Podcasts about Macbeth

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.

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.

The witches and their prophecies to both Macbeth and Banquo. Thematic patterns: things occur in 3's; the word “equivocal.” Duncan declares his son Malcolm heir to the throne, and Macbeth decides upon murder.

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

Nesta montagem de Macbeth, dirigida pela multiartista Elisa Ohtake, a profunda conexão de Giuseppe Verdi com Shakespeare ganha nova vida. Embora não dominasse o inglês, Verdi viu na tradução italiana do bardo um verdadeiro tesouro, revolucionando a ópera italiana ao infundir seus personagens com a profundidade dramática e a intensidade vívida que Shakespeare trouxe à dramaturgia inglesa. Verdi, homem de teatro nato, conduziu sua música de forma a criar uma atmosfera constante de mistério e angústia, sem permitir intervalos que pudessem interromper o envolvimento do espectador.Estreada em 1847 em Florença, Macbeth foi concebida durante o que Verdi chamou de seus “anos de galera”, uma fase em que batalhava para se afirmar no cenário lírico italiano. Com libreto de Francesco Maria Piave e acréscimos de Andrea Maffei, a ópera foi bem-recebida em sua première, mas desapareceu dos palcos por quase um século, em parte em razão das exigências do papel de Lady Macbeth, considerado um desafio extremo para as sopranos.Elisa Ohtake, conhecida por sua abordagem cênica contemporânea e ousada, dará nova luz à complexa história de poder, ambição e morte de Macbeth. Com uma formação diversificada em dança e teatro, Elisa já esteve próxima da obra de Shakespeare com sua instigante Peça para Adultos Feita por Crianças, na qual crianças interpretam Hamlet.Participaram desde episódio: Elisa Ohtake, Hernán Sánchez Arteaga, Aline Santini, Sofia Nestrovski e Vladimir Safatle.Podcast realizado pelas bolsistas Débora Oliveira, Mirella Lima e Triz Cristina, sob supervisão de Ligiana Costa.

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.  

The Daily Quiz - Art and Literature Today's Questions: Question 1: Who wrote the book "Brave New World"? Question 2: Which author wrote 'The Return of Sherlock Holmes'? Question 3: Which author wrote 'The Moons of Jupiter'? Question 4: Who wrote "To Kill A Mockingbird"? Question 5: Which author wrote 'The Horse and His Boy'? Question 6: In the play Macbeth, the witches' cauldron contains the tooth of which animal? Question 7: Which artist painted "The Dance" Question 8: In which novel does a character called John Galt persuade the world's business leaders to abandon their companies and form a new capitalist society? Question 9: In which book does 'Jonathan Harker' appear? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

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.

Macbeth (1606) is a play about real Scottish history, but is also a drama of the mind, clearly written with James I in mind, who was both Scottish and obsessed with witches. The opening scenes alternate between political and military doings and the dark Otherworld of the blasted heath, with the three witches.

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.

Gaelynn Lea is a violinist, singer-songwriter, disability rights advocate, author, and public speaker. Born with osteogenesis imperfecta, Gaelynn began her musical journey with the support of a childhood music teacher and her musical family. You'll hear about how her big break happened when she won NPR Music's Tiny Desk Contest in 2016, which led to a fascinating creative life which in the last few years has included international touring and scoring Macbeth on Broadway, starring Daniel Craig and Ruth Negga. Gaelynn is really open to trying new things, and this really came through as she talked to me about how she'll never have enough time to explore all her curiosities, reflections on her first compositions and songs, how she collaborated with mentors Alan Sparhawk, and Charlie Parr, and how she created a new musical fable for the stage called Invisible Fences with disabled storyteller Kevin Kling. You'll be hearing clips from some of Gaelynn's albums during the podcast, and her Bandcamp is linked in the show notes for you. We begin with a look at her upcoming memoir—It Wasn't Meant to Be Perfect— a warm, funny and deeply-felt exploration of disability, music, and the messy creativity of an artist's life. I plan to welcome Gaelynn back for a future episode focused on that work. You can find the pre-order link in the show notes. It will be published by Algonquin Press in April 2026.Episode page with video, transcript and other episodes you'll love! Gaelynn Lea Website Albums on Bandcamp Order It Wasn't Meant to be Perfect Invisible Fences with Kevin Kling Newsletter Podcast Merch Buy me a coffee photo: Explore Duluth(00:00) Intro(03:32) Gaelynn's upcoming memoir—It Wasn't Meant to Be Perfect(10:42) Macbeth score and album, meeting Michael Stipe, Whippoorwill Arts Fellowship(16:02) about “Perfect”, with clip from Macbeth album(18:50) Gaelynn's childhood, learning the violin in an adapted way, her instruments(26:20) decision not to have surgery (29:01) Someday We'll Linger in the Sun with clip(32:06) other episodes you'll love, ways to support this independent project(32:53) how winning Tiny Desk changed her life and for her husband(38:32) disability visibility, mindset, beginning of song-writing and composing Alan Sparhawk, Charlie Parr(45:56) The Long Way Around with clip from The Living Room Sessions(49:46) Dragons and Fairies with clip from The Living Room Sessions, joys of improvisation, looping(54:45) fiddle repertoire, jamming in Edinburgh (59:45) Invisible Fences with Kevin Kling, disability activism, psychological challenges

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!

Who was the man from Stratford-upon-Avon who changed the world with his words?In this History-Sode, Auntie Jo Jo travels back to 16th-century England to meet William Shakespeare — the boy who became the world's most famous playwright.Discover how a small-town dreamer wrote about kings, ghosts, love, and courage and explore the spooky, mysterious world of his play Macbeth, filled with witches, prophecies, and lessons about the choices we make.Perfect for curious kids and families planning a visit to Stratford or anyone who loves a little history with their drama.Sources:The Shakespeare Birthplace Trust, Stratford-upon-AvonBritish Library: Discovering Literature – Shakespeare and Renaissance WritersRoyal Shakespeare Company Archives – Macbeth Historical ContextGreenblatt, Stephen. Will in the World: How Shakespeare Became Shakespeare. W.W. Norton, 2004.Oxford University Press, Shakespeare's Life and TimesBBC History, “William Shakespeare: A Life of Drama”

