Podcasts about Macbeth

Helen Creedon stiúrthóir na camchuairte den drama 'An Fhíor Bhean Macbeth' & a hiníon Mairéad a bhfuil an príomhpháirt aici sa drama seo ag labhairt faoin dráma, a bheidh á thaispeáint in Inis Meáin agus in Inis Oírr.

ENTRETIEN: Philippe Nicaud, MACBETH, seul en scène au théâtre des Barriques, dimanche 19 juillet 2026

Episode Notes S7E23 -Join us as we welcome the amazingly talented Annie McKnight to the stage.. She'll be in the house telling tales from Stand up Comedy to TV shows like Southland and much much more. Annie McKnight, known in comedy circles around the world as "Annie McFunny", is a seasoned stand-up comedian, actor and writer from Columbus Ga. She earned a Bachelor of Arts degree in theater from Columbia College SC, and has since appeared in several theater productions including Macbeth, Purlie Victorious, and Negritude to name a few. Annie would later land her first movie role in the feature film Crimes of the Heart, starring Sissy Spacek and directed by Bruce Bereford. In 1993, Annie would display her comedic skillset by taking first place on the reality/comedy Tv show America's Funniest People, winning the top prize of $10,000.00. Award-winning actor, director, producer Bill Dukes was quoted saying "Annie McKnight is an exciting new talent with the rare ability to make you laugh or cry," As a direct result of her winning, Annie's star would begin to rise rapidly causing her to be internationally recognized almost overnight. She would then tour abroad to South Korea, Japan and Panama. HELPFUL LINKS: VETERANS: https://www.va.gov/.../mental-health/suicide-prevention/ ADDICTION: https://lp.recoverycentersofamerica.com/.../continuum-of.../ Due you know someone that has lost their lives due to addiction? Or even someone that has made a full recovery? Reach out to Johnny Whitaker so they can help to celebrate the lives lost/ lives recovered at overdoseawareness0831@gmail.com ___________________________________________ Follow our guest https://www.anniemcknight.com https://www.facebook.com/annie.mcknight.54 https://www.instagram.com/comediananniemcknight/ ______________________________ Toking with the Dead: https://www.stilltoking.com/ ————————————— Follow Still Toking With and their friends! https://smartpa.ge/5zv1 ————————————— Produced by Leo Pond and The Dorkening Podcast Network MORE ABOUT THE GUEST: To work her comedic muscle, Annie would perform at all of the popular comedy clubs in LA from The Laugh Factory, to The Comedy Store, HaHa Cafe, Hollywood Improv and Flappers; which would ultimately prepare her for sketch comedy shows and late night Tv on non other than The Tonight Show with Jay Leno, Deon Cole's Black Box, The Tonight Show with Conan O'Brien and "Martin Lawrence Presents 1st Amendment" as both a writer and comedian.. Amongst Annie's notable film and television credits are The Soloist, Southland, Everybody Hates Chris, The Soul Man, Two Degrees, Hair Show, Baskets, Next Time on Lonny, Eve Ensler's, The Vagina Monologues directed by Penny Marshall and "Bust Down" starring opposite Chris Redd from SNL. Annie also has seen commercial success starring in the Sirius XM national commercial “Move In” opposite Kevin Hart in 2020. As if her resume isn't impressive enough, Annie started her own podcast called Everything's Entertainment, where she interviews with various guests of different genres. Keep on the look out for Annie McKnight on a screen or stage near you. This podcast is powered by Pinecast.

Something wicked is coming to the Petersphere... This weekend on Shine Radio, I've been chatting to Beccy Hope-Palmer, director of Macbeth at the Petersfield Shakespeare Festival, to find out what audiences can expect from this year's production. There's a Scottish take on Shakespeare's Scottish play, a spectacular open-air setting, and plenty more besides... I'll also be catching up with Lucy from the festival, who has one final invitation to see The Shakespeare Review, which takes its last bow tonight. Tune in across the weekend for the interviews - and if you're planning a visit to the festival, they might just whet your appetite without giving too much away!See omnystudio.com/listener for privacy information.

