Podcasts about Hamlet

Issue 75 of Double Reel continues with Classics and Hidden Gems, where we catch up with a great film one of us hasn't seen and tell you about a lesser known film you should give a chance to. The theme is films from 1996 that are having their 30th anniversary, and our Classic is Branagh's lavish and comprehensive screen version of Shakespeare's Hamlet. Then our Hidden Gem is a film not may people saw or liked, but we'd like you to check out the 30s-set superhero film The Phantom. The first part of the Issue is out already, Double Reel Monthly, and next week we'll bring you the Remakes Tribunal.  Check out Deborah's author page here: Deborah Fox Author And Alan's author page here: Alan Bayles Author And our YouTube show reviewing films on physical media: Maximum Disc

Entrevistem la companyia teatral Parking Shakespeare que han estrenat ‘Hamlet i les coses podrides' al Parc de l'Estació del Nord. Amb el director Roger Torns i els actors Lluís Català i Ariadna Matas

Entrevistem la companyia teatral Parking Shakespeare que han estrenat ‘Hamlet i les coses podrides' al Parc de l'Estació del Nord. La mixtape de Ferran Bassaganyes. I conversa amb Natxo Tarrés de Gossos per la gira de retorn de la banda per celebrar els 20 anys de ‘Corren'

Cat Month comes to a close with #42 on the good list, it's the highest rated animated Disney film, but is it the best? Most of us have some sort of nostalgia, but Mark is having trouble with the trappings of lion monarchy and lion society, Luke is having trouble with Disney, and Matt has condemned himself to watch every Disney movie on another podcast on this network including the very bad "live action" version of this film. Listen to us have a complex discussion about a very simple retelling of Hamlet.Support us at our podcasting network, Podcastio Podcastius at https://www.patreon.com/podcastiopodcastius.  You'll get early episodes of this and out other podcasts, along with a live chat here and there.Speaking of our other podcasts - seriously, you could only listen to various other configurations of us:Luke Loves Pokemon: https://lukelovespkmn.transistor.fm/Time Enough Podcast (Twilight Zone): https://timeenoughpodcast.transistor.fm/Game Game Show (a game show gaming games): https://gamegameshow.transistor.fm/Occult Disney: https://occultdisney.transistor.fm/Podcast: 1999 (where Mark and Matt rap about 70's tv sci-fi): https://podcast1999.transistor.fm/And Matt makes music here:https://rovingsagemedia.bandcamp.com/Coming Soon: Santa Claus Conquers the MartiansThe Usual SuspectsEnes Batur: Imagination or Reality?

THIS IS A PREVIEW. FOR THE FULL EPISODE, GO TO Patreon.com/worstofall Audrey and Dono (Radio Free Tote Bag, No I'm Listening) join the lads on some wacky adventures with Pomni and Co. as they cover Gooseworx's indie animation megahit: The Amazing Digital Circus. Topics include the origins of Gooseworx, the hugbox of Tumblr, and what it means to find meaning in a world where a sentient mouth can absolutely ruin your life. Donovan Eyre: Twitch // Bluesky // Instagram // SoundCloud Audrey: Twitch // Bluesky Radio Free Tote Bag: A weekly relationship advice podcast hosted by Audrey and Donovan. Patreon // Spotify // Apple Podcasts // Instagram Media Referenced in this Episode: The Amazing Digital Circus. Dir. Gooseworx. 2023-2026 How to Attract the Wrong Audience by The Ludo Mancer Is this LOST? By Door Monster I Have No Mouth and I Must Scream by Harlan Elison “‘The Amazing Digital Circus' Team Talk the Making of a Viral Hit” by Dani Di Placido. Forbes. December 22nd, 2023. TWOAPW theme by Brendan Dalton: Patreon // brendan-dalton.com // brendandalton.bandcamp.com Interstitial: “The Disappearing Guy Presents: ‘Here for a Good Time, Not a Long Time!‘: A Treatise on the Ephemeral Nature of Being and The Unknowability of a Finite Universe Speeding Hastily towards its Demise: A Rootin'-Tootin' Fantasia on Mannequin Themes Featuring Text from William Shakespeare's ‘Hamlet'” // Written by A.J. Ditty // feat. A.J. Ditty as “Announcer” and Donovan Eyre as “Disappearing Guy” Credits: Episode Edited by: Brian Alford Interstitial Edited by: A.J. Ditty Produced by Josh Boerman, A.J. Ditty, and Brian Alford. This podcast was recorded under a SAG-AFTRA Agreement.

Imagine being able to dig through Shakespeare's manuscripts and ask him about his writing process. Did King Lear survive in the first draft? What if Hamlet originally said, “To live or not to live?” While we can only dream about that opportunity, scholar and Everyday Shakespeare host Caroline Bicks experienced something close to it when she gained unprecedented access to the archives of another famous author: Stephen King. The Bard of Avon and the King of Horror have more in common than you might think. Both are popular and prolific authors who have been praised and derided for writing for the masses. But both also pay close attention to the sounds of words, the flow of names, and the rhythms of sentences. And sometimes, King's work even takes inspiration from Shakespeare himself. In this episode, Bicks draws fascinating parallels between Shakespeare and King and shares how she became the first scholar permitted to explore King's personal papers. Her book, Monsters in the Archives: My Year of Fear with Stephen King recounts her chance to live every scholar's dream—while surrounded by the stuff of nightmares. From the Shakespeare Unlimited podcast. Published July 28, 2026. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the executive producer. It was edited by Gail Kern Paster. Technical support was provided by Voice Trax West in Studio City, California. Web production was handled by Megan Fraedrich. Transcripts are edited by Leonor Fernandez. Final mixing services provided by Clean Cuts at Three Seas, Inc.

This week on the show we're joined by a delightful panel of immersive creators who are headed to the Edinburgh Festival Fringe — the largestperforming arts fest in the world that pretty much takes over Edinburgh, Scotland for the month of August – for a very loose conversation that feels a bit like sneaking backstageJoining us for the episode are are Emily Carding, creator and performer of Hamlet (an experience), Peter Michael Marino, whose Planet of the Grapes is headed to Fringe after a sold our run in NYC, and Katy Murphy, creator of the interactive games how (No) Refunds — which is hosted by her alter ego Tiffany Gold.SHOW NOTESHamlet (an experience)Planet of the Grapes(No) Refunds NoPro's Edinburgh Festival Fringe 2026 FOMO Guide Edinburgh Festival Fringe Hosted on Acast. See acast.com/privacy for more information.

À Avignon, les grands classiques du théâtre gardent leur place aux côtés du théâtre contemporain.Thibault Perrenoud met en scène une version « épurée » de Hamlet de William Shakespeare.Quant au collectif belge tg STAN, ils offrent un « marathon Molière » avec leur pièce 1,2,3 Poquelin.  Qu'est-ce qu'un « classique » au théâtre ? Une pièce vieux style ou intemporelle ? Qui traverse les époques ou qui vieillit ? Qui peut se rejouer sans cesse et résiste aux siècles et qui continue, malgré tout, à parler au présent ? Cette année à Avignon, des auteurs classiques tels que Molière et Shakespeare, pour ne citer qu'eux, sont encore adaptés et joués ! Est-il encore possible de les renouveler ?  Hamlet de Thibault Perrenoud, une « version à l'os » Thibault Perrenoud adapte Hamlet de William Shakespeare, une « version à l'os » adaptée d'une nouvelle traduction de Clément Camar-Mercier avec seulement trois comédiens et l'ambition d'aller à l'essentiel en 1h30, avec très peu de moyens techniques. Il se défend de trahir Shakespeare : « La traduction est de toute façon déjà une trahison. » On retrouve donc le célèbre monologue avec « Être ou ne pas être », qui est pour Thibault Perrenoud une réplique assez naïve, une question qu'on peut se poser à l'aube ou au crépuscule de sa vie selon le metteur en scène. « C'est LA question qui regroupe toutes les autres. Qu'est-ce qu'il y a après ? C'est une question buvard. »   L'intrigue s'articule autour de trois cérémonies : celle du mariage entre Claudius et Gertrude, celle du théâtre dans le théâtre, et celle des funérailles... La pièce, itinérante, est jouée en extérieur tous les jours dans un endroit différent à la manière d'un  « théâtre de tréteaux ».  1, 2, 3 Poquelin : un marathon Molière à Boulbon L'autre grand classique d'Avignon, c'est Molière. À la Carrière de Boulbon, le collectif belge tg STAN, fondé à Anvers il y a trente ans, présente 1, 2, 3, Poquelin, après Poquelin (2003) et Poquelin II (2017). Cette fois, Jolente De Keersmaeker et Damiaan De Schrijver s'attaquent aux farces de Molière : une compilation de cinq pièces, dont L'Avare et Le Médecin malgré lui. Au total, 4h30 de spectacle, un véritable « marathon Molière ». Le monde de Molière reste vivant! « On a coupé, mais sans toucher à la langue : c'est du Molière pur sang », revendiquent-ils. Farces burlesques, comédies qui rient avec goût de l'humanité et de la condition humaine, ils y jouent une dizaine de personnages, guidés par une envie simple : divertir et reprendre les farces les plus drôles. Invités :  Thibault Perrenoud. Il met en scène Hamlet de Shakespeare. À voir jusqu'au 25 juillet.  Jolente De Keersmaeker et Damiaan De Schrijver de tg STAN, collectif de théâtre belge flamand.    Et dans le OFF, Fanny Imbert a assisté au spectacle Molière et ses masques de Simon Falguières, qui retrace la vie de Molière. À voir au théâtre du Train Bleu. Programmation musicale :  L'artiste Alissa Wenz avec le titre Pardon. Elle est en concert à Avignon. 

À Avignon, les grands classiques du théâtre gardent leur place aux côtés du théâtre contemporain.Thibault Perrenoud met en scène une version « épurée » de Hamlet de William Shakespeare.Quant au collectif belge tg STAN, ils offrent un « marathon Molière » avec leur pièce 1,2,3 Poquelin.  Qu'est-ce qu'un « classique » au théâtre ? Une pièce vieux style ou intemporelle ? Qui traverse les époques ou qui vieillit ? Qui peut se rejouer sans cesse et résiste aux siècles et qui continue, malgré tout, à parler au présent ? Cette année à Avignon, des auteurs classiques tels que Molière et Shakespeare, pour ne citer qu'eux, sont encore adaptés et joués ! Est-il encore possible de les renouveler ?  Hamlet de Thibault Perrenoud, une « version à l'os » Thibault Perrenoud adapte Hamlet de William Shakespeare, une « version à l'os » adaptée d'une nouvelle traduction de Clément Camar-Mercier avec seulement trois comédiens et l'ambition d'aller à l'essentiel en 1h30, avec très peu de moyens techniques. Il se défend de trahir Shakespeare : « La traduction est de toute façon déjà une trahison. » On retrouve donc le célèbre monologue avec « Être ou ne pas être », qui est pour Thibault Perrenoud une réplique assez naïve, une question qu'on peut se poser à l'aube ou au crépuscule de sa vie selon le metteur en scène. « C'est LA question qui regroupe toutes les autres. Qu'est-ce qu'il y a après ? C'est une question buvard. »   L'intrigue s'articule autour de trois cérémonies : celle du mariage entre Claudius et Gertrude, celle du théâtre dans le théâtre, et celle des funérailles... La pièce, itinérante, est jouée en extérieur tous les jours dans un endroit différent à la manière d'un  « théâtre de tréteaux ».  1, 2, 3 Poquelin : un marathon Molière à Boulbon L'autre grand classique d'Avignon, c'est Molière. À la Carrière de Boulbon, le collectif belge tg STAN, fondé à Anvers il y a trente ans, présente 1, 2, 3, Poquelin, après Poquelin (2003) et Poquelin II (2017). Cette fois, Jolente De Keersmaeker et Damiaan De Schrijver s'attaquent aux farces de Molière : une compilation de cinq pièces, dont L'Avare et Le Médecin malgré lui. Au total, 4h30 de spectacle, un véritable « marathon Molière ». Le monde de Molière reste vivant! « On a coupé, mais sans toucher à la langue : c'est du Molière pur sang », revendiquent-ils. Farces burlesques, comédies qui rient avec goût de l'humanité et de la condition humaine, ils y jouent une dizaine de personnages, guidés par une envie simple : divertir et reprendre les farces les plus drôles. Invités :  Thibault Perrenoud. Il met en scène Hamlet de Shakespeare. À voir jusqu'au 25 juillet.  Jolente De Keersmaeker et Damiaan De Schrijver de tg STAN, collectif de théâtre belge flamand.    Et dans le OFF, Fanny Imbert a assisté au spectacle Molière et ses masques de Simon Falguières, qui retrace la vie de Molière. À voir au théâtre du Train Bleu. Programmation musicale :  L'artiste Alissa Wenz avec le titre Pardon. Elle est en concert à Avignon. 