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

När saker inte är på riktigt kan vi verkligen ge oss hän. Ulf Karl Olov Nilsson hör ett mord begås och funderar över fiktionens kraft. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Tror vi att det som händer på teater eller film är verkligt? Knappast. Ändå bygger fiktionen på ett slags överenskommelse mellan skådespelare och teaterpublik om att handlingen faktiskt är verklig. Det är därför som publiken brister ut i skratt om en skådespelare som spelar död drabbas av en hostattack. Och av samma skäl betraktar vi aningen skeptiskt hur någon i en film beställer in mat men så sällan äter den. Vi liksom längtar efter att avslöja dem – utan att det egentligen finns något att avslöja! ”Jo jo, vi vet nog varför ni inte äter: ni är inte hungriga, ni är ju skådespelare!” Lika misstänksamt betraktar vi dem när de kräks, urinerar eller kopulerar.Franske psykoanalytikern Octave Mannoni myntade i en artikel på 60-talet formeln ”Jag vet mycket väl, men ändå” för den speciella klyvning av jaget som uppstår vid frågor som har med vidskepelse att göra, där vi liksom samtidigt både tror och inte tror. Som i följande exempel: I sitt hem i Köpenhamn hade Niels Bohr, atomfysikern och Nobelpristagaren alltså, en hästsko hängande över ytterdörren. En besökare uttryckte sin förvåning: ”Är inte du vetenskapsman? Du tror väl inte på sånt!” Då svarade Bohr: ”Givetvis inte, men jag har hört att det fungerar även om man inte tror på det.”På liknande sätt förenas vi på teatern och egentligen i all fiktion i en tro som vi i själva verket genomskådar. Det menar Mannoni i en annan artikel vars rubrik preliminärt skulle kunna översättas till: ”Bländverket, eller teatern och det imaginära”. ”Vi vet alltså mycket väl att det som händer på scenen inte är verkligt, men ändå låtsas vi inte om det under föreställningen eftersom det tillåter oss att leva oss in i handlingen.”Det är, menar Mannoni, som om såväl teaterproduktionen som dess publik förutsätter att det finns, eller åtminstone en gång funnits, en blåögd åskådare som tror att det som händer på scenen är verkligt och alla nu tillsammans försöker lura. Teatern har därför ofta använt sig av ramberättelser eller inledningsscener där en blåögd person förs bakom ljuset, som den fylltratt – Sly – som kallas Slug i Ulf Peter Hallbergs översättning av Shakespeares Så tuktas en argbigga. Medan Slug sover ruset av sig bärs han till slottet, kläs i en lyxig pyjamas och när han vaknar inbillar man honom att han är en rik men galen adelsman som tidigare endast trott att han var en fylltratt. För honom ska nu ett teatersällskap spela upp själva pjäsen. Här klyvs teaterpublikens uppmärksamhet i två delar: en som befinner sig i illusionen och ser pjäsen genom Slys godtrogna ögon, och en annan som njuter av att genomskåda fiktionen.Modernistisk teater har både gjort bruk av denna illusion och velat bryta den, leka med den; givna exempel är Luigi Pirandellos metadramer och Bertold Brechts arbete med Verfremdungseffekt. Som när skådespelare i exempelvis Tolvskillingsoperan kliver ur sina roller och riktar frågor till publiken: ”Vad anser ni om det moraliska dilemma som pjäsen visar fram? Och vilka är dess sociala förutsättningar?” Av samma illusionsbrutna skäl blir det ibland så mäktigt bra, och ibland så outgrundligt löjligt, när någon utbrister i sång och dans i en musikal. Jag vill hävda att mycket reality-tv bygger på idén om att deltagarna inte själva tycks förstå, eller kanske snarare låtsas att de inte förstår, att leken bara är en lek. För det finns väl ingen som kan tro att det är en allvarlig sak att gifta sig med någon man tidigare aldrig ens träffat, eller att man på allvar letar gastar och döda förfäder i något gammalt spökhus, eller att någon verkligen är på vippen att svälta ihjäl på en öde ö samtidigt som vederbörande är filmad av ett helt tv-team. Det illusoriska förstärks dock av deltagarnas ofta rörande sårbarhet – dejtingprogrammens hårt exploaterade mänskliga insats. Samt att saker framställs som autentiska; med tjusiga brudklänningar, Windsorknutna slipsar, kändisar som vigselförrättare och hela tjocka släkten på plats. Och inte minst teve-psykologernas parodiska seriositet som med terapeutiska klyschor vill täcka över programmens absurda utgångspunkter.Med avstamp i Johan Huizingas bok Den lekande människan menar österrikiske filosofen Robert Pfaller att ett lekande barn, eller för den delen en trollkonstnär, en häxa eller en voodoo-präst alltid har en sida som är väl medveten om att det de sysslar med är illusion. Ett av Pfallers exempel är att ett naturfolks soldanser regelmässigt utförs endast i gryningen, då man vet att solen ändå går upp. Den hängivenhet med vilken vi alla leker eller spelar behöver således inte vara ett uttryck för att det vi gör är autentiskt i den meningen att vi tror på det. Logiken är i själva verket den motsatta, det är just eftersom människor faktiskt förstår att det bara är ett spel som vi kan bli så hängivna. Det är därför människor kan gå i graven för sitt favoritfotbollslag. Att vara införstådd med spelets eller lekens funktion såsom just lek är en förutsättning för besattheten, ”lekens heliga allvar”.Vi gillar ibland att skratta åt naiva personer som lever sig in i illusionen. Men kanske avundas vi också deras hängivelse. Som Mannonis exempel med bonden som för första gången bevittnar en teateruppsättning, nämligen Shakespeares Julius Ceasar och vid mordscenen reser sig upp och utbrister: ”Akta dig! De är beväpnade.”Det förmodligen närmaste jag själv kommit en så illusorisk upplevelse inträffade på Gotland under Almedalsveckan. Jag bodde då med min familj i ett gammalt stenhus nära Roma kloster. Det är en mycket vacker och ödsligt tyst plats med stora, just då oerhört torra och heta åkerfält. En kväll kunde jag tydligt höra avlägsna men synnerligen högröstade män. De föreföll vansinnigt upprörda och arga. Och det hela eskalerade; det lät fullkomligt hysteriskt, livsfarligt. Jag minns hur jag sa till min fru: ”Det här kommer att sluta med mord! Vi måste ringa polisen.” Vi var väldigt rädda. Männen vrålade, skrek, grät. Och sedan, helt oväntat: musik! Ljudet av stråkar och bläckblås dånade ur högtalare och i samma ögonblick förstod vi att det var den sista akten i Shakespeares tragedi Macbeth vi hört. Den spelades nämligen på Roma klosterruin bara någon kilometer bort, mitt i vindriktningen. Efteråt lättnad, livsintensitet. För verklig inlevelse krävs det att man för ett ögonblick förlorar kontakten med verkligheten.Ulf Karl Olov Nilssonförfattare, psykoanalytiker och översättare