On the #amwriting podcast's Margin Notes, host Jennie Nash talks with Caroline Bicks, Stephen E. King Chair in Literature at the University of Maine and co-host of the Everyday Shakespeare podcast, about her book Monsters in the Archives: A Year of Fear with Stephen King. Bicks describes how she became the first invited into King's Bangor archives after King called to meet her, and how her sabbatical became a year of researching five formative works (including Carrie, Night Shift, The Shining, Salem's Lot, and Pet Sematary) to understand how horror language creates lasting fear. She explains choosing a first-person narrative that blends literary criticism, archival discovery, and her own anxiety, including eerie moments in the archive and insights into King's word-level edits, literary influences, and Shakespearean foundations, especially The Shining's ties to Hamlet.#AmWriting is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Read the Book* Monsters in the Archives by Caroline BicksTranscriptJennie: [00:00:00] Hi, I'm Jennie Nash, and you're listening to the #amwriting podcast, the place where we help writers of all kinds play big in your writing life, love the process, and stick with it long enough to finish what matters most. Welcome, everyone. This is Margin Notes, the part of the podcast where we're talking about the big decisions writers face in their work and creative lives.I'm here today with a super special guest. I'm so excited to speak with Caroline Bicks. She is the Stephen E. King Chair in Literature at the University of Maine, where she teaches courses in Shakespeare, early modern culture, and horror fiction. And she's the author of all kinds of very cool books ... about Shakespeare, including one on cocktails.Um, and, uh, is the co-host of the Everyday Shakespeare podcast, and we are here today to talk with her about her new book called [00:01:00] Monsters in the Archives: A Year of Fear with Stephen King. Welcome.Caroline: Thank you. Thanks for having me.Jennie: So this is gonna be the strangest interview you've probably ever done. ICaroline: don't know.Because- I've talked to a lot of people around the world about this Stephen King book.Jennie: I couldn't read your book. I, I couldn't read it. I can't read horror. Yeah. Which listeners of this podcast are gonna laugh about, ‘cause I'm actually coaching someone live and they're writing gothic horror, and they're probably like, “All you talk about is horror, Jennie.”But, um, it's actually the reason why I wanted to talk to you, because you made a decision in the writing of this book that I thought was super cool. Mm. Which was you put yourself in it.Caroline: Yeah.Jennie: And you're a scholar.Caroline: Yeah.Jennie: And you've written scholarly books, and you approach this with a scholarly perspective, but you, you really put yourself in it.And, and so [00:02:00] I was reading it for that part of the story and I had to skip over huge chunks of, of the, of the work. Because what you're doing in this book is you're getting at this question of- W- what, what is scary in writing? Like, how does it actually work? How does it act- what is the magic or the function that makes us feel this thing?And you actually feel it yourself while you're going through it, and I found it quite terrifying actually. So, um, that's kinda what I wanted to talk about is how did you make the decision? Well, first of all, you were the first person, I wanna make sure I get this right, ‘cause this is very cool. Yeah. You were the first person who was invited to the archives, the Stephen King archives.Caroline: Yeah. I mean, it's, it's a bit of a story, so I won't spend too much time on it, but just the mo- Oh, no, do. It's good ... when I ch- when I took this position... So I've been a Shakespeare professor my whole adult life, ba- as soon as I graduated from grad school in the late ‘90s, [00:03:00] and I was at Boston College for 15 years.I took this position at University of Maine nine years ago as a Shakespearean. Um, so it is an endowed chair in Stephen King's name because he's our most famous alum. So when I took the position, I, it was because I'm a Shakespearean, not because I'm a horror specialist. Um, I had always been a Stephen King fan since I read him when I was 12, and he scared the beje- Jesus out of me, um, with The Boogeyman story.Jennie: Right.Caroline: Um, so when I took this position though I was told, “You're never gonna meet Stephen King. Don't even make contact with him.” I'm like, “Fine, you know, this is still a great job. I'm excited.” Um- ThanksJennie: for the money. Yeah.Caroline: Thanks for... You know, no, it's a wonderful fund. It was funded by the Harold Alfond Foundation, and it's to support the public humanities, which is an incredible mission.So, um, I get to give money away to people. You know, it's a great, great position, but I was not a horror specialist. And particu- a- and as an adult, I actually wasn't reading horror because it scares me too much. You know? Yeah, yeah. Um, but it had grabbed me when I was a teenager. So it was about four years into the [00:04:00] job when I got a call at home from Stephen King, which just, uh, uh, my jaw hit the floor.And he said, “You know, I think it's time we meet.” I'm like, you know, I, I really fan-girled because I really, I have so much admiration for him and respect. Um, I invited him to come talk to our students. He was brilliant, generous, funny, kind, and I felt so at ease that I