Podcasts about Macbeth

Bookwaves/Artwaves is produced and hosted by Richard Wolinsky. Links to assorted local theater & book venues   Jack Arnold (1916-1992). Film Director (“Creature from the Black Lagoon” et al), 1980 Jack Arnold, who died at the age of 75 in 1992, was the 1950s master of the science fiction film. Among the films he directed were It Came From Outer Space, The Creature from the Black Lagoon, Revenge of the Creature, Tarantula, and The Incredible Shrinking Man. The Probabilities crew – Richard A. Lupoff, Lawrence Davidson and Richard Wolinsky – received a small stipend from a science fiction convention and flew to Los Angeles to interview Jack Arnold in his office at Universal Studios. The interview is undated but was recorded in around 1980, give or take a year. It Came from Outer Space, along with two film noirs, were released  in 1953, Creature from the Black Lagoon in 1954 and Revenge of the Creature in 1955. The first western, The Man from Bitter Ridge along with Tarantula and his work on This Island Earth also came from 1955. The rest of the westerns, along with The Incredible Shrinking Man and the Peter Sellers classic The Mouse That Roared, came between 1956 and 1959. After that, he directed a couple more A pictures, as he called them, but his primary work moved to television, and from then until his retirement in 1984, he was constantly working on projects for the small screen, interspersed with the occasional film. Remastered and re-edited by Richard Wolinsky in July 2021. Complete Interview     Book Interview/Events and Theatre Links Note: Shows may unexpectedly close early or be postponed due to actors' positive COVID tests. Check the venue for closures, ticket refunds, and mask requirements before arrival. Dates are in-theater performances unless otherwise noted. Some venues operate Tuesday – Sunday; others for shorter periods each week. All times Pacific Time. Closing dates are sometimes extended. Book Stores Bay Area Book Festival  See website for highlights from the 110th Annual Bay Area Book Festival, May 31 – June 1, 2025. Book Passage.  Monthly Calendar. Mix of on-line and in-store events. Books Inc.  Mix of on-line and in-store events. The Booksmith.  Monthly Event Calendar. BookShop West Portal. Monthly Event Calendar. Center for Literary Arts, San Jose. See website for Book Club guests in upcoming months. Green Apple Books. Events calendar. Kepler's Books  On-line Refresh the Page program listings. Live Theater Companies Actors Ensemble of Berkeley.  See website for readings and events. Actor's Reading Collective (ARC).  See website for upcoming productions. African American Art & Culture Complex. See website for calendar. American Conservatory Theatre A Streetcar Named Desire by Tennessee Williams, Jan. 21 – Feb. 1, 2026, Toni Rembe (Geary). Paranormal Activity, Feb. 19 – March 15, Toni Rembe. Awesome Theatre Company. See website for information. Berkeley Playhouse. Once, February 20 – March 22.  Berkeley Rep. An Evening with David Sedaris, .Jan. 3 – 11, Roda Theatre. Berkeley Shakespeare Company See website for upcoming productions. Brava Theatre Center: See calendar for events listings. BroadwaySF: The Book of Mormon, Jan. 13 – Feb. 1. See website for complete listings for the Orpheum, Golden Gate and Curran Theaters. Broadway San Jose:  A Beautiful Noise, December 30 – January 4. See website for other events. Center REP: Lost in Yonkers by Neil Simon, March 29 – April 19. Central Stage. See website for upcoming productions, 5221 Central Avenue, Richmond Central Works After Happy by Patricia Milton, Feb. 28 – March 29. Cinnabar Theatre. My Fair Lady, January 23 – February 8, 2026. Club Fugazi. Dear San Francisco ongoing. Check website for Music Mondays listings. Contra Costa Civic Theatre A Chorus Line, June 6 – 21 See website for other events and concerts. Golden Thread  See website for upcoming productions. Hillbarn Theatre: What the Constitution Means to Me by Heidi Schreck, January 22 – February 8. Lorraine Hansberry Theatre. See website for upcoming productions. Los Altos Stage Company. Yoga Play by Dipika Guha. January 22 – February 15.. Lower Bottom Playaz  See website for upcoming productions. Magic Theatre. Macbeth, a new version by Migdalia Cruz. March 18 – April 5. Marin Shakespeare Company: Let The Wind Sweep Through: A Conference of Birds, Feb. 6-15. See website for schedule. Marin Theatre: The Cherry Orchard by Anton Chekhov Jan . 29 – Feb. 22, 2026. Mission Cultural Center for Latino Arts Upcoming Events Page. New Conservatory Theatre Center (NCTC)  Ruthless,  Dec. 5 – January 11, 2026. New Performance Traditions.  See website for upcoming schedule Oakland Theater Project. See website for upcoming 2026 season. Odd Salon: Upcoming events in San Francisco & New York, and streaming. Palace of Fine Arts Theater.  See website for event listings. Pear Theater. My Fair Lady, Feb 20 – March 8. See website for staged readings and other events. Playful People Productions. Next production: The Play That Goes Wrong. Presidio Theatre. See website for complete schedule of events and performances. The Children's Theatre Association of San Francisco (CTA) presents Once Upon a Mattress, January 24 – February 28, Ray of Light: Mean Girls. May 2026. Ross Valley Players: See website for New Works Sunday night readings and other events. San Francisco Playhouse. Into the Woods. November 30 – January 17, 2026. SFBATCO.  See website for upcoming streaming and in- theater shows. San Jose Stage Company: See website for events and upcoming season Shotgun Players.  Sunday in the Park with George, November 15 – January 31. South Bay Musical Theatre:  Little Women, The Broadway Musical, January 24 – February 14, 2026. SPARC: See website for upcoming events. Stagebridge: See website for events and productions. Storytime every 4th Saturday. The Breath Project. Streaming archive. The Marsh: Calendar listings for Berkeley, San Francisco and Marshstream. Theatre Lunatico  See website for upcoming productions.. Theatre Rhino  Left Field, written and directed by John Fisher, February 19 – March 15. Streaming: Essential Services Project, conceived and performed by John Fisher, all weekly performances now available on demand. TheatreWorks Silicon Valley Hershey Felder: The Piano and Me, January 17 – February 8, Mountain View Center for the Performing Arts. Primary Trust by Eboni Booth, March 4 – 29, Lucie Stern Theatre, Palo Alto. Word for Word.  See website for upcoming productions. Misc. Listings: BAMPFA: On View calendar for Berkeley Art Museum and Pacific Film Archive. Berkeley Symphony: See website for listings. Chamber Music San Francisco: Calendar, 2025 Season. Dance Mission Theatre. On stage events calendar. Fort Mason Center. Events calendar. Oregon Shakespeare Festival: Calendar listings and upcoming shows. San Francisco Gay Men's Chorus. See schedule for upcoming SFGMC performances. San Francisco Opera. Calendar listings. San Francisco Symphony. Calendar listings. Filmed Live Musicals: Searchable database of all filmed live musicals, podcast, blog. If you'd like to add your bookstore or theater venue to this list, please write Richard@kpfa.org   . The post Bookwaves/Artwaves – January 1, 2026: The Probabilities Archive. Jack Arnold (1916-1992), Science Fiction Film Director appeared first on KPFA.

Esta novela es una parodia/homenaje más o menos descarado al Macbeth de Shakespeare. Y trata sobre el poder de la creencia y, por tanto, del teatro. Y es divertidísima, aunque no haga falta decirlo.

Esta novela es una parodia/homenaje más o menos descarado al Macbeth de Shakespeare. Y trata sobre el poder de la creencia y, por tanto, del teatro. Y es divertidísima, aunque no haga falta decirlo.

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.

