Podcast appearances and mentions of King Lear

Episode SummaryErin and Rachel discuss Bolt (2008), a lesser known film about a dog who thinks he's a super hero. Under new leadership, Disney Animation Studios starts to come out of their slump with this film that some people found boring (Erin) and others found heartwarming (Rachel). Episode BibliographyAmidi, A. (2006, December 18). Chris Sanders No Longer Directing American Dog. Cartoon Brew. https://www.cartoonbrew.com/disney/chris-sanders-no-longer-directing-american-dog-2407.htmlBolt. (n.d.). Box Office Mojo. https://www.boxofficemojo.com/release/rl1531348481/Bolt (2008 film). (n.d.). Wikipedia. https://en.wikipedia.org/wiki/Bolt_(2008_film)Catmull, E., & Wallace, A. (2014). Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration. Random House Publishing Group.Desowitz, B. (2008, December 4). The Digital Eye: How 'Bolt' Got Painterly. Animation World Network. https://www.awn.com/vfxworld/digital-eye-how-bolt-got-painterlyDonofrio, E. C. (2013). The wonderful world of gender roles: A look at recent Disney children's films [Honors thesis, Boston College]. https://core.ac.uk/reader/151481530DVD Deleted Scenes. (2024, October 7). Bolt (2008) | Behind the Scenes + Deleted Scenes. YouTube. https://www.youtube.com/watch?v=xsEyzc4FVZEEvry, M. (2020, February 13). Exclusive: Kiskaloo Movie Could Be Next for Chris Sanders! ComingSoon.net. https://www.comingsoon.net/movies/news/1122952-exclusive-kiskaloo-movie-could-be-next-for-chris-sandersFleming, M. (2002, November 18). ‘Lilo' scribes stitch Disney package. Variety. https://variety.com/2002/scene/markets-festivals/lilo-scribes-stitch-disney-package-1117876239/Fritz, B. (2006, December 1). Disney lays off animators. Variety. https://variety.com/2006/digital/features/disney-lays-off-animators-1117954931/Fritz, B. (2007, March 27). Sanders joins DreamWorks. Variety. https://variety.com/2007/digital/markets-festivals/sanders-joins-dreamworks-1117961927/From the creator of LILO & STITCH our first look at AMERICAN DOG!!!! (2004, August 16). Ain't It Cool News. https://legacy.aintitcool.com/node/18156Hedrick, D. (2010). King Lear or Bolt: The entertainment unconscious from CalArts to Disney. Shakespeare Studies, 38, 37-47. Hill, J. (2007, February 12). Toon Tuesday : How Disney is fixing “American Dog”. Jim Hill Media. https://jimhillmedia.com/toon-tuesday-how-disney-is-fixing-american-dog/Howard, B., & Williams, C. (Directors). (2008). Bolt [Film]. Walt Disney Animation Studios.Hurt, L.S. (2014). Fuzzy toys and fuzzy feelings: How the “Disney” culture provides the necessary psychological link to improving animal welfare. Journal of Animal & Natural Resource Law, 10, 253-272.McCarthy, T. (2008, November 13). Bolt. Variety. https://variety.com/2008/digital/awards/bolt-3-1200472217/Ness, M. (2016, November 17). An Adorable Dog in an Unbelievable Premise: Disney's Bolt. Reactor. https://reactormag.com/an-adorable-dog-in-an-unbelievable-premise-disneys-bolt/Porter, P. (2009). Journeys toward an authentic self. Society and Animals, 17, 368-375. DOI: 10.1163106311109X12474622855345Rechtshaffen, M. (2008, November 13). Film Review: Bolt. The Hollywood Reporter. https://web.archive.org/web/20081216015641/https://www.hollywoodreporter.com/hr/film/reviews/article_display.jsp?JSESSIONID=prd6JhJJnvQL9cYrfRKSHVQjP6dRnLhLH4SZ1KQht3tfhVLxmjqn!-591095386&&rid=11956Robinson, T. (2008, November 20). Bolt. AV Club. https://www.avclub.com/bolt-1798205268Scott, A. O. (2008, November 20). Canine TV Action Star Discovers that Life is the Best Reality Show. The New York Times. https://www.nytimes.com/2008/11/21/movies/21bolt.htmlSeibert, P. (2008). Bolt: Review. TV Guide. https://web.archive.org/web/20120212213609/http://movies.tvguide.com/bolt/review/294809Springy. (2023, October 11). American Dog: everything I found in one neat thread. forums.lostmediawiki.com. https://forums.lostmediawiki.com/thread/12742/american-dog-neat-threadTuran, K. (2008, November 21). ‘Bolt' spices up Disney with a dash of Pixar. Los Angeles Times. https://www.latimes.com/archives/la-xpm-2008-nov-21-et-bolt21-story.htmlWang, T. (2021). Bolt (2008): Journey to the authentic self. In S. M. Alegre (Ed.), Gender in 21st century animated children's cinema (pp. 86-87). https://ddd.uab.cat/pub/llibres/2021/236285/gen21cen_a2021.pdfWolff, E. (2009, February 5). Animated Oscar noms took long road. Variety. https://variety.com/2009/film/awards/animated-oscar-noms-took-long-road-1117999618/

Can reading King Lear help us rethink economic policy? Can Measure for Measure shape how we talk about justice, or Hamlet help us face grief? That's the idea behind an ambitious project at Montreal's McGill University called Reimagining Shakespeare, Remaking Modern World Systems. Led by Laurette Dubé, professor emerita of management, and Paul Yachnin, professor of Shakespeare studies, the initiative brings together experts in economics, health policy, AI,  and robotics, with theater and literary artists and humanities scholars, to explore how Shakespeare's plays can help us think more humanely—and creatively—about the systems we inhabit. In this episode, Dubé and Yachnin discuss how Shakespeare's theater created a space where money, power, and empathy intersected—and why those same plays may hold insights for addressing today's most complex challenges, reminding us of how the humanities can help us build a better future. From the Shakespeare Unlimited podcast. Published July 15, 2025. © 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. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.

January 18, 1604: King James, a Protestant, announces that he will commission an English translation of the Bible.January 16, 1605: Miguel de Cervantes' Don Quixote is published in Spain. It is considered to be the first modern novel. Every sophisticated storytelling device used by the best writers today made its initial debut in Don Quixote.February 28, 1605: A 41-year-old Italian named Galileo publishes an astronomical text written as an imagined conversation. A pair of Paduan peasants talk about Kepler's Supernova.One says, “A very bright star shines at night like an owl's eye.”And the other replies, “And it can still be seen in the morning when it is time to prune the grapevines!”The observations of the peasants clearly disprove the widely held belief that the earth is the center of the universe. The authorities take note. Uh-oh for Galileo.November 1, 1605: Shakespeare's Othello is first performed for King James in the banqueting hall at Whitehall Palace in London.Meanwhile, a group of English Roman Catholics stack 36 barrels of gunpowder under the floor of the Palace of Westminster. Their plan is to blow up the king, his family, and the entire legislature on November 5, 1605.The Gunpowder Plot is discovered by a night watchman just a few hours before Guy Fawkes was to have lit the fuse.Shakespeare immediately begins writing a new play. In it, a ruler gives enormous power to those who flatter him, but his insanity goes unnoticed by society. “King Lear” is regularly cited as one of the greatest works of literature ever written.May 13, 1607: One hundred and four English men and boys arrive in North America to start a settlement in what is now Virginia. They name it “Jamestown” after King James. The American Experiment has begun.Don Quixote, Galileo, Shakespeare, the crisis of King James, and the founding of Jamestown in the New World…All of this happens within a span of just 28 months. Flash forward…May 2, 1611: The English Bible that will be known as the King James Version is published.April 23, 1616: Shakespeare and Cervantes – the great voices of England and Spain – die just a few hours apart. (Galileo continues until 1642.)July 4, 1776: The 13 colonies of the American Experiment light a fuse of their own and the Revolutionary War engulfs the Atlantic coast.November 19, 1863: Abraham Lincoln looks out over a field of 6,000 acres. He says,“Four score and seven years ago our fathers brought forth on this continent a new nation, conceived in liberty, and dedicated to the proposition that all men are created equal. Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated, can long endure.”Lincoln ends his speech one minute later. His hope is that “government of the people, by the people, for the people, shall not perish from the earth.”Lincoln's fear is that “the people” will not remain firmly united enough to resist the takeover of a tyrant. We know this because he opens his speech by referring to our 1776 Declaration which rejected crazy King George. America had escaped George's heavy-handed leadership just –”four...

