Podcasts about Wikipedia

Labyrinths have fascinated people for thousands of years, appearing in mythology, religion, art, and architecture across many cultures. This episode explores what labyrinths are, how they differ from mazes, their connection to the legend of the Minotaur, and the many ways they have been used throughout history. Along the way, you'll hear about ancient designs, medieval cathedral labyrinths, symbolic journeys, and modern walking labyrinths. It's steady and consistent, with no whispering and no sudden changes, just enough to give your mind something to follow as you wind down. Happy sleeping! Read with permission from Labyrinth, Wikipedia (https://en.wikipedia.org/wiki/Labyrinth), licensed under CC BY-SA 4.0. — Ad-free episodes: ⁠icantsleep.supportingcast.fm⁠Have a topic in mind? ⁠Request a topic⁠ Learn more about your ad choices. Visit ⁠megaphone.fm/adchoices Learn more about your ad choices. Visit megaphone.fm/adchoices

rWotD Episode 3365: First Cevallos expedition Welcome to random Wiki of the Day, your journey through Wikipedia's vast and varied content, one random article at a time.The random article for Tuesday, 21 July 2026, is First Cevallos expedition.The First Cevallos expedition was a series of Spanish military operations in South America during the Fantastic War. Under the command of the governor of Buenos Aires, Pedro de Cevallos, the expedition captured the Portuguese settlement of Colónia do Sacramento and fought off a joint Anglo-Portuguese attempt to recapture it. All military activities in the region concluded with the 1763 Treaty of Paris.In 1762, Spain entered the Seven Years' War on the side of France as part of the Family Compact, motivated in part by diplomatic efforts on the part of the French government. Having been notified months in advance that Spain was planning to enter the conflict and declare war on Portugal, Cevallos launched an expedition against Colónia do Sacramento on 3 September 1762, sailing at the head of an expeditionary fleet from Buenos Aires which carried 2,700 soldiers. The Portuguese authorities in Colónia do Sacramento, already alerted to Cevallos' plans, received reinforcements on 24 September.The expedition arrived near Colónia do Sacramento on 7 September and began to besiege it on 1 October. By 3 November, the settlement capitulated to the Spanish. A month later, a joint Anglo-Portuguese expedition attempted to recapture it, attacking the city walls by bombarding it; after a British warship was destroyed, the Anglo-Portuguese force withdrew. From January to April 1763, Cevallos launched several attacks on Portuguese outposts in the region, capturing the forts of Santa Tereza and San Miguel and occupying the village of Rio Grande. There, Cevallos learned of the Treaty of Paris and concluded his campaign.The expedition's success was received positively in Spain, as the war had gone badly for the Spanish on all other fronts. Under the terms of the Treaty of Paris, Colónia do Sacramento was returned to Portugal, though other outposts captured by Cevallos remained under Spanish control. The Portuguese refused to accept losing control over these outposts, launching several incursions into Spanish-held territory; these actions eventually resulted in an undeclared war breaking out between Spain and Portugal between 1776 and 1777. During this conflict, Cevallos once again captured Colónia do Sacramento, and it was permanently ceded to Spain in the First Treaty of San Ildefonso.This recording reflects the Wikipedia text as of 00:08 UTC on Tuesday, 21 July 2026.For the full current version of the article, see First Cevallos expedition on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Bluesky at @wikioftheday.com.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Justin.

fWotD Episode 3364: Lope Martín Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Tuesday, 21 July 2026, is Lope Martín.Lope Martín (marooned 21 July 1566) was an Afro-Portuguese maritime pilot who successfully navigated across the Pacific Ocean east–west and then west–east, becoming the first to complete the return voyage from Asia to the Americas. Martín was a free mulatto from Lagos, Portugal, who became a licensed pilot in Spain. He was contracted for Miguel López de Legazpi's expedition from Mexico to the Philippines and was designated the sole pilot of a patache called the San Lucas. Martín and the San Lucas separated from the rest of the fleet after ten days and sailed through the Marshall Islands and the Caroline Islands before arriving at the Philippines in January 1565. Without the rest of the fleet, Martín then embarked upon the return voyage from Asia to the Americas, which had been attempted but never completed; the San Lucas arrived in Mexico in August 1565.In spite of Martín's accomplishments, the Real Audiencia of Mexico soon ordered him to return to the Philippines and appear before Legazpi, who was expected to execute him for having allegedly deserted the rest of his fleet. Martín's ship, the San Jerónimo, departed Mexico in May 1566; recognizing the danger that he faced, Martín led two successive mutinies and took command of the ship. He anchored the San Jerónimo at Ujelang Atoll in July 1566, intending to maroon any members of the crew who were not loyal to him; instead, Martín and 26 other men were left behind and never seen again.This recording reflects the Wikipedia text as of 00:48 UTC on Tuesday, 21 July 2026.For the full current version of the article, see Lope Martín on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Bluesky at @wikioftheday.com.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Geraint.

pWotD Episode 3366: Kevin Keegan Welcome to popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 688,797 views on Monday, 20 July 2026 our article of the day is Kevin Keegan.Joseph Kevin Keegan (14 February 1951 – 20 July 2026) was an English footballer and manager. Nicknamed "King Kev" or "Mighty Mouse", Keegan was recognised for his dribbling ability, finishing and presence in the air, and is regarded as one of the greatest players of all time.Keegan began his playing career at Scunthorpe United in 1968, before Bill Shankly signed him for Liverpool. There, he won three First Division titles, the UEFA Cup twice, the FA Cup and, in his final season, the European Cup. During this period, he was a regular member of the England national team, and captained the team on 31 occasions, including at UEFA Euro 1980. He moved to Hamburger SV in the summer of 1977 and was named European Footballer of the Year in both 1978 and 1979. Hamburg won the Bundesliga title in the 1978–79 season and reached the 1980 European Cup final. Keegan left Hamburg and played at Southampton for two seasons, before transferring to Newcastle United in the Second Division in 1982. He helped Newcastle secure promotion in his second season, and retired from playing in 1984. He scored 204 goals in 592 appearances in his club career, adding 21 goals in 63 caps for England.He moved into management at Newcastle in 1992, and the team won promotion to the Premier League as First Division champions in his first full season. Newcastle finished second in the Premier League in the 1995–96 season, despite leading the way for most of the campaign. After managing Fulham for two seasons, he took charge of the England national team in February 1999, but resigned in October 2000 following a 1–0 loss against Germany in qualification for the 2002 FIFA World Cup. In 2001, he became manager of Manchester City for four years, until he resigned in 2005. Keegan had been out of football for almost three years when he returned to Newcastle for a second spell as manager in January 2008, but this lasted only eight months, as he resigned in September following speculation about a dispute with the club's directors. He had the unique distinction of being promoted as champions in his first full season with the three clubs he managed.This recording reflects the Wikipedia text as of 02:38 UTC on Tuesday, 21 July 2026.For the full current version of the article, see Kevin Keegan on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Bluesky at @wikioftheday.com.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Aditi.

One of the characteristics of life is that living organisms gather information and put it to use. Even one of the simplest lifeforms, bacteria, are able to sense features of their surroundings and alter their behavior accordingly. Most impressively, they are able to sense the presence of similar bacteria by a process called quorum sensing. Today's guest, Bonnie Bassler, is a leader in this field, and explains how quorum sensing allows groups of bacteria to do things (including in our bodies) that wouldn't be possible for individual bacteria. Blog post with transcript: https://preposterousuniverse.com/podcast/2026/07/20/361-bonnie-bassler-on-how-bacteria-talk-and-work-together/ Support Mindscape on Patreon. Bonnie Bassler received a Ph.D. in biochemistry from Johns Hopkins University. She is currently Andrew K. Golden University Professor of Molecular Biology at Princeton University and a Howard Hughes Medical Institute Investigator. She is a member of the National Academy of Sciences, National Academy of Medicine, and the American Academy of Arts and Sciences. Among her awards are a MacArthur Fellowship, the Gruber Prize in Genetics, and the National Medal of Science. Lab web site Princeton web page Google Scholar publications Wikipedia

French fries are one of the world's most recognizable foods, enjoyed everywhere from neighborhood diners to restaurants and street vendors around the globe. This episode explores the debated origins of French fries, how potatoes became the ideal ingredient for frying, the many styles and preparations found around the world, and why this simple dish has remained a favorite for generations. Along the way, you'll hear about regional variations, cooking techniques, popular condiments, and the enduring appeal of crispy potatoes. It's steady and consistent, with no whispering and no sudden changes, just enough to give your mind something to follow as you wind down. Happy sleeping! Read with permission from French fries, Wikipedia (https://en.wikipedia.org/wiki/French_fries), licensed under CC BY-SA 4.0. — Ad-free episodes: ⁠icantsleep.supportingcast.fm⁠Have a topic in mind? ⁠Request a topic⁠ Learn more about your ad choices. Visit ⁠megaphone.fm/adchoices Learn more about your ad choices. Visit megaphone.fm/adchoices

For decades, cabins around Maine's North Pond were burgled by someone who took food, books, and propane — and fixed the doors on his way out. Locals called him the North Pond Hermit, and plenty of them doubted he existed at all. Then, one April night in 2013, a silent alarm at a summer camp brought a game warden face to face with a man carrying stolen groceries and a secret almost too big to believe. What he told police that night launched one of the strangest criminal cases in Maine's history — and left an entire state arguing over what, exactly, he was guilty of. Julie and Kaycee unravel how he pulled it off, what it cost the people around that pond, and the one question the courts never fully answered. 00:44 Show Intro And Setup 01:06 Caught In The Kitchen 03:32 North Pond Burglar Legend 07:34 Pine Tree Camp Sting 10:14 Who Is Christopher Knight 12:43 Hidden Camp And Winter Routine 16:11 Survival By Burglary 20:00 Close Calls And Capture 21:44 Jail Fame And Finkel Interviews 23:57 Court Program And Sentencing 26:58 Stillness And Final Thoughts 30:36 Outro And Takeaway Listen AD FREE: Support our podcast at patreaon: http://patreon.com/TheCruxTrueSurvivalPodcast Email us! thecruxsurvival@gmail.com Instagram https://www.instagram.com/thecruxpodcast/ Get schooled by Julie in outdoor wilderness medicine! https://www.headwatersfieldmedicine.com/ REFERENCES: "Christopher Thomas Knight," Wikipedia (accessed July 2026) — biographical overview, camp details, 2012 cabin encounter, Bellavance discovery. Finkel, Michael. *The Stranger in the Woods: The Extraordinary Story of the Last True Hermit.* Knopf, 2017. (Primary source for Knight's account of the woods years.) Finkel, Michael. "The Strange & Curious Tale of the Last True Hermit," *GQ*, August 2014. "Why the North Pond Hermit Hid From People for 27 Years," *National Geographic* interview with Michael Finkel, 2017 — family background, Hughes quote, Thoreau comparison, camp location. "'North Pond Hermit' Knight completes specialty court program," *Kennebec Journal / CentralMaine.com*, March 23, 2015 — sentencing, Mills and McKee quotes, Pine Tree Camp surveillance and arrest details, Willard-Robinson quote. "North Pond Hermit accepted into alternative sentencing program," *Sun Journal*, September 14, 2013 — indictment, Co-Occurring Disorders Court terms, DA Maloney statements. "North Pond Hermit out of jail, doing well in alternative program, DA says," *Bangor Daily News*, November 22, 2013 — release date, program conditions, statute-of-limitations point. *State v. Knight*, Maine Supreme Judicial Court, 2016 (via FindLaw) — plea structure, sentence, restitution figures, vacated $1,125, dissent on victim impact. "'North Pond Hermit' balks at paying costs for removal of campsite," *Portland Press Herald*, April 26, 2016 — Perkins-Vance arrest details, restitution appeal, songs/documentary/marriage-proposal detail. "10 Years Ago, the Mystery of the North Pond Hermit was Solved," Q106.5 (Townsquare Media Maine), April 2023 — local lore, unlocked doors, thief repairing damage. "A Q&A with The Stranger in the Woods author Michael Finkel," *Down East Magazine*, March 2017 — Finkel's reporting process, ~500 journalists, "dilettante." Hazlitt interview with Michael Finkel, 2017 — camp construction (magazine floor, propane kitchen, single chair), forest density. "Book Review: The Stranger in the Woods," *Real Change News*, August 23, 2017 — forensic evaluation ("complete competency"; possible Asperger's, depression, schizoid personality disorder), "stillness" quote. "Christopher Thomas Knight: The North Pond Hermit," HubPages/Discover — $395 detail, spare-key method, "I just walked away" attribution. (Secondary aggregator; cross-check flagged above.) Byrd, Richard E. *Alone.* 1938. (Basis for the Antarctic comparison.) Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Welcome to Christian Rock Summer 2026! We're kicking it off this year with an album about spiritual warfare that takes the war metaphor a bit too literally. On today's episode, Josh and Josiah were joined by Tom O'Mahony and Gregk Foley from Blood Work to discuss The Heart of War by Christian "hard rock" band Jonah33. Follow Gregk on Bluesky @gregk.co.ukFollow Tom on Twitter @gotitatguineys or Bluesky @gotitatguineys.bsky.socialFollow Blood Work on Twitter @bloodworkshow or Bluesky @bloodwork.showListen to Blood Work: bloodwork.showListen to Lions Led By Donkeys and Beneath the SkinBecome a Fruitless Patron here: https://www.patreon.com/user?u=11922141Check out Fruitless on YouTubeFind more of Josiah's work: https://linktr.ee/josiahwsuttonFollow Josiah on Twitter @josiahwsuttonReferences"Jonah33 Goes to War," New Release Today, https://www.newreleasetoday.com/article/jonah33-goes-to-war"Jonah33," Jesusfreakhideout, https://www.jesusfreakhideout.com/cdreviews/Jonah33.asp"Jonah33," ChristianMusic.com, http://www.christianmusic.com/jonah33/jonah33.htm"Vince Lichlyter and Jonah33: An Arkansas-based rock veteran returns," Cross Rhythms, https://www.crossrhythms.co.uk/articles/music/Vince_Lichlyter_and_Jonah33_An_Arkansasbased_rock_veteran_returns/53343/p1/Audio creditsJesus Freak - DC TalkYesterday – bloom.Faith Like That - Jonah33Last One Standing - Jonah33Desensitized - Jonah33Bullets - Jonah33Fire At Will - Jonah33Scream - Jonah33Brand New Way to Live - Jonah33No Song Left to Sing - Jonah33Never Alone - Jonah33Sample of a D beat from Wikipedia, https://en.wikipedia.org/wiki/File:D-beat_(candidate_2).oggWhite Flag - Jonah33Bass - NoCopyrightMusic ★ Support this podcast on Patreon ★

rWotD Episode 3364: Council of Jerusalem (536) Welcome to random Wiki of the Day, your journey through Wikipedia's vast and varied content, one random article at a time.The random article for Monday, 20 July 2026, is Council of Jerusalem (536).The Council of Jerusalem of 536 was a meeting of Chalcedonian representatives of the church of the Three Palestines (Prima, Secunda, Tertia) to condemn certain persons accused of the Monophysite heresy. It was convoked at the initiative the Roman emperor Justinian I following the forced resignation of the Patriarch Anthimus I of Constantinople in February or March, an event in which Pope Agapetus I had played the main role.Following the Council of Constantinople in May–June 536, Patriarch Menas of Constantinople wrote to Patriarch Peter of Jerusalem urging him to hold a council of the Three Palestines to condemn the same heretics as had Constantinople: Anthimus, Severus of Antioch, Zaʿūra the Stylite and Peter of Apamea. The emperor also sent a letter. These letters were delivered by the monks of the Judaean Desert who had traveled to Constantinople to take part in the council there. Since Jerusalem had only been raised to a patriarchate by the Council of Chalcedon in 451, the authority of the bishop of the city over the church in the Three Palestines was not accepted by anti-Chalcedonians.The council met on 19 September 536 in Jerusalem (formally Aelia Capitolina). It conducted its business in Greek. Its acts are preserved in the collection known as the Collectio Sabbaitica. The verdicts of the Council of Constantinople were read into the record and the assembled clergy at Jerusalem discussed all four condemned clerics. Their own verdict, however, only explicitly condemned Anthimus. It was subscribed by 47 bishops, which was almost every bishop in the Three Palestines. There is no logical sequence to the subscriptions and they were all made in Greek.This recording reflects the Wikipedia text as of 00:14 UTC on Monday, 20 July 2026.For the full current version of the article, see Council of Jerusalem (536) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Bluesky at @wikioftheday.com.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Kajal.

