Podcasts about Banquo

"Actor's Blood," broadcast on Suspense on August 24, 1944, marks the second appearance of the distinguished actor Fredric March on the program. This gripping play is an adaptation of a short story by the acclaimed writer Ben Hecht, who also serves as the narrator, adding a layer of intrigue to the unfolding events. The narrative centers around a peculiar dinner party meticulously orchestrated as a trap to unmask the individual responsible for the murder of a celebrated actor's daughter. The premise evokes a compelling blend of the supernatural tension found in the tale of Banquo's ghost and the intricate whodunit mysteries characteristic of Agatha Christie's novels, all set against the glamorous backdrop of Tinseltown.Intriguingly, recordings from both the east and west network broadcasts of "Actor's Blood" have been preserved, offering a unique opportunity to compare the two presentations. A subtle difference exists in their closing remarks: the east network recording references "next Thursday," pinpointing a specific date, while the west network recording more generally mentions "next week." While the east recording is considered to have slightly superior audio quality, both versions are reported to be in good condition, allowing listeners to fully appreciate the performances and the atmospheric sound design that was a hallmark of Suspense."Suspense" was a radio drama series that captivated audiences from 1940 through 1962 during the Golden Age of Radio. Often subtitled "radio's outstanding theater of thrills," this program was a shining example of suspense thriller entertainment. It specialized in delivering heart-pounding stories, typically featuring some of the leading Hollywood actors of its era. With an impressive total of approximately 945 episodes aired over its lengthy run, "Suspense" remains an enduring classic, with over 900 episodes still in existence.TakeawaysTheater has a rich history of dramatic storytelling.Marsha Tilliou's legacy is intertwined with her father's.The concept of a ghostly banquet serves as a narrative device.Suspense is built through the gathering of suspects.The emotional weight of familial relationships is explored.The play critiques the superficiality of the theater world.Marsha's murder is a catalyst for the unfolding drama.The narrative reveals the complexities of love and betrayal.The ending challenges perceptions of guilt and responsibility.The story emphasizes the impact of unresolved grief.Actors Blood, Ben Hecht, Frederick March, theater, murder mystery, suspense, Marsha Tilliou, ghost, banquet, drama

A dinner party turns deadly when a ghostly guest arrives to expose a killer's long-buried secret.Hear the tale, “Banquo's Chair” from Suspense! | #RetroRadio EP0405Download The FREE Word Search Puzzle for this episode: https://weirddarkness.com/WDRR0405Get the Darkness Syndicate version at https://weirddarkness.com/syndicateCHAPTERS & TIME STAMPS (All Times Approximate and for Commercial Version Only)…00:00:00.000 = Show Open00:01:50.000 = CBS Radio Mystery Theater, “General Laughter” (February 25, 1976) ***WD00:46:38.939 = BBC Spine Chillers, “Khar Darakh” (1984?)01:09:19.109 = Strange, “Phantom Wagoneer” (March 21, 1955) ***WD01:23:05.919 = Strange Wills, “Mad Concerto” (June 08, 1946)01:53:07.519 = Suspense, “Banquo's Chair” (June 01, 1943)02:22:03.959 = Tales of the Frightened, “Hands of Fate” (December 09, 1957) ***WD02:26:49.309 = Tales From The Tomb, “Do You Know Where The Children Are?” (1960s)02:32:11.769 = Theater Five, “Evil That Men Do” (September 24, 1964) (LQ)02:52:40.829 = CBC Theater 1030, “The Sandman” (1968-1971) ***WD (LQ)03:19:52.459 = 2000 Plus, “When Worlds Met” (May 03, 1950) ***WD03:49:24.989 = The Unexpected, “Twilight Meeting” (1948) ***WD04:01:43.519 = Unit 99, “Cutting” (February 14, 1958)04:27:09.299 = Unsolved Mysteries, “The Witch Doctor” (1936) ***WD04:42:15.959 = Dark Venture, “Ten Dollar Bill” (August 14, 1945)05:11:17.622 = Show Close(ADU) = Air Date Unknown(LQ) = Low Quality***WD = Remastered, edited, or cleaned up by Weird Darkness to make the episode more listenable. Audio may not be pristine, but it will be better than the original file which may have been unusable or more difficult to hear without editing.Weird Darkness theme by Alibi Music Library= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2025, Weird Darkness.= = = = =CUSTOM WEBPAGE: https://weirddarkness.com/WDRR0405

"Suspense" was a radio drama series that captivated audiences from 1940 through 1962 during the Golden Age of Radio. Often subtitled "radio's outstanding theater of thrills," this program was a shining example of suspense thriller entertainment. It specialized in delivering heart-pounding stories, typically featuring some of the leading Hollywood actors of its era. With an impressive total of approximately 945 episodes aired over its lengthy run, "Suspense" remains an enduring classic, with over 900 episodes still in existence.

Original airdate: February 6, 1957 Hosted on Acast. See acast.com/privacy for more information.