We're starting this week strong, with a Lang Fairy Tale called The Wonderful Sheep which starts out like King Lear, and then, all of a sudden, a woman falls in love with a sheep. Be assured - it all stays perfectly PG-rated. But then that ending... crikey!If you are unfamiliar with the Lang Fairy Tales, these seminal collections were assembled between 1889 and 1913 by a married couple, folklorists and translators Nora and Andrew Lang, with most of the work done to compile them completed by Nora, also known as Leonora Blanche Alleyne.Assembled and published in 12 colour-coded "Fairy Books," the corpus the Langs put together included 798 fairy tales from across cultures, many of which had never before been translated into English.They were amongst the most influential books of their time, changing the course of children's literature - although they're hardly just for children, and often deal with quite challenging concepts.Today, purchasing a complete set of the Lang Fairy Books in good condition costs over £4,000 ($5,000+).Thankfully, the collections are all out of copyright, meaning that we can now tell these stories, in podcast form, many for the first time, and share them with a global audience, for free.Our plan is to release the stories between main series of Three Ravens, performing them straight (though with plenty of silly voices) letting the tales speak for themselves in all their madcap, sharp-edged, often quite bizarre glory.The only edits we have made are to amend some culturally-insensitive epithets, which typically pertain to ethnicity, with any such edits made by Eleanor Conlon.Three Ravens is an English Myth and Folklore podcast hosted by award-winning writers Martin Vaux and Eleanor Conlon.Released on Mondays, each weekly episode focuses on one of England's 39 historic counties, exploring the history, folklore and traditions of the area, from ghosts and mermaids to mythical monsters, half-forgotten heroes, bloody legends, and much, much more. Then, and most importantly, the pair take turns to tell a new version of an ancient story from that county - all before discussing what that tale might mean, where it might have come from, and the truths it reveals about England's hidden past...Bonus Episodes are released on Thursdays plus Local Legends episodes on Saturdays - interviews with acclaimed authors, folklorists, podcasters and historians with unique perspectives on that week's county.With a range of exclusive content on Patreon, too, including audio ghost tours, the Three Ravens Newsletter, and monthly Three Ravens Film Club episodes about folk horror films from across the decades, why not join us around the campfire and listen in?Learn more at www.threeravenspodcast.com, join our Patreon at www.patreon.com/threeravenspodcast, and find links to our social media channels here: https://linktr.ee/threeravenspodcastThree Ravens is a myth and folklore podcast hosted by Eleanor Conlon and Martin Vaux.In each Monday episode we explore a historic county, digging into heritage, folklore and traditions, then we tell a new version of a legend from that county. Bonus Episodes are released on Thursdays and Saturdays.Visit our website Join our Patreon Social media channels and sponsors Hosted on Acast. See acast.com/privacy for more information.

The Hamlet Podcast - a weekly exploration of Shakespeare's King Lear. Act III Scene vii - Gloucester is brought before Regan and Cornwall, and tied up. Written and presented by Conor Hanratty

At the start of Shakespeare's famous tragedy, King Lear promises to divide his kingdom based on his daughters' professions of love, but portions it out before hearing all of their answers. For Nan Da, this opening scene sparks a reckoning between King Lear, one of the cruelest and most confounding stories in literature, and the tragedy of Maoist and post-Maoist China. Da, who emigrated from China to the United States as a child in the 1990s, brings Shakespeare's tragedy to life on its own terms, addressing the concerns it reflects over the transition from Elizabeth I to James I with a fearsome sense of what would soon come to pass. At the same time, she uses the play as a lens to revisit the world of Maoist China--what it did to people, and what it did to storytelling. Blending literary analysis and personal history, Da begins in her childhood during Deng Xiaoping's Opening and Reform, then moves back and forth between Lear and China. In The Chinese Tragedy of King Lear (Princeton University Press, 2025), the unfinished business of Maoism and other elements of Chinese thought and culture--from Confucianism to the spectacles of Peking Opera--help elucidate the choices Shakespeare made in constructing Lear and the unbearable confusions he left behind. Nan Z. Da is associate professor of English at Johns Hopkins University. Caleb Zakarin is the Editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

At the start of Shakespeare's famous tragedy, King Lear promises to divide his kingdom based on his daughters' professions of love, but portions it out before hearing all of their answers. For Nan Da, this opening scene sparks a reckoning between King Lear, one of the cruelest and most confounding stories in literature, and the tragedy of Maoist and post-Maoist China. Da, who emigrated from China to the United States as a child in the 1990s, brings Shakespeare's tragedy to life on its own terms, addressing the concerns it reflects over the transition from Elizabeth I to James I with a fearsome sense of what would soon come to pass. At the same time, she uses the play as a lens to revisit the world of Maoist China--what it did to people, and what it did to storytelling. Blending literary analysis and personal history, Da begins in her childhood during Deng Xiaoping's Opening and Reform, then moves back and forth between Lear and China. In The Chinese Tragedy of King Lear (Princeton University Press, 2025), the unfinished business of Maoism and other elements of Chinese thought and culture--from Confucianism to the spectacles of Peking Opera--help elucidate the choices Shakespeare made in constructing Lear and the unbearable confusions he left behind. Nan Z. Da is associate professor of English at Johns Hopkins University. Caleb Zakarin is the Editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

At the start of Shakespeare's famous tragedy, King Lear promises to divide his kingdom based on his daughters' professions of love, but portions it out before hearing all of their answers. For Nan Da, this opening scene sparks a reckoning between King Lear, one of the cruelest and most confounding stories in literature, and the tragedy of Maoist and post-Maoist China. Da, who emigrated from China to the United States as a child in the 1990s, brings Shakespeare's tragedy to life on its own terms, addressing the concerns it reflects over the transition from Elizabeth I to James I with a fearsome sense of what would soon come to pass. At the same time, she uses the play as a lens to revisit the world of Maoist China--what it did to people, and what it did to storytelling. Blending literary analysis and personal history, Da begins in her childhood during Deng Xiaoping's Opening and Reform, then moves back and forth between Lear and China. In The Chinese Tragedy of King Lear (Princeton University Press, 2025), the unfinished business of Maoism and other elements of Chinese thought and culture--from Confucianism to the spectacles of Peking Opera--help elucidate the choices Shakespeare made in constructing Lear and the unbearable confusions he left behind. Nan Z. Da is associate professor of English at Johns Hopkins University. Caleb Zakarin is the Editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

At the start of Shakespeare's famous tragedy, King Lear promises to divide his kingdom based on his daughters' professions of love, but portions it out before hearing all of their answers. For Nan Da, this opening scene sparks a reckoning between King Lear, one of the cruelest and most confounding stories in literature, and the tragedy of Maoist and post-Maoist China. Da, who emigrated from China to the United States as a child in the 1990s, brings Shakespeare's tragedy to life on its own terms, addressing the concerns it reflects over the transition from Elizabeth I to James I with a fearsome sense of what would soon come to pass. At the same time, she uses the play as a lens to revisit the world of Maoist China--what it did to people, and what it did to storytelling. Blending literary analysis and personal history, Da begins in her childhood during Deng Xiaoping's Opening and Reform, then moves back and forth between Lear and China. In The Chinese Tragedy of King Lear (Princeton University Press, 2025), the unfinished business of Maoism and other elements of Chinese thought and culture--from Confucianism to the spectacles of Peking Opera--help elucidate the choices Shakespeare made in constructing Lear and the unbearable confusions he left behind. Nan Z. Da is associate professor of English at Johns Hopkins University. Caleb Zakarin is the Editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

At the start of Shakespeare's famous tragedy, King Lear promises to divide his kingdom based on his daughters' professions of love, but portions it out before hearing all of their answers. For Nan Da, this opening scene sparks a reckoning between King Lear, one of the cruelest and most confounding stories in literature, and the tragedy of Maoist and post-Maoist China. Da, who emigrated from China to the United States as a child in the 1990s, brings Shakespeare's tragedy to life on its own terms, addressing the concerns it reflects over the transition from Elizabeth I to James I with a fearsome sense of what would soon come to pass. At the same time, she uses the play as a lens to revisit the world of Maoist China--what it did to people, and what it did to storytelling. Blending literary analysis and personal history, Da begins in her childhood during Deng Xiaoping's Opening and Reform, then moves back and forth between Lear and China. In The Chinese Tragedy of King Lear (Princeton University Press, 2025), the unfinished business of Maoism and other elements of Chinese thought and culture--from Confucianism to the spectacles of Peking Opera--help elucidate the choices Shakespeare made in constructing Lear and the unbearable confusions he left behind. Nan Z. Da is associate professor of English at Johns Hopkins University. Caleb Zakarin is the Editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

At the start of Shakespeare's famous tragedy, King Lear promises to divide his kingdom based on his daughters' professions of love, but portions it out before hearing all of their answers. For Nan Da, this opening scene sparks a reckoning between King Lear, one of the cruelest and most confounding stories in literature, and the tragedy of Maoist and post-Maoist China. Da, who emigrated from China to the United States as a child in the 1990s, brings Shakespeare's tragedy to life on its own terms, addressing the concerns it reflects over the transition from Elizabeth I to James I with a fearsome sense of what would soon come to pass. At the same time, she uses the play as a lens to revisit the world of Maoist China--what it did to people, and what it did to storytelling. Blending literary analysis and personal history, Da begins in her childhood during Deng Xiaoping's Opening and Reform, then moves back and forth between Lear and China. In The Chinese Tragedy of King Lear (Princeton University Press, 2025), the unfinished business of Maoism and other elements of Chinese thought and culture--from Confucianism to the spectacles of Peking Opera--help elucidate the choices Shakespeare made in constructing Lear and the unbearable confusions he left behind. Nan Z. Da is associate professor of English at Johns Hopkins University. Caleb Zakarin is the Editor of the New Books Network.