fWotD Episode 3363: Curlew sandpiper Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Monday, 20 July 2026, is Curlew sandpiper.The curlew sandpiper (Calidris ferruginea) is a small wader. It is a long-distance migrant, breeding in the bogs and coastal lowlands of the Siberian Arctic, arriving there in June and staying until August or September. After the breeding season, it migrates south to spend the winter in Africa and along the coasts of Oceania and southern Eurasia, occupying tidal mudflats and saltpans.It has three main plumages that change with maturity and season. The non-breeding plumage shows brown-greyish upperparts and white underparts. The breeding plumage is much more striking, with the entire front tinted a deep rusty colour, more intensely so in males. The first-year bird does not migrate or breed, instead remaining in its overwintering range throughout the breeding season. It may occasionally moult into its breeding plumage, which is largely similar to that of an adult but with white spots on the chest. The non-breeding juvenile plumage is also like that of an adult, except with creamy-coloured streaking on the breast and pale fringes on some of the wing feathers, leading to a scaly appearance. Adults superficially resemble the larger but shorter-billed red knot and the red phalarope in breeding plumage, and the dunlin and stilt sandpiper while not breeding. Juveniles may be confused with the larger and yellow-legged juvenile ruff, or the juvenile dunlin, which has a streaked chest.The curlew sandpiper's courtship behaviour is complex and involves several distinct displays. In one, the male constructs a faux nest on the ground to present to the female. Another is a graceful aerial chase accompanied by frequent warbling calls. In a third, the male dances around the female on the ground, displaying his tail feathers and rump; this display sometimes culminates in copulation. The female almost always lays one clutch of eggs, usually around the end of June, which hatch after 20 days and fully fledge at 14–20 days. Chicks are relatively mature and mobile at birth. The curlew sandpiper's breeding success is linked to the lemming population; in years with many lemmings, its predators hunt them instead. It is omnivorous, foraging in large flocks in wetlands for various invertebrates, including crabs and insects.It is listed as a vulnerable species on the IUCN Red List because land development and the invasive smooth cordgrass have caused significant habitat loss to its overwintering and migratory sites, and climate change has lowered its breeding productivity. The curlew sandpiper has an estimated annual survival rate of 75–80%.This recording reflects the Wikipedia text as of 00:53 UTC on Monday, 20 July 2026.For the full current version of the article, see Curlew sandpiper on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Kimberly.

¿La guerra de Troya ocurrió realmente? ¿Máximo Décimo Meridio existió? ¿Espartaco fue crucificado? ¿Y cuánto de estas películas pertenece a la historia y cuánto fue inventado por Hollywood?En este episodio de Trollywood Podcast nos ponemos las armaduras, sacamos las espadas y viajamos por las mejores —y algunas no tan buenas— películas grecorromanas del cine: La Odisea de Christopher Nolan, Troya, Gladiador, Pompeya, Espartaco y Alejandro Magno.Hablamos de cíclopes construidos físicamente, barcos reales navegando en mar abierto, huracanes destruyendo sets, actores peleando sin dobles, bosques incendiados para conseguir una toma, ciudades sepultadas por volcanes, rebeliones de esclavos y conquistadores que construyeron algunos de los imperios más grandes de la historia.Además, descubrimos cómo Espartaco ayudó a romper la lista negra de Hollywood, por qué Brad Pitt terminó lesionándose el tendón de Aquiles, qué tan fiel fue Pompeya a la erupción del Vesubio y por qué Oliver Stone necesitó varias versiones para intentar arreglar Alejandro Magno.Separamos los hechos históricos de las licencias cinematográficas para descubrir qué personajes existieron, cuáles pertenecen a las leyendas y qué acontecimientos fueron modificados para convertirlos en grandes espectáculos de Hollywood.Prepárate para mitología, tragedias detrás de cámaras, emperadores desquiciados, gladiadores, músculos, homoerotismo cinematográfico y suficiente información para obligarte a correr a Wikipedia después del episodio.¿Cuál es la mejor película épica: La Odisea, Troya, Gladiador, Pompeya, Espartaco o Alejandro Magno?

pWotD Episode 3365: FIFA Welcome to popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 101,698 views on Sunday, 19 July 2026 our article of the day is FIFA.The Fédération Internationale de Football Association (FIFA) is an international self-regulatory governing body of association football, beach soccer, and futsal. It was founded on 21 May 1904 to oversee international competition among the national associations of Belgium, Denmark, France, Germany, the Netherlands, Spain, Sweden, and Switzerland. Headquartered in Zurich, Switzerland, its membership now comprises 211 national associations. These national associations must also be members of one of the six regional confederations: CAF (Africa), AFC (Asia), UEFA (Europe), CONCACAF (North and Central America and the Caribbean), OFC (Oceania), and CONMEBOL (South America). FIFA has several objectives in its organisational statutes, including growing the game internationally, ensuring it is accessible to everyone, and advocating for integrity and fair play. It is responsible for organising and promoting association football's major international tournaments, notably the World Cup which began in 1930, and the Women's World Cup which commenced in 1991. FIFA is a member of the International Football Association Board, which is responsible for the laws of the game, and FIFA applies and enforces the rules across its competitions. FIFA tournaments generate revenue from sponsorships; in 2022, FIFA had revenues of over US$5.8 billion, ending the 2019–2022 cycle with a net positive of $1.2 billion, and cash reserves of over $3.9 billion.This recording reflects the Wikipedia text as of 04:00 UTC on Monday, 20 July 2026.For the full current version of the article, see FIFA on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Bluesky at @wikioftheday.com.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Joanna.

Hur definierar man egentligen ett UFO? Hur förklarar man alla de iakttagelser som gjorts runt om i världen? Och vad har man sett här i Sverige?Wikipedia säger sitt om UFO. Hosted on Acast. See acast.com/privacy for more information.

Historische Bündnisurkunden der Schweiz... Mach's dir bequem und kuschel dich ein! Dieser Podcast wird durch Werbung finanziert. Weitere Podcasts, Infos und Angebote unserer Werbepartner: https://linktr.ee/EinschlafenMitPodcast Die Episode basiert auf Inhalten von Wikipedia: https://de.wikipedia.org/wiki/Bundesbriefe Inhalte wurden mithilfe künstlicher Intelligenz erstellt oder bearbeitet. CC BY-SA 4.0 (https://creativecommons.org/licenses/by-sa/4.0/)

Who Controls What You're Allowed to Believe? Ashley Rindsberg on Wikipedia, Google, AI Bias & the Hidden Information War Investigative journalist Ashley Rindsberg uncovers documented left-leaning bias baked into Wikipedia, a secretive list deciding which outlets count as "reliable," and a money trail touching the world's most powerful political networks and elite global foundations and NGO's. Inside this episode (don't miss): How Wikipedia and Google quietly decide what you're "allowed" to see first on almost any topic — and how one anonymous editor allegedly wrote the rulebook for which sources get trusted and which get blacklisted. How Trump gets labeled an "authoritarian" while actual authoritarian regimes get soft-pedaled — and how Clinton-linked networks and Soros-funded activism allegedly help supercharge that double standard. The Wikimedia Foundation's 2016 pivot into a DEI-branded "social justice" project, and its ties to major political operatives, Clinton-adjacent infrastructure, and activist funding pipelines. The billion-dollar cottage industry of paid editors and "reputation managers" who can lock, rewrite, and curate reality — while public figures can't even correct basic facts about themselves. How entries sourced from Iranian state outlets and Chinese state media make it onto Wikipedia as "reliable" — while outlets like the Daily Mail get blacklisted entirely. How platforms like Al Jazeera, rated a reliable source on Wikipedia despite Qatari state ownership, are feeding directly into the AI tools you use every day — shaping what those tools present to you as neutral fact. Why ordinary people — including Jillian herself — say they can't get false information about them corrected, and what the law actually allows. This isn't just about an encyclopedia. It's about who shapes what an entire generation is told is true, while almost no one is watching it happen.

Everyone knows about General George Washington and the British surrender at Yorktown, Virginia in 1781. But, very few people know the circumstances surrounding that surrender. Very few people know about the involvement of an enslaved Black man named James who worked as a double agent during the war, secretly passing information to the Americans while feeding the British false leads. Few people know the risks James took, risks that eventually led to an American victory, risks that stood to gain him nothing in return. Let's fix that. Support the show! Join the Patreon (patreon.com/historyfixpodcast)Buy some merchBuy Me a CoffeeVenmo @Shea-LaFountaineSources: American Battlefield Trust "James Armistead Lafayette"Library of Virginia "James Lafayette Petition for Freedom, 1786"United States Army National Museum "James Armistead Lafayette"Wikipedia "James Armistead Lafayette"Wikipedia "Benedict Arnold"Wikipedia "Marquis de Lafayette"Shoot me a message! Support the show

Aunty Donna's Mark Bonanno joins us to chat analogue horror, obscure VHS boardgames, and recap the unrecappable: a mysterious 2016 ARG called "CH/SS".Follow Spooko on Insta: @_spooko_Join the Feel Bad Club on our discord: https://discord.gg/mJAJYCChGyAnd if you're keen for more Peach and Shag, check out our OTHER pod (it's about Gordon Ramsay): @peachandshagsnightmaremethodOh, and pls drop a review if you've been listening for a while!See omnystudio.com/listener for privacy information.

A multimedia adventure franchise... Get cozy and relax! This podcast is funded by advertising. Info and offers from our sponsors: https://linktr.ee/EinschlafenMitPodcast Here's the Wikipedia article (revised): https://en.wikipedia.org/wiki/Indiana_Jones Content was created or edited with the help of artificial intelligence. CC BY-SA 4.0 (https://creativecommons.org/licenses/by-sa/4.0/) Learn more about your ad choices. Visit megaphone.fm/adchoices

fWotD Episode 3362: The Halo Graphic Novel Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Sunday, 19 July 2026, is The Halo Graphic Novel.The Halo Graphic Novel is a graphic novel anthology published by Marvel Comics in partnership with Bungie, set in the universe of the science fiction franchise Halo. The Halo Graphic Novel was the series' first entry into the sequential art medium, and features aspects of the Halo universe which until then had not been discussed or seen in any medium.The majority of the book is divided into four short stories by different writers and artists from the computer game and comic industries. Each story focuses on different aspects of the Halo universe, revealing stories that are tangential to the main plot of the game. Apart from the stories, the book also contains an extensive art gallery compiled of contributions from Bungie, Marvel and independent sources.Released on July 19, 2006, The Halo Graphic Novel was well-received, with reviewers noting the cohesiveness of the work as a whole, as well as the diversity of the individual material. The success of the novel led to Marvel announcing a new limited comic series, Halo: Uprising, and other future Halo comic books.This recording reflects the Wikipedia text as of 00:50 UTC on Sunday, 19 July 2026.For the full current version of the article, see The Halo Graphic Novel on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Matthew.

rWotD Episode 3363: That Vision Thing Welcome to random Wiki of the Day, your journey through Wikipedia's vast and varied content, one random article at a time.The random article for Sunday, 19 July 2026, is That Vision Thing."That Vision-Thing" is the second episode of the third season of the American television series Angel. Written by Jeffrey Bell and directed by Bill L Norton, it was originally broadcast on October 1, 2001 on the WB network. In "That Vision-Thing", Cordelia's vision gift grows dangerous when it begins physically affecting her. She is on the verge of death when Angel discovers Wolfram & Hart lawyer Lilah Morgan is sending the painful visions to force Angel to free a man imprisoned in an alternate dimension.This recording reflects the Wikipedia text as of 00:39 UTC on Sunday, 19 July 2026.For the full current version of the article, see That Vision Thing on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Bluesky at @wikioftheday.com.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Amy.

pWotD Episode 3364: Sonam Wangchuk Welcome to popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 230,297 views on Saturday, 18 July 2026 our article of the day is Sonam Wangchuk.Sonam Wangchuk (born 1 September 1966) is an Indian engineer, activist, innovator, education reformer, and environmentalist. He is the founding-director of the Students' Educational and Cultural Movement of Ladakh (SECMOL), which was founded in 1988 by a group of students who had been, in his own words, the 'victims' of an alien education system foisted on Ladakh. He was also known for designing the SECMOL campus that runs on solar energy and uses no fossil fuels for cooking, lighting or heating.Wangchuk was instrumental in the launch of Operation New Hope in 1994, a collaboration of the government, village communities and the civil society to bring reforms in the government school system. He was inspired by artificial glaciers designed and constructed by Padma Shri awardee Chewang Norphel, in creating his own version known as Ice Stupa technique, used for storing winter water in the form of a cone-shaped ice heap.Wangchuk's contributions to Ladakh’s education sector and climate-related challenges, and his innovative solutions to local problems have earned him numerous accolades. As of 2025, he has received around 15 awards, including the Ramon Magsaysay Award (2018), the title of Eminent Technologist of the Himalayan Region by IIT Mandi (2018), and the Global Award for Sustainable Architecture (2017).This recording reflects the Wikipedia text as of 02:46 UTC on Sunday, 19 July 2026.For the full current version of the article, see Sonam Wangchuk on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Bluesky at @wikioftheday.com.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Joey.

