Podcasts about Macbeth

The Hamlet Podcast - a weekly exploration of Shakespeare's King Lear. Act IV Scene vii - Cordelia and the Doctor ponder Lear's condition, as he seems on the brink of waking. *PLUS - news of my forthcoming book! If you'd like 25% off, pre-order it from Waterstones THIS WEEK, Feb 17-20, 2026. Search for it under my name, Bloomsbury Teacher Introductions, Macbeth, and my co-author Amy Smith.* Written and presented by Conor Hanratty

Like Christopher Marlowe, William Shakespeare made good use of his time off when the theatres were shut for plague in 1593. 'Venus and Adonis' appeared in quarto that year and become by far the most popular work Shakespeare published in his lifetime, running to ten editions before his death (compared to just four for Romeo and Juliet). In this episode, Seamus and Mark consider the many ways in which Shakespeare's poem displays its author's remarkable originality, from its peculiar reshaping of the Ovidian myth into a tale of comic mismatch, to its surprising diversion into the psychology of grief. They then look at his disturbing follow-up, 'The Rape of Lucrece' (1594), in which a chilling depiction of self-conscious, premeditated evil anticipates characters such as Iago and Macbeth. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, sign up: Apple Podcasts: https://lrb.me/applesignupnp Other podcast apps: https://lrb.me/scsignupnp Further reading in the LRB: Stephen Orgel on Shakespeare's poems: https://lrb.me/npshakespeare01 Barbara Everett on the sonnets: https://lrb.me/npshakespeare02

Send a textIn this episode of Letters to the Sky, Stephan and Adam speak with Dave Biggs, a UK-based nondual teacher whose path grew out of a highly controlled religious upbringing, childhood trauma, and years of anxiety, panic disorder, addiction, and a bipolar diagnosis. Drawing on his experience supporting others in distress through the NHS and Samaritans, Dave explores why awakening can become a subtle escape when intense suffering makes the idea of “no self” feel like a final hope—and how that denial eventually crashes.Together, they unpack the overlooked work of post-awakening integration: the way emotions can become more raw and intense when resistance falls away, why kindness and gentleness still matter, and how labeling and story-making can trap sensations instead of letting them move through. Dave describes an “absolute” ground of unconditioned awareness as a stabilizing landing pad—like a starter before the main course—that makes it possible to face trauma without bypassing the human experience. The conversation closes with Dave sharing brief details of his childhood split between Jehovah's Witness fear and his father's atheism, his long search to disprove a malicious God, and the eventual recognition of an unconditionally loving presence, along with ways to connect with him at dualitydetox.com.00:00 Welcome 01:00 How They Met Dave: Voice Memos, Nonduality Groups & Shared Language02:07 Dave's Background: Trauma, Mental Health, and Teaching Without Bypassing05:53 The Trap of ‘No One Here': Spiritual Bypassing, Denial, and the Crash11:54 Real Self-Realization: Ordinary, Subtle, and Noticed by the Absence of Suffering13:46 Integration Mechanics: Momentum After Awakening & the ‘Last 5%' of Work16:41 Emotions After Awakening: Anger, Grief, Tears, and Feeling It Fully19:24 Letting Emotions Move: Disney Tears, Accessibility, and Dropping the Labels22:58 The ‘Child Catcher' Metaphor: Stop Netting Feelings and Naming Them27:02 Mind's Story-Making vs Witnessing: Grasping, Aversion, and Waves Passing Through30:18 Groundlessness & Ultimate Truth: Returning to What We Are32:00 The “Landing Pad”: Unconditioned Awareness as the Base34:08 Starter vs Main Course: Letting Experience Move Through You37:02 Macbeth, Despair, and Finding the Ground Beneath the “Sound and Fury”40:32 Post-Awakening Reality Check: Emotions Don't Disappear41:49 Why the Ground Makes Healing Possible (and the Hand Analogy Explained)44:14 Healing Is Reachable: Safety, Integration, and Trauma Unraveling46:23 When Pain Becomes Identity: The MS Patient Story49:30 Dave's Lived-Experience Work & Dropping the Trauma “Performance”54:40 Dave's Childhood & Awakening Turning Point (High-Level Story)59:27 Wrap-Up: Keep Doing the Work + Where to Find DaveSupport the showCopyright 2025 by Letters to the Sky

James Shapiro discusses the historic 1936 Harlem premiere of Macbeth, the Federal Theater Project's creation under Harry Hopkins and Hallie Flanagan, and its significance for democracy during the Depression era.

James Shapiro reflects on the sad later lives of Flanagan and Dies, and debunks a legend involving Orson Welles and a critic of Voodoo Macbeth.

James Shapiro explains how Rose McClendon and John Houseman established the Negro Unit, hiring a young Orson Welles to direct the revolutionary Macbeth production in Harlem.

James Shapiro details Welles's innovative Voodoo Macbeth, its anti-fascist themes, the racial condescension of white critics, and the production's massive success and subsequent national tour across America.

The reimagining of Shakespeare's tragic tale Macbeth tackles subjects like corporate power, surveillance culture and social media influencers. 

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Pra muitos, o único que divide o pódio de maior da literatura com Homero. Separe trinta minutos do seu dia e aprenda com o professor Vítor Soares (@profvitorsoares) sobre a vida e o trabalho de William Shakespeare.-Se você quiser ter acesso a episódios exclusivos e quiser ajudar o História em Meia Hora a continuar de pé, clique no link: www.apoia.se/historiaemmeiahoraConheça o meu canal no YouTube e assista o História em Dez Minutos!https://www.youtube.com/@profvitorsoaresConheça meu outro canal: História e Cinema!https://www.youtube.com/@canalhistoriaecinemaOuça "Reinaldo Jaqueline", meu podcast de humor sobre cinema e TV:https://open.spotify.com/show/2MsTGRXkgN5k0gBBRDV4okCompre o livro "História em Meia Hora - Grandes Civilizações"!https://a.co/d/47ogz6QCompre meu primeiro livro-jogo de história do Brasil "O Porão":https://amzn.to/4a4HCO8PIX e contato: historiaemmeiahora@gmail.comApresentação: Prof. Vítor Soares.Roteiro: Prof. Vítor Soares e Prof. Victor Alexandre (@profvictoralexandre)REFERÊNCIAS USADAS:- BLOOM, Harold. Shakespeare: A invenção do humano. Rio de Janeiro: Objetiva, 2001.- DOBSON, Michael. The Making of the National Poet: Shakespeare, Adaptation and Authorship, 1660–1769. Oxford: Clarendon Press, 1992.- GREENBLATT, Stephen. Will in the World: How Shakespeare Became Shakespeare. New York: W. W. Norton, 2004.- NOGUEIRA, Milton. Shakespeare: Vida e obra. São Paulo: Perspectiva, 2014.- SHAKESPEARE, William. Hamlet; Macbeth; Rei Lear; Otelo. Diversas edições. Tradução de Barbara Heliodora. São Paulo: Nova Fronteira, 2011- WELLS, Stanley; TAYLOR, Gary (orgs.). William Shakespeare: The Complete Works. Oxford: Oxford University Press, 2005.

