Podcasts about Hamlet

How much does a leader actually matter to an organization's success? We tend to credit CEOs, founders, and other powerful figures with shaping the institutions they lead, but historian Jared Diamond argues that we often underestimate the role of timing, circumstance, industry, and plain luck. Diamond explains his “Hamlet test,” which asks whether someone else could have achieved the same outcome or whether the leader was uniquely qualified to do it, and how it applies to many business leaders. He also explains why some leaders are able to seize a fleeting moment of opportunity, why founders can have an outsized influence on institutions, and why boards may overestimate the impact of replacing a struggling CEO. Diamond is author of Prophets, Profits, Coaches, and Kings: (When) Do Leaders Matter?

Frankie Grande is a true multihyphenate: a singer, songwriter, actor, Broadway performer and producer, television personality, digital creator, philanthropist, and activist whose career has taken him from Broadway stages to reality television, film, music, and beyond. A lifelong performer, Frankie has appeared on Broadway in beloved productions including Mamma Mia! and Rock of Ages, and he is currently starring in the Broadway production of Titanique, playing Victor Garber and Luigi. His work in theater extends behind the scenes as well: he has produced acclaimed Broadway productions including Hamlet, La Bête, and Born Yesterday. Frankie became known to millions of television viewers when he competed on Big Brother 16, and he later appeared on Celebrity Big Brother UK and Big Brother Reindeer Games. He has also appeared on television in Henry Danger and Danger Force as the unforgettable villain Frankini, and his screen work includes films such as Spree, Summoning Sylvia, and Henry Danger: The Movie.   Frankie's creative life has entered an exciting new era with his music. Signed to Casablanca/Republic Records, he released his debut album, Hotel Rock Bottom, bringing together infectious pop music with deeply personal storytelling. The project reflects a more vulnerable side of Frankie and the journey that has brought him to where he is today. His recent releases include the Pride anthem “I Drove All Night.”  Frankie is also a passionate advocate for the LGBTQ+ community and has devoted significant energy to philanthropy and arts education. He is a founding member of Broadway in South Africa and has worked with buildOn, supporting communities and educational initiatives around the world.  In 2026, Frankie added another deeply personal accomplishment to his extraordinary résumé with the release of his memoir, Supergay! A Memoir. The book explores his journey through identity, coming out, addiction, recovery, sobriety, family, and ultimately learning to embrace himself fully. Frankie has spoken openly about rebuilding his life after addiction and about the joy and gratitude he feels for the second chance his recovery has given him. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In his Prime Video series, Bait, Riz Ahmed plays an actor auditioning to be the next James Bond. Ahmed says Bond is a "symbol of aspiration, this unattainable kind of self" his character is pursuing. He's nominated for an Emmy for his role in the series. Ahmed spoke with Tonya Mosley about being his own worst critic, why he connected to Hamlet, and his early days as an MC on pirate radio. Subscribe to our free weekly newsletter Follow us on Instagram Subscribe to our YouTube channel Check out the Fresh Air ArchivesSee 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