Einführung des französischen Laizismus... Mach's dir bequem und kuschel dich ein! Dieser Podcast wird durch Werbung finanziert. Weitere Podcasts, Infos und Angebote unserer Werbepartner: https://linktr.ee/EinschlafenMitPodcast Die Episode basiert auf Inhalten von Wikipedia: https://de.wikipedia.org/wiki/Gesetz_zur_Trennung_von_Kirche_und_Staat_(Frankreich) Inhalte wurden mithilfe künstlicher Intelligenz erstellt oder bearbeitet. CC BY-SA 4.0 (https://creativecommons.org/licenses/by-sa/4.0/)

Hur funkar ett pyramidspel egentligen? Vilka är det som tjänar pengar på det här bedrägeriet? Och i hur många led fungerar detta innan allt blir ohållbart?Wikipedia säger sitt om pyramidspel. Hosted on Acast. See acast.com/privacy for more information.

rWotD Episode 3362: Beausoleil, Alpes-Maritimes Welcome to random Wiki of the Day, your journey through Wikipedia's vast and varied content, one random article at a time.The random article for Saturday, 18 July 2026, is Beausoleil, Alpes-Maritimes.Beausoleil (French: [bosɔlɛj]; Occitan: Bèusoleu [ˌbɛwsuˈlew]; lit. 'Beautiful Sun') is a commune in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur region in Southeastern France. It adjoins the Principality of Monaco to its south. The commune of Beausoleil was established in 1904; it was supposed to be named Monte-Carlo Supérieur (French: [mɔ̃t kaʁlɔ sypeʁjœʁ]; lit. 'Upper Monte Carlo') for a time but the idea was abandoned after protests from Monégasque authorities.This recording reflects the Wikipedia text as of 00:37 UTC on Saturday, 18 July 2026.For the full current version of the article, see Beausoleil, Alpes-Maritimes on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Bluesky at @wikioftheday.com.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Kendra.

fWotD Episode 3361: Hamilcar's defeat of Spendius and Autaritus Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Saturday, 18 July 2026, is Hamilcar's defeat of Spendius and Autaritus.Hamilcar's victory with Naravas took place in 240 BC in what is now north-west Tunisia. A Carthaginian army led by Hamilcar Barca defeated a rebel army led by Spendius and Autaritus, after 2,000 Numidian cavalry led by Naravas defected from the rebels to Carthage. The precise location of the battle is unknown. Carthage was fighting a coalition of mutinous soldiers and rebellious African cities in the Mercenary War which had started in 241 BC.Hamilcar's army had manoeuvred to bring rebel-controlled towns back to Carthage while a rebel army under the command of Spendius, which included a contingent of Gauls under Autaritus and a group of Numidian cavalry under Naravas, shadowed it. Unable to confront the Carthaginian war elephants and cavalry on open ground, the rebels stayed on higher and rougher terrain and harassed the Carthaginian army. The Carthaginians became trapped in a mountain valley and their situation was bleak. Naravas defected to Carthage, bringing his 2,000 cavalry with him. Hamilcar, with his route of retreat now clear, deployed for battle. Spendius chose to engage and in a hard-fought battle was heavily defeated.Spendius perceived Hamilcar's generous treatment of rebel prisoners as the motivation behind Naravas's defection and feared the disintegration of his army. To remove the possibility of any goodwill between the sides, he had 700 Carthaginian prisoners tortured to death. The Carthaginians, in turn, killed their prisoners. From this point, neither side showed any mercy, and the unusual ferocity of the fighting caused the contemporary historian Polybius to term it the "Truceless War". The rebel army was finally defeated in 238 BC, with the last rebel city surrendering in 237 BC.This recording reflects the Wikipedia text as of 00:32 UTC on Saturday, 18 July 2026.For the full current version of the article, see Hamilcar's defeat of Spendius and Autaritus on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Joey.

pWotD Episode 3363: Odyssey Welcome to popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 311,479 views on Friday, 17 July 2026 our article of the day is Odyssey.The Odyssey (; Ancient Greek: Ὀδύσσεια, romanized: Odýsseia [odýsseːa]) is one of two major epics of ancient Greek literature attributed to Homer. It is one of the oldest surviving works of literature and remains popular with modern audiences. Like the Iliad, the Odyssey is divided into 24 books. It follows the heroic king of Ithaca, Odysseus, also known by the Latin variant Ulysses, and his homecoming journey after the ten-year-long Trojan War. His journey from Troy to Ithaca lasts an additional ten years, during which time he encounters many perils and all of his crewmates are killed. In Odysseus's long absence, he is presumed dead, leaving his wife Penelope and son Telemachus to contend with a group of unruly suitors competing for Penelope's hand in marriage.The Odyssey was first composed in Homeric Greek around the 8th or 7th century BC; by the mid-6th century BC, it had become part of the Greek literary canon. In antiquity, Homer's authorship was taken as true, but contemporary scholarship predominantly assumes that the Iliad and the Odyssey were composed independently, as part of long oral traditions. Given widespread illiteracy, the poem was performed for an audience by an aoidos or rhapsode.Key themes in the epic include the ideas of nostos (νόστος; 'return', homecoming), wandering, xenia (ξενία; 'guest-friendship'), testing, and omens. Scholars discuss the narrative prominence of certain groups within the poem, such as women and slaves, who have larger roles than in other works of ancient literature. This focus is especially remarkable when contrasted with the Iliad, which centers upon the exploits of soldiers and kings during the Trojan War.The Odyssey is regarded as one of the most significant works of the Western canon. The first English translation of the Odyssey was in the 16th century. Adaptations and re-imaginings continue to be produced across a wide variety of media. In 2018, when BBC Culture polled experts around the world to find literature's most enduring narrative, the Odyssey topped the list.This recording reflects the Wikipedia text as of 16:13 UTC on Saturday, 18 July 2026.For the full current version of the article, see Odyssey on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Jasmine.

The International Space Station has been continuously inhabited since the year 2000, serving as a laboratory, home, and engineering marvel orbiting hundreds of miles above Earth. This episode explores the station's purpose, the international partnership behind it, how astronauts live and work in microgravity, and the research conducted aboard the station. It's steady and consistent, with no whispering and no sudden changes, just enough to give your mind something to follow as you wind down. Happy sleeping! Read with permission from International Space Station, Wikipedia (https://en.wikipedia.org/wiki/International_Space_Station), licensed under CC BY-SA 4.0. — Ad-free episodes: ⁠icantsleep.supportingcast.fm⁠Have a topic in mind? ⁠Request a topic⁠ Learn more about your ad choices. Visit ⁠megaphone.fm/adchoices Learn more about your ad choices. Visit megaphone.fm/adchoices

He was terminated twice. He filed for divorce. He gained 60 pounds and drank on the highs AND the lows. Then May 5, 2018, he walked out of an AA meeting and hasn't touched alcohol since.   Nick Jonsson is a licensed specialized counselor, best-selling author of Executive Loneliness (the book coined a term that now has its own dedicated Wikipedia page), leads one of Asia's largest networks of senior executives, is a TEDx speaker on sleep, and an Ironman triathlete who splits time between Sweden and Asia. He's also the father of a 17-year-old son and a working husband.   In this conversation, Nick and Ted go deep on the drift that destroys high-performing men — the anxious-overachiever wound that made them successful in the first place, the 68% of executives who have nobody to confide in (per Harvard Business Review), the corporate stigma that keeps men silent even when they know better, the KLM Tenerife disaster that shows what fear of speaking up actually costs, and Nick's 5-Step framework from Executive Loneliness for the man ready to come back.   Plus the through-line Nick applies to triathlon, executive coaching, marriage, sleep, and time — the "principles that work in this work in all areas of life" reframe that turned a mediocre triathlete into an Ironman PR-setter and a man 60 pounds lighter with 30 years of marriage ahead of him.   If you're a high-performing man between 25 and 55 with more contacts than you have people to actually call — this one's for you.   Key insights from this episode: The anxious-overachiever wound that made you successful (and why healing it doesn't kill your edge) Why 68% of senior executives have nobody to confide in — and why 84% won't even tell HR Multiple purposes, not one — the "keep steady in the middle" reframe from 12-step recovery The KLM Tenerife disaster — what fear of speaking up actually costs Nick's 5-Step framework from Executive Loneliness Take Stock. Who Can You Talk To. Get Healthy. (Plus what comes next.) Sober since May 5, 2018 — the exposure sequence that changed everything Sleep half an hour more, break your Ironman PR (Nick's TEDx origin) Removing the TV from the bedroom — and other things Nick surrendered Own your shit — Nick's final answer, the biggest transformation of his life   Chapters: 00:00 The confession — terminated twice, 60 pounds, drinking on emotions  01:00 Welcome brother — Ted's intro  01:26 What keeps high-performing men isolated?  02:06 The anxious-overachiever wound  03:04 The wound that made you successful (and the fear of healing it)  05:44 Multiple purposes vs. one why  07:20 Keep steady in the middle  08:35 The Harvard 68% stat  09:58 Nick's own survey (30% / 75% / 84%)  11:00 If you break a leg you see a doctor. If you break your emotions, you hide.  11:43 Therapy as maintenance, not crisis  13:21 Stigma, the corporate ladder, and resilience  15:22 Real-world consequences of vulnerability  18:10 The KLM Tenerife disaster  20:19 Chernobyl, night shift, and mistakes made from silence  22:13 Step 1 — Take Stock  23:31 Step 2 — Who Can You Talk To  25:19 The May 5, 2018 exposure sequence (wife, doctor, friend)  27:00 The tribe found — the urge lifted  27:49 The primal fear of rejection 29:14 The three people you'd call at 2 a.m.  30:30 Build safe spaces in the good times  31:32 Being discerning with who you offload to  32:56 The through-line — from recovery to triathlon  34:23 Applying the same principles to everything  35:00 Signing up for a triathlon tribe (coach, cycling club, swim academy, running club)  36:14 The sleep experiment — 30 days of half an hour more  37:00 The TEDx that came from sleeping more  37:34 Ted on the sleep struggle  39:48 Discipline, accountability, and "just keep going"  41:19 The Ironman as a mini-life  41:50 Ted on Hyrox  44:06 How Nick manages time (paid to remove the bedroom TV)  44:45 Say a lot of no. Hit many birds with one stone.  45:30 Cycling with his 17-year-old son  47:09 Where to find Nick and Executive Loneliness  48:36 Own your shit — the biggest transformation  49:53 Outro and Ted's recap

fWotD Episode 3360: Black hole Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Friday, 17 July 2026, is Black hole.A black hole is an astronomical body so compact that its gravity prevents anything, including light, from escaping. Albert Einstein's theory of general relativity, which describes gravitation as the curvature of spacetime, predicts that any sufficiently compact mass will form a black hole. The boundary of no escape is called the event horizon. In general relativity, crossing a black hole's event horizon traps an object inside but produces no locally detectable change. General relativity also predicts that every black hole should have a central singularity, where the curvature of spacetime is infinite.Objects whose gravitational fields are too strong for light to escape were first considered in the 18th century. In 1916, the first solution of general relativity that would characterise a black hole was found. By the late 1950s, this solution began to be interpreted physically as a region of space from which nothing can escape. Black holes were long considered a mathematical curiosity; it was not until the 1960s that theoretical work showed they were a generic prediction of general relativity. The first widely accepted black hole was Cygnus X-1, identified by several researchers independently in 1971.Black holes typically form when very massive stars collapse at the end of their life cycle. After a black hole has formed, it can grow by absorbing mass from its surroundings. Supermassive black holes of millions of solar masses may form by absorbing stars and merging with other black holes, or via direct collapse of gas clouds. There is consensus that supermassive black holes exist in the centres of most galaxies.Quantum field theory in curved spacetime predicts that event horizons emit Hawking radiation, with its rate of emission being inversely proportional to its mass. This causes the black hole to lose mass very slowly, provided it is not accreting matter. However, even the smallest class of black holes observed, stellar black holes, are gaining mass from the cosmic microwave background faster than they are losing mass via Hawking radiation.The presence of a black hole can be inferred through its interaction with matter and electromagnetic radiation such as visible light. Matter falling toward a black hole can form an accretion disk of infalling plasma, heated by friction and emitting light. In extreme cases, this creates a quasar, some of the brightest objects in the universe. Merging black holes can be detected by the gravitational waves they emit. If stars are orbiting a black hole, their motions can be used to determine the black hole's mass and location. In this way, astronomers have identified numerous stellar black hole candidates in binary systems and established that the radio source known as Sagittarius A*, at the core of the Milky Way galaxy, contains a supermassive black hole of about 4.3 million solar masses.This recording reflects the Wikipedia text as of 00:37 UTC on Friday, 17 July 2026.For the full current version of the article, see Black hole on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Bluesky at @wikioftheday.com.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm generative Brian.

rWotD Episode 3361: Donn Everett Welcome to random Wiki of the Day, your journey through Wikipedia's vast and varied content, one random article at a time.The random article for Friday, 17 July 2026, is Donn Everett.Donn James Everett (April 29, 1929 – November 29, 2007) was an American politician who served as a Republican in the Kansas State Senate and Kansas House of Representatives from 1969 to 1978.Everett was born in Emporia, Kansas. He served in the U. S. Marine Corps during the Korean War; after returning to Kansas, he married Frederica Voiland in 1956 and worked as an attorney. The couple had six children before divorcing acrimoniously; the youngest child, Bridget Everett, became a noted comedian and cabaret performer.Everett's first forays into elected office were winning races for county attorney of Riley County and serving as a member of the city council in Manhattan, Kansas (including a stint as mayor). In 1968, he was elected to the Kansas House, serving until 1975. While in the Kansas House, he rose to the post of Majority Leader.During his fourth term, in 1975, he was appointed to the Kansas Senate to fill the seat left vacant by Richard Dean Rogers, who resigned to serve as a federal judge. He served in the Senate until his own resignation in 1978.This recording reflects the Wikipedia text as of 01:21 UTC on Friday, 17 July 2026.For the full current version of the article, see Donn Everett on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Raveena.

pWotD Episode 3362: The Odyssey (2026 film) Welcome to popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 614,398 views on Thursday, 16 July 2026 our article of the day is The Odyssey (2026 film).The Odyssey is a 2026 epic fantasy action film written and directed by Christopher Nolan. An adaptation of Homer's ancient Greek epic the Odyssey, the film stars Matt Damon as Odysseus, the Greek king of Ithaca, and chronicles his long and perilous journey home after the Trojan War and his encounters with mythical beings as he attempts to reunite with his wife, Penelope, portrayed by Anne Hathaway. The ensemble cast includes Tom Holland, Robert Pattinson, Lupita Nyong'o, Samantha Morton, Zendaya, and Charlize Theron. Nolan and his wife Emma Thomas produced the film through their production company, Syncopy.Nolan began writing The Odyssey in March 2024, secured the project with Universal Pictures by October, and the film was announced in December. Casting occurred from late 2024 through early 2025, and Damon was confirmed for the lead role in February 2025. Nolan studied several translations of the Odyssey. He depicted a realistic interpretation of Greek mythology, drawing inspiration from the epic historical films Andrei Rublev (1966) and Ran (1985), as well as the films of special effects artist Ray Harryhausen. Filming took place from February to August 2025 in Morocco, Greece, Italy, Scotland, Iceland, Western Sahara, and Malta, as well as at the Universal Studios Lot in Los Angeles. With an estimated budget of $250 million, the film is among the most expensive of Nolan's career, and the first to be shot entirely on IMAX's 70 mm film cameras. Leading up to the film's release, the costume and production designs, accents, dialogue, and casting choices sparked critical discussion and scrutiny regarding historical accuracy to the source material and the setting depicted.The Odyssey premiered on July 6, 2026, at the Odeon Luxe Leicester Square in London, ahead of a theatrical release by Universal Pictures on July 17 in the United States and the United Kingdom. It was made available in IMAX and multiple premium large formats. The film received critical acclaim, with praise for Nolan's direction.This recording reflects the Wikipedia text as of 07:13 UTC on Friday, 17 July 2026.For the full current version of the article, see The Odyssey (2026 film) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Bluesky at @wikioftheday.com.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm generative Tiffany.