Eddie Bazil demonstrates creative uses of advanced automation as a musical tool in the DAW, showing how automation can add movement, expression and musical detail. The episode covers shaping arpeggiated parts, using MIDI CC for dynamic control, modulating vocal tracks and applying MIDI note expression to enhance performance.Chapters00:00 - Introduction01:49 - Setting Up Automation Lanes02:30 - Example 1: Adding ARP Movement04:51 - Example 2: Using MIDI CC For Velocity07:41 - Example 3: Modulating A Vocal Track 14:52 - Example 4: MIDI Note Expression In A DAW #gforce #imposcar3 #cubase #deviousmachines #infiltrator2 #cableguys #shaperbox #ovoxvocoder #eventide #blackholeSee Also:https://www.soundonsound.com/techniques/using-phaser-effects-podcast Eddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands, including Art Of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra, and many more. By his 20s, he was working as a sound designer for Akai, Roland, Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie began developing libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Rob Papen, Arturia, and Propellerheads.During this time, he trained in music production. He soon gained several prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer, and was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. This led to him offering educational workshops and classes, and becoming a contributing creator and Forum moderator for Sound On Sound.Recently, he was invited by the Recording Academy to become a professional member, approved educator, and mentor for their member base. Eddie now concentrates on providing private sound design and mixing/production tuition, and creating content for Sound On Sound magazine.https://eddiebazil.co.uk/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

A few weeks ago I shared my dream American Lit curriculum here on the pod, and soon after I heard from a British Literature teacher who was hoping for some new unit ideas for her curriculum too. She shared her starting point, which sounds like a highly engaging set of texts: "Our long reads," she wrote, "are The Princess Bride, Macbeth, Hitchhiker's Guide to the Galaxy, and Beowulf- a hero's journey theme!" So today I'd like to brainstorm with you, throwing out ideas for a British Lit curriculum, based on some of these starting texts and a few more I'll throw into the mix. Get ready for a Holmes-inspired True Crime podcast project, Shakespearean book clubs, a mashup of dystopia and contemporary street art, and more. Whether or not you teach a British Literature course, I think you'll find some fresh ideas and inspiration for new unit possibilities today. Go Further:  Explore alllll the Episodes of The Spark Creativity Teacher Podcast. Launch your choice reading program with all my favorite tools and recs, and grab the free toolkit. Join our community, Creative High School English, on Facebook. Come hang out on Instagram. Enjoying the podcast? Please consider sharing it with a friend, snagging a screenshot to share on the 'gram, or tapping those ⭐⭐⭐⭐⭐ to help others discover the show. Thank you! 

 Listen to the Show Right Click to Save GuestsSt Edwards Mary Moody Northen Theatre UrinetownAustin Shakespeare Macbeth What We Talked About  High Spirits Galileo Broadway Tic Tok Washington Post Little Shop Cast Changes Beloni Theatrical Animals Moulin Rouge to Close Lost in Del Valle Buena Vista Dance-a-long Sh-boom Thank you to Dean Johanesen, lead singer of "The Human Condition" who gave us permission to use "Step Right Up" as our theme song, so please visit their website.. they're good! (that's an order)

Whitney White is a theatrical powerhouse. A director, writer, actor, and musician, White's work has been seen on Broadway, Off Broadway, and at major institutions including The Public Theater, the Brooklyn Academy of Music, and, most recently, the Royal Shakespeare Company. Her projects include Jaja's African Hair Braiding, The Last Five Years, Macbeth in Stride, and By The Queen, which was featured in the Folger's 2025 Reading Room Festival. In this episode, White discusses All Is But Fantasy, her four-play musical cycle created for the RSC, where it's now receiving its world premiere. The high-energy, gig-theater show investigates Shakespeare's women and ambition, focusing on Lady Macbeth, Emilia, Juliet, and Richard III. Each piece combines performance with original music, using sound and rhythm as a way into the text and as a tool for rethinking these characters whose inner lives are often cut short or overlooked. White reflects on why Shakespeare's women so often meet tragic ends, how those stories continue to feel familiar, and what it means to keep staging them now. She considers the ways that music, performance, and adaptation can help us better understand Shakespeare today. From the Shakespeare Unlimited podcast. Published February 10, 2026. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica, with Garland Scott serving as executive producer. It was edited by Gail Kern Paster. Technical support was provided by Melvin Rickarby in Stratford, England, and Voice Trax West in Studio City, California. Web production was handled by Paola García Acuña. Transcripts are edited by Leonor Fernandez. Final mixing services were provided by Clean Cuts at Three Seas, Inc. Whitney White is an Obie and Lily Award-winning and Tony Award-nominated director, actor, and musician, celebrated for her bold, innovative storytelling across both Broadway and off-Broadway. She recently received the Drama League's 2025 Founders Award for Excellence in Directing and an Obie Award for Sustained Achievement in Directing. All Is But Fantasy, White's four-part musical exploration of Shakespeare's women and ambition, commissioned by the Royal Shakespeare Company, marks her RSC debut as a writer, director, and actor. The two-part high-energy gig theater show is receiving its world premiere at The Other Place in Stratford-upon-Avon in January and February 2026. White's other directing credits on Broadway include The Last Five Years and Jaja's African Hair Braiding, off-Broadway credits include Liberation, Walden, Jordan's, Soft, On Sugarland, What to Send Up When It Goes Down, Our Dear Drug Lord, and For All the Women Who Thought They Were Mad. She recently opened Saturday Church, a new musical featuring songs by Sia and Honey Dijon at New York Theatre Workshop. She also created Macbeth In Stride at Brooklyn Academy of Music, writing the book, music and lyrics. Additional directing work includes The Secret Life of Bees, By The Queen, The Spectacularly Lamentable Trial of Miz Martha Washington, A Human Being of a Sort, An Iliad, The Amen Corner, Othello, Canyon, and Jump. On screen, White has appeared in Ocean's Eight, Single Drunk Female, Louie, and The Playboy Club, and she contributed as a writer to Boots Riley's acclaimed series I'm A Virgo for Prime Video.

In this episode of The Good Food Podcast, host Samuel Goldsmith welcomes Sam Heughan, well-known for his role as Jamie Fraser in the hit series Outlander. Sam shares his deep connection to Scotland, his love for Scottish single malt whiskey, and the inspiration behind his brand, The Spirit of Home. The conversation delves into Sam's recent experiences playing Macbeth at the RSC, his hotel dining habits, and his culinary enthusiasts paired with an affinity for cocktails. Sam also discusses his passion for fitness, his travel adventures, and his distillery, The Galloway Distillery, which produces award-winning spirits. The episode concludes with quickfire questions, revealing Sam's favorite dishes, culinary confessions, and much more, offering a fascinating blend of food, culture, and storytelling. Sam Heughan is a Scottish actor, producer and author, best known for his starring role as Jamie Fraser in the globally acclaimed television series Outlander. Born in Dumfries and Galloway, he trained at the Royal Scottish Academy of Music and Drama before building a career across theatre, film and television. Beyond acting, Heughan is the co-founder of the spirits brand Sassenach, an endurance athlete, and a committed philanthropist through his charity initiative My Peak Challenge. He is also a New York Times bestselling author and a passionate advocate for Scottish culture, food and drink. His latest book The Cocktail Diaries is out now. Subscribers to the Good Food app via the App Store get the show ad-free, plus regular bonus content. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Send a textMacbeth is not hard. It's human.Here's the whole play in one simple truth:Macbeth made Macbeth.Let me say that again:The witches tempt. Lady Macbeth pressures. But Macbeth chooses.They light matches all around him—but Macbeth decides to set the house on fire.This story is not fate winning. This story is choice repeated until it becomes character.HOST:Here is Macbeth in five easy steps.Temptation — an idea enters.Choice — a line is crossed.Habit — violence becomes a method.Collapse — control breaks down.Consequences — the bill comes due.Temptation. Choice. Habit. Collapse. Consequences.That's the whole play. Now we'll walk it.Support the showThank you for experiencing Celebrate Creativity.

