New Thinking Allowed with Jeffrey Mishlove May 6, 2026 Karen Frances McCarthy, a spiritualist medium and healer, received years of intensive training at the Arthur Findlay College in England. She is author of Till Death Don’t Us Part: A True Story of Awakening to Love After Life. Prior to the awakening of her mediumistic talents she worked as a major media journalist and war correspondent. Her website is   / www   In this 2020 video, she describes the slow and reluctant unfolding of her career as a spiritualist medium, which began with the sudden death of her fiancé. The process started with an assortment of “signs” that are sometimes noticed by bereaved individuals. Then more direct forms of communication began to occur, prompting this atheistic journalist to seek classes, mentors, and eventually serious training. New Thinking Allowed host, Jeffrey Mishlove, PhD, is author of The Roots of Consciousness, Psi Development Systems, and The PK Man. Between 1986 and 2002 he hosted and co-produced the original Thinking Allowed public television series. He is the recipient of the only doctoral diploma in “parapsychology” ever awarded by an accredited university (University of California, Berkeley, 1980). He is also the Grand Prize winner of the 2021 Bigelow Institute essay competition regarding the best evidence for survival of human consciousness after permanent bodily death. He is Co-Director of Parapsychology Education at the California Institute for Human Science. (Recorded on November 11, 2020)

on May 05, 2026 02:35 am

Oliver Milman,  Environmental Reporter  –  The Guardian (U.K.)

Stephan: Based on my precognitive remote viewing research, and what I have seen in the science journals, I have been telling you for over a decade (see SR archive) that a time was coming when millions of Americans would be forced to internally migrate away from coastal areas and out of drought-ridden areas because of climate change. Well, here is proof that what I predicted is coming to pass.

Ongoing sea level rise and the rampant erosion of wetlands in southern Louisiana will swallow up the New Orleans area within a few generations, a new study concluded. Credit: Reuters

The process of relocating people from New Orleans should start immediately, as the city has reached a “point of no return” that will see it surrounded by the ocean within decades due to the climate crisis, a stark new study has concluded.

Ongoing sea-level rise and the rampant erosion of wetlands in southern Louisiana will swallow up the New Orleans area within a few generations, with the new paper estimating the city “may well be surrounded by the Gulf of Mexico before the end of this century”.

Low-lying southern Louisiana faces multiple threats, with rising sea levels driven by global heating, compounded by strengthening hurricanes, also a feature of the climate crisis, and the gradual subsidence of a coastline that has been carved apart by the oil and gas industry.

Southern Louisiana is facing 3-7 metres of sea-level rise and the loss of three-quarters of its […]

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James Ensor, Christ’s Entry into Brussels in 1889