Arianna Di Pietro"Mamma ti volo bene"Ape Juniorwww.apejunior.it"Per nove mesi ho guidato fiera una magnifica mongolfiera. Nel cielo del mondo volava sospinta da un soffio profondo: la mia fiamma amore di mamma". Cinquanta rime per raccontare la maternità con uno sguardo unico e sempre curioso. Rime che parlano di una donna che resta fedele a sé stessa, che non smette di cercare, di imparare, di guardare il mondo con gli occhi di bambina. Perché i figli, presto o tardi, prendono il volo, ma anche le loro mamme possono imparare a volare. Non per perdersi, ma per ritrovarsi più ricche, più sagge e al tempo stesso più leggere. Una raccolta da sfogliare e risfogliare, condividere, leggere ad alta voce e portare per sempre nel cuore. Età di lettura: da 6 anni.Arianna Di Pietro, madrelingua di “filastrocchese” fin da piccola, nasce a Roma nel 1985. Nel 2010, consegue la laurea specialistica in Lettere e Filosofia presso l'università La Sapienza di Roma e, in seguito, un master in glottodidattica per l'insegnamento dell'italiano per stranieri presso l'università per stranieri di Siena. Parallelamente, si diploma in “Drammaturgia, recitazione e messa in scena” presso l'Accademia Teatrale dell'Orologio, dove inizia un percorso autoriale che la porta a riadattare per il teatro grandi classici della letteratura come “Le mille e una notte”, “I racconti di Edgar Allan Poe” e “Macbeth” per bambini. Tra il teatro e l'insegnamento, non trascura la sua passione per la mitologia, nata sui banchi del liceo classico, finché, nel 2020, pubblica in self-publishing “Storie in rima dei Supereroi di prima”, la sua prima raccolta di filastrocche sui miti greci per bambini.  “Tocco il cielo con un mito” è la sua prima opera edita.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

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. 

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 begin by exploring how Prospero's magic in The Tempest reflects early modern grimoire traditions—a form of ritual magic rooted in books, incantations, and precise ceremonial practice, especailly as compared to the types of magic we discussed in our Macbeth episodes. We examine how Shakespeare's depiction of Prospero's art, Prospero's relationship with Ariel, and the creation and disappearance of the masque parallel descriptions of grimoire magical practices found in a grimoire manuscript from the late 1500s. From there, we examine how The Tempest itself mirrors the alchemical process, moving through symbolic stages of separation, purification, and reconciliation. By tracing how the structure of the play parallels the alchemist's pursuit of transformation, we uncover how Shakespeare weaves together the worlds of science, faith, and magic to create a story of power, renewal, and artful creation. Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. For updates: join our email list, follow us on Instagram at @shakespeareanyonepod or visit our website at shakespeareanyone.com You can support the podcast by becoming a patron at patreon.com/shakespeareanyone, buying us coffee, or by shopping our bookshelves at bookshop.org/shop/shakespeareanyonepod (we earn a small commission when you use our link and shop bookshop.org). Find additional links mentioned in the episode in our Linktree. Works referenced: Folger Shakesepeare Library. “Book of Magic, with Instructions for Invoking Spirits, Etc, ca. 1577-1583. [Manuscript].” Digital Collections, Folger Shakepeare Library, digitalcollections.folger.edu/bib228887-238418. Accessed 5 Oct. 2025. Simonds, Peggy Muñoz. “‘My Charms Crack Not': The Alchemical Structure of ‘The Tempest.'” Comparative Drama, vol. 31, no. 4, 1997, pp. 538–70. JSTOR, http://www.jstor.org/stable/41153887. Accessed 5 Oct. 2025.   Tribble, Evelyn. “'A Strange, Hollow, and Confused Noise': Prospero's 'Start' and Early Modern Magical Practices." Shakespeare Quarterly, Volume 72, Issue 3-4, Fall-Winter 2021, Pages 229–253, https://doi.org/10.1093/sq/quac016

durée : 01:31:16 - Les Nuits de France Culture - par : Albane Penaranda - Dès son plus jeune âge, Orson Welles adorait Shakespeare. Il l'adapte plusieurs fois à la radio et lui consacre trois longs métrages : Macbeth, Othello, Falstaff. Ce numéro des Mardis du cinéma évoque avec plusieurs spécialistes les nombreuses similitudes entre les univers de Welles et Shakespeare. - réalisation : Emily Vallat - invités : Jean-Pierre Berthomé Critique, historien et enseignant (cinéma); François Thomas Historien du cinéma, collaborateur de la revue Positif et professeur à la Sorbonne Nouvelle

Gunilla Kindstrand, Åsa Melldahl och Björn Johansson talar om ”Macbeth”. I år spelas minst fyra uppsättningar av den över 400 år gamla pjäsen på svenska scener. Samtidigt kommer ”Färga skräcken röd”, en nyutgåva av Shakespearetragedier i översättning av Ulf Peter Hallberg. Varför dras vi till detta drama om en krigare som tror sig vara utvald av högre makt till att bli kung? Och kan Tiktokhjärnor botas av blankvers?

For the latest Whisper in the Wings from Stage Whisper, we are thrilled to welcome back on the company Thinkery & Verse. This time we were joined by adaptor Karen Alvarado and adaptor/director J.M. Meyer to talk about their latest production of The Tragedy of Macbeth. This is a brilliant reimagining of this classic tale that is perfect for spooky season. So make sure that you tune in and get your tickets today!Thinkery & Verse PresentsThe Tragedy of MacbethOctober 9th-25th @ The Assembly Hall at the Church of Saint John the EvangelistTickets and more information are available at eventbrite.com And be sure to follow our guests to stay up to date on all their upcoming projects and productions: thinkeryandverse.orgthinkeryandverse@gmail.com

In this episode of The Tiberius Show, theater director, producer, and founder of the Reveller's Hour Theatre Company, Halie Smith, shares how she turned a childhood love of musicals into a career bringing stories to life on stage. She explains why she chose the nonprofit route, the real challenges of funding and sponsorships, and what makes theater such a rewarding (and sometimes unpredictable) path. From cabarets and Shakespeare to original works, Hailey gives us a behind-the-scenes look at the art, business, and heart of running a theater company.What you'll hear:    Origin story: from her grandmother showing The Sound of Music to launching her own theater company in 2023    Nonprofit path: why many theater companies go nonprofit and how education plays a central role    Resourceful producing: deciding shows based on budget, rights, and available cast/designers    Performing vs. backstage: how she transitioned from acting to sound, lighting, and leadership    Business challenges: fundraising, sponsorships, and turning passion into sustainable work    Live theater lessons: when fire alarms interrupt Macbeth and why imperfection is part of the magic    Adapting to COVID: shifting into online/Zoom theater and podcasting to stay connected    Kid-friendly shows: current performances, cabarets, and her future plans for youth programmingBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-tiberius-show--3352195/support.

What is fringe theater? A better question might be what isn't it. The annual Theatre Crude festival is returning to Oklahoma City this week, bringing dozens of small-scale, non-traditional productions to the community. Want to hear from a misanthropic goldfish? Or maybe a MacBeth musical with lightsabers is more your speed. Theatre Crude co-founder Jenny Brand joins the podcast from The 4801, one of the festival's three venues, to talk about what fans can expect.  Also on this week's episode, the editors discuss what they're looking forward to this Oklahoma fall, and podvents takes a moment to pay tribute to our "deer" friends. You won't want to miss it!

