင့် ယဉ်ကေျးမှုရေးရာ ပြောဆိုမှုတိုင်းက သူ့အချိန်ကာလတွင် အမြဲ ဆေွးနေွးစရာ ဖြစ်ခဲ့သည်။ ကွန်မြူနစ် အုပ်စိုးမှုကို နိုင်ငံရေးနောက်ခံ အရေးအသားများထက်၊ ပြင်းထန်သည့် ပုဂ္ဂလိကဝါဒ အခြေခံဖြင့် တုံ့ပြန်ခဲ့သည်။ ယခုစာအုပ် တွင် ကွန်ဒရာက အပေါ်ယံစိတ်ကူးယဉ်ဖြစ်မှု၊ ဆိုးရွားညံ့ဖျင်းမှု၊ ပင်ကိုမဖြစ်မှု၊ မစစ်မှန်သည့် အနုပညာ စသည်တို့ကို အာဏာရှင်အစိုးရနှင့် ထပ်တူပြုထားခဲ့သည်။ သူ့ကို လက်တင်အမေရိကားတွင် ဂါစီယာမားကွဇ်၊ ရုရှားတွင် ဆိုဇင်နစ်ဇင်၊ ချက်ကိုစလိုဗက်ကီးယား အတွက် မီလန်ကွန်ဒရာဟု ပြောလေ့ရှိကြသည်။ ၁၉၈၅တွင် Jerusalem Prize for Literature on the Freedom of Man in Society ဆုကို ချီးမြှင့်ခြင်း ခံခဲ့ရသည်။ "ကျနော်တို့အားလုံး ဘ၀မှာကြုံရတဲ့ အချစ်ကို လေးချင်လည်း လေးမည်၊ ပေါ့ချင်လည်း ပေါ့မည်လို့ ပြောတာကို လက်မခံနိုင်ကြ။ အချစ်ဆိုတာ မလွဲမသေွ ဖြစ်ကိုဖြစ်ရမယ့် ကိစ္စ ။ အချစ်မရှိဘဲနဲ့ ကျနော်တို့ဘ၀တေွဟာ အရင်လို ပြန်မဖြစ်နိုင်တော့ဘူးလို့ ကျနော်တို့ ယူဆထားကြသည်။" "အကယ်၍ ထာ၀ရသံသရာလည်ခြင်းသည် အလေးပင်ဆုံး ဝန်ထုပ်ဝန်ပိုးဟု ဆိုခဲ့လျှင် ကျနော်တို့မှာ ဘ၀ရဲ့ပေါ့ပါးမှုတေွနဲ့ တန်ပြန်ရင်ဆိုင်ကြရုံသာ ရှိတော့သည်။ ဤသို့ဆိုလျှင် လေးလံမှုမှာ မနှစ်မြို့ဖွယ်ရာကောင်းပြီး ပေါ့ပါးမှုကသာ နှစ်သက်ဖွယ် ကောင်းနေခဲ့သည်လား။ အလေးလံဆုံးသော ဝန်ထုပ်ဝန်ပိုးတေွက ကျနော်တို့ကို နင်းခြေသည်၊ နစ်မြုပ်စေသည်။ ဟိုးအောက်ခြေတွင် ကျနော်တို့ကို တွယ်နေှာင်လို့ထားသည်။ သို့သော်လည်း အရွယ်မရေွး ဖတ်ကြသည့် အချစ်ကဗျာတေွထဲမှာ မိန်းမက ယောကျ်ားရဲ့ လေးလံလှသည့် ခန္ဓာကို တောင့်တပြန်သည်။ ဒီ့အတွက် အလေးလံဆုံးသော ဝန်သည် တချိန်တည်းတွင် ဘ၀ရဲ့ ထက်သန်ပြင်းပြဆုံး ဖြည့်ဆည်းမှုလည်း ဖြစ်နေခဲ့ပြန်သည်။ ဝန်က လေးလေလေ ဘ၀တေွက မြေကြီးနဲ့ နီးလေလေ၊ ပိုပြီး စစ်မှန် ပိုပြီး မှန်ကန်လာလေလေပင်။ နောက်တမျိုး ပြောရလျှင် ဝန်မရှိသည့်အခါ လူဟာ လေထက် ပေါ့ပါးလို့ အမြင့်မှာ ပျံဝဲနေလိမ့်မည်။ မြေပြင်ကို စွန့်ခွာ၊ မြေကြီးဆန်မှုကို စွန့်လွှတ်သည့်အတွက် တစိတ်တပိုင်းသာ စစ်မှန်တော့မည်။ သူ့ရဲ့ ရေွ့လျားမှုဟာ လွတ်လပ်သလောက် အရေးမပါ ဖြစ်နေခဲ့ပေမည်။ ဒီတော့ကာ ကျနော်တို့ ဘာကို ရေွးကြမလဲ၊ လေးလံမှုလား၊ ပေါ့ပါးမှုလား။ သေချာသည်ကတော့ ပေါ့ပါးမှုနဲ့ လေးလံမှုမှာ အဆန်းကြယ်ဆုံးနဲ့ ဒွိဟ အဖြစ်ဆုံး ဆန့်ကျင်ဘက်အစုံ ဖြစ်နေခဲ့ခြင်းပင်။" --- Support this podcast: https://anchor.fm/rodney-sann-lwin/support

Zach is missing this week, but to make up for it we have the honor of hosting a returning champion in the No Bad Ideas arena: Eli Barraza, creator of The Far Meridian, returns!  We can certainly use the help, as in the first idea, Gabriel presents a criminal's desperate attempt to evade the police, and we turn it into both a horrifying and heartwarming tale of a man who needs to embrace his inner-bear, but not the way that you think. Then, Sarah offers up what is perhaps the weirdest billboard to ever grace Toronto, Canada and we turn it into a the story of a man who will sell or borrow almost anything to escape an evil curse, even if it means getting a little cheesy.   Finally, we talk with Eli about The Far Meridian Season 3 (no spoilers), the origins of the series and how it has evolved, the joys and challenges of monologues, how to focus on characters (and vibes), and even more.  Plus: the worst version of Build-A-Bear, the magic powers route, the musical horror genre, the most bemused Catholic priest ever, and a live recreation of Paddington 2.  Today's Bad Ideas™: Idea #1Idea #2 To check out The Far Meridian, you can visit their website and their crowdfunding page for Season 3, or listen to the show wherever you cast your pod. You can also find Eli on Twitter. Support the show: http://patreon.com/NoBadIdeasSee omnystudio.com/listener for privacy information.