Podcasts about Wickham

It's Thursday, June 11th, A.D. 2026. This is The Worldview in 5 Minutes heard on 140 radio stations and at www.TheWorldview.com.  I'm Adam McManus. (Adam@TheWorldview.com) By Jonathan Clark Nigerian court sentences Muslims to death for executing Catholics Last week, a court in the African nation of Nigeria sentenced four Muslim men to death for killing dozens of Catholics. Four years ago, the gunmen attacked a Pentecost Sunday service at a Catholic Church in southwest Nigeria. They killed 41 people, including children. Authorities determined that the armed men belonged to Al-Shabaab, an Islamic terrorist group. The massacre was the first terrorist attack on a church in southern Nigeria.   According to Open Doors, Nigeria is the seventh most dangerous country worldwide for Christians. Proverbs 7:14 and 16 says, “Behold, the wicked man conceives evil . . . His mischief returns upon his own head, and on his own skull his violence descends.” Sudanese man arrested in Ireland for attempted beheading Authorities in Northern Ireland arrested a migrant from the African nation of Sudan on Tuesday. Police in Belfast accused him of carrying out a severe knife attack on a man in his 40s. People across the United Kingdom responded to the attempted beheading with protests. The victim was hospitalized with significant injuries to his face, neck, and back. Many U.K. citizens question their government's immigration policies, including Member of Parliament Rupert Lowe. In February, the lawmaker launched a national political party called Restore Britain. The party is devoted to ending mass immigration and also openly recognizes Britain's Christian heritage.  Congress funds $70 billion for ICE and Border Patrol In the United States, President Donald Trump signed the Secure America Act yesterday. The $70 billion package fully funds the Department of Homeland Security. The bill specifically covers U.S. Immigration and Customs Enforcement and U.S. Customs and Border Protection for the rest of President Trump's second term.  Listen to comments from House Speaker Mike Johnson after Congress passed the bill. JOHNSON: “The historic mandate that put President Trump in the White House and Republican majorities in both the House and the Senate is evidence of the fact that Democrats' ‘Defund the Police' agenda is wildly out of step with hardworking American families. After four long years of Democrat policies that opened the door to dangerous criminals and deadly drugs, Republicans are delivering on our promise to restore safe streets and secure our borders.” Inflation rose 4.3% Inflation reached a three-year high last month for American consumers.  The cost of goods and services rose 4.2 percent in May compared to a year ago. Rising energy costs drove the inflation. Gasoline prices were up 40 percent from a year earlier.    iPhone launch connected to lower U.S. fertility rate A new study from the National Bureau of Economic Research suggests that the launch of the iPhone contributed to declining fertility rates in the U.S. Apple introduced the iPhone in 2007. The U.S. general fertility rate has fallen by 22 percent since then. People have been spending more time on their smartphones and less time with each other.  The study noted, “Overall, the diffusion of the iPhone explains 33–52% of the decline in the general fertility rate among women aged 15–44.” Southern Baptists: Only men can serve as pastors The Southern Baptist Convention affirmed its position yesterday that only men can serve as pastors. Over 70 percent of the denomination's representatives voted in favor of the “Truth and Unity Amendment.” The measure was sponsored by Albert Mohler Jr., the president of the Southern Baptist Theological Seminary. The amendment would require churches in the denomination to not appoint women as pastors, elders, or overseers.  Listen to comments from Dr. Mohler. MOHLER: “This motion makes very clear that we affirm the historic Baptist understanding of the pastor, elder, overseer. The structure of the language I have brought goes all the way back to the 1689 Baptist Confession, where the office and function of the pastor are clearly delineated. “This amendment makes very clear that a church, in friendly cooperation with the Southern Baptist Convention, doesn't have anyone other than a man as pastor in the office of pastor and specifies on the functions of the pastor that the key central function of preaching the Word of God to the gathered assembly is limited to men by Scripture.” 1 Timothy 3:1-2 says, “If anyone aspires to the office of overseer, he desires a noble task. Therefore, an overseer must be above reproach, the husband of one wife, sober-minded, self-controlled, respectable, hospitable, able to teach.”  Animated movie “David” claims #1 spot on Netflix And finally, the animated film David reached the number one spot on Netflix for movies in the United States over the weekend.  The Bible movie from Angel Studios officially premiered on the streaming service just last Wednesday. (audio from David movie trailer) DAVID: “I'm just a shepherd, but deep down I know I can take on the world.” NARRATOR: “There is a darkness over the land.” SAMUEL:  “Our enemies will strike once more.” MAN: “Imagine the biggest warrior you have ever seen!” DAVID: “Okay.” MAN: “Now imagine somebody ate him.” GIRL: “Remember when I told you God had big plans for you?” GOLIATH: “You will serve us!” GIRL: “They may have been bigger than even I thought.” Christian music artist Phil Wickham voiced the adult David in the movie. Wickham told Crosswalk Headlines the film is “full of the story of God and full of Psalms and full of hallelujah and faith and hope.  … I think this movie will last decades. I think it will be something our grandkids watch.” Close And that's The Worldview on this Thursday, June 11th, in the year of our Lord 2026. Subscribe for free by Spotify, Amazon Music, or by iTunes or email to our unique Christian newscast at www.TheWorldview.com.  Plus, you can get the Generations app through Google Play or The App Store. I'm Adam McManus (Adam@TheWorldview.com). Seize the day for Jesus Christ.

Nikki Grant is the Accidental Alpaca Farmer, based near Wickham with a herd of 50 and she spins her own alpaca wool. She spoke at Petersfield Women's Institute on Wednesday 10 June to the usual lively WI audience. An accredited trainer, and very knowledgeable - she’d write a book if she had time! She talks to Mike Waddington about her herd of 50 (there are 65,000 Alpacas in the UK now) and making a living from wool and weddings! Mike also speaks to WI President Chloe Pyatt about where their ideas come from and their next meeting with a harpist. More at Solomons Alpacas | WI at MEET THE TEAM | Petersfield WISee omnystudio.com/listener for privacy information.

On this episode of The Country Podcast brought to you by Ballance Agri-Nutrients, Hamish McKay sits down with Ballance CEO Kelvin Wickham to unpack global fertiliser volatility, supply chain pressures, and what it all means for Kiwi farmers. After hearing directly from farmers across the country, Ballance is shaping a plan for the future - focused on productivity, supply security, and long-term success. See omnystudio.com/listener for privacy information.

The last time we were joined by Patreon backer John Wickham, he played a little game with Will, channeling his inner Edward Nygma, and got Will to select the theme for this episode. The theme we wound up getting were three stories with art by Irish born artist Liam Sharp. And so we have a mini-series written and drawn by Sharp teaming up Batman and Wonder Woman, a Catwoman anthology that has all of four pages of Sharp in it, but a ton of great work from other creators, and a mini-series drawn by Sharp and written by Garth Ennis. Oh, Garth Ennis, comics' greatest superhero hater. We have a lot to say there The Brave and the Bold: Batman & Wonder Woman # 1-6 Catwoman 80th Anniversary 100 Page Giant Batman: Reptilian # 1-6 Check out our current ranking list at www.comicsxf.com/batchat-rankings/ Thanks to Geri Nonnewitz for our podcast logo Support the show on Patreon at www.patreon.com/batchatwithmattandwill

Few directors captured alienation, emotional instability, and restless rebellion quite like Nicholas Ray, whose films turned damaged outsiders into some of cinema's most unforgettable characters. In this week's remarkable episode, Wickham and Colleen delve into Mr. Ray's filmography, focusing on "In a Lonely Place" (1950), "Johnny Guitar" (1954), and "Rebel Without a Cause".

A true David versus Goliath football story unfolds at the West Leigh stadium on Friday as Petersfield the Rams take on Portchester in the Portsmouth Seniors cup final. Portchester are massive favourites going into the game as they play in the league above Petersfield and also finished in the play off spots in their season campaign. Can a miracle unfold? https://www.petersfieldtownfc.co.uk/ . Also playing last weekend was the high-flying Petersfield women's first side who are sitting top of their league with just a handful of games to go. Farnborough look to spoil their party. Also in football, Liphook men's side have escaped relegation and play their final match at home against Stockbridge https://www.liphookunitedfootballclub.org/ . The cricket season is back and after the disappointment of a penalty relegation last season for the men's first side, it's time to dust off the disappointment and set goals on promotion. In their first week they welcome Wickham to the Heath. https://www.petersfieldcricket.club/ . And also more summer sports kick off as Steep Lawn tennis club begin their league campaigns against the best local sides. https://clubspark.lta.org.uk/SteepLawnTennisClubSee omnystudio.com/listener for privacy information.