Zach King Premiered Apr 25, 2026 I remade Star Wars with my friends and family out of cardboard. Featuring ‪@airrack‬‪@MichelleKhare‬‪@jordanmatter‬‪@sofiedossi‬‪@StarWarsTheory‬‪@NickDiGiovanni‬‪@ColinandSamir‬‪@Jesser‬‪@Dom-Fera‬‪@JamieCosta‬‪@brittneyraeallday‬‪@ericartell‬ Thanks to George Lucas and the original cast and crew of Star Wars for making a piece of cinema that has inspired us all to make movies! Directed by Josh Fapp Produced by Jesse Scholz & Josh Fapp Executive Producer – Zach King Director of Photography – Dave Cortez Production Designers – Noah Coots & Robert Kern III Editors – Corry Williams & Nathan Ross Music Composed by Andrew Gerlicher & Dom Fera VFX Supervisor – Ethan Montgomery Sound Designer & Re-recording Mixer – Patrick Sexton, CAS CAST Zach King – Luke Skywalker Dom Fera – C-3PO Jamie Costa – Han Solo / Beru Lars Brittney Rae – Princess Leia Liam King – Darth Vader JJ Carroll – Obi Wan / Owen Lars Eric Artell – Governor Tarkin Bart Johnson – General Dodonna Niatoos Dadbeh – Biggs Randall Park – Red Leader Jordan Matter – Dr. Evazan Sofie Dossi – Cantina Band Player / X-Wing Pilot Steve Moulton – Porkins Erick Decker – X-Wing Pilot Michelle Khare – X-Wing Pilot Manny – Chewbacca Samir Chaudry – Imperial Officer Colin Rosenblum – Imperial officer Jesse Reidel – Imperial officer Ben Maedo – Imperial Officer Nick DiGiovanni – Cantina patron Dom Fera – Cantina Bartender Nate Norell – Tusken Raider Andrew Gerlicher – Tusken Raider Eric Ziech – X-Wing Pilot Noah Pacifici – Captain Antilles Imperial Officers – Emile Rappaport, Jesse Scholz, Ryan Pollard, Jessica Wheeler, Janae Fapp, Andrew Gerlicher, Matthew Hagen, Vicki Lalane CREW 1st Assistant Director – Isaac Kim 2nd Unit Director – Jesse Scholz 2nd Unit Director of Photography – Jesse Scholz Gaffer / 1st AC / DIT – Christopher Park Miniature Photography – Josh Fapp & Ryan Pollard Miniature Makers – Connor Lee, Noah Coots, Robert Kern III, Zach King, Emile Rappaport, Pojo Reigert, Andrew Gerlicher BTS Photographer/Videographer – Dustin Ong Fabricators – Eliab Rice, Janae Fapp Animal Wranglers – Jessica Wheeler, Emile Rappaport Social Media BTS – Justin Paguirigan, Mikayla Ashe Candy Crafty – JJ Carroll Art PA’s – Emily Gould, Graham Young, Matthew Hagen, Moses Fritz, Jayden McSwain, Chris Rice PA – Matthew Hagen, Vicki Lalane, CJ Birkle, Laura Jones POST Post Supervisor – Josh Fapp VFX Artists – Joshua Drury, Lesley Lopez, Ethan Montgomery, Josh Fapp, Kijeon Nam, Stephen Burchell, Zach King Sound Designer / Sound EX Editor – Leandro Cassan Colorist – Corry Williams, Josh Fapp Shrek Burp – Blaivira ADR Talent – Aiden Morales, Ryan Pollard, Josh Fapp, Shalise Sexton, Aadylei Sexton, Arabelle Sexton, Robin Sexton, Jessica Sexton, Dustin Stephens, Anthony LeSage, Matthew Gurgol, Derek Liner, Edukated, Koka Sexton, Grayson Sexton, Olive Sexton, Cory LaCrue BACKGROUND Joshua Remmenga, Kiana Frerichs, Elijah Kim, Evan Kim, Andrew Gerlicher, Connor Lee, Logan Langevin, Isabella Fillipakis, Kai Ashikawa, Samuel Ashikawa, Christian Carignan, Caleb Thornton, Bentley Tees, CJ Terblanche, Nathaniel John Caleb Funk, Ashton Amersfoort, d’Artagnan Cañamar, Amadeo Cañamar, Valentino Canamar, Mason King, Liam King, Tate Thompson, Declan Thompson, Wyatt McCarthy, Landon Thompson, Everett Thompson, Lyla Thompson, James Thompson, Janae Fapp KING STUDIO TEAM Ryan Riggs, Noah Pacifici, Emile Rappaport, Josh Fapp, Jesse Scholz, Ryan Pollard, Noah Coots, Isaac Kim, Robert Kern III, Dustin Ong, Zach King, Corry Williams, Ethan Montgomery, Lesley Lopez, KiJeon Nam, Nathaniel Ross, Andrew Gerlicher, Isa Lee

Lillian DeWaters (mysticsoftheworld.com)

The finite, the personal, the physical, are nothing–like a dream or phantom. There is no finite, personal or physical existence. The only Existence there is is the Spiritual and Real. The only Being there is is the One-Infinite. This explains why the finite can never become the Infinite; the physical, the Spiritual; the personal, the I AM THAT I AM.