The David Alliance  TDAgiantSlayer@gmail.com Garth Heckman Urge   INTRO: Its a strange memory at best: A young man at church - my sister Renee's friend. HS stud athlete, great looking, always jumping in and out of bed with whomever he could. Now in his early 30's he came to church and Renee said one night after church… he better hurry up and figure out life - his hair is getting thinner and his glasses are getting thicker.  Funny, sad, but telling of his life falling apart. He lived his life by his emotions… his “URGES” if you will.    the phrase "a piece of work" originated as a high compliment before evolving over centuries into a sarcastic insult. The Literary Origin Its earliest famous usage comes from William Shakespeare's Hamlet (around 1601). In Act II, Scene 2, Prince Hamlet marvels at the creation of humanity: "What a piece of work is a man! How noble in reason, how infinite in faculty..."       He's a piece of work ISRAELS FIRST KING!  King Saul had it all but lost his call as a know it all only to fall.      Saul's ultimate downfall was not a lack of talent or opportunity; it was a fundamental flaw in his internal compass. Saul lived a life governed by feelings rather than character.     Have you ever met someone who lives by their emotions/feelings/the wind?     I used to say to my boys… “dad is in a bad mood today, so don't push it”. WHAT I WAS REALLY SAYING WAS DAD IS IN THE FLESH… LIVING BY HIS URGES!        Romans 8:5 Those who are dominated by the sinful nature think about sinful things, but those who are controlled by the Holy Spirit think about things that please the Spirit. 6 So letting your sinful nature control your mind leads to death. But letting the Spirit control your mind leads to life and peace. 7 For the sinful nature is always hostile to God. It never did obey God's laws, and it never will. 8 That's why those who are still under the control of their sinful nature can never please God. 9 But you are not controlled by your sinful nature. You are controlled by the Spirit if you have the Spirit of God living in you. (And remember that those who do not have the Spirit of Christ living in them do not belong to him at all.)         King Saul highlights critical decisions based on fear, jealousy, and impulsivity rather than steadfast character and obedience.     1 Samuel 13:8-12 (Impatience and Panic): When the prophet Samuel delayed his arrival and the Israelite army began to scatter out of fear, Saul panicked. Instead of trusting God and waiting, his anxiety drove him to unlawfully offer the burnt offering himself. Emotions make God's Word feel optional rather than authoritative. When feelings become the filter for truth, scripture gets reduced to "does this resonate with me" instead of "is this what God said." Jeremiah 17:9 warns that the heart is deceitful above all things — not evil in a cartoonish sense, but genuinely unreliable as a final authority. A Christian who only obeys when it feels right isn't actually submitted to Christ's lordship; they're submitted to their own emotional state, with God's Word as an occasional consultant rather than the authority.   Abortion, adultery, fornication, bitterness, gossip… emotions muddy up the water.   Anterior Midcingulate Cortex it behaves like a muscle, shrinking when underused and expanding physically when you engage in effortful, resistance-heavy activities.   Anatomy of the aMCC The Friction Requirement: The aMCC only grows when you face friction or internal resistance. Pushing through a workout you love doesn't trigger the same growth as forcing yourself to do a workout—or a task—that you genuinely do not want to do     The Battle of Sarx (The Flesh): Paul describes the "flesh" not merely as the physical body, but as the path of least resistance—primal drives, comfort-seeking, and self-preservation.    The body only wants to eat, sleep be tickled and have sex!      In Galatians 5:17, he notes: "For the flesh desires what is contrary to the Spirit, and the Spirit what is contrary to the flesh. They are in conflict with each other." The subjective internal friction you feel when forcing yourself to do a hard task is the exact experiential battleground Paul describes. Mortification (Nekroo): In Colossians 3:5 and Romans 8:13, the New Testament commands believers to "put to death" or "mortify" lower impulses. This is not a passive event; it is an active, effortful override of natural inclination—the exact stimulus that drives aMCC hypertrophy.     How do you put to death the desires of the flesh? Lets put this misconception to bed for good! You do the opposite of the flesh according to scripture.       1 Samuel 14:24, 43-44 (Rashness and Impulsivity): Driven by the heat of battle, Saul made a foolish, impulsive oath binding his army to fast until evening. This emotional decision left his men exhausted and nearly resulted in the execution of his own son, Jonathan, who had unknowingly eaten honey.   Emotional highs get mistaken for spiritual maturity. Feeling moved during worship, feeling peace after a decision, feeling conviction in the moment — these can be real and God-given, but they can also be manufactured by music, social pressure, or just brain chemistry. The danger is building a faith that needs a constant emotional high to feel "real," which sets people up to crash hard when the feelings fade — and many walk away from faith entirely when the emotional experience stops delivering, mistaking the absence of feeling for the absence of God.   **When emotions supersede logic or common sense, they will typically supersede Gods best as well.     MANY/MOST times God will ask you to do something that goes against your emotions!    1 Samuel 15:24 (Fear of Man over Integrity): After failing to completely destroy the Amalekites as God commanded, Saul shifted the blame. He finally confessed to Samuel that his lack of character stemmed from insecurity, stating: "I was afraid of the men and so I gave in to them.” Remember… He's the King! And he is afraid of the men? It makes obedience conditional instead of covenantal.  Abraham didn't feel like sacrificing Isaac.  Jesus, didn't feel like going to the cross —    Obeying when you feel like it is not obedience its convenience!    men: leading a family, staying faithful in a hard marriage, disciplining kids, showing up to serve when you're exhausted — none of that runs on feelings. It runs on covenant commitment that outlasts emotion.   *If I win the lottery I will definitely tithe and even give more than 10%.  NOPE! If you can't give $10 out of $100 you won't give 1 Million out of 100 Million.      1 Samuel 18:10-11 (Uncontrolled Rage): Saul's jealousy quickly escalated into murderous anger. While David was playing the lyre to soothe him, Saul was overcome by an evil spirit and his own rage, throwing his spear at David twice in an attempt to pin him to the wall.   Emotional volatility becomes a discipleship excuse instead of a growth area.  "I just felt led" or  "I couldn't help how I reacted"  “We are in Love”.  “She started it”. “It was Tuesday”    The flesh wether in a high or a low is meant to be cultivated by the fruits of the Spirit!    I love what Socrates said “any virtue in and of itself is a danger, it must be balanced with another virtue. i.e. if you are generous but do not balance that with wisdom, you will give all your money away and your family will starve. This is what the fruits of the Spirit do for us when in the midst of great emotion.