Sponsored By: → Timeline | Support your cells and how you age with Mitopure® Gummies from Timeline. Visit https://timeline.com/DRG and save up to 39% off your Mitopure® Gummies. → Puori | Go to https://puori.com/DRG and use the code DRG at checkout to get 32% off your first Puori Creatine+ subscription order. → My one stop shop for quality supplements: https://theswellscore.com/pages/drg Episode Description What if your childhood trauma isn't just stored in your mind, but written into the very structure of your nervous system—and the key to healing it lies in the language your body speaks before words? Dr. Andrea McBeth is a somatic psychotherapist who has spent decades mapping the territory where psychology meets the body's innate intelligence. She's discovered that our earliest experiences—especially birth trauma and pre-verbal attachment wounds—create patterns in our nervous system that dictate how we respond to stress, intimacy, and life itself. But here's what makes her work revolutionary: she's developed methods to access and reorganize these patterns by working directly with the body's somatic intelligence, bypassing the limitations of talk therapy alone. This episode reveals why your birth experience may have encoded a default stress response you've carried for decades, how the nervous system can be trained to complete defensive responses that were frozen in childhood, and why some healing only happens when we stop trying to think our way through it. Discover: • The somatic blueprint: how birth trauma and early attachment experiences create nervous system patterns that run automatically beneath conscious awareness for your entire life • The completion principle: why unfinished defensive responses (fight, flight, freeze) from childhood stay locked in the body and how to safely complete them decades later • The co-regulation foundation: how healing relational trauma requires another nervous system to help regulate yours, and why you can't think your way into feeling safe Find Dr. Andrea McBeth:  Website: https://thaena.com/ Timestamps: 0:00 - Introduction 5:43 - What is Fecal Transplant & Why It Works 10:42 - Defining a "Healthy Donor" for Gut Health 16:03 - The Hidden Antibiotics in Your Food 21:01 - Why Your Microbiome Is More Resilient Than You Think 25:41 - Can Antibiotics Cause Autoimmune Disease? 28:03 - The Gut-Nervous System-Immune Triangle 32:00 - How Childhood Trauma Disrupts Your Gut 37:05 - Regenerative Farming Meets Your Microbiome 40:22 - Postbiotics: The Language Your Gut Speaks 45:58 - Dr. Andrea's Personal Gut Health Protocol Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textMacbeth's tragedy ends when fear disappears—not because he becomes brave, but because he becomes numb and falsely certain.Now let's locate ourselves.HOST:We're in the final stretch.Act 4 Scene 1: Macbeth returns to the witches for more prophecy.Act 5: the kingdom turns, the signs pile up, the “impossible” begins to happen, and Macbeth faces the end.This is the arc:uncertainty → prophecy → false certainty → collapse.And that's exactly what happens to a human mind when it starts feeding on its own “guarantees.”ACT 4.1: PROPHECY AS A DRUG(10–14 minutes)HOST:Macbeth goes back to the witches because he can no longer live with doubt.And here is the key psychological point:Macbeth doesn't seek truth. Macbeth seeks reassurance.He isn't asking, “What is real?” He's asking, “Tell me I'm safe.”He wants a prophecy that will let him stop thinking.And the witches give him exactly the kind of information that creates delusion:statements that sound absolute.Now listen to this carefully:The more certain Macbeth feels, the more dangerous he becomes.False certainty produces real cruelty.When Macbeth feels invincible, he becomes reckless.This is the turning point: the prophecies don't guide him toward wisdom; they guide him toward overconfidence.And overconfidence is a form of blindness.Let's simplify Macbeth's delusion into three false comforts:Comfort #1: “I know the enemy.”He hears “Beware Macduff,” and he thinks knowledge equals control.He confuses information with safety.But Knowing a danger is not the same as defeating it.He hears the famous “none of woman born shall harm Macbeth,” and he treats it like immortality.Support the showThank you for experiencing Celebrate Creativity.

Step into a century of East End history at The Macbeth — a legendary boozer that's survived near-closure and comes back swinging, thanks to Jamie Allan and Patrick Nolan. This episode marks the start of my brand-new monthly residency, soundtracking the room with chilled anthems, rare grooves, conscious hip-hop, future-soul selections, early-hours mood music and revolutionary reggae from Sly & Robbie. Historic walls. Forward-thinking sounds. Lock in and let the music take you there.

Das könnte Wrestlemania 42 werden: Headlock präsentiert die große Show-Vorhersage für WWE Wrestlemania 42 - nach dem Royal Rumble. Das könnte Wrestlemania 42 werden: Headlock präsentiert die große Show-Vorhersage für WWE Wrestlemania 42 - nach dem Royal Rumble. In dieser Episode weisen wir außerdem auf die nächsten Shows von Sirius Sports Entertainment hin. Sirius bringt die Stars und die Action, ihr bringt die Stimmung. Seid also dabei! Sirius Metal Mayhem (featuring Macbeth), am 01. Mai 2026 - Erfurt, Central Club: Zum Ticketverkauf! Sirius Black & Pink, am 04. Juni 2026 - Frankfurt Zoo Gesellschaftshaus: Zum Ticketvorverkauf! Dir hat ...Dieser Podcast wird vermarktet von der Podcastbude.www.podcastbu.de - Full-Service-Podcast-Agentur - Konzeption, Produktion, Vermarktung, Distribution und Hosting.Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen?Dann schaue auf www.kostenlos-hosten.de und informiere dich.Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude.

Das könnte Wrestlemania 42 werden: Headlock präsentiert die große Show-Vorhersage für WWE Wrestlemania 42 - nach dem Royal Rumble. Das könnte Wrestlemania 42 werden: Headlock präsentiert die große Show-Vorhersage für WWE Wrestlemania 42 - nach dem Royal Rumble. In dieser Episode weisen wir außerdem auf die nächsten Shows von Sirius Sports Entertainment hin. Sirius bringt die Stars und die Action, ihr bringt die Stimmung. Seid also dabei! Sirius Metal Mayhem (featuring Macbeth), am 01. Mai 2026 - Erfurt, Central Club: Zum Ticketverkauf! Sirius Black & Pink, am 04. Juni 2026 - Frankfurt Zoo Gesellschaftshaus: Zum Ticketvorverkauf! Dir hat ...Dieser Podcast wird vermarktet von der Podcastbude.www.podcastbu.de - Full-Service-Podcast-Agentur - Konzeption, Produktion, Vermarktung, Distribution und Hosting.Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen?Dann schaue auf www.kostenlos-hosten.de und informiere dich.Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude.

Send us a textHOST (George):In Macbeth, evil rarely arrives waving a pitchfork; it arrives wearing a suit and offering a reasonable argument that elections are no longer necessary.That's how it works in public life—and it's how it works in this play.And Lady Macbeth is the clearest example.Here's the main idea of this episode.Lady Melania - I mean lady macbeth -doesn't begin as a monster. She begins as a person who treats conscience like a problem to solve.Let me say that again, because this is the entire episode:She doesn't argue that murder is good—she argues that hesitation is weak.Macbeth has brakes. Lady Macbeth calls the brakes “cowardice.”And I'll say it again—because repetition is the way understanding sticks:This episode is about how people talk themselves into the unthinkable by making it sound practical.We'll follow Lady Macbeth through five key stops:Act 1 Scene 5: she reads Macbeth's letter and decides to push.Act 1 Scene 7: she persuades Macbeth when he tries to back out.Act 2 Scene 2: the murder happens, and we see who can function in the moment.Support the showThank you for experiencing Celebrate Creativity.

Send us a textMacbeth does not become evil because he's confused. He becomes evil because he learns to call evil “reasonable.”Let me repeat that, because that's the whole episode:He starts using good logic for a bad purpose.That's how a smart person goes wrong.Shakespeare makes Macbeth understandable on purpose. He shows you the self-talk.We're picking up right after the witches in Act 1 Scene 3. Macbeth has heard “king hereafter,” and now his mind is buzzing.Then:Act 1 Scene 4: Duncan names Malcolm heir. This is the moment Macbeth stops thinking “maybe” and starts thinking “how.”Stars, hide your fires;Let not light see my black and deep desires.The eye wink at the hand, yet let that beWhich the eye fears, when it is done, to see.Act 1 Scene 5: Lady Macbeth reads Macbeth's letter and decides to push him.Only look up clear.To alter favor ever is to fear.Leave all the rest to me.Act 1 Scene 6: Duncan arrives at Macbeth's castle — and he's gracious. That matters. See, see our honored hostess!—The love that follows us sometime is our trouble,Which still we thank as love. Herein I teach youHow you shall bid God 'ild us for your painsAnd thank us for your trouble.Support the showThank you for experiencing Celebrate Creativity.

Stefan Molyneux digs into questions about what it means to exist, focusing on how to line up daily life with some sense of virtue and direction. He stresses the need for courage when pushing back against what society expects, and points out that being honest with yourself is key to real freedom. Drawing from a story about his own take on Macbeth, he unpacks the mess of moral choices and the inconsistencies in how society operates. Molyneux notes how conformity often gets rewarded, while ignoring your true voice leads to real drawbacks. In the end, he pushes for matching what you want with actions that hold moral weight, which can lead to stronger bonds with others and a deeper sense of satisfaction.GET FREEDOMAIN MERCH! https://shop.freedomain.com/SUBSCRIBE TO ME ON X! https://x.com/StefanMolyneuxFollow me on Youtube! https://www.youtube.com/@freedomain1GET MY NEW BOOK 'PEACEFUL PARENTING', THE INTERACTIVE PEACEFUL PARENTING AI, AND THE FULL AUDIOBOOK!https://peacefulparenting.com/Join the PREMIUM philosophy community on the web for free!Subscribers get 12 HOURS on the "Truth About the French Revolution," multiple interactive multi-lingual philosophy AIs trained on thousands of hours of my material - as well as AIs for Real-Time Relationships, Bitcoin, Peaceful Parenting, and Call-In Shows!You also receive private livestreams, HUNDREDS of exclusive premium shows, early release podcasts, the 22 Part History of Philosophers series and much more!See you soon!https://freedomain.locals.com/support/promo/UPB2025

FIND BBC LEARNING ENGLISH HERE: Visit our website ✔️ https://www.bbc.co.uk/learningenglish Follow us ✔️ https://www.bbc.co.uk/learningenglish/followusSUBSCRIBE TO OUR NEWSLETTER: ✔️ https://www.bbc.co.uk/learningenglish/newslettersLIKE PODCASTS? Try some of our other popular podcasts including: ✔️ 6 Minute English ✔️ Learning English from the News ✔️ Learning English ConversationsThey're all available by searching in your podcast app.