Light of the Eternal

Lillian DeWaters

From the first page to the last, Light of the Eternal reveals the Truth about every person’s real identity and the enormous opportunities available right now to those who accept this Truth. The author makes it clear that the mortal existence with all of its limitations and problems can be risen above. This higher state of being I Am That I Am is our destiny and she shares how this may be accomplished in the world.Much more than just being the title for this book, Light of the Eternal is an experience. Throughout the book the author reveals the option to accept the Light of the Eternal as our destiny, which has been waiting for everyone who is ready to receive it.In a sense, the message of the book is a divine invitation and it is priceless. The way of life being presented to everyone as a choice cannot be described or compared to what is thought of as human existence. The experience of this new life is one of beauty, love, purity and is, to a great extent, free of the discords, lack and battles of good and evil. The book reveals the way to this existence comes only through the heart.“With the heart one loves the Real as It is. Light pervades his whole existence. He walks in the kingdom of the Self where freedom, love and bliss forever abide.”

— Lillian DeWaters

(Contributed by Marty Owens)

Falstaff, 1921 Art: Eduard von Grützner

“He who is not contented with what he has would not be contented with what he would like to have.” Socrates (470–399 BCE) Greek philosopher

AN OPPORTUNITY FOR DAILY REFLECTION BROUGHT TO YOU BY THE SCHOOL OF PRACTICAL PHILOSOPHY

Rooms by the Sea Edward Hopper, 1951 Yale University Art Gallery

By Maria Popova (themarginalian.org)

It is in relationships that we discover both our depths and our limits, there that we anneal ourselves and transcend ourselves, there that we are hurt the most and there that we find the most healing.

But despite what a crucible of our emotional and spiritual lives relationships are — or perhaps precisely because of it — they can be riddling and nebulous, destabilizing in their fluidity and ambiguity, leaving us grasping for the comforting solidity of categories and labels. The ancient Greeks, in their pioneering effort to order the chaos of the cosmos, neatly taxonomized them into filial love (the kind we feel for siblings, children, parents, and friends), eros (the love of lovers), and agape (the deepest, purest, most impersonal and spiritual love). After the Enlightenment discounted all love as a malfunction of reason, the Romantics reclaimed it and revised the ancient taxonomy into a hierarchy, under the tyranny of which we still live, placing eros at the pinnacle of human existence. And yet our deepest relationships — the ones in which we both become most fully ourselves and are most emboldened to change — tend to elude the commonplace classifications and to shape-shift across the span of life.

Simone de Beauvoir, 1946 (Photograph: Henri Cartier-Bresson)

Simone de Beauvoir (January 9, 1908–April 14, 1986) was only nineteen when she wielded her uncommon intellect at these questions on the pages of her journal, later published as Diary of a Philosophy Student (public library). In between composing her resolutions for a life worth living, Beauvoir began thinking seriously about the nature of love, its dialogue with her own nature, what she may want of it and what it may demand of her — “in brief, how souls can interact with one another.” In the midst of an intellectual infatuation with a young man who would go on to become an eminent philosopher himself — not the one she would eventually marry in a convention-breaking union of minds — she examines the substance of the feeling:

To say that I love him, what does that mean? Does the word itself have a meaning?

Questioning the tangle of idolization and desire that masquerades as love, she grows suspicious of the very concept of personal love as an absurdity against the backdrop of the largest love we can carry:

When you love beings… not for their intelligence, etc., but for what they have in their very depths, for their soul… you love them equally: they are entireties, perfect inasmuch as they are (to be = perfection). Why then is there this desire to get closer? To know them, and thus to love them more perfectly for what they really are. What is surprising is not that we love them all, but rather that we prefer one of them.

Invoking the love she feels for her friends, the sum total of them, she writes:

Something sharp runs through me which is my love for them… This is not intellectual love. This is a love for souls, from all of me towards all of them in their entirety.