Natural history presenter and cameraman Gordon Buchanan's new book In The Hide is a look back at some of his greatest adventures across the world, from Mumbai to Mongolia. In 2015 Mhairi Black became the youngest MP elected to the House of Commons since the 1800s. After stepping down at the 2024 General Election, she turned her mind to her tell-all comedy show Politics Isn't For Me which took last year's Fringe by storm. She's now taking it on tour. Cal MacAninch is well known for roles in Downton Abbey, Mr Selfridge, Vigil and Wild At Heart amongst much else. He plays Banquo in a production of Macbeth that has wowed audiences at the Donmar Warehouse and the West End and can be seen in cinemas in February. Edinburgh's Makar Michael Pedersen writes about friendship, grief and pretending to be a cat. The newest addition to his expanding body of works is his debut novel, Muckle Flugga.Tunisian singer-songwriter EMEL has performed across the world, and rose to fame with her protest song Kelmti Horra which became an anthem for revolution. She performs from her latest album is MRA. Irish-Scottish contemporary folk duo LÉDA share a new track ahead of their debut album launch later this year.

Donald Crisp took home on Oscar for his powerful performance in How Green Was My Valley, but that was just one notch on his belt during a long Hollywood career that stretched from the silent era to the 1960s and included stints as actor, producer, and director. We'll hear him in "Banquo's Chair" - the story of a Scotland Yard inspector with an ingenious method to catch a killer (originally aired on CBS on June 1, 1943). Then, Crisp is a psychiatrist who tries to discover what haunts a railroad tycoon in "Case History of Edgar Lowndes" (originally aired on CBS on June 8, 1944). Plus, he recreates his Academy Award-winning role in The Screen Guild Theatre (originally aired on CBS on March 22, 1942).

Check out Cam's latest novel / audio drama here! The King is dead, long live the King. Joffrey's first day in power leads Cam on a spiraling journey through Macbeth's ghost of Banquo scene and the Ship of Theseus as he tries to make sense of all the uneasy parallels being drawn between Robert Baratheon and his brutal son. Maggie keys into the missing tapestries in the throne room to decipher the Lannisters' view of prophecy. Ned rots in the dungeon. LINKS: Patreon, YouTube, Spotify, Instagram Feedback & Theories: secondbreakfastpod@gmail.com

Original airdate: March 9, 1950 Hosted on Acast. See acast.com/privacy for more information.

In this bonus episode, I'm sharing my favorite Suspense shows starring the great James Mason. The smooth, polished star of Lolita, North by Northwest, and The Veil plays crooks, cops, and a man whose guilt or innocence may never be known for sure. We'll hear "Where There's a Will" (originally aired on CBS on February 24, 1949), "Banquo's Chair" (originally aired on CBS on March 9, 1950), "The Greatest Thief in the World" (originally aired on CBS on June 21, 1951), and "Odd Man Out" (originally aired on CBS on February 11, 1952).

There's a murder mystery to be solved, in a creepy old house. The Doctor, Fitz and Compassion arrive, and this novel by Andy Lane and Justin Richards has a fascinating history, having originally been written without the Doctor. Andy joins us to reveal more. (With apologies for the varying sound quality on the interview)

This Sunday on "Sunday Night Playhouse," Vintage Classic Radio proudly presents the 1937 broadcast of Macbeth, adapted by Orson Welles for his legendary Mercury Theatre on the Air. Originally aired as part of the Columbia Workshop series, this radio adaptation of William Shakespeare's tragedy captures the eerie atmosphere of ambition, betrayal, and supernatural forces that drive the doomed Scottish general. Directed by and starring Orson Welles himself as Macbeth, the production was lauded for its haunting soundscapes and intense performances, bringing Shakespeare's dark tale to life in a uniquely immersive audio experience. The supporting cast includes Agnes Moorehead as Lady Macbeth, Ray Collins as Banquo, and Martin Gabel as Macduff, with other notable voices contributing to the ensemble, all under Welles' expert direction. This gripping broadcast is a testament to Welles' flair for merging Shakespearean drama with innovative radio storytelling. Tune in to Vintage Classic Radio's "Sunday Night Playhouse" to relive this classic interpretation of one of literature's most famous tragedies, where ambition leads to a chilling downfall.

Halloween  Suspense "Banquo's Chair" June 1, 1943 CBS  Suspense "The Yellow Wallpaper" July 29, 1948 CBS

Please enjoy Banquo s Chair a great episode of the legendary Suspense - - a Old Time Radio OTR classic.

Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing WeirdDarkness@RadioArchives.com!When the dramatic anthology series "Suspense" premiered over CBS Radio on June 17, 1942, it did so as both a summer series and as a sustaining program. The network had no idea how well the series would perform - its only previous showcase was as an hour-long audition on the 1940 series "Forecast" - so running out and getting a sponsor didn't seem to be important at that particular stage. Besides, in the show's salad days, the guest stars that did appear were of considerably low wattage. But as "Suspense" grew in popularity and began to attract a more upscale acting clientele anxious to participate in “radio's outstanding theater of thrills,” finding someone to pick up the weekly tab became a top priority for CBS. Luckily, in December 2, 1943, the series found its 'angel' in the sponsorship of Roma Wines. "Suspense's" long association with Roma (and co-branded Cresta Blanca) was good for both the series and the company; a bigger budget attracted bigger guest stars and, as the program began to climb in the ratings, the company began to enjoy substantial profits. This fruitful arrangement came to an end on November 20, 1947. Roma had been admittedly seeing other programs behind "Suspense's" back and the bright array of top Hollywood talent began to dim a bit as many of the stars began to tire of the program. CBS rolled the dice and took one heck of a chance in keeping "Suspense" on the air; the network still felt that the series was popular with audiences and they agreed to sustain the program until another sponsor could be found.How serious was CBS about keeping its prestige show? Beginning January 3, 1948, "Suspense" was moved to Saturday nights and was broadcast from 8:00 to 9:00 PM Eastern Standard Time. That's right: a full hour of “Suspense.” Hour-long dramatic shows were a gamble at best; many stars tended to shun these programs - a half-hour show was grueling enough to get through - and only a few, "The Lux Radio Theater" being the best example, managed to continue on the air for very long. But Lux had a sponsor all too willing to write checks on a weekly basis...while CBS, without a sponsor to back them up, was still the sole support of "Suspense." What's more, the network learned soon enough that by doubling the show from half-hour to hour-long status, they had to double the pay of the individuals working on the show as well. (Networks, as a rule, cringe at the thought of giving money away.) To jazz up "Suspense," CBS hired actor Robert Montgomery to be the host and occasional performer, figuring that on the weeks when they had to resort to a less-than "A" list of guest stars, at least Montgomery would be around to provide a certain degree of glitter. Montgomery, at it turned out, made appearances in quite a few of the hour-long shows, including both the premiere, “The Black Curtain”, and most notably in “Night Must Fall”, which allowed him to reprise the role he had created in the 1937 Metro-Goldwyn-Mayer motion picture of the same name. "Suspense's" hour-long experiment closed up shop on May 15, 1948 and the show moved back to Thursday night in its familiar half-hour form through September 1962.00:00:00.000 = INTRODUCTION00:01:54.350 = The Ten Grand (June 22, 1944)00:31:15.744 = The Walls Came Tumbling Down (June 29, 1944)01:00:28.813 = The Search For Henri LeFevre (July 06, 1044)01:30:02.526 = The Beast Must Die (July 13, 1944)01:59:29.689 = The Black Shawl (July 27, 1944)02:28:49.817 = Banquo's Chair (August 03, 1944)02:58:17.500 = The Diary of Saphronia Winters (August 17, 1944)03:27:47.412 = Black Path Of Fear (August 31, 1944)03:57:20.238 = Voyage Through Darkness (September 07, 1944)04:26:51.081 = You'll Never See Me Again (September 14, 1944)SOURCES AND ESSENTIAL WEB LINKS…This episode is sponsored by http://RadioArchives.comWeird Darkness Retro Radio theme by Storyblocks.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.CUSTOM WEBPAGE: https://weirddarkness.com/suspense-marathon-011

A detective, tracking down an elusive murderer, uses ghosts and the victim to get his man. --- Send in a voice message: https://podcasters.spotify.com/pod/show/iloveoldtimeradio/message Support this podcast: https://podcasters.spotify.com/pod/show/iloveoldtimeradio/support

Strange Tales features a story from Suspense this week. From June 1, 1943, here's their episode titled, Banquo's Chair. Listen to more from Suspense https://www.podtrac.com/pts/redirect.mp3/archive.org/download/rr12024/StrangeTales742.mp3 Download StrangeTales742 | Subscribe | Support Strange Tales Your support makes Strange Tales possible. If you'd like to help out, visit donate.relicradio.com for more information. Thank You!

Please enjoy Banquo s Chair a great episode of the legendary Suspense - - a Old Time Radio OTR classic.

Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing WeirdDarkness@RadioArchives.com!When the dramatic anthology series "Suspense" premiered over CBS Radio on June 17, 1942, it did so as both a summer series and as a sustaining program. The network had no idea how well the series would perform - its only previous showcase was as an hour-long audition on the 1940 series "Forecast" - so running out and getting a sponsor didn't seem to be important at that particular stage. Besides, in the show's salad days, the guest stars that did appear were of considerably low wattage.But as "Suspense" grew in popularity and began to attract a more upscale acting clientele anxious to participate in “radio's outstanding theater of thrills,” finding someone to pick up the weekly tab became a top priority for CBS. Luckily, in December 2, 1943, the series found its 'angel' in the sponsorship of Roma Wines. "Suspense's" long association with Roma (and co-branded Cresta Blanca) was good for both the series and the company; a bigger budget attracted bigger guest stars and, as the program began to climb in the ratings, the company began to enjoy substantial profits.This fruitful arrangement came to an end on November 20, 1947. Roma had been admittedly seeing other programs behind "Suspense's" back and the bright array of top Hollywood talent began to dim a bit as many of the stars began to tire of the program. CBS rolled the dice and took one heck of a chance in keeping "Suspense" on the air; the network still felt that the series was popular with audiences and they agreed to sustain the program until another sponsor could be found.How serious was CBS about keeping its prestige show? Beginning January 3, 1948, "Suspense" was moved to Saturday nights and was broadcast from 8:00 to 9:00 PM Eastern Standard Time. That's right: a full hour of “Suspense.” Hour-long dramatic shows were a gamble at best; many stars tended to shun these programs - a half-hour show was grueling enough to get through - and only a few, "The Lux Radio Theater" being the best example, managed to continue on the air for very long. But Lux had a sponsor all too willing to write checks on a weekly basis...while CBS, without a sponsor to back them up, was still the sole support of "Suspense." What's more, the network learned soon enough that by doubling the show from half-hour to hour-long status, they had to double the pay of the individuals working on the show as well. (Networks, as a rule, cringe at the thought of giving money away.)To jazz up "Suspense," CBS hired actor Robert Montgomery to be the host and occasional performer, figuring that on the weeks when they had to resort to a less-than "A" list of guest stars, at least Montgomery would be around to provide a certain degree of glitter. Montgomery, at it turned out, made appearances in quite a few of the hour-long shows, including both the premiere, “The Black Curtain”, and most notably in “Night Must Fall”, which allowed him to reprise the role he had created in the 1937 Metro-Goldwyn-Mayer motion picture of the same name.Many of the hour-long "Suspense" shows were movie adaptations in the "Lux Radio Theater" mold, including “Deadline at Dawn,” “Crossfire” and “Nightmare” -- the last of which was filmed in 1947 as “Fear in the Night”. There were even two productions that, it could be said, acted as previews of coming attractions: the series' 1948 productions of “In a Lonely Place” and “The House by the River” were brought to the silver screen in 1950. Several of "Suspense's" celebrated classics were also repeated during the hour-long experiment, having been lengthened to fit the new format. They included such audience favorites as “The Lodger,” “Donovan's Brain,” and “Love's Lovely Counterfeit.”"Suspense's" hour-long experiment closed up shop on May 15, 1948 and, close to two months later, the show moved back to its cozy Thursday night berth in its familiar half-hour form with a new sponsor, Autolite. The show experienced a re-emergence in popularity and, while the merits of the hour-long broadcasts must ultimately be decided upon by the listener, the decision by CBS to keep the series in production certainly seems in retrospect to have been the right call; "Suspense" would continue to be heard on the network for the next fourteen years, closing the curtain for the last time in September 1962.00:00:00.000 = INTRODUCTION00:01:54.350 = The ABC Murders (May 18, 1943)00:31:23.679 = Banquo's Chair (June 01, 1943)01:00:04.798 = Five Canaries in the Room (June 08, 1943)01:27:43.968 = Lazarus Walks (October 19, 1943)01:57:13.761 = Cabin B13 (November 09, 1943)02:26:43.972 = The Black Curtain (December 02, 1943)02:56:12.566 = The Night Reveals (December 09, 1943)03:25:40.443 = Wet Saturday (December 16, 1943)03:55:02.322 = Back For Christmas (December 23, 1943)04:23:52.863 = Finishing School (December 30, 1943)04:53:12.480 = The Sisters (February 03, 1944)SOURCES AND ESSENTIAL WEB LINKS…This episode is sponsored by http://RadioArchives.comWeird Darkness Retro Radio theme by Storyblocks.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarknessWeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =CUSTOM WEBPAGE: https://weirddarkness.com/suspense-marathon-006