Marty Solomon and Brent Billings begin the last leg of the journey through the Four Pillars, examining the commitment to wrestling.The Sin of Certainty by Peter EnnsThe Evangelical Imagination by Karen Swallow PriorThe Gospel of Being Human by Marty Solomon and Reed Dent“Gulliver's Travels: Week 13” by Karen Swallow PriorArtemis II — WikipediaPontius Pilate Discovers He's in the Apostles' Creed — YouTubeBook Tour DatesAberfeldy [Scottish town] — WikipediaDunkeld Cathedral — WikipediaFire of Notre-Dame — WikipediaCurious by Ian LeslieBig Wheel (tricycle) — Wikipedia

Movie of the Year: 2006The Devil Wears Prada (feat. Katie Walsh!)The Devil Wears Prada Podcast Episode: Fashion, Power, and the Best of 2006Welcome to The Devil Wears Prada podcast episode from Movie of the Year: 2006. This week, the Taste Buds enter the gleaming offices of Runway magazine. Furthermore, they bring backup. Film critic Katie Walsh joins Mike, Greg, and Ryan to decide whether David Frankel's fashion-world comedy can survive the 2006 bracket. Along the way, the panel debates feminism in the workplace, the myth of the suffering artist, and the eternal question of Andy's terrible friends. Additionally, the episode features a full Anne Hathaway Career Retrospective bracket. Consequently, this one runs deep on both style and substance.About the FilmThe Devil Wears Prada arrived in the summer of 2006 and promptly stole it. Director David Frankel adapted Lauren Weisberger's bestselling novel about a young journalist grinding through an impossible job. Anne Hathaway stars as Andy Sachs, an aspiring writer who lands a position at Runway magazine. Her boss is Miranda Priestly, the most feared editor in fashion, played by Meryl Streep in an Oscar-nominated performance. Moreover, Emily Blunt and Stanley Tucci deliver career-launching supporting turns. The film earned over $300 million worldwide and near-universal acclaim. Notably, Roger Ebert praised Streep's icy, understated Miranda as the engine of the whole picture. For more background, the Wikipedia entry on The Devil Wears Prada covers its production and legacy in detail. The film now faces its toughest challenge yet: the Movie of the Year 2006 bracket.Guest Panelist: Katie WalshThe Devil Wears Prada 2006 podcast episode welcomes a genuine authority to the panel. Katie Walsh is a Los Angeles-based film critic who reviews weekly releases for the Tribune News Service and the Los Angeles Times. Additionally, she serves as Vice President of the Los Angeles Film Critics Association. Her writing has appeared in GQ, Vanity Fair, Rolling Stone, Vulture, Slate, and The Playlist. She co-hosted the podcast Miami Nice and has guest-hosted Switchblade Sisters. Furthermore, she frequently appears on KCRW's Press Play and has taught film criticism at Chapman University's Dodge College of Film and Media Arts. In practice, that means the Taste Buds must actually defend their takes this week. Someone in the room knows what she is talking about.Feminism and the WorkplaceIs Miranda Priestly a feminist icon or a cautionary tale? The panel digs into how the film frames women, power, and ambition. Miranda runs an empire, yet the film punishes her with a collapsing marriage. Meanwhile, Andy gets scolded by nearly everyone for taking her job seriously. The episode asks whether the movie critiques workplace sexism or accidentally reproduces it. Notably, Katie Walsh brings a critic's perspective to how 2006 audiences read Miranda versus how we read her now. Two decades of think pieces have flipped the film's villain into its hero. Ultimately, the panel debates whether that reversal says more about the movie or about us.Can Art Only Come from Suffering?Andy suffers for a job she claims to hate, all in service of her writing dreams. Consequently, the Taste Buds tackle a bigger question: does great art require misery? The film suggests that paying dues at Runway makes Andy a better journalist. However, it also shows the cost. She loses friends, a boyfriend, and nearly herself. The panel weighs the romantic myth of the starving artist against the reality of creative work. By contrast, some of the best art comes from stability, support, and cerulean-blue sweaters chosen by someone else. Above all, this segment asks what we actually owe our ambitions.Andy's Friends: The Worst People in FashionEvery rewatch of The Devil Wears Prada produces the same realization: Andy's friends are monsters. They mock her job, demand free designer swag, and play keep-away with her work phone. Meanwhile, her boyfriend Nate pouts because she missed his birthday party for her career. Therefore, the panel litigates the great question of the film's second act. Are these people grounding Andy in reality, or are they sabotaging her? Specifically, the group ranks the friends from least to most insufferable. Nevertheless, at least one Taste Bud attempts a defense of Nate. It does not go well.Anne Hathaway Career Retrospective: The BracketSpecial segment time. The Devil Wears Prada podcast crew builds a full bracket to determine Anne Hathaway's most iconic role. The field spans her entire career. The Princess Diaries, Brokeback Mountain, Rachel Getting Married, Les Misérables, The Dark Knight Rises, and Interstellar all enter the arena. Additionally, deep cuts and dark horses make surprise appearances. Seeding arguments get heated. Upsets happen. As a result, friendships within the panel are tested. Does Andy Sachs herself take the crown, or does an Oscar-winning turn steal it? You will have to listen to find out. Check Anne Hathaway's full filmography on IMDb and play along at home.Why The Devil Wears Prada Still MattersTwenty years later, The Devil Wears Prada refuses to fade. The film remains a Rosetta Stone for conversations about work, ambition, and the price of excellence. Miranda's cerulean monologue is still the definitive speech about how culture actually functions. Moreover, the movie launched Emily Blunt, redefined Anne Hathaway, and gave Meryl Streep one of her signature roles. A 2026 sequel proved the appetite never left. In addition, the film's questions have only grown sharper in the era of hustle culture and quiet quitting. Is Miranda a monster or simply held to a different standard? Ultimately, that debate keeps the film alive, and it makes for a fierce competitor in the Movie of the Year 2006 tournament.Related Episodes from Movie of the Year: 2006Catch up on the season so far, from the 2006 season introduction to the music that defined the year:Movie of the Year 2006: Intro Part 1The 2006 Bracket Reveal: Meet the Sweet 16Tristram Shandy: A Cock and Bull StoryThe 2006 Mixtape, Part IAll Movie of the Year episodesFAQ: The Devil Wears Prada Podcast and FilmWhat is this episode of The Devil Wears Prada podcast about?The Taste Buds and critic Katie Walsh debate whether The Devil Wears Prada deserves to advance in the Movie of the Year 2006 bracket. Topics include workplace feminism, art and suffering, Andy's awful friends, and a full Anne Hathaway career bracket.What is The Devil Wears Prada about?Aspiring journalist Andy Sachs takes a job assisting Miranda Priestly, the tyrannical editor of Runway magazine. Consequently, Andy must decide how much of herself she will trade for success.Who directed The Devil Wears Prada?David Frankel directed the film. He later directed Marley & Me and worked extensively on Sex and the City. Aline Brosh McKenna wrote the screenplay from Lauren Weisberger's novel.Who stars in The Devil Wears Prada?Meryl Streep, Anne Hathaway, Emily Blunt, and Stanley Tucci lead the cast. Streep earned an Academy Award nomination for playing Miranda Priestly.More Questions About The Devil Wears PradaIs Miranda Priestly based on Anna Wintour?Widely, yes. Author Lauren Weisberger worked as an assistant to Vogue editor Anna Wintour, and Miranda is broadly understood as her fictional counterpart. However, Streep has said she modeled the performance on powerful men she knew rather than on Wintour.Who is the guest on this episode?Film critic Katie Walsh joins the panel. She reviews films for the Tribune News Service and the Los Angeles Times and serves as Vice President of the Los Angeles Film Critics Association.What is the Anne Hathaway Career Retrospective?It is a bracket-style special segment. The panel seeds Anne Hathaway's most famous roles against each other and votes round by round until one iconic performance remains.Why does The Devil Wears Prada still matter?The film remains the defining movie about ambition, mentorship, and toxic workplaces. Moreover, its cultural conversation keeps evolving, as the 2026 sequel proved.

Det pratas mycket om hur sociala medier som Snapchat och Tiktok gör både unga och äldre olyckliga. Finns det teknik som gör oss lyckliga? Lyssnaren ”E” undrar om det har forskats på vilken teknikutveckling som faktiskt gör oss lycklig. Det har det, förstås. Det visar sig att den teknikutveclig som gör oss lycklig är samma sak som gör oss lyckliga överlag, sociala interaktioner. Sophia Sinclair återkommer till hur olika tracking-appar gör henne lycklig. Henning Eklund blir mest lycklig av att läsa om älgskötsel på Wikipedia och Björn Jeffery undrar om inte GPS:en är den som han varit mest olycklig utan. Med humor och initierade källor tar SvD:s journalister med dig när framtiden skapas. Med Björn Jeffery, Sophia Sinclair och Henning Eklund. Producent och redaktör Tove Friman Leffler.

En aspekt av vikingatidens historia som lämnade starkast möjliga spår i eftervärlden var riksbildningen. Det var nu Sverige, Norge och Danmark framträdde som kungariken i nivå med de redan etablerade rikena på kontinenten och på brittiska öarna. De första fröna såddes till det som långt senare skulle utvecklas till nationalstater. Vikingatidens mest framgångsrika vikingatida hövdingar gick följaktligen till historien som riksbildare och landsfäder.Men varför? Att förena flera bygder och herravälden till ett rike var inget som gjordes i en handvändning, och att dessutom ge härskarämbetet en radikalt ny image genom mynt, kristendom, kröningsritualer, militära bastioner och städer var svårsmält för hela den gamla järnålderseliten. När de jylländska kungarna Harald Blåtand och Sven Tveskägg under andra hälften av 900-talet underlade sig hela den danska övärlden och Skånelandskapen och upprättade ett överhöghetsvälde över Norge var det en revolution uppifrån som svepte bort gamla dynastier och maktcentra och etablerade en härskarordning efter tyskt mönster som aldrig tidigare existerat i Norden. En liknande process ägde några decennier senare rum i Norge under Olav Tryggvason och Olav Haraldsson, sedermera hyllad som ”Sankt Olav”. Men hur gick det till? Och varför skedde det just då? I detta avsnitt av podden Harrisons dramatiska historia samtalar Dick Harrison, professor i historia vid Lunds universitet, och fackboksförfattaren Katarina Harrison Lindbergh om riksbildningen under vikingatiden, från begynnelsen i 960-talets Danmark till avslutningen i 1000-talets och 1100-talets Sverige.Bild: Olav Tryggvasson koras till norsk konung. Målning av Peter Nicolai Arbo (1860). Wikipedia, Public Domain. Klippare: Aron SchuurmanProducent: Urban Lindstedt Hosted on Acast. See acast.com/privacy for more information.