The Hamlet Podcast - a weekly exploration of Shakespeare's King Lear. Act III Scene vii - Cornwall starts plotting Gloucester's punishment, while Goneril leaves to rejoin her husband. Written and presented by Conor Hanratty

Die ukrainischen Theatermacher Stas Zhyrkov und Pavlo Arie nehmen Shakespeares berühmtes Drama lediglich als Grundlage für ihre heutige Fassung. Der Originaltext blitzt nur ab und zu auf. In der Neufassung ist es kein König, der sein Reich unter seinen Töchtern aufteilt, sondern ein Restaurantbesitzer. Aber auch „Herr Lear“ kann und will nicht wirklich von der Macht lassen und überwirft sich mit seinen Töchtern. Diese Geschichte um Generations- und Familienkonflikte, um Macht, Liebe und Verrat hat nichts von ihrer Relevanz verloren.

On the latest Whisper in the Wings from Stage Whisper, we sat down with the co-founders of Capital Classics, Laura and Geoffrey Sheehan, to talk about their upcoming 2025 Greater Hartford Shakespeare Festival. This year the event will feature Twelfth Night and King Lear in repertory. This was such a fun festival and group to learn all about, and this makes for a perfect night out or weekend away from the city. So make sure you tune in and come out to support these wonderful artists!Capital Classics Presents2025 Greater Hartford Shakespeare FestivalTwelfth Night and King Lear (in repertory)July 9th-August 3rd 2025@ University of Saint Joseph (West Hartford)Tickets and more information can be found at capitalclassics.org And be sure to follow our guests to stay up to date on all their upcoming projects and productions:capitalclassics.org@capitalclassicsinfo@capitalclassics.org