78. Macbeth in Monaghan - Favourite Character - Banquo

78. Macbeth in Monaghan - Favourite Character - Banquo

27. Macbeth in Monaghan - Banquo's Ghost arrives. Act 3. Sc. 4

26. Macbeth in Monaghan - The significance of Banquo's murder. Act 3. Sc. 3

24. Macbeth in Monaghan - The Plot to murder Banquo and Fleance. Act 3. Sc. 1

17. Macbeth in Monaghan - We meet Macbeth and Banquo. Act 1. Sc.3. Lines 39 - 69

This Friday, tune into Vintage Classic Radio for an enthralling "Friday Night Noir" double feature. Our evening of mystery and suspense kicks off with the gripping "Suspense" radio show episode titled "Banquo's Chair," originally aired on June 1st, 1943. In this chilling tale, a retired detective employs an unusual tactic to catch a murderer. He organizes a dinner party, inviting the suspect, and uses a gimmick inspired by Shakespeare's "Macbeth" — the ghostly presence of Banquo's chair. The tension mounts as guests and suspect alike are drawn into a clever psychological trap, leading to an unexpected and eerie conclusion. The cast features celebrated actors of the era, including John Loder, who brings the ingenious detective to life, with support from Ian Wolfe, Hans Conried, and Lurene Tuttle among others. Their performances under the masterful direction of William Spier ensure a truly suspenseful experience. Following "Suspense," we delve into the darker corners of crime with "The Black Museum" radio series, featuring the episode "A Letter." Hosted and narrated by the legendary Orson Welles, this episode, like all in the series, draws from the true-life cases of Scotland Yard. In "A Letter," listeners are guided through a haunting tale spun around an innocuous piece of evidence — a letter that becomes key to unraveling a chilling murder. Welles, with his distinctive voice, sets the scene from the grim confines of The Black Museum, introducing the episode against the atmospheric chimes of Big Ben, drawing listeners into a narrative woven with suspense and the macabre. The show was produced by Harry Alan Towers, with scripts by Ira Marion and music by Sidney Torch, creating an immersive experience that epitomizes classic radio noir. Each episode of "The Black Museum" begins uniquely, yet follows a captivating format as Welles introduces the episode's central evidence item, leading into a dramatic retelling of the case it's associated with. Throughout "A Letter," Welles provides narration, adding depth and context to the story, ultimately closing the episode with his signature sign-off, remaining "obediently yours," a nod to his days with the Mercury Theater of the Air. Don't miss this double feature of mystery and suspense, a perfect homage to the golden age of radio noir. Join us this Friday on Vintage Classic Radio for "Friday Night Noir," and immerse yourself in the intrigue and drama of "Banquo's Chair" and "A Letter."

In this song-filled bumper edition, the talented John Paul Liddle chats to Thos about his love for the wonderful musical, No Way to Treat a Lady, by Douglas J. Cohen, and also the latest version of his five star EdFringe hit, Vote Macbeth. You'll be laughing all the way to the Banquo!

ForShakespeare's lifetime, ghosts and spiritual manifestations were fixture in pop culture publications like songs, ballads, and of course, plays like Shakespeare's that feature ghosts such as Banquo, Hamlet's Father, and even a string of dead victims that visit Richard III on the eve of Battle in Shakespeare's Richard III. They were as haunting as ever in Shakespeare's lifetime, but what was the purpose, place, and reception of ghosts for Shakespeare's lifetime?Did people believe ghosts were real? As we head into October, the month of all things haunted and spooky, we are sitting down with our guest, Savannah Jensen, to explore not only what people believed about ghosts but one specific piece of 16th century popular culture where ghosts were a mainstay in Shakespeare's lifetime and that's the haunted lover's ballad, or songs written specifically for the lovers among us, and, surprisingly, featured ghosts as the main character Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

The Hamlet Podcast - a weekly exploration of Shakespeare's Macbeth. Act III, Scene i - Macbeth tasks the murderers with Banquo's assassination. Written and presented by Conor Hanratty

The Hamlet Podcast - a weekly exploration of Shakespeare's Macbeth. Act III, Scene i - Macbeth explains to the Murderers just how much harm Banquo has done to them... **Sincere apologies: in the heady flow of recording I said that Gonville and Caius College is in Oxford - it is OF COURSE in Cambridge!** Written and presented by Conor Hanratty

The Hamlet Podcast - a weekly exploration of Shakespeare's Macbeth. Act III, Scene i - Macbeth starts to wonder how big a problem Banquo might be... Written and presented by Conor Hanratty

The Hamlet Podcast - a weekly exploration of Shakespeare's Macbeth. Act III, Scene i - The action moves to Forres, where Banquo voices some concerns... Written and presented by Conor Hanratty

A detective, tracking down an elusive murderer, uses ghosts and the victim to get his man. --- Send in a voice message: https://anchor.fm/iloveoldtimeradio/message Support this podcast: https://anchor.fm/iloveoldtimeradio/support

The Hamlet Podcast - a weekly exploration of Shakespeare's Macbeth. Act II, Scene iii - Banquo manages the crowd while Malcolm and Donalbain wonder what to do next. Written and presented by Conor Hanratty