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)

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 mini-episode, we sit down with actor ML Roberts and co-playwrights Sean Patrick Nill and Elyse Sharp to talk about NEVER FEAR, SHAKESPEARE—a brand new Theatre for Young Audiences (TYA) play premiering at Sacramento's B Street Theatre.  B Street is well known for its Theatre for Young Audiences (TYA) programming, which brings high-quality, professional productions to children, families, and schools, making theatre accessible to the next generation. We dive into B Street's philosophy of theatre for young audiences and how NEVER FEAR, SHAKESPEARE fits into that mission. Along the way, we discuss the theatre's history with Shakespeare, what makes this new play different from other Shakespeare-for-kids or Shakespeare-adjacent productions, and why introducing Shakespeare to young people matters in today's cultural landscape. ML Roberts shares his perspective on embodying a central role in the play, while Nill and Sharp reflect on the process of adapting Shakespeare's world for youth audiences—balancing humor, clarity, and creativity to keep the material engaging. At Shakespeare Anyone?, we strive to contextualize Shakespeare and make his works accessible. This episode highlights how NEVER FEAR, SHAKESPEARE carries that same mission into the world of young audiences. ML Roberts is the son of a Navy veteran and descendant of the Gullah Geechee of the Carolinas. As a member of Actor's Equity Association, he has performed with Seattle Children's Theater, Folger Shakespeare, Unicorn Theatre (UK), The Williams Project, and Santa Cruz Shakespeare, among others. As a playwright, his debut production Riverside premiered at Indy Shakes. His work has been developed with New Harmony Project, SPACE on Ryder Farm, and GTG's Speaker's Corner. As a screenwriter, he co-wrote a Lifetime movie and has developed work with Hulu. He is a member of the Dramatists Guild of America, a Broadway Advocacy Coalition Fellow, Co-Artistic Director of Yale Cabaret Season 57: Phoenix, and inaugural Core Company Member at ACT Theatre (Seattle). MFA Playwriting from the Yale School of Drama; BFA Acting from North Carolina School of the Arts marceselorenzo.com Sean Patrick Nill is Artistic and General Manager at the B Street Theatre. B Street Writing Credits include: Tiny Trailblazers: Kids Who Changed the World, Winnie-the-Pooh, ‘Tis the Season, Fantasy Festival XXXI-XXXVI, Mind Boggling Mysteries of the World, and Mathematical Madness. Directing Credits include: Tiny Trailblazers: Kids Who Changed the World, Cosmo St. Charles is Dead and Someone in This Room Killed Him, The Prince of Lightning, The Play That Goes Wrong, The Last Wide Open, A Year with Frog & Toad, Proclivity for Kiting, and Fantasy Festival XXXI-XXXVI. His plays have been produced by the Sacramento Theatre Company, B Street Theatre, Children's Museum & Theatre of Maine, Rover Dramawerks, Theatre InspiraTO festival, Watermelon One Act Festival, M.T. Pockets Theatre, Torent Theatre, and the Manhattan Repertory Theatre. His play Kings of America was a finalist for the Davey Foundation Theatre Grant given by the Salt Lake Acting Company, his play An Ordinary Woman was published in Stage It! Ten Minute Plays: 2017 Edition, and his play Brynlee & the Bull won the Audience Choice Award at the InspiroTO 10 Minute Play Festival in Canada. His adaptation of Winnie-the-Pooh, which premiered here at the B Street Theatre, is now published and can be purchased through Theatrical Rights Worldwide (https://www.theatricalrights.com/). And, you know her as one half of Shakespeare Anyone?…Elyse Sharp is a member of Actor's Equity Association and the Shakespeare Association of America, as well as a director, podcaster, dramaturg, and teaching artist. At the age of 9, and inspired by an episode of the PBS series Wishbone, she rewrote Romeo and Juliet for a fourth grade class assignment, and she's been passionate about Shakespeare (and helping others understand his work) ever since. Previously with B Street Theatre, she has been an Associate Producer of the New Comedies Festival, an actor in Prince of Lightning, Mind-Boggling Mysteries of the World, and Fantasy Festivals 32 & 33, an understudy for Dance Nation and Winnie the Pooh. As an actor, she has performed in 17 of Shakespeare's plays. Keep up with her at @elysesharp on all social media or at elysesharp.com B Street Theatre is Sacramento's premiere new works theatre for both children and adults. Founded in 1986 as Fantasy Theatre, a traveling children's theatre troupe, B Street has premiered more than 135 plays across its School Tour, Family Series, and Mainstage Series. Located at the Sofia Tsakopoulos Center for the Arts in Midtown Sacramento, B Street is California's only year-round professional theatre for young audiences. Known for championing bold new voices and creating theatre that is both accessible and adventurous, B Street has been named Sacramento Magazine's Top Sacramento Theatre numerous times. In 2025, it was honored with the National Theatre Conference's Theatre of the Year Award, recognizing its outstanding contributions to American theatre. To learn more, visit B Street Theatre's website, bstreettheatre.org.  NEVER FEAR, SHAKESPEARE follows one shoemaker's son on his journey to become an actor alongside The Lord Chamberlain's Men, stepping right into some of Shakespeare's greatest hits. From Romeo and Juliet's balcony to the witches of Macbeth and the drama of Hamlet, it's Shakespeare reimagined with a wink and a laugh. For fans of Shakespeare in Love and Book of Will, this family-friendly comedy isn't just a history lesson—it's pure theatre magic, showing kids (and grown-ups!) that the Bard's words are still buzzing with life, laughter, and big imagination. Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. For updates: join our email list, follow us on Instagram at @shakespeareanyonepod or visit our website at shakespeareanyone.com You can support the podcast by becoming a patron at patreon.com/shakespeareanyone, buying us coffee, or by shopping our bookshelves at bookshop.org/shop/shakespeareanyonepod (we earn a small commission when you use our link and shop bookshop.org). Find additional links mentioned in the episode in our Linktree.