Wallace Stevens's "The Emperor of Ice-Cream" is a widely misunderstood poem. Poet and filmmaker Alex Sheremet is joined by poet and critic Dan Schneider to tackle not only the bad analysis of Wallace Stevens's poetry, but also that of Robert Frost in "The Road Not Taken" -- another work of art that is both far more simple, and far more complex, than it's given credit for. You can also watch this discussion on YouTube: https://youtu.be/cwVEbW1K9Xw Read Alex Sheremet's in-depth analysis of Wallace Stevens's "The Emperor of Ice-Cream": https://www.automachination.com/analysis-wallace-stevens-emperor-of-ice-cream Read Dan Schneider's classic essay on Wallace Stevens and William Shakespeare: http://www.cosmoetica.com/S3-DES3.htm Become a patron to support our work: https://www.patreon.com/c/automachination  Subscribe to the ArtiFact podcast on Spotify: https://spoti.fi/3xw2M4D Apple Podcasts: https://apple.co/3wLpqEV Amazon Music: https://amzn.to/2SVJIxB Podbean: https://bit.ly/3yzLuUo iHeartRadio: https://ihr.fm/3AK942L Learn about our debut film, "From There To There: Bruce Ario, the Minneapolis Poet": https://www.automachination.com/cityboy-bruce-ario-great-american-novel/ Read more from the automachination universe: https://automachination.com Read Alex Sheremet's (archived) essays: https://alexsheremet.com Follow us on Twitter: https://twitter.com/automachination Timestamps: 0:00 -- through the eyes of Wallace Stevens 1:44 -- Dana Gioia's awful reading and interpretation of "The Emperor of Ice-Cream" 3:35 -- Wallace Stevens and playful poetry; the "roller of big cigars" is not the undertaker; Wallace Stevens's relationship to New York City; sights on the Coney Island boardwalk 10:32 -- the BEST reading of "The Emperor of Ice-Cream"; why do critics miss sexual innuendo; does the first stanza have ANY intimation of death; debunking the "Caribbean funeral" myth; Wallace Stevens celebrates life and sexuality 16:04 -- explaining the second stanza; "deal" vs DEAL; sexuality in "The Emperor of Ice-Cream" 24:00 -- Wallace Stevens was THINKING of death, even if he wasn't WRITING about it; every sexual image explained; why bad critics bring Shakespeare's "Hamlet" into this poem 29:24 -- images of feminine seduction; "Yellow Afternoon" as a dark, death poem; why "The Emperor of Ice-Cream" is great 36:36 -- Robert Frost's "The Road Not Taken"; debunking the most common reading 39:12 -- self-justification; why Robert Frost's mirage is so appealing; poetry and memory; Wallace Stevens vs. Robert Frost; why art is failing; Dana Gioia is an ignoramus! 52:00 -- Bruce Ario vs. Robert Frost 57:00 -- preview: Woody Allen's "Husbands and Wives"; "Annie Hall" vs. Woody's greater works Tags: #WallaceStevens #RobertFrost #PoetryAnalysis

Before his role on Apple TV+'s hit comedy "Shrinking," Michael Urie was a native Texan active in Speech & Drama all through high school. He trained in theatre studies at Collin County Community College before being accepted at the Juilliard School, where he was the recipient of the John Houseman prize for excellence in classical theater. In 2006, Urie joined the cast of ABC's dramedy UGLY BETTY, appearing as Marc St. James, the assistant of Wilhelmina Slater (Vanessa Williams). Twice he and the cast were nominated for Screen Actors Guild awards for Outstanding Performance by an Ensemble in a Comedy Series. Urie has also appeared regularly on other hit shows such as YOUNGER, PARTNERS, THE GOOD WIFE, and THE GOOD FIGHT. He's returned often to his theater roots, making a Broadway debut in the second revival of HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING. His performance in the one-man show BUYER & CELLAR won him a Clarence Derwent Award and Drama Desk Award. Additional theater credits include TORCH SONG on Broadway, THE TEMPERAMENTALS, and HAMLET with the Shakespeare Theatre Company. These are the unforgettable stories that landed Michael Urie right here. Credits: Shrinking Ugly Betty Elsbeth Jersey Boys Live The Good Wife What's Your Emergency Guest Links: IMDB: Michael Urie, actor Instagram: @MichaelUrieLikesIt THAT ONE AUDITION'S LINKS: For exclusive content surrounding this and all podcast episodes, sign up for our amazing newsletter at AlyshiaOchse.com. And don't forget to snap and post a photo while listening to the show and tag me: @alyshiaochse & @thatoneaudition THE BRIDGE FOR ACTORS: Become a WORKING ACTOR (50% off special) THE PRACTICE TRACK: Membership to Practice Weekly CONSULTING: Get 1-on-1 advice for your acting career from Alyshia Ochse COACHING: Get personalized coaching from Alyshia on your next audition or role INSTAGRAM: @alyshiaochse INSTAGRAM: @thatoneaudition WEBSITE: AlyshiaOchse.com APPLE PODCASTS: Subscribe to That One Audition on Apple Podcasts SPOTIFY: Subscribe to That One Audition on Spotify STITCHER: Subscribe to That One Audition on Stitcher EPISODE CREDITS: HOST/PRODUCER: Alyshia Ochse WRITER: Maddie McCormick WEBSITE & GRAPHICS: Chase Jennings SOCIAL: Alara Cerikcioglu

Suzy Eddie Izzard has spent more than three decades traversing the worlds of stand-up comedy, acting, and activism. She's back in New Zealand with something a little different, a one-person production of Shakespeare's Hamlet. On a largely bare stage, she plays every character, from Hamlet and Claudius to Ophelia and Polonius. The production played Auckland last week and is now at the Soundings Theatre at Te Papa in Wellington for three nights.

Episode 225:Last time my guest Paul Fried and I discussed Biblical Allusion in Shakespeare with particular reference to Hamlet. This is the second part of our conversation, so please do make sure you have listened to part one before continuing here, things will make a lot more sense if you do. I first came across Paul's Blog, Hamlet's Bible, when I was researching my episodes on King Lear and I was very pleased to find that not only was it useful for those episodes but was a series of very interesting posts relating to Biblical allusion in Shakespeare, so, of course, I asked Paul, if he would like to come onto the podcast to share some of his insights into this subject. Paul is a retired college lecturer who has devoted years of study to Shakespeare and the bible and his blog, now in it's tenth year, has become his way of sharing his research prior to what he hopes will be a published volume on Biblical allusion in Hamlet. He has also contributed several papers to Shakespeare conferences, most recently at the Shakespeare Association of America conference held in Denver in April 2026.I spoke to Paul from his home in Minnesota over a zoom call.Link to Paul's blog ‘Hamlet's Bible': https://pauladrianfried.blogspot.com/Link to ‘Hamlet's Bible' on Instagram: https://www.instagram.com/hamletsbible/Link to Paul's account on ‘X': https://x.com/padrianfriedSupport the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetpYou can find an advertisement free version of the latest podcast episodes by joining on Patreon at the lowest paid tier level – that's for just £1 per month. Hosted on Acast. See acast.com/privacy for more information.

Hamlet wagers 6 Barbary horses against 6 French swords. Falstaff talks about fighting with a Barbary hen. Bassanio in Merchant of Venice talks about travelling merchants going to foreign lands including "Tripolis, Mexico and England, Lisbon, Barbary, and India" There are also an additional 5 references to Barbary horses.   The Barbary States were Algeria, Tunisia, Tripolis, and Morroco. These were powerful coastal societies tied in various ways to the Ottoman world, and in Shakespeare's day they were central to English fears about piracy and captivity. Ships were seized. Sailors were enslaved. Families, merchants, churches, and governments negotiated over the price of a human life.  English first hand accounts of the Muslim world and the Barbary States in particular were sparse, even non-existent prior to Richard Knolles publication in 1603 where he writes the History of the Turks, the same year Shakespeare publishes his Ottoman-heavy play with a Moor in the title role, Othello.   Today we are joined by Daniel Vitkus, editor of Piracy, Slavery, and Redemption: Barbary Captivity Narratives from Early Modern England, and Abdulhamit Arvas, Associate Professor of English at the University of Pennsylvania and expert on early modern Muslims, Barbary pirates, and Shakespeare. They are here to help us explore the place of the Barbary Coast in Shakespeare's England, to understand the culture of hostages and holding someone ransom, what was happening to Britons that were taken captive and sold into slavery by the Barbary pirates, as well as to explain the surprising dichotomy of being afraid of the Barbary nation while admiring their products, like horses. 

Join us on the latest Whisper in the Wings from Stage Whisper, we welcomed on the director Thomas Gordon and the actors Derek Chariton, Jeff Kushner, Emily Cummings, and Jennifer Yadav to talk about their production of the classic Shakespearean tragedy Hamlet. This was such a great conversation about this iconic masterpiece, and their insight only made this conversation better. So be sure you tune in and get your tickets today!Onomatopoeia Theatre Company PresentsHamletNow- July 25th@ The Gene Frankel TheatreTickets and more information are available at genefrankeltheatre.com And be sure to follow our guests to stay up to date on all their upcoming projects and productions:genefrankeltheatre.com@genefrankeltheatrejenniferyadav.comemily-cummings.com

On today's show, we consider that the Arkansas Constitution is the same document from 190 years ago, just altered and amended. Plus, we hear about a new production of Hamlet that shortens the text, keeps the spirit and allows for some changes suggested by the audience. We also learn about a 2022 documentary exploring a weird 1990s occurrence.

Du 15 au 26 juillet 2026, le Théâtre de l'Orangerie programme Faire Hamlet!, une pièce qui plonge dans les coulisses du montage d'une pièce. Avec cette mise en abîme, la troupe approche un classique de manière décalée en brouillant les limites qui séparent la fiction de la réalité. Interviewés par […] The post Hamlet entre fiction et réalité au Théâtre de l'Orangerie first appeared on Radio Vostok.

durée : 00:06:34 - Le masque et la plume - par : Rebecca Manzoni - Le metteur en scène Thibault Perrenoud propose une adaptation itinérante de la pièce "Hamlet" de William Shakespeare. Ce spectacle condense l'œuvre en 90 minutes avec trois comédiens et investit divers lieux autour d'Avignon. Une mise en scène qui n'a pas laissé Le Masque de marbre. - équipe : Stéphane Le Guennec, Ilinca Negulesco - invités : Fabienne Pascaud Journaliste chez Télérama, Sandrine Blanchard Journaliste au Monde, Laurent Valière Producteur, Pierre Lesquelen Critique à I/O Gazette et Détectives sauvages, dramaturge et enseignant-chercheur Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