"Blessed are those who mourn, for they will be comforted." Matthew 5:4"Give sorrow words; the grief that does not speak whispers the o'er-fraught heart and bids it break,"  Shakespeare, Macbeth

Send us a textPeople call Macbeth a monster. But Shakespeare's trick is sharper than that: he shows you a man who can still choose—and then shows you the exact moment he starts outsourcing his choices to ambition, marriage, and prophecy.Macbeth—thane, hero, newly honored… and about to discover that wanting something is not the same as deserving it.Now to most of you in the United States, the word THANE might be unfamiliar. It simply means a basically a Scottish noble—a trusted local lord who holds land from the king and, in return, owes loyalty and military service.So when you hear “Macbeth, Thane of Glamis” (and later “Thane of Cawdor”), think:Title + job: a high-ranking lordPower base: he rules an area/estate for the kingObligation: he's expected to fight for the king and keep orderStatus: important, but below the king (not royalty)So you can think of “Thane” as “Lord.”Macbeth is Lord of Glamis, then gets promoted to Lord of Cawdor.In other words, “A thane is a king's landholding lord—part governor, part military commander.”The play begins with the three witches, and it just makes common sense to begin by interviewing them. Notice how the witches don't “force” Macbeth—but they weaponize suggestion: they speak in a way that makes Macbeth supply the missing steps. They plant a framework (“you are destined”), then let his ambition build the staircase.But first let me briefly quote from the very beginning of the play where the three witches - also known as weird sisters - speakFIRST WITCH When shall we three meet again?In thunder, lightning, or in rain?SECOND WITCH When the hurly-burly's done,When the battle's lost and won.THIRD WITCH That will be ere the set of sun.FIRST WITCH Where the place?SECOND WITCH  Upon the heath.THIRD WITCH There to meet with Macbeth.FIRST WITCH  I come, Graymalkin.SECOND WITCH  Paddock calls.THIRD WITCH  Anon.ALL Fair is foul, and foul is fair;Hover through the fog and filthy air.Support the showThank you for experiencing Celebrate Creativity.

Verdis Anti-Oper: „Macbeth“ hat keine Hits, keine Helden und erzählt keine Liebesgeschichte. Stattdessen folgen wir einem Polit-Promi-Paar, das seine Kinderlosigkeit mit Karriere kompensiert – und dabei über Leichen geht … Von Nick-Martin Sternitzke.

NB Apologies for the background noise in this episode which was due to a theatre light making a loud noise during the show. This episode (no. 79) was recorded at The Hill St Theatre in Edinburgh on 7th August 2025 as part of The Edinburgh Festival Fringe. The panellists were Luis Alcada, Liz Bains and Gwen Coburn. The host was Richard Pulsford. These are some of the On This Day topics we presented before going into some of the history of Edinburgh: - The first performance of Shakespeare's Macbeth, 7th August 1606 - Alleged spy, Mata Hari, born 7th August 1876 - Alice Ramsay completes her drive across America, 7th August 1909 - The 'Miracle Mile' race between Landy and Bannister, 7th August 1954 - Bruce Dickinson, born 7th August 1958 - Desert Shield ordered by George H.W. Bush, 7th August 1990