The sovereign, Naka no Oe is dead, and with his death comes an all too familiar tradition: different factions warring for the throne.  And this time it isn't just something we are guessing at, we get a front row seat to the show, with enough details to fill several episodes.  In Part I we will look at what kicked off the war--or at least what we know--and discuss a few of the theories.  We will also go over some of the events that happened while Prince Otomo was the head of state. For more, check out our podcast webpage at https://sengokudaimyo.com/podcast/episode-129 Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua, and this is episode 129:   The Jinshin no Ran, Part I: Prologue to War. The long bridge at Uji arched over the river, like a wooden rainbow.  Former Crown Prince Ohoama, his head shaved and wearing the garments of a monk, was carried over the bridge.   This was no simple priestly procession, however: he was accompanied by his entire household. Some on foot, and some on horseback.  Even the kesa, once meant to be a symbol of priestly humility and simplicity, cried out that this was a man of wealth and power and status. The procession made its way across the bridge, headed south, to the ancient Yamato capital and then on to the mountain passes beyond, where the cherry trees would bloom, come the spring.  At the north end of the bridge, the high ministers and nobility of Yamato watched them go.  The ministers of the Left and the Right stood in the cold, winter air, wrapped in their warmest clothing, but it wasn't just the weather that was causing a chill.  To some, this seemed a miracle—a clear sign that the succession would now be an easy one, with Ohoama taking himself off the board.  But to others, they weren't so sure. While many of Yamato's traditions had evolved or changed—or even been outright replaced by continental ideas—many still remembered how things had been.  The bloody politics and power struggles that often accompanied any transition of power.  Naka no Oe had risen to power in just such a fashion.  Now that he was not long for this world, would his legacy be any less violent? Greetings, everyone, and welcome back.  Last episode we took you through the official reign of Naka no Oe, aka Tenji Tennou.  Granted, this reign was only from 668 to 671, but Naka no Oe had already been putting his stamp on the state for over 33 years.  Now, however, he was dead, as were those who had helped him implement his enormous changes, and with his death there was the question:  Who would now ascend to the throne? And that question brings us to today's topic:  The Jinshin no Ran, also known as the Jinshin War.  This was a succession dispute that occurred in the year 672 following the death of Naka no Oe, between Naka no Oe's son Ohotomo and his brother Ohoama.  The name, “Jinshin”, is formed much as the name of the “Isshi” incident, using the sinified Japanese reading of the sexagenary cycle characters used for the year.  672 was a “Mizu-no-e Saru” year, or what we today might just call a “Water Monkey” year.  Read together, these characters can be pronounced “Jinshin”, hence “Jinshin no Ran”. Quick digression:  That word “Ran”, indicating a war or similar martial disturbance, is the same character used as the title of the famous Kurosawa film that took Shakespear's King Lear story and set it in the Warring States period of Japan.  If you haven't seen it, I highly recommend it—definitely a classic.  Not exactly relevant here, but still worth it. But back to the Jinshin War: we're going to likely spend a few episodes on this, not just because it is important, but also because the record is fairly detailed, and I'd like to use it to really help us get an idea of what was going on.  This episode we'll look at the broad picture: some of the causes of the war and where things were, generally speaking, just before the major campaigns kicked off. Of course, this isn't the first succession dispute in the Chronicles, but this one is incredibly detailed, and especially importantbecause it goes to the heart of the legitimacy of the royal family—the imperial family—for at least the next century.  To a certain extent, I would also suggest that it was exactly the kind of thing that the Nihon Shoki was created to address: an official history as propaganda for the Japanese court, telling  the court approved story of the royal family and providing justification as to why they are in power.  Along the way it also props up the lineages of other elites. So let's go over the basic story of the conflict before we get into the details.  I know, I know: spoilers.  But I think it will help to have context for what we are talking about right now.  To try to summarize: Ohoama, Naka no Oe's brother, is mentioned as the Crown Prince throughout Naka no Oe's reign, but just before Naka no Oe's death, Ohoama declined the position and went to Yoshino to become a Buddhist monk.  This allowed Naka no Oe's son, Prince Ohotomo, the current Dajo Daijin, or head of the council of state, to run the government and eventually take the throne.  However, shortly into Prince Ohotomo's reign, Ohoama raised an army and fought with Ohotomo and the court at Ohotsu-kyo, known as the Afumi court.  After a couple of months of intense fighting, Ohoama defeated the Afumi forces and Ohotomo.  Ohoama would go on to take the throne, becoming known as Temmu Tennou.  He is credited with starting the projects that culminated in the creation of the Kojiki and the Nihon Shoki. On the surface, this could easily look like a simple case of usurpation—especially if you come from a cultural background where sons are expected to inherit from their fathers, as is common in many European monarchies.  However, we have to remind ourselves that this isn't Europe.  For centuries, succession in Yamato had been much more chaotic than that.  Often succession went not to a son or daughter, but first to a brother, and even then it didn't necessarily go to the oldest brother, or to the oldest child.  Even designating an heir wasn't a guarantee that, after a ruler's death, someone else wouldn't come along and change things by force. Of course, the Nihon Shoki appears to lay out various rules for succession.  In most cases, your mother has to be descended—however distantly—from a previous sovereign.  Also, inheritance typically doesn't come at the attainment of adulthood.  It isn't like someone turns 20 and they are suddenly eligible.  We see plenty of reigns that are passed off as regencies—that is, the sovereign is legally just a caretaker for the throne until the true heir comes of age.  Perhaps the most famous of these is Okinaga Tarashi Hime, aka Jingu Tenno, who supposedly held the throne from the death of her husband until their son, Homuda Wake, aka Ojin Tenno, was of age.  But it isn't like she just abdicated.  In fact, I don't think we've seen a single example where a regent has abdicated the throne.  The only real abdication that we see is in 645, when Takara Hime, known as Kogyoku Tenno during her first reign, abdicated after the Isshi Incident.  There are also plenty of examples of possible claimants to the throne who certainly seem like they may have been supremely qualified for the position who end up dying or being killed, sometimes with the specific claim that they were trying to usurp the throne.  The most recent example is Furubito no Oe, who likely was in line to inherit the throne from Takara Hime prior to the Isshi Incident.  It doesn't help that the Chronicle often only calls people by their titles:  so it is the “Crown Prince” who does such and such, or it is “the sovereign”—without explicitly naming who that person is.  Of course, this is sometimes made clear by context, but that can't always be relied upon. This is compounded by the fact that at this time, Wa cultural norms were being overwritten by continental concepts of propriety and morality, with the growth of reading and continental works introducing many people to the discourses of Confucius and others.  Borrowing governmental structures and ideas from a Confucian state meant that Confucian ideals would get pulled along as well, even if those structures and ideas weren't strictly Confucian.  An example is the importance of filial piety, and so-called “Proper” relationships between people.  In some cases Confucian or even Buddhist concepts were used to explain and rationalize existing traditions, and in others they were used to provide a counter-narrative.  Thus the world described by the Nihon Shoki is one that was no doubt much more comprehensible to an 8th century member of court than to someone from the 3rd. I say all that so that we can keep an eye out for the Chroniclers' bias and perhaps give some thought to what might not have gotten written down. The creation of the Ritsuryo state was the culmination of over 33 years of work.  During that time, the Yamato court had centralized their power and control.  The Chronicles, looking back at the end of the process, report this as a good thing, and it is hard to argue that these reforms truly did lead to the country of Japan as we know it, today.  However, it probably wasn't all lollipops and rainbows.   The centralization of authority received pushback, and we see the center flexing its military might as well as legal and moral authority.  The new Ritsuryo state claimed a much greater control over land and resources than any previous government had done or  been able to do.  Even if the 5th century sovereign Wakatakeru no Ohokimi, aka Yuryaku Tenno, had people at his court from Kyushu to Kanto, influence isn't the same as control.  Up until the Ritsuryo reforms, it appears that local administrators had a lot of leeway in terms of what happened in their local domains.  After all, what could Yamato do about it?  As long as “taxes” were paid, then there was no reason for Yamato to otherwise interfere with local events, and even if there were, who would they get to enforce their will? But In the Ritsuryo system, at least conceptually, the State had local governors who reported back to the central authority.  These governors  were set apart from the Kuni no Miyatsuko, the traditional local authority, and their income was tied to the court. Moreover, this system wasn't just tradition and the whims of the elites: it was codified in written laws and punishments.  In fact, the Record of the Fujiwara—the Toushi Kaden—claims that the entire legal code was written down in 668 by their patriarch, Nakatomi no Kamatari, prior to his death.  There are also other references to this compilation, known to us as the “Oumi Code”, referencing the region that the court had moved to:  Afumi, around Lake Biwa.  Unfortunately, we don't have any extant copies of what, exactly, the Code said, other than various laws explicitly noted in the Nihon Shoki.  Still, we can assume that it was probably similar to later codes, which would have been using the Oumi code as a base from which to work from. The new authority for this code descended from the throne, based on continental and even Confucian concepts of the State.  And Naka no Oe had no doubt been the one to help maintain continuity over the past three decades.  Now he was dead, so what came next? Well based on what we have in the Nihon Shoki, that should be obvious:  His brother, the Crown Prince, Ohoama, would take the throne, wouldn't he?  After all, he was the designated Crown Prince, and he had been in that role, promulgating orders, and otherwise acting as we might expect, at least since Naka no Oe had given up the position. And yet, it seems there was some doubt.  After all, while a brother—or sister—inheriting the throne was hardly unheard of, Naka no Oe did have children of his own.  Most importantly, there was his son, Prince Ohotomo.  Ohotomo was only about 23 years old, but he had been made the Dajoudaijin, the head of the Council of State, which one would think would put him in a position of tremendous authority. Naka no Oe apparently had some inkling that there could be a succession dispute upon his death.  And so, two months after he had taken ill, as it became painfully obvious that he might not recover, he called in his brother, Crown Prince Ohoama, and he told him clearly that it was his intention to have his brother succeed him on the throne. Before going much further, I would note that the entries in the Nihon Shoki that speak to this incident are spread across two different books in that chronicle.  Part of it takes part in the chronicle of Tenji Tennou (Naka no Oe), but then the reign of Temmu Tennou (Ohoama) is actually broken up into two books, the first of which is often considered the history of the Jinshin Ran, while the second is really Temmu's reign.  And in some cases we get slightly different versions of the same event.    The Nihon Shoki was written less than 50 years after the events being discussed, so likely by people who had actual memory of what happened, it was also propaganda for the regime in power at the time.  So as we read through the events, we have to be critical about our source and what it is telling us. To that end, I'll mostly start out with the narrative as it appears in the Nihon Shoki, and then we can look back and see what else might be going on if we make some assumptions that the Chroniclers may not be the most reliable of narrators for these events. Anyway, getting back to the story as we have it in the Nihon Shoki:  So the person sent to fetch Prince Ohoama to come see his brother, the sovereign, was a man by the name of Soga no Yasumaru.  And Yasumaru brought not only the summons, but a warning, as well.  He told Prince Ohoama to “think before you speak”.  This suggested to Ohoama that there was some kind of plot afoot. And lest we forget, for all that Naka no Oe is often put up on a pedestal for his role in the Taika reforms and founding the nation—even the posthumous name they gave him was the “Sovereign of Heavenly Wisdom”—that pedestal he stands on is covered in blood.  Naka no Oe's political career starts with the brazen murder of Soga no Iruka in full view of all the gathered nobility, and is immediately followed with him marshalling forces against Soga no Emishi, who set fire to his own house rather than surrender. And then, shortly into the Taika period, Naka no Oe had his own brother, Furubito no Oe, killed so that he wouldn't be a threat.  And later, when he just heard a rumor that Soga no Ishikawa no Maro—his father-in-law, Prime Minister of the Right, and co-conspirator—was having treasonous thoughts, he gathered up forces to have him and his family murdered. And though it may have been a bit less bloody, let's not forget his apparent falling out with his uncle, Karu, where he left the giant palace complex at Naniwa and took the entire royal family to Asuka against his uncle, the sovereign's, wishes. Add to that the note from the Fujiwara family records, the Toushi Kaden, about the party at the “shore pavilion” where Ohoama spiked a spear through a plank of wood which rattled Naka no Oe enough that he was contemplating having him taken out right there.  According to that account, it was only the intervention of Nakatomi no Kamatari that saved Ohoama's life.  Even if it weren't true, it likely illustrates something about how their relationship was viewed by others. Given all of that, I think we can understand how Ohoama might not be entirely trusting of his older brother's intentions.  So when that same brother offered him control of the government, Ohoama was suspicious.  Perhaps it was because he was already the Crown Prince, the expected heir, so why would Naka no Oe be offering him the throne?  Perhaps it was some kind of test of his loyalty? And so Prince Ohoama declined.  He claimed that he had always had bad health, and probably wouldn't be a good choice.  Instead, he put forward that the Queen, Yamatobime, should be given charge, and that Naka no Oe's son, Prince Ohotomo, should be installed as the Crown Prince—the new successor to the throne.  Furthermore, to demonstrate his resolve, he asked to be allowed to renounce the world and become a monk. Indeed, immediately after the audience with his brother, Prince Ohoama went to the Buddhist hall in the palace itself and had his head shaved and took holy orders.  He even gave up any private weapons that he might have—likely meaning not just his personal weapons, but any private forces that might be under his command.  The sovereign himself sent his brother a kesa or clerical garment, apparently approving of—or at least accepting—his decision. Two days later, Prince Ohoama went back to his brother and asked to be allowed to leave for Yoshino to go and practice Buddhism there.  He was given permission and he headed out.  The ministers of the left and right, that is Soga no Akae and Nakatomi no Kane, along with Soga no Hatayasu, a “Dainagon” or Chief Counselor, and others, all traveled with him all the way to Uji, where they saw him off.  By evening he had made it as far as the Shima Palace, which is assumed to have been in Asuka—possibly at or near the site of the old Soga residence.  