On the #amwriting podcast's Margin Notes, host Jennie Nash talks with Caroline Bicks, Stephen E. King Chair in Literature at the University of Maine and co-host of the Everyday Shakespeare podcast, about her book Monsters in the Archives: A Year of Fear with Stephen King. Bicks describes how she became the first invited into King's Bangor archives after King called to meet her, and how her sabbatical became a year of researching five formative works (including Carrie, Night Shift, The Shining, Salem's Lot, and Pet Sematary) to understand how horror language creates lasting fear. She explains choosing a first-person narrative that blends literary criticism, archival discovery, and her own anxiety, including eerie moments in the archive and insights into King's word-level edits, literary influences, and Shakespearean foundations, especially The Shining's ties to Hamlet.#AmWriting is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Read the Book* Monsters in the Archives by Caroline BicksTranscriptJennie: [00:00:00] Hi, I'm Jennie Nash, and you're listening to the #amwriting podcast, the place where we help writers of all kinds play big in your writing life, love the process, and stick with it long enough to finish what matters most. Welcome, everyone. This is Margin Notes, the part of the podcast where we're talking about the big decisions writers face in their work and creative lives.I'm here today with a super special guest. I'm so excited to speak with Caroline Bicks. She is the Stephen E. King Chair in Literature at the University of Maine, where she teaches courses in Shakespeare, early modern culture, and horror fiction. And she's the author of all kinds of very cool books ... about Shakespeare, including one on cocktails.Um, and, uh, is the co-host of the Everyday Shakespeare podcast, and we are here today to talk with her about her new book called [00:01:00] Monsters in the Archives: A Year of Fear with Stephen King. Welcome.Caroline: Thank you. Thanks for having me.Jennie: So this is gonna be the strangest interview you've probably ever done. ICaroline: don't know.Because- I've talked to a lot of people around the world about this Stephen King book.Jennie: I couldn't read your book. I, I couldn't read it. I can't read horror. Yeah. Which listeners of this podcast are gonna laugh about, ‘cause I'm actually coaching someone live and they're writing gothic horror, and they're probably like, “All you talk about is horror, Jennie.”But, um, it's actually the reason why I wanted to talk to you, because you made a decision in the writing of this book that I thought was super cool. Mm. Which was you put yourself in it.Caroline: Yeah.Jennie: And you're a scholar.Caroline: Yeah.Jennie: And you've written scholarly books, and you approach this with a scholarly perspective, but you, you really put yourself in it.And, and so [00:02:00] I was reading it for that part of the story and I had to skip over huge chunks of, of the, of the work. Because what you're doing in this book is you're getting at this question of- W- what, what is scary in writing? Like, how does it actually work? How does it act- what is the magic or the function that makes us feel this thing?And you actually feel it yourself while you're going through it, and I found it quite terrifying actually. So, um, that's kinda what I wanted to talk about is how did you make the decision? Well, first of all, you were the first person, I wanna make sure I get this right, ‘cause this is very cool. Yeah. You were the first person who was invited to the archives, the Stephen King archives.Caroline: Yeah. I mean, it's, it's a bit of a story, so I won't spend too much time on it, but just the mo- Oh, no, do. It's good ... when I ch- when I took this position... So I've been a Shakespeare professor my whole adult life, ba- as soon as I graduated from grad school in the late ‘90s, [00:03:00] and I was at Boston College for 15 years.I took this position at University of Maine nine years ago as a Shakespearean. Um, so it is an endowed chair in Stephen King's name because he's our most famous alum. So when I took the position, I, it was because I'm a Shakespearean, not because I'm a horror specialist. Um, I had always been a Stephen King fan since I read him when I was 12, and he scared the beje- Jesus out of me, um, with The Boogeyman story.Jennie: Right.Caroline: Um, so when I took this position though I was told, “You're never gonna meet Stephen King. Don't even make contact with him.” I'm like, “Fine, you know, this is still a great job. I'm excited.” Um- ThanksJennie: for the money. Yeah.Caroline: Thanks for... You know, no, it's a wonderful fund. It was funded by the Harold Alfond Foundation, and it's to support the public humanities, which is an incredible mission.So, um, I get to give money away to people. You know, it's a great, great position, but I was not a horror specialist. And particu- a- and as an adult, I actually wasn't reading horror because it scares me too much. You know? Yeah, yeah. Um, but it had grabbed me when I was a teenager. So it was about four years into the [00:04:00] job when I got a call at home from Stephen King, which just, uh, uh, my jaw hit the floor.And he said, “You know, I think it's time we meet.” I'm like, you know, I, I really fan-girled because I really, I have so much admiration for him and respect. Um, I invited him to come talk to our students. He was brilliant, generous, funny, kind, and I felt so at ease that I felt like I could ask... You know, and I got to know him professionally.We had a good professional relationship that developed from there. When I had a sabbatical year coming up the next year- I could have written another Shakespeare book. I had another one in my head. I've written a bunch of them but I knew that he and Tabitha had just collected all of his manuscripts and put them in a climate-controlled space attached to their home in Bangor, and I thought, “You know, this is an incredible opportunity.I would love to dig in there and be the first one in there, and just read those early drafts of the books that scared me so much when I was a teenager, and try to just explore why. Why were they sticking in my head still?” Um, again, I am not a specialist in... I'm not a cognitive scientist. I'm not a [00:05:00] specialist in horror literature, but I'm obviously highly trained in how to do literary analysis and how to do archival work, not Shakespeare, because we don't have any of his works, but, you know, I, I understand what that process is.So back to your question about why I wanted to bring myself into it, which was, you know, I had been experimenting with first-person storytelling after I got tenure. You know, ‘cause it's a long process, Kate. Right. And most of my writing had been academic writing, but I really had always loved storytelling And I got a piece into the Modern Love column.I started to have some success with publishing my first-person stories, and I was like, “You know, I love this.” So when I had this opportunity to go into his archives, they generously said yes, was amazing. I thought, “You know, I really wanna tell this story. I don't wanna write an academic book. I want this to be the story of a literature scholar, but really the story about a scared kid.”Jennie: Yeah.Caroline: You know, you, you never lose that scare, you know, I don't... This is the thing. Fear has stuck with me with those stories [00:06:00] for 40 years. So I was fascinated, and I just wanted to understand how he had crafted the language so that it was sticking in my head still. Because when I was talking to people around, you know, whenever you mention Stephen King to people, you know, if they've read him, they remember specific lines and specific words, and I was like, “That's an extraordinary, um, 50 years on to have that power.”So, um- Well- Anyway. Yeah. Go ahead. I, I could talk about this forever, so you tell me- Oh, no, it's- ... where you wanted to pick up from this.Jennie: It's so good. Well, I have to tell you this funny anecdote, which is that my college roommate was from Bangor, Maine, and babysat his kids in that house.Caroline: Oh, that's insane.Jennie: So when I went to visit her, she drove me by that house.There you go. And I was like, “Oh, hell no- Yeah ... would I ever babysit in that house.” Like, it's-Caroline: It's ‘cause it's like a gothic, it's like straight out of Haunting of Hill House ...Jennie: actually, and like these spiderweb gates that, and you describe that in the [00:07:00] book and, and the- Yeah ... archives are in that house. They'reCaroline: in the house.They're attached to the back. I know. And it, it was so, it was, it was insane. It was like a full-on 360 experience writing this book. Um, and I, I knew, like, so I did the research for a year. I didn't even know if this would be a book. I just knew I wanted to have the opportunity to be in there because it, I knew it was a great opportunity, and I was so curious, you know?Yeah. So I, I came out of the year with just tons of notes and observations, but I didn't have a book, you know? Yeah. And then I started experimenting with writing a chapter, and I just, the storytelling just came forward and then when I got an agent and she, you know, s- I, I, I was able to get a contract based on a proposal and that one chapter I had written and I was really fortunate to have a fabulous editor, David Ebershoff, at Hogarth, who is just such a wonderful writer himself, and he really encouraged me to bring my voice in and bring my story in even [00:08:00] more.Um, so that's- And- ... that's the story of that.Jennie: Was it hard for you as a scholar to do that?Caroline: You know what? It was so freeing and so fun that it actually wasn't, you know? Because I, I knew this wasn't going to be an academic book, so once I let go of that- Yeah ... um, I was like, wow, I have the, and yet I have this skill set I can bring forward, and I knew that's what would make this unique.Um, but I can combine my two favorite ways of writing, ‘cause I do actually love writing literary criticism. Like it's, I get a thrill out of it. I wouldn't be doing it this long if I didn't get a thrill out of it, but I also love telling my own stories and drawing a reader in. And so for me it was like just a circus carnival.Like it was so fun to be able to do it. Once I had the permission and I had a contract, I was like, fine, you know? I, I, who am I writing this book for? I'm writing it for me, you know? Like this is just something I wanna do because I'm so passionate [00:09:00] about it and I, and I love Stephen King. And, um, once I got into it that way and wasn't thinking about who's gonna criticize me for this, like how will academics view this, I was like, I don't care.I just don't care. I know I've got a great story to tell that people are gonna love to read because there's so many people that love not just Stephen King, but people who love reading about how great books get written, you know? Yeah. And so that was the audience I had in my mind when I, when I was crafting it.It was really, in my mind, anybody who cares about books and writing. It doesn't have to be... So when you say, you're not the first person who's said to me, “I can't read your book,” or, “I can't read-” Oh, I'm so glad. “... Stephen King books,” you know, and I'm like, “That's okay. You can skip, you know, the parts that really scare you,” because there's plenty about just like that first chapter I wrote about Pet Sematary, just his sticky notes back and forth with his copy editor, which is so fun I think.You know, it's just like, wow.Jennie: Totally. Yeah. But the thing that you do is you- Allow yourself to confront that fear-Caroline: Yeah ...Jennie: [00:10:00] that, that I feel that the people can't, that can't read horror feel. You know, anybody that even allows themselves to be scared feels. And-Caroline: Yeah ...Jennie: and you, you do some very specific things, um, which I, I found fascinating, including tracking down on eBay the original copy of that book you read as a- Yeah, I wanted-as a teenager.Caroline: Yeah, that was part of the process for me, was I wanted to make sure I was reading... So before I would go into the archives for each work, and I'd spent like two... I only picked five, because I wanted to... First of all, I knew I wanted to make this personal. Um, and those were the five that scared me the most when I was a teenager.So I grew up in the ‘70s and the ‘80s as a teenager, so for me, it was in real time when the books were coming out practically. So it was- Yeah ... Carrie, Night Shift, The Shining, Salem's Lot, Pet Sematary. Um, I'm forgetting one of course. Uh, but I went -Jennie: The other one.Caroline: The other one. Had a huge impact on me. [00:11:00] So it was those five, and I, I knew those were the ones I was gonna do a deep dive into, and that I wanted to really re-engage with, and bring my whole self to.So I wanted to find the copies that I had read in the ‘70s and the early ‘80s. And fortunately, it's pretty easy to find them. Uh, so yeah, but eBay sometimes I had to go on, or go into a used bookstore and, you know, find the like actual 1979 paperback, you know.Jennie: Um- I mean, that- Um ... I just, there's some, there's so much to say about that because-Caroline: YeahJennie: like, I just, um- We, we just had a new bookcase built, um, which is something I've wanted to do well for eight years in this house. But it's a thing I've always wanted to have, which is like a grand bookcase, and it just was finished last week, and we had all the books packed up in storage, and we brought all the books back.Then we went through this discernment process of what goes [00:12:00] on those shelves. And I, you know, I had all those books from when I was a kid, even when I was a kid-kid, and they're yellow, and moldy and falling apart, and the covers aren't on, and they're taped and-Caroline: Yeah ...Jennie: eh, but I cannot let them go-Caroline: Yeah ...Jennie: because those...that was the object.Caroline: That's the object. This is what I feel sad for kids now, because they're not gonna have those same memories, um, of books. Yes. You know? And I don't think they stick in your head the same way if you don't have the full sensory embodied experience with a book.Jennie: Right. You know? Even when you open...I read on Kindle, which I love for so many reasons. Yeah. But you don't even see the cover.Caroline: You don't see the cover, right. And for me, it's so much. Like, I remember going to the Scholastic Book Fair and being like- Yes ... “I'm getting Summer of My German S- Soldier because Christy McNichol's on the cover,” you know?Yes. Yes. So yeah, that was part of the journey for me was I did wanna just [00:13:00] reconnect with those books again, try to h- and as much as you can, you know, reexperience the feelings of f- like The Shining, I actually... the only one I still have from 1977 is the actual Shining that I read. Um, and that's, for me, that woman in room 217.Well, I know you haven't read it ‘cause you're probably... What? But, um, it, that particular one I still have from, from when I was growing up. Um, and I love that I still have it, and it still has the photo... You know, it's the version that has the photo inserts that includes the Kubrick film photos. Oh, okay.Jennie: Okay.Yeah, yeah.Caroline: And I read it before I saw the film, so I remember being- 15 reading it and then seeing the pictures and being like you know? And that's part of the experience, but it wasn't, it's different than seeing the film, you know? And I really, I wanted to write this book as a love letter to language and to books, and not to film.Like, there's, that's a whole other category I think that enters people's brains in totally different ways. It's a very different experience. For me it's about, like going back to your original question [00:14:00] about like why, why, why do stories cause fear, and like what's the value perhaps in that? Yeah. That was something I came to after this long journey really, and talking to people and thinking about why.And also by understanding and reading more about Stephen King's books and talking to him about them, and realizing for him how much these stories are rooted in personal experiences or fears of grief and loss. And- Yes ... that was really profound for me. And like The Night Shift, which is the ur-text that I start with, ‘cause that's the one I read when I was 12, and that's his first collection of short stories.It came out in 1978. It's 20 short stories. But he ends it with a story about his mother dying, and it's, I mean, it's thinly veiled autobiography. It's about a man who's watching his mother die in the hospital. Um, but it's clearly a mirror of his own experience losing his mother when he was 26. And I'm like, wow, what's that doing in a collection of horror stories?[00:15:00] And it's like, what? ‘Cause that is of course, at least for me and I think for a lot of people, that's the core fear we first have, is that where's mommy, right? Yeah. Right? You lose the person who's in charge of taking care of you, and if you're lucky, does it well and with care. Um, but even if it's not, like Carrie, you know, the more I was looking through the Carrie drafts, I was like, right, he's really homing in on Carrie calling out for her mother even though her mother's terrible and abusive to her, right?So it's, there's just this, I don't know. It's a long way around to say I think horror, and he writes about this really eloquently, is a way for us to metabolize our deepest fears. Um, and to look at trauma not head-on but sideways. Um, and he writes about that, um, a number of different places in a really powerful way.He's just such an extraordinary human. You know, he's been thinking about this and for so long.Jennie: Yeah. Yeah. So, so your willingness to [00:16:00] confront that, those particular fear, fears in your own self and on behalf of the reader, really puts you in it. I mean, like you, there's a really lovely moment where you are reading I think it's, I think it's Pet Sematary, reading the actual book, and you have to turn it over so you- Yeahdon't see, like on your nightstand so you don't see the cover. I'mCaroline: scared, I'm scared of the cover, right, still.Jennie: Yeah.Caroline: Yeah.Jennie: And then there's moments, se- several where you're driving And you're sort of holding your breath while you drive past a place that he writes about or, or- Mm-hmm ... you know, um, well you have to tell the story, I'm sure every interviewer asks you about the, um, the doorknob in the archive.You have to, like, I was-Caroline: Yeah, not too many people have asked me about that, but I'm like, that to me was the scary moment-Jennie: Wait, shut up ... the most, theCaroline: most sturdy. I'm like, wh- uh, why did that happen? But of course, I mean, there's a reason why it happened. It's, it's, it [00:17:00] automatically locks if, you know, the, if you- Okaydon't lock it So let's, let's play- So but it just happened that we were inside the archive room. It was me and, and Julie Ugli, who is their assistant, who was helping me through this whole process. And I know, and I was, like, literally holding the first page of the first draft of The Boogeyman, the story that had scared me so badly when I was 12, about a monster that comes out of closets, and we're like in this room.And the, the archive room, it actually, it almost feels like a closet. It's not huge at all. You know, it's just-Jennie: Yeah ...Caroline: top to bottom, ceiling to floor stacked shelving with, you know, boxes of materials. And yeah, and we were in there, and I'm holding the first page, and the lock closes on its own. It just goes...And I'm like, I'm looking at Julie, I'm like, “What is, what's happening?” We don't have our cell phones with us. I'm like, “Are we stuck in here? Like, what's gonna happen?”Jennie: In the scary archive- In this, I was terrified ... in the back of the scary house. Like-Caroline: I know, I know. It was like, you can't make this stuff up.That's why I was like, I [00:18:00] couldn't wait, when I finally got a chance to write the book and sit down and write, I was like, I can't wait to tell these stories, because they just... I, I'm not a fiction writer. Like, I, I have such mad respect for- I don't know about that ... well, I've m- We'll see I don't know. I have mad respect for people who can write fiction.For me, I only can write what I know and exper- So I'm like, ah. But these stories were just so amazing. Or like when I was reading The Shining, like the first draft of The Shining, which is crazy. I mean, it's so different from the published version. And like getting to the woman in room 217, and like reading th- and literally my head w- like I thought I was having a stroke.Like it was like, like... And it's like, and then I find an interview where Stephen King writes about how he was scared to go back to that scene when he was revising it, the book, because he was dreading it. And I was like, oh, my God, have I just like had some kind of telepathic experience with Stephen King?Like- Right ... across time, space, and yeah, it was amazing.Jennie: Well, yeah. I mean, [00:19:00] it's just, um, uh, I actually made myself go through the whole book skipping giant chunks.Caroline: I feel so badly I put you through this.Jennie: I know. I, I feel like why, I kept saying, “Why? Why did I think this was a good idea?” Um, and it- I mean, even just tangentially, I, I don't know.It's interesting. I have, I'm sure you have this too, anybody who reads a lot or spends a lot of time with words, you have a capacity to sort of pay half attention, if that makes sense.Caroline: Mm-hmm.Jennie: Um, like you c- could sort of look at it without letting it all the way in. Yeah. But I, I just was, I just was riveted by the thread of, of your story and your putting yourself through that as a scholar and a human.But, but then some really cool things happen, and I, and I have flagged, um... Do you, [00:20:00] w- would you mind reading a tiny piece? It's- No, not at all ... it's on page 82, and it's the p- the paragraph that starts, “These manuscripts.”Caroline: Yeah.Jennie: That would be amazing.Caroline: Absolutely. So this is actually the moment I just described to you, where my head was like, I got...Oh, actually, I had just discovered the last 150 pages of the original Shining manuscript in a random folder in the archives, and I was like, “What is this doing here?” And I was getting obsessive about the manuscripts at this point, clearly- Yeah. Yeah ... just like the main character in The Shining, Jack Torrance, who gets obsessed with the manu- with the papers in the basement of the Overlook Hotel.But here we go. “These manuscripts are definitely getting into my head, and not just its rational part. In his memoir, when King describes books as being a uniquely portable magic, he doesn't specify what kind of magic. What if manuscripts can absorb and store more than just ink and words? [00:21:00] What if their pages can pass on dark energy along with dark stories?Ghosts have more than one way of making sure their stories are heard, of ensuring that the past is not forgotten, but rather pressed into our minds, even if we wrench our heads off the pillow and refuse to listen.” And that last is a reference to my, I used to see a ghost when I was five, and I write about that in the book too.Jennie: I mean, when I read that, I was like, “That's, that's me.” Like, these ghosts and horrors are pressing themselves into my mind, and I'm refusing to listen, and they still, they still do. And, um, King's stories in particular are so iconic, you can't really escape them. Like, you, you know the scenarios, you know the characters, you know-Caroline: YeahJennie: you know. And, and so it was interesting for me reading this book that that described my [00:22:00] experience where I was both repelled and magnetized at the same time.Caroline: That's beautiful the way you just put that. I mean, I think that is exactly our relationship also, of course, to our own fears. You know, again, what makes these stories endure, and I didn't go into this book thinking like, “This is a book about promoting Stephen King,” and, you know- Rightlike, I don't work for Stephen King. I just want to put that out there. Right. He, you know, he graciously agreed to let me go into the archives. He's been very generous about answering all my questions I had about the manuscripts, but he never at any point was like, “You can't say this,” or, “This is how you're supposed to say this.”So, but what I came away with after this process was exactly what you're describing, why we need these stories, why they endure, actually, is because they tap into our very real human fears. It's not about the monsters. It's about the grief and loss that's coming for all of us if we live long enough, you know?So you, and you have to at some point confront that, you know? So if it's- Yeah ... you can [00:23:00] try to run away from it, but it's coming, and that's part of being human. That's the human experience, obviously. Not to be glib, but it's like-Jennie: Yeah ...Caroline: you will experience loss. You will experience grief. And if these stories help you metabolize that or have a cathartic experience with that feeling without having to actually experience your worst fear, right?Um, like Aristotle says, it's cathartic, right? It's you watch a play, a, a tragedy because you experience a catharsis.Jennie: And did you, did you get to that in your own process?Caroline: That's a really good question. Um- You know, I, I think I became more aware of it. You know, I am, you know, and I write about this very openly in the book, that I was an extremely anxious little kid, um, which is part of why I think the boogeyman triggered me in the particular way it did, you know.Um, and that I grew into a pretty [00:24:00] anxious adult, you know? Yeah. I think anxiety is one of those things that, you know, I... Again, I was born in the ‘60s, so we didn't have this language for this back then. Like, my parents wouldn't have known to call me an anxious child, you know? Right. They probably would've said, “Oh, she's shy,” or, “She's whatever.”Um, so I think I, you know, like, and I as an adult, I think I've, I've found ways to manage it pretty well, but I am definitely a control freak. Like, that's part of how I manage it. I shouldn't use that language, but you know, it's like I, I like to just control what I can control, and that makes me feel that I can put the anxiety at bay.So I will say I think it's been interesting for me, Nick, now when I have those moments that are my worst fear moments that sometimes still will creep up on me just even though when I think I've figured it out, like doom s- doom scenarios. I tend to go to doom scenarios. So, like, if I can't reach... Uh, I will say Life360 has been, like, the best invention on the planet for me-with my two kids [00:25:00] and my husband. I'm like, “I know exactly where everyone is.” Yeah. It has saved me a lot of worry. Sometimes Life360 doesn't work, or sometimes a person still doesn't answer the phone, and then I have to manage my anxie- And then it's like... So I will say it's been interesting going through this process and having to confront or revisit the core of what scares me and, like, why that impacts, you know, why certain moments come forward for me still.So I think, yeah, I think it has helped me to a degree. Like, I can recognize it more clearly now. I'm like, “Oh, right, that's why I'm scared of that,” you know? Um-Jennie: That's so cool.Caroline: Yeah.Jennie: And it feels like that's the, the, um, the transformation in the book is you're exploring how that actually works and the language and the stories.Mm-hmm. But you're, you're also exploring how it works in your own self, how it did when you were young, how it does now- Yeah ... these moments when you're scared. So it- Mm-hmm ... there's such [00:26:00] a depth to it and, I mean, I just, uh, even in my half reading of it, I just loved it. Thank you. And, um, there's something that happens That's kind of crazy, which is, so you're a Shakespeare scholarCaroline: Mm-hmmJennie: And I ha- I, I know from reading Steve, a- about Stephen King, from reading his book On Writing, of course, and, um, interviews and such that, uh, I'm, I'm probably gonna say this in a disrespectful way, and I don't mean it to be so, but the, the easiest way I can describe it is that he's always had sort of a chip on his shoulder that he's just a popular writer and not taken seriously in a literary way.Mm. I don't know if that's, if that is fair to say, but that's how I'm saying it. Uh,Caroline: yeah.Jennie: And, um, what, what I found incredible was that [00:27:00] here comes this Shakespeare scholar into his archives doing proper scholarly archiver, arch- archival work, and there's this moment when you begin to see Shakespearean themes in his, in his work, and you can't ignore it, and particularly in, in Carrie and- Yeahparticularly around exactly the thing you were wrestling with, which is like a young girl's- I don't know, sense of, of not being fitting in the world or, um-Caroline: Yeah ...Jennie: right? And so that, um, there's, on page, since you have the book in your hand, um, I think it's pageCaroline: 202. Mm-hmm.Jennie: And it refers back to that passage you just read about portable magic.It's the one that's I remembered.Caroline: [00:28:00] Right. Okay. So this is going back to when I first was, um, I was in the final round of the job for the Stephen E. King Chair in Literature, and I was working on a book about Shakespeare's, the girls in Shakespeare's plays and world and teenage girls and their cognition.Like, the how were people during Shakespeare's day thinking about girls' brains? Yeah. So I'd been working on this for 10 years. Um, and then I was getting ready to give my job talk. This was the first time Stephen King and Shakespeare came together for me, and it was getting ready, and this, again, this is an authentic story, like write what you know.So I was getting ready for the job talk. I remembered that King's 1974 novel, Carrie, featured a 16-year-old girl whose telekinetic powers are unleashed when she gets her first period in the school shower. I started rereading it, and within a few pages came across an uncanny phrase. When she's walking home after being dismissed early, Carrie feels her brain flexing in a new way, [00:29:00] as if her powers have been waiting below the surface for her to reach, quote, “mental puberty.”I couldn't have wordsmithed this dynamic cognitive change better myself. In the last part of my job talk, I used the phrase to connect the brain work of Juliet Capulet, who's described as being two weeks away from seeing the change of 14 years, to Carrie's newly activated adolescent mind. It felt like a moment of pure portable magic between Stephen King, Shakespeare, and me.Jennie: Ugh, so beautiful.Caroline: Oh, thank you. Yeah. I mean, that was just so gobsmacking. Like, when that happened, I was like, I ca- I can't believe it, but yeah.Jennie: And then, now I may be getting some of the things wrong here, but then you- You realize, is it Carrie that, that you realize he was, you thought he was emulating a play, a Shakespeare play?Caroline: I think you're thinking of Shining. I mean, definitely at the end of the Carrie [00:30:00] chapter I return to, I did notice echoes of Macbeth, and I was convinced that that must have been what he was thinking about. And, and what's funny is, so one of the conversations I got to have with him, I mean, he's so generous with his time, one of my last conversations with him was about the end of Carrie, and that's a book that he actually doesn't like very much.You know, it was his first published novel, he was 26, and he's like, “I think that was written by a young man who thought he knew more than he did.” So he's, it's not a book that he goes back to. He recognizes it's important, and it's important to him, but, ‘cause it started his whole career, his whole trajectory.Um, but he didn't particularly, he hasn't returned to it. Yeah. So that was a fun chance for me to sort of talk to him and say, “Hey, you know what? I think you should maybe go back,” ‘cause it's it's, there's a lot of Shakespeare in there. Anyway, but the Shining chapter, what was fascinating, so there's this first draft, which I, I write a lot about, called The Shine, that's in the archives, with a totally different ending.Um, and when I looked at it, [00:31:00] he'd also divided it into acts and scenes, like Roman numeral acts and little- Mm ... Roman numeral scenes. And I was like, “This, what is this? This is like a Shakespeare play.” Like, that's what it looked like. And then sure enough, I found out he was imagining, he was thinking of a Shakespeare tragedy when he wrote The Shining.And that was the first moment where I was like, “What? This is insane.” Like, this- Yeah ... like, ob- obviously that became, for me, the story I wanted to tell about that particular set of manuscripts, was sort of uncovering, like, what's the Shakespeare play? Like, what's the tragedy? And I didn't wanna ask him because I didn't want- I wanted to go in with my mind clear, like, of any outside influence.I just wanted to see what my Shakespeare brain, because I'm so embedded in Shakespeare. I also have a Shakespeare podcast I do with my best friend. Like, we're, I'm always thinking about Shakespeare and how it relates to everyday life. You know, and so I'm like, “Well, how does it relate to The Shining?” Which is, like, an ur-American text.Like, this, like, say what you want about horror, [00:32:00] like- I'd be shocked if people don't know what The Shining's about, even if they haven't read it even if they haven't seen the film. Like, you probably know something about The Shining, right? Right. So I was like, if there's a Shakespeare tragedy at the foundation of this, you know.And here's the thing about Stephen King that I came to learn, again, reading all of his notes and finding these edits, and I did find traces of Macbeth in the first draft of The Shine, um, that he ended up taking out. So I was like, “Oh, is it Macbeth? It feels like it could be Macbeth.” There's so many things it has in common with it, with hallucinations and with baby bashing.And, you know, all of these horrible things that are in Macbeth are certainly in that book. Um, but I really wanted to go in, like, just on an adventure, like, see what I saw. So I didn't ask him which chi- tragedy until I was fully done with all my research and I felt like I had it all done. And that's when he drops that he was thinking of Hamlet.And once he said that, of course, it became so ... I mean, I [00:33:00] had seen traces, there were references to Ophelia that also didn't make it into the final published draft. So you wouldn't know this. This is the beauty of archival work, like you're gonna see things that other people will never know about unless you tell the story.That's why I felt so passionate about this. Like, “I need to tell people-” Yeah ... “that Ophelia was in the first draft, that he was thinking of Ophelia.” ‘Cause of course, you know, again, even if you don't know The Shining, the woman in the tub, the woman in the bathtub, like a drowned woman in a tub, like ah, Ophelia.Yeah. Like Ophelia's another one of those ur, like she's so, she's such a part of our cultural air, right? I mean, like no matter what country you're in. Right. There's a reason Taylor Swift has a whole, you know, song The Fate of Ophelia. Like people know what that means. Um, so I was like, “Oh my gosh, this is, this is incredible.This is even deeper than I thought it was gonna be.” Um, but also it made me appreciate how much that book is about intergenerational trauma. Um, and it's not ... So he doesn't like the Kubrick film [00:34:00] for reasons that, you know, a couple different reasons. One is that it flattens out the character of Jack Torrance, and Jack Torrance is an abused child himself, and he passes on that abuse to his son, Danny, right?Um, but you wouldn't know that from Kubrick's film. While Hamlet, of course, is about a father's ghost coming forward. Like, “The past is a ghost,” King writes, which is so f- powerful, right? Um, here's this ghost saying, “You need to kill for me.”Jennie: Yeah.Caroline: Yeah. And that's what happens to Jack. Yeah, so anyway, that's a long way to say that wasEach chapter was my favorite in different ways, but that one I loved being able to do the deep Shakespeare dive.Jennie: And was that ... You know, so I started that question by saying I, I had heard or understood or maybe inferred that, um, you know, King himself had this sort of desire- Okay ... to be taken more seriously.Was that, that must have been, I don't know, powerful for both you and him, uh, to [00:35:00] come to that? Not like, “Oh, you're the only person that's ever made him feel that way” or-Caroline: Yeah,Jennie: no,Caroline: I agree ... or agree with that, but. Like I, yeah. And, um, I mean, I will say I think part of the reason he was always really ... I mean, first of all, he's just so generous, and any writer who's ever worked with him has the same experience.Like he just gives his time. He just loves writing and writers so much that he will just, he'll just t- like any email I would send him, he'd write back in like an hour with a response. The part about how he feels about academia, you know, and I never directly asked him that because I didn't wanna ... You know, if he wanted to bring it up, great.But I think- Yeah ... my, after going on this journey with him, he clearly loves talking about- literature. He's the most well-read person I've ever met. I'm just gonna say that hands down. Like, the guy reads- Really? ... cons- constantly and if you read his early works, like even when he was 17, he wrote The Long Walk, okay, which just came out as a film, [00:36:00] and in that, he's citing T.S.Eliot, he's cit- he's citing Poe at 17. Okay? So he's, he, he, this, he comes by this honestly. He's not just trying to seem smart. Like, he literally is constantly reading and it's clear when you read his manuscripts or when you read his published books, he's making references to all, whether it's Shirley Jackson or Wallace Stevens or, you know, uh, he's so capacious in his knowledge of literature.And, like, just a couple months ago, he sent me an email, I don't, I can't remember, we were talking about something about Salem's Lot, and he was like, “Yeah, when I was writing Salem's Lot,” which again, this is 1975 when he's writing Salem's Lot, so that's a long time ago. He's like, “I was really into James Dickey's poetry.”Jennie: Whoa.Caroline: You know, who was an American no, you know, poet laureate. Uh, he's like, “And I was reading everything I could read of, of his and then I read Deliverance, and then I went back to his poetry, and that really impacted how I wrote the chapters [00:37:00] about the Lot,” which if you've read Salem's Lot, has some very lyrical, poetic chapters about the town, like, “The town knew about darkness.The town had its secrets and knew how to kept it.” And then he, like, sends me the entire poem that he was thinking about that James Dickey wrote. So I mean, it's, he's, and it's not performative. He's not, like, he has nothing. He doesn't need to prove anything to me, you know?Jennie: Right, to anyone, yeah.Caroline: He just literally loves, he loves literature.Like, this guy, he loves poetry. I mean, he actually writes poetry. He wrote poetry as an undergraduate. Uh, it was actually the core start for him of The Stand, was a poem he wrote called The Dark Man one day when he was, like, hungover in the school, like, cafeteria. Like, so it's like he, he's been thinking about literature and living with literature and, uh, since he was a teenager, if not earlier.His mom brought him, uh, Bram Stoker out of the public library when he was nine, so I mean, the guy- Whoa ... ‘cause he asked for it. He asked for Dracula. [00:38:00] I wasn't reading Dracula when I was nine. Were you? I mean-Jennie: No,Caroline: no. I was reading Little House on the Prairie. I mean-Jennie: Yeah. Yeah, exactly. Wow. Wow. So- I mean, this book, again, it's called Monsters in the Archives: My Year of Fear with Stephen King by Carolyn Bicks.It's just incredible, whether you're a King fan, whether you're a horror fan, um, but for sure for all writers, which are all our listeners. If you can, if you can bear it.It's very specific, um, a very specific- specific exploration of, of how good writing works really. Yeah. Right. And, and how you... You know, there's always that perennial question of how do you get emotion on the page? How do you make your reader feel something? And you, you show it very specifically, and I wanted so badly [00:39:00] to, to get into the details, and I, and I, I just, I just couldn't.Um, maybe someday, but, um, I just, I just can't recommend it enough for, for, um, this audience and, um, you know, anyone who's interested in any of these things we've talked about.Caroline: Thank you so much. I really appreciate that. And I will say, like, the Pet Sematary chapter, which is the first one, that was the first day I was in the archives.One of the things I discovered about him day one was how much attention he pays to word sounds. So I think for any writer interested in sort of doing a deep dive into, like, how one word change, right- Yeah ... can make a difference, you know? Yeah. And I didn't appreciate that about his writing until I went in there and saw his notes to the copy editor where he's like, “Nope, the word's clitter, not clatter.This is why.” You know? Like,Jennie: he's- There's a, um- Yeah ... yeah, there's a book I love, it's probably right behind me, um, called The Artful Edit by Susan Bell, in which she [00:40:00] shows examples of that kind of very careful change in, um, The Gre- The Great Gatsby and The English Patient and various works of, of literature, and your, your whole book is like that.It's, it's just amazing. Um- Thank you ... so is the next book gonna be the Shakespeare one you had thought of before? Or are you gonna- ... go in the, in the personal direction?Caroline: You know, it's such a good question. I think right now I'm just taking a break, you know, because I'm the kind... Like, I immerse myself in a project, and this has been so all-consuming.Um, and I'm back to doing my Everyday Shakespeare podcast, which I love and I missed. Um, so I'm doing that. And I, I really don't like to think too far ahead about what I'm going to write. I like to have it come organically.Jennie: Yeah.Caroline: Um, so I could go back into the archives. I could write another one of these kinds of books, but I don't know if that's the [00:41:00] right thing for me right now.Jennie: Yeah.Caroline: Um, I want to make sure whatever I write next- You know, I loved writing this book so much. It's my favorite... I mean, it's, it was such a powerful experience for me, um, because I could bring my personal experiences into it and my scholarly self into it. I don't... You know, it's gonna be hard to recreate that.Yeah. I think it can be done, but I don't wanna force it. Yeah. So I'm gonna wait and see what the next, what the next oneJennie: is. Don't you, don't you love the interviewer who's like, “Hey, congratulations. You wrote a book. What, what's your nextCaroline: one?” What are you working on now? What are you doing now? I know. And I get that.I'm like-Jennie: So mean ...Caroline: I'm just, I'm just reading books I wanna read. I'm doing my laundry. I'm getting to know my dog again. You know?Jennie: Oh, wow. Well, thankCaroline: you. But, you know, it's a fair question. Yeah.Jennie: Yeah, yeah. Thank you for coming and chatting about this, and for writing such a cool book. And- Thank you ... um, I'm looking forward to seeing what you do next.Caroline: Thank you, Jennie. It was a [00:42:00] pleasure.Jennie: Well, for our listeners, until next time, stop playing small and write like it matters.The #amwriting podcast is produced by Andrew Perilla. Our intro music, aptly titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output because everyone deserves to be paid for their work This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