felt like I could ask... You know, and I got to know him professionally.We had a good professional relationship that developed from there. When I had a sabbatical year coming up the next year- I could have written another Shakespeare book. I had another one in my head. I've written a bunch of them but I knew that he and Tabitha had just collected all of his manuscripts and put them in a climate-controlled space attached to their home in Bangor, and I thought, “You know, this is an incredible opportunity.I would love to dig in there and be the first one in there, and just read those early drafts of the books that scared me so much when I was a teenager, and try to just explore why. Why were they sticking in my head still?” Um, again, I am not a specialist in... I'm not a cognitive scientist. I'm not a [00:05:00] specialist in horror literature, but I'm obviously highly trained in how to do literary analysis and how to do archival work, not Shakespeare, because we don't have any of his works, but, you know, I, I understand what that process is.So back to your question about why I wanted to bring myself into it, which was, you know, I had been experimenting with first-person storytelling after I got tenure. You know, ‘cause it's a long process, Kate. Right. And most of my writing had been academic writing, but I really had always loved storytelling And I got a piece into the Modern Love column.I started to have some success with publishing my first-person stories, and I was like, “You know, I love this.” So when I had this opportunity to go into his archives, they generously said yes, was amazing. I thought, “You know, I really wanna tell this story. I don't wanna write an academic book. I want this to be the story of a literature scholar, but really the story about a scared kid.”Jennie: Yeah.Caroline: You know, you, you never lose that scare, you know, I don't... This is the thing. Fear has stuck with me with those stories [00:06:00] for 40 years. So I was fascinated, and I just wanted to understand how he had crafted the language so that it was sticking in my head still. Because when I was talking to people around, you know, whenever you mention Stephen King to people, you know, if they've read him, they remember specific lines and specific words, and I was like, “That's an extraordinary, um, 50 years on to have that power.”So, um- Well- Anyway. Yeah. Go ahead. I, I could talk about this forever, so you tell me- Oh, no, it's- ... where you wanted to pick up from this.Jennie: It's so good. Well, I have to tell you this funny anecdote, which is that my college roommate was from Bangor, Maine, and babysat his kids in that house.Caroline: Oh, that's insane.Jennie: So when I went to visit her, she drove me by that house.There you go. And I was like, “Oh, hell no- Yeah ... would I ever babysit in that house.” Like, it's-Caroline: It's ‘cause it's like a gothic, it's like straight out of Haunting of Hill House ...Jennie: actually, and like these spiderweb gates that, and you describe that in the [00:07:00] book and, and the- Yeah ... archives are in that house. They'reCaroline: in the house.They're attached to the back. I know. And it, it was so, it was, it was insane. It was like a full-on 360 experience writing this book. Um, and I, I knew, like, so I did the research for a year. I didn't even know if this would be a book. I just knew I wanted to have the opportunity to be in there because it, I knew it was a great opportunity, and I was so curious, you know?Yeah. So I, I came out of the year with just tons of notes and observations, but I didn't have a book, you know? Yeah. And then I started experimenting with writing a chapter, and I just, the storytelling just came forward and then when I got an agent and she, you know, s- I, I, I was able to get a contract based on a proposal and that one chapter I had written and I was really fortunate to have a fabulous editor, David Ebershoff, at Hogarth, who is just such a wonderful writer himself, and he really encouraged me to bring my voice in and bring my story in even [00:08:00] more.Um, so that's- And- ... that's the story of that.Jennie: Was it hard for you as a scholar to do that?Caroline: You know what? It was so freeing and so fun that it actually wasn't, you know? Because I, I knew this wasn't going to be an academic book, so once I let go of that- Yeah ... um, I was like, wow, I have the, and yet I have this skill set I can bring forward, and I knew that's what would make this unique.Um, but I can combine my two favorite ways of writing, ‘cause I do actually love writing literary criticism. Like it's, I get a thrill out of it. I wouldn't be doing it this long if I didn't get a thrill out of it, but I also love telling my own stories and drawing a reader in. And so for me it was like just a circus carnival.Like it was so fun to be able to do it. Once I had the permission and I had a contract, I was like, fine, you know? I, I, who am I writing this book for? I'm writing it for me, you know? Like this is just something I wanna do because I'm so passionate [00:09:00] about it and I, and I love Stephen King. And, um, once I got into it that way and wasn't thinking about who's gonna criticize me for this, like how will academics view this, I was like, I don't care.I just don't care. I know I've got a great story to tell that people are gonna love to read because there's so many people that love not just Stephen King, but people who love reading about how great