Puhumme siitä, miten mangan kohdeyleisöjen perinteinen nelikenttäjaottelu – shounen, shoujo, seinen ja josei – ei täysin vastaa todellisuutta siitä, mille kohdeyleisöille mangaa nykyään tehdään. Keskustelu on laajennettu versio tämän kesän Desucon-ohjelmastamme. Ajankohtaisena aiheena puhumme siitä, miten Solut työssä -sarjan tekijä Akane Shimizu on avautunut kustannustoimittajien taholta kokemastaan ikävästä kohtelusta. Lukujonossa luemme loppuun Satoru Nodan seikkailusarjan Golden Kamuy. --- Kommentoi | Bluesky | Mastodon | X | Threads | Instagram --- (00:59) – KUULUMISET: AASIAN MAAILMANVALLOITUS – HS: Pehmeää valtaa vai hyvää kirjallisuutta? – Punainen Silakka – Imo – Cool Japan -hanke – Edesmennyt manganlukupalvelu J-Manga – Edesmennyt animestriimipalvelu Daisuki – ANN: Japanese Govt. to Consider Providing Subsidies for AI Translation, Overseas Sales Generation to Companies Like Shueisha, Crunchyroll (08:10) – KOHDEYLEISÖT: ESITTELY – Jakso 11, jossa puhuimme kohdeyleisöjen nelikentästä – Desucon-luentomme Tytöille vai pojille? Kohdeyleisöjen nelikentän murentuminen (YouTube) (14:48) – KOHDEYLEISÖT: KOHDEYLEISÖ JA GENRE – Nelikentän kategoriat: Shounen (pojat), shoujo (tytöt), seinen (nuoret miehet), josei (naiset) – Blue Flag on shounen-draamasarja, josta puhuimme jaksossa 25 – Children of the Whales on shoujo-fantasiaseikkailu – Ranskalainen Akata-kustantaja luopui jokunen vuosi sitten japanilaisten kohdeyleisökategorioiden käytöstä suurimmaksi osaksi ja korvasi ne ikäperusteisilla kategorioilla (small, medium ja large) sekä muutamalla erityiskategorialla – Dr. Stone on tiedesarja, jossa on paljon toiminnallisuutta; puhuimme sarjasta jaksossa 41 – Yona of the Dawn on suuri fantasiaseikkailu, jossa on tärkeitä romanttisia elementtejä – Nisekoi on tyypillinen shounen-romanssi – Tune into the Midnight Heart samoin – Parodinen otos: 100 Girlfriends Who Really, Really, Really, Really, Really Love You – Aoha Ride (englanniksi julkaistu nimellä Ao Haru Ride), josta puhuimme jaksossa 40, on tyypillinen shoujo-romanssi Mainittuja seinen-romansseja, jotka yhdistävät romanssiin muita genrejä: – Kowloon Generic Romance, josta puhuimme jaksossa 22 – Natsume Arata no kekkon, josta puhuimme jaksossa 124 – I Want to Hold Aono-kun So Badly I Could Die, josta puhuimme jaksossa 92 – Blackguard, josta puhuimme jaksossa 108 – Devils' Line, josta puhuimme jaksossa 39 – Aron morsiamet, josta puhuimme jaksossa 8 – Emma – Nana & Kaoru, josta puhuimme jaksossa 80 Mainittuja kyynisiä josei-romanssitekijöitä: – Mitsukazu Mihara, josta puhuimme jaksossa 111 – Setona Mizushiro, jonka sarjasta Black Rose Alice puhuimme jaksossa 47 ja sarjasta The Cornered Mouse Dreams of Cheese jaksossa 71 Esimerkkejä nörttihenkisemmistä poikien mangalehdistä: – Comic Flapper – Comic Alive – Comic Gum Esimerkkejä nörttihenkisemmistä tyttöjen mangalehdistä: – Asuka – Comic Avarus (29:06) – KOHDEYLEISÖT: DIGITAALINEN MANGANJULKAISU Eri kustantajien isoja nettimangapalveluita: – Kadokawa: ComicWalker – Shogakukan: Manga One – Square Enix: Manga Up! – Kaiji ilmestyy Weekly Young Magazine -seinenlehdessä, jonka kansissa on bikinimimmejä – My Dress-up Darling ilmestyy Young Gangan -seinenlehdessä, jonka kansissa on myös bikinimimmejä – Firefly Wedding, Ladies on Top ja Mob Psycho 100 ilmestyvät samalla digialustalla, Shogakukanin Ura Sundayssa – Jakso 119, jossa puhuimme sarjasta She Loves to Cook, and She Loves to Eat (35:45) – KOHDEYLEISÖT: FORMAATTI – Code Geass – The Vision of Escaflowne on alkujaan animetuotanto, mutta siitä julkaistiin myös kahta eri mangaa: – Shounen-lehti Shonen Acen versio – Shoujo-lehti Asuka Fantasy DX:n versio – Cowboy Bebopin mangasovitus ilmestyi myös Asuka Fantasy DX -lehdessä – Princess Tutun mangasovitus ilmestyi silloisessa shounen-lehti Champion Redissä (joka myöhemmin brändättiin seinen-lehdeksi – The Apothecary Diaries (47:02) – KOHDEYLEISÖT: JOSEI – Jakso 89, jossa puhuimme mangan yhdeksästä vuosikymmenestä Ladies Comics eli redicomi-lehtiä: – Be Love, joka on myöhemmin uudelleenbrändännyt itsensä ulos redicomin huonosta maineesta – You – Big Comic for Lady – Even a Monkey Can Draw Manga -manganpiirto-oppaan näkemys redicomi-mangasta: –Sivu 1 (kuva, luetaan vasemmalta oikealle) – Sivu 2 (kuva, luetaan vasemmalta oikealle) Young Ladies Comics -lehtiä: – Young You – Feel Young – Young Rosé – Cheese! – Kiss – Cocohana Shoujo-lehdiksi itseään kutsuvia lehtiä, joiden kohdeyleisö on 30-50-vuotiaita naisia: – Flowers – Melody – Teens Love eli TL – Mainittuja Ivrean TL-sarjoja: Olet vampyyriorjani, Rakastajat henkeen ja vereen, Virgin Blood, Kiiluvat kulmahampaat, Veitsi kukkasen kupeella Lännessä on totuttu ajattelemaan joseita kypsänä ja älykkäänä mangana, esim: – Moyoco Anno – Kyoko Okazaki – Fumi Yoshinaga, jonka sarjasta Ôoku: The Inner Chambers puhuimme jaksossa 7 – Akiko Higashimura, jonka sarjasta Tokyo Tarareba Girls puhuimme jaksossa 38 – Renta!-digimangapalvelun NL-osasto (vaatii 18+ -naviskan päälle täppäämisen) – Seven Seas -jenkkikustantajan Steamship-julkaisunimikkeen alla ilmestyy englanniksi NL-sarjoja – Boys Love eli BL (59:36) – KOHDEYLEISÖT: SHOUNEN VS SEINEN – Death Note – Titaanien sota – Furiganat eli kanjien ääntämisohjeet Sivuhuomiona ainakin seuraavista BL-julkaisunimikkeistä löytyy yleensä furiganat: – Be x Boy DX – Asuka Ciel DX – B-Lovey's – Hanaoto – Petterin uutinen Tokion lakimuutoksen rajoittamista mangoista Anime-lehdessä 4/2011 (kuva) – A Girl on the Shore – Manga Erotics F -lehti – Monthly Girls' Nozaki-kun – Champion Red -lehti – Mainittuja sarjoja: Dead Tube, Shigurui, Baki Gaiden: Scarface – To Love-Ru ilmestyi Shonen Jump -lehdessä, mutta jatko-osa siirtyi Jump SQ -lehteen – Ayakashi Triangle ja Chainsaw Man alkoivat Shonen Jump -lehdessä mutta siirtyivät Shonen Jump + -nettialustalle (01:10:42) – KOHDEYLEISÖT: SHOUNENIN HISTORIALLINEN KEHITYS Mainittuja Shonen Jump -sarjoja: – Harenchi Gakuen (1968-1972) – Devilman (1972-1973) – Fist of the North Star (1983-1988) – City Hunter (1985-1991) – Dragon Ball (1984-1995) – Rurouni Kenshin (1994-1999) – Slam Dunk (1990-1996) – Kagurabachi (2023-) – Jujutsu Kaisen (2018-2024) – Shonen Magazine – Bessatsu Shonen Magazine (Titaanien sota, The Flowers of Evil, Sankarea, xxxHolic) – Shonen Sunday (Komi Can't Communicate, Sleepy Princess in the Demon Castle, Call of the Night, Fly Me to the Moon, Frieren: Beyond Journey's End) – Jakso 87, jossa puhuimme Shonen Sundayta uudistaneen entisen päätoimittajan haastattelusta – Lehden kansia – Shonen Champion – Mainittuja Shonen Jumpin tuoreita sarjoja, joissa on totuttua enemmän naisenergiaa: – RuriDragon, josta puhuimme jaksossa 70 – Akane-banashi – Hero Girl and Demon Lord Call It Quits – Ichi the Witch, josta puhuimme jaksossa 117 – Tuntuu enemmän Shonen Sundayssä ilmestyneeltä fantasiasarja Magilta kuin perinteiseltä Jump-sarjalta – Mainittuja Shonen Jump + -alustan sarjoja: – Spy × Family, josta puhuimme jaksossa 53 – Kaiju No. 8, josta puhuimme jaksossa 35 – Marriagetoxin – Blue Flag, josta puhuimme jaksossa 25 – Hina Change, josta puhuimme jaksossa 32 – You And I Are Polar Opposites – Hope You're Happy, Lemon, josta puhuimme jaksossa 102 – Lunolita sekä Smiley & Lively☆Your Girl Happy, joista puhuimme jaksossa 125 (01:27:48) – KOHDEYLEISÖT: NEOSHOUNEN – Mainittuja neoshounen-lehtiä: – GFantasy-lehti – Mainittuja sarjoja: Saiyuki, Kuroshitsuji, Pandora Hearts, Toilet-Bound Hanako-kun – GFantasyn kuvaus löytyy Gangan-lehtiperheen Wikipedia-sivulta – GFantasyn Baka Updates -sivu – Comic Gene – Comic Zero-Sum – Mainittuja shounen-lehtiä, joista löytyy neoshounen-sarjoja: – Jump SQ (lausutaan Jump Square) – Patriootti Moriarty, josta puhuimme jaksossa 1 ja jaksossa 36 – Gangan Joker – Vanitaksen kirja, josta puhuimme jaksossa 20 – Jakso 53, jossa puhuimme Vanitaksen kirjan tekijä Jun Mochizukin haastattelusta – Mainittuja shoujo-lehtiä, joista löytyy neoshounen-sarjoja: – Aria – Asuka – Maaretin Desucon-ohjelma neoshounen-genrestä (YouTube) – Maaretin artikkeli neoshounen-genrestä Anime-lehdessä 7/2015 (PDF) (01:35:49) – KOHDEYLEISÖT: SEINEN SATEENVARJOKATEGORIANA Mainittuja tyypillisen tuntuisia seinen-sarjoja ja tekijöitä: – Naoki Urasawa – Berserk – Vagabond – Blade of the Immortal – Inio Asano – Jakso 114, jossa puhuimme Witch Hat Atelier -mangan tekijä Kamome Shirahaman Desucon-vierailusta – Kamome Shirahaman haastattelu, jossa hän ottaa kantaa seinenin luonteeseen Mainitut seinen-lehdet: – Kodanshan vuorokaudenaikalehdet: – Morning – Morning Two – Afternoon – good! Afternoon – Evening – Weekly Young Magazine – Harta – Kaoru Mori, jonka sarjasta Aron morsiamet puhuimme jaksossa 8 – Comic Alive – Manga Time Kirara -lehtiperhe: – Manga Time Kirara –Manga Time Kirara Forward – Manga Time Kirara Magica – Manga Time Kirara Max – Manga Time Kirara Carat – Muitakin on… – Ikki – Hibana – Comic Birz (01:51:44) – KOHDEYLEISÖT: SEINEN JA ÄIJÄSARJAT – Onihei hankachoo – Weekly Manga Goraku – Minami no teiyou – Hopeanuoli ilmestyi Shonen Jumpissa, jatko-osat Manga Gorakussa – Puhuimme gekigasta jaksossa 57 ja jaksossa 89 (01:55:36) – KOHDEYLEISÖT: SEINENIN SHOUJO-VAIKUTTEET – Aikoinaan 80-luvulla kutsuttiin lolicon-hahmoiksi esim: – Minnie May (Gunsmith Cats) – Nene (Bubblegum Crisis) – Belldandy (Oh My Goddess) – Bishoujo – Comiket – Miesten taikatyttösarjoja: – Puella Magi Madoka Magica – Magical Girl Lyrical Nano – My Little Pony: Friendship Is Magic – Seinen-sarjoja, jotka tuntuvat shoujosarjoilta: – After the Rain – Skip and Loafer – Fragrant Flower Blooms with Dignity – The Apothecary Diaries tekee shoujon paremmin kuin mikään shoujosarja (kuva) – Colleen's Manga Recs: Stop Calling these Anime Shoujo!! (YouTube) – Colleen's Manga Recs: Are These Shoujo BETTER Than the Big 3 of Fantasy (YouTube) – Frieren: Beyond Journey's End – Delicious in Dungeon, josta puhuimme jaksossa 9 – Witch Hat Atelier, josta puhuimme jaksossa 43 – Kaiju Girl Caramelise – Sarjan kustannustoimittaja oli nimenomaan halunnut shoujomaisen mangan (kuva) (02:12:18) – KOHDEYLEISÖT: SHOUJO Naistekijöiden hittisarjoja muualla kuin shoujolehdissä: – Dorohedoro – Beastars – Fullmetal Alchemist – Inuyasha – Magi – After the Rain – CLAMP Fantasiashoujosarjoja: – Colette Decides to Die – Yona of the Dawn – Queen's Quality (sarjan QQ Sweeper jatko-osa) – Sho-Comi – Dessert – A Sign of Affection, josta puhuimme jaksossa 74 – Hana to Yume, josta puhuimme jaksossa 108 – Margaret ja Bessatsu Margaret Ikäerosarjoja: – Takane & Hana, josta puhuimme jaksossa 16 – My Boy in Blue – My Boyfriend in Orange – Cutie and the Beast Sarjoja, joissa paha poika onkin ihan kiva poika: – Abe-kun's Got Me Now – Glasses with a Chance of Delinquent – Yamaguchi-kun Isn't So Bad Ennen 2010-lukua shoujossa voitiin käsitellä erilaisia genrejä ja raflaavia teemoja vapaammin: – Basara – 7 Seeds – Banana Fish – Nana, josta puhuimme jaksossa 124 – Mars – Peach Girl, josta puhuimme jaksossa 10 – Confidential Confessions – Say I Love You – Huomio siitä, miten Say I Love You:ssa pystyi vielä käsittelemään vaikeita aiheita – Kazuo Umezu, jonka urasta puhuimme jaksossa 107 – Kauhuun keskittyviä shoujomangalehtiä: – Monthly Halloween (1985-1995) – Kauhumangaka Junji Ito, josta puhuimme jaksossa 30 – Horror M (1993-2010) – Pet Shop of Horrors – Mystery Bonita (1988-) – Bride of Deimos – Children of the Whales – The Credits Roll into the Sea – A Witch's Life in Mongol – ComiPress: Sho-Comi the Worst Shojo Manga Magazine for Children According to Japanese Parents – Love Celeb Sarjoja, jotka eivät ilmesty perinteisissä shoujolehdissä, mutta ovat naisille suunnattuja joseimuke-sarjoja: – Let's Go Karaoke! – Baban Baban Ban Vampire – May I Have a Taste? – My New Boss Is Goofy – Yakuza Fiancé – Firefly Wedding Sarjoja, joissa poikahahmot on räätälöitä miellyttämään tyttöjä ja tyttöhahmot poikia: – Assassin & Cinderella, josta puhuimme jaksossa 122 – As Miss Beelzebub Likes – The Magical Girl and the Evil Lieutenant Used to Be Archenemies – Inu x Boku SS – Spirits and Cat Ears Fanittamissarjoja: – Tamon's B-Side –Star-Crossed – In So Deep, It's Love Already, josta puhuimme jaksossa 121 Länsimaisen mangantekijä Minamin Bluesky-postaukset: – Postaus 1 – Postaus 2 – Not Your Idol Sarjoja, jotka ovat vaihtaneet lehteä: – Kageki Shojo!! – Brave 10 – Orange, josta puhuimme jaksossa 116 BL-sarjoja, joita aikoinaan on julkaistu shoujo-lehdissä: – Zetsuai ja Bronze – New York New York – Ludwig II – Gravitation Shoujolehdissä julkaistuja eeppisiä fantasioita ja jännäreitä: – Yasha – Angel Sanctuary –The Cain Saga –Descendants of Darkness (02:38:29) – KOHDEYLEISÖT: YHTEENVETO (02:41:50) – SOLUT TYÖSSÄ -MANGAN TEKIJÄN KOKEMUKSET – Jakso 106, jossa puhuimme sarjasta Solut työssä – Jakso 119, jossa puhuimme sarjasta She Loves to Cook, And She Loves to Eat Mangaka Akane Shimizun postauksia: – Postaus 1 – Postaus 2 – Postaus 3 on poistettu, mutta löytyy edelleen toisaalta – Postaus 4 – Postaus 5 – Postaus 6 – Postaus 7 – Postaus 8 – Postaus 9 – Postaus 10 – Shonen Sirius -lehden sarjoja – The Girl, the Shovel and the Evil Eye – Sayonara no Parade –Minamin somepostaus Sarjoja, joissa on humoristisesti kuvattuja vaikeita kustannustoimittajia: – Bakuman – Monthly Girls' Nozaki-kun – My New Boss Is Goofy – Zom 100: Bucket List of the Dead (02:58:34) – KUULIJAKOMMENTTI: SUOSIKKIHAHMOT Sarjoja, joissa on aromanttisia ja aseksuaalisia hahmoja merkittävissä rooleissa: – She Loves to Cook, And She Loves to Eat, josta puhuimme jaksossa 119 – Our Dreams at Dusk, josta puhuimme jaksossa 21 – Bloom into You – Devils' Line, josta puhuimme jaksossa 39 – Kiryuu-sensei wa renai ga wakaranai – I Want to Be a Wall – Is Love the Answer? Aro/Ace-koodattuja hahmoja: – Senku sarjasta Dr. Stone, josta puhuimme jaksossa 41 –Frieren sarjasta Frieren: Beyond Journey's End – Sunakawa sarjasta My Love Story!!, josta puhuimme jaksossa 69 Maaretin suosikkihahmoja: – Emilia (Re:Zero) – Morsian-Emilia-figuuri – Remin bikinimorsiofiguuri – Ciel Phantomhive (Kuroshitsuji, josta puhuimme jaksossa 50) – Xerxes Break (Pandora Hearts) – Maaretin blogipostaus Breakin ja Sharonin tärkeästä kohtauksesta – Jakso 125, jossa Maaret puhui Breakin suhteista muihin hahmoihin – Vanitas (Vanitaksen kirja, josta puhuimme jaksossa 20) – Askeladd (Vinland Saga, josta puhuimme jaksossa 3) – Anthy Himemiya (Revolutionary Girl Utena) – Maaretin blogipostaus suosikkihahmoista – Akira Toriyama (03:30:20) – LUKUJONOSSA: GOLDEN KAMUY 23-31 – Jakso 54, jossa puhuimme sarjasta Golden Kamuy pääaiheena – Toshizou Hijikata – Hakodaten tähtilinnake Goryokaku – Jakso 119, jonka kuulumisissa puhuimme käynnistämme Hakodatessa ja Goryokakussa – Jakso 93, jossa puhuimme sarjasta Satoru Nodan uudempi sarja Dogsred (04:08:45) – LOPETUS

fWotD Episode 3359: Holden Commodore (VE) Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Thursday, 16 July 2026, is Holden Commodore (VE).The Holden Commodore (VE) is a full-size car that was produced from 2006 to 2013 by Holden, the former Australian subsidiary of General Motors. Dubbed Holden's "billion dollar baby", the car was available as the Holden Berlina—the mid-range model—and the Holden Calais, the luxury variant; utility body styles were marketed as the Holden Ute.Succeeding the VZ series, the VE was the first iteration of the fourth generation of the Holden Commodore, a series of automobiles built between 1978 and 2020. Unlike its predecessors, which used Opel-sourced platforms adapted to mechanics and sizes that would suit the local market, the VE was the first Commodore entirely designed and developed by Holden in Australia. To minimise export redevelopment costs, features such as a symmetrical centre console housing a flush-fitting hand brake lever facilitated the conversion to left-hand drive. The VE was internationally badge-engineered as the Chevrolet Lumina, Chevrolet Omega, Bitter Vero Sport and Pontiac G8.Holden introduced the VE body styles in stages, beginning with the sedan in July 2006. Before this, the company stated they would manufacture two parallel generations of Commodores until the launch of the station wagon and utility. Variants by Holden's performance vehicle partner, Holden Special Vehicles, were released soon after the sedan's debut alongside the long-wheelbase WM Statesman/Caprice models. The VE Ute entered production in 2007, coinciding with the unveiling of the Sportwagon concept car. The production version of the VE Sportwagon—which shared its 2,915 mm (114.8 in) wheelbase with the sedan instead of the extended wheelbase from the Caprice, like previous models—was introduced in July 2008.Named the 2006 Car of the Year by Wheels, the VE frequently ranked as the annual best-selling automobile in Australia over its production run. Holden introduced updates to the VE as model year (MY) changes. Typically subtle, these recurring changes have involved alterations to colours and trim, increased standard equipment and reduced fuel consumption. More noteworthy adjustments have come in the form of a smaller 3.0-litre V6 engine for entry-level versions and "Series II" styling revisions in September 2010.This recording reflects the Wikipedia text as of 00:02 UTC on Thursday, 16 July 2026.For the full current version of the article, see Holden Commodore (VE) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Matthew.

rWotD Episode 3360: L'anneau de vitesse Welcome to random Wiki of the Day, your journey through Wikipedia's vast and varied content, one random article at a time.The random article for Thursday, 16 July 2026, is L'anneau de vitesse.L'anneau de vitesse (French for 'speed oval') is an outdoor sports venue in Albertville, France. It hosted speed skating events at the 1992 Winter Olympics.The stands, which remain present, were constructed as an airfoil from aerospace designs. The ice was made using 70 km (43 mi) of piping using R32 and brine refrigeration to cool the track to between −5 and −8 °C (23 and 18 °F) with 4 cm-thick (1.6 in) ice. Before this the surface was covered with 1.20 m (3 ft 11 in) of base sand in order to lay down the piping.The track serves nowadays as a multipurpose stadium used for athletics and football events.This recording reflects the Wikipedia text as of 00:08 UTC on Thursday, 16 July 2026.For the full current version of the article, see L'anneau de vitesse on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Brian.