The Gaming Hut tour through Robin's new book Hamlet's GM Screen resumes with a look at the beats of Session Zero. The Tradecraft Hut peers into the dossier of Revolutionary War era newspaper publisher James Rivington, who may have been a spy for the Patriots. Pendragon line developer David Larkins takes a seat in the special […]

MUSICAL THEATRE WRITING COLLECTIVE: https://www.musicaltheatrewritingcollective.com/mtwc-aboutWant some FREE TIPS???For Writers:Em's TOP 10 STRUCTURE TIPS - https://michael-radi.mykajabi.com/structure-tips-email—————————————————————————————****GO EVEN DEEPER WITH…****For WRITERS:MUSICAL THEATRE WRITING COLLECTIVE:https://www.musicaltheatrewritingcollective.com/mtwc-aboutLibretto Formatting Guide:https://michaelradi.thrivecart.com/libretto-formatting-guide/Flagship Musical Theatre Writing Workshop Course:https://www.musicaltheatrewritingcollective.com/mt-writing-workshop-courseBook & Beyond Libretto Writing Course:https://www.musicaltheatrewritingcollective.com/book-and-beyond-courseDo you want to learn *how to write* Musical Theatre? Are you looking for a *warm and welcoming community* of writers? Then check out the collective at the link above!—————————————————————————————One of My Favorite Writing Books:(Disclosure: I get commissions for purchases made through this post. I am an affiliate of bookshop.org and I will earn a commission if you click through the title links below and make a purchase. As an Amazon Associate I earn from qualifying purchases, and will do so from the Amazon link below.)“The Writer's Journey” by Christopher Vogler:Bookshop.Org link:https://bookshop.org/a/4758/9781615933150Amazon link:https://www.amazon.com/gp/product/193290736X/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=193290736X&linkCode=as2&tag=mtwgrecomme01-20&linkId=e804571516b48d9d6d11853c8765900e————————————————————————Em Radi (any/all) is a Composer-Lyricist, Librettist, Performer, Vocal Coach, Musical Theatre Writing Coach, Musical Director, and the Founder of the Musical Theatre Writing Collective currently residing in New York City. They are an alumnus of the esteemed Lehman Engel BMI Musical Theatre Workshop as a lyricist, and has written six full-length musical theatre pieces in addition to ongoing projects. His original musical The King's Legacy, which received its world premiere production in August 2019 at the Bristol Valley Theater in Naples, NY, and has also been presented in Industry Reading format both in fall of 2019 as part of the Dramatists Guild Friday Night Footlights and in November 2016. Em's original one-person show 'S Wonderful: An Evening with George Gershwin also played its premiere production at BVT in 2021. Other current projects include a musical adaptation of The Legend Of Sleepy Hollow, a queer pop-punk adaptation of Hamlet, and a mother-daughter coming of age musical set in the world of competitive baton twirling, based loosely off of their family's history with the sport.Learn more about Em at their website:http://www.michaelradi.comEm's Patreon Community:https://www.patreon.com/michaelradiLearn more about The King's Legacy on the website:https://www.thekingslegacymusical.com/And listen to/watch numbers from The King's Legacy on YouTube starting at:https://youtu.be/YSp0q-6KQeoThe Glamorous Life Blog:http://www.michaelradi.com/the-glamorous-lifeFollow Em on…FB: https://www.facebook.com/michael.radi.54IG: @emmy.radi @mtwriterguyTW: @MichaelRadi88TT: @michaelradi—————————————————————————————Musical Theatre Writer Guy was written and recorded on traditional and unceded territory of the Munsee Lenape and Canarsie People.