books get written, you know? Yeah. And so that was the audience I had in my mind when I, when I was crafting it.It was really, in my mind, anybody who cares about books and writing. It doesn't have to be... So when you say, you're not the first person who's said to me, “I can't read your book,” or, “I can't read-” Oh, I'm so glad. “... Stephen King books,” you know, and I'm like, “That's okay. You can skip, you know, the parts that really scare you,” because there's plenty about just like that first chapter I wrote about Pet Sematary, just his sticky notes back and forth with his copy editor, which is so fun I think.You know, it's just like, wow.Jennie: Totally. Yeah. But the thing that you do is you- Allow yourself to confront that fear-Caroline: Yeah ...Jennie: [00:10:00] that, that I feel that the people can't, that can't read horror feel. You know, anybody that even allows themselves to be scared feels. And-Caroline: Yeah ...Jennie: and you, you do some very specific things, um, which I, I found fascinating, including tracking down on eBay the original copy of that book you read as a- Yeah, I wanted-as a teenager.Caroline: Yeah, that was part of the process for me, was I wanted to make sure I was reading... So before I would go into the archives for each work, and I'd spent like two... I only picked five, because I wanted to... First of all, I knew I wanted to make this personal. Um, and those were the five that scared me the most when I was a teenager.So I grew up in the ‘70s and the ‘80s as a teenager, so for me, it was in real time when the books were coming out practically. So it was- Yeah ... Carrie, Night Shift, The Shining, Salem's Lot, Pet Sematary. Um, I'm forgetting one of course. Uh, but I went -Jennie: The other one.Caroline: The other one. Had a huge impact on me. [00:11:00] So it was those five, and I, I knew those were the ones I was gonna do a deep dive into, and that I wanted to really re-engage with, and bring my whole self to.So I wanted to find the copies that I had read in the ‘70s and the early ‘80s. And fortunately, it's pretty easy to find them. Uh, so yeah, but eBay sometimes I had to go on, or go into a used bookstore and, you know, find the like actual 1979 paperback, you know.Jennie: Um- I mean, that- Um ... I just, there's some, there's so much to say about that because-Caroline: YeahJennie: like, I just, um- We, we just had a new bookcase built, um, which is something I've wanted to do well for eight years in this house. But it's a thing I've always wanted to have, which is like a grand bookcase, and it just was finished last week, and we had all the books packed up in storage, and we brought all the books back.Then we went through this discernment process of what goes [00:12:00] on those shelves. And I, you know, I had all those books from when I was a kid, even when I was a kid-kid, and they're yellow, and moldy and falling apart, and the covers aren't on, and they're taped and-Caroline: Yeah ...Jennie: eh, but I cannot let them go-Caroline: Yeah ...Jennie: because those...that was the object.Caroline: That's the object. This is what I feel sad for kids now, because they're not gonna have those same memories, um, of books. Yes. You know? And I don't think they stick in your head the same way if you don't have the full sensory embodied experience with a book.Jennie: Right. You know? Even when you open...I read on Kindle, which I love for so many reasons. Yeah. But you don't even see the cover.Caroline: You don't see the cover, right. And for me, it's so much. Like, I remember going to the Scholastic Book Fair and being like- Yes ... “I'm getting Summer of My German S- Soldier because Christy McNichol's on the cover,” you know?Yes. Yes. So yeah, that was part of the journey for me was I did wanna just [00:13:00] reconnect with those books again, try to h- and as much as you can, you know, reexperience the feelings of f- like The Shining, I actually... the only one I still have from 1977 is the actual Shining that I read. Um, and that's, for me, that woman in room 217.Well, I know you haven't read it ‘cause you're probably... What? But, um, it, that particular one I still have from, from when I was growing up. Um, and I love that I still have it, and it still has the photo... You know, it's the version that has the photo inserts that includes the Kubrick film photos. Oh, okay.Jennie: Okay.Yeah, yeah.Caroline: And I read it before I saw the film, so I remember being- 15 reading it and then seeing the pictures and being like you know? And that's part of the experience, but it wasn't, it's different than seeing the film, you know? And I really, I wanted to write this book as a love letter to language and to books, and not to film.Like, there's, that's a whole other category I think that enters people's brains in totally different ways. It's a very different experience. For me it's about, like going back to your original question [00:14:00] about like why, why, why do stories cause fear, and like what's the value perhaps in that? Yeah. That was something I came to after this long journey really, and talking to people and thinking about why.And also by understanding and reading more about Stephen King's books and talking to him about them, and realizing for him how much these stories are rooted in personal experiences or fears of grief and loss. And- Yes ... that was really profound for me. And like The Night Shift, which is the ur-text that I start with, ‘cause that's the one I read when I was 12, and that's his first collection of short stories.It came out in 1978. It's 20 short stories. But he ends it with a story about his mother dying, and it's, I mean, it's thinly veiled autobiography. It's about a man who's watching his mother die in the hospital. Um, but it's clearly a mirror of his own experience losing his mother when he was 26. And I'm like, wow, what's that doing in a collection of horror stories?