The David Alliance TDAgiantSlayer@Gmail.com  Garth Heckman   INTRO: Its a strange memory at best: A young man at church - my sister Renee's friend. HS stud athlete, great looking, always jumping in and out of bed with whomever he could. Now in his early 30's he came to church and Renee said one night after church… he better hurry up and figure out life - his hair is getting thinner and his glasses are getting thicker.  Funny, sad, but telling of his life falling apart. He lived his life by his emotions… his “URGES” if you will.    the phrase "a piece of work" originated as a high compliment before evolving over centuries into a sarcastic insult. The Literary Origin Its earliest famous usage comes from William Shakespeare's Hamlet (around 1601). In Act II, Scene 2, Prince Hamlet marvels at the creation of humanity: "What a piece of work is a man! How noble in reason, how infinite in faculty..."       He's a piece of work ISRAELS FIRST KING!  King Saul had it all but lost his call as a know it all only to fall.      Saul's ultimate downfall was not a lack of talent or opportunity; it was a fundamental flaw in his internal compass. Saul lived a life governed by feelings rather than character.     Have you ever met someone who lives by their emotions/feelings/the wind?     I used to say to my boys… “dad is in a bad mood today, so don't push it”. WHAT I WAS REALLY SAYING WAS DAD IS IN THE FLESH… LIVING BY HIS URGES!        Romans 8:5 Those who are dominated by the sinful nature think about sinful things, but those who are controlled by the Holy Spirit think about things that please the Spirit. 6 So letting your sinful nature control your mind leads to death. But letting the Spirit control your mind leads to life and peace. 7 For the sinful nature is always hostile to God. It never did obey God's laws, and it never will. 8 That's why those who are still under the control of their sinful nature can never please God. 9 But you are not controlled by your sinful nature. You are controlled by the Spirit if you have the Spirit of God living in you. (And remember that those who do not have the Spirit of Christ living in them do not belong to him at all.)         King Saul highlights critical decisions based on fear, jealousy, and impulsivity rather than steadfast character and obedience.     1 Samuel 13:8-12 (Impatience and Panic): When the prophet Samuel delayed his arrival and the Israelite army began to scatter out of fear, Saul panicked. Instead of trusting God and waiting, his anxiety drove him to unlawfully offer the burnt offering himself. Emotions make God's Word feel optional rather than authoritative. When feelings become the filter for truth, scripture gets reduced to "does this resonate with me" instead of "is this what God said." Jeremiah 17:9 warns that the heart is deceitful above all things — not evil in a cartoonish sense, but genuinely unreliable as a final authority. A Christian who only obeys when it feels right isn't actually submitted to Christ's lordship; they're submitted to their own emotional state, with God's Word as an occasional consultant rather than the authority.   Abortion, adultery, fornication, bitterness, gossip… emotions muddy up the water.   Anterior Midcingulate Cortex it behaves like a muscle, shrinking when underused and expanding physically when you engage in effortful, resistance-heavy activities.   Anatomy of the aMCC The Friction Requirement: The aMCC only grows when you face friction or internal resistance. Pushing through a workout you love doesn't trigger the same growth as forcing yourself to do a workout—or a task—that you genuinely do not want to do     The Battle of Sarx (The Flesh): Paul describes the "flesh" not merely as the physical body, but as the path of least resistance—primal drives, comfort-seeking, and self-preservation.    The body only wants to eat, sleep be tickled and have sex!      In Galatians 5:17, he notes: "For the flesh desires what is contrary to the Spirit, and the Spirit what is contrary to the flesh. They are in conflict with each other." The subjective internal friction you feel when forcing yourself to do a hard task is the exact experiential battleground Paul describes. Mortification (Nekroo): In Colossians 3:5 and Romans 8:13, the New Testament commands believers to "put to death" or "mortify" lower impulses. This is not a passive event; it is an active, effortful override of natural inclination—the exact stimulus that drives aMCC hypertrophy.     How do you put to death the desires of the flesh? Lets put this misconception to bed for good! You do the opposite of the flesh according to scripture.       1 Samuel 14:24, 43-44 (Rashness and Impulsivity): Driven by the heat of battle, Saul made a foolish, impulsive oath binding his army to fast until evening. This emotional decision left his men exhausted and nearly resulted in the execution of his own son, Jonathan, who had unknowingly eaten honey.   Emotional highs get mistaken for spiritual maturity. Feeling moved during worship, feeling peace after a decision, feeling conviction in the moment — these can be real and God-given, but they can also be manufactured by music, social pressure, or just brain chemistry. The danger is building a faith that needs a constant emotional high to feel "real," which sets people up to crash hard when the feelings fade — and many walk away from faith entirely when the emotional experience stops delivering, mistaking the absence of feeling for the absence of God.   **When emotions supersede logic or common sense, they will typically supersede Gods best as well.     MANY/MOST times God will ask you to do something that goes against your emotions! 

If you were Hamlet's lawyer, would you advise he plead not guilty by reason of insanity? Would you consider his accidental slaying of Polonius to be murder or manslaughter? These are the kinds of questions that University of Michigan Law professor Len Niehoff asks his students to consider. But why is it so important for lawyers to brush up their Shakespeare? According to Niehoff, Shakespeare and lawyers both think about everything. Some of his plays illustrate the consequences of a lawless society. Others show how people respond to the miscarriage of justice or being excluded from the legal protection of human rights. And some others, like the case of Hamlet, can help students practice thinking like lawyers. Niehoff's book, Meeting Shakespeare at the Bar: Reading the Bard Through the Lens of the Law grew out of those classroom discussions. In this episode, Niehoff discusses his book, how his teaching practices have evolved, and what Shakespeare can teach lawyers about looking at problems from every possible angle. From the Shakespeare Unlimited podcast. Published August 25, 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 Daniel Wanschura in Michigan 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.