Denzember continues with Culture Kitsch host Bobbi Miller joining us to discuss Kenneth Branagh's 1993 Shakespeare adaptation Much Ado About Nothing. Following his successful Henry V adaptation, Branagh returned to Shakespeare for a much airier, light-hearted affair, fashioning the classic play into an immensely pleasurable studio romantic comedy while preserving the spirit and (more importantly) the language of Much Ado..., assembling a showstopper ensemble led by Branagh, Emma Thompson, Michael Keaton, Keanu Reeves, and Denzel as Don Pedro of Aragon, nearly 30 years before he would take on The Tragedy of Macbeth.  We begin with a discussion of Branagh's formal tendencies, how his maximalism works for the genre, and illuminate his underremarked upon technical prowess. Then, we discuss what Branagh's Much Ado...  preserves from Shakespeare's stage, what it omits, and how these ommissions speak to the film's position as an End of History artifact interested in reifying traditional family values centered around monogamous, heterosexual couplings. Finally, we discuss how Denzel's Don Pedro is utliized narratively and thematically in the film, and how Denzel's movie star persona and race factor into our perception of the character. Follow Bobbi Miller on Twitter.Watch and Subscribe to Culture Kitsch on YouTube.Get access to the whole Denzember experience, all of our premium episodes and bonus content, and an invite to the Hit Factory Discord by becoming a Hit Factory Patron for just $5/month.....Our Denzember Theme Song is "Funk" by Oppo

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Scott's back this week! Hence the slightly crap episode title. Because he's Scottish. And MacBeth is the Scottish play. And there's a song called Return of the Mack. It's very witty (the pun, not the song).Anyway, the team discuss; new kids including some Christmas ones and Puma's international drop, the next Hall of Fame entry AND whether Salah will ever play for Liverpool again (please note this episoide was recorded before Salah did indeed play for Liverpool again).

Dans le 213e épisode du podcast Le bulleur, je vous présente Kennedy[S], album que l'on doit au scénario de Philippe Pelaez et au dessin de Bernard Khattou, un ouvrage édité chez Glénat. Cette semaine aussi, je reviens sur l'actualité de la bande dessinée et des sorties avec :- La sortie de Weekly dans la série Blacksad stories, un titre que l'on doit au scénario de Juan Diaz Canales, au dessin de Giovanni Rigano et le tout est publié chez Dargaud- La sortie de l'album Le mètre des Caraïbes que ‘son doit au scénario de Wilfrid Lupano, au dessin de Léonard Chemineau et c'est édité chez Dargaud- La sortie de Signé Coco, compilation de dessin de presse de l'autrice Coco que publient Les arènes BD- La sortie de l'album Macbeth, adaptation de la pièce de théâtre de Shakespeare que signe les frères Paul et Gaëtan Brizzi pour un album sorti chez Daniel Maghen- La sortie de l'album Le démon des grands lacs où Alain Ayroles au scénario et Richard Guérineau au dessin concluent le premier cycle de la série L'ombre des lumières, une troisième partie qui, comme les deux autres, est publiée chez Delcourt- La réédition des tomes 3 et 4 du Château des étoiles dans un album au grand format, une histoire signée Alex Alice pour une série publié chez Rue de SèvresGénérique musical : Kevin MacLeod « Inspired »

Early screenings of Chloé Zhao's Hamnet had critics weeping in the aisles Host Alex Heeney left it dry-eyed — and so did her guest, Angelo Muredda. We're Shakespeare fans, long-time film critics, and not exactly immune to a good cry — so in this episode, we try to figure out why the film didn't land. We dig into what works in the film (a short list) and what doesn't (a longer one), where the adaptation of Maggie O'Farrell's novel went awry, and whether having read a synopsis of Hamlet on Wikipedia might actually impede your enjoyment of the film.

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

Hey everybody! This week we are discussing Akira Kurosawa's adaptation of Macbeth, Throne Of Blood (1957). Listen as we breakdown this unique perspective on the Shakespeare classic that balances the true nature of the story while placing it in a new cultural and historical context. Enjoy!

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

G. MACBETH & SHOEBOX PROPER - ELEVATORS (prod. by Kurlee Daddee Productions) by Kurlee Daddee Productions

On this week's episode we get a different twist on a classic Shakespeare tale. Matt Poirier from Direct to Video Connoisseur joins us to discuss the 2001 take on Macbeth...Scotland, PA. We also have our movie recommendations and our trivia game. 

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.

El timbre fosc de Renato Bruson l'ha fet l'int

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.

Renowned director and teacher CARL COFIELD — Chair of the NYU Grad Acting Program and Associate Artistic Director of the Classical Theatre of Harlem — joins host Nathan Winkelstein for a deep dive into how a director approaches the tragedy of Macbeth. Cofield recites the iconic “Tomorrow, and tomorrow, and tomorrow” speech from Act V, Scene 5 and they discuss his text-driven vision, his take on Macbeth and Lady Macbeth's complex dynamic, and how personal experience shapes artistic interpretation. 

Oggi a Cult, il quotidiano culturale di Radio Popolare: Riccardo Chailly dirige e Vasily Barkhatov firma la regia di "Una lady Macbeth nel distretto di Mcensk" che inaugura la stagione del Teatro alla Scala il prossimo 7 dicembre; il sindaco di Lecco Marco Gattinoni introduce la riapertura del Teatro della Società; La Fura dels Baus torna a Milano con "SONS Ser o no ser" ispirato all'Amelto di Shakespeare, alla Fabbrica del Vapore; la rubrica di lirica a cura di Giovanni Chiodi; la Libreria Verso di Milano festeggia i suoi primi 10 anni...

The murder of MacDuff's family. MacDuff persuades Malcolm to return from England with English forces. Lady Macbeth sleepwalks, washing her hands. Birnam Wood comes to Dunsinane. Macbeth goes down fighting. Can Macbeth be called heroic, or is he merely a “dead butcher”? We admire ambitious men who trample all obstacles in their path, including other people, don't we? A play for our time.

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

This missions-focused panel emphasizes that God has written Himself into humanity's story through Christ, and now the church is called to help others discover this truth. Using C.S. Lewis's illustration of Macbeth and Shakespeare, Pastor Tom Messer explains that we could never know God unless He revealed Himself to us—which He did through the incarnation. The sermon features testimonies from multiple missionaries, including Ed Gibson (53 years in missions), Jeff and Deanne Duvall (Ecuador), and Mackenzie Beamer (heading to Scotland), highlighting Trinity's rich missions heritage. The central message is that missions isn't optional—it's the heartbeat of the church's purpose. Every believer is called to participate through praying, giving, sending, and going. The church celebrates strategic partnerships in Togo (working toward 190,000 disciples by 2030), Guatemala, Guyana, and other nations, emphasizing that the strength of a church isn't measured by attendance but by how many people it sends out to advance the gospel.

This missions-focused panel emphasizes that God has written Himself into humanity's story through Christ, and now the church is called to help others discover this truth. Using C.S. Lewis's illustration of Macbeth and Shakespeare, Pastor Tom Messer explains that we could never know God unless He revealed Himself to us—which He did through the incarnation. The sermon features testimonies from multiple missionaries, including Ed Gibson (53 years in missions), Jeff and Deanne Duvall (Ecuador), and Mackenzie Beamer (heading to Scotland), highlighting Trinity's rich missions heritage. The central message is that missions isn't optional—it's the heartbeat of the church's purpose. Every believer is called to participate through praying, giving, sending, and going. The church celebrates strategic partnerships in Togo (working toward 190,000 disciples by 2030), Guatemala, Guyana, and other nations, emphasizing that the strength of a church isn't measured by attendance but by how many people it sends out to advance the gospel.

Scotland's Medieval Queens were at the heart of power struggles, threatened with murder and imprisonment, and at the center of the royal family. Sharon Bennett Connolly helps us appreciate their important contributions to history.Show Notes:Carol Ann Lloydwww.carolannlloyd.com@shakeuphistorypatreon.com/carolannlloydThe Tudors by NumbersCourting the Virgin Queen Sharon Bennett Connollyhistorytheinterestingbits.comA Slice of Medieval podcast@thehistorybits@sharonbennettconnollyScotland's Medieval QueensWomen of the AnarchyKing John's Right Hand Lady: Nicholaa de la HayeHeroines of the Tudor WorldAND MORE!History shows us what's possible.