My colleague Oliver Traldi recently published an essay called ‘Jane Austen's Virtuous Liberalism'. It's a very nice discussion of the ways in which Austen understand the challenges of character formation.Virtue, as Austen sees it, faces two tough challenges. First, people whose characters are not yet formed must see how to be virtuous rather than vicious. Then, the virtuous must somehow find a way to succeed in their struggles against the vicious without adopting vicious means.In this episode, Oliver and I discussed Austen's ideas of virtue, what that has to do with liberalism, the relationship between philosophy and literature more broadly, as well as poetry and ideas about the Great Books. We also talked about the Keira Knightly Pride and Prejudice. Yes, we both liked it. Here is why Oliver thinks Jane Austen is so popular among philosophers.TRALDI: And so I do think that even though she's not making arguments, she's not laying out philosophical theories, there is a level of precision in her thinking about virtue, which I do think is something that it took me a little aback.And I think it's part of why—one person who quote-tweeted my article was Daniel Kodsi, who's a friend of our colleague John Maier and his coauthor often. And he runs this magazine called The Philosophers' Magazine, which I had written before. And Daniel quote-tweeted my article with something like, “Add Oliver to the list of all the philosophers who love Austen.”OLIVER: And it's a long list.TRALDI: And I think it's a long list. And I do think this precision is part of it that she does, that it is—again, it's not like a philosophy journal article, but it is an intellectual sophistication that is often not present in novelists that we really appreciate.And here is an extract about Austen, Smith, and the wonderfully fertile period at the end of the eighteen century.TRALDI: But yes, I think it's obvious—without knowing the background, I'm sure there are scholarly questions about, how much Smith did Austen read? And they're both 250th—a lot was happening in 1775 and 1776.OLIVER: Those were great years. Those were the good old days.TRALDI: They were great years. In the great books syllabus, you get to the end of the 1700s and suddenly there's this—you have Smith, you have Kant, you have the American Revolution, you have the French Revolution, you have Burke. Rousseau is right before, Montesquieu is right before. I mean, it was a real—OLIVER: It's a great time.TRALDI: It was a great time. A lot was being done. And obviously, you know, I love the 1800s. I love the Romantics. But you could teach a whole great books course from 1750 to 1800, probably.OLIVER: You've also got all the dictionaries and all that kind of work going on as well. It's a very, very fertile—explorations.TRALDI: Yes, yes. There's all sorts of—yes, it was an amazing time.OLIVER: So did you, having read these two, Austen and Smith, close together—TRALDI: Yes, and I should say that my reading of Austen was much more careful than my reading of Smith.OLIVER: Sure, but you wrote this before you read Smith.TRALDI: Yes, absolutely.OLIVER: Or at least you fully conceived it. Do you see a lot of Smith in Austen?TRALDI: “A lot” might be—This was my favourite bit.TRALDI: Yes. But this is one of the great—I know we talked about this, but it's one of the great—you see this in Smith, you see this in Austen—commerce has its own virtues, and they are very traditional virtues. You have to be trustworthy. You have to be pleasant. You can't really be wholly self-interested in every moment because people have to be willing to deal with you given your—I mean, think about Yelp reviews or even just word of mouth. “Oh, that person screwed me over.”OLIVER: There's a discussion in one of Hayek's papers, which is—it's a very Smithian point he makes about, the nature of the knowledge problem means that it's not so much that I'm trying to get information about the thing you're trying to sell me, but I'm really trying to get information about you and whether you are someone I should be buying from. Which is exactly the project that the novelists and Smith—there's a sort of period between Smith and the early novelists, running through Austen to George Eliot, when they're all working on that problem together.TRALDI: Yes. I do think in Austen, it's often—the real puzzle is, how do you make out somebody else's character?OLIVER: Exactly.TRALDI: This is a phrase that Lizzy Bennet does use with regard to Darcy. And how do we actually figure out who the trustworthy and untrustworthy people are?OLIVER: And if you're too philosophical about that, in the sort of analytic sense, I think you can end up not paying enough attention to the particulars of that question.TRALDI: Yes.OLIVER: Because when you actually try and do it, it's really, really hard.TRALDI: Yes. And I think this is the sort of—reading Austen, you get a sense of—and there are very few philosophy papers on things like this. Reading Austen, you get a sense of, what sorts of details in a normal life are the ones that I can extract information from to make out somebody else's character?Oliver is an analytical, political philosopher. You can find out more about his work here. Here he is on Twitter. His Substack is orting. You can watch the episode on YouTube here.TranscriptHENRY OLIVER: Today I am talking to Oliver Traldi. Oliver is an assistant professor of philosophy at the University of Toledo in Ohio. He is my colleague on the Emerging Scholars Program at the Mercatus Center, and he's written a book about political beliefs as well as many other articles for magazines, online.He's got a Substack. He's maybe the most prominent political and epistemological young philosopher of his generation. [laughter] But most importantly for us, he is interested in Jane Austen and the idea of virtue. Oliver, welcome.OLIVER TRALDI: Thank you so much for having me.Reading Austen as a PhilosopherOLIVER: Let's just start—before we get to this article you've written, tell me about being a philosopher but reading Jane Austen, because she's often read and commented on by people who are not philosophers or who are only philosophers by acquaintance or whatever.TRALDI: Right.OLIVER: Is it different reading as a philosopher, do you think?TRALDI: I think yes and no. One thing as a philosopher, there are—contemporary philosophy, we have very exacting standards of rigor and clarity. And when we look for a theory, we want something that's been improved by hundreds of people and thousands of journal articles.And so, if you were to simply extract a theory of virtue from a novel and say, “Does this—is this the end-all, be-all of moral thinking?” obviously you're going to be disappointed. So I think as a philosopher, you have to look for other types of things, other types of sensitivities rather than logical sensitivity.You have to say, how sensitive is the author to the different types of situations where people's virtue can be exhibited or challenged? Or how sensitive is the author to the different types of pressures that a character's convictions can be put under, or the different sorts of compromises that they might have to make, or the different sorts of people who might not be virtuous who they might have to interact with and sort of, you know, contract with or avoid? And what are going to be the impacts of different kinds of choices in those situations?So the novelists, I think, tend—if they do it well, a novelist who's interested in morality will understand living morally probably better than a philosopher, while maybe not understanding, say, arguments about whether morality supervenes on reality or vice versa, or what grounds morality, or different theories of meta-ethics or whatever.OLIVER: I mean, there are obviously some novelists who do have a better appreciation of those things than others, we should say.TRALDI: Yes, I think that's absolutely true. And as I wrote in my article, I do think Austen in particular had an appreciation for this issue that you might call moral disarming or unilateral disarming. You know, does the moral person put themselves at a disadvantage relative to the immoral person? And then how do we actually help—how does morality survive?So that's a kind of philosophical question, but I tend to think—I taught last year—I think we've talked about this a bit. I taught in a great books program at Tulsa.OLIVER: This is the Jennifer Frey program.TRALDI: This is the ill-fated Jennifer Frey program. Jennifer—I don't know if you've met her, but she's an incredibly charismatic person. But somehow the program, despite being enormously successful, did not survive. You know, I was there for a year, and they decided that was long enough.OLIVER: [laughs] You don't think your arrival was the—TRALDI: No, no. I hope not. I most certainly hope not.OLIVER: No. General problems of higher education prevailed. Yes.TRALDI: Yes, many, many problems of higher education these days. But yes, so I think—what was I saying?OLIVER: Well, I think we're getting to this question of, you are not just a philosopher; you teach the great books.TRALDI: Right, exactly. The great books. That's where I was. Yes.Philosophy and the Great BooksOLIVER: So, one thing I'm interested in is that, you know, reading as a philosopher, you get a slightly different perspective on Austen. When you read other fiction, poetry, whatever, is there a benefit to you as a philosopher? Does it broaden you in some way?TRALDI: Yes. I think absolutely, it's broadening, but it's also focusing in a different way. You know, contemporary philosophy is often described or captured with the word epicycles. So what we mean when we say epicycles is, you have some major theory, which is supposed to answer some big question. And then your career as a philosopher—you're like three layers deep in the theory, in some sub-debate, and you're making some really fine-grained distinctions.And if you can make those distinctions successfully, you've had a really great career. But I think it's easy to forget, why are we doing—you know, what attracted us to philosophy? Why are we doing this to begin with?And the great novels, great books in general—one example I always use is the Book of Job. It doesn't really—it's not doing clear philosophy on the question of why do bad things happen to good people. But when you read it, you feel the question, why do bad things happen to good people? You get it, you know? You get why this is a question that people have worried about for thousands of years. You get why it calls out for an answer.You know, there's a lot of truth out there. I'm looking at a set of coat hangers, and I could count the coat hangers. But if you were given the decision, would I rather have an answer to how many coat hangers are across the room from me, or why do bad things happen to good people? You'd probably go with the latter one. There's somehow some kind of depth or importance to that question, right?And I think there's—a great novelist can often generate some vividity to these questions. They can show how these questions are part of a good life, asking these questions, trying to have these questions answered—or a not-so-good life.Certainly in Austen there are a lot of characters who learn to be more virtuous. Probably Emma is the clearest example. But you might also think of Marianne Dashwood. Really—OLIVER: Lizzy Bennet.TRALDI: Lizzy Bennet really learns to be a better person. I actually think her character is rather close to Emma in a lot of ways.OLIVER: Yes, I think Emma's sort of a clear rewrite of Lizzy in some—yes, yes.TRALDI: Yes, and in some ways more evocative, actually. Yes. I mean, we can talk about all these books. But yes, I think there's these things, even—obviously qua literature, they have other virtues, right? Which much philosophy doesn't have; very little philosophy has the literary virtues.But the philosophical virtue that a lot of literature does have is you see, okay, these are the—this is what a life is like. This is what making choices is like. These are the big questions when you decide how to live your life and what kinds of choices to make.And I think Austen—these questions are all through Austen, even though nobody has to murder anybody in Austen. Nobody has to make decisions about war and peace or about, you know, civilizational decline or civilizational progress or anything like that. These people making these small choices in a lot of ways. But those are the lives that most of us lead. And when you read Austen, you think, “Oh, okay, there's a virtuous and a vicious way to lead this kind of rather normal life.”The Good LifeOLIVER: The question of what is a good life, or what is a good life in a commercial society, maybe, is the sort of bedrock of what she's doing.TRALDI: Yes, I think so. And that's why I think Austen—you know, Austen wasn't on our syllabus at Tulsa, but she was certainly discussed. And the “what is a good life” question—to me, it's the big question that a great books program for college students should always come back to.If I didn't know what else to talk about, I would just say, “Well, we just read this book.” You know, we read these old biographies of Charlemagne from, like, Einhard—Notker the Stammerer and Einhard, his adopted son or whatever. I don't remember. But this is like 800s. I'm sure you know more about this stuff than I do.And I wasn't quite sure what to do with them because what do I know about Charlemagne? So I just said, “Does it seem like Charlemagne lived a good life?” And you know, you're off to the races. And I think that's important at that age, because that's the age at which—OLIVER: For the undergraduates?TRALDI: Yes. I think that's the age at which you're starting to make your own big decisions about what sort of life to lead. And I think for me, looking back to myself at that age, I think one thing I did wrong—at Tulsa I was in some ways as much a student as a teacher. I was rereading a lot of this stuff for the first time in decades. And some of it I was reading for the first time. As I told you, I was reading a lot of Austen for the first time for this essay.OLIVER: Right, right.TRALDI: And yes, it was stuff that I had thought about at a theoretical level, you know, like what are the ins and outs of this theory or this philosophical move or something like that. But you feel the question a bit differently when you're like, “Okay, I'm an adult. I have to decide whether to live in this way or that way.”The world is open to you. You could convert to Thomism [laughter] like so many have tried to have me do, or you could become a merchant after reading The Wealth of Nations. Or you could become a revolutionary after reading Marx, or you could become a Nietzschean. You know, there are all these choices open to you.OLIVER: Please don't become a Nietzchean.TRALDI: No, no. That is, I'm a—OLIVER: Keep your children out of school if that's going to be the result. [laughs]TRALDI: Yes. I'm a committed moralist, so I cannot, but he is—he made a comeback, that's for sure.Philosophy and PoetryOLIVER: Now, there's this obviously sort of long-running question in philosophy about, what is the relationship between philosophy and poetry? Are they antagonists, or are they in some way, you know, twins, and each provides one half of what is needed for a complete way of understanding the world? Do you have a position on this?TRALDI: Yes, I mean, I think they're what the kids call twinning.OLIVER: Twinning? [laughs]TRALDI: I think they're twinning. No, no, I think that means something different. I think that means when you're wearing the same outfit or something like that.OLIVER: So we're almost twinning with our stripes—yes, I see.TRALDI: We're almost. We actually—we are stripes and blue. Yes, we're closer than I would've expected.I would say closer to twins. There are a lot of claims that philosophy is at odds somehow with this or that. There's also this—certain people will say, “Well, ever since Socrates, philosophy has been at odds with politics.” And a big part of philosophy is, how do you survive? Well, I don't know. Nobody's trying to kill me. I think of myself as a decently committed philosopher.OLIVER: It seems to me this changed fundamentally in the Enlightenment and with the Romantics, and they see it all much more joined up. It's a sort of ancient-and-modern dynamic.TRALDI: Yes, there may be an ancient-and-modern distinction there. But yes, for me I don't see any kind of contradiction. Now, there are—and I think this comes out of what I said before—philosophical attempts to understand poetry. And certain kinds of literary and aesthetic devices do sometimes fall a little flat.The philosophical literature on metaphor, for instance—I think some theories of metaphor really don't get why people use metaphors. [laughter] So one of the most important theories of metaphor is that they're all just false, that it's like everybody who uses a metaphor is lying. This isn't the full theory. There are bells and whistles added.OLIVER: Sure, sure.TRALDI: But yes, so I think there's no contradiction. But at the same time, they are different modes in some ways, and people who do the one are often trying to do something different than the other.I do think that the desire for rigor and precision and clarity that philosophers have can be a little maddening to nonphilosophers, who see the pull of philosophical questions like, “What sort of life I should lead?” and then see, what do philosophers actually do?And we're doing all this modal logic and all these truth tables and all this very technical stuff that looks like math. And they say, “That can't possibly be the right way to think about how to live.” And it's true that there are these studies of—that suggest ethicists aren't actually very good people and things like that, although you have to wonder what is the background ethical theory that went into evaluating them.So yes, I don't think there's really a contradiction between philosophy and anything else. But certainly, there was a point in my life where I always come back to trying to write poetry and do poorly and then stop. But it was always something where I would say, “Okay, if I'm doing philosophy in the afternoon, I better wait till the evening to write poetry.” You have to sort of reboot and get into a different mode.OLIVER: Iris Murdoch used to write philosophy in the morning and novels in the afternoon. That kind of thing.TRALDI: Yes, I think that's very sensible.OLIVER: And she was upstairs for the one and downstairs for the other.TRALDI: Yes. That's even better, you know?Favorite PoetsOLIVER: Which poets do you like?TRALDI: Geez, I guess for an American, I like Wallace Stevens. I wasn't expecting this question. For a Brit, you know, I actually like Philip Larkin a lot.OLIVER: Oh, yes?TRALDI: I know—what is the opinion of Larkin? Is he considered—OLIVER: Very high.TRALDI: Very high? Okay.OLIVER: Some—there are some dissenters, but basically he's the guy.TRALDI: He's the guy, okay. Yes.OLIVER: Twentieth-century English poetry is like Auden, Larkin, Betjeman.TRALDI: Yes, Auden is—actually, my friend Jane Cooper just wrote something about Auden.OLIVER: Yes, Jane is excellent.TRALDI: Yes, Jane is really great.OLIVER: That was in the New Statesman if you want to look it up.TRALDI: That was in the New Statesman. Yes, yes, yes. But Auden, I don't know quite as well.I mean, poetry is—I think it's interesting the way that we receive poetry now. I think you were talking about this a few days ago, about things like poems appearing as inspirational quotes on social media or something like that, and whoever is the most quotable. And you felt like maybe Dostoevsky is very quotable.OLIVER: Dostoevsky has a sort of screenshot quality.TRALDI: Yes, yes.OLIVER: As does Martin Amis.TRALDI: Yes. So I—OLIVER: Whereas Philip Larkin in a funny way—you know, he has very short poems. You can get the whole poem on Twitter. Like, Robert Frost has that. But something like “The Whitsun Weddings,” it's quite hard to just take three lines out. The whole thing works as a—and that, so that poem gets less—TRALDI: Yes. Which is what you would expect from a good poem, really, that it would form a kind of whole.OLIVER: Exactly. If it's a three-page ode, it should have a continuous quality.TRALDI: Yes, it should have a kind of internal structure. Yes.OLIVER: There are some one-line things and—but I think it's notable that a poet like Wordsworth doesn't seem to get a lot of social media play. And I think probably that's one reason.TRALDI: So yes, I think Larkin is somebody who, I did see some shorter references to him, and I thought I'd better just go and look up a ton of poems by this guy. And Stevens was the same way.Death and Philip LarkinOLIVER: So, which Larkin do you like?TRALDI: You're really putting me on the spot here. [laughter] It has been a little while.OLIVER: I lied to you and said it would be about Jane Austen.TRALDI: Yes, now I'm completely screwed. Well, he has a bunch about death. He has one where death is a ship following you. And he has one where death is, like, a fruit that gets picked or something.OLIVER: Apple?TRALDI: Might be an apple.OLIVER: He decides not to throw the apple.TRALDI: There's one with sweetbreads in it. And now I'm really—OLIVER: The ship one, “Next, Please”—that's excellent.TRALDI: Yes.OLIVER: He sees the—it's like hearing the music coming, and then the ship.TRALDI: I forgot that that was the title. I forgot that that was the title.OLIVER: And then as the ship goes past, it leaves nothing in its wake. It's very sort of—very gloomy.TRALDI: It's very gloomy, yes. I think I read Larkin in a gloomy phase; it was like Larkin and Radiohead or something.OLIVER: But he's a good example of what you were saying before, that he won't think propositionally. He's logical in the sense that he's sort of orderly, and he goes from one thing to the next. But he's not being a philosopher.TRALDI: No, of course. Yes.OLIVER: But he's very preoccupied with the sorts of questions that philosophers are probing, but has a sort of very meaningful treatment of them.TRALDI: Yes.OLIVER: And I think in a way, the sharp response that you want from the reader in those questions, Larkin is better at provoking than someone like Bertrand Russell or some other contemporary of his.TRALDI: Yes, yes.OLIVER: Bertrand Russell's a bit earlier, but you know what I mean.TRALDI: No, I think that's exactly right. And I think that is why I'm a fan of the great books pedagogically and not—I don't know if Larkin will be called a great, you know, like, who knows? I don't really understand that designation, but tings like poetry and novels.OLIVER: The biggest dissenter was Harold Bloom, who said Philip Larkin's just a period piece. And he doesn't understand why everyone likes him.TRALDI: Oh, yes, well, I'm not on board with everything. Oh, I've also been—OLIVER: No, you're not very Bloomian.TRALDI: I'm not very Bloomian, I don't think.OLIVER: Either Allan or Harold.TRALDI: Yes. Well, I actually—this is very embarrassing, but I've actually never read The Closing of the American Mind, which I know is—OLIVER: But why should you? I'm not sure it's retained its—TRALDI: Well, it's certainly been received into my circle. But it is like a classic of anti-ideological—OLIVER: Sure. Have you read Adler, How to Read a Book, that kind of great books stuff?TRALDI: No. There's so many things that I haven't read. I mean, I'm just learning how to read. I learned how to read in Tulsa last year, [laughter] in Oklahoma, which is not where most people would go to learn how to read.Jane Austen and the Problem of MoralityOLIVER: So let's move to Jane Austen. Your thesis basically is, many moral theories face this problem that if I believe XYZ theory and you don't believe it, you can get the advantage of me. Because I'll always stick to my principles and you can just be a bad guy.TRALDI: Yes.OLIVER: So is morality screwed? This is what people say about liberalism. This is what you're arguing. And you think Jane Austen's got an answer to that?TRALDI: Yes, I think she has a kind of answer. And again, one decision I had to make while writing the essay was, am I going to go super—this is a completely philosophically rigorous and respectable answer? Or am I just going to kind of sketch it?OLIVER: Slum it in literary criticism? [laughter]TRALDI: Yes, I wouldn't put it quite that way, but—and I think I went for the latter, where I just wanted to kind of evoke the answer. And I think the answer has something to do with living in a large enough society where—and Austen I think is not the only person to give this answer. But you live in a large enough society where, when people see you acting well and somebody else acting poorly, the disadvantage that you have in that one interaction is outweighed by the advantages you have from the society that you gain from being seen to act well by many others.So one thing I didn't mention here, but a connection I made when I was first coming up with this idea, is that it's actually a lot like what Martin Luther King Jr. says about civil disobedience. So he says, you might think, if you're out there and the police are coming at you with bats, or the white supremacists are coming at you with bats or whatever, weapons or whatever, you might think, “I'm on the losing end of this interaction.”But actually what will happen is that this interaction will be seen by many others. And you, by keeping your calm, will be seen to be the virtuous one, and they, by being violent, will be seen to be the vicious ones. And this can only help your political cause. I'm probably abstracting some of the details of King's presentation.OLIVER: In a vulgar sense, this is the sort of “be the change you want to see” approach.TRALDI: Yes, but also, be the change you want other people to see. You know? Because that's how it gets saved from—and again, one of the ways in which this is not quite philosophically rigorous is because the philosopher can say, “Well, what about an example where nobody's going to see it? Or what about an example where the situation is set up that in doing the right thing, you're perceived to have done the wrong thing?” And you get back into tough problems. And that's why we have philosophy. You know, there's always going to be these puzzles.OLIVER: But we don't get the—I think this is what the novelists are helpful for. We don't get to set the conditions in our lives. You know, when you're doing a philosophical problem, you can just say, “Well, these are the conditions. What happens then?” And what Jane Austen is so good at is saying, “I'm going to take her and drop her in this house, and that's life. And she's just going to—she won't even know what the conditions are for a long time.” That's the novelist's preoccupation.TRALDI: Yes. Yes. It's interesting what you said about not even knowing what the conditions are. It's one thing I love, which is there in, I think, a lot of Austen—and it's done by a lot of my favorite novelists. I think Kazuo Ishiguro is really good at this. It's just novels where you see the characters' growing awareness of their circumstances and—OLIVER: Like in Klara and the Sun or something.TRALDI: Yes, or I think certainly in Never Let Me Go and in Remains of the Day, a lot of the action is in a situation where you understand what's going on better than the characters do.Clues and GamesTRALDI: And I think we talked about this the other day. In Austen, Emma, for example, is this sort of, like, halfway detective where she sees a lot of clues that could help her understand the nature of the life she's leading and the circumstances she's in, but she always misinterprets the clues. But on the other hand, it's not like she misses them entirely. She's kind of on the right track, and at least she's trying.OLIVER: And what I think Austen does so well in that book—I think it's her most important book—is that by putting us, without quite realizing it, with Emma's blinkers on, as it were, and only allowing our perspective to be her perspective, she makes us the detective.But whereas in a detective novel, you know, there's a funny little man and he is a detective, and he says, “Oh, there's a clue in this novel,” the read of—on the first read very often goes straight past what they must later realize to be a clue. And that is such a normal condition of life, that, “Oh, actually, that was one of the conditions, but you couldn't have known it. Sorry.” And you can only work it out in retrospect.TRALDI: Yes. In modern love, these are sometimes called red flags. [laughter] I think it's not quite a precise analogy, but yes, I think it's right. And I certainly—I had read Emma years ago and didn't really notice. As you say, on my first read, I didn't really notice, even having watched—I think it was the, what is it, the Kate Beckinsale version maybe, from ITV in like 1996 or something.It was really in reading it for this essay that I noticed that this feature that, starting on page 30 or 40 or so, there's a—and they're often in games. The clues are often in games. So very early on, Elton is playing some sort of poem game with Emma.OLIVER: The riddles, yes.TRALDI: The riddle game. And you know, Emma already misinterprets his riddles as being about Harriet rather than about her. But then there's also—the riddles also have some relation to things that happen much later.OLIVER: Then there's the anagram game at the end.TRALDI: There's the anagram game at the end. Yes, it's the—and I don't think there are many games like that in any of the other Austen.OLIVER: People play games, but we're not taken into them and have them narrated in that way.TRALDI: And they're not word games in general. There's card games and things like that. And you know, in Pride and Prejudice, Wickham has all these gambling debts and things like that.OLIVER: Yes.TRALDI: You know, in—I don't know if you know Whit Stillman, but for the same magazine a couple years ago I wrote about Whit Stillman, who's a sort of conservative filmmaker who's a huge Austen fan and brings in Austenian themes to a lot of his movies, but writes them about characters in the 1960s and '70s. And one of them was called The Last Days of Disco, for example, about—and some of the broader social themes he talks about are also there in Austen.So one thing that was just on the edges of my consciousness as I read through the novels for this essay was the question of the noble man versus the working man, which I think is very present in Austen and has something to do with her conception of virtue: that the virtuous person will be engaging in commerce in some way.OLIVER: Those moments of the noble and the virtuous man or whatever often take place in a shop, like the drapier in Emma or the jewelry shop in Sense and Sensibility.TRALDI: That's interesting. That's interesting.OLIVER: She's very careful to take us into a commercial situation and contrast.TRALDI: See, that is the sort of detail that I think a philosopher—I think we—the mere—the vibe of, “You're in a shop, and this means something.” I think this is something philosophers are—we can watch for the action; we can judge the characters' actions. But then there are these questions of atmosphere and milieu. And certain things happen in a shop; certain things happen at the seaside. In Persuasion there's an injury by the seaside.OLIVER: Yes. That's one of the most exciting scenes in Austen. Very dramatic.TRALDI: Yes, yes. I think actually Persuasion in some ways is quite different than her other books. It has a sort of—you know, in some ways it feels a little more like Frankenstein or Wuthering Heights at points. There's a little bit of a windblown, dark quality to it at times. It's a little bit bleaker. It's a little hard to explain why, but that's just a feeling that I had reading it that maybe had changed with some of the other literary tastes of the time.Artlessness in Austen's HeroinesOLIVER: Now, the quality that you focus on in the heroines, in this question of virtue defending itself against bad actors who break the rules, is artlessness.TRALDI: Yes. So this is a term Austen uses quite a bit, and almost always, she very much picks and chooses the characters who are going to receive this term. And I thought that this is like—it's