There are more things in heaven and earth than are dreamt of in our podcasts. First-time co-host Tim Read discusses William Shakespeare’s most famous tragedy, Hamlet (c. 1600). John McCoy with Tim Read.

Welcome back to The Rehearsal Room for this season (10!) as we continue our HAMLET Project. ---

There are more things in heaven and earth than are dreamt of in our podcasts. First-time co-host Tim Read discusses William Shakespeare’s most famous tragedy, Hamlet (c. 1600). John McCoy with Tim Read.

Episode 224: While I was looking into some details while I was preparing for the episodes on King Lear I came across an article that was part of a blog called ‘Hamlet's Bible', which is written by Paul Fried and was very pleased to find a series of very interesting posts relating to Biblical allusion in Shakespeare, so, of course, I asked the author of the blog, Paul Fried, if he would like to come onto the podcast to share some of his insights into this subject. Paul is a retired college lecturer who has devoted years of study to Shakespeare and the bible and his blog, now in it's tenth year, has become his way of sharing his research prior to what he hopes will be a published volume on Biblical allusion in Hamlet. He has also contributed several papers to Shakespeare conferences, most recently at the Shakespeare Association of America conference held in Denver in April 2026.I spoke to Paul from his home in Minnesota over a zoom call.Link to Paul's blog ‘Hamlet's Bible': https://pauladrianfried.blogspot.com/Link to ‘Hamlet's Bible' on Instagram: https://www.instagram.com/hamletsbible/Link to Paul's account on ‘X': https://x.com/padrianfriedSupport the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetpYou can find an advertisement free version of the latest podcast episodes by joining on Patreon at the lowest paid tier level – that's for just £1 per month. Hosted on Acast. See acast.com/privacy for more information.

(2:56) A nosa sexóloga Laura Veiga preséntanos o seu libro “O mapa da túa sexualidade” para crianzas de 10 a 12 anos. O seu enfoque na diversidade e o autocoñecemento pode mesmo interesar a un público máis amplo. (14:52) Visitamos o grupo de Xenomas Móbiles no CIMUS, dirixido por José Tubío. Veñen de publicar en Science os mecanismos polos que os xenes saltaricos poden acabar escangallando os cromosomas e contribuíndo ao desenvolvemento do cancro. A conversa con José Tubío, Jorge Zamora, Nuria Espasandín e Uxía Piñeiro sobre o seu traballo lévanos a falar de meigas, Minions e Hamlet. (51:29) Efeméride do 23 de abril do Calendario da Historia da Ciencia de Moncho Núñez. (53:28)  No espazo da Axencia Galega de Innovación, Carlos Sánchez Vecino explica o novo programa Ciencia Empresa para apoiar proxectos individuais de innovación promovidos polas Pemes galegas.

We play “Ham or Hamlet?” submitted by Jake Matz from Dallas, Texas and Twyla Rhode from Chicago, Illinois; “Drive Thru Song Request” submitted by Phil Martin from Appomattox, Virginia; “Stand-Up Cook-Out” submitted by Carl Knudson from Elkhart, Indiana. Supported by: Head to https://wwww.zocdoc.com/GAMESHOW to get started and check that appointment off your to-do list! MaxFun members! http://www.maximumfun.org/joingameshow  $5+ members can get Bonus Content! $10+ members can go ad-free!  Hosted by Manolo Moreno ( moslo.xyz )Insta / bluesky / substack : @drgameshow  Opening theme: “Dr. Hangout” by Manolo Moreno Exit music: “Dr. Gameshow” by Big Huge ( bighuge.bandcamp.com); performed by Conrad Tao ( conradtao.com  | insta: @conradtao ) Help support this show and unlock bonus content! Become a member at https://maximumfun.org/joingameshow

Why bicker online when a good conversation is so much more productive? James sits down with Robert Frederick, host of The Hidden Life is Best, and wonders why Robert had to be quite so disobliging about him recently on Substack. But all is OK. Their friendship is quickly renewed and they enjoy a marvellously stimulating chat about why Shakespeare is popular when he's so dark, disturbing, misogynistic, and so obviously pushing an elite gnostic agenda. They take a deep dive into Hamlet (a psychopathic serial killer) and A Midsummer Nights Dream (paedophilia; bestiality) and enlarge further on the author of so many of our ills, the evil genius that was Sir Francis Bacon. https://thehiddenlifeisbest.com/ ↓ ↓ This Delingpod is very kindly sponsored by https://sinacrisps.com The crisp you can eat without the guilt. No seed oils and just 3 ingredients. Use code: JAMES with your purchase for 15% off. ↓ ↓ How environmentalists are killing the planet, destroying the economy and stealing your children's future. In Watermelons, an updated edition of his ground-breaking 2011 book, James tells the shocking true story of how a handful of political activists, green campaigners, voodoo scientists and psychopathic billionaires teamed up to invent a fake crisis called ‘global warming'. This updated edition includes two new chapters which, like a geo-engineered flood, pour cold water on some of the original's sunny optimism and provide new insights into the diabolical nature of the climate alarmists' sinister master plan. Purchase Watermelons by James Delingpole here: https://jamesdelingpole.co.uk/Shop/ ↓ ↓ ↓ Buy James a Coffee at: https://www.buymeacoffee.com/jamesdelingpole To support independent, no-holds-barred journalism and gain first and full access to all James's content, subscribe directly at https://www.jamesdelingpole.co.uk x

Welcome back to The Rehearsal Room as we kick off Act 2 of our HAMLET Project in SEASON 10

In this episode, we perceive the eagerness to be back with a beloved, as portrayed in Sangam Literary work, Aganaanooru 284, penned by Idaikaadanaar. The verse is situated amidst the leaping hares of the ‘Mullai’ or ‘Forest landscape’ and paints a portrait of this domain and its denizens. சிறியிலை நெல்லிக் காய் கண்டன்னகுறு விழிக் கண்ண கூரல் அம் குறு முயல்முடந்தை வரகின் வீங்கு பீள் அருந்துபு,குடந்தை அம் செவிய கோட் பவர் ஒடுங்கி,இன் துயில் எழுந்து, துணையொடு போகி,முன்றில் சிறு நிறை நீர் கண்டு உண்ணும்புன் புலம் தழீஇய பொறைமுதல் சிறு குடி,தினைக் கள் உண்ட தெறி கோல் மறவர்,விசைத்த வில்லர், வேட்டம் போகி,முல்லைப் படப்பைப் புல்வாய் கெண்டும்காமர் புறவினதுவே காமம்நம்மினும் தான் தலைமயங்கியஅம் மா அரிவை உறைவு இன் ஊரே. In this trip to these pleasing lands, we observe spirited beings in action, as we listen to the man say these words to his charioteer, at a time when he is returning after completing his mission: “Having small eyes, akin to fruits of the small-leaved gooseberry, are those beautiful little hares with sharp fur. After munching on thick clusters of curved millet crops, these creatures with prominent ears, leap inside the vines. Then, rising from their sweet sleep, along with their mates, they drink up water, placed in brimming vessels, in the front yard of homes in hamlets, surrounding these forest lands near the hills. Here, after drinking up millet toddy, brave men with sharp arrows and tautly tied bows, leave on a hunt, and bringing back deer, they feed on it, in the jasmine-covered forest lands. Near this picturesque forest, is the village, where that beautiful, dark-skinned maiden, throbbing with even more passion than me, lives!” Let’s hop along with those hares and learn more! The man starts by focusing on this very creature and he associates the hare’s eyes with gooseberry fruits. After that picture-perfect plant-animal simile, he talks about how these hares feed on millet crops, rest under bushes, and then rising from sleep, go on to drink the water placed in pots, in front of homes in those little hamlets. Then he talks about the people living there, the hunters who bring back their catch of deer, and about how, spreading on those red lands, they cut and feast on their game. The man concludes by saying his beloved lives in a village near this beautiful forest, talking about how she would be brimming over with more yearning and love, than even him.  In these words, we can infer the subtle notes of the man’s eagerness to see the lady’s lovely town and be back in her company again. Like the happy hare, the man too intends to rest and rejoice with his beloved and drink from their together cup of joy!

Send us Fan Mail In this episode, special guests Drew Kallen-Keck plus Ben Cheknis and Andrew Coltrin from "The Two Vague Podcast" join the podcast. Ben and Andrew bring along the movie Strange Brew. While Drew brings the movie Rosencrantz & Guildenstern Are Dead for everyone to watch.First is Rosencrantz & Guildenstern Are Dead, Tom Stoppard's delightfully brainy adaptation starring Gary Oldman and Tim Roth. The gang dives into fate, free will and if this might be the ultimate "theater kid" movie. There's plenty to chew on. Next is Strange Brew, where Rick Moranis and Dave Thomas prove that Shakespeare and Bob & Doug McKenzie have more in common than anyone expected. Clif, Marty, Andrew, Drew, and Ben celebrate the film's wonderfully goofy charm, debate how much Hamlet is really in the script and agree that the movie is quintessentially Canadian. Along the way: prank phone calls from high school, Pink Floyd deep cuts, theater stories, Richard Dreyfuss appreciation, charcuterie jokes and enough Hamlet references to make your old English teacher proud.Nerd Emergencies! Kickstarter#TalkingPondo #FilmPodcast #StrangeBrew #RosencrantzAndGuildensternAreDead #GaryOldman #RickMoranis #CultCinema #MovieReview Support the showFind our films here:The Love Song of William H ShawRevenge of ZoeWriting Fren-ZeeMaking Pondo on FacebookX (formerly Twitter):@MakingPondoInstagramMaking Pondo on Letterboxd:Season OneSeason TwoSeason ThreeSeason FourTheme Song "The Rain" by Russ PacePhotos by Geoffrey Notkin

Our Gaming Hut tour of concepts from Robin's new book Hamlet's GM Screen continues with a look at up and down beats, the lifeblood of narrative engagement. In Ken and/or Robin Talk to Someone Else, Ken chats with Than Gibson and Derek White about their Darkspace RPG. The Word Hut quizzes Ken on slang terms […]

Steven welcomes Professor Terri Bourus from Florida State University and one of four editors of the New Oxford Shakespeare, to discuss her work and research on "Hamlet." Steven and Professor Bourus discuss the significance of the quarto and folio versions of the play, and whether or not the "Q1 Hamlet" could be an early draft of the "Hamlet" we know today.   Support the show by picking up official Don't Quill the Messenger merchandise at www.dontquillthepodcast.com and becoming a Patron at http://www.patreon.com/dontquillthemessenger  Made possible by Patrons: Clare Jaget, Courtney L, David Neufer, Dean Bradley, Deduce, Earl Showerman, Edward Henke, Ellen Swanson, Frank Lawler, Garrett Jackson, Heidi, Ina Cu, James Warren, Jen Swan, John Creider, John Eddings, John Shahan, Jon Foss, Michael Hannigan, Name Withheld, Neal Riesterer, Patricia Carrelli, quizzi, Richard Wood, Sandi Boney, Sheila Kethley, Stephen Hopkins, Teacher Mallory, Tim Norman, Tim Price, Vanessa Lops Don't Quill the Messenger is a part of the Dragon Wagon Radio independent podcast network. For more great podcasts visit www.dragonwagonradio.com