Luis Antonio Muñoz, nuestro experto en música misteriosa, regresa a DÍAS EXTRAÑOS para sumergirnos en el fascinante mundo donde las notas musicales se entrelazan con lo paranormal. Desde las óperas malditas como Macbeth de Verdi —esa "tragedia escocesa" que los cantantes ni se atreven a nombrar— hasta la legendaria teoría conspirativa de "Paul is Dead", exploramos cómo el mundo de la música está plagado de supersticiones, maldiciones y apariciones espectrales. Descubrimos la presencia del fantasma "Bartolo" en el mismísimo Auditorio Nacional de Madrid, analizamos el enigmático Club de los 27 y desentrañamos los mensajes ocultos en las portadas de los Beatles. Un viaje sonoro por teatros embrujados, compositores atormentados y leyendas urbanas que demuestran que, en la música, lo inexplicable siempre encuentra su propia partitura. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

To celebrate not one but TWO exciting Shakespeare productions in Dublin Theatre Festival this year, I've teamed up with DTF to bring you a sneak preview of the delights that await. This time: Druid Theatre Company presents Macbeth, introduced by festival artistic director Róise Goan. Macbeth is at the Gaiety Theatre from September 25 - October 05, at tickets are available from Ticketmaster. The Making of Pinocchio is at the Samuel Beckett Theatre and tickets are available from dublintheatrefestival . ie

After the last three weeks with Dante, we jump to another three-week series with Shakespeare and NINE plays!Shakespeare can be daunting, so I offer a few thoughts on how to approach him: Watch a movie FIRSTGet a good edition (hello, Folger Shakespeare Library)Keep a one-line-per-scene summary as you readEnjoy!! It will get easier and the plays are so very worthwhile.Hamlet dazzles with layered characters and razor-sharp language. Prince Hamlet wrestles with grief, revenge, and perhaps madness, while Claudius broods over the cost of his own sin. My own final note: “Everyone dies except Horatio.”Macbeth feels darker and almost Greek. The witches act as oracles, but Macbeth isn't their puppet—he chooses evil. Lady Macbeth is more accelerant than mastermind, and the play pulses with ominous energy.King Lear hit me hardest. Lear is not villainous, just weary and reckless, longing to lay down his burdens—yet no one gets that choice. Dividing his kingdom invites betrayal from his elder daughters and the scheming Edmund, while steadfast Cordelia stands tragically apart. The repeated “nothing” captures the emptiness of abdicated duty.Together they reveal Shakespeare's trademarks: sudden madness, clever disguises, and language that still crackles, showing three kinds of downfall—the victim (Hamlet), the villain (Macbeth), and the feckless ruler (Lear).LINKTed Gioia/The Honest Broker's 12-Month Immersive Humanities Course (paywalled!)My Amazon Book List (NOT an affiliate link)My Hamlet Movie ChoiceMy MacBeth Movie ChoiceMy King Lear Movie Choice (Not actually that good but I still think about it)CONNECTThe complete list of Crack the Book Episodes: https://cheryldrury.substack.com/p/crack-the-book-start-here?r=u3t2rTo read more of my writing, visit my Substack - https://www.cheryldrury.substack.com.Follow me on Instagram - https://www.instagram.com/cldrury/ LISTENSpotify - https://open.spotify.com/show/5GpySInw1e8IqNQvXow7Lv?si=9ebd5508daa245bdApple Podcasts - https://podcasts.apple.com/us/podcast/crack-the-book/id1749793321 Captivate - https://crackthebook.captivate.fm

Episode 187:This episode is both an ending and a beginning. An ending because it is the last of the recent run of consecutive guest episodes – next time we will be returning to Shakespeare, Jonson and their plays – but it is also the first of what I hope will be a series of guest episodes attached to each of the very significant Shakespeare plays that are coming up soon. With the very well-known and arguably greatest of Shakespeare's plays the task of providing some meaningful commentary is, I have found, very daunting, so I thought it would be a good idea to have another view on these plays to bring another perspective to them besides my own. I am also keen for those views to be born from the practical experience of producing the plays and understanding them from an actor's perspective and therefore as a result of close exploration of the text. 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.The photos used on social media posts for this episode are from the 2015 production of 'Henry V' with Colette O'Rourke as the king at the Union Theatre. Photo credit: Adam Trigg.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.

In Episode 181 of The Alan Sanders Show, Alan explores the human condition through the lens of history, literature, and modern politics, revealing how oppression sparks rebellion. From Spartacus' uprising against Rome to the French Revolution's guillotines, the repressed have always risen against their oppressors. Drawing parallels to Shakespeare's Macbeth and Princess Leia's defiance in Star Wars, Alan shows how dehumanization fuels resistance. In the wake of Charlie Kirk's tragic assassination on September 10, 2025, conservatives are pushing back against the Left's censorship and cancel culture, ushering in an era of accountability culture. Join Alan as he honors Kirk's legacy and examines why the tighter the grip, the fiercer the rebellion. Tune in for a powerful reflection on freedom, justice, and the unyielding spirit of those who refuse to be silenced. Please take a moment to rate and review the show and then share the episode on social media. You can find me on Facebook, X, Instagram, GETTR,  TRUTH Social and YouTube by searching for The Alan Sanders Show. And, consider becoming a sponsor of the show by visiting my Patreon page!

AMDG. Literature teachers John Turrentine and James Endres want you to love Shakespeare as much as they do. The duo dives deeply into the classic works you've heard of before, giving a fresh perspective on well-known plays, and introduces some of Shakespeare's plays that you may never have heard of before. With their combined 25 years of experience, John and James address Shakespeare readers of all levels. Whether you are picking up a play for the first time or re-reading an old favorite for the thousandth time, this conversation will have something to teach you.  Links mentioned & relevant:  Medieval Shakespeare Study Guide Set Shakespeare The Sonnets Books in Kolbe's Roman Literature course, including Julius Caesar Books in Kolbe's Era of Christendom course, including Richard III,  Macbeth, and The Tempest  Related Kolbecast episodes:  266 New Voice, Handy Catalog with Gwynith DeMonte 177 Tabletop Theology with Alexi Sargeant 3 Dramatic Arts with Dolores Ann Mihaliak  Have questions or suggestions for future episodes or a story of your own experience that you'd like to share? We'd love to hear from you! Send your thoughts to podcast@kolbe.org and be a part of the Kolbecast odyssey.   We'd be grateful for your feedback! Please share your thoughts with us via this Kolbecast survey!  The Kolbecast is available on Apple Podcasts, Spotify, and most podcast apps. By leaving a rating and review in your podcast app of choice, you can help the Kolbecast reach more listeners. The Kolbecast is also on Kolbe's YouTube channel (audio only with subtitles).  Using the filters on our website, you can sort through the episodes to find just what you're looking for. However you listen, spread the word about the Kolbecast! 

Eddie Bazil explores advanced vocal processing techniques to achieve a clean, professional vocal track. He demonstrates how to control sibilance, tame resonances and apply quick corrective steps that enhance vocal clarity and ensure the performance sits perfectly in the track.Chapters00:00 - Introduction00:30 - Common Vocal Track Issues01:04 - Example 1: De-essing Sibilance08:57 - Example 2: Taming Resonance With EQ16:13 - Example 3: Reverb Ducking25:22 - Example 4: Frequency DuckingTrack CreditsExample 1 - written and performed by David Plummer and Becky Bremner - https://www.smokinggoats.co.ukExamples 2, 3 and 4 - ‘Puppet' written, performed and recorded by John Walden, vocals by Yvonne McKeown#SSLVocalStrip #FabFilterProDS #FabFilterProQ3 #FabFilterMBC #FabFilterProC #UnfilteredAudioTails #TokyoDawnNovaGEEddie 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