not only her artless characters who face this question about how can morality survive, or how can virtue prevail, but I think they're the limit point.Like, if you really are unwilling to use—and I mentioned in the essay, when Darcy describes—I forget what; maybe it's him describing how he found Lydia and Wickham, or it's something to do with Wickham—he said, “I had to resort to arts.” So it must be, the “arts” back then means—one of the meanings of the term is dishonesty or subterfuge or something.OLIVER: Yes, if someone was artful, it could have—TRALDI: Yes, like the Artful Dodger.OLIVER: Exactly. Could have negative connotations for sure.TRALDI: Yes. And so the artless one, you know, they're missing something.So it's the question of, if you view—morality in a way means you're missing something, right? You've taken arts out of your arsenal. You've taken tools that could deal with certain situations, and you've just decided not to use them. So the question is, how can it be an advantage to have less tools?You know, we're here at Mercatus; the economists would tell you it's never advantageous to have fewer choices, right? There's no paradox of choice. It's never advantageous to have fewer choices. And so I think this is the—if morality is a kind of unilateral disarmament, artlessness is the clearest case of that.OLIVER: And you're seeing that in Fanny Price, Elinor—TRALDI: You see that in Fanny Price. You see that in Elinor. Harriet Smith is described as artless over and over again. And then there are these other characters who are described as artful, or other things that are mentioned as arts.I think Harriet, in a lot of ways, is the one who's most often described this way. And it's interesting because you think of Emma changing a lot in Emma, but Knightley actually shifts in his evaluation of Harriet, who he thought of as sort of an unserious person. And Knightley himself comes to recognize her artlessness as a kind of seriousness which makes her a good match, not ultimately for him, but for his dude, Robert.OLIVER: The farmer.TRALDI: The farmer, yes.OLIVER: He doesn't change his view of her social position, though.TRALDI: No, certainly not. But he does change his view of her character, basically. You know, her artlessness is not silliness. It has a sort of depth to it.And yes, certainly Fanny. In the Whit Stillman movie Metropolitan that's part of what set me on this, there's this whole discussion of the book Mansfield Park and this old Lionel Trilling essay about it where he says, how is it—there's this question about how modern people can even like Mansfield Park because we've sort of lost the notion of virtue being exciting or something.One of the most provocative lines to me in Austen was in Sense and Sensibility where it says that Elinor glories in Edward's integrity, which is an odd thing to glory in. You don't glory—nobody is on Instagram showing off their integrity, you know?OLIVER: It's like that René Gerard quote people like to pass around: “Everyone is on diet pills and nobody wants to be a saint.”TRALDI: I like that. That is very Instagrammable.OLIVER: Exactly. Exactly.TRALDI: That's very good, actually. I like that. Yes, so there's something provocative about the notion that virtue can be exciting, and in particular can be romantically exciting.The Importance of IntegrityOLIVER: Or even less than that. One thing I think is difficult for people interpreting Austen today is that virtue, whether it's exciting or romantically exciting, or the notion of integrity is of interest for its own sake.There's a lot of—you know, we have integrity as an organization. It's very important for me to have integrity as a professional. But there's not as much a sense of, just having integrity is the good life. We don't need to be complicated about this. That's just—you should just do that. And Austen's very firm on that all the way through.And criticism wants to pull her towards sometimes feminism, sometimes discussions of slavery, sometimes various other things. And she's just constantly sort of resisting that by saying, “I like integrity. I like good people. I don't think it's that hard.” It's a good line you've picked up on, I think.TRALDI: There's a character in The Wire who says, “A man's gotta have a code.” I think he's Omar, who murders the drug dealers and steals from them.OLIVER: I haven't seen it.TRALDI: So he says, “A man's gotta have a code.” And I think there is a—even in a character who in some ways is bad, we admire the integrity of having a code and sticking to it.There is this debate, I guess in moral philosophy, or at least on the outskirts of moral philosophy, about, “Well, if your code is wrong, maybe it's better not to stick to it.” I don't share that perspective. I think part of the good life is holding yourself to certain standards. And if those standards turn out to be wrong, the holding yourself is still of moral value, right? Not allowing yourself—OLIVER: It doesn't mean they're not adjustable.TRALDI: Yes, no, of course. If you decide the standards are wrong, and in Austen—OLIVER: It's sort of implicit in the idea of having standards that you will be honest and therefore accept when your standards need to be improved or whatever. Right?TRALDI: Yes, I think that's absolutely right. And in Austen we certainly see people shifting their standards. And I think one thing that I—of course, modern readers and watchers of Austen do not quite understand some of these things. But I think in Pride and Prejudice in particular, we're supposed to feel that Lizzy Bennet is quite hard on people and has to learn to improve herself in that way.OLIVER: We're delighted with her when she does that because we think it's sassy.TRALDI: Yes, exactly. If you go on YouTube, you can see all these, like, “Lizzy Bennet owning people's lives for 50 minutes,” these compilations of clips from the various movies or whatever. And she's obviously very, very clever.But she realizes—after coming to understand who Wickham is and feeling that she might not have another chance with Darcy, she comes to realize that she has had certain prejudices, which have made her blind to the realities of the world and blind to what might be her best options.So yes, I was saying I believe in integrity; that's all I was saying. And integrity obviously is adjustable, but I tend to think that it's better—even if the rule is wrong, it's better for the person who has it to hold themselves to it, rather than to adjust to try to get an advantage.And in philosophy, we have all sorts of terminology for these sorts of questions: “Are you an internalist or an externalist about reasons or about rules or whatever?” I think the more literary way to say it would just be that integrity is a virtue. And people should stick to their codes unless they see a good reason to change them.Austen and Adam SmithOLIVER: Now, you have recently been reading Adam Smith.TRALDI: Yes, I did read a lot of Adam Smith for this debate we had last week. Although I did a poor job because I had forgotten that the debate was about whether Smith was a philosopher or an economist. [laughter] I thought it was simply, is he a philosopher or not? So I put myself in the odd position of arguing that Adam Smith is not an economist.But yes, I think it's obvious—without knowing the background, I'm sure there are scholarly questions about, how much Smith did Austen read? And they're both 250th—a lot was happening in 1775 and 1776.OLIVER: Those were great years. Those were the good old days.TRALDI: They were great years. In the great books syllabus, you get to the end of the 1700s and suddenly there's this—you have Smith, you have Kant, you have the American Revolution, you have the French Revolution, you have Burke. Rousseau is right before, Montesquieu is right before. I mean, it was a real—OLIVER: It's a great time.TRALDI: It was a great time. A lot was being done. And obviously, you know, I love the 1800s. I love the Romantics. But you could teach a whole great books course from 1750 to 1800, probably.OLIVER: You've also got all the dictionaries and all that kind of work going on as well. It's a very, very fertile—explorations.TRALDI: Yes, yes. There's all sorts of—yes, it was an amazing time.OLIVER: So did you, having read these two, Austen and Smith, close together—TRALDI: Yes, and I should say that my reading of Austen was much more careful than my reading of Smith.OLIVER: Sure, but you wrote this before you read Smith.TRALDI: Yes, absolutely.OLIVER: Or at least you fully conceived it. Do you see a lot of Smith in Austen?TRALDI: “A lot” might be—OLIVER: Primarily from Theory of Moral Sentiments.TRALDI: So I would say that the notion of sympathy as being fundamentally part of how you recognize a good person seems to me to be there in Austen. The characters are—OLIVER: And this is the thing about awareness of other people and learning from that awareness.TRALDI: Awareness of other people and learning from other people and feeling other people's emotions. One thing that is related to sympathy in an odd way—and I think actually Austen and Smith conceive of it a bit differently, but that is there for both of them, in particular in Sense and Sensibility—is this notion of self-control or self-command.OLIVER: Self command. Yes. Yes.The Importance of Self-CommandTRALDI: Now, Smith gives a really odd argument about self command, which is that if you don't have control over your emotions, you will end up feeling or expressing something that other people can't sympathize with. And this is bad because sympathy is good, or something like that. I actually think it's a rather confused argument.OLIVER: I think what he's saying is that if you display a lack of self-command, then no matter what you are feeling, people find it difficult to deal with that sort of uncontrolled behavior. It's not the particular expression of feeling; it's the fact that you are a little unstable or—TRALDI: Yes, I think that's right.OLIVER: —a bit extra.TRALDI: I think what Smith doesn't do is explain quite how that's bad. But what I think is that actually, in Sense and Sensibility, it's a little bit the reverse, where actually Elinor and their mother, they do sympathize with Marianne. They do feel what she's feeling after—who's the other, the w guy in Sense and Sensibility? They're all w's.OLIVER: Oh, Willoughby.TRALDI: Willoughby, right, right. Not Wickham, Willoughby. When Willoughby—OLIVER: You can just say “the cad.”TRALDI: The cad. There's always a cad. So when the cad leaves, Marianne has all these emotions, and you really feel them. And Marianne also has a lack of self-command when Willoughby is there. There's this whole episode, which I didn't quite make the most of but felt very important, where they go to the house of this woman. They just sort of barge into this house, Willoughby and Marianne.And this is really supposed to show something about the relationship. If you and your partner barge into somebody's house, it can't be a good relationship somehow because it's leading you into bad actions. That's my sense of what that episode is supposed to show from the highest possible remove.OLIVER: I think, yes, and I think there are several other instances of that: when they ride in the carriage together, unaccompanied.TRALDI: Right, right.OLIVER: And there's a sort of general consternation about this. And Marianne sort of says, “Oh, well, how can it be a problem?” And they—part of the consternation is, you're breaking the rules in a very flagrant way, but also that you are assuming that it's okay because you'll get married. And this assumption is a very big one.TRALDI: Yes. And obviously there is this assumption that—she doesn't recognize quite how—she thinks her position is much more secure than it actually is, which is how it turns out in the book. But I think we're supposed to think that even if she were right about Willoughby's affection, which in a sense, she—Willoughby—OLIVER: No. Even if they do get married, she's broken the rules in a way that—TRALDI: She's broken certain rules in a way that is—but I think what's different from Smith is, there is sympathy from her family even though she lacks self-command. But that is precisely—so it's sort of a different theory of why self-command is good. It's precisely because her emotional state is actually draining for her family.And then Elinor says—when she learns that Elinor has actually been going through something—OLIVER: The same.TRALDI: —very similar, and maybe even rougher, in this whole thing with Lucy Steele telling her about this, you know, blah, blah, blah.OLIVER: Which is a beautiful name—to steal. I mean, it's great.TRALDI: It's an amazing—honestly, in some ways Sense and Sensibility may have been my favorite. I think it's just lovely.OLIVER: If I just wanted to just read one for fun, that's what I go to. I do, yes.TRALDI: Yes. And there's a lot—none of these things are quite perfectly in there. But I think honestly, everything that's in the other novels has a little part to play in Sense and Sensibility. You know, I think if I were to recommend just one, if somebody was like, “I have time for just one,” I might recommend Sense and Sensibility.But in the end, Marianne says—again, it's one of these amazingly evocative lines. Elinor says, “You didn't act that badly. Do you compare your conduct with Willoughby's?” And she says, “No, I compare it with—Elinor, I compare it with your conduct. You have this self-command.”And it's precisely the fact—it's not—and I think this is why philosophers do like Austen, because it's not—it's still literary, but there is a precision to her moral evaluations. It's precisely the fact that Elinor knew that her family loved her and didn't want to burden—it's all quite conscious. She didn't want to burden her family with her emotions. But you actually see that Elinor has this family trait of having very strong sentiment, which Marianne does, and simply also has this virtue of self-command.And that is—there are film adaptations and TV adaptations that demonstrate self-command, but it's a very hard thing to film. It's something you feel inside. It's a very hard—the actors have to be very good for you to see—you see pieces of it in some of the adaptations of Persuasion and some of the adaptations of Sense and Sensibility, but self-command is very hard to find.Austen AdaptationsOLIVER: Which adaptations do you like the best?TRALDI: I'm forgetting—I often like the long ones that I think were for the British ITV. So I like the—I think Kate Beckinsale was in the Emma one. Although I think there was one of Persuasion, which was also quite good. I like the one of Northanger Abbey. I don't think it's that good, but it's kind of cute, which I think it's probably the cutest of her long novels.Whit Stillman did a very loose adaptation of Lady Susan, which is hilariously funny at times, and also has Kate Beckinsale and some other great actors in it.OLIVER: Did you see the new Persuasion on Netflix a couple of years ago?TRALDI: No. No.OLIVER: It has that—is it Dakota Johnson, the actress, who's famous for other non-Austenian—Fifty Shades of Grey or whatever.TRALDI: Yes, and isn't she one of the Avengers or something like that?OLIVER: Something like that. But everyone was very upset that it was this terrible adaptation.TRALDI: Oh, yes.OLIVER: Didn't—it sort of killed all of Austen's words. She looks at the camera; she drinks from the bottle. I actually thought it was quite fun. On the basis that all adaptations are bad—TRALDI: I think if you allow some looseness, it can be quite fun. So for example, the 2005 Pride and Prejudice, I think if you're just sort of like, “Well, this is just somebody who was inspired by Pride and Prejudice,” you can have a lot of fun with the movie.OLIVER: I think as an interpretation of the book, that film is quite bad.TRALDI: Oh, yes. I think it's absolutely missing the mark.OLIVER: But in terms of like, the countryside and the house and the geese and the food, it's fantastic.TRALDI: Oh, yes. It's lovely to look at.OLIVER: The dresses, right? The clothes are amazing.TRALDI: And a lot of the—and the cast is honestly like—OLIVER: Yes, it's great.TRALDI: The cast is really, really great. And the parts as they are—OLIVER: Rosamund Pike is maybe the best Jane on TV.TRALDI: She's terrific. And who's the one who plays Kitty?OLIVER: Yes.TRALDI: Who is in—and the father is the guy from The Hunger Games. I forget his name, but I think the father is excellent in that. But of course, it's not exactly the father from Austen.OLIVER: No, no, no.TRALDI: But as a movie itself—but yes, I like a lot of these longer TV versions.One odd thing—they make these choices. So there is some scholarly apparatus brought to bear on some of them. So I think maybe it's Persuasion that there were multiple versions of, and some of the adaptations use pieces from the unpublished version, which are interesting. And as I was reading it, I had to Google around a bit and figure out these things.Austen's Moral PrecisionTRALDI: I was going to say about Austen's moral precision, the other place where I think this comes in—and I wrote a bit about this in the essay—is near the end of Mansfield Park, when—the names are what I'm worst at—when Edmund, right, is finally disillusioned with—OLIVER: Mary.TRALDI: With Mary Crawford?OLIVER: Mm-hmm.TRALDI: It's because there was this affair. There's always a sibling or a cousin who makes some horrible mistake, you know? So there was this affair, and Mary Crawford can only criticize it by saying that they weren't very prudent, you know, in prudential terms. They took a big risk. They made a bad decision. You know, they really screwed themselves over.OLIVER: They could have made it work. Yes.TRALDI: Yes. And Edmund realizes that she lacks moral fervor because he thinks the appropriate criticism should be a moral one. And as a psychological matter, it shouldn't even enter your head, I think is the idea. I'm extrapolating a bit, but if you see somebody acting this badly, to then say, “Well, geez, you're doing something that isn't in your interest”—for that to be your first thought indicates that your priorities are highly misplaced in a way that, to him, is quite unattractive.And this also struck me as a moment of—this is something we philosophers talk about. What is the distinction between prudence and morality? They both tell you what you should do, in some sense, but there's different—the shoulds have different forces, right? So Edmund has a certain moral precision and sensitivity which, actually, Fanny is basically the only person he knows—not that everybody in the house is a bad person; his father is a decent guy, and one of the aunts is okay, I think.But yes, there's a real sophistication to this evaluation. And it's funny to me that she actually used this as the—I mean, I suspect that even at the time there were readers who were just like, “Wait, I really don't get what the nature of Edmund's problem is here,” because it's not like Mary—Mary's not like, “Oh, yes, I support infidelity.” You know? She's not like— it's if you blinked, you might miss it, the mistake that Mary has made.And so I do think that even though she's not making arguments, she's not laying out philosophical theories, there is a level of precision in her thinking about virtue, which I do think is something that it took me a little aback.And I think it's part of why—one person who quote-tweeted my article was Daniel Kodsi, who's a friend of our colleague John Maier and his coauthor often. And he runs this magazine called The Philosophers' Magazine, which I had written before. And Daniel quote-tweeted my article with something like, “Add Oliver to the list of all the philosophers who love Austen.”OLIVER: And it's a long list.TRALDI: And I think it's a long list. And I do think this precision is part of it that she does, that it is—again, it's not like a philosophy journal article, but it is an intellectual sophistication that is often not present in novelists that we really appreciate.Every Word MattersOLIVER: I mean, one way people talk about the great books is to say that every word matters. And a lot of novelists will say that about their own. Well, you know, Elizabeth Bowen used to say, “What you're doing is to make everything count.” Austen is one of the examples where it's actually true. Every word is being used carefully.TRALDI: Yes. It's funny, this bears on another Twitter argument I had recently about this phrase logographic necessity. Basically, every word in a great book is there for a reason. I think that's right. Although you have to be careful about—if you were to say, “Well, every word in Plato is there for a reason, so you can't really say he's wrong about every—” you would be kind of abandoning the philosophical mission.OLIVER: I mean it in the sense of what you might call the artistic or structural integrity of the book. Not everything has to tell in the meaning sense. But it all holds as a unit for some—TRALDI: Yes. I think everything is there—there is what we could call an internal reason for everything to be there. Everything is there to hold together—OLIVER: Like the making of a piece of furniture or something.TRALDI: And I think you hear—I think this is one thing that—and not all classical music, but I think it's one thing that distinguishes classical music even from very good contemporary pop music or jazz or rock music, is that you have this sense of, “Yes, every note I hear basically is holding up a larger structure of some sort.”OLIVER: Yes. And Jane Austen is very Mozart in that way.TRALDI: Yes, I think that's right. Yes.Austen's Place in Great Books ProgramsOLIVER: So should Jane Austen have a bigger place on great books programs, based on all these things you've said about her?TRALDI: Yes, this is—so, there was actually a debate—I did not write the piece in response to this debate, but this is—OLIVER: Tanner Greer.TRALDI: Yes, there was—Tanner Greer weighed in on this, and my friend Circe. I think—OLIVER: I think they're just desperately wrong.TRALDI: You think they don't—that she—OLIVER: I think Emma is obviously a book that should be on one of these syllabuses. Maybe Sense and Sensibility.TRALDI: Yes. I think the ones I would consider are Emma, Sense and Sensibility, Mansfield Park. I do think they're actually longer than I realized, which is always—I mean, there are these very practical concerns with putting together a syllabus.OLIVER: Sure, sure. Although I want to ask you about that, because my response to a lot of these debates, which is maybe just because of where I studied, but just make them read more. And if they don't do the reading, that's their, you know—TRALDI: That's true. Well, I don't want to get into this too much. We already make them read a lot compared to—so for example, a year ago, I had my students read two novels in a week, which is more than most courses make college students read.OLIVER: But that's by no means unreasonable.TRALDI: No, no, of course, of course.OLIVER: You know.TRALDI: Well, exigencies of the teenage mind aside—OLIVER: Because I often think this, when people debate how things should be taught and why it's so important to keep these programs, and they'll talk about the importance of writing essays. And then it turns out the students maybe write one essay a semester. And I sort of think, well, who cares? All this rhetoric for one essay.TRALDI: Yes. I don't know if I'm really ever going to assign essays again. It just is—the age of AI is upon us.OLIVER: Sure. But you see what I mean.TRALDI: No, yes, I know exactly what you mean. And I do think reading a lot is the main part of—and certainly, you know, when I read all seven of these in two weeks, that's much more reading than I normally do, as well, to write this essay.OLIVER: But you didn't have to lie on the sofa afterwards with a cold compress. You were fine.TRALDI: In a way it was a really good two weeks. If you get to read—I mean, this is why we have good lives, right? If you get to read Jane Austen and you call that work, it's a nice life.OLIVER: So yes, will you be putting Emma on your program?TRALDI: I would definitely consider Emma. I would definitely consider Sense and Sensibility. I would consider Mansfield Park. I think these are the ones that have—the moral element is very prominent. But it's obviously there in all of her books.OLIVER: You can have a really good moral discussion about Mansfield Park, which is a bigger, broader thing than Pride and Prejudice, for example.TRALDI: Yes, I think so. I would definitely consider—in the 1800s there were—obviously the British novel of the 1800s was a big deal, and there's—OLIVER: [laughs] We did quite well, yes.TRALDI: You all did quite well. So the ones we did at Tulsa—we had Frankenstein and Wuthering Heights and The Picture of Dorian Gray. And then we had one Irish, The Portrait of the Artist as a Young Man. And I don't think anybody—if you replaced one of those with Emma or Mansfield Park, I don't think anybody would say, “Oh, you made a horrible call.”OLIVER: I think Tanner's point was that you simply don't have that many slots for an English novel that deals with these sorts of ideas, and that it should obviously be Middlemarch because that is the bigger novel. It's about bigger questions of society. It's about the whole—it's got more greatness in it, whereas Austen is sort of more about the individual.TRALDI: So I do think that this question of greatness—I think there are some people who read Austen and they think, “Well, this is—obviously it has all these sorts of themes, but it's not great. It has this littleness to it. It has this smallness to it.”OLIVER: It's domestic.TRALDI: That is not my reading of it. I think if that's the question, I don't feel that way. I think it pulls out these great themes about the nature of virtue and the nature of moral learning, becoming a better person, the nature of love. We read Sappho. We read the Symposium.To me, you read Wuthering Heights and you say, “Oh, this is a really big book because it's about society and how trauma gets passed down, and it has these horror elements, and it's very dark.” But actually, it's quite hard to figure out, how do we turn Wuthering Heights in a discussion about how to live? With Austen, it's just completely straightforward.OLIVER: [laughs] How not to live, maybe.TRALDI: Yes. In Austen, it's just completely straightforward. This is the discussion. This is what she had in mind as well, this question of how to live. So to me, Austen is completely—in terms of her successes as an artist, she belongs. In terms of her themes, she belongs. So I would not rule her out. I think she is absolutely a great, and who knows what that means, but I think she would be completely appropriate on any of these syllabi.Reading PlansOLIVER: Very good. And what will you read next?TRALDI: What will I read next? I mean, our—from the beginning, I'm thinking I should read some more poetry. It's been a while. Actually, speaking of—this is funny. Well, I want to get into William Empson. He had an odd life, which I think somebody should do like a movie about him or something.OLIVER: Yes, he'd make a great movie.TRALDI: I think Empson would be a good movie. So that might be—OLIVER: Are you going to read the poems or the criticism?TRALDI: Probably a little of both, but that's for a while from now. I think, you know, at the moment I'm back to reading philosophy. So what novel will I read next? That's a good question. What should I read next?OLIVER: If you like Jane Austen?TRALDI: Yes.OLIVER: Maybe read one of the people that she admired, like Samuel Richardson or Fanny Burney, someone like that.TRALDI: You know, I do think—you saying Samuel Richardson reminded me, I've read very little Samuel Johnson. I think reading some of the great critics, I think, writing this piece—OLIVER: Oh, Johnson, yes. You would like Johnson.TRALDI: I think I would like Johnson. I think I would like Empson. The history of literary criticism is something I have very, very little idea of.OLIVER: Oh, well, then, Johnson. I mean, he's the best.TRALDI: Yes, I think I should, I should definitely read Johnson.OLIVER: English literary criticism begins and ends with Samuel Johnson.TRALDI: You know what, this is a little different, but—I might have talked about this with you a little bit—I want to read The Fable of the Bees, Mandeville, because reading about Smith—a lot of the ideas that we think of as Smithian are actually Mandevillian, and he kind of moderated them.OLIVER: Well, he hated Mandeville.TRALDI: Yes.OLIVER: Very hard on him.TRALDI: Yes. So a lot—like the invisible hand, it's only a small part of Smith's thinking, but it was like the entirety of Mandeville's thinking, this sort of dynamic.OLIVER: Well, I think it means different things for them. I think Mandeville, in a funny way, is more philosophical in the sense you were saying, and trying to make these propositions. And Smith was saying, “Well, what about feelings? What about all these funny things that we can't account for? Like, look around. It's too messy.”TRALDI: No, that makes sense to me. Yes, I think between Mandeville and Smith, Mandeville is somebody who thought virtue was sort of like a con.OLIVER: A fool's game.TRALDI: Exactly. You're sort of a sucker if you try to be virtuous.OLIVER: I think he also just assumed that if you were commercial, you were obviously on the get.TRALDI: Yes. But this is one of the great—I know we talked about this, but it's one of the great—you see this in Smith, you see this in Austen—commerce has its own virtues, and they are very traditional virtues. You have to be trustworthy. You have to be pleasant. You can't really be wholly self-interested in every moment because people have to be willing to deal with you given your—I mean, think about Yelp reviews or even just word of mouth. “Oh, that person screwed me over.”OLIVER: There's a discussion in one of Hayek's papers, which is—it's a very Smithian point he makes about, the nature of the knowledge problem means that it's not so much that I'm trying to get information about the thing you're trying to sell me, but I'm really trying to get information about you and whether you are someone I should be buying from. Which is exactly the project that the novelists and Smith—there's a sort of period between Smith and the early novelists, running through Austen to George Eliot, when they're all working on that problem together.TRALDI: Yes. I do think in Austen, it's often—the real puzzle is, how do you make out somebody else's character?OLIVER: Exactly.TRALDI: This is a phrase that Lizzy Bennet does use with regard to Darcy. And how do we actually figure out who the trustworthy and untrustworthy people are?OLIVER: And if you're too philosophical about that, in the sort of analytic sense, I think you can end up not paying enough attention to the particulars of that question.TRALDI: Yes.OLIVER: Because when you actually try and do it, it's really, really hard.TRALDI: Yes. And I think this is the sort of—reading Austen, you get a sense of—and there are very few philosophy papers on things like this. Reading Austen, you get a sense of, what sorts of details in a normal life are the ones that I can extract information from to make out somebody else's character?In philosophy, we do ask, what is a good character and what is the good action in this sort of situation? What is the bad action in this sort of situation? But it's not for the philosopher to say, “Okay, in the sorts of situations you're likely to be in, what do you pay—where do you direct your attention to try to figure out these things about?”And it's not—I don't think Austen—it's not super subtle either. In Persuasion—I mentioned in the essay—in Persuasion, it starts out by saying Anne really cared about paying off the family's debts, and the rest of her family didn't give a s**t, you know? And it's sort of like, okay, so we just immediately are like, Anne's the sort of person who you might want to have a business transaction with because if she has a debt to you, she might actually pay it. And I forget if that's the exact detail, but it's something like that, you know?OLIVER: And there's also the novelist—Jane Austen is very good at what you don't see, which aga