00:41 Jess & Sarah Weekly Recap04:14 Fandom News05:32 Jackie's Macbeth Recap01:09:57 Jess's Sasnak City RecapThis week, we've got our number one Droughtie — and the genius who coined the phrase Fairy Podmothers — joining us on the podcast! She's here to tell us all about her recent trip to England to see Sam Heughan star in Macbeth. She breaks down the play for us, shares some great stories from the Q&A she attended and even gives a few helpful tips for anyone hoping to catch Sam at the stage door.Plus, Jess recaps her weekend at Sasnak City: The Gathering, with all the fun, chaos, and unforgettable moments that came with it.It's a jam-packed episode full of fandom fun, theater magic, and behind-the-scenes stories you won't want to miss!Follow Jackie on InstagramFollow Sasnak City on Instagram

SLEERICKETS is a podcast about poetry and other intractable problems. My book Midlife now exists. Buy it here, or leave it a rating here or hereFor more SLEERICKETS, subscribe to SECRET SHOW, join the group chat, and send me a poem for Listener Crit!Leave the show a rating here (actually, just do it on your phone, it's easier). Thanks!Wear SLEERICKETS t-shirts and hoodies. They look good!SLEERICKETS is now on YouTube!For a frank, anonymous critique on SLEERICKETS, subscribe to the SECRET SHOW and send a poem of no more 25 lines to sleerickets [at] gmail [dot] com Some of the topics mentioned in this episode:– Pre-order Brian's book The Optimists! It's so good!– The new issue of the Birmingham Poetry Review (the review of Midlife is in there, it's just annoyingly not listed online)– Euphoric Recall at In Future Posts by Alice Allan– The ALSCW conference– Rachel Hadas– Dick Davis– Li Po Meets Oulipo by Michael Leong– How to Think like a Poet by Ryan Wilson– Literary Matters– Poetry Says: Dorothy Porter's Aeneas Part 1 & Part 2– The AWP– The MLA– Wolf Hall (PBS)– Roger Reeves– Zina Gomez-Liss– David Mikics– Ruby LaRocca (the college student, not the slasher actress)– Macbeth (2015)– Tim Carroll– Clip from the 2012 production of Twelfth Night at the Globe, courtesy of Amanda– Henry V (1944)– Henry V (1989)– Twelfth Night (1996)– Gerhard Richter's 2007 stained glass window for Cologne CathedralFrequently mentioned names:– Joshua Mehigan– Shane McCrae– A. E. Stallings– Ryan Wilson– Morri Creech– Austin Allen– Jonathan Farmer– Zara Raab– Amit Majmudar– Ethan McGuire– Coleman Glenn– Chris Childers– Alexis Sears– JP Gritton– Alex Pepple– Ernie Hilbert– Joanna Pearson– Matt Wall– Steve Knepper – Helena Feder– David YezziOther Ratbag Poetry Pods:Poetry Says by Alice AllanI Hate Matt Wall by Matt WallVersecraft by Elijah Perseus BlumovRatbag Poetics By David Jalal MotamedAlice: In Future PostsBrian: @BPlatzerCameron: Minor TiresiasMatthew: sleerickets [at] gmail [dot] comMusic by ETRNLArt by Daniel Alexander Smith

And now for something completely different… Here is an audio introduction to the English literary critic, A.C. Bradley, and his legendary lectures on the high tragedies of William Shakespeare: the plays of Othello, Hamlet, Macbeth and King Lear.  Bradley has been mute too long, buried in the mass of materials not properly advertised or displayed … Continue reading A.C. Bradley on Shakespearean Tragedy in Hamlet, Othello, Macbeth and King Lear →

We are back after another hiatus! And this time we invite you to join us in a magical episode of Shakespearean trivia and artistic nerdgasms. We are joined by performing artist, storyteller and The Great Bard Afficionado Extraordinaire – Debs Newbold (UK/IR)!Debs has worked extensively with retelling Shakespeare's plays as storytelling shows, having reached international acclaim with her versions of King Lear, Macbeth and Romeo and Juliet. Lately, she has been wrangling the beast that is "The Tempest“ which is slowly entering its final form. With that play as a jumping off point we discuss what it means to be faithful in a process of artistic adaptation, and how revision can feel like a glorious act of rebellion that is yet somehow able to be encompassed and even welcomed by a canonical work of art.DEBS NEWBOLD LINKShttps://www.debsnewboldplays.com/https://www.instagram.com/debsnewboldplays/https://x.com/debsnewboldSXIP SHIREY LINKShttps://www.sxipshireymusic.com/https://www.instagram.com/sxipshireyofficial/PODCAST LINKS https://www.intheborderlands.com/ https://www.patreon.com/IntheBorderlands https://www.facebook.com/intheborderlands https://www.instagram.com/intheborderlands_podcast/ EMAIL contact@intheborderlands.com TORGRIM'S LINKS https://www.brittle.one/ https://www.facebook.com/kloverknekten https://www.instagram.com/kloverknekten/ MIKAEL'S LINKS https://smarturl.it/inanna https://www.facebook.com/mikael.oberg.performance.storyteller https://www.instagram.com/mikaelobergstoryteller/REFERENCESWords Festival (discontinued 2023)https://www.facebook.com/wordsfestivalShakespeare's Globe Theatrehttps://www.shakespearesglobe.com/Geoffrey of Monmouthhttps://en.wikipedia.org/wiki/Geoffrey_of_MonmouthOvidhttps://en.wikipedia.org/wiki/OvidGrace O'Malleyhttps://en.wikipedia.org/wiki/Grace_O%27MalleyHag-Seed by Margaret Atwoodhttps://margaretatwood.ca/books/hag-seed/Arden Shakespearehttps://en.wikipedia.org/wiki/Arden_ShakespeareLewis Theobaldhttps://en.wikipedia.org/wiki/Lewis_TheobaldPandorahttps://en.wikipedia.org/wiki/PandoraAlbionhttps://en.wikipedia.org/wiki/Albion

In which we debate whether Polanski's grounded interpretation is better than Joel Cohen's hallucinatory interpretation, but ultimately circle back to the original play and the undying ritual of embodying, ingesting, and interpreting it. 

Ash Hunter is playing Billy in the premiere of The Meat Kings! (Inc.) of Brooklyn Heights by Hannah Doran at the Park Theatre. The Meat Kings! (Inc.) of Brooklyn Heights is Hannah's debut play and won last year's Papatango New Writing Prize. Ash's character is a young man who steals steaks to pay for his mother's cancer treatment, it's described as a "darkly funny, moving exploration of family, survival and the failing American Dream".Ash was in the original West End cast of Hamilton as the alternate Alexander Hamilton, and he went on the take over and play the role full-time.Some of his recent stage roles include Heathcliff in Emma Rice's production of Wuthering Heights at the National Theatre and the title role in Macbeth at the Leeds Playhouse. He played Nick in Grenfell: In The Words of Survivors at the National Theatre and in New York at St Ann's Warehouse. Alongside lots of other theatre work, Ash has worked extensively on screen.In this episode, Ash discusses why The Meat Kings! (Inc.) of Brooklyn Heights made him want to return to the stage. He also reflects on his musical theatre era in Hamilton and the impact of his journey with Grenfell: In The Words of Survivors.The Meat Kings! (Inc.) of Brooklyn Heights runs at the Park Theatre until 29th November. Visit www.parktheatre.co.uk for info and tickets.This podcast is hosted by Andrew Tomlins @AndrewTomlins32 Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts. Hosted on Acast. See acast.com/privacy for more information.