The following day he was in Yoshino. Arriving at Yoshino with his household, Prince Ohoama gave his servants a choice—those who wished could take orders and stay with him in Yoshino.  Those with ambitions at the court, though, were allowed to return back to Ohotsu, presumably going to work for another family.  At first, none of them wanted to leave his side, but he beseeched them a second time, and half of them decided to stay and become monks with him while half of them left, returning to the court. As we mentioned earlier, another royal prince—and possibly crown prince—had taken a similar option back in the year 645.  That was Prince Furubito no Oe, half-brother to Naka no Oe and Ohoama.  We talked about that back in episode 109.  As with that time, taking Buddhist orders and retiring from the world was meant to demonstrate that the individual was renouncing any claims on the throne and was no longer a threat to the succession. The Nihon Shoki notes, though, that as Prince Ohoama was leaving Uji, some commented that it was like the saying: “Give a tiger wings and let him go.”  The first part of that is no doubt referencing a saying still used in Mandarin, today:  “Rúhǔtiānyì” or “Yǔhǔtiānyì, meaning to “add wings to a tiger”—in other words to take something strong and make it even more powerful.  In this case, the choice to renounce the succession and leave court made Ohoama more powerful and then set him free to do what he wanted. There is a lot of speculation around what actually happened.  Prince Ohotomo had only recently come of age and been given the important position of Dajo Daijin.  Still, he was also only 23 years old.  Now, granted, Naka no Oe hadn't been much older, himself, when he instigated the Isshi Incident, but most sovereigns aren't mentioned as having come to the throne themselves until they were maybe 30 years old or more.  Still, there is at least one theory that suggests that Naka no Oe wanted to have his brother, Ohoama, step aside and let Ohotomo take the throne.  According to that theory, his request for Ohoama to succeed him as ruler eas a ruse to get Ohoama to admit his own ambition, which Naka no Oe could then use as a pretext to get rid of his brother. There is another theory that Naka no Oe wanted Ohoama to step in as effectively regent:  Ohoama would rule, but Ohotomo would then inherit after him. Ohoama's counterproposal is intriguing.  He suggested that the affairs of state should be given to Yamato-bime, Naka no Oe's queen, and that she should rule as regent until Ohotomo was ready.  Of course, we have examples of something like this, most recently from the previous reign.  Takara Hime came to the throne, originally, because her husband, who was the sovereign, passed away and their children were not yet of age to take the throne.  However, there is something interesting, here in the relationship between Yamato Bime and Ohotomo.  Because while Yamato Bime was the queen, and daughter, herself, of Furubito no Oe, Ohotomo was not clearly of the proper parentage.  He was not Yamato Bime's son – she had no children herself - , but  his mother was simply a “palace woman” named “Iga no Uneme no Yakako”.  This suggests that she was an uneme from Iga named Yakako, and we are given no details about her parentage.    She is also listed as the last of Naka no Oe's consorts, suggesting to the reader that she was the lowest in status. For this reason Ohotomo is known as the Iga Royal Prince, Iga no Miko. Of course, there are plenty of reasons why the Chroniclers might not want to give any glory to Prince Ohotomo or his mother.  After all, the story works out best if Ohoama should have just been the sovereign all along.  And this could all be technically true—the best kind of true—while also omitting key details so that the reader draws a certain inference.  The Chroniclers were pulling from lots of different sources, and you didn't have to do a lot of changing things when you could just not put them in in the first place.  In other cases we know that they changed the records, because we see them using anachronistic language that doesn't make sense if drawn from a contemporary record. And so we have at least a couple of theories of what might be going on here, beyond just the straight narrative.   One idea is that Naka no Oe wanted Ohotomo to inherit all along, and perhaps he thought Ohoama could be a regent to help him out once Naka no Oe passed away.  Or maybe he just wanted Ohoama out of the way.  There is also the theory that the Nihon Shoki is, in fact, correct, that Naka no Oe wanted to give the state to Ohoama, but the latter refused, either misunderstanding Naka no Oe's intentions or perhaps gauging the feeling at court—perhaps it wasn't Naka no Oe that Ohoama was worried about, but rather some of the high nobles and officials?   It is probably telling that Ohoama's reported solution was to have Yamato-bime act as regent, with Ohotomo eventually inheriting. Whatever the actual reason, Ohoama declined Ohoama headed off to self-imposed exile in Yoshino. Meanwhile, back in Afumi in the Ohotsu capital, Ohotsu-kyo, Ohotomo was now the de facto Crown Prince.  We are told that on the 23rd day of the 11th month of 671 he took his place in front of the embroidery figure of Buddha in the Western Hall of the Dairi, the royal quarters of the Ohotsu Palace.  He was attended by the Minister of the Left, Soga no Akaye, the Minister of the Right, Nakatomi no Kane, as well as Soga no Hatayasu, Kose no Hito, and Ki no Ushi.  Taking up an incense burner, Ohotomo made a vow that the six of them would obey the sovereign's commands, lest they be punished by the various Buddhist and local deities. These five ministers, along with Ohotomo, are going to show up again and again.   Moving forward, they would manage the government, and would be generally referred to as the Afumi court. And it is clear that the Chroniclers laid the blame for anything that might happen at their feet. The Afumi court would continue court business as usual, and they were immediately thrown into the thick of it.  For instance, they were likely the ones to entertain the Tang envoys that arrived that same month.  You see, the priest Douku (or possibly “Doubun”), along with Tsukushi no Kimi no Satsuyama, Karashima no Suguri no Sasa, and Nunoshi no Obito no Iwa, had finally made it back from their journey to the mainland.  They brought with them Guo Wucong along with an embassy from the Tang court that numbered approximately 600 members, as well as ambassador Sathek Sonteung, of Silla, with his own embassy of about 1400 people. This enormous entourage sailed in 47 ships, and they had anchored at the island of Hijishima.   The Governor of Tsushima, responsible for being the first line of met with them.  Given then number fo ships, they didn't want it to look like it was a hostile invasion, so the governor sent a letter to  Prince Kurikuma, the viceroy of Tsukushi, to let him know what was happening.  Prince Kurikuma had them send Doubun and others ahead to the capital, so that they could let the court know that a massive embassy had arrived, and to prepare the way for them. However, with the sovereign in extremely poor health, and the court otherwise preoccupied with preparations for what might come next, , they kept the embassy at Tsukushi, for the time being.  We are told that that they sent presents on the 29th for the king of Silla, but no indication of them being brought to the court. Enormous foreign embassies aside, the Afumi court had plenty to deal with close to home.  It didn't help that the day after Ohotomo and the ministers had gathered to make their oaths, a fire broke out in the Ohotsu palace, apparently originating with the third storehouse of the treasury.    Several days later, the five ministers, attending the Crown Prince, Ohotomo, made oaths of loyalty in the presence of Naka no Oe, whose condition was only growing worse.  And four days later, on the third day of the fourth month, Naka no Oe passed away.  He was then temporarily interred in what is referred to as the “New Palace”. And contrary to what Ohoama had suggested, there is no indication that Queen Yamato-bime was installed as any kind of regent.  Instead it seems as if Ohotomo was just jumping in and taking the reins.  Granted, he also had the Council of State to lean on, so there's that.  The Chronicles are pretty quiet for a couple of months after Naka no Oe's death, and then we are told that Adzumi no Muraji no Inashiki was sent to Tsukushi to let the Tang ambassador Guo Wucong know the news.  We are told that on the 18th day of the 3rd month, Guo Wucong, I presume having made it to Ohotsu, publicly mourned the late sovereign.  Three days later, on the 21st, he made obeisance at the court, presumably to Ohotomo, and offered up a box with a letter from the Tang emperor and various presents in token of goodwill for the sovereign of Yamato.  A couple of months later, the Afumi court returned the favor, presenting armor, bows, and arrows as well as cloth, floss, and silk.  Later in that same 5th month, Guo Wucong and his people departed for the continent. And here is where we hit one of the big questions of this whole thing:  Had Ohotomo been formally invested as sovereign, yet?  We clearly see that he had his father's ministers on his side, and they were running things.  Then again, it took years after Takara Hime's death before Naka no Oe, himself, formally stepped up. It is quite possible that Ohotomo was not yet invested, and perhaps that was, in part, because there was another person with a claim who was still alive.  It is hard to say. What we do know is that the consensus opinion for centuries was that Ohotomo was never formally invested as sovereign.  He is certainly seen as having inherited the governance of the kingdom, but he was never considered one of the official sovereigns.  That all changed in relatively recent times.  In fact, it wasn't until 1870, the early years of the Meiji period, that Prince Ohotomo was given a posthumous title and regnal name:  Koubun Tennou.  Today, the Imperial Household Agency and some historians consider Ohotomo to have been an official sovereign, but that isn't everyone.  If he was, though, much what we see would have been happening at his court. That same month that Guo Wucong departed, Prince Ohoama got wind that something hinky was afoot.  Ohoama was residing as a monk in Yoshino, but by all accounts he still had half of his household staff, his wives, and family, all with him.  Also, as the former Crown Prince, he clearly had friends and allies.  After all, he was still a member of the royal household. And so it was in the 5th month that he heard from one Yenewi no Muraji no Wogimi that there was something amiss.  For one thing, the Afumi court had called up laborers to build the tomb for Naka no Oe, but word was that they had issued those so-called laborers with weapons rather than tools.  Wogimi seemed worried that they were preparing to do something about Ohoama.  After all, even though he had theoretically retired from the world, as long as he was alive, he still had a claim on the throne, similar to the problem of Prince Furubito no Oe back in 645. Someone else told Ohoama that they noticed pickets were being set up in various places between the Afumi and Yamato—another sign that the Afumi court was apparently expecting some kind of military action.  Furthermore, the guards at the Uji bridge were no longer allowing supplies bound for Yoshino and Ohoama's household. It seemed clear that something was up, and so Ohoama made an announcement:  while he had renounced the royal dignity and retired from the world, it was only because of his poor health and a desire to live a long and happy life.  If that life was being threatened by forces outside of his control, then why would he let himself be taken quietly? From that point, he seems to have started plotting and gathering  forces of his own, in case things came to a head.  Of course, there are those who suggest that, in truth, Ohoama had been plotting and raising forces ever since he started his exile in Yoshino—or at least since his father passed away.  Indeed, once things kick off, you'll notice how quickly people are levying troops, as if spontaneously deciding to support Ohoama's cause, and I would suggest that there was probably lot of back and forth that we just don't see because it was never recorded. Things reached a tipping point on the 22nd day of the 6th month.  That is when Ohoama gave orders to three of his vassals, Murakami no Muraji no Woyori, Wanibe no Omi no Kimide, and Muketsu no Kimi no Hiro.  He claimed that the Afumi Court was plotting against him, so he asked his vassals to go to the land of Mino—modern Gifu prefecture—and to reach out to Oho no Omi no Honeji, the governor of the Ahachima district hot springs—now the area of Anpachi.  Honeji was to levy soldiers and set them out on the Fuwa road—this was the road from Mino to Afumi, and was one of the few ways in and out of Afumi region. As we've mentioned in the past, the benefit of Ohotsu-kyo was its naturally defended position.  Lake Biwa is surrounded on all sides by mountains, and there were only a few ways in and out.  The Fuwa Pass is at the edge of a location that you may have heard of: today we know that region as Sekigahara.  That is because it was one of several seki, or barriers, set up to help check movements across the archipelago.  To the south, one could also use the Suzuka pass, where there would likewise be set up the Suzuka no Seki, or Suzuka barrier.  Suzuka was accessible from Afumi via the regions of Koga and Iga.  There was also the Afusaka no Seki, between Afumi and the area of modern Kyoto, and the Arachi no Seki, between Afumi and Tsuruga, on the Japan Sea—where many of the Goguryeo missions had arrived. Of these, the Afusaka barrier and the Fuwa barrier were probably the most well known and most heavily traveled.  Control of the Fuwa pass would be critical throughout Japan's history, controlling much of the traffic between eastern and western Japan.  Hence why, over 900 years later, another fight would come to a head here, as the battle of Sekigahara would see Tokugawa Ieyasu's eastern forces defeating the western army of Ishida Mitsunari.  That battle is seen as a decisive victory that birthed the Tokugawa shogunate, who would rule Japan for the next 250 years. So for Ohoama, having Honeji and his men take control of the Fuwa barrier was critical, as it would limit the Afumi court's ability to levy forces in the eastern provinces. A few days later, Ohoama was himself about to move out,  but his advisors stopped him.  They were worried about heading east without an army, yet.  Ohoama agreed, and he wished that he hadn't sent Woyori out just yet—Woyori was someone he trusted, militarily.  Instead, however, he had to make do.  And so he had Ohokida no Kimi no Yesaka, Kibumi no Muraji no Ohotomo, and Afu no Omi no Shima go to Prince Takasaka, who was in charge of the Wokamoto Palace in Asuka, and apply for posting bells—the tokens that would allow him and others use the various official post stations to supply them with provisions as they traveled.  Speaking of this palace,  although the court had moved to Ohotsu, a palace was maintained in Asuka.  After all, this was still seen as the “ancient capital” and the home to a lot of powerful families, so it makes sense that the royal family kept the palace in working order.  It also appears to have functioned as the local government headquarters for the region, with Prince Takasaka, or Takasaka no Ou, at its head. Asking for the posting bells was a test by Ohoama.  If he received them, then great, it would give him the ability to travel to the east, where he could presumably raise troops to protect himself.  However, if Prince Takasaka refused, then that would be a sign that the Afumi government had, indeed, sent word that Ohoama was not supposed to go anywhere.  If that was to happen, then Afu no Shima would return to Yoshino to let Ohoama know, while Ohokida no Yesaka would go to Afumi to tell Ohoama's sons, Prince Takechi and Prince Ohotsu, to make haste and meet him in Ise. Sure enough, Prince Takasaka refused the posting bells, and so, on the 24th of the 6th month, Prince Ohoama made the decision to move.  They left quickly—he didn't even let anyone saddle a horse for him or prepare his carriage.  He just started to head out on foot on a journey to the East. That journey would set in motion the coming conflagration.  Ohoama and his allies would quickly gather their forces in an incredibly short period of time, starting with a daring trek across the mountainous path between Yoshino and the land of Ise.  At the same time, the Afumi court would levy their own forces.  It was now a race for people and positions.  And to see how that race progressed, I'll ask you to tune in next episode, when we take a look at the opening moves in the war for the throne of Yamato.Until then, thank you once again for listening and for all of your support. If you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website,  SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  Thank you, also, to Ellen for their work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.