AGP finally touched down on King Island, with a group of mates in tow, all very excited to see the golf on offer.This episode will the first of a couple devoted to King Island, and one where we principally discuss the course at Cape Wickham. The turf, location, the 18th green, the wind, sets of 3s and 5s, favourite holes – all of it.The inevitable comparisons are made with Ocean Dunes, as well as the collection of leading Tasmanian courses.  The layout at Wickham is such a spectacular course, and one that generates endless discussion and opinions. We hope you enjoy this episode, and the other King Island centred chats in the pipeline. A few links below, as discussed in this episodeAccommodation options on the island include AGP's base:https://kingisland.org.au/accommodation/blencathra-coastal-spa-getaway/And the house where No Laying Up stayed:https://basslodgekingisland.com.au/ Sights to see on the island for non-golfing time include –The calcified foresthttps://parks.tas.gov.au/things-to-do/60-great-short-walks/calcified-forest-(king-island) A guided platypus walkhttps://kingislandwalks.com.au/itinerary/platypus-penguin-tour/ The GCA thread dating back to Matt's first visit to Cape Wickham in 2015.https://www.golfclubatlas.com/forum/index.php?topic=62850.0 Our Podcast is published with support from Angus And Grace Go Golfing. Check their insta page and website for some of the best golf apparel on the planet. Some warmer layers are on the shelves now, ensuring you will be stylish and warm during your round – and after! We thank Matt – our OG partner.Thanks to Dean and everyone at Seed Golf – they continue to provide 20% off for Australian Golf Passport listeners via the code AGP at checkout. Get your hands on some premium golf balls at a super low price. Once you've tried them you will be so thankful. And if you're a dedicated Seed player – do your wallet a favour and buy a box of loosies. It's one of the best bargains in golf.