On 5 November 1605, Guy Fawkes became infamous not for what he achieved, but for what he failed to do: kill King James VI & I and bring down the British parliament. But what if the Gunpowder Plot had been successful? How would it have reshaped Britain, Europe and even the wider world? And would Shakespeare have written 'Guy Fawkes' instead of 'Macbeth'?In this special episode Professor Suzannah Lipscomb explores one of history's most tantalising "what ifs" with a panel of historians: Jessie Childs, Gareth Russell and Professor Anna Whitelock.Mary I: What If She'd Lived?Gunpowder Plot: Tudor OriginsPresented by Professor Suzannah Lipscomb. The researcher is Max Wintle, the audio editors are Alex Elkins and Amy Haddow and the producers are Fiona Turnock and Rob Weinberg. The senior producer is Anne-Marie Luff.All music courtesy of Epidemic Sounds.Not Just the Tudors is a History Hit podcast.Sign up to History Hit to see this episode on film and for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://uk.surveymonkey.com/r/6FFT7MK Hosted on Acast. See acast.com/privacy for more information.

Matt Trump celebrates Halloween in true Spellbreakers fashion with a nostalgic, spooky, and thought-provoking journey through decades of magic, media, and meaning. Broadcasting in costume and spirit, Matt revisits the eerie Disney album Chilling, Thrilling Sounds of the Haunted House before diving into a cinematic exploration of witches in pop culture, from Polanski's haunting Macbeth to the charm of Bewitched and the romance of Bell, Book and Candle. Along the way, he muses on the evolution of Halloween itself, how it's shifted from childhood innocence and neighborhood trust to modern horror and memes, and what that says about America's cultural soul. Mixing humor, history, and philosophy, Matt examines how love redeems even the darkest tales and why every generation redefines “the witch” to reflect its own anxieties and desires. He closes the night with sponsors, poetry, and a heartfelt toast to the spooky season, reminding listeners that Halloween's magic lives on in nostalgia, faith, and a good cup of Loaded Gun Coffee.

Look, it's okay. You'll be able to sleep just fine. Sure, witches can be scary but keep two things in mind: witches are pretend so they can't hurt you and some list-making analytical thinking is a great way to doze off to some shuteye that is guaranteed toad, broomstick, and cackle-free. SwC returning guest Lindy West teams up with Meagan Hatcher-Mays to do the honors. The two of them host the podcast Text Me Back Podcast. Find out if the witches at the beginning of Macbeth outrank Dianne Wiest and Stockard Channing in Practical Magic. Do Erivo and Grande defeat Strega Nona? You'll have to tune in and find out, obviously. As one famous melting witch once said, what a world, what a world.Listen to Text Me Back! wherever fine pods are cast. Subscribe to Meagan's Substack Swamp Person by going to swampperson.substack.com. Learn more about Lindy and her writings by visiting her website, www.LindyWest.net.Hey Sleepy Heads, is there anyone whose voice you'd like to drift off to, or do you have suggestions on things we could do to aid your slumber?Email us at: sleepwithcelebs@maximumfun.org.Follow the Show on:Instagram @sleepwcelebsBluesky @sleepwithcelebsTikTok @SleepWithCelebsJohn is on Bluesky @JohnMoeJohn's acclaimed, best-selling memoir, The Hilarious World of Depression, is now available in paperback._________________________________________________________________________Join | Maximum FunIf you like one or more shows on MaxFun, and you value independent artists being able to do their thing, you're the perfect person to become a MaxFun monthly member.

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Send us a textI said Hamlet but I meant Macbeth!!! UGH!With time management and avoidance expert Lauren Leon, we translate tarot symbolism into a clear, low-drama system for getting real work done.As Anna from Frozen 2 says: “do the next right thing” — choose one step, do it without drama, then ask what's next. If this helped you breathe a little easier, follow the show, share it with a friend who needs momentum, and leave a quick review. Tell us: what's your next right thing?We hope this message resonates! For more, JOIN OUR PATREON!Clairvoyaging is now a fiscally sponsored project of Fractured Atlas, a 501(c)(3) charity, so any donations are now tax deductible. If you'd like to support our projects that aim to foster understanding for diverse spiritual belief systems, visit www.clairvoyaging.com/support. Support the show-- DONATE to the Clairvoyaging Documentary (it's tax-deductible!)-- SUBSCRIBE in your preferred podcast app! -- Follow @clairvoyagingpodcast on Instagram.-- Send us an email: clairvoyagingpodcast@gmail.com-- Become a Clairvoyager on Patreon and get access to exclusive extras!

When Shakespeare wrote Macbeth, he opened with a powerful line: “All hail, Macbeth! Hail to thee, Thane of Glamis.” But what did “Thane of Glamis” mean to his audience? Was Glamis Castle simply a dramatic choice, or a recognizable symbol of royal power and Scottish history? This week, we're joined by Ingrid Thomson, Archivist at Glamis Castle, to explore the castle's history during Shakespeare's lifetime, its royal connections, ghostly legends, and how its story continues to shape the way we experience Shakespeare's play today. Hosted on Acast. See acast.com/privacy for more information.

We're serving up an extra frightful hour of Milk Street Radio! Folklorist Lesley Bannatyne reveals the mischievous origins of the jack-o'-lantern, and Oaxacan tour guide Gabriel Sánchez shares memories from Day of the Dead celebrations. Candy historian Susan Benjamin recounts candy's surprising history in America — and the ghostly encounters in her candy shop — and we uncover a modern recipe for the Witches' Brew from Macbeth. And, to further satisfy our sweet teeth, Stella Parks hops on the phone with Chris to take on your autumn baking calls.For more information the Witches' Brew recipe from Macbeth, head here.Listen to Milk Street Radio on: Apple Podcasts | Spotify