Steven welcomes Professor Terri Bourus from Florida State University and one of four editors of the New Oxford Shakespeare, to discuss her work and research on "Hamlet." Steven and Professor Bourus discuss the significance of the quarto and folio versions of the play, and whether or not the "Q1 Hamlet" could be an early draft of the "Hamlet" we know today.   Support the show by picking up official Don't Quill the Messenger merchandise at www.dontquillthepodcast.com and becoming a Patron at http://www.patreon.com/dontquillthemessenger  Made possible by Patrons: Clare Jaget, Courtney L, David Neufer, Dean Bradley, Deduce, Earl Showerman, Edward Henke, Ellen Swanson, Frank Lawler, Garrett Jackson, Heidi, Ina Cu, James Warren, Jen Swan, John Creider, John Eddings, John Shahan, Jon Foss, Michael Hannigan, Name Withheld, Neal Riesterer, Patricia Carrelli, quizzi, Richard Wood, Sandi Boney, Sheila Kethley, Stephen Hopkins, Teacher Mallory, Tim Norman, Tim Price, Vanessa Lops Don't Quill the Messenger is a part of the Dragon Wagon Radio independent podcast network. For more great podcasts visit www.dragonwagonradio.com

MUSICAL THEATRE WRITING COLLECTIVE: https://www.musicaltheatrewritingcollective.com/mtwc-aboutWant some FREE TIPS???For Writers:Em's TOP 10 STRUCTURE TIPS - https://michael-radi.mykajabi.com/structure-tips-email—————————————————————————————****GO EVEN DEEPER WITH…****For WRITERS:MUSICAL THEATRE WRITING COLLECTIVE:https://www.musicaltheatrewritingcollective.com/mtwc-aboutLibretto Formatting Guide:https://michaelradi.thrivecart.com/libretto-formatting-guide/Flagship Musical Theatre Writing Workshop Course:https://www.musicaltheatrewritingcollective.com/mt-writing-workshop-courseBook & Beyond Libretto Writing Course:https://www.musicaltheatrewritingcollective.com/book-and-beyond-courseDo you want to learn *how to write* Musical Theatre? Are you looking for a *warm and welcoming community* of writers? Then check out the collective at the link above!—————————————————————————————One of My Favorite Writing Books:(Disclosure: I get commissions for purchases made through this post. I am an affiliate of bookshop.org and I will earn a commission if you click through the title links below and make a purchase. As an Amazon Associate I earn from qualifying purchases, and will do so from the Amazon link below.)“The Writer's Journey” by Christopher Vogler:Bookshop.Org link:https://bookshop.org/a/4758/9781615933150Amazon link:https://www.amazon.com/gp/product/193290736X/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=193290736X&linkCode=as2&tag=mtwgrecomme01-20&linkId=e804571516b48d9d6d11853c8765900e————————————————————————Em Radi (any/all) is a Composer-Lyricist, Librettist, Performer, Vocal Coach, Musical Theatre Writing Coach, Musical Director, and the Founder of the Musical Theatre Writing Collective currently residing in New York City. They are an alumnus of the esteemed Lehman Engel BMI Musical Theatre Workshop as a lyricist, and has written six full-length musical theatre pieces in addition to ongoing projects. His original musical The King's Legacy, which received its world premiere production in August 2019 at the Bristol Valley Theater in Naples, NY, and has also been presented in Industry Reading format both in fall of 2019 as part of the Dramatists Guild Friday Night Footlights and in November 2016. Em's original one-person show 'S Wonderful: An Evening with George Gershwin also played its premiere production at BVT in 2021. Other current projects include a musical adaptation of The Legend Of Sleepy Hollow, a queer pop-punk adaptation of Hamlet, and a mother-daughter coming of age musical set in the world of competitive baton twirling, based loosely off of their family's history with the sport.Learn more about Em at their website:http://www.michaelradi.comEm's Patreon Community:https://www.patreon.com/michaelradiLearn more about The King's Legacy on the website:https://www.thekingslegacymusical.com/And listen to/watch numbers from The King's Legacy on YouTube starting at:https://youtu.be/YSp0q-6KQeoThe Glamorous Life Blog:http://www.michaelradi.com/the-glamorous-lifeFollow Em on…FB: https://www.facebook.com/michael.radi.54IG: @emmy.radi @mtwriterguyTW: @MichaelRadi88TT: @michaelradi—————————————————————————————Musical Theatre Writer Guy was written and recorded on traditional and unceded territory of the Munsee Lenape and Canarsie People.

Jean Marais, Laurence Olivier, Mel Gibson, Kenneth Brannagh l'ont incarné sur scène ou à l'écran : Hamlet, une des plus célèbres pièces de l'histoire du théâtre mondial, passionne les érudits depuis longtemps. La tragédie, chef d'œuvre de William Shakespeare, est l'objet de nombreuses spéculations, notamment au sujet d'une éventuelle version antérieure. Au micro de Nicolas Bogaerts, m'écrivain et documentariste Gérard Mordillat, présente dans « Hamlet le vrai » aux éditions Grasset la formidable découverte d'une version inédite de la main de Shakespeare et d'un autre écrivain, Thomas Kyd. Une découverte qui ouvre de nouvelles pistes de réflexions sur la portée littéraire et historique d'un texte qui a traversé les siècles. sujets traités: Hamlet, Jean Marais, Laurence Olivier, Mel Gibson, Kenneth Brannagh, William Shakespeare, Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Shakespeare famously never attended university. But not only has his work inspired generations of scholarship, his plays, too, are filled with scholarly characters. Shakespeare, it seems, took an interest in learning. Perhaps that's why so many people come to Shakespeare for wisdom that they can apply to their own lives. While leading the University of California, Santa Cruz's Shakespeare Workshop, professor and dramaturg Sean Keilen noticed that people look to Shakespeare and the humanities to answer questions like “Who am I? Why am I here? And how should I live?” Keilen's book, Shakespeare's Scholars: Three Lessons from the Liberal Arts, illustrates how learned characters from Hamlet, Love's Labor's Lost, and The Tempest more can guide us to those answers —some through their wisdom, and others through their own flawed judgment. In this episode, Keilen shares vital lessons from Shakespeare's fictional scholars in humility, self-knowledge, and perhaps most importantly, forging connection with others. From the Shakespeare Unlimited podcast. Published June 30, 2026. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the executive producer. It was edited by Gail Kern Paster. Technical support was provided by Sarah Lai Stirland in Santa Cruz and Voice Trax West in Studio City, California. Web production was handled by Megan Fraedrich. Transcripts are edited by Leonor Fernandez. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Episode 222:We can't say for sure that ‘Macbeth' was Shakespeare's next offering after 'Anthony and Cleopatra' as precise dating of these early 17th century plays is next to impossible, but whatever the case, it certainly has a very different feel and focus from it's near contemporises. Although recounting historical events it is dominated by the presence and effect of the supernatural. This proved a mix that audiences have flocked to ever since and it remains one of Shakespeare's most performed plays, for tragedy ranking only behind ‘Hamlet'.The dating of the playThe text in the First Folio and adaptations by Thomas MiddletonThe sources for the playA brief Synopsis of the playMacbeth and Julius CaesarMacbeth's ambitionThe importance of the soliloquy in the playMacbeth's feelings of guiltThe reports of the play by Simon ForemanBanquo's ghost as a manifestation of Macbeth's guiltBlood as a symbol of guiltThe torment of sleeplessnessThe tensions between destiny and free willThe three witchesLink to ‘That Shakespeare Life' episode featuring Prof. Laurie Johnson on the ‘weird sisters':https://podcasts.apple.com/gb/podcast/that-shakespeare-life/id1372846116?i=1000751203466Support the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetpYou can find an advertisement free version of the latest podcast episodes by joining on Patreon at the lowest paid tier level – that's for just £1 per month. Hosted on Acast. See acast.com/privacy for more information.

A mysterious gentleman who never aged, never ate, and never seemed to die charmed the high society of two centuries — until police found his wine bottles filled with blood.EPISODE BLOG PAGE (includes sources): https://weirddarkness.com/stgermainREAD or DOWNLOAD the full transcript of this episode: https://weirddarkness.com/wp-content/uploads/2026/06/WD20260625-StGermain.txtFEATURED STORIES IN THIS EPISODE: The mystery surrounding Count St. Germain is more than a little strange. Some think him to be a centuries old vampire. Others believe him to be a time traveler. And still others believe the whole thing to be a complete fraud. (The Vampire Time-Traveler) *** Escaping jail isn't easy, but we'll look at some who did the impossible – escaping the most secure prisons, in the most daring of ways. (History's Most Daring Prison Breaks) *** What would you do if you discovered that the church you attend every Sunday has a dark past that involves hauntings and supernatural phenomena? We'll look at some of the most haunted churches in the United States – perhaps you attend one of them and don't even realize it! (Most Haunted Churches in America) *** Benny Binion was one of the friendliest mobsters in Las Vegas… unless, of course, you made him mad. (Benny Binion, The Nice Guy Brute)CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = The Foreboding00:01:46.615 = Show Open00:03:35.546 = St. Germain: The Vampire Time Traveler00:15:55.827 = Daring Prison Breaks ***00:35:47.335 = Benny Binion, The Nice Guy Brute ***00:52:51.426 = Most Haunted Churches in America ***01:00:52.327 = Show Close*** = Begins immediately after inserted ad breakLISTEN ON PODCAST APPS: Look for this podcast on Apple Podcasts, Spotify, iHeart Radio, Amazon Music, Pandora, TuneIn Radio, and other podcast apps. Get a list of free listening apps here: https://weirddarkness.com/wdapps*No AI Voices Are Used In The Narration Of This Podcast*SOURCES and RESOURCES:“The Vampire Time-Traveler” by Marcus Lowth for UFO Insight: https://weirddarkness.tiny.us/2f2psdnm“History's Most Daring Prison Breaks” by Mike Rothschild for Ranker's Unspeakable Times:https://weirddarkness.tiny.us/2p948z5e“Most Haunted Churches in America” by Rain-Screaming-For-Horror, posted at Vocal.Media:https://weirddarkness.tiny.us/2p8we2se“Benny Binion, The Nice Guy Brute” by Melissa Sartore for Weird History: https://weirddarkness.tiny.us/4rczaf27(Over time links may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)WeirdDarkness® is a registered trademark. Copyright ©2026, Weird Darkness.Originally aired: December, 2021This episode of Weird Darkness moves from an immortal vampire said to haunt two centuries of high society, through history's most audacious prison escapes, into the bloody rise of a Las Vegas gambling kingpin, and ends among the haunted pews of America's churches.It opens in London in the early 1740s, where a man known as the Count of St. Germain charmed the upper classes with flawless violin playing, fluency in several languages, and a habit of handing out diamonds, prompting Horace Walpole — son of Prime Minister Robert Walpole — to describe him in a letter as odd and mad before the Count was arrested on suspicion of spying and released without charge. He surfaced next in Paris as a regular guest of Louis XV, working in a commissioned laboratory on fabric dyes and carrying out discreet missions, while gossip held that he could turn ordinary stones into jewels and had lived for hundreds or thousands of years, even claiming presence at the Council of Nicaea in 325 AD. After reported appearances aiding Catherine the Great in Russia and a friendship with Prince Charles of Hesse-Cassel in Germany, where he was said to die in 1784, the story jumps to early-1900s New Orleans and a wealthy newcomer named Jacques St. Germain, who threw lavish parties yet never ate or drank, claimed descent from the Count, and bore an uncanny resemblance to him. The account turns dark when a woman leapt from his balcony into the street, telling police he had bitten her neck; St. Germain vanished overnight, leaving his belongings behind and several open bottles that proved to hold a mixture of wine and blood.From there the episode trades immortality for ingenuity, walking through the boldest jailbreaks on record. It runs from the 2016 Orange County escape, where Jonathan Tieu, Bac Duong, and Hossein Nayeri cut through walls and rappelled to a sixteen-hour head start, to Joaquín "El Chapo" Guzmán slipping out of Altiplano through a mile-long lighted tunnel in 2015, and Clinton Correctional inmates David Sweat and Richard Matt crawling through a steam pipe with tools handed over by prison worker Joyce Mitchell. Ted Bundy jumped from a Colorado courthouse library window, John Dillinger bluffed his way out of an Indiana jail with a wooden pistol painted in shoe polish, and yoga master Choi Gap Bok greased himself and squeezed through a six-by-eighteen-inch food slot in thirty-four seconds. The larger breakouts carry heavier counts: three men vanished from Alcatraz in 1962 on a raft of raincoats, more than 480 Taliban prisoners filed out of Kandahar's Sarpoza Prison through a thousand-foot tunnel in 2011, over a thousand Japanese prisoners stormed the wire at Australia's Cowra camp in 1944, and inmates at the Nazi death camp Sobibor killed eleven SS guards with homemade knives before running for the treeline.Next the episode settles in Dallas and then Las Vegas with Lester Ben "Benny" Binion, the cowboy-hatted racketeer who founded the World Series of Poker and shot rival bootlegger Frank Bolding in the neck in 1931, walking away with a two-year suspended sentence and the nickname the Cowboy. He killed gambling competitor Ben Frieden in 1936 and beat the charge after witnesses vanished, ran dice games and bookies out of Dallas hotels for high rollers like Howard Hughes and H.L. Hunt, then moved to Las Vegas in 1946 and turned the Eldorado into the no-limit Horseshoe, laying down the first carpet in a Vegas casino. His feud with Dallas gambler Herbert "the Cat" Noble ran through eleven attempts on Noble's life and killed Noble's wife Mildred with a car bomb before a mailbox blast ended Noble in 1951. Binion died on Christmas Day 1989 and was carried to the cemetery behind six black horses, while his son Ted was found dead in 1998 in a case that convicted Sandy Murphy and Rick Tabish of burglary but acquitted them of the slaying, with the missing silver bullion never recovered.The episode closes inside America's churches, where worship shares the building with the dead. At Most Holy Trinity in Brooklyn, built over a former cemetery, parishioners report the spirit of clerk George Stelz, murdered in 1897, alongside bells that ring on their own and a bloody handprint in the bell tower stairway. The Washington National Cathedral carries the echo of Woodrow Wilson's cane and charred figures from a 1946 fire, while New Orleans' St. Louis Cathedral is tied to voodoo queen Marie Laveau, socialite Delphine Lalaurie, and six men executed on its grounds. At St. Mark's Episcopal in Cheyenne, a Swedish immigrant is said to have sealed his dead coworker inside the unfinished bell tower wall to avoid deportation, and at St. Paul's Chapel in New York — where George Washington prayed on his inauguration day — the spirit of actor George Frederick Cooke is said to wander still, his actual skull having traveled from a Philadelphia medical library and, by lore, onto the stage as a prop in Hamlet.