Over and over she returns to the elemental question:

What then is love? Not much, not much… Sensitivity, imagination, fatigue, and this effort to depend on another; the taste for the mystery of the other and the need to admire… What is worthwhile, is friendship… this profound mutual confidence between [two people], and this joy of knowing that the other exists.

Art by Olivier Tallec from Big Wolf & Little Wolf by Nadine Brun-Cosme — a poignant modern fable about how friendship anchors and transforms us.

Drawing on Hegel’s philosophy of freedom, in which for any conscious subject to be free means freeing the other, she arrives at a “formula” for the ideal friendship: “absolute reciprocity and the identity of consciousness.” The cultural ideal of romantic love, on the other hand, replaces this “absolute reciprocity” with engulfment and sublimation of one self into the other. She writes:

It seems to me that love should not make all else disappear but should simply tint it with new nuances; I would like a love that accompanies me through life, not that absorbs all my life.

This, of course, is Rilke’s model of a perfect relationship — one in which “the highest task of a bond between two people [is] that each should stand guard over the solitude of the other” — consonant with Octavio Paz’s lovely definition of love as “a knot made of two intertwined freedoms.”

Beauvoir ultimately found it not in romantic love but in the deepest friendship of her life — that with Zaza, her childhood best friend.

A year older than her and also enamored of books, Zaza was the only one with whom the young Simone could have “real conversations.” In Memoirs of a Dutiful Daughter (public library) — the first volume of her autobiography, largely a loving memorial to this formative relationship — she would write of talking to Zaza:

My tongue was suddenly loosened, and a thousand bright suns began blazing in my breast; radiant with happiness.

Card from An Almanac of Birds: 100 Divinations for Uncertain Days, also available as a stand-alone print and as stationery cards.

When Zaza’s dress caught fire and charred her leg to the bone, she endured the long convalescence valiantly, then went on to climb trees and do cartwheels, to play the piano and the violin. Beauvoir relays a moment radical in the context of early twentieth-century French bourgeoise society, emblematic of Zaza’s defiant spirit and playful disdain for convention:

One year at a music recital [Zaza] did something while she was playing the piano which was very nearly scandalous. The hall was packed. In the front rows were the pupils in their best frocks, curled and ringleted and beribboned, who were awaiting their turn to show off their talents. Behind them sat the teachers and tutors in stiff black silk bodices, wearing white gloves. At the back of the hall were seated the parents and their guests. Zaza, resplendent in blue taffeta, played a piece which her mother thought was too difficult for her; she always had to scramble through a few of the bars: but this time she played it perfectly, and, casting a triumphant glance at [her mother], put out her tongue at her! All the little girls’ ringlets trembled with apprehension and the teachers’ faces froze into disapproving masks. But when Zaza came down from the platform her mother gave her such a light-hearted kiss that no one dare reprimand her. For me this exploit surrounded her with a halo of glory. Although I was subject to laws, to conventional behaviour, to prejudice, I nevertheless liked anything novel, sincere, and spontaneous. I was completely won over by Zaza’s vivacity and independence of spirit.

This strength of spirit, this defiance of the givens, is what the young Simone most admired about her friend — it emboldened her to defy convention in her own life.

Part of the unexamined convention Beauvoir had internalized growing up was the belief that “in a well-regulated human heart friendship occupies an honourable position, but it has neither the mysterious splendour of love, nor the sacred dignity of filial devotion.” And yet through her relationship with Zaza, she came to question this limiting “hierarchy of the emotions” and to see friendship as the deepest stratum of connection. “I loved Zaza with an intensity which could not be accounted for by any established set of rules and conventions,” she would reflect decades later.

Card from An Almanac of Birds: 100 Divinations for Uncertain Days, also available as a stand-alone print and as stationery cards.