Can't sleep? Quiet your mind with the continuation of Pride and Prejudice by Jane Austen. Support the podcast and enjoy ad-free and bonus episodes. Try FREE for 7 days on Apple Podcasts. For other podcast platforms go to https://justsleeppodcast.com/supportOr, you can support with a one time donation at buymeacoffee.com/justsleeppodOrder your copy of the Just Sleep book! https://www.justsleeppodcast.com/book/If you like this episode, please remember to follow on Apple Podcasts, Spotify or wherever you listen to your favourite podcasts. Also, share with any family or friends that might have trouble drifting off.Goodnight! Hosted on Acast. See acast.com/privacy for more information.

What did you think of this episode?You're not a writer! You're just fooling yourself! Are thoughts like these spinning in your mind? Today's guest brings truth to counter those lies and more on quitting your calling as a writer. Welcome to Your Best Writing Life, an extension of the Blue Ridge Mountains Christian Writers Conference held in the beautiful Blue Ridge Mountains of NC. I'm your host, Linda Goldfarb. Each week, I share tips and strategies from writing and publishing industry experts to help you excel in your craft. I'm so glad you're listening in. In this episode, you'll learn why giving up on your writing is not an option.My industry expert EMILY WICKHAM shares God's Word and wonders with women. She is the author of Closer to God: A 10-Week Study on Prayer, and a podcaster, YouTuber, magazine writer, and blogger. Married to Mark since 1989, she is a mom of four and a mother-in-love. Emily enjoys life in South Carolina. Alright, let's head into our content for today… Don't Give Up! God Will Use Your Words·       How have you handled thoughts about quitting?·       Why is it important to persevere as a Christian writer?·       In what ways have you seen God's hand in your writing journey?Listener giveaway… 7-Day Prayer Starters for Writers You can find out more about Emily below.·      Website: https://www.proclaiminghimtowomen.com/  ·      Podcast Links - https://www.proclaiminghimtowomen.com/podcast/ ·      Substack: https://heartstirrings.substack.com/ ·      YouTube: https://www.youtube.com/emilywickhamauthor·      YouTube: https://www.youtube.com/@BibleReadingwithEmily ·      Facebook: https://www.facebook.com/emilywickham.author/ ·      X: https://x.com/emilywickhamPH ·      Instagram: https://www.instagram.com/emilywickham.author/ ·      Closer to God on Amazon: https://a.co/d/05CPeUBX Visit  Your Best Writing Life website.Join our Facebook group, Your Best Writing LifeYour host - Linda Goldfarb#1 Podcast in the "Top 50+ Must-Have Tools and Resources for Christian Writers in 2024".Awarded the Spark Media 2022 Most Binge-Worthy PodcastAwarded the Spark Media 2023 Fan Favorites Best Solo Podcast