The common language of those at Babel is the worldview that comes from a universe emptied of the oversight of God, and replaced by a lower-case god. As a result, the idea of sin gets a total makeover. The Gate is a big trick to turn ourselves into the god. This is not just how pagan worship worked, it's actually how all habitual sin works. It works exactly the same today as it did for Sargon of Akkad. Perhaps I am Sargon and so are we all.In a universe where we are the god, we can do whatever we like. In fact, in that universe, we'd be fools not to go get our full share of pleasure, power, wealth, and honor. You can make all the appeals to morality you like, but there is no reason for the lion to lay down with the lamb if the nature of the lion is to dominate the lamb. To dominate then becomes divine. History is written by the victors. The innocent lamb stands no chance because it is there for the taking, and it is delicious. All arguments about fair play and human dignity become academic. In the animal world, the lion will only eat until its full and content. But in the human heart, the lion cannot be contented; it wants all lambs that ever existed and ever will exist to be his own forever, and no one else's. Animals do not have this problem. This is the broken spring in our machinery, as described in the Garden and in the wrath and envy of Cain. This is what Richard Dawkins' doesn't understand. The Selfish Gene in a four-legged mammal plays out very different from those of us walking on two legs who happen to suffer from Original Sin. A universe that lacks a living God is one where sin makes far more sense than repentance. In that universe, man is above God, because God is no longer watching. If you frame your life in this language, you speak Babel. And you speak Babel. We all speak Babel. The state of the world today is mostly the same as when the story of Babel was being written. I say mostly, because there is one major and all-important difference, from an event that happened to a construction worker who was executed around the year 30 A.D. Have you heard this one before? This man did not stay dead. He returned from the grave in a risen and glorified form that could be touched yet could also pass through walls. In other words, he defeated the ultimate secret fear that is sunk deep within every one of us. He defeated death. As a bonus, he takes away our sins and transforms our suffering. That little event changes a lot of things for all of us who speak Babel, and it's extremely important that we understand how the world of Babel was changed by the Resurrection of Jesus Christ. In the Tower of Babel story, God observes people building a tower that will “reach the sky.” Once again, ancient people were not dumb enough to think that a Tower could be built tall enough to reach heaven, and anyone who thinks that's what this story is about needs to put their Unconscious Bias aside. We have a lot of Present Privilege and Enlightenment Fragility that we need to face when we encounter the Tower of Babel story. The Tower is meant to be a place where the supernatural can be pulled down to earth, like a magic act. Our presentism mindset asks, “How could anyone be so primitive as to believe that?” Yet, we know that millions of people today, if not billions, read horoscopes and pay for people to interpret Tarot cards. We have faith in many odd things today. We check our fitness watch “body battery” and go to GNC to buy pseudo-science fitness supplements. We get lost in our fantasy worlds of Dungeons and Dragons and Hogwarts. We watch sports and pray to the TV as the football soars through the air toward the uprights as time runs out. Suffice it to say, we have ample superstitions and spirit worlds circling all about us yet today, they just aren't always as obvious as a Tower or a Ziggurat. Some of the worst examples are in our own backyards - literally; there are Catholics who bury a St. Joseph statue upside down in the yard to help sell their house (please stop this superstitious nonsense, Catholics, and immediately go read CCC 2111-2117). At last, let's get into the Tower story a bit more. Seeing this project underway, how does God respond? He confuses them. In trying to access heaven, he stops them from proceeding. What's interesting is the approach to God. Because the builders at Babel are trying to manipulate God, he stops them. But God, uninvited, reveals insights into heaven later on in Genesis, and those who he offers a glimpse of heaven to react very different from the builders of the Tower of Babel.This is the hilarious thing about our attempts to manipulate God. Whenever we yell, “Why God, why?!” he shows us later on. When we demand God listen to us, he ignores us on purpose, but when he wants us to know something, he reaches down and taps us. The difference between humility and humiliation is this: humility is when you voluntarily surrender to God. Humiliation is when God does it for you. This is gold in addiction recovery meetings, and everyone laughs together, knowing exactly what that means. This stairway to heaven is being built for the people “to make a name for themselves.” Contrast the Tower of Babel to Jacob's experience later in Genesis, chapter 28. Jacob is tapped by God, but he hasn't built anything yet. In a dream, God sends him a vision. Jacob merely sees a ladder upon which angels are ascending and descending to heaven. Rather than build a staircase on a ziggurat and try to reach God, Jacob is freely given the vision. What does Jacob do? He does not wake up and start building the ladder, or the stairway to heaven. No, what he does the very next morning is the opposite of what happened at Babel. Jacob builds an altar, to worship God, with humility. He even calls it the “gateway to heaven,” but it is not built to “reach the sky.” It is about three feet tall by the way it's described. His response of humility is nothing like the builders at Babel. This act by Jacob happens at Bethel, which means “House of God.” Now, “House” has a very different connotation than “Tower” or “Gate”. There is very different symbolism in a house than in a massive Ziggurat. Jacob says:“How awesome this place is! This is nothing else but the house of God, the gateway to heaven!” Early the next morning Jacob took the stone that he had put under his head, set it up as a sacred pillar, and poured oil on top of it… “This stone that I have set up as a sacred pillar will be the house of God. Of everything you give me, I will return a tenth part to you without fail.” (Gen 28:16-22)Jacob sees the stairway to heaven, or the “gateway to heaven” that the Babylonians were trying to build! Also, notice that he is able to pour oil on the altar or pillar, so it's short. He's not trying to reach the sky. But he doesn't try to build a tower, he offers what little he has, gives praise, and asks for nothing in return. He even promises to tithe, just for the glory of God, for the rest of his life. The difference may seem subtle, but this is central to the theme and story of the entire Old Testament and how it ties to Jesus in the Incarnation and the Resurrection. We bring what little we have, and God provides the rest. He comes to us, we do not lasso or wrangle or capture him. God came to Jacob, while the rulers at Babel tried to go up to seize God. What's happening at the Tower of Babel is not praise or worship of the one true God. It's an attempted coup to replace the Most High God. The Tower is an attempt to leash and control God, ultimately to dictate rules using God and thereby remove all “sin” from whatever those in power desire. The people are using their minds and hands to perform the ultimate merger of magic and science, so that they can get God to come down to earth. This would be like all the characters in Macbeth building a giant staircase to kill Shakespeare.With that image you can recognize the absurdity easily in what Babylon was attempting to do with this Tower, or Ziggurat. It is a ludicrous project from the start. Even if Macbeth and Banquo and the rest of the dramatis personae were building a a tower in the story, the tower would be as flat as the page itself, and Shakespeare would still be the author who wrote the tower into the story. If anyone ever tells you they know the mind of God, prepare to run. They could be playing Babel games, or they might be a real prophet. In either case, be very careful. Remember, Iago seemed nice at first, too, before he ruined Othello's life, and that was all done on purpose by Iago's and Othello's creator, Shakespeare. God knows our path, we do not. We must follow his will, or conform our heart to whatever outcome. Repeat after me: I am not the author, I am a character. I am not the potter at the wheel, I am the pot. I am not the Creator, I am a creature. What the Macbeth characters would fail to understand is that building a staircase cannot escape the pages and the story they are inside. They live in two dimensional paper while Shakespeare lived in three dimensions, in our world. Shakespeare is on a different level, a different plane that cannot be ascended to, and furthermore, Shakespeare is the Creator, so anything the characters do was allowed by Shakespeare in the first place. Likewise, the Babel construction company doesn't realize that God cannot be pulled down, and what the people are actually doing is a self-destructive stunt that will pull the Tower down upon themselves because of their arrogance. The lesson here is that you cannot control God, because he created us. He's not on the same plane as us, but he lets us know he is there in some mysterious way. But he doesn't need us, we need him. We cannot reach up and pull him down, we can only reach up. So the story of Babel goes on and gives us God's response. Keep in mind that figurative language must be used here because the sacred writer is conveying something that goes beyond this Tower project. Then the LORD said: If now, while they are one people and all have the same language, they have started to do this, nothing they presume to do will be out of their reach. Come, let us go down and there confuse their language, so that no one will understand the speech of another. So the LORD scattered them from there over all the earth, and they stopped building the city. (Gen 11:6-8)This scattering is the origin story of where the idea of “the nations” comes from in the Bible. In the previous chapter, the nations were listed in the Table of Nations, so there's this odd sense that everyone was living together in harmony until this event. But we already know that Noah's sons were at each other like a family on Jerry Springer before that. This is one place where the sacred writer seems to be instructing us on a few things: * The nations formed when they took up false gods. (Straight outta Lord of the Flies) * The different languages created different cultures, triggering communication breakdown.* Thus, the nations do not like one another. * Instead, we have hatred, distrust, treachery, and war. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.whydidpetersink.com