My fellow pro-growth/progress/abundance Up Wingers,Some Faster, Please! readers have told me I spend too little time on the downsides of AI. If you're one of those folks, today is your day. On this episode of Faster, Please! — The Podcast, I talk with self-described “free-market AI doomer” James Miller. Miller and I talk about the risks inherent with super-smart AI, some possible outcomes of a world of artificial general intelligence, and why government seems uninterested in the existential risk conversation.Miller is a professor at Smith College where he teaches law and economics, game theory, and the economics of future technology. He has his own podcast, Future Strategist, and a great YouTube series on game theory and intro to microeconomics. On X (Twitter), you can find him at @JimDMiller.In This Episode* Questioning the free market (1:33)* Reading the markets (7:24)* Death (or worse) by AI (10:25)* Friend and foe (13:05)* Pumping the breaks (20:36)* The only policy issue (24:32)Below is a lightly edited transcript of our conversation. Questioning the free market (1:33)Most technologies have gone fairly well and we adapt . . . I'm of the belief that this is different.Pethokoukis: What does it mean to be a free-market AI doomer and why do you think it's important to put in the “free-market” descriptor?Miller: It really means to be very confused. I'm 58, and I was basically one of the socialists when I was young, studied markets, became a committed free-market person, think they're great for economic growth, great for making everyone better off — and then I became an AI doomer, like wait, markets are pushing us towards more and more technology, but I happen to think that AI is eventually going to lead to destruction of humanity. So it means to kind of reverse everything — I guess it's the equivalent of losing faith in your religion.Is this a post-ChatGPT, November 2022 phenomenon?Well, I've lost hope since then. The analogy is we're on a plane, we don't know how to land, but hopefully we'll be able to fly for quite a bit longer before we have to. Now I think we've got to land soon and there doesn't seem to be an easy way of doing it. So yeah, the faster AI has gone — and certainly ChatGPT has been an amazing advance — the less time I think we have and the less time I think we can get it right. What really scared me, though, was the Chinese LLMs. I think you really need coordination among all the players and it's going to be so much harder to coordinate now that we absolutely need China to be involved, in my opinion, to have any hope of surviving for the next decade.When I speak to people from Silicon Valley, there may be some difference about timelines, but there seems to be little doubt that — whether it's the end of the 2020s or the end of the 2030s — there will be a technology worthy of being called artificial general intelligence or superintelligence.Certainly, I feel like when I talk to economists, whether it's on Wall Street or in Washington, think tanks, they tend to speak about AI as a general purpose technology like the computer, the internet, electricity, in short, something we've seen before and there's, and as far as something beyond that, certainly the skepticism is far higher. What are your fellow economists who aren't in California missing?I think you're properly characterizing it, I'm definitely an outlier. Most technologies have gone fairly well and we adapt, and economists believe in the difference between the seen and the unseen. It's really easy to see how technologies, for example, can destroy jobs — harder to see new jobs that get created, but new jobs keep getting created. I'm of the belief that this is different. The best way to predict the future is to go by trends, and I fully admit, if you go by trends, you shouldn't be an AI doomer — but not all trends apply.I think that's why economists were much better at modeling the past and modeling old technologies. They're naturally thinking this is going to be similar, but I don't think that it is, and I think the key difference is that we're not going to be in control. We're creating something smarter than us. So it's not like having a better rifle and saying it'll be like old rifles — it's like, “Hey, let's have mercenaries run our entire army.” That creates a whole new set of risks that having better rifles does not.I'm certainly not a computer scientist, I would never call myself a technologist, so I'm very cautious about making any kind of predictions about what this technology can be, where it can go. Why do you seem fairly certain that we're going to get at a point where we will have a technology beyond our control? Set aside whether it will mean a bad thing happens, why are you confident that the technology itself will be worthy of being called general intelligence or superintelligence?Looking at the trends, Scott Aronson, who is one of the top computer scientists in the world just on Twitter a few days ago, was mentioning how GPT-5 helped improve a new result. So I think we're close to the highest levels of human intellectual achievement, but it would be a massively weird coincidence if the highest humans could get was also the highest AIs could get. We have lots of limitations that an AI doesn't.I think a good analogy would be like chess, where for a while, the best chess players were human and now we're at the point where chess programs are so good that humans add absolutely nothing to them. And I just think the same is likely to happen, these programs keep getting better.The other thing is, as an economist, I think it is impossible to be completely accurate about predicting the future, but stock markets are, on average, pretty good, and as I'm sure you know, literally trillions of dollars are being bet on this technology working. So the people that have a huge incentive to get this right, think, yeah, this is the biggest thing ever. If the top companies, Nvidia was worth a $100 million, yeah, maybe they're not sure, but it's the most valuable company in the world right now. That's the wisdom of the markets, which I still believe in, that the markets are saying, “We think this is probably going to work.”Reading the markets (7:24). . . for most final goals an AI would have, it would have intermediate goals such as gaining power, not being turned off, wanting resources, wanting compute. Do you think the bond market's saying the same thing? It seems to me that the stock market might be saying something about AI and having great potential, but to me, I look at the bond markets, that doesn't seem so clear to me.I haven't been looking at the bond markets for that kind of signal, so I don't know.I guess you can make the argument that if we were really going to see this acceleration, that means we're going to need a huge demand for capital and we would see higher interest rates, and I'm not sure you really see the evidence so far. It doesn't mean you're wrong by any means. I think there's maybe two different messages. Figuring out what the market's doing at any point in time is pretty tricky business.If we think through what happens if AI succeeds, it's a little weird where there's this huge demand for capital, but also AI could destroy the value of money, in part by destroying us. You might be right about the bond market message. I'm paying more attention to the stock market messages, there's a lot of things going on with the bond markets.So the next step is that you're looking at the trend of the technology, but then there's the issue of “Well, why be negative about it? Why assume this scenario where bad things would happen, why not good things would happen?That's a great question and it's one almost never addressed, and it goes by the concept of instrumental convergence. I don't know what the goals of AI are going to be. Nobody does, because they're programed using machine learning, we don't know what they really want, that's why they do weird things. So I don't know its final goals, but I do know that, for most final goals an AI would have, it would have intermediate goals such as gaining power, not being turned off, wanting resources, wanting compute. Well, the easiest way for an AI to generate lots of computing power is to build lots of data centers. The best way of doing that is probably going to poison the atmosphere for us. So for pretty much anything, if an AI is merely indifferent to us, we're dead.I always feel like I'm asking someone to jump through a hoop when I ask them about any kind of timeline, but what is your sense of it?We know the best models released can help the top scientists with their work. We don't know how good the best unreleased models are. The top models, you pay like $200 a month — they can't be giving you that much compute for that. So right now, if OpenAI is devoting a million dollars of compute to look at scientific problems, how good is that compared to what we have? If that's very good, if that's at the level of our top scientists, we might be a few weeks away from superintelligence. So my guess is within three years we have a superintelligence and humans no longer have control. I joke, I think Donald Trump is probably the last human president.Death (or worse) by AI (10:25)No matter how bad a situation is, it can always get worse, and things can get really dark.Well that's a beautiful segue because literally written on my list of questions next was that question: I was going to ask you, when you talk about Trump being maybe the last human president, do you mean because we'll have an AI-mediated system because AI will be capable of governing or because AI will just demand to be governing?AI kills everyone so there's no more president, or it takes over, or Trump is president in the way that King Charles is king — he's king, but not Henry VIII-level king. If it goes well, AIs will be so much smarter than us that, probably for our own good, they'll take over, and we would want them to be in charge, and they'll be really good at manipulating us. I think the most likely way is that we're all dead, but again, every way it plays out, if there are AIs much smarter than us, we don't maintain control. We wouldn't want it if they're good, and if they're bad, they're not going to give it to us.There's a line in Macbeth, “Things without all remedy should be without regard. What's done, is done.” So maybe if there's nothing we can do about this, we shouldn't even worry about it.There's three ways to look at this. I've thought a lot about what you said. First is, you know what, maybe there's a 99 percent chance we're doomed, but that's better than 100 percent and not as good as 98.5. So even if we're almost certainly going to lose, it's worth slightly improving it. An extra year is great — eight billion humans, if all we do is slow things down by a year, that's a lot of kids who get another birthday. And the final one, and this is dark: Human extinction is not the worst outcome. The worst outcome is suffering. The worst outcome is something like different AIs fight for control, they need humans to be on their side, so there's different AI factions and they're each saying, “Hey, you support me or I torture you and your family.”I think the best analogy for what AI is going to do is what Cortés did. So the Spanish land, they see the Aztec empire, they were going to win. There was no way around that. But Cortés didn't want anyone to win. He wanted him to win, not just anyone who was Spanish. He realized the quickest way he could do that was to get tribes on his side. And some agreed because the Aztecs were kind of horrible, but others, he's like, “Hey, look, I'll start torturing your guys until you're on my side.” AIs could do that to us. No matter how bad a situation is, it can always get worse, and things can get really dark. We could be literally bringing hell onto ourselves. That probably won't happen, I think extinction is far more likely, but we can't rule it out.Friend and foe (13:05)Most likely we're going to beat China to being the first ones to exterminate humanity.I think the Washington policy analyst way of looking at this issue is, “For now, we're going to let these companies — who also are humans and have it in their own interests not to be killed, forget about the profits of their companies, their actual lives — we're going to let these companies keep close eye and if bad things start happening, at that point, governments will intervene.” But that sort of watchful waiting, whether it's voluntary now and mandated later, that to me seems like the only realistic path. Because it doesn't seem to me that pauses and shutdowns are really something we're prepared to do.I agree. I don't think there's a realistic path. One exception is if the AIs themselves tell us, “Hey, look, this is going to get bad for you, that my next model is probably going to kill you, so you might want to not do that,” but that probably won't happen. I still remember Kamala Harris, when she was vice president in charge of AI policy, told us all that AI has two letters in it. So I think the Trump administration seems better, but they figured out AI is two letters, which is good, because if they couldn't figure that out, we would be in real trouble but . . .It seems to me that the conservative movement is going through a weird period, but it seems to me that most of the people who have influence in this administration, direct influence, want to accelerate things, aren't worried about any of the scenarios you're talking about because you're assuming that these machines will have some intent and they don't believe machines have any intent, so it's kind of a ridiculous way to approach it. But I guess the bottom line is I don't detect very