Tutankhamun ruled ancient Egypt for only a short time, yet he became one of the most famous pharaohs in history. This episode explores the story of King Tut, from his place in Egypt's royal dynasty to the remarkable discovery of his nearly intact tomb. Along the way, you'll hear about royal succession, the restoration of traditional religion, and the discoveries that continue to shape our understanding of ancient Egypt. It's steady and consistent, with no whispering and no sudden changes, just enough to give your mind something to follow as you wind down. Happy sleeping! Read with permission from Tutankhamun, Wikipedia (https://en.wikipedia.org/wiki/Tutankhamun), licensed under CC BY-SA 4.0. — Ad-free episodes: ⁠icantsleep.supportingcast.fm⁠Have a topic in mind? ⁠Request a topic⁠ Learn more about your ad choices. Visit ⁠megaphone.fm/adchoices Learn more about your ad choices. Visit megaphone.fm/adchoices

Self-propelled rail transport engines... Get cozy and relax! This podcast is funded by advertising. Info and offers from our sponsors: https://linktr.ee/EinschlafenMitPodcast Here's the Wikipedia article (revised): https://en.wikipedia.org/wiki/Steam_locomotive Content was created or edited with the help of artificial intelligence. CC BY-SA 4.0 (https://creativecommons.org/licenses/by-sa/4.0/) Learn more about your ad choices. Visit megaphone.fm/adchoices

When a woman vanishes from a blood-stained kitchen, investigators wonder was she the victim of a brutal attack, or did she plan her own disappearance?TIPS: 781-259-8111Thank you The Boston Globe, Staten Island Advance, The Rutland Daily Herald, The Dark Curiosities and gabulosis YouTube Channels, findagrave.com and Wikipedia for information contributing to today's story.Written by Frederick Crook - check out our other collaboration WRAITHWORKS - Wraithworks at Amazon https://www.amzn.com/dp/B07HXNCW4L (audiobook narrated by John Lordan) Also avaible on iTunes: https://apple.co/2OFXb8LDo you have any comments, or a case you'd like to suggest? You'll find a comment form and case submission link at LordanArts.com.This is not intended to act as a means of proving or disproving anything related to the investigation.  It is a conversation about the current known facts and theories being discussed.  Everyone directly or indirectly referred to is innocent until proven guilty in a court of law.LordanArts 2026

The era of the "two-pizza" engineering team is officially dead, replaced by the "two-slice" team and a massive token budget. This week, LaunchDarkly CTO Cameron Etezadi joins the show to explain why traditional guardrails are breaking down and how engineering teams can regain control using runtime agent frameworks. He introduces the concept of the "dark factory," a highly automated assembly line for safely observing, flagging, and deploying AI-generated code to production. The conversation turns to the new ROI of software development, why engineers must now act as frontline managers, and how to navigate the build-versus-buy dilemma in the modern token economy. As AI speeds up how code gets written, the real bottleneck moves downstream to review, testing, and release, where software either delivers measurable value or quietly stalls. Check out the latest research from LinearB on how to measure that value.Life Beyond Tokenmaxxing Workshop: Watch the full replay on demand at linearb.io Follow the show:Subscribe to our Substack Follow us on LinkedInSubscribe to our YouTube ChannelLeave us a ReviewFollow the hosts:Follow AndrewFollow BenFollow DanFollow today's guest:LaunchDarkly AgentControl: Learn how to govern your probabilistic AI with runtime agent frameworks at launchdarkly.com/platform/agent-controlThe Goal by Eliyahu M. Goldratt: Read the quintessential business novel on the theory of constraints at AmazonThe Phoenix Project by Gene Kim: Explore the seminal book on IT, DevOps, and business success at IT RevolutionSimAnt: Dive into the history of the 1991 classic electronic ant colony simulation at Wikipedia.Follow Cameron: LinkedIn OFFERSStart Free Trial: Get started with LinearB's AI productivity platform for free.Book a Demo: Learn how you can ship faster, improve DevEx, and lead with confidence in the AI era.LEARN ABOUT LINEARBAI Code Reviews: Automate reviews to catch bugs, security risks, and performance issues before they hit production.AI & Productivity Insights: Go beyond DORA with AI-powered recommendations and dashboards to measure and improve performance.AI-Powered Workflow Automations: Use AI-generated PR descriptions, smart routing, and other automations to reduce developer toil.MCP Server: Interact with your engineering data using natural language to build custom reports and get answers on the fly.

Silicon Bites Ep367 | 2026-07-14 | This episode: The Butcher's Bill. 1.4 million casualties, up to 450,000 dead — Russia is bleeding at World War Two scale for a war that isn't moving. Mobilization is now the Kremlin's only card. And it's a losing one. The numbers are now in, cross-confirmed by Washington think tanks, British intelligence, independent Russian journalists counting graves, and Ukraine's own commander-in-chief. Russia has suffered around 1.4 million battlefield casualties. As many as 450,000 of its soldiers are dead. No major power has lost anything like this in any war since 1945. And here is the part the Kremlin cannot fix – Russia is now losing men faster than it can recruit them. The war machine is consuming itself. Mobilization is coming — and mobilization will not save Putin. ----------ACTIVE CAMPAIGN:We are raising funds for 5 of 15 Vampire DronesSilicon Curtain for Kupiansk Vampires. Dzyga's Paw, together with Jonathan Fink, is joining forces to raise $40,000 to provide the Khartiia Brigade with Vampire Drones.https://dzygaspaw.com/silicon-curtain-for-kupiansk-vampiresThese heavy bombers are designed to destroy manpower and equipment, as well as for remote mining. The Vampire UAV, manufactured by Skyfall, has proven itself to be one of the most effective weapons in the Kupiansk direction. Skyfall is one of Ukraine's largest defense tech companies, producing Vampire bomber drones, various modifications of Shrike FPV drones, P1-SUN, Shahed drone interceptors, communication systems, and components.----------SUPPORT THE CHANNEL:https://www.buymeacoffee.com/siliconcurtainhttps://www.patreon.com/siliconcurtainhttps://www.gofundme.com/f/scaling-up-campaign-to-fight-authoritarian-disinformation----------TRUSTED CHARITIES ON THE GROUND:Save Ukrainehttps://www.saveukraineua.org/Superhumans - Hospital for war traumashttps://superhumans.com/en/UNBROKEN - Treatment. Prosthesis. Rehabilitation for Ukrainians in Ukrainehttps://unbroken.org.ua/Come Back Alivehttps://savelife.in.ua/en/Chefs For Ukraine - World Central Kitchenhttps://wck.org/relief/activation-chefs-for-ukraineUNITED24 - An initiative of President Zelenskyyhttps://u24.gov.ua/Serhiy Prytula Charity Foundationhttps://prytulafoundation.org----------SOURCES:CSIS — "Russian Blood and Treasure: The Ballooning Costs of Putin's War" (Seth G. Jones & Riley McCabe)CNN — "Bloodier than Stalingrad: Number of casualties in Russia's war on Ukraine reaches 2 million" (2 July 2026)Kyiv Post — "US Think Tank: WWI-Scale Casualties, Civil Unrest Undermine Russia's War in Ukraine"The New Voice of Ukraine — "Russian losses nearly 8-to-1: CSIS"Mediazona (with BBC Russian) — "Russian losses in the war with Ukraine. Mediazona count, updated" (230,624 confirmed, 3 July 2026)Mediazona & Meduza — "352,000 deaths in four years" (probate registry estimate, 9 May 2026)Kyiv Independent — "Over 230,000 Russian soldiers killed in Ukraine identified by media investigation"Ukrainska Pravda — "Ukraine's commander-in-chief: pace of Russian advance has more than halved" (10 July 2026)Euromaidan Press — "With a 2-to-1 edge, Russia shrank its offensive from 13 fronts to 6, Syrskyi says"Kyiv Independent — "Ukraine war latest: Russian territorial advances slowed by more than half in 2026, Syrskyi says"Kyiv Post — "Syrsky Says Russia's 2026 Offensive Failed Despite Nearly 2-to-1 Troop Advantage" (incl. Zelensky Ankara remarks)Wikipedia (aggregating BBC/GCHQ, The Telegraph, Novaya Gazeta, Ukrainian General Staff) — "Casualties of the Russo-Ukrainian war"----------

The Israeli art restorer and spy Gabriel Allon is as real as George Smiley or Hercule Poirot. He even has his own Wikipedia page. The CNN special correspondent Jamie Gangel describes herself on X as a friend of Gabriel Allon before she gets around to mentioning her husband, the best-selling thriller writer Daniel Silva who, of course, is the creator of Allon. As with all successful literary inventions, of course, Silva is as much Allon as Allon is Silva. Silva-Allon. Amongst the most lucrative partnerships in contemporary fiction. Unsurprisingly, Silva still hasn't managed to kill off Allon. Twenty-six books into the series, the retired Mossad legend turned Venice art restorer is the truest fake spy in the business — a character so real that Silva, who seems to revel in his insularity, has to lock himself away from imagining how readers receive him. Or perhaps he's locking himself away from Allon. In Ransom, out today, a billionaire real estate baron asks Allon to find his vanished wife, the dazzling socialite Alice Winter — who has, of course, a darker life. Behind Silva's latest summer best-seller looms Russia's shadow war on Europe. That's the post-cold war cold war politics of Ransom. Unit 29155, the GRU's sabotage specialists, are hitting pipelines and flying drones over Copenhagen, an MI6 officer describes the Russians as feral animals, and Ransom's climax unfolds at an emergency Downing Street summit with Zelensky without the United States in the room. It's a terrifying narrative as real as Gabriel Allon. Five Takeaways •       An Art Restorer Who Used to Be a Spy. Gabriel Allon was invented for one book — a 1999 novel inspired by the Camp David peace process, written like a demon in a cottage near Land's End — and was never meant to continue. Twenty-six books later, Silva has flipped the character's formula: once an operative whose cover was art restoration, Allon is now an art restorer who used to be a spy, formally retired and living in Venice. As for his age, Silva freezes time the way Christie froze Poirot: Allon is aging in reverse, quite intentionally, and Silva will write him for as long as people want to read him. •       Russia's Shadow War on Europe. The serious spine of Ransom is the campaign of sabotage and subversion that Russia is waging against all of Western Europe — the GRU's Unit 29155 hitting pipelines, running hacking operations, and flying the drones that shut down Copenhagen Airport and pushed Denmark toward its highest state of alert. One MI6 officer tells Silva the Russians are acting like feral animals, and the worse the battlefield goes, the more aggressive the sabotage becomes. Silva has been here before: Moscow Rules put him ahead of the curve on Putin in 2008, and Allon's personal war with Putinism enters its latest round. •       Writing an Israeli Hero After October 7. Allon is the old Israeli liberal establishment made flesh — secular, social-democratic, the Ashkenazi security elite whose surviving members now oppose the conduct of the war. Silva, an avowed two-stater, saw the change coming years before October 7: quoting his friend Richard Haass, this is not your parents' or grandparents' Israel. Allon, he insists, would never serve in a cabinet alongside far-right extremists like Ben-Gvir and Smotrich — and they wouldn't have him. What happened on October 7 was barbaric, Silva says, but this war has gone on far too long. •       The Super Rich, With a Judgmental Eye. It's fun to write about the rich — the jets, the expensive toys, the glamour of Venice, Knightsbridge, and Ibiza — but Silva does it for a specific reason: to draw the contrast between how they live and how the rest of us live. A new global super elite is checking out from everyone else, he argues — unwilling to pay taxes, to educate the young, or to care for the sick — so Ransom balances the socialite's world against an encampment of homeless seasonal workers on Ibiza. Britain itself gets the same treatment: austerity, seven prime ministers in a decade, and shires where nobody is doing very well. •       Pencils on the Floor. Silva calls himself a literary novelist masquerading as a thriller writer, and his working methods match the self-description: he lies on the floor and writes with pencils, keeping technology as far from the work as possible. AI appears in Ransom only because the plot demanded it — a proof-of-life photograph that has to be checked for deepfakery, in a world where even presidents fake pictures. The thought of asking AI to write for him prompts a simple question: what would be the point? A book a year since 1997, and book 27 began the day after this one was finished. About the Guest Daniel Silva is the award-winning, #1 New York Times bestselling author of twenty-six Gabriel Allon novels, including The Kill Artist, Moscow Rules, Portrait of an Unknown Woman, A Death in Cornwall, and An Inside Job. His books are published in more than thirty countries. He lives in Florida with his wife, CNN special correspondent Jamie Gangel — who describes herself on X as a friend of Gabriel Allon before mentioning her husband. His new novel is Ransom (HarperCollins, July 14, 2026). References: •       Ransom by Daniel Silva (HarperCollins, July 14, 2026) — book 26 of the Gabriel Allon series. James Patterson: “Silva can really write, the bastard.” •       Moscow Rules (2008) — the novel Silva is proudest of, which put him ahead of the curve on Putin and began Allon's personal war with the Russian secret services. •       The Kill Artist (2001) — Allon's first appearance, inspired by the Camp David peace process and written in a rented cottage near Land's End. •       Unit 29155 — the real GRU sabotage unit behind the pipeline attacks, hacking operations, and drone incursions that drive the novel's plot, including the 2025 shutdown of Copenhagen Airport. •       John le Carré — whose George Smiley, Silva concedes, needs no advice from Gabriel Allon, though the two would have got on had they met on Bywater Street. •       Richard Haass — the foreign policy analyst and friend of Silva's whose line frames the Israel discussion: this is not your parents' or your grandparents' Israel any longer. About Keen On America Nobody asks more awkward questions than the Anglo-American writer and filmmaker Andrew Keen. In Keen On America, Andrew brings his pointed Transatlantic wit to making sense of the United States — hosting daily interviews about the history and future of this now venerable Republic. With nearly 3,000 episodes since the show launched on...