The David Alliance TDAgiantSlayer@Gmail.com Garth Heckman INTRO: Its a strange memory at best: A young man at church - my sister Renee's friend. HS stud athlete, great looking, always jumping in and out of bed with whomever he could. Now in his early 30's he came to church and Renee said one night after church… he better hurry up and figure out life - his hair is getting thinner and his glasses are getting thicker.  Funny, sad, but telling of his life falling apart. He lived his life by his emotions… his “URGES” if you will.    the phrase "a piece of work" originated as a high compliment before evolving over centuries into a sarcastic insult. The Literary Origin Its earliest famous usage comes from William Shakespeare's Hamlet (around 1601). In Act II, Scene 2, Prince Hamlet marvels at the creation of humanity: "What a piece of work is a man! How noble in reason, how infinite in faculty..."       He's a piece of work ISRAELS FIRST KING!  King Saul had it all but lost his call as a know it all only to fall.      Saul's ultimate downfall was not a lack of talent or opportunity; it was a fundamental flaw in his internal compass. Saul lived a life governed by feelings rather than character.     Have you ever met someone who lives by their emotions/feelings/the wind?     I used to say to my boys… “dad is in a bad mood today, so don't push it”. WHAT I WAS REALLY SAYING WAS DAD IS IN THE FLESH… LIVING BY HIS URGES!        Romans 8:5 Those who are dominated by the sinful nature think about sinful things, but those who are controlled by the Holy Spirit think about things that please the Spirit. 6 So letting your sinful nature control your mind leads to death. But letting the Spirit control your mind leads to life and peace. 7 For the sinful nature is always hostile to God. It never did obey God's laws, and it never will. 8 That's why those who are still under the control of their sinful nature can never please God. 9 But you are not controlled by your sinful nature. You are controlled by the Spirit if you have the Spirit of God living in you. (And remember that those who do not have the Spirit of Christ living in them do not belong to him at all.)         King Saul highlights critical decisions based on fear, jealousy, and impulsivity rather than steadfast character and obedience.     1 Samuel 13:8-12 (Impatience and Panic): When the prophet Samuel delayed his arrival and the Israelite army began to scatter out of fear, Saul panicked. Instead of trusting God and waiting, his anxiety drove him to unlawfully offer the burnt offering himself. Emotions make God's Word feel optional rather than authoritative. When feelings become the filter for truth, scripture gets reduced to "does this resonate with me" instead of "is this what God said." Jeremiah 17:9 warns that the heart is deceitful above all things — not evil in a cartoonish sense, but genuinely unreliable as a final authority. A Christian who only obeys when it feels right isn't actually submitted to Christ's lordship; they're submitted to their own emotional state, with God's Word as an occasional consultant rather than the authority.   Abortion, adultery, fornication, bitterness, gossip… emotions muddy up the water.

Season 5, Episode 1 | "If you form yourself to what's easy, you'll look pretty indiscernible from everyone else."You're forming yourself every day, whether you know it or not. The question is which direction. Dane and Mitch kick off Season 5 with a reframe on what "learning the hard way" actually means: not stumbling through crashes or just punishing yourself, but choosing a way that is hard as a skill worth practicing. They dig into the false promise of optionality, why more choices leave us weaker instead of freer, and what it costs to keep every door open. If you've been drifting while calling it flexibility, start here.Never Settle PromoChapters:00:00 Introduction01:22 The Hard Way04:58 Choosing06:24 False Promises Exposed09:19 The Myth of Optionality14:17 AI and Agency17:21 Practice Shapes You23:06 NarrowingMentions:Hamnet - The play based on Hamlet. Dane references a central moment of one character giving up their life for another.Seth Godin - Author and marketer. Referenced for his piece on "the infinite tail."Chris Anderson - Author of "The Long Tail." Referenced as the origin of the long tail concept in creative markets.CrossFit - Referenced for the phrase "getting comfortable being uncomfortable."Anchor Actions:Pick One Hard Way: This week, identify one specific area where you've been taking the easy path. Choose the harder route on purpose. Not to prove anything. To practice the skill of choosing.Close a Door: Optionality is quietly making you weaker. Pick one option you've been keeping open "just in case" and close it. Commit to what's left.Refuse the Rescue: When someone offers you an easy out this week (including yourself), or when you're tempted to offer one to a friend, pause. Ask if the hard thing might actually be the gift.Join Us:Our Membership Community (MWOD) is where we embrace discomfort as a path to personal development. Remember, it's probably not for you... but if we're wrong about that, or if you want to find out for yourself, visit us at MWOD.io

During her tenure as The New Yorker's television critic, Emily Nussbaum famously railed against ranking the year's best shows; she once wrote a piece entitled “I Hate Top Ten Lists.” But naming her favorite series of all time is an easier proposition, and the honor goes to a little-known Canadian production from the early two-thousands that dramatized the colorful characters and commercial struggles of a fictional Shakespearean theatre festival. In the final episode of this summer's Critics at Large interview series, Alex Schwartz talks with Nussbaum about her love of “Slings & Arrows,” which pioneered a complex balance of comedy and drama that would eventually become a hallmark of prestige television. Today, Hollywood showrunners including David Simon, the creator of “The Wire,” sing its praises—and yet it remains largely overlooked by audiences. Nussbaum, who's lately been writing as the magazine's theatre critic, is on a mission to change that.  “The history of TV is the confusion between whether something is good and whether it's popular and commercial,” Nussbaum says. “ ‘Slings & Arrows' is an example of a show that is the best show—regardless of how many people watch it.”  Read, watch, and listen with the critics: “Cue the Sun,” by Emily Nussbaum“Slings and Arrows” (2003-2006)“Hamlet,” by William Shakespeare“Macbeth,” by William Shakespeare“King Lear,” by William Shakespeare“30 Rock” (2006-13)“Orange Is the New Black” (2013-19)“Call My Agent!” (2015-19)“The Studio” (2025—)“Next to Normal” (2025)“Succession” (2018-2023) New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. Learn more about your ad choices. Visit podcastchoices.com/adchoices

His head still spinning from the whirl of Gen Con 2026, Ken issues a Travel Advisory covering its news and scuttlebutt. The Gaming Hut's Hamlet's GM Screen series continues with tips and tricks for scene setting. With the ongoing Merryshire Detective Club Backerkit campaign in mind, the Food Hut asks which items go in first breakfast […]