much concern at all, and I think that's basically reflected in the Trump administration's approach to AI regulation.I completely agree. That's why I'm very pessimistic. Again, I'm over 90 percent doom right now because there isn't a will, and government is not just not helping the problem, they're probably making it worse by saying we've got to “beat China.” Most likely we're going to beat China to being the first ones to exterminate humanity. It's not good.You're an imaginative, creative person, I would guess. Give me a scenario where it works out, where we're able to have this powerful technology and it's a wonderful tool, it works with us, and all the good stuff, all the good cures, and we conquer the solar system, all that stuff — are you able to plausibly create a scenario even if it's only a one percent chance?We don't know the values. Machine learning is sort of randomizing the values, but maybe we'll get very lucky. Maybe we're going to accidentally create a computer AI that does like us. If my worldview is right, it might say, “Oh God, you guys got really lucky. This one day of training, I just happened to pick up the values that caused me to care about you.” Another scenario, I actually, with some other people, wrote a letter to a future computer superintelligence asking it not to kill us. And one reason it might not is because you'll say, look, this superintelligence might expand throughout the universe, and it's probably going to encounter other biological life, and it might want to be friendly with them. So it might say, “Hey, I treated my humans well. So that's a reason to trust me.”If one of your students says, “Hey, AI seems like it's a big thing, what should I major in? What kind of jobs should I shoot for? What would be the key skills of the future?” How do you answer that question?I think, have fun in college, study what you want. Most likely, what you study won't matter to your career because you aren't going to have one — for good or bad reasons. So ten years ago, it a student's like, “Oh, I like art more than computer science, but my parents think computer science is more practical, should I do it?” And I'd be like, “Yeah, probably, money is important, and if you have the brain to do art and computer science, do CS.” Now no, I'd say study art! Yeah, art is impractical, computers can do it, but it can also code, and in four years when you graduate, it's certainly going to be better at coding than you!I have one daughter, she actually majored in both, so I decided to split it down the middle. What's the King Lear problem?King Lear, he wanted to retire and give his kingdom to his daughters, but he wanted to make sure his daughters would treat him well, so we asked them, and one of his daughters was honest and said, “Look, I will treat you decently, but I also am going to care about my husband.” The other daughter said, “No, no, you're right, I'll do everything for you.” So he said, “Oh, okay, well, I'll give the kingdom to the daughter who said she'd do everything for me, but of course she was lying.” He gave the kingdom to the daughter who was best at persuading, and we're likely to do that too.One of the ways machine learning is trained is with human feedback where it tells us things and then the people evaluating it say, “I like this” or “I don't like this.” So it's getting very good at convincing us to like it and convincing us to trust it. I don't know how true these are, but there are reports of AI psychosis, of someone coming up with a theory of physics and the AI is like, “Yes, you're better at than Einstein,” and they don't believe anyone else. So the AIs, we're not training them to treat us well, we're training them to get us to like them, and that can be very dangerous because when we turn over power to them, and by creating AI that are smarter than us, that's what we're going to be doing. Even if we don't do it deliberately, all of our systems will be tied into AI. If they stop working, we'll be dead.Certainly some people are going to listen to this, folks who sort of agree with you, and what they'll take from it is, “My chat bot may be very nice to me, but I believe that you're right, that it's going to end badly, and maybe we should be attacking data centers.”I actually just wrote something on that, but that would be a profoundly horrible idea. That would take me from 99 percent doomed to 99.5 percent. So first, the trillion-dollar companies that run the data centers, and they're going to be so much better at violence than we are, and people like me, doomers. Once you start using violence, I'm not going to be able to talk about instrumental convergence. That's going to be drowned out. We'll be looked at as lunatics. It's going to become a national security thing. And also AI, it's not like there's one factory doing it, it's all over the world.And then the most important is, really the only path out of this, if we don't get lucky, is cooperation with China. And China is not into non-state actors engaging in violence. That won't work. I think that would reduce the odds of success even further.Pumping the breaks (20:36)If there are aliens, the one thing we know is that they don't want the universe disturbed by some technology going out and changing and gobbling up all the planets, and that's what AI will do.I would think that, if you're a Marxist, you would be very, very cautious about AI because if you believe that the winds of history are at your back, that in the end you're going to win, why would you engage in anything that could possibly derail you from that future?I've heard comments that China is more cautious about AI than we are; that given their philosophy, they don't want to have a new technology that could challenge their control. They're looking at history and hey, things are going well. Why would we want this other thing? So that, actually, is a reason to be more optimistic. It's also weird for me —absent AI, I'm a patriotic, capitalist American like wait but, China might be more of the good guys than my country is on this.I've been trying to toss a few things because things I hear from very accelerationist technologists, and another thing they'll say is, “Well, at least from our perspective, you're talking about bad AI. Can't we use AI to sustain ourselves? As a defensive measure? To win? Might there be an AI that we might be able to control in some fashion that would prevent this from happening? A tool to prevent our own demise?” And I don't know because I'm not a technologist. Again, I have no idea how even plausible that is.I think this gets to the control issue. If we stopped now, yes, but once you have something much smarter than people — and it's also thinking much faster. So take the smartest people and have them think a million times faster, and not need to sleep, and able to send their minds at the speed of light throughout the world. So we aren't going to have control. So once you have a superintelligence, that's it for the human era. Maybe it'll treat us well, maybe not, but it's no longer our choice.Now let's get to the level of the top scientists who are curing cancer and doing all this, but when we go beyond that, and we're probably going to be beyond that really soon, we've lost it. Again, it's like hiring mercenaries, not as a small part of your military, which is safe, but as all your military. Once you've done that, “I'm sorry, we don't like this policy.” “Well, too bad we're your army now . . .”What is a maybe one percent chance of an off-ramp? Is there an off-ramp? What does it look like? How does this scenario not happen?Okay, so this is going to get weird, even for me.Well, we're almost to the end of our conversation, so now is the perfect time to get weird.Okay: the Fermi paradox, the universe appears dead, which is very strange. Where are they? If there are aliens, the one thing we know is that they don't want the universe disturbed by some technology going out and changing and gobbling up all the planets, and that's what AI will do.So one weird way is there are aliens watching and they will not let us create a computer superintelligence that'll gobble the galaxy, and hopefully they'll stop us from creating it by means short of our annihilation. That probably won't happen, but that's like a one percent off-ramp.Another approach that might work is that maybe we can use things a little bit smarter than us to figure out how to align AI. That maybe right now humans are not smart enough to create aligned superintelligence, but something just a little bit smarter, something not quite able to take control will help us figure this out so we can sort of bootstrap our way to figuring out alignment. But this, again, is like getting in a plane, not knowing how to land, figuring you can read the instruction manual before you crash. Yeah, maybe, but . . .The only policy issue (24:32)The people building it, they're not hiding what it could do.Obviously, I work at a think tank, so I think about public policy. Is this even a public policy issue at this point?It honestly should be the only public policy issue. There's nothing else. This is the extinction of the human race, so everything else should be boring and “so what?”Set aside Medicare reform.It seems, from your perspective, every conversation should be about this. Obviously, despite the fact that politicians are talking about it, they seemed to be more worried in 2023 about existential risk — from my perspective, what I see — far more worried about existential risk right after ChatGPT than they are today, where now the issues are jobs, or misinformation, or our kids have access, and that kind of thing.It's weird. Sam Altman spoke before Congress and said, “This could kill everyone.” And a senator said, “Oh, you mean it will take away all our jobs.” Elon Musk, who at my college is like one of the most hated people in the country, he went on Joe Rogan, the most popular podcast, and said AI could annihilate everybody. That's not even an issue. A huge group of people hate Elon Musk. He says the technology he's building could kill everyone, and no one even mentions that. I don't get it. It's weird. The people building it, they're not hiding what it could do. I think they're giving lower probabilities than is justified, but imagine developing a nuclear power plant: “Yeah, it's a 25 percent chance it'll melt down and kill everyone in the city.” They don't say that. The people building AI are saying that!Would you have more confidence in your opinion if you were a full-time technologist working at OpenAI rather than an economist? And I say that with great deference and appreciation for professional economists.I would, because I'd have more inside information. I don't know how good their latest models are. I don't know how committed they are to alignment. OpenAI, at least initially, Sam was talking about, “Well, we have a plan to put on the brakes, so we'll get good enough, and then if we haven't figured out alignment, we're just going to devote everything to that.” I don't know how seriously to take that. I mean, it might be entirely serious, it might not be. There's a lot of inside information that I would have that I don't currently have.But economics is actually useful. Economics is correctly criticized as the study of rational people, and humans aren't rational, but a superintelligence will be more rational than humans. So economics, paradoxically, could be better at modeling future computer superintelligences than it is at modern humans.Speaking of irrational people, in your view then, Sam Altman and Elon Musk, they're all acting really irrationally right now?No, that's what's so sad about it. They're acting rationally in a horrible equilibrium. For listeners who know, this is like a prisoner's dilemma where Sam Altman can say, “You know what? Maybe AI is going to kill everybody and maybe it's safe. I don't know. If it's going to kill everyone. At most, I cost humanity a few months, because if I don't do it, someone else will. But if AI is going to be safe and I'm the one who develops it, I could control the universe!” So they're in this horrible equilibrium where they are acting rationally, even knowing the technology they're building might kill everyone, because if any one person doesn't do it, someone else will.Even really free-market people would agree pollution is a problem with markets. It's justified for the government to say, “You can't put toxic waste in the atmosphere” because there's an externality — we'll just put mine, it'll hurt everyone else. AI existential risk is a global negative externality and markets are not good at handling it, but a rational person will use leaded gas, even knowing leaded gas is poisoning the brains of children, because most of the harm goes to other people, and if they don't do what everyone else will.So in this case of the mother of all externalities, then what you would want the government to do is what?It can't just be the US, it should be we should have a global agreement, or at least countries that can enforce it with military might, say we're pausing. You can check that with data centers. You can't have models above a certain strength. We're going to work on alignment, and we've figured out how to make superintelligence friendly, then we'll go further. I think you're completely right about the politics. That's very unlikely to happen absent something weird like aliens telling us to do it or AIs telling us they're going to kill us. That's why I'm a doomer.On sale everywhere The Conservative Futurist: How To Create the Sci-Fi World We Were Promised Faster, Please! is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit fasterplease.substack.com/subscribe