It was only in Zaza’s absence — absences inflicted by their families and school schedules and the general fractures of continuity that life presents — that Beauvoir came to grasp the importance, the consolation, the salvation of her friend’s presence:

So total had been my ignorance of the workings of the heart that I hadn’t thought of telling myself: ‘I miss her.’ I needed her presence to realize how much I needed her. This was a blinding revelation. All at once, conventions, routines, and the careful categorizing of emotions were swept away and I was overwhelmed by a flood of feeling that had no place in any code. I allowed myself to be uplifted by that wave of joy which went on mounting inside me, as violent and fresh as a waterfalling cataract, as naked, beautiful, and bare as a granite cliff.

In her diary, she recounts one such reunion during her freshman year as a philosophy student:

I found Zaza again! All last year and during this vacation, I believed that she was far, very far from me. And there she was infinitely close by and now we are going to be true friends. Oh! What a beautiful meaning this word has! Never have we spoken so, and I was not even hoping that it could happen — but why, too, never believe in happiness… Let us bring our two solitudes together!… When I had left her, I experienced one of the most beautiful hours of my life, my love and my friendship both greater from their union.

Beauvoir was discovering deep friendship as safer and more resilient than romance, free from “the great hatreds of love, the irremediable pride, the passionate ruptures, the mutual tortures,” never “introducing jealousy, demands, and doubts.” To have what the ancient Celts called anam cara — “soul friend” — asks everything of us, invites all the parts we live with and urges us to show up whole, yet demands nothing.

Looking back on her life, Beauvoir reflects:

I didn’t require Zaza to have any such definite feelings about me: it was enough to be her best friend. The admiration I felt for her did not diminish me in my own eyes. Love is not envy. I could think of nothing better in the world than being myself, and loving Zaza.

Midway through Beauvoir’s sophomore year, Zaza died suddenly and mysteriously — an illness swift and merciless as an owl. She was 21. Amid the savage grief, Beauvoir turned even more sharply toward philosophy, seeking its eternal consolations. Across the sweep of the years and decades, Zaza’s inextinguishable presence never left her life. (“No one you love is ever dead,” Ernest Hemingway wrote around that time in a letter of consolation to an inconsolable friend.) Loving Zaza had ignited Beauvoir’s becoming, setting her on the course of who she would become — one of humanity’s most daring breakers of convention, her ideas reaching into the depths of her time, shaping the times to come, touching the lives of generations of strangers the way a true friendship does. Touching mine. Perhaps touching yours.

Card from An Almanac of Birds: 100 Divinations for Uncertain Days, also available as a stand-alone print and as stationery cards.

Complement with Seneca on true vs. false friendship and Little Prince author Antoine de Saint-Exupéry on losing a friend, then revisit Simone de Beauvoir on how chance and choice converge to make us who we are and the art of growing older.

New Thinking Allowed with Jeffrey Mishlove May 5, 2026 Maxine Meilleur, ALM, received a Masters degree in religion from Harvard University as well as a certificate in parapsychology from the Rhine Research Center in Durham, North Carolina. She is author of the two volume set, Great Moments in Modern Mediumship. Her other books include What the Great Mediums Have Taught Us About Spirit Guides, What the Great Mediums Have Taught Us About Healing, What is Spiritualism?, and Grounds in Your Coffee: An Idiot’s Guide to Tasseography. In this video from 2020, the discussion focuses on memorable high points in the history of spiritualism. Personalities discussed included Andrew Jackson Davis, Estelle Roberts, the Fox Sisters, Helen Duncan, Franek Kluski, Lord Hugh Dowding, and Sir Arthur Conan Doyle. The topics include apports, spirit materialization, and direct voice mediumship. New Thinking Allowed host, Jeffrey Mishlove, PhD, is author of The Roots of Consciousness, Psi Development Systems, and The PK Man. Between 1986 and 2002 he hosted and co-produced the original Thinking Allowed public television series. He is the recipient of the only doctoral diploma in “parapsychology” ever awarded by an accredited university (University of California, Berkeley, 1980). He is also the Grand Prize winner of the 2021 Bigelow Institute essay competition regarding the best evidence for survival of human consciousness after permanent bodily death. He is Co-Director of Parapsychology Education at the California Institute for Human Science. (Recorded on October 30, 2020)