On 23 December last year, Rowling changed her Twixter home page header and cameo with this tweeted explanation:The Charm Bracelet header features thirteen charms on nine links:Rowling tweeted an addendum about the Psalter and Jack in the Box charms:Nick Jeffery dropped an explanatory post two days later at the Hogwarts Professor weblog: J. K. Rowling Drops All the Strike 9 Clues for Christmas! It remains the only complete survey of the pieces and compendium of what Serious Strikers around the world have discovered about them.Beatrice Groves, author of Literary Allusion in Harry Potter, wrote up her charm bracelet thoughts at ‘The Strike Ellacott Files' a month later. In ‘Charms, Psalms & Golden Clues: A brace(let) of clues for Strike 9,' Prof Groves discusses the magical quality of charms as talismans and even incantational song:Rowling points out in this 2013 piece the link between the name given to charm bracelets and the magical world: ‘Why do we call those little masterpieces “charms” if not in allusion to their talismanic properties?… they are personal amulets.' To charm someone is also to slightly to bewitch them, something Rowling plays with when Riddle exerts his charm on Ginny and literally possesses her: ‘If I say it myself, Harry, I've always been able to charm the people I needed.' Witch Weekly's Most-Charming-Smile Award is given to a smile that is both literally, as well as metaphorically, bewitching.The word ‘charm' comes, through French, from the Latin ‘carmen' which means ‘song, verse, oracular response, incantation.' Its first meaning in English, therefore, was the magical one: ‘the chanting or recitation of a verse supposed to possess magic power or occult influence; incantation, enchantment; hence, any action, process, verse, sentence, word, or material thing, credited with such properties; a magic spell; a talisman, etc.' (Oxford English Dictionary). From the sixteenth century onwards, ‘charm' meant ‘anything worn about the person to avert evil or ensure prosperity' because such amulets might contain the text of such a charm. And thinking about this made me aware for the first time of how in the most important charms in Harry Potter – the Fidelius Charm and the Patronus Charm – the word is not simply a synonym for spell but encodes this original, protective meaning. These magical ‘Charms' like the charms on charm bracelets encode what Rowling calls ‘talismanic properties.'Nick and John invited Elizabeth Baird Hardy, Deputy Headmistress of Hogwarts Professor, the genius behind AppalachianInkling.com, Hunger Games expert, and author of Milton, Spenser and the Chronicles of Narnia: Literary Sources for the C.S. Lewis Novels to talk about these charms, especially about what she had written briefly on the subject. The goals of this conversation? * To introduce the subject to everyone not familiar with the Christmas tweets and bracelet-header, * to discuss the ‘Why?' of this present to Strike fans everywhere, * to speculate about the meaning of the bracelet pieces individually and in a series, and * to brainstorm their qualities as clues for Strike9, the penultimate novel in the decalogy.Which is a lot! The good news is that the conversation never flagged and the revelations and possible meanings of the charms, thirteen in total on nine links, reward anyone listening in.Nick starts off the conversation with a review of the six charm bracelets in Rowling's life and writing, one of which was a long forgotten piece in the margins of a Rowling web site:[You can read about those internet ‘Easter Eggs' in ‘Hidden Photos at Rowling's Website' here, here, here, and here.]Nick offered as a guiding idea for our conversation the likelihood that the nine links in the bracelet were meaningful, i.e., that they reflected the structure of the book for which the bracelet is meant to be a clue. There are thirteen charms, he noted, but certainly Rowling-Galbraith could have had a thirteen link chain made if she hadn't thought the nine links more than sufficient, even a pointer to Strike 9 being a nine Part mystery. Since, as Nick noted, she has trouble even passing up a shop selling charms, it seems likely she has been collecting the pieces for this one for some time. Perhaps this bracelet is a “target” toward which she has been writing with these books. It is certainly not something she just threw together for a header photo shoot. The trio elected to read the circular collection of charms, consequently, as pieces with individual meaning — as magical talismans of sorts per Prof Groves — and as a ring composition, with both aspects indicating the place and meaning of the piece in the book.After a brief discussion of why Rowling, Inc., would release this set of clues now, with another Strike novel or Bronte Studios television adaptation in the distant future — John offered the possibility that this bit of fan servicing was meant as a touch of appeasement qua Christmas gift to the many fans disappointed with Hallmarked Man — Elizabeth, John, and Nick tackled the thirteen charms on nine links.In Part One of their conversation, they talk about * the heart shaped engagement ring box;* the golden diamond-laden egg;* the anchor;* the two angels; and * the Trojan horse.Their preliminary conclusions at the half-way point?Mrs. Murray in her Nativity gift to her readers offers them clues not only to the next Strike-Ellacott novel but to the meaning of human life. Each of these five charms is a symbol with obvious and not so obvious Christian meaning. John reconsidered his answer to the ‘Why now?' in light of this avalanche of symbolism; instead of it being fan servicing to rescue the brand, he thinks it may be Rowling's attempt — on the most celebrated remnant Christian holiday in a post-Christian world — to reset her serious readers' understanding of what she is about as a writer, what sort of transformation she is trying to create via story within her readers.Part two of this interpretative deep dive into Rowling's artistry in metallurgical symbolism, her “charm work” literary alchemy, will follow shortly. There are five links with seven charms to come — Jack in the Box, Hourglass, White Rose, Crocodile, Corvid, Psalter, and the Head of Persephone — all as rich in meaning as the first four links.Below are links to subjects mentioned in this first conversation and additions not discussed but discovered after the fact, all shared for your consideration and comments!Thank you as always from the Hogwarts Professor team for your joining us with special appreciation to our paid subscribers!Subjects that Elizabeth, Nick, and John Discussed: The Heart Shaped Engagement Ring Charm:* The first, fourth, fifth, and ninth links are clasped objects with surprises inside,* Ink Black Heart and Deathly Hallows: The Heart is Not About Emotions and Affection but the Human Spiritual Center (John, October 2022)* Hallmarked Man, Part Five: The Center of Strike 8 is about “Inner Light” (Ed Shardlow)* Gold as “solid light” and diamonds as “inner light,” both reflecting in nature the Light of God's Word or Logos that is found with in every man (cf., John 1:9 and Rowling's comments about Casual Vacancy being “all about” her belief that “the light of God shines in every soul”);* The consequent symbolism of a golden wedding/engagement band with two diamonds;* The human being as a ‘heart in a box' either enlightened ‘gold and diamonds' or a dark ‘jack in the box' devil* The two-stone ring, as Nick notes, is a “me and you” ring, alluding to a certain theme song. Also, Elizabeth notes, Robin is faced with a choice between two very different types of proposals, so the duality of the ring in the box connects to that conundrum, and since that is apparently where 9 will begin, it gives us a good idea that we are right in “reading” the bracelet starting with this oneThe Gold Diamond-Laden Egg Charm:* Assuming it is an ‘Easter Egg,' the two meanings of that phrase;* Again, ‘gold and diamonds,' as above; * Paschal meaning of Eggs: The custom of exchanging colored eggs entered the life of the Church. The symbolic meaning of the egg as the beginning of a new life was known even earlier. Christians saw in this symbol confirmation of their faith in the coming general resurrection. The Easter egg's red color symbolized the all-conquering Divine Love, which alone could destroy hell!The Foul-Anchor Charm:* ‘Strike 9 to Heads to Portsmouth!' (Nick, September 2025)* Foul Anchor (Wikipedia);* Eagle, Globe, and Anchor (Wikipedia);* Meaning of ‘Hector' in Homeric Greek is ‘Holding Fast,' and, by interpretation, ‘anchor;'* The Greek word for ‘Anchor' found in the New Testament is ἄγκυρα, pronounced ‘ang-chor-a;' * Hebrews 6:19:13 For when God made promise to Abraham, because he could swear by no greater, he sware by himself,14 Saying, Surely blessing I will bless thee, and multiplying I will multiply thee.15 And so, after he had patiently endured, he obtained the promise.16 For men verily swear by the greater: and an oath for confirmation is to them an end of all strife.17 Wherein God, willing more abundantly to shew unto the heirs of promise the immutability of his counsel, confirmed it by an oath:18 That by two immutable things, in which it was impossible for God to lie, we might have a strong consolation, who have fled for refuge to lay hold upon the hope set before us:19 Which hope we have as an anchor of the soul, both sure and stedfast, and which entereth into that within the veil;20 Whither the forerunner is for us entered, even Jesus, made an high priest for ever after the order of Melchisedec.* Meaning of "Anchor of the Soul" in Hebrews 6:19?The Immediate Context of Hebrews 6:13-20The writer reassures wavering Jewish Christians by citing God's oath to Abraham (Genesis 22:16-17). Two “unchangeable things” (God's promise and His oath, v. 18) make it “impossible for God to lie.” The “hope set before us” (v. 18) functions as an anchor that has already “entered … behind the curtain” (v. 19), where Jesus, our High Priest, intercedes (v. 20; cf. 4:14-16).Anchor as Hope: Theological Significance1. Objective, not subjective: “hope” (ἐλπίς) is grounded in the historical, bodily resurrection of Jesus (1 Corinthians 15:17-20).2. Already-but-not-yet: the anchor is cast forward into the heavenly holy of holies, securing believers' future inheritance (1 Peter 1:3-4) while exerting a present stabilizing pull.3. Firm and secure: βεβαία (reliable) and ἀσφαλής (incapable of slipping). The compound assures permanence beyond circumstantial change (Malachi 3:6).Christ Our Forerunner Behind the VeilThe anchor “enters” (εἰσερχόμενον, pres. tense) the inner sanctuary “behind the curtain,” alluding to the Day of Atonement (Leviticus 16). Jesus is πρόδρομος (“forerunner,” v. 20), implying that others will follow where He has gone (John 14:2-3). The anchor-rope is His indestructible life (Hebrews 7:16), tethering the believer to God's throne of grace.* Hence its use as a symbol within Christianity: Christ having defeated death is an anchor to those members of His Mystical Body which anchors them to life after death, “beyond the veil;”* The pairing of the anchor charm with the golden egg on the second link of the bracelet reinforces this Paschal symbolism;* Charles Williams' “Co-inherence” ideas: “Who Saved Draco's Soul?” Co-Inherence in Harry PotterThe Two Angels Charms (paired on Link three)* Cupid and Psyche? Maybe!* Angels? Ghosts?* Orlando drawings! A Silkworm flash-back to the Monkey-Bag with the essential clue inside…The Trojan Horse Charm* Trojan Horse (Wikipedia)In Greek mythology, the Trojan Horse (Greek: δούρειος ίππος, romanized: doureios hippos, lit. ‘wooden horse') was a wooden horse said to have been used by the Greeks during the Trojan War to enter the city of Troy and win the war. The Trojan Horse is not mentioned in Homer's Iliad, with the poem ending before the war is concluded, and it is only briefly mentioned in the Odyssey. It is described at length in the Aeneid, in which Virgil recounts how, after a fruitless ten-year siege, the Greeks constructed a huge wooden horse at the behest of Odysseus, and hid a select force of men inside, including Odysseus himself. The Greeks pretended to sail away, and the Trojans pulled the horse into their city as a victory trophy. That night, the Greek force crept out of the horse and opened the gates for the rest of the Greek army, which had sailed back under the cover of darkness. The Greeks entered and destroyed the city, ending the war.Metaphorically, a “Trojan horse” has come to mean any trick or stratagem that causes a target to invite a foe into a securely protected bastion or place. A malicious computer program that tricks users into willingly running it is also called a “Trojan horse“ or simply a “Trojan”.* Could the Strike Series be a Re-telling of Virgil's Aeneid? (John, July 2017)If Cormoran Strike's story is Rowling's postmodern re-telling of the Aeneid, then the Fates theme is more than apt.It is all about, after all, the hero's destiny or fate to recreate Troy in Italy as Rome, a fate which it is pointless for Aeneas to resist. The refugee from Troy, son of the goddess of beauty, is forced ever onward, often over-riding his preferences and pledges, to his destiny to found Rome as the New Troy. A soldier in an eastern country ‘coming home,' Aeneas is a wounded man, haunted by his divine mother, a man of destiny forced to leave a beautiful, powerful woman who curses him at his departure.Sound familiar? The Aeneid is a reverse reflection and re-telling of Homer's Iliad and Odyssey in that it's first six books are about the Trojan's travels and the last six relate his battles with the local tribes in Latium. It seems possible that Rowling might be trying to do with the Aeneid what she did with the Weird Sisters of Macbeth, namely, present what seems to be a tale of inevitability or fate, something prophesied or otherwise seemingly inescapable, as a function really of character choice.In the Peg-Legged PI's story that could mean Rowling's revisiting fate vs choice vis a vis whether he is able to choose to take-or-leave an investigation of Leda's death (and face the dangers inherent in threatening his biological father, Jonny Rokeby) or whether he feels doomed to follow it to its end, whatever the costs to him and to those he loves.* The Trojan Horse is the wisdom of Athene as given to Odysseus, her favorite. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit hogwartsprofessor.substack.com/subscribe