Gjest: Vever Tim Parry-Williams, Professor of Art ved Fakultet for kunst, musikk og design ved Universitetet i Bergen.Er det den røde soldatuniformen som får ulydige Lydia Bennet til å dåne for den trøblete og uniformskledde kjekkasen Wickham i Jane Austens roman? Det går en rød tråd gjennom historien, fra The Red Coats, til raudtrøyene i Telemark og til tekstiler brukt av urbefolkningen i Nord-Amerika. I denne episoden trekker professor og vever Tim Parry-Williams tråder både mot vest og øst: Han tar oss fra transportkanalene i byen Stroud i England, til Bristol og Cadiz. Han inviterer oss med over Atlanteren til et møte med en presset urbefolkning i Nord-Amerika, der de bytter til seg det ettertraktede stoffet mot pels, land og løfter om fred. Tim forteller om “the culture of red” og forklarer hvordan de verdifulle og skarlagensrøde tekstilene havnet i Telemark, ja over hele verden. I Norge kjenner vi dem som raudtrøyer både til kvinner og menn, brukt i folkedrakt og siden til bunad. Vever Tim Parry-Williams hadde et forskningseureka da han sammen med Kari-Anne Pedersen ved Norsk Folkemuseum fikk se de norske raudtrøyene fra Telemark for første gang. Både det røde stoffet og jarekantene hadde han sett før! Sammen med nestoren for folkedrakter i Norge, fikk han en pangstart på forskningsprosjektet han da var i ferd med å klekke ut. Kari-Anne Pedersen har bidratt med banebrytende kunnskap om folkedrakt gjennom et langt arbeidsliv og har kombinert en praktisk tilnærming til tekstilene med arkivstudier og analyse. Hun har skrevet en rekke bøker. Møtet mellom henne og Tim ble starten på et forskningsprosjekt som knytter tråder mellom raudtrøyene i Telemark, urbefolkningen i Nord-Amerika og byen Stroud i England.Podkasten er på engelsk. Opptaket er gjort i april 2026.  Kilder: Landskapsmaleriet The Wallbridge Painting (ca. 1790), via Elanor Pitchards blogg / Museum in the Park, Stroud  Utstillingen “Wrapping the Globe: The Stroud Scarlet Story” (Museum in the Park, Stroud 2003) Anbefalt: Beyond Heritage: Material Making Meaning (Tim Parry-Williams og Franz Petter Schmidt).Draktseminar 15. mars, arrangert ved Norsk FolkemuseumImage of the Wallbridge painting on social media is supplied by courtesy of Museum in the Park, Stroud /  From the collections of Museum in the Park, Stroud

This week on The Powerlifter's Den, we sit down with Alejandro Wickham—a 40-year-old masters lifter proving that elite performance doesn't have an expiration date.Alejandro has totaled over 2070 lbs in tested competition while balancing the discipline and mindset forged through his military background. We dive into what it takes to stay competitive at a high level into your 40s, how his time in the military shaped his approach to training and life, and the realities of competing drug-tested while still pushing elite numbers.We also get into longevity in the sport, adapting training as you age, and what separates lifters who last from those who burn out.If you're chasing strength for the long haul, this one hits

Si Kate Bush continue de fasciner les nouvelles générations au XXIe siècle, ce n'est pas seulement le fruit du hasard ou d'une utilisation de ses titres dans des séries télévisées ; c'est avant tout parce que sa musique parle à l'âme profonde de la jeunesse. Pour comprendre comment cette jeune fille de 19 ans a pu imposer un univers aussi mature et décalé en pleine période disco et punk, il faut remonter à ses origines dans la banlieue londonienne, à East Wickham Farm. Cette ferme du XVIIe siècle, acquise par son père médecin, offrait avec ses murs vieux de 400 ans et ses colombages un cadre idéal pour l'éclosion d'un imaginaire digne des romans gothiques anglais.Le parcours de Catherine est indissociable d'une atmosphère familiale exceptionnelle. Contrairement à de nombreux foyers où l'on cherche à « redresser » un enfant trop original, la famille Bush a laissé à la jeune fille la permission rare d'être singulière sans jamais chercher à la corriger. Autodidacte au piano dès l'âge de 11 ans, elle jouait également de l'orgue dans une grange derrière la maison, un lieu où elle voyait sans doute des êtres étranges.Cet environnement, où le monde invisible circulait librement, a permis à l'adolescente d'écrire, dès l'âge de 13 ans, des chansons peuplées d'ombres et de personnages oniriques. Son univers n'a pas été conçu pour satisfaire l'industrie musicale, mais est né naturellement d'un lieu où l'imaginaire était déjà omniprésent. Il n'est donc pas étonnant que sa famille l'ait d'abord surnommée « Cathy », en référence à l'héroïne des Hauts de Hurlevant, avant que le monde entier ne la découvre sous le nom de Kate Bush.

Vous ne dormirez plus de la même façon après avoir entendu l'imitation de Charles par JE. Notre Partenaire : Majestik Games https://www.majestikgames.com/fr/  Intro par In Uchronia  https://www.facebook.com/inuchronia/  https://www.youtube.com/user/inuchronia  Art par Bandit  https://twitter.com/BanditMTG1  Rejoignez notre discord !  https://discord.gg/VtwSyy9  Twitters :  Charles : https://twitter.com/WickedFridge  Théau : https://twitter.com/TheauMery  Matthias : https://x.com/IGVRaven BlueSky : Jean-Emmanuel : https://bsky.app/profile/jedepraz.bsky.social Twitchs :  Théau : https://www.twitch.tv/inoveletux  Charles : https://www.twitch.tv/wickedfridge Jean-Emmanuel : https://www.twitch.tv/jirock

A gothic reimagining of the Bride of Frankenstein legend, "The Bride!" explores identity and autonomy through a woman brought to life against her will. In this week's delightful episode, Wickham is joined by Alev Flannagan to talk about "The Bride!" (2026, dir. Maggie Gyllenhaal).

The chief executive of Ballance Agri-Nutrients comments on the supply and price issues for the fertiliser industry as a result of the Middle East conflict. See omnystudio.com/listener for privacy information.

Title: The Murder of Mr. WickhamAuthor: Claudia GrayRecommended by: Beth K.Notes: more Austentatious readsCreated by the Podcast Team at the Harris County Public Library.www.hcpl.netPodcast Team Members include: Beth Krippel, John Harbaugh, Mary Mink, Dylan Smith, Sadina Shawver, Gisela Parker, Alinda Mac, John Schaffer, Jennifer Finch, Katelyn Helberg, Darcy Casavant, Darla Pruitt and Nancy Hu

In this episode of The Unconventional Path, hosts Bela Musits and Mike Wasserman sit down with Vi Wickham, the founder of Wizard of Ads Online, to discuss how small to medium-sized businesses can navigate the complex world of digital marketing. Vai is not only a digital marketing expert and web developer but also a five-time Colorado state fiddling champion, bringing a unique, creative perspective to entrepreneurship and innovation.The transition from traditional advertising—like the local newspaper and Yellow Pages—to the digital age has created a complex environment for modern entrepreneurs. Vi simplifies this landscape by breaking down the three foundational "layers" every business owner needs to establish a credible and searchable online presence.The Website as Your Home Base: Why your website is the foundation of your online reputation and why it must communicate your purpose clearly without using "insider language" or "techno mumbo jumbo".+1The "Grandfather Test" for Business: Bela and Vi discuss the strategic importance of being able to explain your business so simply that even your grandfather would understand it.Local Search Marketing: How to use local search submissions to provide "proof" to Google that your business is a real entity deserving of a high rank in your specific town.+1The "500-Pound Gorilla" of Search: Why the Google Business Profile is the most critical third-party site for local businesses and how it controls over 90% of search traffic.Navigating Secondary Platforms: A look at the next tier of digital reputation management, including Facebook, Yelp, Bing, and the emerging challenges of Apple's business tools.Strategy vs. Wordsmithing: Understanding the difference between knowing your core message and the creative process of picking the right words to attract the customers you want—and repel the ones you don't.Vi Wickham is a web developer, digital marketer, and the founder of Wizard of Ads Online, where he helps companies establish and implement effective digital marketing strategies. He is also a celebrated musician, holding five state fiddling titles and three national runner-up titles.Our podcast is now available on YouTube. Simply search for "The Unconventional Path" to subscribe and never miss an episode.We're always on the lookout for interesting guests to feature on our show. If you know someone who has an inspiring story, unique perspective, or valuable expertise to share, please let us know. We're eager to connect with potential guests who can bring fresh insights and engaging conversations to our audience.We also love hearing from our listeners! Your questions, comments, and suggestions are incredibly valuable to us. Send us an email at bela.and.mike@gmail.com with your thoughts, and we'll do our best to address them in a future episode. Whether you have a question about a specific topic, feedback on a recent episode, or ideas for future content, we want to hear from you. Your engagement helps us shape the show and deliver content that resonates with our listeners.Thanks for listening,Bela and MikeIn This Episode, You'll Discover:About the Guest:Connect with the Show:

With its poetic visuals and powerhouse performances, "Hamnet" has quickly become one of the year's most talked-about period dramas, reframing Shakespeare's legacy through the intimate tragedy at the heart of Maggie O'Farrell's novel. In this week's episode, Wickham, Colleen, and Ada are joined by a live audience of Bilkent Cinema Society attendants to talk about "Hamnet" (2026, dir. Chloé Zhao).

This content was originally released on 05/24/21 Rakes gonna rake. Julie's off for this episode, so Allison and Janine are joined by friend-of-the-show Amelia Buzzell for this chat about the live-streamed performance of Adrian Lukis' one-man show Being Mr. Wickham. Lydia's doing very well, thank you for asking. Lots of love, Allison, Julie, and Janine

Rapid City Men's Conference

This content was originally released on 05/13/21 Hey y'all, We're joined this week by the GOAT Caroline Bingley and our new favorite dog choreographer, Jeanne Simpson! Jeanne talks to us about her experience on Wishbone, why she loves Jane Austen, and what it's like to choreograph a dance about learning to use the shitter. It's a very special episode. We hope you enjoy listening to our conversation even half as much as we enjoyed having it. You'll hear more about these things in the episode, but here's Edith Layton on bookshop.org, here's Gotta Dance Productions, and we'll pick a Sunday in June to have a lil' Fitzmob. Next week: Being Mr. Wickham! Lots o' love, Allison, Julie, and Janine

We've read plenty of his stories, and if you are a long time listener to the podcast, I'm sure you realize that Tom King is a writer who has some serious variety of placements on the big board. He has multiple stories in the top 10, plus a number of stories lingering near the bottom. Tonight, friend of the show and Patreon backer John Wickham returns, and he's picked some more Tom King, including his Eisner winning Riddler story that baffled both Matt and Will in how it got there. Plus, John's vendetta against Will reaches new heights; he's come with a game that fits pretty well with ol' Eddie Nygma's schtick. The Fall and the Fallen (Batman V.3 # 70-74, Secret Files # 2) An Unimportant Man (The Penguin # 6-7) Batman: One Bad Day- The Riddler # 1 Check out our current ranking list at www.comicsxf.com/batchat-rankings/ Thanks to Geri Nonnewitz for our podcast logo Support the show on Patreon at www.patreon.com/batchatwithmattandwill

This content was originally released on 04/30/21 Hey y'all, And now, our first impression of Wishbone's "Furst Impressions." The first in a three-part series. All on Wishbone's "Furst Impressions." This is not a joke, we really are doing three episodes on "Furst Impressions."  With only slightly further ado, enjoy. The additional ado: you'll hear about this in the episode, but our next PP is Being Mr. Wickham, which you can see via Theatre Royal, which is livestreaming the show on April 30 and May 1. More details here. (If you don't watch, you'll still enjoy the episodes, we promise. ) Lots of love, Allison, Julie, and Janine

Terence Stamp was an actor who consistently chose discomfort over safety. After rising in the 1960s as a British leading man, he deliberately pivoted toward colder, more complex, and often unsettling roles. In this week's magnificent episode, Wickham and Colleen are discussing late Terence Stamp and a selection of his films: "Adventures of Priscilla, Queen of the Desert" (1994, dir. Stephan Elliot), "The Hit" (1984, dir. Stephen Frears), and "The Limey" (1999, dir. Steven Soderbergh).

Aired in the 1960s, The Avengers wasn't just another crime or espionage series — it was a vibe. In this week's delectable episode, Wickham and Ada are joined by Wickham's mom, Dr. Beckie Flannagan, to talk about a show that quietly shaped modern spy fiction long before superheroes stole the name: "The Avengers" (1961-1969).

Plenty of academic research end up in obscure publications behind big paywalls. When Abeni Wickham couldn't even access her own scientific paper, she realized that this was also undermining democracy. This led to the foundation of SciFree, a digital platform allowing libraries to provide citizens with open access to thousands of academic papers and journals. They also work with digital preservation to safeguard and improve our collective memory. Heja Framtiden met Abeni at Norrsken House in Stockholm after the event AI for Knowledge and Democracy, as part of the overarching initiative Prompt What Matters. Podcast host: Christian von Essen // Learn more at hejaframtiden.se and subscribe to the newsletter (in Swedish).