[00:15:00] And it's like, what? ‘Cause that is of course, at least for me and I think for a lot of people, that's the core fear we first have, is that where's mommy, right? Yeah. Right? You lose the person who's in charge of taking care of you, and if you're lucky, does it well and with care. Um, but even if it's not, like Carrie, you know, the more I was looking through the Carrie drafts, I was like, right, he's really homing in on Carrie calling out for her mother even though her mother's terrible and abusive to her, right?So it's, there's just this, I don't know. It's a long way around to say I think horror, and he writes about this really eloquently, is a way for us to metabolize our deepest fears. Um, and to look at trauma not head-on but sideways. Um, and he writes about that, um, a number of different places in a really powerful way.He's just such an extraordinary human. You know, he's been thinking about this and for so long.Jennie: Yeah. Yeah. So, so your willingness to [00:16:00] confront that, those particular fear, fears in your own self and on behalf of the reader, really puts you in it. I mean, like you, there's a really lovely moment where you are reading I think it's, I think it's Pet Sematary, reading the actual book, and you have to turn it over so you- Yeahdon't see, like on your nightstand so you don't see the cover. I'mCaroline: scared, I'm scared of the cover, right, still.Jennie: Yeah.Caroline: Yeah.Jennie: And then there's moments, se- several where you're driving And you're sort of holding your breath while you drive past a place that he writes about or, or- Mm-hmm ... you know, um, well you have to tell the story, I'm sure every interviewer asks you about the, um, the doorknob in the archive.You have to, like, I was-Caroline: Yeah, not too many people have asked me about that, but I'm like, that to me was the scary moment-Jennie: Wait, shut up ... the most, theCaroline: most sturdy. I'm like, wh- uh, why did that happen? But of course, I mean, there's a reason why it happened. It's, it's, it [00:17:00] automatically locks if, you know, the, if you- Okaydon't lock it So let's, let's play- So but it just happened that we were inside the archive room. It was me and, and Julie Ugli, who is their assistant, who was helping me through this whole process. And I know, and I was, like, literally holding the first page of the first draft of The Boogeyman, the story that had scared me so badly when I was 12, about a monster that comes out of closets, and we're like in this room.And the, the archive room, it actually, it almost feels like a closet. It's not huge at all. You know, it's just-Jennie: Yeah ...Caroline: top to bottom, ceiling to floor stacked shelving with, you know, boxes of materials. And yeah, and we were in there, and I'm holding the first page, and the lock closes on its own. It just goes...And I'm like, I'm looking at Julie, I'm like, “What is, what's happening?” We don't have our cell phones with us. I'm like, “Are we stuck in here? Like, what's gonna happen?”Jennie: In the scary archive- In this, I was terrified ... in the back of the scary house. Like-Caroline: I know, I know. It was like, you can't make this stuff up.That's why I was like, I [00:18:00] couldn't wait, when I finally got a chance to write the book and sit down and write, I was like, I can't wait to tell these stories, because they just... I, I'm not a fiction writer. Like, I, I have such mad respect for- I don't know about that ... well, I've m- We'll see I don't know. I have mad respect for people who can write fiction.For me, I only can write what I know and exper- So I'm like, ah. But these stories were just so amazing. Or like when I was reading The Shining, like the first draft of The Shining, which is crazy. I mean, it's so different from the published version. And like getting to the woman in room 217, and like reading th- and literally my head w- like I thought I was having a stroke.Like it was like, like... And it's like, and then I find an interview where Stephen King writes about how he was scared to go back to that scene when he was revising it, the book, because he was dreading it. And I was like, oh, my God, have I just like had some kind of telepathic experience with Stephen King?Like- Right ... across time, space, and yeah, it was amazing.Jennie: Well, yeah. I mean, [00:19:00] it's just, um, uh, I actually made myself go through the whole book skipping giant chunks.Caroline: I feel so badly I put you through this.Jennie: I know. I, I feel like why, I kept saying, “Why? Why did I think this was a good idea?” Um, and it- I mean, even just tangentially, I, I don't know.It's interesting. I have, I'm sure you have this too, anybody who reads a lot or spends a lot of time with words, you have a capacity to sort of pay half attention, if that makes sense.Caroline: Mm-hmm.Jennie: Um, like you c- could sort of look at it without letting it all the way in. Yeah. But I, I just was, I just was riveted by the thread of, of your story and your putting yourself through