This week on Bad Dads Film Review, it is prison week — although with Riggs and Chris missing, Sidey and Dan are doing hard time as a two-man crew.Before the main feature, we look at memorable prisons and prison stories from film, TV and music. That means everything from miscarriage-of-justice anger to escape-movie comfort food, brutal borstal drama, wizard prisons, sitcom prisons and, naturally, George Clooney being offensively cool in Out of Sight.Along the way we discuss:In the Name of the Father and the fury of the Guildford Four injusticeThe Shawshank Redemption, new fish, Red, Andy Dufresne and the power of endless TV rewatchabilityThe Green Mile as another Stephen King prison classicBirdman of Alcatraz, Escape from Alcatraz and The Rockwhy Pete is missed whenever a Sean Connery impression is requiredBrubaker, with Robert Redford discovering prison corruption from the insidethe glorious stupidity of Prison Break and its tattooed escape-plan premiseScum, Midnight Express, Azkaban and The Great EscapeFolsom Prison Blues, Jailhouse Rock, I Fought the Law and John Lennon's Attica StatePorridge, HMP Slade and Fletcher trying to survive the system by wisecrackingEscape from Sobibor and the power of stories about people walking out through horrorOut of Sight, Glades Correctional Institution and the possibly illegal hotness of George ClooneyThen we review Sing Sing, directed by Greg Kwedar and starring Colman Domingo as John “Divine G” Whitfield. Inspired by the real Rehabilitation Through the Arts programme at Sing Sing Correctional Facility, the film follows a group of incarcerated men who use theatre to build community, process emotion and make something together in a place designed to strip people of freedom.The film opens with Divine G performing on stage. For a moment, it could be Broadway. Then the prison reality returns: standing to attention, routines, walls, control. That contrast becomes the film's central power. Inside the rehearsal room, the men are not reduced to their crimes or their sentences. They are actors, writers, collaborators, comedians and friends.A big part of the film's authenticity comes from the cast. Alongside professional actors like Domingo and Paul Raci, many performers are real RTA alumni and formerly incarcerated men playing versions of themselves. Sidey and Dan both pick up on how much that matters. The film feels lived-in because many of the faces on screen have lived some version of this world.The main dramatic spark comes when Clarence “Divine Eye” Maclin joins the theatre group. He is guarded, tough and suspicious of vulnerability, but he is also the person who suggests the troupe should make a comedy instead of another serious drama. That choice leads to Breakin' the Mummy's Code, a real RTA production full of time travel, ancient Egypt, Hamlet and absolute chaos.Sidey had not heard of Sing Sing before this week and might not have watched it without the nomination, but he is very glad he did. Dan is just as positive. The dads admire the film's warmth, pace and humanity, and the way it avoids becoming either a grim prison misery parade or a simplistic “art fixes everything” story.It is moving, funny, generous and grounded — a prison film about performance, friendship, grief, justice and purpose.Strong recommend from both dads.You can now text us anonymously to leave feedback, suggest future content or simply hurl abuse at us. We'll read out any texts we receive on the show. Click here to try it out!We love to hear from our listeners! By which I mean we tolerate it. If it hasn't been completely destroyed yet you can usually find us on twitter @dads_film, on Facebook Bad Dads Film Review, on email at baddadsjsy@gmail.com or on our website baddadsfilm.com. Until next time, we remain... Bad Dads

Send us Fan MailWelcome to Hall of Imagination–and this is the first in a series of episodes about William Shakespeare. And here we have a wax figure of the BARD himself. And personally, let me say as an actor that I am really excited about the prospect of learning more about what makes William Shakespeare so great!  Oh here you are!Mr. Shakespeare, I am really excited about this series of podcast episodes.Now we are not going to begin by interviewing Hamlet… or Juliet… or Lady Macbeth… or Romeo…No. Today, I'm starting with… a town.A town with muddy streets, and church bells, and gossip that travels faster than Wi-Fi ever dreamed of traveling.Because before Shakespeare becomes Shakespeare—the name you've heard a thousand times—he is a boy in Stratford-upon-Avon, absorbing the world like a sponge with ambitions.Support the showThank you for experiencing Celebrate Creativity.

8/11/26, Co-Host Amilcar Shabazz Rep Pat Duffy: Freedom to Read law, the abortion bill, the Protect Act & Child Welfare legislation—all passed by the legislature and signed into law. Rev. Carlos Anderson of Hope Community Church in Amherst: from a Black Congregational Church with a white pastor to the present day—the strange journey of race and faith in the Valley. “Sweet Prince” with Hilary Dennis—her one-woman Hamlet, coming to the Center for the Arts. Talkin' Baseball with the Duke, Duke Goldman: How About those Red Sox? The owners are greedy and acting stupid—what else is new? How to enjoy this season with a lock-out pending.

8/11/26, Co-Host Amilcar Shabazz Rep Pat Duffy: Freedom to Read law, the abortion bill, the Protect Act & Child Welfare legislation—all passed by the legislature and signed into law. Rev. Carlos Anderson of Hope Community Church in Amherst: from a Black Congregational Church with a white pastor to the present day—the strange journey of race and faith in the Valley. “Sweet Prince” with Hilary Dennis—her one-woman Hamlet, coming to the Center for the Arts. Talkin' Baseball with the Duke, Duke Goldman: How About those Red Sox? The owners are greedy and acting stupid—what else is new? How to enjoy this season with a lock-out pending.

8/11/26, Co-Host Amilcar Shabazz Rep Pat Duffy: Freedom to Read law, the abortion bill, the Protect Act & Child Welfare legislation—all passed by the legislature and signed into law. Rev. Carlos Anderson of Hope Community Church in Amherst: from a Black Congregational Church with a white pastor to the present day—the strange journey of race and faith in the Valley. “Sweet Prince” with Hilary Dennis—her one-woman Hamlet, coming to the Center for the Arts. Talkin' Baseball with the Duke, Duke Goldman: How About those Red Sox? The owners are greedy and acting stupid—what else is new? How to enjoy this season with a lock-out pending.