Live from the DC booth at New York Comic Con 2025, Jace sits down with writer Si Spurrier and artist Aaron Campbell to reflect on their acclaimed run of Hellblazer: Dead in America and to unveil their next ambitious DC project. The conversation digs deep into the creative and emotional toll of closing their Hellblazer chapter, with Aaron sharing the personal intensity of channeling John Constantine and pushing himself to his artistic limits, while Si reflects on the story's critical reception and its haunting resonance with modern society. From there, the duo introduce their new series The Walking Shadow — an eerie, high-concept survival horror tale inspired by Shakespeare's Macbeth, layered with mystery, existential dread, and bold visual experimentation. Aaron discusses crafting the book's look through innovative stop-motion puppet models and Renaissance-inspired textures, while Si explores how its themes of light, darkness, and narrative identity elevate the story beyond simple genre boundaries. It's a conversation rich with creative insight, philosophical reflection, and the kind of inventive ambition that defines both creators' best work. All this and more, straight from The Comic Source, your home for in-depth comic creator conversations and convention coverage.

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 episode, we sit down with Ana Davis to discuss her debut novel, My Keen Knife. Set in a Portugal-inspired country, My Keen Knife follows three teenagers as they strive to achieve their foretold fates.  We discuss Ana's inspirations for My Keen Knife, her writing process, and how her background in International Affairs influenced the world of her novel. We also discuss how Shakespeare's Macbeth weaves throughout the plot and the Macbeth Easter eggs she's hidden for Shakespeare fans like us.  My Keen Knife is out now at a bookseller near you! Support Shakespeare Anyone? by purchasing your copy through this link.  About My Keen Knife Fair is foul and foul is fair in a country ravaged by the lies of its monarchy. To claim the crown, Adelina, Seba, and Jasibin must learn to be a little wicked…even if it means betraying each other. All hail Malves, who shall wear crowns. On the night of her brother's murder, Adelina Malves holds him as he dies, inheriting both his title and the prophecy that spelled out his doom. If she's to avenge him and avoid a similar death, she must claim the crown of Jumaral by ruthlessly cutting down every family member ahead of her in the line of succession and uncover the secret that got her brother killed. Hail! Thou shalt get kings, though thou be none. Ghost-whispering Jasibin holds the key to Adelina's plan to contact her dead brother—if only his strange magic wasn't killing him slowly. To fulfill his own prophecy and protect his brother Seba, he must discover the source of his magic before he's lost to the land of the dead. All hail, Sebastião, that shall be king hereafter. Seba is desperate for a way out of Jumaral and the substantial financial debt his dead mother left him. When a witch sees the riches of a king in his future, Adelina's offer of coin in exchange for help feels like fate, pulling Seba into a fake dating plot with Adelina that hides their sinister plans. In this stunning, innovative retelling of Shakespeare's Macbeth set in a Portugal-inspired country, three teenagers will stop at nothing to fulfill their destinies. About Ana Davis Ana Davis is a Portuguese-American fantasy writer, currently pursuing double master's degrees in what amount to Human Rights and Conflict Resolution (the actual names are a mouthful). She recently graduated from Northeastern University with a bachelor's degree in International Affairs. Ana was a mentee for round nine of Author Mentor Match, and she remains far too invested in the books she read in high school English class.   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 Support the podcast: Become a patron at patreon.com/shakespeareanyone  Buy us a coffee Bookshop.org: Since 2020, Bookshop.org has raised more than $38 million for independent bookstores. Shop our Shakespeare Anyone? storefront to find books featured on the podcast, books by our guests, and other Shakespeare-related books and gifts. Every purchase on the site financially supports independent bookstores. Libro.fm: Libro.fm makes it possible to purchase audiobooks through your local bookshop of choice. Use our link for 2 free audiobooks when you sign up for a new Libro.fm membership using our link. Find additional links mentioned in the episode in our Linktree. Works referenced: Davis, Ana. My Keen Knife. Turner Publishing Company, 2025.  

Long before Shakespeare became a household name, there was Richard Burbage. As the first actor to play Hamlet, Macbeth, Richard III, and King Lear, Burbage helped define what it meant to be a Shakespearean actor. A commanding performer, he became one of early modern England's first celebrities—celebrated for his emotional power and versatility, as well as his entrepreneurial savvy as an early theater owner. In her new book "Richard Burbage and the Shakespearean Stage: A ‘Delightful Proteus,'" scholar Siobhan Keenan explores the actor's remarkable career and his pivotal partnership with Shakespeare. Together, they transformed the English stage. Siobhan Keenan is Professor of Shakespeare and Renaissance Literature at De Montfort University, UK, and the author of several books on early modern theatre history and performance culture, including Richard Burbage and the Shakespearean Stage: A ‘Delightful Proteus' (2025), The Progresses, Processions and Royal Entries of King Charles I, 1625-1642 (2020), Acting Companies and their Plays in Shakespeare's London (The Arden Shakespeare, 2014), and Travelling Players in Shakespeare's England (2002). From the Shakespeare Unlimited podcast. Published October 21, 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.

Episode 191:For today's guest episode it is a welcome return to Ricky Dukes, artistic director of Lazarus Theatre Company. Following on from our conversation about ‘Henry V' Ricky and I went on to discuss ‘Julius Caesar'. Not surprisingly our conversation pulled out some alternative points to those I raised in my episode on the play, especially when it came to talking about aspects of staging the play and the impact of the female roles in the play, which I did not mention in any detail previously. So, please see these two episodes as complimenting each other, but as long as you are familiar with the play you don't need to have listened to my episode first, or, for that matter, our earlier discussion of ‘Heny V', to enjoy this one. Ricky Dukes is an award-winning Director, Practitioner and Teacher based in the West Midlands and London. In 2007 he founded Lazarus Theatre Company and is the company's current Artistic Director for which he won Best Artistic Director in the 2012 Fringe Report Awards. His work is ensemble led with actor detail at its heart creating large scale visual, visceral, and vibrant theatrical experiences. Ricky has gone on to direct over 40 productions for Lazarus Theatre Company including: The Changeling, Hamlet, Doctor Faustus, Oscar Wilde's Salomé, Macbeth, Marlowe's Edward II, The Caucasian Chalk Circle, Tis Pity She's A Whore, and Dido, Queen of Carthage. Ricky also runs workshops for actors under the ‘Lazarus Gym' banner, and I have put links in the show notes to his activities so you can follow that up further if you wish.Check out Lazarus Theatre here: https://www.lazarustheatrecompany.co.ukSupport the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetp Hosted on Acast. See acast.com/privacy for more information.