that as a scholar and a human.But, but then some really cool things happen, and I, and I have flagged, um... Do you, [00:20:00] w- would you mind reading a tiny piece? It's- No, not at all ... it's on page 82, and it's the p- the paragraph that starts, “These manuscripts.”Caroline: Yeah.Jennie: That would be amazing.Caroline: Absolutely. So this is actually the moment I just described to you, where my head was like, I got...Oh, actually, I had just discovered the last 150 pages of the original Shining manuscript in a random folder in the archives, and I was like, “What is this doing here?” And I was getting obsessive about the manuscripts at this point, clearly- Yeah. Yeah ... just like the main character in The Shining, Jack Torrance, who gets obsessed with the manu- with the papers in the basement of the Overlook Hotel.But here we go. “These manuscripts are definitely getting into my head, and not just its rational part. In his memoir, when King describes books as being a uniquely portable magic, he doesn't specify what kind of magic. What if manuscripts can absorb and store more than just ink and words? [00:21:00] What if their pages can pass on dark energy along with dark stories?Ghosts have more than one way of making sure their stories are heard, of ensuring that the past is not forgotten, but rather pressed into our minds, even if we wrench our heads off the pillow and refuse to listen.” And that last is a reference to my, I used to see a ghost when I was five, and I write about that in the book too.Jennie: I mean, when I read that, I was like, “That's, that's me.” Like, these ghosts and horrors are pressing themselves into my mind, and I'm refusing to listen, and they still, they still do. And, um, King's stories in particular are so iconic, you can't really escape them. Like, you, you know the scenarios, you know the characters, you know-Caroline: YeahJennie: you know. And, and so it was interesting for me reading this book that that described my [00:22:00] experience where I was both repelled and magnetized at the same time.Caroline: That's beautiful the way you just put that. I mean, I think that is exactly our relationship also, of course, to our own fears. You know, again, what makes these stories endure, and I didn't go into this book thinking like, “This is a book about promoting Stephen King,” and, you know- Rightlike, I don't work for Stephen King. I just want to put that out there. Right. He, you know, he graciously agreed to let me go into the archives. He's been very generous about answering all my questions I had about the manuscripts, but he never at any point was like, “You can't say this,” or, “This is how you're supposed to say this.”So, but what I came away with after this process was exactly what you're describing, why we need these stories, why they endure, actually, is because they tap into our very real human fears. It's not about the monsters. It's about the grief and loss that's coming for all of us if we live long enough, you know?So you, and you have to at some point confront that, you know? So if it's- Yeah ... you can [00:23:00] try to run away from it, but it's coming, and that's part of being human. That's the human experience, obviously. Not to be glib, but it's like-Jennie: Yeah ...Caroline: you will experience loss. You will experience grief. And if these stories help you metabolize that or have a cathartic experience with that feeling without having to actually experience your worst fear, right?Um, like Aristotle says, it's cathartic, right? It's you watch a play, a, a tragedy because you experience a catharsis.Jennie: And did you, did you get to that in your own process?Caroline: That's a really good question. Um- You know, I, I think I became more aware of it. You know, I am, you know, and I write about this very openly in the book, that I was an extremely anxious little kid, um, which is part of why I think the boogeyman triggered me in the particular way it did, you know.Um, and that I grew into a pretty [00:24:00] anxious adult, you know? Yeah. I think anxiety is one of those things that, you know, I... Again, I was born in the ‘60s, so we didn't have this language for this back then. Like, my parents wouldn't have known to call me an anxious child, you know? Right. They probably would've said, “Oh, she's shy,” or, “She's whatever.”Um, so I think I, you know, like, and I as an adult, I think I've, I've found ways to manage it pretty well, but I am definitely a control freak. Like, that's part of how I manage it. I shouldn't use that language, but you know, it's like I, I like to just control what I can control, and that makes me feel that I can put the anxiety at bay.So I will say I think it's been interesting for me, Nick, now when I have those moments that are my worst fear moments that sometimes still will creep up on me just even though when I think I've figured it out, like doom s- doom scenarios. I tend to go to doom scenarios. So, like, if I can't reach... Uh, I will say Life360 has been, like, the best invention on the planet for me-with my two kids [00:25:00] and my husband. I'm like, “I know exactly where everyone is.” Yeah. It has saved me a lot of worry. Sometimes Life360 doesn't work, or sometimes a person still doesn't answer the phone, and then I have to manage my anxie- And then it's like... So I will say it's been interesting going through this process and having to confront or revisit the core of what scares me and, like, why that impacts, you