8/11/26, Co-Host Amilcar Shabazz Rep Pat Duffy: Freedom to Read law, the abortion bill, the Protect Act & Child Welfare legislation—all passed by the legislature and signed into law. Rev. Carlos Anderson of Hope Community Church in Amherst: from a Black Congregational Church with a white pastor to the present day—the strange journey of race and faith in the Valley. “Sweet Prince” with Hilary Dennis—her one-woman Hamlet, coming to the Center for the Arts. Talkin' Baseball with the Duke, Duke Goldman: How About those Red Sox? The owners are greedy and acting stupid—what else is new? How to enjoy this season with a lock-out pending.

Act II of the Shakespearience begins! Red of Overly Sarcastic Productions is back with the second of our Branagh-isms to talk about Hamlet (1996). Against all odds, this podcast is shorter than the movie. Do not look at the runtime of the movie. ---The Patron Drive is back! Join the Moviestruck Patreon at any paid tier to work towards bonus episodes of Moviestruck! At 150 total paid Patrons of any tier, we'll be covering Dune (1894) with OSP Red. Head on over to Patreon and stick around for the post roll for all the deets on this monthly event.---Where to find Red:Overly Sarcastic Productions: https://www.youtube.com/c/OverlySarcasticProductionsChannelThe OSPod: https://overlysarcasticpodcast.transistor.fm/BlueSky: @overlysarcastic.bsky.socialContact the Podmoviestruckpod@gmail.comwww.moviestruck.transistor.fmPatreon: https://www.patreon.com/moviestruckDiscord: https://discord.gg/cT2vm3KdeSBlueSky: @moviestruck.bsky.socialTheme by Prod. DomSoundcloudThank you to our $10 Patrons!Kaeldrannas, Maddy New, Adam Bagnall, Christian Jolliff, UwU, Zas, Ken M, Jim8333, Jacob Hunt, Azraq Shinji, Case Aiken, AnOptimist, Lairde Ray, the Norwegian one, Travis Poe, William Warren, Stag Hart (Deer Deer), Rusty_Fork, Mura Purcell, insomnite, Nathan Dunlap. ★ Support this podcast on Patreon ★

Scarlet drops a Hamlet retelling into 16th century Denmark and the afterlife at once, and Jack and Rick spend the whole episode arguing about how well it actually pulls that off.Genres: Fantasy, ActionStudio: Studio ChizuSource: OriginalJack's Score: 5/10Rick's Score: 7/10Verdict: A visually inconsistent but genuinely thought provoking spin on Hamlet, worth a watch if the shifting animation styles don't bother you.Timestamps:00:00 - Kicking Off Scarlet, a CJ Pick02:12 - Wait, Is This Just Hamlet? Rick Weighs In04:00 - Jack Maps Every Character Straight to Hamlet06:54 - The Animation Style That Never Commits10:20 - What Was Actually Off About This Movie19:19 - How Time Actually Works in the Afterlife23:13 - A Weird Kind of Redemption After Death25:00 - The Most Aggravating Non-Evil Character in the Show29:52 - Gertrude Is Married to the Throne, Not the King33:30 - Rick's 7 and the Trial Theory Behind It36:34 - Jack's 5 and the Aggravation That Cost It PointsFor everything having to do with the anime and this episode go to - https://www.featuredanimepodcast.com/episodes/scarlet-review-a-hamlet-retelling-we-cant-fully-agree-on/Next Week: Dead Mount Death PlayPatreon - https://www.patreon.com/featuredanimepodcast (ad-free)Merch - https://www.featuredanimepodcast.com/shopDiscord - https://discord.gg/DZRKTAN (hang with us)Rate us 5 stars if this one hit, drop your thoughts in Discord, and we'll see you next week!

Send us Fan MailIn this episode, we talk about the early film career of Kate Winslet. Kate starred in a few huge productions such as Titanic, Hamlet, and Sense and Sensibility. Kate also starred in some very small productions. We talk about the first six films of this marvelous actress. Click and listen!

Hamlet, una versión recontralibre en el Festival Sagunt a Escena, visitamos Transilvania y ficción sonora de Alicia Parente sobre El Empecinado.

The Gaming Hut's Hamlet's GM Screen series continues with the handoff, the moment when the players deal with the scenario's initial choices. In the Horror Hut we enter a hazy borderland, attempting to pin down the distinction between liminal and reality horror. How to Write Good asks when, if ever, one should use the word […]