The Hamlet Podcast - a weekly exploration of Shakespeare's Macbeth. Act II, Scene i - Banquo enters with his son, and has a somewhat awkward chat with Macbeth. Written and presented by Conor Hanratty

Tony opens the show by talking to Chuck Culpepper who's in Qatar for the World Cup, and Tony also talks about the end of an era at NBC News in DC. Chuck Todd phones in to make his picks against Reginald the Monkey, James Carville and Jeff Ma call in with their picks, and Tony closes out the show by opening up the Mailbag. Songs : The Saddlemen “I'm No Hero” ; “Hold Her” To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

O Estante BSM da semana discute a peça mais sombria de Willian Shakespeare, a obra Macbeth. A peça, escrita no início do século XVII, faz parte da chamada “fase trágica” do autor e é considerado o momento de maior maturidade literária de Shakespeare. A obra tem como protagonista o general Macbeth, cujo serviço era prestado ao rei da Escócia. Após voltar vitorioso de uma batalha, matando um traidor do rei, Macbeth e seu amigo e general, Banquo, são surpreendidos por três bruxas que fazem uma profecia: a de que Macbeth se tornaria barão e depois, rei. A profecia torna-se um divisor de águas na vida do protagonista. Apesar de Macbeth não compreender direito a previsão das bruxas, acaba sentindo-se seduzido. Quando a primeira previsão se confirma e Macbeth é nomeado barão, a outra profecia, a de tornar-se rei, transforma o protagonista. A partir desse momento, Macbeth decide tomar as rédeas do seu próprio destino. Uma obra que evidencia os aspectos trágicos e atemporais do comportamento humano, como ganância, traição e remorso.