We Review: Highest 2 Lowest, Flight, Crimson Tide, Remember the Titans, Training Day, The Tragedy of Macbeth, PhiladelphiaDenzel is back in a new take on the film "High and Low" from director Spike Lee. We give our review of that film and then go into our top 3s from Denzel Washington. You will enjoy this episode...we "can guarantee you that!" Subscribe on YouTube:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.youtube.com/@moviesshapedpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠follow us:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.instagram.com/moviesshapedpod/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Chapters:00:00:00 Intro00:01:15 Denzel Washington Thoughts00:13:08 Highest 2 Lowest00:31:40 Remember the Titans00:48:50 Crimson Tide01:04:23 Philadelphia01:22:36 Training Day01:38:31 Flight01:55:17 The Tragedy of Macbeth02:13:22 What Should He Do Next?02:16:06 Next Episode Preview & Outro

'Macbeth' es una de las tragedias más oscuras y poderosas de William Shakespeare, sumergiendo al espectador en un mundo de ambición, brujería, locura y traición. La obra se centra en Macbeth, un valiente guerrero escocés, y su esposa Lady Macbeth, quienes, consumidos por la ambición y las profecías de tres brujas, trazan un plan para asesinar al rey Duncan y tomar el trono de Escocia. La trama se desenreda en un espiral de violencia y paranoia, con Macbeth asesinando a aquellos que sospecha que amenazan su poder, incluyendo a su amigo Banquo y la familia de su rival Macduff. A medida que el derramamiento de sangre aumenta, Macbeth se ve acosado por la culpa y las visiones, mientras que Lady Macbeth, igualmente atormentada, desciende a la locura. WILLIAM SHAKESPEARE (Stratford-upon-Avon, Warwickshire, Reino de Inglaterra, 23 de abril de 1564 - ib., 23 de abril/3 de mayo de 1616) ha sido considerado unánimemente el escritor más importante de la literatura universal. Se mantiene que nació el 23 de abril de 1564 y que fue bautizado, al día siguiente, en Stratford-upon-Avon, Warwickshire. Su llegada a Londres se ha fechado hacia 1588. Cuatro años después de su llegada a la metrópoli, ya había logrado un notable éxito como dramaturgo y actor teatral, éxito que pronto le valió el mecenazgo de Henry Wriothesley, tercer conde de Southampton. Con solo haberse dedicado a la poesía, Shakespeare ya habría pasado a la historia por poemas como Venus y Adonis, La violación de Lucrecia o los sonetos. Sin embargo, si hay un campo en el que Shakespeare realizó grandes y trascendentales logros fue en el teatro; no en vano es el responsable principal del florecimiento del teatro isabelino, uno de los mascarones de proa de la incipiente hegemonía mundial de Inglaterra. A lo largo de su carrera escribió, modificó o colaboró en decenas de obras teatrales, de las cuales podemos atribuirle plenamente treinta y ocho, que perviven en nuestros días gracias a su genio y su talento. Cuento extraído de Tragedias de Shakespeare, de 451Editores, autorizado por el autor Andrés Barba para su publicación en Historias para ser leídas. Andrés Barba, Licenciado en Filología Hispánica, es autor de la novelas 'La hermana de Katia', finalista del premio Herralde de Novela, 'Ahora tocad música del baile' y 'Versiones de Teresa', premio Torrente Ballester, así como el libro de relatos 'La recta intención'. Coautor junto a Javier Montes de 'La ceremonia del porno', premio Anagrama de ensayo, ha publicado la novela infantil 'Historia de nadas', y el poemario en prosa 'Libro de las caídas'. Ilustración by Scott McKowen Narración y sonido Olga Paraíso https://instabio.cc/Hleidas Apertura Las tres brujas La Tragedia de Shakespeare, ACTO 1. Música Epidemic Sound con licencia premium para este podcast Cierre opera Verdi, Eva Rydén swedish soprano sing "Ambizioso spirto...Vienni t´affretta" from the opera Macbeth - Verdi. Hay nombres que no conviene pronunciar en voz alta. Nombres que cargan con siglos de sombras y supersticiones. Entre ellos, uno en particular: Macbeth. Shakespeare escribió esta tragedia hacia 1606, y con ella puso en escena no solo la ambición y la sangre de un noble escocés, sino también los susurros de tres brujas que, dicen, hablaban con un lenguaje demasiado verdadero. Hechizos reales, robados a quienes no perdonan la profanación. Desde entonces, la obra arrastra un halo maldito. Se cuenta que cada vez que alguien osa pronunciar su título dentro de un teatro, la desgracia acecha. Para evitarlo, existe un ritual: salir, girar tres veces sobre sí mismo, escupir al suelo, lanzar una blasfemia y pedir permiso para volver a entrar. ¿Exageración? Quizá. Pero en los pasillos oscuros del teatro, donde la ficción y la realidad se rozan, más de un actor prefiere no tentar al destino. Y ahora, abramos el telón de esta tragedia… ¡Únete a la nave de Historias para ser Leídas y conviértete en uno de nuestros taberneros galácticos. Al hacerlo, tendrás acceso a lecturas exclusivas y ayudarás a que estas historias sigan viajando por el cosmos.🖤Aquí te dejo la página directa para apoyarme: 🍻 https://www.ivoox.com/support/552842 ¡¡Muchas gracias por todos tus comentarios y por tu apoyo!!🚀 Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Send us a textWelcome to Celebrate Creativity - Episode 458 - The Greatest of Them All, Part Two“In Episode 1, we followed Shakespeare from Stratford-upon-Avon to the bustling streets and theatres of London, watching him experiment with history, tragedy, and love. But the story doesn't stop there. From these early works, Shakespeare climbed higher, perfecting his craft and tackling the deepest questions of humanity.Take Hamlet, for instance. Here is a prince torn between revenge, morality, and his own inaction. With the simple, yet profound, words ‘To be, or not to be…,' Shakespeare captures a question that has haunted humans for centuries: what does it mean to act, and what does it mean to live? In King Lear, he explores family, power, and madness, peeling back the layers of human pride and vulnerability. In Othello, we watch jealousy and manipulation destroy trust, while Macbeth examines 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.That's like a musician dropping three platinum albums in twelve months. Shakespeare wasn't just producing — he was redefining what theater could be.This is the run that still leaves critics gasping: the great tragedies. Between about 1600 and 1608, he wrote Hamlet, Othello, King Lear, and Macbeth. It's the Shakespeare equivalent of The Beatles going from Help! to Sgt. Pepper in a handful of years.Support the showThank you for experiencing Celebrate Creativity.