The Hamlet Podcast - a weekly exploration of Shakespeare's King Lear. Act III Scene vi - Gloucester comes back and hurries Lear and the others away to safety. Written and presented by Conor Hanratty

Michelle Lawlor, Brian Lloyd and Fionnuala Jones join Moncrieff for your weekly dose of wine, film, and showbiz. This week it's F1: The Movie, Ran — Akira Kurosawa's epic retelling of King Lear with wines from the Penedès region of Spain — including Pardas 'Negre Franc' and Maria Casanovas Cava Gran Reserva.Plus; Beyoncé in Paris, celebrity break-ups, and other weekend streaming picks.Listen here.

Michelle Lawlor, Brian Lloyd and Fionnuala Jones join Moncrieff for your weekly dose of wine, film, and showbiz. This week it's F1: The Movie, Ran — Akira Kurosawa's epic retelling of King Lear with wines from the Penedès region of Spain — including Pardas 'Negre Franc' and Maria Casanovas Cava Gran Reserva.Plus; Beyoncé in Paris, celebrity break-ups, and other weekend streaming picks.Listen here.

Called “the finest actor of his generation,” Sir Simon Russell Beale has played just about everyone in Shakespeare's canon—Hamlet, Lear, Macbeth, Falstaff, Malvolio, Iago—and most recently, Titus Andronicus, for the Royal Shakespeare Company. In this episode, Beale reflects on the Shakespearean roles that have shaped his career and how his approach to them has evolved over time. He shares what drew him to Titus, and how he found surprising tenderness in Shakespeare's brutal tragedy. The actor revisits past performances, exploring grief in Hamlet, aging and dementia in King Lear, and how time has deepened his connection to the plays and the characters. Beale's memoir, A Piece of Work: Playing Shakespeare & Other Stories, is a moving and often humorous reflection on acting, Shakespeare, and the power of performance to reveal something essential about being human. Sir Simon Russell Beale studied at Cambridge before joining the RSC. Described by the Daily Telegraph as “the finest actor of his generation,” he has been lauded for both his stage and TV work, winning many awards including the Olivier Award for Best Supporting Actor, the Evening Standard Best Actor Award, and the BAFTA Best Actor Award. From the Shakespeare Unlimited podcast. Published June 17, 2025. © 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. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.

The Hamlet Podcast - a weekly exploration of Shakespeare's King Lear. Act III Scene vi - Lear madly attempts to prosecute his daughters for the way they have treated him. Written and presented by Conor Hanratty

The Tragically Hip Top Forty Countdown: Song 19 – Jeff from BellevilleWelcome back, Hip faithful. This week on the Countdown, I'm joined by one of our most beloved Sunday Evening Jam regulars — the witty, wise, and wonderfully loquacious Jeff from Belleville. You know him. You love him. And if you've ever caught a live stream where he was in the comments, you've probably laughed out loud.But today? Today, we go deeper.Jeff takes us back to his teenage years, up in a century-old Belleville coach house where Road Apples first took hold and never let go. From bootleg tapes and roadside attractions to mosh pits, surprise shows, and backstage encounters — Jeff's Hipstory spans 31 shows and countless life moments tied to the soundtrack of this band.Along the way, we talk memory, meaning, and mortality — including the two cardiac arrests Jeff survived (yes, you read that right), and the unexpected video message he received from Paul Langlois while recovering. This episode reminds us why we do this show in the first place: for the love, for the connection, for the community.We even get a bonus English Lit breakdown of King Lear — and how defiance, irony, and Shakespearean tragedy might be woven into one of the Hip's most poetic tracks. (And yeah, we manage to keep the actual title of that track on the DL. You're welcome.)

The Hamlet Podcast - a weekly exploration of Shakespeare's King Lear. Act III Scene vi - Gloucester brings the others to shelter. Edgar and the Fool vie for Lear's attention. Written and presented by Conor Hanratty

Want to support the podcast? Join our Patreon or buy us a coffee. As an independent podcast, Shakespeare Anyone? is supported by listeners like you. In this bonus episode, we're joined by Dr. Kent Lehnhoff to talk about his new book, Voice and Ethics in Shakespeare's Late Plays. Together, we explore how Shakespeare uses the concept and qualities of human voice in The Tempest, Cymbeline, King Lear, Pericles, and The Winter's Tale, how he writes for and about the voice, and beyond that, how embracing the unique voice of each character (and actor) can create a more ethical, inclusive theatre.  About Kent Lehnhof Kent Lehnhof earned a BA from Brigham Young University and a PhD from Duke University. He is Professor of English at Chapman University, where he specializes in early modern literature and culture, especially the works of William Shakespeare. Dr. Lehnhof has published two dozen scholarly articles, has co-edited two essay collections, and is coming out with a new book in October titled Voice and Ethics in Shakespeare's Late Plays. In this book and in many of his articles, Dr. Lehnhof treats Shakespeare's plays like lively enactments of ethical philosophy. He believes that one of the things that makes Shakespeare's work distinctly Shakespearean is its interest in exploring what it's like to be in relation—what it's like to be tied to other people, some of whom love you, some of whom hate you, and some of whom pay you no mind at all. At present, Dr. Lehnhof is finishing a guidebook for Arden Shakespeare called Understanding Shakespeare's Plays: A Candid Companion to All the Drama. This book goes through all the play, one by one, giving an overview of each and offering insights and analysis as to what it offers. Dr. Lehnhof only has six plays left to do, which means he's getting down to the deep cuts. Timon of Athens, anyone? Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. For updates: join our email list, follow us on Instagram at @shakespeareanyonepod or visit our website at shakespeareanyone.com You can support the podcast by becoming a patron at patreon.com/shakespeareanyone, buying us coffee, or by shopping our bookshelves at bookshop.org/shop/shakespeareanyonepod (we earn a small commission when you use our link and shop bookshop.org). Find additional links mentioned in the episode in our Linktree.  Works referenced:  Lehnhof, Kent. Voice and Ethics in Shakespeare's Late Plays. Cambridge: Cambridge University Press, 2025. Print.