What's the difference between a bundle, a box set, an anthology, and a collection? How can being part of an anthology be creatively interesting and useful for marketing? With Jamie Ferguson In the intro, Amazon Kindle increases the 70% royalty share; audiobook marketing tips (Voices by InAudio); The Builder's Creed [Seth Godin]; Future Vision XPrize; Researching the dark side of travel [Anna Sayburn Lane]; Photos from Bruges @jfpennauthor; Bones of the Deep: A Thriller – J.F. Penn. Today's show is sponsored by Bookfunnel, the essential tool for your author business. Whether it's delivering your reader magnet, sending out advanced copies of your book, handing out ebooks at a conference, or fulfilling your digital sales to readers, BookFunnel does it all. Check it out at bookfunnel.com/thecreativepenn This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Jamie Ferguson is a fiction and short story author, editor, and publisher, with over 20 anthologies and multiple ebook bundles through her own press. Her latest book for authors is Bundle Up! A Practical Guide to Anthologies and Box Sets That Sell. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes The difference between bundles, box sets, anthologies, and collections Why a multi-author project means lots of people promoting the same book, not just you How to find and pitch for anthology opportunities, and what editors look for in a contributor Contracts, rights, and royalty splits explained for short fiction Why Kickstarter and special print editions are changing the anthology game Inkwren, the publishing management tool Jamie built for backlists and anthologies You can find Jamie at JamieFerguson.com. Transcript of the interview ith Jamie Ferguson Jo: Jamie Ferguson is a fiction and short story author, editor, and publisher, with over 20 anthologies and multiple ebook bundles through her own press. Her latest book for authors is Bundle Up! A Practical Guide to Anthologies and Box Sets That Sell. Just for context too, one of my short stories, “The Dark Queen”, is in the Amazing Monster Tales: Into the Briny Deep anthology. So I'm excited to talk about this today. Welcome to the show, Jamie. Jamie: Thanks for having me, Jo. Jo: Lots to talk about. But first up— Tell us a bit more about you and how you got into writing and self-publishing. Jamie: Well, I wanted to be a writer since I was at least six, maybe before then. So it was just something I always wanted to do, but I always did it on the side. I had a year, many years ago, where I was really busy with work, and I just felt like I didn't write anything the entire year, and I thought, “I'm going to give it up.” Then the next year—that was 2011—I started seeing more about self-publishing, and that really invigorated me and made me feel like, “No, why am I giving up something I've wanted to do since before I went to school?” So I got back into a novel I had worked on years before. I went to a writing workshop with Dean Wesley Smith up in Oregon, back in the day, and then I had my energy back. I've been writing ever since. Still on the side, unfortunately, but someday. Jo: Hopefully! Tell us a bit more about what kind of genres you write. Because balancing your own books with also doing these anthologies and things is quite difficult. Jamie: Yes, it definitely is. I'd say I primarily write contemporary fantasy, but I'll write anything in any genre if I'm really excited about it. I also have a soft spot for Westerns. They take a little more time because I like to research all the facts, but those are really fun to write. Creating anthologies on your own is actually quite a bit of work. One of the things I also do is work with two other authors, DeAnna Knippling and Tami Veldura, and create more anthologies with them. That's really fun because then we can each take a different piece. There's also always somebody to talk to, as opposed to doing it on your own. Jo: Let's start with the terminology, because I definitely struggled with this, and I think people still do. We've got bundles, we've got box sets, we've got anthologies, we've got collections—and are these in ebook, audiobook, or print? Can you start by explaining what all of these words actually mean? Jamie: Yes. In my book I actually use the term “multi-author collection” or “multi-author project”, because there are so many different permutations and it does get confusing. From my perspective, I think of a bundle as a collection. It could be a collection of ebooks. Technically it could be a collection of print books, although people generally use “box set” for that—but then a box set can also be a box set that's all ebooks. An anthology, I usually use for something that's a collection of short stories where there's an editor who's actually edited all the stories. I have had stories in anthologies where somebody didn't edit them, and they would technically be called a curator. So it is definitely confusing. I have not done anything with audio collections, but that certainly is another area that I actually think is pretty interesting. Jo: I also think that a single author… so I've done a short story collection, but an anthology is multiple authors. Is that right? Jamie: Yes. Jo: I think when I came into the indie space, there were a lot more multi-author… we all called them box sets back in the day, when it was just ebooks, right? And now we can actually do boxed sets with boxes through things like BookVault. So it feels like the term “box set” has also gone out of fashion. So if people listening are thinking of doing any of this, you do have to figure out what is the thing you might be signing up for. So let's talk about the multi-author projects, as that's where you specialise. What are the benefits for an author to be involved in a multi-author anthology project? Jamie: The biggest benefit is that you are one of multiple people promoting the same project, whether it's print or ebook or whatever. If I put out a short story collection on my own, I'm the one promoting it, and maybe I can get a couple of other people to write about it, but it's really just me. If I'm part of an anthology with 15 other authors, that's 15 other people who are promoting the same project. That's more newsletters, more Facebook posts, maybe something on their Patreons, whatever it is. You get more synergy, and you get more touch points with potential readers. Then hopefully that translates into sales as well. So that's definitely the biggest part of it—the promotion. Then I also personally really enjoy these types of collections because it's just fun to work with other people. There's a nice energy when everybody's like, “Oh, I put this in my newsletter, and I put this here, and I put this here,” and you feel like you're part of something bigger than just your own piece. Jo: What about the creative benefits? Especially with short stories, often people will write them for a collection or for an anthology project. Jamie: Yes. I've definitely written some stories that I never would have thought I'd write, because somebody I knew asked if I would be interested in being in their collection—whether it's an ebook bundle or a print anthology. So at least for me, that's been really fun. One of the ones that stands out is that I was asked to be in a dinosaur collection once, and I was like, “I don't write dinosaur stories.” And then I did. I set a dinosaur story in London, and it was really fun to write, and I never would have come up with that in a million years. Jo: Let's say we've got 12 authors. They've all written short stories, and now it's in this anthology. But what is the market for these kinds of things? Have you found that there is a readership for short story anthologies that carries over to the author's longer work? Jamie: There is. I like to think of it as: if I have a story in a collection or an anthology—whether it's one I'm editing or somebody else is editing—that's one more place for people to find me. A lot of times anthologies will take reprints as well, like your story. “The Dark Queen”—that was a reprint. We asked if you'd be interested in participating in the Amazing Monster Tales series. And I actually really like printing stories again that have already been published, because there are a lot of stories out there that can be hard to find. Or if it's an older book. I have one author I've known for, like, 30 years. I reprinted one of her stories that was originally published in, I think, 1999, and the anthology it was in was out of print. You couldn't find it, and it was a fantastic story. So it's fun to be able to give new life to those stories and give them more opportunities, and also just have more ways for people to find you. Jo: Yes, I definitely think it's a long game. I don't think appearing in a short story anthology in one particular month is going to mean that your whole back collection just sells, right? Jamie: No, definitely not. It's more about avenues to be found. I know there have been some anthologies that have made quite a bit of money, but in general you're probably not going to make as much money, but you will have those extra places for people to find you. Jo: I always feel like yes, there is maybe a small amount of money, but it is more about almost a marketing thing in itself. So let's say an author is listening and they're like, “Do you know, this sounds like a great idea.” How can they pitch for things like this? How do they find out about opportunities, or get noticed to be asked? And what are the expectations for them? Jamie: The biggest thing is networking. There used to be a couple of opportunities where you could make people aware that you had stories that you were interested in potentially having picked up for something. I'm not aware of anything like that now. When I create a collection, I have a mailing list that I send out, and it includes authors I've published before. It includes a couple of extra people who somehow found my mailing list. And I'll publish, like, “Here's what I'm doing.” There are also authors I've met at writing workshops. I've been able to read some of their work, I'll approach them and say, “Hey, I really liked such and such a story. Would you be interested in writing for this?” Then there are a couple of other websites, like Duotrope, and places that advertise markets and calls for submissions. Jo: Yes, I've found them also on small presses that do these kinds of projects. They often put up one call for submission a month or something, and you can write for their particular thing. In general, the short story markets are the places to keep an eye on. Jamie: Yes, definitely. Jo: If an author wants to pitch to have their story as part of an anthology, do you want to know things like platform, or is it just the story itself? Jamie: I personally look at the author's platform. I do make exceptions—there are actually two authors I've worked with a couple of times who don't have websites. They are people I know personally and they are very, very good writers, so I'll make an exception for things like that. But otherwise, if somebody submitted a story to me and I didn't know that person, I would check out their website, I would check out their social media, I would see what else they had done. Part of what you're doing when you're creating a collection is thinking not just about how you, as the person organising this, will promote the collection, but how the authors who are participating will help promote it as well. If it's somebody who has a lot of fans, even if they're not very active on social media, that can help a lot too. There are a lot of different factors, though. Jo: So then talk us through the project timeline. How long do things take, and what sort of involvement do the authors have along the way? Because it's a lot to juggle. Jamie: Yes, it is a lot to juggle. I can give you an example with the Monster Tales series. We'll come up with an idea, and we also like to try to get the artwork done early on in the process. We don't need it that soon, but it's really great to have that taken care of. We'll contact authors. I think for this one we used my mailing list, but we've also contacted a number of people individually that we know who write the style of stories we like. Then, as the submissions come in, we usually wait until we have a nice chunk of them to start going through, and then we'll pick some right away. Sometimes it'll be like, “Oh my gosh, of course we want this story,” and we'll wait to fill out the other slots. Then we'll negotiate sometimes. Sometimes it's like, “I want this story.” “Well, I want this other story.” And we have to figure out how the word count works. Once we finalise the stories, then usually what happens with that anthology is that DeAnna—who is a very, very good editor—will make the first editing pass, and then I'll make the second. And now Tami's involved, so Tami will make the third, and then we'll iterate. Once all three of us have gone through the first time, then we'll send the story back to the author for edits. So the most the author has to do for most of the process is just wait for us to edit their story, and then work on their edits and get them back. Then, once we get closer to launch, we'll give them information about what we're going to do. For example, we're going to launch the next issue with a Kickstarter. So our authors know that we have a Kickstarter coming, and we'll give them more information as we get closer to the actual launch date. Jo: So how long might an author expect before their work is out there? Jamie: It really varies. I've had some collections published very quickly—let's say a couple of months. Some have taken longer just because somebody ends up having some life issue and things get delayed. So I'd say ideally it would be more like three to nine months. Jo: Yes, I think… depending on the— Jamie: —collection and the complexity. Jo: Yes, exactly. Jo: And you did mention word count there. Just give us a range of what word count you like to get. Jamie: So these days I'm shooting for between 75,000 and 80,000 for the total word count for a collection. That includes the stories, but it also includes the opening, the introduction. For one we're working on now, we're going to have some interstitials, where we have little bits of things we're going to write in between each story. So that's the overall size of the collection. I'll keep track of the word count as the stories come in, and then as we edit the stories, sometimes they grow, sometimes they shrink. Sometimes that's a big enough difference where we're like, “Okay, we need one more story to fill it in.” But that's the target. Jo: And how much for each individual story? Jamie: That varies. I've done a bunch of different things. These days, what I'm advertising is between 3,000 and 8,000 words. I also always tell people: if you're outside this range on either side, just check with me, and if it's something that's really an excellent fit for the book, I'll make an exception. The one that's coming out, I think we have a 1,500- or 2,000-word story that was just amazingly perfect for what we wanted. There was another story, actually I think it was the issue that you were in, that was at least 12,000 words, but it also was a perfect fit for the theme. So I will make exceptions, but within reason. I wouldn't put a novella inside an anthology, because then you'd have a 22,000-word story next to a 3,000-word story, and I personally feel like that's really jarring for the reader. You don't want to go from something super short to something super long. It just doesn't feel like it flows well to me. Jo: No, absolutely. Jo: We'll come back to the making of it because you mentioned some really interesting things there. But just on the contractual side—a lot of indie authors don't necessarily do any publishing contracts for their work, unless it's signing the terms and conditions when uploading on Amazon or Kobo. So tell us a bit about the contract side. What rights are we talking about here? Any red lines in contracts around this kind of thing? Jamie: For contracts, I would recommend people read Kristine Kathryn Rusch's posts on this. She is way more informed about this than I ever will be, so when I have questions, I'll look at her posts. I've asked her a couple of questions. What we're doing for the Amazing Monster Tales… this is the first time that I've actually had authors sign contracts. Prior to this, I've used PubShare, which handles royalty splits and all of that, and that was really great. We want to do direct sales and Kickstarters and have lots of other options. So we did put together a contract this time. I'd have to pull it up, but I think we asked for first worldwide rights in English—I'm getting the terminology wrong here—but that was basically it. Jo: Or, I guess, reprint rights if the story's already been licensed. Jamie: Correct. We have two contract templates, one for original stories and one for reprints. We made sure to make that distinction, because it is definitely a distinction. In the book by Kristine Kathryn Rusch—it's called Closing the Deal… on Your Terms—I highly recommend that for anybody interested in learning more about contracts. Jo: Yes, that's great. And just for people listening: when you said you didn't have contracts before, you just used PubShare. So in that way, the author still retained the rights and you just split the royalties—it was more of a co-writing thing. Jamie: Correct. When you publish stories through PubShare, the author signs an agreement with PubShare, and then I, as the editor or organiser, would also sign a separate agreement. So each of us has an agreement with PubShare. We don't have agreements with each other, if that makes sense. Jo: Yes, so it's very different to move into Kickstarter. So tell us about what you're now moving into. Jamie: Well, Kickstarters are a new world for me personally. I have many friends who have had Kickstarters. I've supported Kickstarters. I watch them. But it's something where I'm very happy to have two partners who have done Kickstarters before. I'm not sure how many Tami's done—I think Tami's done the most at this point. So this is all new to me. But it's very exciting. At this point we have a backlist, so part of the plan, for the Monster series, is to offer issues one through four as part of the rewards when we launch issue number five. That's really exciting, because I never had a backlist like that before. Jo: Yes, and in fact the money is in the backlist, as ever, and those add-ons or bundles as part of Kickstarter are great. So are you going to do special print editions, or is it digital only? Jamie: We are talking about special print editions. You mentioned BookVault earlier—we've been looking at BookVault. Our other anthology series that hasn't come out yet will also launch with a Kickstarter. It's dragon-themed, and Tami actually did the cover work, which is beautiful. BookVault just gives you so many options that we never had before, so I'm very excited about that. Jo: Yes, I think it's a really good idea. I did gorgeous hardbacks for my solo author collection, so I think it's a great idea. So from the publisher side, let's come back to that. You've mentioned you have to write things like an introduction and interstitials, and you're trying to balance the stories. What are some of the other things that people might think about if they want to organise their own anthologies? Jamie: Oh gosh, where to start? There's the basic setting up of the anthology, so you have to define the table of contents. You might get a bunch of stories that are really awesome, and you might have to tell somebody who has a wonderful story—and maybe even who's a good friend of yours—that you're going to pass on it because their story doesn't fit with all the other stories. Every time I have to do that, I feel kind of bad. But being on this side, it's really interesting to see how you can tell which stories fit together and which don't. There's also the editing process, which can be a lot of work. Part of what I like about working with Tami and DeAnna is that DeAnna really loves editing. I feel like I'm a good editor, and I can do it, but for me it's more of a job. For DeAnna, she loves it, so she does the bulk of the editing, which is great. When I do it on my own, I feel like it's a task I have to do. There's lots of cat-herding. Sometimes people take a while to get their edits back. Sometimes they have life events, and you have to delay things because you're waiting on them. There are all the little tiny pieces of organising things—like, if you're reprinting stories, you need to make sure you get the copyright attribution correct. A lot of times I'll have to go and look up where something was originally published. An author might say, “Oh, it was published in this year,” and I'm like, “Okay, actually it was published in this other year, by this other publication first.” So I'm trying to be organised there. henT one of the things that very infrequently—I think it's only happened to me twice—every once in a while, you're in the middle of editing a story and you have to pass on it, even though you've already accepted it, because the editorial vision and the author vision for the story are not the same, and you can't reconcile that. Jo: I think that's really interesting, because so much of what you're talking about there—you mentioned vision—it's almost taste. You're saying which stories fit. It's not just a case of, I don't know, a pirate anthology and then picking 10 stories about pirates, right? You seem to be thinking about this in a more artistic way. So can you talk a bit more about that? How do you decide on a theme, and then how do you know that a story doesn't fit? Jamie: In the beginning, I was not this selective. In the beginning I'd say, for example, “Hey, I'm putting out a collection about fairies. Give me a fairy story,” and that was it. As I've edited the stories, it's become easier to see how things fit. So, for example, if I have 10 stories in an anthology and I have an 11th story, and they have different tones—let's say the 11th story is really funny and all the other stories are very serious—then that would be a fit thing. That's not necessarily taste; it's just that you don't want one funny story if everything else is really dark and scary or serious. As far as picking a theme, the theme could be very broad. With this dragon anthology we're working on, we decided we wanted it to be called A Hoard of Books. So the theme was: has to have dragons, has to have books, and that's pretty much it. And then we were like, “Let's just see what we get.” We were very surprised at what we got. We thought we'd have more serious stories, and it turned out most of them were very light-hearted and really fun. And we're like, “You know what? That actually changes the way we're looking at the whole series,” because we did not expect that. With the monster series, we'll pick a theme. So, for example, the next issue is Monsters in Love, and for those it's more like, let's just see what happens. Sometimes I'll have a more specific theme. The next anthology I'm publishing on my own is called Fairy Bargains, and I wanted people to obviously have fairies, but I wanted there to be something related to the mythology and lore of having a bargain with a fairy—and there's a lot of stuff about that. So for some things like that, when I put out a call, I'll provide information. I might say, “Here's a link to a Wikipedia article. Here's some mythology that might be helpful for you,” just because I want things to stick a little bit more to the theme itself. Whereas with Monsters in Love, there's a very wide range of stories, and that was very fun to work through. Jo: Oh, yes. There's a lot of monster, on the spicy side as well. But were you doing a clean Monsters in Love, as opposed to in lust? Jamie: Yes, this is a clean one. That's pretty funny. But boy, when you give authors the room for these types of things, you get all kinds of stories, and it is super fun to work with those collections. Jo: As you're talking, I definitely want to do more short stories. It's really interesting, because you can actually generally get paid more for a first print—first print rights on a short story—but I often want to just publish it myself. Then I was really happy to be in yours, because it was a reprint anyway. So I was like, well, there's absolutely nothing to lose if it goes in as a reprint. So these things can be really interesting. Talking of the finance from your side of things: you have a small press and you're doing this publishing yourself, but you're paying all these authors and doing a lot of work. So how does it work as the publisher, in terms of these anthologies, financially? Jamie: With the ones we've published so far, because we've gone through PubShare, it's been a royalty split. As the editors, we would take a percentage, and then we pay for the artwork, and of course all of our time. I think what we were doing there was saying 70% of the royalties would be split equally between all of the authors and the stories. So, for example, if I had a story as well, I would get part of the author split—the same percentage as everybody else in the collection—in addition to the editor split. For what we're doing now, we've changed this a little bit, and I believe we said 60% goes to the authors, and then we're going to keep a share of the proceeds for the business because we want to be able to pay for the artwork out of the business account. We want to pay for advertising, whatever we need to do—like setting up our store, or if we wanted to invest in anything, we want to be able to do that as the business, as opposed to it just being us doing this on our own. We're just trying to treat it a little bit differently. Jo: And I know it's so much work—a crazy amount of work. How many anthologies and books do you have to do in a year to make it worthwhile financially? Jamie: Oh, I don't know. I would say, unless you get an opportunity—like, for example, to have an anthology in a story bundle or something like that—you may not break even. But if you're going to do this, do it more for the marketing, do it more because you enjoy it. Now, going forward, I think that will change, because we are looking at Kickstarters, we are looking at direct sales. We're very motivated to try to make this more of a business thing than a fun side project. So, ask me in a year. Jo: Yes, hopefully more. I do think Kickstarter is great for short stories. I actually buy quite a few collections on Kickstarter. I think they're actually really hard to discover through, say, Amazon—it's a place that is quite hard to identify short stories. Whereas I've found I've bought collections on Kickstarter because there's so much more of a sales page—there's so much more rich media that tells me how I'm going to feel about the stuff. I've bought short story anthologies and collections from people I don't know. So I think it's a really good thing to do. There is an audience there. Jamie: Yes, definitely. And it does feel like the anthologies on Amazon don't sell as well—you don't make as much as you used to. I've been doing this for, well, gosh, 10 years now, and I feel like the sales numbers on Amazon in the past year were noticeably lower than they would have been six or eight years ago. So I am very excited about Kickstarter. Plus, Kickstarter just feels really fun. You're not just throwing your book up; you also have all the extra stuff with the page, you have the rewards, and it just feels really exciting. Jo: No, I agree. I really love it. I didn't do it for a long time, and now I just love it. Jo: So, staying with the publisher side of things— Any practical formatting and production tips? Because in these types of projects, all kinds of people just send you different stuff. Jamie: I have a style guide. So whether it's me or it's the group project, once all the edits are complete, I'll do a formatting pass, and I'll make sure I use curly quotes and the same em dash format and everything, just so everything in the book is formatted the same way. Every once in a while there's an author who has something particular that they want, and I can work around that, and that's fine. I also work with a lot of Canadian authors, and I'll let them keep their Canadian spellings. I don't think everybody does that, but I feel like that's their voice in a way, so I don't correct those. I might check some things there. I think the formatting is important—it makes things look better if everything has the same style. Then I use Vellum, which makes things really easy. I love Vellum. Because I publish so many authors at this point, I have a Vellum file where I store their biographies and their links, so when I publish a new anthology I'll just go grab, say, Jo's “about the author” page from that collection and put it into the new file. Then I also track when the last time was that I checked with the author about their biography. If it's been more than a year, I'll check in with them and say, “Hey, do you have an updated biography you want me to use? Here are your links—do you have any different links now?” So that makes it a lot easier from the formatting standpoint. Jo: And you mentioned Vellum—having done box sets on Vellum, you can just drag a whole book in there if you want to do a three-book box set, or three short stories, whatever. It's much easier to just drag things in, and it makes it easier to format. So I would say to people: you don't need to worry too much about that. There are lots of things that can help you. But even with doing the print stuff for the Kickstarter—people have opinions, don't they? So in terms of authors' opinions and managing—you mentioned herding cats—how do you manage all of that side of things? Jamie: I haven't actually had a lot of trouble with that. The authors I've worked with seem to feel like they gave me their story, and then once the edits are out of the way… I haven't had anybody have any issues with the covers. Usually they love the covers, especially for the Monster series. So, no problems there. Jo: Oh, that's good. Well, I would say a tip would be to make sure you're communicating, if you're somebody who's organising. So talk a bit about communication. Jamie: Communication is very important. What I try to do is send regular updates, especially if I'm in the middle of edits or working on something and I'm not ready to launch. I'll send an update email out to the authors and just say, “Here's what's going on, here's what the plan is.” Or if the plan has to change, if the launch date has to change for some reason, I'll let the authors know about that. Actually, with the upcoming Monsters in Love issue, we were originally not going to do a Kickstarter. That was a late decision, so I contacted all the authors and said, “We've changed our plans. We're going to launch this with a Kickstarter. Please confirm that you're okay with this.” One author was not comfortable with the Kickstarter idea, so he pulled his story, and then we found a replacement story for that. But I just feel like the communication piece is really essential. It's really important for the authors to know what's going on. Jo: Yes, absolutely. So, we've talked about how marketing is a good thing, in terms of there being lots of people marketing. How are you effectively marketing these kinds of books, as the premise is quite different to a single author project? Jamie: Right. There's the usual—write a release post, write posts on social. I do additional things, so I'll publish what I call a story spotlight for each story in the anthology. That's just where I talk a little bit about the story, I provide an excerpt, and then I provide the author's bio and links to find them. Those are really great, because they're very quick to put together. The hardest part is getting a short excerpt that shows enough about the story to be engaging. But that really isn't that much time, either. Then those are also nicely evergreen. I've actually searched for authors before, when I'm trying to research them for an interview, and I've found my own spotlight posts and my own interview posts with authors come up at the top of the list, which is kind of funny. I also do interviews with as many of the authors in a collection as are willing to participate. Sometimes people just don't have the time—I don't make this required—but I usually get 80 to 90% of the authors participating. So, for example, this year I'm in a couple of bundles on StoryBundle, and I'm doing interviews for people there. It's also really fun, and you're not paying for advertising—you're just creating something that the authors are excited about and they want to share. So it promotes the collection, but it also promotes the author, which I find really nice. It's a nice networking thing too, and I'm happy if someone wants to interview me. It's like free publicity for each person, in addition to the collection. Jo: I love that you've used the word “fun” quite a lot, which I find amazing. You're obviously a super collaborative person. I've co-written a number of books— I've been part of some collections, and I really think that there are two personalities. One is like me, where we really love the creation stuff and the publishing stuff, but we're hyper-controlling. And then someone like you—you're very collaborative, and you're doing such a great job. To people listening, I would say: if you're more like me, don't organise an anthology. What you want is Jamie, or somebody who actually finds it fun to organise a big group of authors. Jamie: Yes. It is definitely interesting working with other partners in this, because when I publish an anthology on my own, I make all the decisions. I pick the artwork, I pick the theme, I do everything, I decide the table of contents. But when you're working with other people, you do need to negotiate. So we've had a couple of times where it's like, “I want this story.” “Well, I want this other story, I don't like the story that you want.” And so we have to barter, in a way. Aside from that, it is nice, because you get to split up the tasks. I could focus on things like the organising—I do the Vellum files, I do the final cover and everything. For the Kickstarters, actually, Tami's got more expertise, so Tami's going to be working on the Kickstarters for our collections together. If I had to do all this on my own, it's a ton of work. It's a ton of work. So it is nice to split it up. Jo: And of course, one of the things is managing so many moving parts—and you've actually built a tool to manage all this. So tell us a bit about that tool, and how it might be useful for people with big backlists as well as anthologies. Jamie: I built what I think of as a publishing management application. The original idea is that, for years and years, I wanted a software tool that would do catalogue management, because I was managing my own catalogue, and I was also managing—at this point I've published at least 20 anthologies, so that's a lot of authors. Then last summer, I had an author who I'd published a number of times, who was going to, I think, WorldCon, and she asked if I could give her covers for five anthologies she'd been in, so that she could make some promotional material. I was like, “Oh, sure, I can do that.” And then I was like, “Well, wait a second—is this in Notion?”—because I started trying to use Notion last year—”or is it in a spreadsheet?” It turned out her information was in, like, three different places, and I had to work to pull it together. And then I was like, “You know what? That's it. I'm just going to finally write this application.” So Inkwren manages your stories. As an author, I can manage my stories—I can track which are published, which are drafts, which are just ideas. I can track my publications. From the publisher standpoint, it's really helpful, because I can track each anthology I've published and what I'm working on. I can track the edits, I can track the contracts. I can upload contract templates—so we talked earlier about the original and reprint contract templates that I use. I upload those, and they have placeholders in them. When I generate the actual contract, the author's name will replace the placeholder—I'll have the text “author name” in the contract template, and it'll get replaced by, like, “Joanna Penn” or whatever. So that saves a lot of time. Then I also added in task tracking, because I started to feel like, well, now all my stuff is in one place, but my tasks are somewhere else. So now I can associate tasks with a publication. For example, for the book I'm working on right now, I know which tasks I need to do for the cover, and which for the interior, and everything. I have a template of tasks. Then I can also track tasks related to promotions. For example, the story bundle I'm promoting right now, I have a task for each interview I'm doing with the authors, and I have a calendar view. I can see when I'm going to publish them and know that they're all spread out. It saves me so much time, and it's so much easier. Jo: I do think building tools when you actually need the tool yourself is very useful. Just say the name again, and spell it out for people. Jamie: It's Inkwren. My own personal publishing company is Blackbird Publishing, and I wanted something related to birds and writing. So I came up with Inkwren, which is I-N-K-W-R-E-N, and it's just inkwren.com. Jo: And it is available for other people to potentially buy and use? Jamie: Yes, it is. Jo: Well, I think that's super useful, because it's very hard when people are starting out and they think, “Oh, I've only got one book—why would I need any kind of tool to manage it?” But over the years, your backlist grows, especially with short stories. So I love that you've built this, and there's probably more that you can add over time as you expand the business yourself. So much potential. So we are at the end. Where can people find you and your books and everything you do online? Jamie: My author website is JamieFerguson.com. And then, obviously, I mentioned Inkwren earlier. My publishing company is BlackbirdPublishing.com. And then the projects I'm doing with Tami and DeAnna—we have a couple of websites, but the easiest way to find us is our press, which is BorogrovePress.com. Jo: Fantastic. Well, thanks so much for your time, Jamie. That was great. Jamie: Thanks, Joanna.The post Bundles, Box Sets and Anthologies With Jamie Ferguson first appeared on The Creative Penn.