Since posting a tribute to German heldentenor Ernst Kozub last year, I have continued combing through both his live and studio output and I have concluded that his work in Verdi is at least as good as his work in Wagner. And that's saying something! I have a wonderful setlist here which features the great Heldentenor singing everything from the lyric tenor parts of Alfredo in La Traviata and the Duke (or should I say the Herzog?!) in Rigoletto to the dramatic roles of Manrico in Der Troubadour, Radames in Aida and the title role of Otello. Between these two extremes, arias from Luisa Miller, Macbeth, and Ein Maskenball ring out with vigor and even some occasional subtlety! Excerpts from live performances of Don Carlos and La forza del destino (the only Verdi heard here in Italian) from the stage of the Hamburg Opera (where Kozub was fest between 1962 and his premature death in 1971) are a special treat, especially with in duet with phenomenal (though nearly forgotten) colleagues Norman Mittelmann, Vladimir Ruždjak, and Edith Lang (who will be featured next week in an upcoming episode). Legendary German stars Rita Streich and Franz Crass are also heard opposite Kozub in the recording studio. The episode opens with George London singing an excerpt from Mendelssohn's Elias under the baton of the late Christoph von Dohnányi, who died over the weekend two days before his 96th birthday. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

It's Rosebud's second birthday, and we're celebrating with another conversation with our very first guest: Dame Judi Dench. This time, it's been recorded in front of an audience, at the Concert Artists' Association in Covent Garden, London. Dame Judi treats us to some more stories from her amazing career. She tells Gyles about working with Tommy Steele, Johnny Depp and Clint Eastwood. She tells Gyles about having Eric Morecambe over for lunch. She talks about Macbeth and Twelfth Night and gives us some speeches from those plays - which will stop you in your tracks. We're extremely lucky to hear from this legendary actress once more. And we're extremely lucky to have been able to give you Rosebud for the past two years! Enjoy this. Hosted on Acast. See acast.com/privacy for more information.

With Ghost of Yōtei launching October 2nd, Nerd Legion is diving into the films and anime that inspired the game's haunted world. We begin with Akira Kurosawa's Throne of Blood (1957), a chilling reimagining of Macbeth that blends Noh theatre, samurai tragedy, and supernatural ghosts. In this episode, MonteCristo and DoA discuss:⚔️How Throne of Blood's fog, wind, and black-and-white style shaped Kurosawa Mode in Ghost of Tsushima (returning in Ghost of Yōtei)⚔️The fusion of Shakespearean tragedy with Japanese Noh theatre and its symbolism (Lady Asaji's mask-like stillness, the centipede banners, spinning horses)⚔️Kurosawa's legendary use of atmosphere and the unforgettable real-arrow death scene with Toshiro Mifune⚔️How the film's themes of cursed destiny and supernatural hauntings echo the mythic tone of Ghost of Yōtei

Finalist #9 in the Review Contest [This is one of the finalists in the 2025 review contest, written by an ACX reader who will remain anonymous until after voting is done. I'll be posting about one of these a week for several months. When you've read them all, I'll ask you to vote for a favorite, so remember which ones you liked] Ollantay is a three-act play written in Quechua, an indigenous language of the South American Andes. It was first performed in Peru around 1775. Since the mid-1800s it's been performed more often, and nowadays it's pretty easy to find some company in Peru doing it. If nothing else, it's popular in Peruvian high schools as a way to get students to connect with Quechua history. It's not a particularly long play; a full performance of Ollantay takes around an hour.1 Also, nobody knows where Ollantay was written, when it was written, or who wrote it. And its first documented performance led directly to upwards of a hundred thousand deaths. Macbeth has killed at most fifty people,2 and yet it routinely tops listicles of “deadliest plays”. I'm here to propose that Ollantay take its place. https://www.astralcodexten.com/p/your-review-ollantay

Kim and Alice discuss the intense, spooky and downright wonderful Macbeth adaptation; Throne of Blood. Enjoy this Kurasawa classic with us and remember, as you're warming up your sake in a baby bottle warmer, that we're all just skeletons waiting for our dust mound.Sound Engineer: Keith NagleEditor: Keith NagleProducer: Helen HamiltonIf you enjoy this podcast, come with us on a romp through the Regency era with our sister podcast, Austen After Dark. Listen to the trailer now. Hosted on Acast. See acast.com/privacy for more information.

In this episode of The Menopause and Cancer Podcast, I'm joined once again by the incredible Dr Alison Macbeth – a top menopause specialist supporting breast cancer patients, and one of the key medical contributors to my book Navigating Menopause After Cancer.This time, we're diving deep into the topic of vaginal oestrogen after breast cancer — and what you'll hear is the most up-to-date and comprehensive guidance out there.We explore what's happening across the world when it comes to access, safety, and prescribing practices — and zoom in on the current situation in the UK. We talk about the real barriers that cancer survivors face when trying to get treatment for vaginal dryness and genitourinary symptoms, and we unpack the science behind the risks and benefits.If you've been told you can't have vaginal oestrogen, this episode is especially for you. The landscape is shifting — and I want you to feel informed, empowered, and ready to explore your options.This conversation and Dr Macbeth's work, are a true gift to our community. I can't wait for you to listen.Episode Highlights:00:00 Intro08:06 Menopausal Urinary and Vaginal Issues11:30 Breast Cancer's Impact on Women's Health16:09 Vaginal Care: Tips and Products17:29 Lubricant vs Moisturiser in Healthcare24:40 Menopause Hormone Guidance Update27:56 Aromatase Inhibitors and Vaginal Oestrogen35:16 Vaginal Oestrogen and Cancer Risk37:29 Medication Non-Compliance in Medical Studies42:26 Menopause Care and GP OptionsGet your copy of Navigating Menopause After Cancer here: https://www.amazon.co.uk/Navigating-Menopause-After-Cancer-comprehensive/dp/1068499907Find out more about Dr Macbeth here: https://healthinmenopause.co.uk/meet-the-team/Connect with us:For more information and resources visit our website: www.menopauseandcancer.org Or follow us on Instagram @menopause_and_cancerJoin our Facebook group: www.facebook.com/groups/menopauseandcancerchathub

From Lucifer's rebellion to Adam and Eve's expulsion, from Lancelot's betrayal to Macbeth's downfall, stories of greatness undone have gripped audiences for centuries. For America's Revolutionaries, the cautionary examples of Julius Caesar and Oliver Cromwell warned of leaders who turned against the people.No figure embodies this tragic arc in American history more than General Benedict Arnold. Once a brilliant and passionate commander whose daring made him one of the Revolution's most effective leaders, Arnold's defection to the Crown became a devastating blow to the patriot cause—and forever branded him the nation's most infamous traitor.Historian Joyce Lee Malcolm joins us to explore Arnold's rise, fall, covered in her acclaimed book  The Tragedy of Benedict Arnold: An American Life.Tell us what you think! Send us a text message!