Gaming Hut starts a deep dive into Robin's imminent book Hamlet's GM Screen, by looking at the types of narrative beats as they appear at the gaming table. Ripped from the Headlines dons hazmat suits to look at a recent case of unauthorized biolabs. In the Horror Hut beloved Patreon backer Kristian Groenseth asks what […]

Tonight's sleep story is an encore of Hamlet by William Shakespeare, retold by Edith Nesbit. You know the story of the Prince of Denmark and his revenge journey for the murder of his father originally written by William Shakespeare. This adaptation by Edith Nesbit condenses and simplifies the story but the end remains the same. If you're still awake, the second story is the Merchant of Venice. A story you might not be as familiar with.Support the podcast and enjoy ad-free and bonus episodes. Try FREE for 7 days on Apple Podcasts. For other podcast platforms go to https://justsleeppodcast.com/supportOr, you can support with a one time donation at buymeacoffee.com/justsleeppodOrder your copy of the Just Sleep book! https://www.justsleeppodcast.com/book/If you like this episode, please remember to follow on Apple Podcasts, Spotify or wherever you listen to your favourite podcasts. Also, share with any family or friends that might have trouble drifting off.Goodnight! Hosted on Acast. See acast.com/privacy for more information.

It is Next Fest once again.Today we're talking about video games that we played from the June 2026 Steam Next Fest.Discussed in the episode:9 ESSENTIAL Wishlists From Steam Next Fest (June 2026) from noclip_2 on YouTubeBlood DungeonSteamDB "AI Content Disclosed" filtered out Next Fest list"Call of Dookie" post on BlueskyDad Games:Normal Golf Game - https://store.steampowered.com/app/3510740/Normal_Golf_Game/ Wind Runners - https://store.steampowered.com/app/1101370/Wind_Runners/Omen - https://store.steampowered.com/app/2859970/Omen/Ascenders: Beyond the Peak - https://store.steampowered.com/app/4267860/Ascenders_Beyond_the_Peak/Dungeon Settlers - https://store.steampowered.com/app/2798330/Dungeon_Settlers/Enginefall - https://store.steampowered.com/app/2437390/Enginefall/over the hill - https://store.steampowered.com/app/2929250/over_the_hill/Mym's Sword - https://store.steampowered.com/app/4673730/Myms_Sword/Gonna go do a little work in the garage:Factomancer - https://store.steampowered.com/app/3979570/Factomancer/Slime Soup - https://store.steampowered.com/app/4655800/Slime_Soup/IRON NEST: Heavy Turret Simulator - https://store.steampowered.com/app/2950790/IRON_NEST_Heavy_Turret_Simulator/ Burn-9 - https://store.steampowered.com/app/4377480/Burn9/ Sludgineers - https://store.steampowered.com/app/4073860/Sludgineers/Fortune Fragments - https://store.steampowered.com/app/3601160/Fortune_Fragments/The Message from Deep Space - https://store.steampowered.com/app/4080030/The_Message_from_Deep_Space/Just gotta rest my eyes for a second:Hearth and Hamlet - https://store.steampowered.com/app/4315040/Hearth_and_Hamlet/if you stay - https://store.steampowered.com/app/4437140/if_you_stay/Twinkle Seek - https://store.steampowered.com/app/4600620/Twinkle_Seek/walk - https://store.steampowered.com/app/4563880/walk/Weird aunt/uncle games:My Beautiful Faraway, Please Don't Be Cruel To Me - https://store.steampowered.com/app/4516190/My_Beautiful_Faraway_Please_Dont_Be_Cruel_To_Me/Entropy - https://store.steampowered.com/app/3940340/Entropy/Femme Fatality - https://store.steampowered.com/app/4682660/Femme_Fatality/lily's world XD - https://store.steampowered.com/app/3195580/lilys_world_XD/ Cloud Sculptor - https://store.steampowered.com/app/4101700/Cloud_Sculptor/Critter-like:WOIM - https://store.steampowered.com/app/4272020/WOIM/ The bird of the North - https://store.steampowered.com/app/4655600/The_bird_of_the_North/Haha, yeah this is it:ReStory: Chill Electronics Repairs - https://store.steampowered.com/app/3812600/ReStory_Chill_Electronics_Repairs/Pigeon: A Love Story - https://store.steampowered.com/app/3876710/Pigeon_A_Love_Story/Virtue and a Sledgehammer - https://store.steampowered.com/app/3743260/Virtue_and_a_Sledgehammer/---Support us on Ko-fi!Visit our website!Follow us on YouTube!Follow the show on Bluesky!Check out The Worst Garbage Online!---Art by Tara CrawfordTheme music by _amaranthineAdditional sounds by BoqehProduced and edited by AJ Fillari---Timecodes:(00:00) - A child (01:24) - Next???? Fest!!!!!!!!! (01:41) - Talkin about this Next Fest a little bit (11:07) - Dad Games (Normal Games) (12:05) - Normal Golf Game (15:57) - Wind Runners (19:48) - Omen (23:27) - Ascenders: Beyond the Peak (28:05) - Dungeon Settlers (30:48) - Enginefall (36:09) - over the hill (41:44) - Mym's Sword (44:32) - Gonna go do a little work in the garage (44:54) - Factomancer (49:29) - Slime Soup (52:52) - IRON NEST: Heavy Turret Simulator (01:02:36) - Burn-9 (01:04:34) - Sludgineers (01:07:18) - Fortune Fragments (01:10:13) - The Message from Deep Space (01:14:38) - Just gotta rest my eyes for a second (01:14:52) - Hearth and Hamlet (01:17:23) - if you stay (01:18:57) - Twinkle Seek (01:22:10) - walk (01:25:00) - Weird aunt/uncle games (01:25:13) - My Beautiful Faraway, Please Don't Be Cruel To Me (01:29:04) - Entropy (01:32:43) - Femme Fatality (01:36:43) - lily's world XD (01:40:30) - Cloud Sculptor (01:42:49) - Critter-likes (01:42:57) - WOIM (01:44:18) - The bird of the North (01:46:58) - Haha, yeah this is it (01:47:09) - ReStory: Chill Electronics Repairs (01:51:22) - Pigeon: A Love Story (01:58:18) - Virute and a Sledgehammer (01:59:23) - That's the end of the episode!!!!!!!!!!!!!!! ★ Support this podcast ★

Among My Many Hats presents Robin's new book Hamlet's GM Screen, coming in July from Pelgrane Press. The Monster Hut looks around the corner at that long-necked yokai, the rokurokubi, and its sometimes entirely detachable head. In Ken and/or Robin Talk to Someone Else, Ken talks to Jared Twing about his game Of Hearth & […]

***⁠⁠⁠⁠⁠Complete our⁠ listener survey⁠ for a chance to win a $50 gift card!⁠⁠⁠⁠ *** “We Gave Everything We Had”: Actor Randall Duk Kim and Director Annie Occhiogrosso reflect on their lives as artists, creating American Players Theater, how much you can learn from studying “Hamlet” over fifty years, what it takes to be great, where to find the best audiences in the country, how strawberries and chocolate can make all the difference on Press Day, the importance of language, what Keanu Reeves reads between takes, how Laurence Fishburne found his way into “Othello”, why every actor should start a theater, being Asian on an island, how Edwin Booth, Walt Whitman and a slaughtered lamb all played a part in bringing world class productions to a town of 1,200 people in rural Wisconsin, why it's important to plant the seeds of inspiration in young people if we want to have any hope for our future, and much, much more! Learn more about your ad choices. Visit megaphone.fm/adchoices

Today is part 2 of our series helping you build an internal operating system. We identify the four things you'll need to have happen for your startup to gain momentum, then we organize those into a system that'll help you move fast based on inertia. Tacklebox Monkeys and Shakespeare 101 Essays That Will Change The Way You Think Delta 4 Status Level Jump   00:25 - Internal Operating System Part II 03:15 - Monkeys and Shakespeare 07:40 - Smooth Jazz 08: 05 - Reverse Engineering a System 10:45 - Where is the Monkey? 11:33 - The Four Things That Matter for an Early Stage Business 11:40 - Problem 12:01 - Delta 4 Status Level Jump 13:34 - Secret 16:35 - Optimize for Inertia 18:37 - 101 Essays That Will Change The Way You Think 20:00 - The Thousand Daily Votes 21:43 - The Last 15% 23:30 - Script the Beginning and End 24:30 - Feedback Loop Optimization

O'Farrell's 2020 novel ‘Hamnet' was adapted into an award-winning film last year. She co-wrote the screenplay. It's about the grief Shakespeare and his wife Agnes struggle with after their son, Hamnet, dies of the plague, and how that grief leads him to write the play Hamlet. O'Farrell's new novel, ‘Land,' is about the lives of an Irish family living in the aftermath of the Great Famine. Even though she writes historical novels, she tries not to lean too much into history: “I find there's nothing that makes me put a book down faster than if somebody is trying to show me that they've done all their homework,” she says. ‘Land' is in part based on her family. Critic Maureen Corrigan reviews Classicist Mary Beard's new book ‘Talking Classics.'See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

David, Devindra, and Jeff assess the price of pop stardom in Mother Mary, check out Riz Ahmed's take on a classic in Hamlet, and try to find the perfect pitch with Tuner. Then they return to a galaxy far far away with Star Wars: The Mandalorian and Grogu.We're making video versions of our reviews! Be sure to follow us on the following platforms: YouTube Tiktok Instagram Threads Thanks to our SPONSOR: STORYWORTH: This year, give Dad a gift that captures who he really is, before the stories get harder to remember. Order RIGHT NOW and save up to $20 at storyworth.com/FILMCASTWeekly PlugsDavid - Decoding Everything: Stephen David Miller's Cannes DispatchesDevindra - Engadget Podcast on RGB TVs, OLED and what to buy this weekendJeff - Jeff's Cameo PageShownotes (All timestamps are approximate only)   What we've been watching (~00:16:46)David - Mother Mary, Hamlet (2025)Devindra - Hamlet (2025), Nemesis, Star Wars: Maul – Shadow LordJeff - Tuner, Maximum Pleasure GuaranteedFeatured Review (~01:05:29)    Star Wars: The Mandalorian and GroguSPOILERS (~01:28:46)Support David's artistic endeavors at his Patreon and subscribe to his free newsletter Decoding Everything. Check out Jeff Cannata's podcasts DLC and We Have Concerns. Listen to Devindra's podcast with Engadget on all things tech. You can always e-mail us at slashfilmcast(AT)gmail(DOT)com.Credits: Our theme song is by Tim McEwan from The Midnight. This episode was edited by Noah Ross who also created our weekly plugs and spoiler bumper music. Our Slashfilmcourt music comes from Simon Harris. If you'd like to advertise with us or sponsor us, please e-mail slashfilmcast@gmail.com. You can support the podcast by going to patreon.com/filmpodcast or by leaving a review on Apple Podcasts.