The Hamlet Podcast - a weekly exploration of Shakespeare's King Lear. Act III Scene v - Cornwall appears, with Edmund in tow. Written and presented by Conor Hanratty

This week on Skytalkers, we're talking about all the ways the finale of Andor Season 2 has and hasn't changed our viewing experience of Rogue One! Tune in this week to hear:  Jyn and Cassian as messengers.  What are the comparisons between Luthen and Kleya vs Saw and Jyn?  How has Cassian's character arc in Rogue One shifted with two seasons of Andor? Luthen Rael's last name as anagram for "Lear" – and how that relates to Shakespeare's “King Lear”.  …and so much more!  Join our Patreon community and unlock bonus episodes + more! Our website! Follow us on Twitter/X @skytalkerspod Follow us on TikTok @skytalkers Follow us on Facebook Follow us on Instagram @skytalkerspodcast Follow Charlotte on Twitter/X @crerrity Follow Caitlin on Twitter/X @caitlinplesher Email us! hello@skytalkers.com Learn more about your ad choices. Visit megaphone.fm/adchoices

The Hamlet Podcast - a weekly exploration of Shakespeare's King Lear. Act III Scene iv - The scene comes to an end, not before Lear makes some more fantastical references and Edgar matches him with a famous rhyme. Written and presented by Conor Hanratty

Mac may being going senile, Mother's Day birdfeedery, and we had an earthquake! On Stranger Tides is a better book than movie, King Lear is better than Katherine expected, and we delve back into Captain America Civil War to revel in the archetypes. Our locals page is now accepting subscriptions! Move over from Patreon so more of your tips go to us and not Apple. Books: Read along with Mac - Other great stuff we like: Baritus Catholic Illustrations Pacem in Terris Retreat Center Restoration of Christian Culture from Our Lady of Clear Creek Abbey Restoration of Christian Culture PDF Spiritual Direction.com Fatima Farm liturgical calendar from Sofia Institute Press Gregory the Great's St. Nicholas Guild Total Consecration to Jesus Through Mary Other stuff our family does: Our libsyn page where you can find all our old episodes Sam and Mena's podcast: Engaged at 18 Spoiled! with Mac and Katherine Mac's book! Clueless in Galilee Ben's Photography Business: Red Barron Media Find us on our website Theme song by Mary Bragg.

Nan Z. Da, in her book The Chinese Tragedy of King Lear, finds unsettling parallels between Shakespeare's play and 20th-century China under Mao Zedong. Da, a literature professor at Johns Hopkins University, weaves together personal history and literary analysis to reveal how King Lear reflects—and even anticipates—the emotional and political horrors of authoritarian regimes. From public punishments to desperate displays of flattery, from state paranoia to family betrayal, she shows how Shakespeare's tragedy resonates with the lived experiences of generations shaped by Maoism. She joins us to discuss the story of her family in Mao's China and why Lear may be Shakespeare's most “Chinese” play. Nan Z. Da is an associate professor of English at Johns Hopkins University. Prior to that, she taught for nine years at the University of Notre Dame. She is the author of Intransitive Encounters: Sino-US Literatures and the Limits of Exchange and co-editor of the Thinking Literature series.

The Hamlet Podcast - a weekly exploration of Shakespeare's King Lear. Act III Scene iv - The Walking Fire - and its bearer - arrives. Edgar continues to perform his role as mad Poor Tom. Written and presented by Conor Hanratty

Recorded at the most recent ACTC conference, this episode features Michael McShane—educator, writer, and Shakespearean interlocutor—in a wide-ranging discussion of King Lear with both Greg and Alex. The group examine the play's structural and philosophical dimensions, from the politics of authority and the aesthetics of suffering to questions of justice, recognition, and the limits of language. McShane brings a scholarly yet accessible lens to one of Shakespeare's most harrowing tragedies. Plus: the guys turn it over to the crowd and field a range of questions from the audience!

The Hamlet Podcast - a weekly exploration of Shakespeare's King Lear. Act III Scene iv - Lear is still fascinated by Edgar, while the Fool still watches. Written and presented by Conor Hanratty

Mycket händer, snabbt!

William Shakespeare, often called the Bard of Avon, is the greatest playwright in the English language. Born in 1564 in Stratford-upon-Avon, he married Anne Hathaway at 18 and had three children. He moved to London in the late 1580s to pursue a career in theatre. Over the next two decades, he wrote 39 plays, 154 sonnets, and two long narrative poems. His works explore timeless themes of love, power, jealousy, betrayal, and ambition. Shakespeare's most famous plays include Hamlet, Macbeth, Othello, Romeo and Juliet, and King Lear. He co-owned the Globe Theatre, where many of his plays were performed. His mastery of language enriched English with hundreds of new words and phrases. Shakespeare blended history, tragedy, and comedy in ways that remain unmatched. Despite his fame, much of his personal life remains a mystery. He retired to Stratford around 1613 and died in 1616 at the age of 52. Shakespeare's legacy lives on through endless adaptations on stage and screen. His characters and stories still resonate across cultures and generations. He was as much a keen observer of human nature as a creator of unforgettable drama. This talk show explores the life, love, and literary genius of the immortal William Shakespeare.

The Hamlet Podcast - a weekly exploration of Shakespeare's King Lear. Act III Scene iv - Lear is fascinated by Edgar, while the Fool watches what is happening. Written and presented by Conor Hanratty

The Hamlet Podcast - a weekly exploration of Shakespeare's King Lear. Act III Scene iv - Edgar appears as Poor Tom, scaring the Fool but fascinating Lear. Written and presented by Conor Hanratty

2000's Born Romantic is a little seen British comedy about dating in the Y2k era.  Chock a block with UK stars including Craig Ferguson, Catherine McCormack, Jimi Mistry, Adrian Lester, Olivia Williams, David Morrissey and Jane Horrocks, the film follows a group of lonely hearts finding love and laughter with a London salsa club as the center of their romantic universe.  Dan and Vicky discuss the rarely seen film and how we find love and romance in the modern world.  They also talk about some recently seen items like The Rule of Jenny Penn, Freaky Tales, Hell of a Summer, The Amateur and MAX's medical drama The Pitt.  Listen for their thoughts on finding community at the movies, remembering 9/11, and King Lear in Delaware! Our socials:  hotdatepod.com FB:  Hot Date Podcast Twitter: @HotDate726 Insta:  hotdatepod

Actor Sir Simon Russell Beale is widely acclaimed as one of the greatest actors of his generation. He has played many leading roles at National Theatre and RSC, including Hamlet, Macbeth and King Lear. He is currently starring in Titus Andronicus at the RSC. His awards include three Olivier Awards, two BAFTAs, and a Tony Award in 2022 for his leading role in The Lehman Trilogy, which had transferred from London. Simon Russell Beale was knighted in 2019 for services to drama. Simon tells John Wilson about his childhood and his visits to his family in the boarding school holidays at their home in Penang and Singapore. Trained as a chorister from an early age, he reveals how J.S. Bach's St Matthew Passion evokes the thrill of singing at his choir school. Simon very nearly embarked on a career in music before switching to drama and tells John about the significance of the Macbeth soliloquy that began a lifetime love of Shakespeare. He also reveals the central role that pubs play in the learning of his lines.Producer: Edwina Pitman

The Hamlet Podcast - a weekly exploration of Shakespeare's King Lear. Act III Scene iv - Kent tries to get Lear to take shelter in the hovel. Lear does some remarkable soul-searching, in his anger and madness. Written and presented by Conor Hanratty

The decision to cut someone out of your life—whether a parent, a sibling, or a once-close friend—can feel both deeply necessary and impossibly fraught. But why does going no contact inspire so much shame, confusion, and second-guessing, especially when it's often a tool for self-preservation? What does it really mean to choose absence over obligation? In this episode, host Amanda Montell (@amanda_montell) is joined by Jeanette Tran, a professor at Drake University who explores the complexities of estrangement through an unexpected lens: Shakespeare. Drawing from centuries-old drama, Jeanette helps us parse why going no contact still feels so taboo, how literature mirrors (and sometimes distorts) our ideas of family and forgiveness, and why choosing peace can be the most radical act of all. Further reading: Jeanette Tran's essay “As more Americans go ‘no contact' with their parents, they live out a dilemma at the heart of Shakespeare's ‘King Lear'” in The Conversation.   - Join the "Magical Overthinkers Club" by following the pod on Instagram @magicaloverthinkers. - To access early, ad-free episodes and more, subscribe to the Magical Overthinkers Substack. - Pick up a hard copy of Amanda's book The Age of Magical Overthinking: Notes on Modern Irrationality, or listen to the audiobook. Thanks to Our Sponsors: Stop putting off those doctors appointments and go to https://Zocdoc.com/MAGICAL to find and instantly book a top-rated doctor today Sign up for your one-dollar-per-month trial period at https://SHOPIFY.COM/magical Thrive all year with clean, easy meals from Green Chef. Go to https://GreenChef.com/magicalfree and use code magicalfree to get started with FREE Salads for two months plus 50% off your first box. No matter how you say it, don't overpay for it. Shop plans at https://MINTMOBILE.com/magical Learn more about your ad choices. Visit podcastchoices.com/adchoices