In ep 185 of “How Do You Say That?!” sponsored by britishvoiceover.co.uk, Magnus Rook joins Sam and Mark to talk about how a cold read is sometimes impossible, because you need to know what's coming next in order to structure the delivery. We approach a charity script with some conversational levity, but without throwing away the main points, and discover that some people work in very different ways. We also ask is it ever worth breaking a script down line by line, and do you build a list, or give each item a slightly different flavour? Oh, then there's the whole debate about the abbreviation "i.e."!! Obsessions are to do with summer and the heat... and we hear a story of a double-decker nightmare!Our VO question this week is all about how doing other things apart from voice acting can really bring a boost to your VA career.Get involved! Have you got a Wildcard suggestion that we should try or an idea for the show? Send it to us via Mark or Sam's social media or email it directly to podcast@britishvoiceover.co.ukScript 1Did you know that everyone on the planet is just six social connections away from each other? Community-based volunteers are the social glue between individuals, groups and organisations. They boost community cohesion, bond people together and bridge differences. Within any community 20% of people are great at getting things done. Volunteers are ordinary people but they can achieve extraordinary things. Their super talents are simple: practical skills, local knowledge, common sense, familiarity with different situations, a myriad of contacts - and the ability to discover the stories and traditions that make a community special.Script 2The seminal example, of course, is using bow wow to mean a dog and not just to imitate a dog's barking, providing the impetus for the theory's moniker. In a somewhat similar vein, the pooh-pooh theory hypothesized that language evolved from the interjections (ah!) and emotional cries humans made, like the primordial grunt that still escapes when you painfully stub your toe. Müller's own idea was that sounds themselves carried intrinsic meaning, like a low-¬pitched sound giving off a sense of something big, i.e., as in a blob (low vowel) compared to the smaller sounding bleeb (high vowel).We'd love your feedback - and if you listen on Apple Podcasts or Spotify, hit the follow button today!**Listen to all of our podcasts here - you can also watch on YouTube, or say to your smart speaker "Play How Do You Say That?!"About our guest: Magnus Rook is a German actor and voice actor based in London. 98% of his work is in German, but he's branching out more into the English language market these days. He's an audiobook narrator with the occasional commercial thrown in (best of both worlds!) When he's not in the booth, he's bouldering, reading, and appearing on stages every once in a while – most recently as Hamlet's dead father and as part of Fracassantes Collective at the Bush Theatre.Magnus's Website@magnusrook on Instagram Resources: Click here for the Wildcard Generator and don't forget to think of an action your character can be doing!About your hosts:With over 40 years representing major international clients such as Google, Emirates and HSBC; Mark Ryes has been trusted to be the voice for some of the world's biggest brands. If your business needs a fresh voice to represent you, then make it Mark's British voice. As a voiceover, TV presenter, podcaster or product demonstrator - Mark makes your brand truly sparkle!Mark's demos & contact details: https://linktr.ee/britishvoiceovermarkElegantly British with an intelligent, warm and seductive voice, Samantha Boffin helps creatives and production companies create great audio that really connects with their audience. BBC-trained and with over 20 years of broadcast experience on both sides of the mic, she's created award-winning promos, narration and commercials for companies all around the globe, including the BBC, Sky, Games Workshop, John Lewis, Audible and Penguin Random House.Samantha's demos & contact details: https://linktr.ee/samanthaboffin

Ahead of Edinburgh International Film Festival kicking off on 13 August, Ellie, Peter, Jamie and Anahit have got together to take a deep dive into three interesting-looking titles in the programme. First they take a trip back to 19th-century Edinburgh for The Education of Jane Cumming, a true-life story that inspired the classic 60s queer drama The Children's Hour. It's then off to France for Goodbye Cruel World, a beautifully shot film that begins as a story of teen bullying and depression before morphing into a dreamy coming-of-age romance. And things then take a turn in our kooky third film, The Peril at Pincer Point, which follows a feckless sound recordist searching for unique field recordings on a strange island.  We also pick out some other picks from the festival and get a bit too animated about an unlikely inclusion in the programme: Michael Bay's delightfully ludicrous action thriller The Rock. We've something for everyone, literally! TIMESTAMPS: General impressions of the programme for EIFF 2026 (01:26) The Education of Jane Cumming review (04:38) Goodbye Cruel World review (18:12) The Peril at Pincer Point review (28:46) Some more picks from the programme (Sexy Beast, Hamlet, The Rock!) (39:54)  If you like The Cineskinny, tell your pals! Leave us a five-star review! Share the episode on socials! Follow us on Instagram @thecineskinny, email us at cineskinny@theskinny.co.uk Music: Too Cool by Kevin MacLeod  (https://incompetech.filmmusic.io/song/4534-too-cool) License: https://filmmusic.io/standard-

Shakespeare and law school might not be as far apart as you thought. Guest Len Niehoff is a professor of law at the University of Michigan Law School and the author of the recent book “Meeting Shakespeare at the Bar: Reading the Bard Through the Lens of the Law,” a book written for both lawyers and non-lawyers offering practical insights into how Shakespeare's works illuminate the questions of law, ethics, and advocacy. As an innovative professor and a lifelong fan of the Bard, Niehoff began studying, and encouraging students to study, Shakespeare's interest in the rule of law, what puts the rule of law at risk, personal responsibility, and how law can be twisted into the unlawful. “It was kind of a natural transition to turn to Shakespeare,” he says. Indeed, “Measure for Measure” and “The Merchant of Venice” have trials at their heart. But Niehoff and his students look at how the law works it into other plays, such as “Julius Caeser,” “MacBeth” and “Hamlet.” Now imagine a group of lawyers meeting up with Shakespeare one evening at a local bar, sharing war stories, funny moments, and issues of ethics, and morality and the law. That's the book. Niehoff's fascinating examination of Shakespeare's work and the law may have you thinking about the human condition differently. Have a question, comment, or suggestion for an upcoming episode? Get in touch at MRogson@SkywardInsurance.com or JAReederJr@gmail.com. Resources Mentioned:  “Meeting Shakespeare at the Bar: Reading the Bard Through the Lens of the Law,” by Leonard M Niehoff “Tanner v. United States”, Justia  “Cattle: Related Cases,” AnimalLaw.info Twombly and Iqbal, “Twiqbal,” Wikipedia “The Crucible,” by Arthur Miller “Shakespeare Unlimited Podcast,” Folger Shakespeare Library “Macbeth,” Shakespeare, full play “Titus Andronicus,” Shakespeare, full play “Henry VI, Part 2,” Shakespeare, full play “Othello,” Shakespeare, full play “Hamlet,” Kenneth Branagh, full movie, free, YouTube American Bar Association American Bar Association Litigation Section

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

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.