Today on What's My Frame I'm joined by Casting Professional and Actor, Andrew Dahreddine. Andrew is based between Los Angeles and New York. He is currently casting Lauren Minnerath's debut feature film, CLARE (which has been supported by Sundance, Tribeca, and SXSW); Stacey Maltin and Jay DeYonker's feature film, C-SIDE (working title); and Rebecca Louisell's film, THE TRIP, which is one segment of the upcoming anthology feature film, THROUGH THE BLINDS. Andrew previously worked with Barden/Schnee Casting on television shows for Apple TV+ (the breakout series, PALM ROYALE), Paramount+ (SCHOOL SPIRITS), and ABC (ALASKA DAILY), as well as many films including the upcoming feature, CODE 3 (Rainn Wilson, Lil Rel Howery, and Aimee Carrero); and EZRA (Robert De Niro, Bobby Cannavale, Rose Byrne).Additional selected casting credits include: the FX limited series, THE PATIENT (starring Steve Carell & Domhnall Gleeson); Aaron Sorkin's Oscar-nominated Netflix feature film, THE TRIAL OF THE CHICAGO 7; and the first season of the Emmy-nominated Hulu series, RAMY. Andrew has also been the casting director for many short films that have competed at festivals including SXSW, BFI, SIFF, Palm Springs ShortFest, HollyShorts, Vienna Shorts, and many others.As an actor, Andrew was a series regular on the comedy series, 86'd, for BRIC TV. He also has appeared in many national commercials, and was the lead role in the second season premiere of Homicide City on Investigation Discovery.A BFA graduate of NYU's Tisch School of the Arts and the Stella Adler Studio of Acting, Andrew has performed in many stage productions, as well. Selected credits include: Kenneth Branagh and Rob Ashford's epic Macbeth at the Park Avenue Armory; the Lincoln Center Festival's Russian-language adaptation of Miss Julie (dir. Thomas Ostermeier) at NY City Center. He also appeared in several productions with The Drilling Company, and received praise in the New York Times for his performance in their version of As You Like It. Regionally, he spent a season with the Alabama Shakespeare Festival, as well as one summer at Boston's Commonwealth Shakespeare Company, in their production of Coriolanus. Andrew is a fierce union advocate, and a proud member of SAG-AFTRA; the Hollywood Teamsters Local 399 - Casting Shop; and Actors Equity Association. #UnionStrongFor more follow Andrew on Instagram @Dramaddine or visit www.andrewdahreddine.com -What's My Frame, hosted by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Laura Linda Bradley⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join the WMF creative community now!Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@whatsmyframe⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠IMDb⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠What's My Frame? official site⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠What's My Frame? merch⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

On the latest episode of The OnStage Blog Theatre Podcast, Rachel and Jacklyn recap the festival, including the Shakespeare shows they saw (Macbeth, As You Like It, Antony, and Cleopatra). They also discuss Shakespeare's most popular plays, why he remains relevant in 2025, and more. Subscribe on your favorite podcast platform or YouTube for all the latest episodes!onstageblog.comfacebook.com/onstageblogtwitter.com/onstagebloginstagram.com/onstagebloghttps://www.youtube.com/@onstageblog8213

Immortalised by Shakespeare, Scottish king Macbeth was killed in battle near Lumphanan, Aberdeenshire on 15th August 1057; a demise that brought significant changes to Scotland's monarchy. But the real Macbeth, contrary to his portrayal in the play, ruled for 17 relatively peaceful years and displayed generosity toward the church. That said, his relationship with the real Lady Macbeth - Gruogh, widow of Gilear, the previous king - was, let's agree, rather complicated.  In this episode, Arion, Rebecca and Olly explain why witches were included in the script to satisfy King James I; offer a pragmatic explanation for the superstition that actors must never speak the name "Macbeth" in a theatre; and reveal the, er, creative way the Danish minister for finance once escaped responsibility for a nasty shipwreck… Further Reading: • ‘The Real Macbeth: King of Scots, 1040-1054' (History Today, 1957): https://www.historytoday.com/archive/real-macbeth-king-scots-1040-1054 • ‘Macbeth (r. 1040-1057)' (The Royal Family): https://www.royal.uk/macbeth-r-1040-1057 • ‘Who Was The Real King MacBeth?' (Timeline, 2018): https://www.youtube.com/watch?v=xq75Cl_osxk This episode first aired in 2023 Love the show? Support us!  Join 

On this episode of Currently Reading, Meredith and Kaytee are discussing: Bookish Moments: devoting unexpected extra time on morning reading + journaling and embracing chaotic reading with reader roulette Current Reads: all the great, interesting, and/or terrible stuff we've been reading lately Deep Dive: we circle back to the summer reads we assigned to each other  The Fountain: we visit our perfect fountain to make wishes about our reading lives Show notes are time-stamped below for your convenience. Read the transcript of the episode (this link only works on the main site) .  .  .  .  01:28 - Our Bookish Moments Of The Week 10:18 - Our Current Reads 10:34 - Hide and Seek by Andrea Mara [Amazon link] (Meredith) 15:57 - I'm Traveling Alone by Samuel Bjørk 16:05 - You Could Make This Place Beautiful by Maggie Smith (Kaytee) 20:09 - A Little Daylight Left by Sarah Kay (Meredith) 24:30 - The Unbecoming of Margaret Wolf by Isa Arsén (Kaytee) 24:38 - Shoot the Moon by Isa Arsén 27:01 - Tom Lake by Ann Patchett 27:03 - Macbeth by William Shakespeare 29:18 - Razorblade Tears by S. A. Cosby (Meredith) 31:35 - All the Sinners Bleed by S. A. Cosby  34:46 - Fourth Wing by Rebecca Yarros (Kaytee) 39:12 - Throne of Glass by Sarah J. Maas 39:15 - A Court of Thorns and Roses by Sarah J. Maas 44:22 - Deep Dive: Our Assigned Summer Reading Experiences 45:16 - The Song of Achilles by Madeline Miller 45:27 - Chain-Gang All-Stars by Nana Kwame Adjei-Brenyah 55:07 - Meet Us At The Fountain 55:11 - I wish we would all consider having a little bookish pet project (Meredith) 57:18 - I wish I could create a bookish focus chamber (Kaytee)  Support Us: Become a Bookish Friend | Grab Some Merch Shop Bookshop dot org | Shop Amazon Bookish Friends Receive: The Indie Press List with a curated list of five books hand sold by the indie of the month. August's IPL comes to us from our founding Indie Press List store: Fabled Bookshop in Waco, TX! Love and Chili Peppers with Kaytee and Rebekah - romance lovers get their due with this special episode focused entirely on the best selling genre fiction in the business.  All Things Murderful with Meredith and Elizabeth - special content for the scary-lovers, brought to you with the behind-the-scenes insights of an independent bookseller From the Editor's Desk with Kaytee and Bunmi Ishola - a quarterly peek behind the curtain at the publishing industry The Bookish Friends Facebook Group - where you can build community with bookish friends from around the globe as well as our hosts Connect With Us: The Show: Instagram | Website | Email | Threads The Hosts and Regulars: Meredith | Kaytee | Mary | Roxanna Production and Editing: Megan Phouthavong Evans Affiliate Disclosure: All affiliate links go to Bookshop unless otherwise noted. Shopping here helps keep the lights on and benefits indie bookstores. Thanks for your support!