The Hamlet Podcast - a weekly exploration of Shakespeare's Macbeth. Act I, Scene iv - Macbeth and Banquo return to Duncan, who is about to announce the new Prince of Cumberland... Written and presented by Conor Hanratty

A frequent collaborator of Orson Welles, Edgar Barrier appeared with the Mercury Theatre onstage and on radio and he played Banquo in Welles' film version of Macbeth. Elsewhere, Barrier hunted the Phantom of the Opera on the big screen and voiced Simon Templar on radio. We'll hear him as a scientist trying to prevent an outbreak of plague in "Black Death" (originally aired on CBS on August 2, 1955) and as a man hunting for his ancestor's pirate booty in "The Treasure Chest of Don Jose" (originally aired on CBS on June 26, 1956). We'll also hear Barrier in "The Projective Mr. Drogan" from Lights Out (originally aired on CBS on January 26, 1943) and as Julius Caesar in "Twenty-Three Knives Against Caesar" from Crime Classics (originally aired on CBS on February 10, 1954).

Discussion of House of the Dragon, Season 1, Episode 5: “We Light the Way” A new wedding in Westeros means a new color that makes us wince. We start with a discussion of Criston Cole: his downfall, his ethics, and his future. We continue last week's discussion about Daemon's impotence with some help from a listener. Cam caps off his Macbeth comparison with the appearance of Banquo's ghost. We celebrate Alicent's ascension and game out her allies going forward. Tristan goes viral on TikTok. Subscribe to our Substack here: https://substack.com/secondbreakfastpod Feedback & Theories: secondbreakfastpod@gmail.com Instagram & TikTok: @secondbreakfastpod Cam's Work: https://www.cameronfucile.com/

The Hamlet Podcast - a weekly exploration of Shakespeare's Macbeth. Act I, Scene iii - Macbeth and Banquo marvel at what they've heard, while Ross and Angus arrive with news. Written and presented by Conor Hanratty

Discussion of House of the Dragon, Season 1, Episode 4: “The King of the Narrow Sea” Tristan is back this week for a whole hour of our long-running segment, Incest Watch! Some great listener feedback starts a discussion about sexual agency and shifting power dynamics. Maggie wonders if Daemon set up Rhaenyra vis-à-vis Otto's spies. We debate Alicent's loyalties and future in the wake of her father's demotion and Viserys' impending death. We analyze the playhouse dramatization of House Targaryen though the lenses of political cartoons and online comments sections. Cam ends the show with a bang as he evolves his ongoing Macbeth comparison, tracking the shadow of Banquo and the paranoia of prophecy. Subscribe to our Substack here: https://secondbreakfastpod.substack.com/ Feedback & Theories: secondbreakfastpod@gmail.com Instagram & TikTok: @secondbreakfastpod Cam's Work: https://www.cameronfucile.com/

The Hamlet Podcast - a weekly exploration of Shakespeare's Macbeth. Act I, Scene iii - Macbeth and Banquo appear, and get a strange prophesy from the witches. (Please note: an earlier version of this file uploaded itself incorrectly, sending Episode 04 instead of this new material. It has been deleted, and this really is Episode 05... already the witches are messing with us...!) Written and presented by Conor Hanratty

There's nothing quite as terrifying as a zombie with 20 bleeding holes in his head! Ask our poor hero. Yes, hero. He never asked for this shit. All he wanted was to keep being a soldier and killing whoever his king told him to, and then these witches with their prophecies... fuck! Who needs it??!! Want to know more? Connect with us on our website: https://fckshakespeare.com Follow us on Instagram: https://www.instagram.com/fckshakespeare/ Tweet at us, if you must: @fckshakespod Join our Facebook group: https://www.facebook.com/groups/fshakespeare And if you are inclined to be a patron like Queen Elizabeth, you can support this podcast for as little as 99¢/month. Click the link below! Think of it like throwing money in the virtual hat while we crazy players do our little song and dance here. We thank you! (imagine us bowing now) We don't have a plan for the next thing. Want to cast your vote for the next play? DM us or email us: fckshakespeare69@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/fckshakespeare/support

Was William Shakespeare just sucking up to King James the 1st of England, when he wrote a play about an ambitious Scottish King?

Kathryn speaks with an 18 year old from Hokianga, who translated Shakespeare into Te Reo and is now representing Aotearoa at the Globe. Mahanga Mitchell hadn't performed theatre, let alone Shakespeare, before about a year ago. But his Whangarei Boy's High kiako persuaded him to give it a go. It turns out he has quite the talent. Mahanga won hearts and minds after translating Henry IV's Welsh character Owen Glendower's lines into Maori, and also by playing Banquo's ghost in Macbeth.

Choice Classic Radio presents to you Suspense, which aired from 1940 to 1962. Today we bring to you the episode titled "Banquo's Chair.” We hope you enjoy the show! Please consider supporting our show by becoming a patron at http://choiceclassicradio.com  

2 hours and 50 minutes of old time radio fun!Jack Armstrong The All American Boy 1940-12-24 e1577 Adventure of the Sunken ReefAbroad With The Lockharts 1932 e13 Homeward Bound Space Patrol 1952-11-22 The Giant BubbleSealtest Variety Theater 1949-03-10 With Dorothy Lamour, Richard Widmark and Bob BurnsRocky Fortune 1954-03-09 Incident In a BarSquad Cars 1969-10-03 Annonymous Phone CallSuspense 1943-06-01 Banquo's Chair with Donald Crisp