Fluent Fiction - Danish: Exploring Kronborg: A Tale of History and Romance Find the full episode transcript, vocabulary words, and more:fluentfiction.com/da/episode/2026-07-27-07-38-20-da Story Transcript:Da: Solen skinnede klart over Kronborg Slot, og Jonas og Mette gik roligt langs den gamle voldgrav.En: The sun shone brightly over Kronborg Slot, and Jonas and Mette walked peacefully along the old moat.Da: Jonas bar på et kort over slottet, spændt på at opdage hver en krog.En: Jonas carried a map of the castle, eager to discover every corner.Da: Mette kiggede rundt og nød duften af sommerblomster, mens hun betragtede de høje mure.En: Mette looked around, enjoying the scent of summer flowers, as she gazed at the high walls.Da: Hun glædede sig mere til en god frokost senere på dagen.En: She was more looking forward to a good lunch later in the day.Da: Jonas var i sit es.En: Jonas was in his element.Da: "Kronborg var altid min drøm," sagde han og pegede mod det imponerende tårn.En: "Kronborg was always my dream," he said, pointing towards the impressive tower.Da: "I dag skal jeg udforske alt om prins Hamlet."En: "Today, I'm going to explore everything about Prince Hamlet."Da: Han talte med stor entusiasme, og hans øjne glitrede.En: He spoke with great enthusiasm, and his eyes sparkled.Da: Mette nikkede med et smil.En: Mette nodded with a smile.Da: Hun vidste, hvor meget dette betød for ham, men hun ville gerne også udforske den lille by Helsingør.En: She knew how much this meant to him, but she also wanted to explore the small town of Helsingør.Da: Hun foreslog, "Hvad med at vi deler os op et stykke tid?En: She suggested, "How about we split up for a while?Da: Du tager turen, og jeg går en tur på markedet."En: You take the tour, and I'll stroll around the market."Da: Jonas tænkte lidt og sagde så, "God idé.En: Jonas thought for a moment and then said, "Good idea.Da: Vi mødes ved caféen ved havnen til middag."En: We'll meet at the café by the harbor for dinner."Da: Mette gav ham et kys på kinden, og de skiltes med et fælles mål for at nyde dagen.En: Mette gave him a kiss on the cheek, and they parted ways with a shared goal to enjoy the day.Da: Inde i slottet vandrede Jonas rundt med dyb fascination.En: Inside the castle, Jonas wandered around with deep fascination.Da: På en snoet gang opdagede han, at en dør stod halvt åben.En: In a winding corridor, he discovered that a door was half open.Da: Indenfor var der et lille rum fyldt med genstande fra fortiden – gamle sværd og rustninger.En: Inside was a small room filled with artifacts from the past—old swords and armor.Da: Det var ikke en del af den officielle tur, og Jonas blev revet med af opdagelsen.En: It wasn't part of the official tour, and Jonas was swept away by the discovery.Da: I mellemtiden gik Mette rundt i Helsingør.En: Meanwhile, Mette strolled around Helsingør.Da: Hun nød byens charme, smagte på friske fiskefrikadeller og talte med lokale kunstnere ved en lille bod.En: She enjoyed the charm of the town, tasted fresh fish cakes, and chatted with local artists at a small stall.Da: Hun følte sig afslappet og glad.En: She felt relaxed and happy.Da: Da de mødtes til middag, delte Jonas begejstret sin oplevelse.En: When they met for dinner, Jonas shared his experience excitedly.Da: "Jeg fandt et hemmeligt rum!"En: "I found a secret room!"Da: sagde han med et glimt i øjet.En: he said with a gleam in his eye.Da: Mette lyttede interesseret, mens hun nødt sin grønlandske kirsebærkage ved caféen.En: Mette listened with interest while she enjoyed her Greenlandic cherry cake at the café.Da: Som aftenen faldt på, drak de kaffe under stjernerne.En: As evening fell, they drank coffee under the stars.Da: Jonas så ind i Mettes øjne og sagde, "Næste gang vil jeg gerne bruge mere tid sammen med dig, også selvom jeg elsker historien."En: Jonas looked into Mette's eyes and said, "Next time, I'd like to spend more time with you, even though I love history."Da: Mette kluklo og svarede: "Enig.En: Mette chuckled and replied, "Agreed.Da: Vi finder balancen."En: We'll find the balance."Da: De sluttede weekenden med en forståelse for hinandens interesser, klar til nye eventyr i fremtiden.En: They ended the weekend with an appreciation for each other's interests, ready for new adventures in the future.Da: Kronborgs lys lyste op i natten, og som de gik tilbage mod deres hotel, følte de begge, at denne tur havde været uforglemmelig.En: Kronborg's lights shone in the night, and as they walked back to their hotel, they both felt that this trip had been unforgettable. Vocabulary Words:moat: voldgravscent: duftgazed: betragtedeeager: spændtenthusiasm: entusiasmeimpressive: imponerendestroll: gå en turharbor: havngleam: glimtwinding: snoetcorridor: gangartifacts: genstandearmor: rustningercharmed: charmefish cakes: fiskefrikadellerrelaxed: afslappetchatted: taltestalls: bodcherry cake: kirsebærkagestars: stjernerfuture: fremtidunforgettable: uforglemmeligdiscover: opdageshared goal: fælles målsparkled: glitredesuggested: foreslogsplit up: deler os opdeep fascination: dyb fascinationmeanwhile: i mellemtidenbalance: balancen

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.

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

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. 

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 […]

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.

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

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.

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.

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