know, why certain moments come forward for me still.So I think, yeah, I think it has helped me to a degree. Like, I can recognize it more clearly now. I'm like, “Oh, right, that's why I'm scared of that,” you know? Um-Jennie: That's so cool.Caroline: Yeah.Jennie: And it feels like that's the, the, um, the transformation in the book is you're exploring how that actually works and the language and the stories.Mm-hmm. But you're, you're also exploring how it works in your own self, how it did when you were young, how it does now- Yeah ... these moments when you're scared. So it- Mm-hmm ... there's such [00:26:00] a depth to it and, I mean, I just, uh, even in my half reading of it, I just loved it. Thank you. And, um, there's something that happens That's kind of crazy, which is, so you're a Shakespeare scholarCaroline: Mm-hmmJennie: And I ha- I, I know from reading Steve, a- about Stephen King, from reading his book On Writing, of course, and, um, interviews and such that, uh, I'm, I'm probably gonna say this in a disrespectful way, and I don't mean it to be so, but the, the easiest way I can describe it is that he's always had sort of a chip on his shoulder that he's just a popular writer and not taken seriously in a literary way.Mm. I don't know if that's, if that is fair to say, but that's how I'm saying it. Uh,Caroline: yeah.Jennie: And, um, what, what I found incredible was that [00:27:00] here comes this Shakespeare scholar into his archives doing proper scholarly archiver, arch- archival work, and there's this moment when you begin to see Shakespearean themes in his, in his work, and you can't ignore it, and particularly in, in Carrie and- Yeahparticularly around exactly the thing you were wrestling with, which is like a young girl's- I don't know, sense of, of not being fitting in the world or, um-Caroline: Yeah ...Jennie: right? And so that, um, there's, on page, since you have the book in your hand, um, I think it's pageCaroline: 202. Mm-hmm.Jennie: And it refers back to that passage you just read about portable magic.It's the one that's I remembered.Caroline: [00:28:00] Right. Okay. So this is going back to when I first was, um, I was in the final round of the job for the Stephen E. King Chair in Literature, and I was working on a book about Shakespeare's, the girls in Shakespeare's plays and world and teenage girls and their cognition.Like, the how were people during Shakespeare's day thinking about girls' brains? Yeah. So I'd been working on this for 10 years. Um, and then I was getting ready to give my job talk. This was the first time Stephen King and Shakespeare came together for me, and it was getting ready, and this, again, this is an authentic story, like write what you know.So I was getting ready for the job talk. I remembered that King's 1974 novel, Carrie, featured a 16-year-old girl whose telekinetic powers are unleashed when she gets her first period in the school shower. I started rereading it, and within a few pages came across an uncanny phrase. When she's walking home after being dismissed early, Carrie feels her brain flexing in a new way, [00:29:00] as if her powers have been waiting below the surface for her to reach, quote, “mental puberty.”I couldn't have wordsmithed this dynamic cognitive change better myself. In the last part of my job talk, I used the phrase to connect the brain work of Juliet Capulet, who's described as being two weeks away from seeing the change of 14 years, to Carrie's newly activated adolescent mind. It felt like a moment of pure portable magic between Stephen King, Shakespeare, and me.Jennie: Ugh, so beautiful.Caroline: Oh, thank you. Yeah. I mean, that was just so gobsmacking. Like, when that happened, I was like, I ca- I can't believe it, but yeah.Jennie: And then, now I may be getting some of the things wrong here, but then you- You realize, is it Carrie that, that you realize he was, you thought he was emulating a play, a Shakespeare play?Caroline: I think you're thinking of Shining. I mean, definitely at the end of the Carrie [00:30:00] chapter I return to, I did notice echoes of Macbeth, and I was convinced that that must have been what he was thinking about. And, and what's funny is, so one of the conversations I got to have with him, I mean, he's so generous with his time, one of my last conversations with him was about the end of Carrie, and that's a book that he actually doesn't like very much.You know, it was his first published novel, he was 26, and he's like, “I think that was written by a young man who thought he knew more than he did.” So he's, it's not a book that he goes back to. He recognizes it's important, and it's important to him, but, ‘cause it started his whole career, his whole trajectory.Um, but he didn't particularly, he hasn't returned to it. Yeah. So that was a fun chance for me to sort of talk to him and say, “Hey, you know what? I think you should maybe go back,” ‘cause it's it's, there's a lot of Shakespeare in there. Anyway, but the Shining chapter, what was fascinating, so there's this first draft, which I, I write a lot about, called The Shine, that's in the archives, with a totally different ending.Um, and when I looked at it, [00:31:00] he'd also divided it into acts and scenes, like Roman numeral acts and little- Mm ... Roman numeral scenes. And I was like, “This, what is this? This is like a Shakespeare play.” Like, that's what it looked like. And then sure enough, I found out he was imagining, he was