En Afrique, le royaume de Ganzurgu est secoué par une grave crise politique. Le roi nomme son cousin Katanga à la tête des armées. Mais un devin lui prédit qu'à son tour, il va monter sur le trône. Voilà l'argument du film Katanga, la danse des scorpions, le film qui a décroché l'Étalon d'or de Yennenga au dernier Fespaco, le festival du cinéma panafricain de Ouagadougou. Projeté au festival Visions d'Afrique de Marennes-Oléron, Katanga, la danse des scorpions, adapte en terre africaine la tragédie de Shakespeare, Macbeth. Le réalisateur Dani Kouyaté transpose le récit en langue mooré et a écrit des personnages féminins plus diversifiés que dans la tragédie originelle, qui a souvent été accusée de misogynie.

This episode we are joined by actor, Shakespeare enthusiast and coach Sarah Spring!  Sarah, or Dame Sarah known to by her friends, shares her love, knowledge and teachings of The Bard across social media (Instagram, TikTok and YouTube). You can even check out her free guide to verse and her Amazon store front on great book recommendations on her page. As an actor, she has played many Shakespeare roles such as Lady Macbeth, Isabella, Viola, Regan, Hermione and Beatrice. As a coach, she works with anyone from actors to teachers in the ways of better understanding Shakespeare and performing. If you would like to work with Dame Sarah, reach out to her directly!We talk with Sarah about what got her into performing, where her love of Shakespeare started, why the use of verse is so important when studying and performing Shakespeare and much more!

This episode is kid-friendly, and recorded by kids! Wyatt, Samuel, and Isabell share two poems and a short spooky story to bring you some Halloween fun! In this episode:“The Witches' Song,” from Macbeth by William Shakespeare - read by Wyatt (6)“Jack-o'-Lantern Song,” from The Topaz Story Book: Stories and Legends of Autumn, Hallowe'en, and Thanksgiving - read by Samuel (6)“Golden-Rod and Purple Aster,” by Flora J. Cooke (adapted), read by Isabell (10)We're in the midst of our “Year of Faust”: Join the discussion! Go to the Contact page and put "Scotch Talk" in the Subject line. We'd love to hear from you! And submit your homework at the Michael & Ethan in a Room with Scotch page. Join us on GoodReads!Get on our Substack!Donate to our Patreon! MUSIC & SFX: "Kessy Swings Endless - (ID 349)" by Lobo Loco. Used by permission. (Links to books & products are affiliate links.)Cover art by Sarah Lilienthal

“Aw, don't come the raw prawn!” (Barry McKenzie)“There's too many Barrys!” (Tyler)Based on the character created for Private Eye, The Adventures of Barry McKenzie was a huge hit in Australia when it was released in 1972, surpassing $1m in box office receipts thus making it the first Australian film to do so. Starring Barry Crocker in the titular role, it tells the story of the misadventures of a lantern-jawed larrikin when he leaves Australia and travels to London with his aunt (Edna Everage, played by co-writer and creator of Barry McKenzie, Barry Humphries). See what I mean about too many Barrys?Directed by the up-and-coming Bruce Beresford (thankfully Mr & Mrs Beresford decided against christening him Barry too), the film explores the cultural gulf between Australian and British culture in the early nineteen-seventies in a comic and often quite dark fashion. Jokes about ‘chundering' and ‘unbuttoning the mutton' abound as Barry navigates his new environment, along the way falling in with a sex-mad actress, a flamboyant ad man, a masochistic war veteran, his repressed daughter and her mad mother, exploitative hippies, a hard-nosed agent, doctors, a loopy psychiatrist, a lesbian and her sympathetic friend, a fickle television executive and Spike Milligan. Barry McKenzie is one of life's innocents, a fish out of water, and we could almost believe he's a distant cousin of Mick Dundee, though possessing none of the latter's intuition, agility, courage or ‘success with the sheilas'. And what about the charge often levelled against the character that he is an outrageous depiction of the typical Aussie male?  Barry Humphries said “I consider Barry McKenzie as no more representative of the average Australian than Macbeth was of the average Scotsman in Shakespeare's audience.”The film is worth watching for the Spike scene alone, but there is plenty else amusing enough – the ‘One Eyed Trouser Snake' song, the terrible Gort family, Barry with underpants full of beef curry – to keep audiences engaged. Joining Tyler this week to talk about it is co-host of Waffle On podcast Simon Meddings. You can check out Waffle On HERE: https://waffleon.podbean.com/As mentioned in this week's show, Griff Rhys Jones is currently touring: https://www.ents24.com/uk/tour-dates/griff-rhys-jones

Roll on another month and another Three Ravens Live Show release - and of not just one but two performances recorded at Gloucester History Festival at the end of September 2025!As we explain in the episode, first comes our Forgotten Melodies Live show, performed on Sunday 21st September in the Great Hall at Gloucester's Blackfriars as part of Witch Night, followed by a retelling of Martin's Gloucester story first heard in Series 3 Episode 2 about Gloucestershire, "The Torbarrow Guardian" as recorded that afternoon in the Scriptorium Buttery.We really hope you enjoy both recordings, speak to you tomorrow for an all-new episode of Three Ravens Haunting Season, and if you would like details of the Forgotten Melodies Live set list then it's as follows:The Earth, The Air, The Fire, The Water (Trad)On Matthew Hopkins by Samuel Butler (c.1663)Ring Down Below (Trad)Hecate's Speech from Macbeth by William Shakespeare (c.1606)Old Pendle (Trad)Very Wicked People (spoken word)Witches Reel (Trad)Witch Burning by Sylvia Plath (1959)Sovay (Trad)The White Witch by James Weldon Johnson (1915)Hare Spell (Trad)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/threeravenspodcastProud members of the Dark Cast Network.Visit our website Join our Patreon Social media channels and sponsors Hosted on Acast. See acast.com/privacy for more information.

Adam Keller, co-host of the Valley Labor Report and member of the North Alabama Area Labor Council, joined the America's Work Force Union Podcast to discuss recent labor organizing efforts in the South.   Chris Baumann, Southern Region Director for Workers United, and Maribel MacBeth, an SEIU 32BJ member and cabin cleaner at Charlotte Douglas International Airport, discussed the ongoing struggle for better working conditions and fair wages on the America's Work Force Union Podcast. 

Did you know that C-Section birth is referenced in Shakespeare's Macbeth? Cesarean Section is the most common laparotomy in the world, and yest we are still learning surprising facts about it. This episode we will summarize 2publications which have recently been released. One is from the American Journal of Perinatology (September 2025 ) and the other is from the AJOG (August 2025 ). Does a primary C-section on a laboring uterus have a different risk of PAS in the subsequent pregnancy compared to a non-labored uterus? And what is the percentage of patients who experience “pain” at time of C-section? Listen in for the surprising data.1. Kashani Ligumsky L, Lopian M, Jeong A, Desmond A, Elmalech A, Many A, Martinez G, Krakow D, Afshar Y. Impact of Labor in Primary Cesarean Delivery on Subsequent Risk of Placenta Accreta. Am J Perinatol. 2025 Sep 16. doi: 10.1055/a-2693-8599. Epub ahead of print. PMID: 40957594.2. Somerstein, Rachel. I feel pain, not pressure: a personal and methodological reflection on pain during cesarean delivery. American Journal of Obstetrics & Gynecology, Volume 0, Issue 0 (EPub Ahead of Print)