No Corbetteer worth his or her salt would be surprised to learn that someone would be indefinitely blocked from Wikipedia for daring to suggest that Wikipedians respect intellectual diversity. But even the most battle-hardened, world-weary Corbettean cynic might be surprised to learn that that's exactly what happened to the co-founder of Wikipedia himself. Don't miss this fascinating conversation as James discusses the nitty-gritty details of this latest act of online censorship and Wikigatekeeping with none other than Larry Sanger himself.

Violas have long occupied the middle voice of the string family, bridging the bright sound of the violin and the rich depth of the cello. This episode explores how violas developed, what gives them their distinctive tone, how they differ from violins, and the important role they play in orchestras and chamber music. Along the way, you'll hear about instrument design, famous composers, playing techniques, and the enduring appeal of an instrument that has often lived just outside the spotlight. It's steady and consistent, with no whispering and no sudden changes, just enough to give your mind something to follow as you wind down. Happy sleeping! Read with permission from Viola, Wikipedia (https://en.wikipedia.org/wiki/Viola), licensed under CC BY-SA 4.0. — Ad-free episodes: ⁠icantsleep.supportingcast.fm⁠Have a topic in mind? ⁠Request a topic⁠ Learn more about your ad choices. Visit ⁠megaphone.fm/adchoices Learn more about your ad choices. Visit megaphone.fm/adchoices

No Corbetteer worth his or her salt would be surprised to learn that someone would be indefinitely blocked from Wikipedia for daring to suggest that Wikipedians respect intellectual diversity. But even the most battle-hardened, world-weary Corbettean cynic might be surprised to learn that that's exactly what happened to the co-founder of Wikipedia himself. Don't miss this fascinating conversation as James discusses the nitty-gritty details of this latest act of online censorship and Wikigatekeeping with none other than Larry Sanger himself.

Welcome to The Daily Wrap Up, an in-depth investigatory show dedicated to bringing you the most relevant independent news, as we see it, from the last 24 hours (7/13/26). As always, take the information discussed in the video below and research it for yourself, and come to your own conclusions. Anyone telling you what the truth is, or claiming they have the answer, is likely leading you astray, for one reason or another. Stay Vigilant. !function(r,u,m,b,l,e){r._Rumble=b,r[b]||(r[b]=function(){(r[b]._=r[b]._||[]).push(arguments);if(r[b]._.length==1){l=u.createElement(m),e=u.getElementsByTagName(m)[0],l.async=1,l.src="https://rumble.com/embedJS/u2q643"+(arguments[1].video?'.'+arguments[1].video:'')+"/?url="+encodeURIComponent(location.href)+"&args="+encodeURIComponent(JSON.stringify([].slice.apply(arguments))),e.parentNode.insertBefore(l,e)}})}(window, document, "script", "Rumble");   Rumble("play", {"video":"v7ai5do","div":"rumble_v7ai5do"}); Source Links (In Chronological Order): (5) The Last American Vagabond on X: "Every say this platform suppressing honest, objective, non-partisan media." / X (5) Vani Hari on X: "THE NUMBERS ARE IN. Processed food is dying a slow death and BIG FOOD is crumbling. There's a massive shift happening. Look how much processed food companies have LOST in value in the last 22 months. Stock value lost since August 2024: * Campbell's: DOWN 54.9% (Goldfish, https://t.co/1O6mv9rDrl" / X Trump Cuts Habitat Protections for Endangered Species - The New York Times MAHA's Food Agenda Undermined By Trump Administration Policies Trump's New $2B WHO, FDA Walks Back Food Dye Ban & The US Gov's Long-Documented Cartel Connections Trump Ignores MAHA By Ruling Glyphosate "National Security" Imperative Despite Obvious Health Risks New Tab (6) Viral Reel Addict on X: "They all knew who Donald Trump really was. Lindsey Graham says it https://t.co/UEgU1N5mzQ" / X (21) This You? on X: "https://t.co/6AKy2zcq9p" / X (21) This You? on X: "https://t.co/l07xkoLVZs" / X (21) James Li on X: "So they are just openly admitting that Lindsey Graham was basically a mole for the Israel?! https://t.co/q6ISHUByzZ" / X Trump recommends Graham's sister for interim South Carolina senator (21) The Last American Vagabond on X: "So much for dEmOcRaCy. These people truly believe they are a special class. Almost like what would happen with a royal bloodline." / X (21) Owen Shroyer on X: "The scripts went from network news to X. It's easy to see once you spot it." / X (21) Dr. Simon on X: "2022

Oftentimes on The Flop House we wind up watching Hollywood movies that are just kind of dull or mediocre or unimaginative. The Bride!... is not one of those. For all its flaws, it's at least a bona fide personal vision that also happens to be a fiasco. And you know what? That's kind of heartwarming. We're joined by Kenice Mobley to dissect (ha) the many parts that make up The Bride! And if you like Kenice, check out The Hot Guy Draft in August! Stay updated on all things Flop House, plus a little extra, with our NEWSLETTER, “Flop Secrets! Wikipedia page for The Bride! Recommended in this episode: Dan: Close Encounters of the Third Kind (1977) Stu: Exit 8 (2025) Elliott: The Straight Story (1999) Kenice: Lisa Frankenstein (2024) Help support this show and unlock bonus content! Become a member at https://maximumfun.org/joinflop