Send us a textA large National Council of Teachers of English teacher survey reported by Education Week lists Romeo and Juliet, Macbeth, and Hamlet among the most frequently assigned texts in U.S. And Folger Shakespeare Library notes its edition sales (a good “what schools buy” proxy) had Romeo and Juliet first, followed by Hamlet, Macbeth, then A Midsummer Night's Dream, Othello, and Julius Caesar.But before I start talking about British school subject matter, I better describe one certificate and one assessment of skills that are more or less standard in the United Kingdom.First, there is the GCSE or General Certificate of Secondary Education.It's the main set of school qualifications students typically take in England, Wales, and Northern Ireland, usually at age 15–16 (Year 11). Students take several subjects (like English, Math, Sciences, History, etc.), and the results are used for next steps such as A-levels or vocational courses.And then there is the AQA -  which stands for Assessment and Qualifications Alliance an exam board in England, Wales, and Northern Ireland that creates the syllabuses, sets the exams, and award qualifications for subjects such as English, History, Sciences, etc.).Now back to the Shakespearean plays most frequently studied in the United Kingdom.Most-studied in UK secondary schools - In the UK, the gravitational center is Macbeth—especially at GCSE level. A UK secondary teaching survey reports Macbeth as the most popular overall, and one study cited within the literature reports ~65% teaching it for GCSE (with Romeo and Juliet next).Exam boards also list Macbeth, Romeo and Juliet, The Tempest, The Merchant of Venice, Much Ado About Nothing, Julius Caesar and Twelfth Night.  12th night is sometimes add it to the list.So before I start going into some of the modern productions of Shakespeare's plays, I thought it might be more fun, as well as instructional, to go back and look at the originals.But first I'm going to give you what I hope is a simple timeline - about a minute - that roughly puts Romeo and Juliet into perspective date wise.Early 1590s: early blood-and-thunder tragedy + first big history hits (think Henry VI plays, Richard III).1594–1596: lively early comedies and experiments as his voice sharpens (e.g., Love's Labour's Lost, A Midsummer Night's Dream).c. 1594–1596: Romeo and Juliet (mid-1590s), one of his early breakthrough tragedies.1595–1596: Richard II (another key mid-1590s work).1596–1597: The Merchant of Venice (often placed around this period).1598–1599: Much Ado About Nothing (late-1590s “mature comedy”).1599–1600: Julius Caesar (turn-of-the-century political tragedy).1599–1601: Hamlet (written around this window; many place it at 1601).Early 1600s: the “big tragedy” period ramps up (including Macbeth, usually dated after James's 1603 accession).1610–1611: late “romance/magic” phase, including The Tempest and The Winter's Tale.1613: very late career work like Henry VIII.Support the showThank you for experiencing Celebrate Creativity.

Send us a textMr. Shakespeare, in our previous episode, you were talking about your life and your literary career.   Could you briefly remark on the uniqueness of Hamlet, Othello, King Lear, and Macbeth, as well as their importance to literature.ShakespeareNow I could not speak to this assemblage without addressing the subject of my play Hamlet. Many individuals have called it my greatest play. Here is a prince torn between revenge, morality, and his own inaction. With the simple, yet profound, words ‘To be, or not to be…,' I attempted to capture a question that has haunted humans for centuries: what does it mean to act, and what does it mean to live? In King Lear, I explored family, power, and madness, peeling back the layers of human pride and vulnerability. In Othello, I explored jealousy and how manipulation destroy trust, while in Macbeth I examined ambition, guilt, and the blurred lines between fate and choice. In each play, characters are no longer symbols or types—they are fully human, with thoughts, fears, and contradictions that mirror our own.To use a modern day analogy, this was like a musician dropping three platinum albums in twelve months. I wasn't just producing — I was redefining what theater could be.This is the run that still leaves critics amazed: the great tragedies. Between about 1600 and 1608, I wrote Hamlet, Othello, King Lear, and Macbeth.Mr. Shakespeare, could you specifically comment on your play Othello.Certainly. Othello (written in 1603–04), is a love story poisoned by jealousy. Add Iago, one of literature's great villains, and you have a play that feels chillingly modern. In Othello, jealousy and manipulation take center stage.  I understand that in the character of Iago, you make an excellent comment on the subject of jealousy.Yes, Iago warns in the play, ‘O, beware, my lord, of jealousy; it is the green-eyed monster which doth mock the meat it feeds on.' With just a few words, I tried to capture the destructive power of envy and the ease with which human trust can be undone.That is very well said. Could you go on in the same vein.It is the cause, it is the cause, my soul,Let me not name it to you, you chaste stars!It is the cause. Yet I'll not shed her blood;Nor scar that whiter skin of hers than snow,And smooth as monumental alabaster.Yet she must die, else she'll betray more men.Put out the light, and then put out the light:If I quench thee, thou flaming minister,I can again thy former light restore,Should I repent me: but once put out thy light,Thou cunning'st pattern of excelling nature,I know not where is that Promethean heatThat can thy light relume. When I have pluck'd the rose,I cannot give it vital growth again.It must needs wither: I'll smell it on the tree.Ah balmy breath, that dost almost persuadeJustice to break her sword! One more, one more.Be thus when thou art dead, and I will kill thee,And love thee after. One more, and this the last:So sweet was ne'er so fatal. I must weep,But they are cruel tears: this sorrow's heavenly;It strikes where it doth love.Support the showThank you for experiencing Celebrate Creativity.

Macbeth - Shakespeares düstere Parabel über Gewaltherrschaft - wird in Konstanz von Regisseur Abdullah Maria Karaca in der Fassung des Dramatikers Heiner Müller inszeniert, die er Anfang der 1970er Jahre unter dem Eindruck von den grausamen Diktatoren des 20. Jahrhunderts geschrieben hat. Abdullah Maria Karaca setzt die Brutalität dieses Stoffes szenisch nicht mit blutigem Gemetzel um, sondern legt seinen Fokus auf die Innenwelt der Figuren, auf deren Gedanken und Konflikte.

Send us a textLubaaba Al‑Azami discusses her book, Travellers in the Golden Realm: How Mughal India Connected England to the World For a complete episode transcript, http://www.womenandshakespeare.comLubaaba's Book: https://www.hachette.co.uk/titles/lubaaba-al-azami/travellers-in-the-golden-realm/9781529371321/Interviewer: Varsha PanjwaniGuest: Lubaaba Al‑AzamiProducer: Yu-Kuan Miao Transcript: Benjamin PooreArtwork: Wenqi WanSuggested Citation:  Al‑Azami, Lubaaba in conversation with Panjwani, Varsha (2026). Lubaaba Al‑Azami on Travel and Exchanges between India and England. Women & Shakespeare [podcast], Series 6, Ep.3. http://womenandshakespeare.com/Insta: earlymoderndocEmail: earlymoderndoc@gmail.com