RE-BROADCAST: The Tragedy of King Lear by William Shakespeare w/Libby Unger---Welcome & Introduction - 0:01:35CEOs Building Stronger Companies with Common Touch LeadershipLessons from Shakespeare's King Lear for Modern LeadersNever Forget Your Roots: Lessons in Humility and Servant LeadershipChallenge Assumptions Cultivate Servant LeadershipBuild What Good Looks LikeLeadership Lessons from the Great BooksThe Importance of Truth TellersLessons from the Decline of EmpiresMorality and Leadership from King LearTaking Ruthless InventorySelf-Awareness Can Transform Your LeadershipRhetoric, Positions, and Principles Seek Truth, Act LocallyFalse Promises in Leadership Don't DeliverThe Power and EliteInsights into an Insular Leadership StructureSaying "No" Staying on the Path with King Lear by William Shakespeare---Listen to Libby Unger on Episode #42 - The Road to Serfdom by F.A. Hayek w/Libby Unger ---> https://share.transistor.fm/s/512f183cLibby Unger on LinkedIn - https://www.linkedin.com/in/libbyunger/Libby Unger Email Contact - libby@lumineaula.comLibby Unger's Website - http://lumineaula.com/---Pick up your copy of 12 Rules for Leaders: The Foundation of Intentional Leadership NOW on AMAZON!Check out the 2022 Leadership Lessons From the Great Books podcast reading list!---Check out HSCT Publishing at: https://www.hsctpublishing.com/.Check out LeadingKeys at: https://www.leadingkeys.com/Check out Leadership ToolBox at: https://leadershiptoolbox.us/Contact HSCT for more information at 1-833-216-8296 to schedule a full DEMO of LeadingKeys with one of our team members.---Leadership ToolBox website: https://leadershiptoolbox.us/.Leadership ToolBox LinkedIn: https://www.linkedin.com/company/ldrshptlbx/.Leadership ToolBox YouTube: https://www.youtube.com/channel/UCJvVbIU_bSEflwYpd9lWXuA/.Leadership ToolBox Twitter: https://twitter.com/ldrshptlbx.Leadership ToolBox IG: https://www.instagram.com/leadershiptoolboxus/.Leadership ToolBox FB: https://www.facebook.com/LdrshpTlbx. ★ Support this podcast on Patreon ★

The Hamlet Podcast - a weekly exploration of Shakespeare's King Lear. Act III Scene iIi - Gloucester and Edmund discuss some top-secret news, and the unnatural way Lear's family is treating him. This episode is probably the 400th episode of The Hamlet Podcast! A huge thank you for listening. And do please stay tuned! Written and presented by Conor Hanratty

Merriam-Webster's Word of the Day for April 9, 2025 is: vouchsafe • vowch-SAYF • verb Vouchsafe is a formal and old-fashioned word meaning "to give (something) to someone as a promise or a privilege." // He vouchsafed the secret to only a few of his closest allies. See the entry > Examples: "[Arthur] Conan Doyle (1859-1930) wrote several horribly chilling tales of the supernatural, although this might surprise readers who only know his Sherlock Holmes stories. When there are eerie goings-on in the Holmes yarns, a rational explanation is inevitably vouchsafed, à la Scooby-Doo." — Jake Kerridge, The Daily Telegraph (London), 20 Dec. 2023 Did you know? Shakespeare fans are well acquainted with vouchsafe, which in its Middle English form vouchen sauf meant "to grant, consent, or deign." The word, which was borrowed with its present meaning from Anglo-French in the 14th century, pops up fairly frequently in the Bard's work—60 times, to be exact. "Vouchsafe me yet your picture for my love," beseeches Proteus of Silvia in The Two Gentlemen of Verona. "Vouchsafe me raiment, bed, and food," King Lear begs his daughter Regan. But you needn't turn to Shakespeare to find vouchsafe; today's writers still find it to be a perfectly useful word.

The Hamlet Podcast - a weekly exploration of Shakespeare's King Lear. Act III Scene ii - Lear gives in, and the Fool gives us another song - and a prophecy. Written and presented by Conor Hanratty

The Hamlet Podcast - a weekly exploration of Shakespeare's King Lear. Act III Scene ii - Kent appears, and Lear continues to cry into the storm. Written and presented by Conor Hanratty

It's episode 216 and we are lurching back to the north east, to Zululand. The heat is building up, and the conflicted relationship between King Mpande kaSenzanghakhona and his son, Cetshwayo kaMpande, is growing more complex by the minute. But this being Zululand, that wasn't the only competition in town. There was an older son of Mpande, called Hamu, who was his first-born son by Nozibhuku, who in turn was the daughter of the much respected chief Sothondose of the Nxumalo people. If we turn our thoughts to the succession process of the AmaZulu which has always been a tricky trail, this episode will serve to illuminate the razor-sharp line royal heirs must walk. Sothondose you see was Mbuyazi's brother. And if you recall, Mbuyazi was the man who had been killed along with seven of his brothers and half brothers at the Battle of Nondokasuka by Cetshwayo. King Mpande had publicly referred to Mbuyazi as his heir apparent, and Cetshwayo thought he was a better candidate. The plot thickens. It more than thickens, it congeals like thick red blood, spattered many times this episode. There is a Shakespearian correlation between his epic tales and those of the AmaZulu, where both are interlaced with human truths. This week's tale is a mist-mash of Macbeth, Richard the third, Henry the Sixth Part three. Perhaps you could include others, but let's leave it at that for now. IN Zululand, Mpande was king and he was apt to change his mind about his heir apparent. Cetshwayo had worked himself into the position by dint of killing Mbuyazi, and had begun to refer to Mpande as ixegwana, little-old man. Or Oomie which is why calling some middle-aged men Oomie can get you into trouble. Hamu kaMpande was an insidious man, a persevering leader who wriggled about, an indulgent man according to oral tradition as well as the written descriptions we have of him. Flabby, with the immense thighs of the house of Senzangakhona. Hamu led the Ngenetsheni clan, and had supported Cetshwayo during the recent Civil War, where Mbuyazi had been defeated. That was the case even though his grandfather, Sothondose, was Mbuyazi's brother. In other words Hamu fought against his Great Uncle. Blood, it seems, isn't thicker than water—unless it's pooling in a cauldron of treachery and Macbethian dread. Hamu also resented his bad luck, descended from Nzibe who ranked behind Mpande's other sons. He liked to show off his bling so to speak, and gathered a massive isigodlo of women, 300 in all, and bragged about being quasi-independent of Mpande. Cetshwayo kept a beady eye on these two, and there were confrontations with them, one took place in 1857. But nothing was resolved. Initially, Mbuyazi's remaining brothers turned out to be more of a threat than Hamu and Maphitha, and this is where the Shakespearian blood letting began in earnest. Cetshwayo wanted to kill Mbuyazi's thirteen year old brother Mkhungo. Someone tipped off the teen that the death squad was on its way and he fled to safety in Natal across the Thukela River. Other members of his direct family were already seeling refuge there, his mom Monase and Sikhotha his half-brother. shake

The Hamlet Podcast - a weekly exploration of Shakespeare's King Lear. Act III Scene i - Still out in the storm, Lear rails at the weather while the Fool attempts to suggest that they go back indoors. Written and presented by Conor Hanratty

If you're enjoying the Hardcore Literature Show, there are two ways you can show your support and ensure it continues: 1. Please leave a quick review on iTunes. 2. Join in the fun over at the Hardcore Literature Book Club: patreon.com/hardcoreliterature Thank you so much. Happy listening and reading! - Benjamin  

The Hamlet Podcast - a weekly exploration of Shakespeare's King Lear. Act III Scene i - Out in the storm, Kent meets the Gentleman and they discuss what's happening with Lear. (With bonus special effects audio from Incheon Airport!) Written and presented by Conor Hanratty

How does Shakespeare's King Lear resonate in a world facing climate catastrophe? Novelist Julia Armfield explores this question in Private Rites, a novel set in a near-future London reshaped by rising sea levels. Following three sisters grappling with their father's death, Private Rites weaves together themes of inheritance, power, and familial wounds—echoing Shakespeare's tragic monarch while carving out a distinctly modern, queer perspective. Armfield, author of Our Wives Under the Sea, discusses her fascination with disaster narratives, the inescapable dynamics of sibling relationships, and how Shakespeare's work inspires her storytelling. From the storm in King Lear to the watery depths of her fiction, she reflects on how queerness, horror, and the climate crisis intersect in literature. Julia Armfield is a fiction writer living in London with her wife and cat. Her work has been published in Granta, The White Review, and Best British Short Stories in 2019 and 2021. In 2019, she was shortlisted for the Sunday Times Young Writer of the Year Award. She was longlisted for the Deborah Rogers Award in 2018 and won the White Review Short Story Prize in 2018 and a Pushcart Prize in 2020. She is the author of salt slow, a collection of short stories, which was longlisted for the Polari Prize in 2020 and the Edge Hill Prize in 2020. Her debut novel, Our Wives Under The Sea, was shortlisted for the Foyles Fiction Book of the Year Award in 2022 and won the Polari Prize in 2023. Her second novel, Private Rites, was longlisted for the inaugural Climate Fiction Prize in 2024. From the Shakespeare Unlimited podcast. Published March 11, 2025. © 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. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.

Joanna Robinson and Rob Mahoney respond to some email theories (3:23) before analyzing the Ratliff family identity (17:13), a connection from Walton Goggins's character to ‘King Lear' (23:29), and the cracks beginning to show in the blond friend group (30:58). Plus, discussing a potential Russian connection to the hotel robbery (44:37), keeping an eye on the nice guy character, Gaitok (48:25), and talking about the strong incest vibes coming from the Ratliff kids (54:11). Email us! prestigetv@spotify.com Subscribe to the Ringer TV YouTube channel here for full episodes of ‘The Prestige TV Podcast' and so much more! Try Coffee mate Creamers Now: http://coffeemate.com Hosts: Joanna Robinson and Rob Mahoney Producers: Kai Grady and Donnie Beacham Jr. Video Supervision: John Richter Additional Production Support: Justin Sayles Learn more about your ad choices. Visit podcastchoices.com/adchoices