Can't sleep? Quiet your mind with the continuation of Pride and Prejudice by Jane Austen. This week is the 213th anniversary of the publication of this classic! In this episode, Jane writes and Elizabeth learns that Lydia has slipped away with Wickham. Support the podcast and enjoy ad-free and bonus episodes. Try FREE for 7 days on Apple Podcasts. For other podcast platforms go to https://justsleeppodcast.com/supportOr, you can support with a one time donation at buymeacoffee.com/justsleeppodIf you like this episode, please remember to follow on Spotify, Apple Podcasts, or your favourite podcast app. Also, share with any family or friends that might have trouble drifting off Hosted on Acast. See acast.com/privacy for more information.

Hey y'all! We are back with yet another glorious episode where Alev Flannagan joins Wickham to discuss one of Netflix's most popular series, "Stranger Things" (2016-2025), covering all five seasons.

'Diamond Bill' Barrett earned his nickname by sweet-talking a jewelry store into letting him borrow a $55,000 diamond, which he promptly hocked. Later, he deployed that legendary charm to sweet-talk two heiresses into marrying him, then disappeared with showgirl-turned-trophy-wife Sidi Wirt Spreckels' $100,000 string of pearls. But the mystery remains: Did he really steal Sidi's pearls ... or did he fence them for her? (Hillsboro, Washington County; 1910s) (For text and pictures, see https://offbeatoregon.com/1905c.diamond-bill-barrett-heiress-whisperer-548.html)

In this powerful episode, Nathan sits down with Forge Speaker Michaela Wickham to explore the hidden years of Joshua—years in which God shaped him long before he ever led Israel into the Promised Land. From battles Moses fought on the hilltop to the quiet moments in the Tent of Meeting, Joshua learned intimacy with God before he ever stepped into leadership.This conversation uncovers why intimacy is the foundation of obedience, how God forms laborers long before the spotlight, and why being “strong and courageous” starts in secret.

Hey y'all! In this week's episode, Wickham and Colleen are joined by none other than our former guest, Alev Flannagan, to talk about the third installment of Rian Johnson's Knives Out franchise: "Wake Up Dead Man" (2025, dir. Rian Johnson).

In the heady days of mid-1990s Britain, the actor Adrian Lukis went to a screen test for a glossy new drama: an adaptation of Jane Austen's classic novel Pride and Prejudice. To an actor, auditions come and go — most don't work out — and having hated the book while at school, he didn't have high hopes. They fell even lower when he bumped in to his rival for the part of Mr Wickham, a dashing man at least 10 years his junior.But Adrian got the part, and his life changed forever thanks to his starring role as Jane Austen's charming rogue — and decades later, he still gets stopped by fans wanting to talk about the greatest adaptation of what is arguably Austen's best novel (and one which quickly won Adrian over upon re-reading it). In the course of those conversations a seed was planted: was Wickham really that bad? How did he get that way, if he was? And are we trusting Mr Darcy's assessment, which might easily be horribly skewed? The result was Being Mr Wickham, Adrian's self-penned one-man show that shares the untold tale of the suave but slippery army officer.Adrian talks about his life, his career and the challenges of writing one of literature's most enduring characters — which even saw him poring over a dictionary Regency-era slang — as well as the perennial appeal of Jane Austen. It's funny, clever and enlightening in equal measure and we hope you enjoy listening as much as we enjoyed talking to him.Being Mr Wickham is on in the Minerva Theatre at the Chichester Festival Theatre from January 20-24 — find out more and get tickets at the theatre's website.Episode creditsHost: James FisherGuest: Adrian LukisEditor and producer: Toby KeelMusic: JuliusH via Pixabay Hosted on Acast. See acast.com/privacy for more information.

Lydia and Wickham are off to Newcastle, which is a disappointment to Mrs. Bennet, but she's soon comforted by the news of the arrival of a familiar neighbor - Mr. Bingley is back in town. What's more, he's brought Mr. Darcy with him. The gentlemen call at Longbourn, and both Jane and Elizabeth's emotions are in a flutter. It's all too much for the two eldest Bennet girls, as they alternate between hopes of rekindling old affections, attempting to stay calm, and mitigating the intensity of their mother's reaction to both gentlemen. As the girls work out how they feel in this week's Friday Favorites, let their story comfort you into a peaceful night of restful sleep. -----Welcome to the Jane Austen Bedtime Stories podcast! Each episode is a section of a classic Jane Austen novel, read in soothing tones and set to calming music to help you fall asleep.With everything that is going on in the world, we find comfort in the familiar. For so many of us, Jane Austen's works are like a warm hug. So snuggle up under the covers and let the comforting words of Jane Austen lull you into sleep.-----Show your appreciation for the pod! Support the podcast: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://bedtimestoriespodcast.net/support⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ -----Follow us on Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/janeaustenbedtimepod/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-----Music ["Reverie"] by Scott Buckley - released under CC-BY 4.0. – www.scottbuckley.com.au

Risk vs Pleasure Series Ep 165 Description:  "If you are focused on the risk, or you're worried or you're anxious about what's going to go wrong, that is taking up too much of your brain. We need to deal with it and put it into perspective so that we can clear the path to joy and pleasure." —Dr. Sara Wickham   Pregnancy is supposed to be a time of wonder, but too often the first word that comes up is "risk". Suddenly, every choice feels like a warning sign, and joy gets pushed into the background. No one talks about how heavy that constant fear can feel—or how much it steals from the confidence and pleasure that should be part of the journey. After decades as a midwife, researcher, and lecturer, Dr. Sara Wickham saw how the medical model's focus on risk overshadowed women's voices and experiences. Now, through her books and the Birth Information Project, she's breaking down the numbers and challenging the myths, showing women that evidence doesn't have to be scary—it can be liberating. In this conversation, Debra and Sara unpack how risk talk shapes pregnancy, why many "warnings" don't match the actual evidence, and how women can reclaim joy, confidence, and even pleasure in birth—including insights from her new book Plus Size Pregnancy. Expect tools, clarity, and a refreshing reminder that pregnancy isn't just about minimizing danger—it's about living the experience fully.   Connect with Debra! Website: https://www.orgasmicbirth.com  Instagram: https://www.instagram.com/orgasmicbirth X: https://twitter.com/OrgasmicBirth  YouTube https://www.youtube.com/c/OrgasmicBirth1  Tik Tok https://www.tiktok.com/@orgasmicbirth  LinkedIn: https://www.linkedin.com/in/debra-pascali-bonaro-1093471    Episode Highlights: 03:13 The Cultural Obsession with Risk 06:31 The Impact of Risk on Women's Experiences 09:14 Understanding Evidence Around Risk 16:38 Induction of Labor and Its Implications 27:18 Plus Size Pregnancy and Evidence Discrepancies  36:15 The Importance of Reframing Risk    Resources: 

After a tantalizing slip of information from Lydia, Elizabeth has been eager to learn why Mr. Darcy was at the Wickhams' wedding, and a letter from her aunt Gardiner has arrived that answers all her questions and more. It turns out that Mr. Darcy was the one who arranged the entire thing, from finding Lydia and Wickham in London, to paying off Wickham's debts to secure the marriage. It's more than Elizabeth can handle, but she does not want to allow herself to hope too much, lest she be disappointed. At least she can sleep a little easier having learned the truth, and you will too, as our latest Friday Favorites carries you away into a night of sweet and gentle sleep. -----Welcome to the Jane Austen Bedtime Stories podcast! Each episode is a section of a classic Jane Austen novel, read in soothing tones and set to calming music to help you fall asleep.With everything that is going on in the world, we find comfort in the familiar. For so many of us, Jane Austen's works are like a warm hug. So snuggle up under the covers and let the comforting words of Jane Austen lull you into sleep.-----Show your appreciation for the pod! Support the podcast: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://bedtimestoriespodcast.net/support⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ -----Follow us on Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/janeaustenbedtimepod/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-----Music ["Reverie"] by Scott Buckley - released under CC-BY 4.0. – www.scottbuckley.com.au

Lydia and Wickham are married, and the scandalous newlyweds have arrived at Longbourn to visit the Bennet family. The two are as brazen as ever, while Elizabeth and Jane seem to feel more than enough shame for both of them. During one of their conversations, Lydia lets and important detail slip - Mr. Darcy was at their wedding. Elizabeth is astonished, and quickly writes to her aunt Gardiner, knowing that she will be unable to rest until she learns the truth. But fortunately, that isn't a problem for you, as this week's Friday Favorites helps you close your day with lots of restful and restorative sleep.-----Welcome to the Jane Austen Bedtime Stories podcast! Each episode is a section of a classic Jane Austen novel, read in soothing tones and set to calming music to help you fall asleep.With everything that is going on in the world, we find comfort in the familiar. For so many of us, Jane Austen's works are like a warm hug. So snuggle up under the covers and let the comforting words of Jane Austen lull you into sleep.-----Show your appreciation for the pod! Support the podcast: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://bedtimestoriespodcast.net/support⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ -----Follow us on Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/janeaustenbedtimepod/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-----Music ["Reverie"] by Scott Buckley - released under CC-BY 4.0. – www.scottbuckley.com.au

Worship leader and songwriter Phil Wickham is back—this time with his wife Mallory, who pulls back the curtain on life at home while Phil is on the road. From privacy and boundaries to joyful chaos with kids, they talk honestly about the unseen sacrifices that make visible ministry possible. You'll hear the story of their relationship (from hesitant boyfriend to wholehearted husband), the reality of Summer Worship Nights—miracles, momentum, and whooping cough—and the everyday stuff: mice in the garage, sprinter van shenanigans, and why a five-gallon bucket is elite family gear. It's tender, funny, and full of faith for marriages and homes that put Jesus at the center. Connect with us on social! Phil + Mallory: @philwickham Levi: @levilusko Jennie: @jennielusko Fresh Life Church: @freshlife [Links] Listen to Song of The Saints on Spotify: https://bit.ly/48wvAPQ Listen to Song of The Saints on Apple Music: https://bit.ly/42ISrnI Get the 5 Gallon Bucket: https://bit.ly/sdl4sHY Get the Lusketeer Sticker: https://bit.ly/sdl4sHY Subscribe for more exclusive content: https://levilusko.com/hitl-subscribe Time stamps 06:50 – Mallory's first-ever podcast 23:42 – Mice infestation + whooping cough 36:24 – Billy Graham cameo & Phil raps 38:47 – Sprinter vs. the garage 43:31 – Five-gallon bucket mouse trap 53:27 – Song of the Saints tour preview

Worship leader and songwriter Phil Wickham is back—this time with his wife Mallory, who pulls back the curtain on life at home while Phil is on the road. From privacy and boundaries to joyful chaos with kids, they talk honestly about the unseen sacrifices that make visible ministry possible. You'll hear the story of their relationship (from hesitant boyfriend to wholehearted husband), the reality of Summer Worship Nights—miracles, momentum, and whooping cough—and the everyday stuff: mice in the garage, sprinter van shenanigans, and why a five-gallon bucket is elite family gear. It's tender, funny, and full of faith for marriages and homes that put Jesus at the center. Connect with us on social! Phil + Mallory: @philwickham Levi: @levilusko Jennie: @jennielusko Fresh Life Church: @freshlife [Links] Listen to Song of The Saints on Spotify: https://bit.ly/48wvAPQ Listen to Song of The Saints on Apple Music: https://bit.ly/42ISrnI Get the 5 Gallon Bucket: https://bit.ly/sdl4sHY Get the Lusketeer Sticker: https://bit.ly/sdl4sHY Subscribe for more exclusive content: https://levilusko.com/hitl-subscribe Time stamps 06:50 – Mallory's first-ever podcast 23:42 – Mice infestation + whooping cough 36:24 – Billy Graham cameo & Phil raps 38:47 – Sprinter vs. the garage 43:31 – Five-gallon bucket mouse trap 53:27 – Song of the Saints tour preview

After reflecting on the lack of economical thinking that brought him here, Mr. Bennet speedily agrees to the terms that Mr. Gardiner has secured for Lydia and Wickham's marriage. But he is determined to hold strong on one point - they shall not be allowed to enter Longbourn. That is, until Elizabeth and Jane convince him to allow a visit as the newlyweds are on their way to Wickham's new posting in the north. Meanwhile, now that the marriage has taken place, Elizabeth is wishing she hadn't let Mr. Darcy in on the sordid truth, since she is slowly realizing that he may in fact, be the right man for her. Elizabeth is convinced that her realization has come too late, but luckily, it's not too late for you to enjoy our latest Friday Favorites as it helps you into another night of soft and comforting sleep.-----Welcome to the Jane Austen Bedtime Stories podcast! Each episode is a section of a classic Jane Austen novel, read in soothing tones and set to calming music to help you fall asleep.With everything that is going on in the world, we find comfort in the familiar. For so many of us, Jane Austen's works are like a warm hug. So snuggle up under the covers and let the comforting words of Jane Austen lull you into sleep.-----Show your appreciation for the pod! Support the podcast: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://bedtimestoriespodcast.net/support⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ -----Follow us on Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/janeaustenbedtimepod/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-----Music ["Reverie"] by Scott Buckley - released under CC-BY 4.0. – www.scottbuckley.com.au