Synopsis What exactly is authority? Where does it come from? How do you get it? Can you move authority from St. Paul, MN to the south side of Chicago? Join Em and Jesse for a wide-ranging chat on the subject. Notes 1/ Of course, many people in addition to women have a hard time getting others (i.e. non-group members) to pay attention to their authority. For example, trans and nonbinary people have a hard time getting anyone to listen to them speaking about their own lived experiences. 2/ I’ve published four novels and a novella since this was recorded, and people actually do think I’m an authority on some topics for some reason. 3/ The story about Aristotle’s phony translators comes from here, I think: https://historyofphilosophy.net/translation-movement Pseudopigrapha: from pseudo, false, and epigraphe, name or inscription. A falsely attributed text. U of Michigan’s Galileo text: “After an internal investigation of the findings of Nick Wilding, professor of history at Georgia State University, the library has concluded that its “Galileo manuscript” is in fact a 20th-century forgery. We’re grateful to Professor Wilding for sharing his findings, and are now working to reconsider the manuscript’s role in our collection.” Also, “Wilding concluded that our Galileo manuscript is a 20th-century fake executed by the well-known forger Tobia Nicotra.” (The quotes are from the linked website.) 4/ According to the Virginia Woolf society, the actual quote is: “I would venture to guess that Anon, who wrote so many poems without signing them, was often a woman.” (From ch 3 of A Room of One’s Own.) Pseudo-Dionysius the Areopagite (5th/6th century CE)) Pseudo-Pseduo-Dionysius is anyone once thought to be Pseudo-Dionysius but now recognized (by modern scholars) to be someone other than Pseudo-Dionysius. Confused? 5/ Pseudo-Bonaventure (14th century CE) wrote Meditations on the Life of Christ. 6/ I’ve become a bit more familiar with copyright law in the three years(!) since we recorded this, since I’ve published three going on four books of my own since then. A really good example of a point I think past Em is trying to make is Sherlock Holmes, who has recently passed into public domain. He’s a neat character and everyone wanted to play with him (look at the adaptations of recent memory: the Robert Downey Jr. films, the BBC’s Sherlock, the American Elementary). But because of copyright law, this was fairly difficult and confusing until very recently, despite the character’s creator having been dead since 1930. These cases raise many questions of authorship vs ownership and how long someone should really be able to make money on an idea. (Patent Law is, if anything, worse, from what I understand.) 7/ It was a photograph of Prince! Since we recorded this, the Supreme Court sided against Andy Warhol’s estate: https://www.npr.org/2023/05/18/1176881182/supreme-court-sides-against-andy-warhol-foundation-in-copyright-infringement-cas Girl Talk is awesome: https://www.youtube.com/watch?v=kSoTN8suQ1o I mention him because there was a really good documentary about copyright called RiP! A Remix Manifesto that discussed his work (including a discussion of it with the head of the copyright office of the Library of Congress). 8/ Just to clarify, “fair use” is kind of a complicated issue. When you are a non-commercial educational podcast (ahem), you can use things (like samples of YouTube performances) without having to pay licensing fees. You can also fairly quote sections of things for criticism, news reporting, and research. You can therefore quote lines from songs or poems in textbooks, but not in novels because they aren’t considered teaching. Parody (hello, Weird Al!) can be a weird gray area, because a parody obviously has to be somewhat transformative but still retain enough of a likeness that people will know what you’re parodying, and on this question hangs a lot of lawsuits. (Not toward Weird Al though, as far as I know. But Margaret Mitchell’s estate did try to sue to block the publication of The Wind Done Gone.) See also: Why does Ulysses (in Em’s novels) wear so many band T-shirts and occasionally mention songs and artists, but there are zero song lyrics in the books? Because you can’t copyright band names or album/song titles. Steamboat Willie has actually entered public domain since we recorded this! [So amazing!–Jesse] Peter Pan actually first appeared in 1902! Also, sorry, “Peter Pan is a psychopomp” is somehow not a sentence I had on my bingo card. I guess it has lost a bit in its translation to the screen… On the plus side, SIDS rates have dropped dramatically since 1902? “I can rewrite Macbeth if I want to.” Or a really complex riff on The Bacchae? Em of 2022 did not know what was coming, lol. 9/ Notably, Spivak also quotes primarily women. The episode on Hrotsvit: Episode 22 10/ For more on Juliana of Cornillion and the Feast of Corpus Christi, see Episode 6. 11/ Wife of Bath’s Prologue and Tale are HERE. (Also, Chaucer was not, as far as we know, toxic like Joss Whedon!) 12/ Incidentally, violent, in-the-moment reactions to mistreatment by another person are called reactive abuse, and they’re often used by abusers to shift the blame onto their victims. If you are being abused or wondering if you are and want to talk to someone, check out the National Domestic Violence Hotline (https://www.thehotline.org/), or look for local programs. Here in Madison, for instance, we have Domestic Abuse Intervention Services (https://abuseintervention.org/).

Fully & Completely: ReduxEpisode 103— Road Apples (1991)A presentation of The Tragically Hip Podcast SeriesHosted by jD and Greg LeGrosIf Up to Here was the sound of a band kicking the barroom doors open, Road Apples is what happens when they walk in knowing the room already belongs to them.Released in February 1991, this record lands right in the middle of a cultural earthquake — Nevermind, Ten, The Black Album, Out of Time, Loveless, Blood Sugar Sex Magik. Rock music is shedding its hairspray, sharpening its teeth, and looking for something that feels real again.And here come The Tragically Hip — louder, darker, more confident, and somehow more mysterious than ever.In this episode of Fully & Completely: Redux, jD and Greg LeGros dig into Road Apples as the moment where the band perfects their bar-band bravado — and then quietly starts planning their escape from it. Produced once again by Don Smith, recorded largely live off the floor, this album sounds like five guys in a room who trust each other completely… and aren't afraid to push.We talk about:Why 1991 might be the most important year in modern musicRoad Apples as the band's first true leap — not just forward, but outwardThe brilliance of Little Bones as an all-time album openerGord Downie's emerging lyrical mythos — cab drivers, King Lear, Macbeth, and prison-yard staresHow Cordelia and The Luxury reveal a darker, more literary HipWhy Long Time Running becomes one of the band's first truly communal songsThe quiet devastation of Fiddler's GreenAnd how Last of the Unplucked Gems gently closes the door on one era… and opens anotherThis is the album where the confidence hardens, the writing deepens, and the band stops sounding like anyone else. The last gasp of their blues-rock skin — and the first clear signal that something bigger is coming.School's still in session.And things are starting to get interesting.Support this podcast at — https://redcircle.com/tthtop40/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Isn't Carrotty Bess great?Topics in this episode include why Stephen compares Shakespeare to Shylock, Shakespeare's father John Shakespeare and his many business ventures, his legal troubles caused by some of those business ventures, Shakespeare's corn-hoarding during a famine, the irony of Irish Nationalists being devoted to Shakespeare, Shakespeare's role in providing propaganda for Britain's colonial project, Mr. Deasy's thoughts on Shakespeare, Chettle Falstaff, the time Shakespeare sued a guy over some malt, how The Merchant of Venice stoked Elizabethan antisemitism, plays that Shakespeare wrote to please various monarchs, James I and Macbeth, political propaganda found in Shakespeare's comedies, and why Stephen's point-of-view as an Irish person alters his interpretation of Shakespeare.Support us on Patreon to get episodes early, and to access bonus content and a video version of our podcast. On the Blog:Decoding Dedalus: He drew Shylock out of his own long pocket.Blooms & Barnacles Social Media:Facebook | BlueSky | InstagramSubscribe to Blooms & Barnacles:Apple Podcasts | Spotify | YouTube

The Decade Project is an ongoing One Heat Minute Productions Patreon exclusive podcast looking back at the films released ten years ago to reflect on what continues to resonate and what's ripe for rediscovery. The third year being released on the main podcast feed is the films of 2015. To hear a fantastic chorus of guests and I unpack the films of 2016 in 2026, subscribe to our Patreon here for as little as $1 a month. In the latest episode, I talk with my very talented and insightful friend, the brilliant Chicago-based entertainment journalist Isaac Feldberg, about Justin Kurzel's career long examination of wounded masculinity and violence, through MACBETH.Isaac FeldbergIsaac Feldberg is an entertainment journalist currently based in Chicago, who's been writing professionally for nine years and hopes to stay at it for a few more. On a typical evening, he sits down to surf the Criterion Channel and ends up, inevitably, on Shudder. You can find him on Twitter at @isaacfeldberg.One Heat Minute ProductionsWEBSITE: oneheatminute.comTWITTER: @OneBlakeMinute & @OHMPodsMERCH: https://www.teepublic.com/en-au/stores/one-heat-minute-productionsSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

When Shakespeare called the sisters in Macbeth "weird," he did not mean what we mean by the word today. In early modern England, "weird" carried deep associations with fate, prophecy, and supernatural power—ideas rooted in classical mythology, medieval folklore, and Renaissance belief. In this episode of That Shakespeare Life, we explore what "weird" really meant in the 16th and early 17th centuries, and how that meaning reshapes our understanding of one of Shakespeare's most famous groups of characters. Joining me are Dr. Anne-Maree Wicks and Professor Laurie Johnson, co-authors of Weird Shakespeare: The Weird Sisters and Macbeth, whose research traces the shifting language, textual history, and performance traditions surrounding Macbeth's enigmatic sisters. Together, we examine why Shakespeare never actually uses the phrase "weird sisters" in the play itself, how early spellings like weyward complicate modern interpretations, and when editors began standardizing the word as "weird." We also explore whether these figures may originally have been understood as fairies or nymphs rather than witches—and how later historical events, including witch trials and changing beliefs about the supernatural, shaped how audiences came to see them. This conversation invites us to step back into Shakespeare's world, where language was fluid, meanings were unstable, and the boundary between fate, folklore, and fear was anything but clear.

Macbeth

We pitch a sequel to Macbeth in which Matt finally figures out how to spell the place where Macbeth lives. Most of this though, is us critiquing Star Trek movies. So do stick around for that too.

Guest host this week, Andrew Waller, host of Breaking The TethersPlaylist: Etran De L'Aïr - ImouhaHoward Roberts - Unfolding inDory Hayley - Scenes from MacBeth, I. wyrd sistersBlack Sabbath - Wishing wellCepheidae Variable - OvertureJeff Tweedy - Amar BharatiPassport - Get yourself a second passportChristina Ruf - Joint written in the marginalia of timePot pourri - Beat raveTeejay Riedl - Sombre reptilesKrakhouse - We go blam blamAmnesiac Quartet - BodysnatchersRichard Leo Johnson - Bob PeanutGladhanding - Slow cook cold shoulderPhil Miller, In Cahoots - Big DickBlue Oyster Cult - Teen archerPentangle - The snowsWarren Zevon - Reconsider meThe Kasambwe Brothers - Langizani mwachikondiMahavishnu Orchestra - Lila's dancekitschmonger - Regression toward the meanEngrupid Pipol - Inspireichon burn

Luke is concerned that he accidentally bought a legit gun on TikTok. Now he's waiting to see what shows up. Plus, a listener in Scotland explains the origins of the supposed curse of MacBeth. And Andrew had a dream about a banana, but it's not what you think. 

This year's seasonal offering takes the form of a voyage, exploring resonances inspired by the carol "I Saw Three Ships". Today, for Episode 01, we explore the fascinating mythology of The Tiger, which appeared in an earlier episode during our exploration of Macbeth. Seasons greetings to you!

From bomb sites in postwar Birmingham to the centre of British stage and screen, Martin Shaw's life has been shaped by curiosity, kindness and a refusal to play the part he was expected to play.In this episode of Full Disclosure, James O'Brien sits down with one of Britain's most enduring actors to trace the journey behind the performances. Shaw reflects on growing up with parents marked by war and frustration, discovering storytelling at school, and the teachers who unlocked a sense of freedom, confidence and purpose. He talks about leaving security behind for drama school, confronting imposter syndrome, and the moment he realised that great acting is not about showing off but about listening.The conversation moves through a remarkable career. From early theatre work and transformative mentors, to working with Roman Polanski on Macbeth, sharing kitchens with Anthony Hopkins, and navigating the highs and costs of fame after The Professionals. Shaw speaks candidly about alcohol, masculinity, spiritual searching and the quiet anger that can linger beneath success. He also explains why kindness on set matters to him, how one encounter with a fan reframed his view of his own work, and why the stage has always remained his creative home.

Tune in to hear:What does Swiss-born British author Alain de Botton have to say about Macbeth's cynical soliloquy on the brevity and meaningless of life? Why does he state that despair and hope are two sides of the same coin?How does storytelling make a truth durable in our minds by linking an idea to an ego?Why is our internal dialogue one of the most important stories that we tell? How can we go about making it a more productive dialogue and less self-depricating?How can Albert Ellis' “ABC Model” help us counteract irrational thoughts and cognitive distortions?What is an exercise you can work through to help correct detrimental self-speak?What is The Significant Objects Project and what can it teach us about the importance of narrative as it relates to valuation?LinksThe Soul of WealthOrion's Market Volatility PortalConnect with UsMeet Dr. Daniel CrosbyCheck Out All of Orion's PodcastsPower Your Growth with OrionCompliance Code: 3328-U-25338

F. Murray Abraham has appeared in more than 80 films including Amadeus (Academy Award, Golden Globe, and L.A. Film Critics Awards), The Phoenician Scheme, The Name of the Rose, Finding Forrester, Scarface, The Ritz, The Grand Budapest Hotel, and Inside Llewyn Davis. A veteran of the stage, he has appeared in more than 90 plays, among them Uncle Vanya (Obie Award), Krapp's Last Tape, Trumbo, A Christmas Carol, the musical Triumph of Love, Cyrano de Bergerac, King Lear, Macbeth, The Merchant of Venice, Angels in America (Broadway), Waiting for Godot, and It's Only a Play. Mr. Abraham's work in experimental theater includes collaborations with Joe Chaiken, Pina Bausch, Time and Space Ltd, and Richard Foreman. He made his NY debut as a Macy's Santa Claus. He starred in the second season of HBO's “The White Lotus,” for which he received Emmy and Golden Globe nominations for Outstanding Supporting Actor in a Drama Series. Previously, he was a series regular on “Homeland” (2 Emmy nominations). He's appeared with Luciano Pavarotti, Maestros Levine, Tilson Thomas, Mazur, and Bell, and he made his solo singing debut at Carnegie Hall's Weill Recital Hall. Mr. Abraham's book, A Midsummer Night's Dream: Actors on Shakespeare, is published by Faber & Faber. He is proud to be the spokesman for the MultiFaith Alliance for refugees worldwide. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode, Graeme talks us through a framework in which we can experience Macbeth (you know, that Scottish play). Turns out that when you kill a Scottish king, everything goes topsy turvy.

History has not graced us with many details about Shakespeare as a person, but we do know that he and his wife had three children, including a son named Hamnet who died at the age of 11 in 1596, four years before Shakespeare went on to write his great tragedy “Hamlet.”Maggie O'Farrell's novel “Hamnet” — one of the Book Review's 10 Best Books of 2020, and the source of Chloé Zhao's new movie of the same name — starts from those scant facts, and spins them into a powerful story of grief, art and family steeped in the textures of late-16th-century life.In this episode of the Book Review Book Club, host MJ Franklin discusses “Hamnet” with his colleagues Leah Greenblatt, Jennifer Harlan and Sarah Lyall. Other works mentioned in this podcast:“Hamlet,” “King Lear,” “Macbeth,” “The Winter's Tale,” by William Shakespeare“Little Women,” by Louisa May Alcott“Grief Is the Thing With Feathers,” by Max Porter“Lincoln in the Bardo,” by George Saunders“Fi,” by Alexandra Fuller“Things In Nature Merely Grow,” by Yiyun Li“The Accidental Tourist,” by Anne Tyler“Will in the World” and “Dark Renaissance,” by Stephen Greenblatt“Gabriel,” by Edward Hirsch“Once More We Saw Stars,” by Jayson Greene“The Dutch House,” by Ann Patchett Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app.

You can't say “Macbeth” in a theater, but you can certainly say it on a podcast! Dana Schwartz joins us (in her third Blank Check appearance on a witch-centered film) to talk about Joel Coen's The Tragedy of Macbeth, the first solo-directorial effort from a Coen Brother after their amicable split. We're debating the success of Frances McDormand and Denzel Washington's performances, learning about the history of Scottish kings, and discovering Ben Hosley's family crest in the first Blank Check episode devoted to a work of Shakespeare. Trust us, this isn't homework. It's fun! Listen to Noble Blood Listen to Hoax  Read Anatomy A Love Story Pre-order The Arcane Arts Read If Roast Beef Could Fly Check out Forbidden Planet Watch Jefferson Mays' A Christmas Carol Sign up for Check Book, the Blank Check newsletter featuring even more “real nerdy shit” to feed your pop culture obsession. Dossier excerpts, film biz AND burger reports, and even more exclusive content you won't want to miss out on. Join our Patreon for franchise commentaries and bonus episodes. Follow us @blankcheckpod on Twitter, Instagram, Threads and Facebook!  Buy some real nerdy merch Connect with other Blankies on our Reddit or Discord For anything else, check out BlankCheckPod.com Learn more about your ad choices. Visit megaphone.fm/adchoices