Longbourn is aflutter with the arrival of an express from London - Lydia has been found at last! She and Wickham are not yet married, but soon will be, as long as Mr. Bennet agrees to the terms of the agreement that Mr. Gardiner has secured. The cost to the Bennets is much less than they were expecting, leading them to suspect that their dear uncle has paid more money to Wickham than they can ever hope to repay. It's a troubling thought, but at least the Bennet daughters can occupy themselves with handling their mother's renewed energy towards wedding clothes. Securing Wickham and Lydia's marriage may have cost ten thousand pounds, but this week's Friday Favorites is free, so let it accompany you as you relax into a night of deep and restorative sleep.-----Welcome to the Jane Austen Bedtime Stories podcast! Each episode is a section of a classic Jane Austen novel, read in soothing tones and set to calming music to help you fall asleep.With everything that is going on in the world, we find comfort in the familiar. For so many of us, Jane Austen's works are like a warm hug. So snuggle up under the covers and let the comforting words of Jane Austen lull you into sleep.-----Show your appreciation for the pod! Support the podcast: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://bedtimestoriespodcast.net/support⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ -----Follow us on Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/janeaustenbedtimepod/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-----Music ["Reverie"] by Scott Buckley - released under CC-BY 4.0. – www.scottbuckley.com.au

Scott and Noah unpacks agency growth that actually moves the needle for Amazon sellers. They tackle conference takeaways, real playbooks for managing hundreds of brands, and how “unreasonable hospitality” builds sticky B2B relationships. You will hear how top teams stay resilient, communicate proactively, and keep speed and flexibility at the center of every client touchpoint. Also learn how AI is reshaping product discovery on Amazon, from ChatGPT workflows to Rufus and what that means for ranking, conversion, and revenue. Instead of chasing vanity metrics, Scott and Noah show how to optimize for sales and profitability first, with SEO as a supporting lever. If you run an Amazon agency or lead an in-house marketplace team, this episode is your roadmap to faster growth, smarter tools, and happier clients. Episode Notes: 00:50 - Noah Wickham Introduction 02:25 - E-commerce Beginnings and Favorites 04:20 - Joining My Amazon Guy 05:24 -  Leadership Journey with Steven Pope 09:55 - What Amazon Sellers Value 11:00 - The Four Pillars of Amazon Success 11:59 - Amazon Accelerate 13:35 - Amazon's AI Strategy and New Tools 15:45 - Building an AI Tool for Amazon Sellers 19:17 - Adapting to AI Search Behavior 20:25 - The Rise and Adoption of Rufus 21:55 - Golden Seller Awards 24:06 - Managing Hundreds of Seller Accounts 27:10 - The Importance of Speed and Execution 28:20 - Unreasonable Hospitality in B2B Contexts 29:10 - Fast Onboarding and Proactive Communication 31:04 - Business Growth, Innovation, and Culture Sellers United 2025 Related Post: Top 10 Creator Brands on Amazon in 2025 How to Reach Noah: LinkedIn: linkedin.com/in/noahwickham/ Scott's Links: LinkedIn: linkedin.com/in/scott-needham-a8b39813 X: @itsScottNeedham Instagram: @smartestseller YouTube: www.youtube.com/@smartestamazonseller2371 Newsletter: https://www.smartscout.com/newsletter-sign-up Blog: https://www.smartscout.com/blog

Mr. Bennet and Mr. Gardiner are both in London, doing their best to uncover where Lydia and Wickham may be hiding. No one knows of any of Wickham's friends or relations - all they have been able to uncover is lots and lots of gambling debts. A letter from Mr. Collins offers nothing more than his unhelpful opinions, and eventually Mr. Bennet makes his way home, leaving the Gardiners to continue the search. This week's Friday Favorites is exhausting business, so let the story help you beat your own exhaustion by falling into another night of peaceful and relaxing sleep.-----Welcome to the Jane Austen Bedtime Stories podcast! Each episode is a section of a classic Jane Austen novel, read in soothing tones and set to calming music to help you fall asleep.With everything that is going on in the world, we find comfort in the familiar. For so many of us, Jane Austen's works are like a warm hug. So snuggle up under the covers and let the comforting words of Jane Austen lull you into sleep.-----Show your appreciation for the pod! Support the podcast: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://bedtimestoriespodcast.net/support⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ -----Follow us on Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/janeaustenbedtimepod/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-----Music ["Reverie"] by Scott Buckley - released under CC-BY 4.0. – www.scottbuckley.com.au

Skip Intro comes to New York this week to talk to Louis Partridge of Enola Holmes fame. Partridge takes on the role of Edward Guinness in the new series House of Guinness. He also stars as Wickham in Netflix's upcoming Pride & Prejudice adaptation, as well as the younger Billy Crudup character in Noah Baumbach's Jay Kelly. The 22-year-old actor shares what it was like to meet his first casting director, playing rugby and being mischievous in school, and his girlfriend's funny American accent. Video episodes available on Still Watching Netflix YouTube Channel. Listen to more from Netflix Podcasts.

Elizabeth and the Gardiners make their way back to Longbourn, where they are quickly brought into the Bennet family fold and learn how everyone's been holding up since learning of Lydia's flight from Brighton. Jane has been holding down the fort, while Mrs. Bennet has confined herself to her room and is convinced that Mr. Bennet and Mr. Wickham will fight in a duel. Meanwhile, Kitty is subdued after the loss of her favorite sister, and Mary offers Elizabeth the balm of sisterly consolation and a reminder about the nature of women's virtue. Elizabeth is grateful to be back at home to support her family, despite the circumstances. As she settles into the comfort of her own home, let this week's Friday Favorites help you settle into the comfort of a night of restful and relaxing sleep. -----Welcome to the Jane Austen Bedtime Stories podcast! Each episode is a section of a classic Jane Austen novel, read in soothing tones and set to calming music to help you fall asleep.With everything that is going on in the world, we find comfort in the familiar. For so many of us, Jane Austen's works are like a warm hug. So snuggle up under the covers and let the comforting words of Jane Austen lull you into sleep.-----Show your appreciation for the pod! Support the podcast: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://bedtimestoriespodcast.net/support⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ -----Follow us on Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/janeaustenbedtimepod/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-----Music ["Reverie"] by Scott Buckley - released under CC-BY 4.0. – www.scottbuckley.com.au

There's only been one thing missing from Elizabeth's time in Derbyshire, and that's a letter from Jane, but luckily she's just received two. Unfortunately for her, the letters bear calamitous news - Lydia has run away from Brighton...with Mr. Wickham. What's worse, Mr. Darcy happened to call at the exact time that Elizabeth got the news, and is now privy to the whole scandalous truth. This week's Friday Favorites brings an end to Elizabeth and Darcy's budding friendship (or so Elizabeth believes), so let it also help you bring an end to your day as the comforting story brings you into another night of deep and restorative slumber.-----Welcome to the Jane Austen Bedtime Stories podcast! Each episode is a section of a classic Jane Austen novel, read in soothing tones and set to calming music to help you fall asleep.With everything that is going on in the world, we find comfort in the familiar. For so many of us, Jane Austen's works are like a warm hug. So snuggle up under the covers and let the comforting words of Jane Austen lull you into sleep.-----Show your appreciation for the pod! Support the podcast: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://bedtimestoriespodcast.net/support⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ -----Follow us on Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/janeaustenbedtimepod/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-----Music ["Reverie"] by Scott Buckley - released under CC-BY 4.0. – www.scottbuckley.com.au

In this episode, we explore the challenges of standing out in crowded marketplaces and driving real e-commerce growth.Noah Wickham, Vice President of Sales and Marketing at My Amazon Guy, shares his approach to helping brands succeed by focusing on differentiation, understanding the competitive landscape, and creating a strong brand identity. He also gives actionable advice on advertising, keyword research, and using data to boost sales.Topics discussed in this episode:  Why building a brand is crucial for long-term growth. What goes wrong when brands don't plan for a launch. How to differentiate your brand in a crowded market. What to do before your product launch on Amazon. How to optimize your product listing for customers and search. Why good design and imagery are so important. What advertising strategies to use for a new product. How to use a launch strategy for early sales success. What the four pillars of holistic growth are. Why investing in growth is essential for business. Links & Resources Website: https://myamazonguy.com/YouTube: https://www.youtube.com/myamazonguyLinkedIn: https://www.linkedin.com/in/noahwickham/X/Twitter: https://x.com/myamazonguyGet access to more free resources by visiting the show notes at https://tinyurl.com/44c74nhf______________________________________________________ LOVE THE SHOW? HERE ARE THE NEXT STEPS! Follow the podcast to get every bonus episode. Tap follow now and don't miss out! Rate & Review: Help others discover the show by rating the show on Apple Podcasts at https://tinyurl.com/ecb-apple-podcasts Join our Free Newsletter: https://newsletter.ecommercecoffeebreak.com/ Support The Show On Patreon: https://www.patreon.com/EcommerceCoffeeBreak Partner with us: https://ecommercecoffeebreak.com/podcast-sponsorship/

Send us a textPhil Wickham took a Rich Mullins classic chorus and breathed new life into it with his song What An Awesome God. This chorus has stood the test of time because it is rooted in solid theology. On this episode, we'll explore Scripture that confirms the truths we sing—that our God is awesome, that He reigns from heaven, and that He reigns with wisdom, power, and love.Key PointsWhy theology (study of God) should always lead to doxology (praise)Using the BITE of making a list to uncover God's character in Psalm 68Defining the words awesome and reign to deepen our understandingA word study on the Hebrew word ḥesed (steadfast love)How the “new” lyrics added by Wickham are also firmly grounded in ScriptureScriptures referenced in this episode:Psalm 68Nehemiah 1:5Deuteronomy 7:21Exodus 15:11, 18Psalm 99:1–3Psalm 93:1; 97:1; 103:19; 147:4–5Isaiah 40:26; 66:1Matthew 6:9–10; 8:27Romans 14:11Philippians 2:9–11Revelation 4:2–3; 19:6, 12Bible Interaction Tool Exercises (BITEs)Make a listDefine words in the English dictionaryComplete a word study in HebrewRead in contextStart with God (look for His character, conduct, and concerns)Additional ResourcesDownload the free Episode Guide: michellenezat.com/519downloadLyrics for What An Awesome God by Phil Wickham – NewReleaseToday.comBible study tools mentioned: BibleHub.com | BlueLetterBible.orgLearn more about my favorite Bible Study Software with a 30-day free trial and links to my favorite Bible resources - Logos Bible Software Affiliate LinkThis Week's ChallengeFollow the pattern I've used this week. Seek out areas of Scripture that confirm that God is awesome and reigns from heaven with wisdom, power, and love. Read these verses in context, make lists, look up English definitions, and complete Hebrew and Greek word studies. Read and interact with Scripture for yourself. And then lift your eyes and your heart to God in heaven and praise Him, for all of your efforts toward theology should lead to doxology. And we serve an awesome God who is worthy of our praise.Purchase your copy of A Seat at the Table today! Change your music. Change your life. Join my free 30-Day Music Challenge. CLICK HERE.

Liz and Sarah talk about why it’s important never to delete anything substantial. They never know when they’re going to want to put something back into a document. It happens! In Take A Hike, Sarah shares why being at her lake house in Minnesota made her realize it’s important to “look down.” Next, Liz and Sarah revisit the topic of crying at work in Take Two. Listeners have so many observations and insights! This week’s Hollywood Hack is great for summer — try mini soda cans. Finally, Sarah recommends the Mr. Darcy and Miss Tilney mystery book series. Sign up for Liz and Sarah’s free weekly newsletter at https://happierinhollywoodpod.substack.com. Get in touch on Instagram: @Sfain & @LizCraft Get in touch on Threads: @Sfain & @LizCraft Visit our website: https://happierinhollywood.com Join our Facebook group: https://www.facebook.com/HappierinHollywood/ Happier in Hollywood is part of ‘The Onward Project,’ a family of podcasts brought together by Gretchen Rubin—all about how to make your life better. Check out the other Onward Project podcasts—Happier with Gretchen Rubin, andSide Hustle School . If you liked this episode, please subscribe, leave a review, and tell your friends! Note: Go to the Happier In Hollywood Facebook Group for Liz and Sarah’s extensive Teens/Tweens Gift Guide. Thanks to listeners for such great ideas! Link below. https://www.facebook.com/groups/903150719832696/permalink/3081705578643855/ LINKS: Bird by Bird by Anne Lamott: https://amzn.to/4lfLdi2 Diet Coke Mini-Can: https://amzn.to/4nzzEE0 The Murder of Mr. Wickham: https://amzn.to/4lDdoqX Photo by See omnystudio.com/listener for privacy information.

Tonight's bedtime story is the continuation of Pride and Prejudice by Jane Austen. In this episode, Elizabeth reveals some of the contents of Darcy's letter to Jane. Wickham leaves Meryton..Support the podcast and enjoy ad-free and bonus episodes. Try FREE for 7 days on Apple Podcasts. For other podcast platforms go to https://justsleeppodcast.com/supportOr, you can support with a one time donation at buymeacoffee.com/justsleeppodOrder your copy of the Just Sleep book! https://www.justsleeppodcast.com/book/If you like this episode, please remember to follow on Spotify, Apple Podcasts, or your favourite podcast app. Also, share with any family or friends that might have trouble drifting off.Goodnight! Hosted on Acast. See acast.com/privacy for more information.