thinking of a Shakespeare tragedy when he wrote The Shining.And that was the first moment where I was like, “What? This is insane.” Like, this- Yeah ... like, ob- obviously that became, for me, the story I wanted to tell about that particular set of manuscripts, was sort of uncovering, like, what's the Shakespeare play? Like, what's the tragedy? And I didn't wanna ask him because I didn't want- I wanted to go in with my mind clear, like, of any outside influence.I just wanted to see what my Shakespeare brain, because I'm so embedded in Shakespeare. I also have a Shakespeare podcast I do with my best friend. Like, we're, I'm always thinking about Shakespeare and how it relates to everyday life. You know, and so I'm like, “Well, how does it relate to The Shining?” Which is, like, an ur-American text.Like, this, like, say what you want about horror, [00:32:00] like- I'd be shocked if people don't know what The Shining's about, even if they haven't read it even if they haven't seen the film. Like, you probably know something about The Shining, right? Right. So I was like, if there's a Shakespeare tragedy at the foundation of this, you know.And here's the thing about Stephen King that I came to learn, again, reading all of his notes and finding these edits, and I did find traces of Macbeth in the first draft of The Shine, um, that he ended up taking out. So I was like, “Oh, is it Macbeth? It feels like it could be Macbeth.” There's so many things it has in common with it, with hallucinations and with baby bashing.And, you know, all of these horrible things that are in Macbeth are certainly in that book. Um, but I really wanted to go in, like, just on an adventure, like, see what I saw. So I didn't ask him which chi- tragedy until I was fully done with all my research and I felt like I had it all done. And that's when he drops that he was thinking of Hamlet.And once he said that, of course, it became so ... I mean, I [00:33:00] had seen traces, there were references to Ophelia that also didn't make it into the final published draft. So you wouldn't know this. This is the beauty of archival work, like you're gonna see things that other people will never know about unless you tell the story.That's why I felt so passionate about this. Like, “I need to tell people-” Yeah ... “that Ophelia was in the first draft, that he was thinking of Ophelia.” ‘Cause of course, you know, again, even if you don't know The Shining, the woman in the tub, the woman in the bathtub, like a drowned woman in a tub, like ah, Ophelia.Yeah. Like Ophelia's another one of those ur, like she's so, she's such a part of our cultural air, right? I mean, like no matter what country you're in. Right. There's a reason Taylor Swift has a whole, you know, song The Fate of Ophelia. Like people know what that means. Um, so I was like, “Oh my gosh, this is, this is incredible.This is even deeper than I thought it was gonna be.” Um, but also it made me appreciate how much that book is about intergenerational trauma. Um, and it's not ... So he doesn't like the Kubrick film [00:34:00] for reasons that, you know, a couple different reasons. One is that it flattens out the character of Jack Torrance, and Jack Torrance is an abused child himself, and he passes on that abuse to his son, Danny, right?Um, but you wouldn't know that from Kubrick's film. While Hamlet, of course, is about a father's ghost coming forward. Like, “The past is a ghost,” King writes, which is so f- powerful, right? Um, here's this ghost saying, “You need to kill for me.”Jennie: Yeah.Caroline: Yeah. And that's what happens to Jack. Yeah, so anyway, that's a long way to say that wasEach chapter was my favorite in different ways, but that one I loved being able to do the deep Shakespeare dive.Jennie: And was that ... You know, so I started that question by saying I, I had heard or understood or maybe inferred that, um, you know, King himself had this sort of desire- Okay ... to be taken more seriously.Was that, that must have been, I don't know, powerful for both you and him, uh, to [00:35:00] come to that? Not like, “Oh, you're the only person that's ever made him feel that way” or-Caroline: Yeah,Jennie: no,Caroline: I agree ... or agree with that, but. Like I, yeah. And, um, I mean, I will say I think part of the reason he was always really ... I mean, first of all, he's just so generous, and any writer who's ever worked with him has the same experience.Like he just gives his time. He just loves writing and writers so much that he will just, he'll just t- like any email I would send him, he'd write back in like an hour with a response. The part about how he feels about academia, you know, and I never directly asked him that because I didn't wanna ... You know, if he wanted to bring it up, great.But I think- Yeah ... my, after going on this journey with him, he clearly loves talking about- literature. He's the most well-read person I've ever met. I'm just gonna say that hands down. Like, the guy reads- Really? ... cons- constantly and if you read his early works, like even when he was 17, he wrote The Long Walk, okay, which just came out as a film, [00:36:00] and in that, he's citing T.S.Eliot, he's cit- he's citing Poe at 17. Okay? So he's, he, he, this, he comes by this honestly. He's not just trying to seem smart. Like, he literally is constantly reading and it's clear when you read his manuscripts or when you read his published books, he's making references to all, whether it's Shirley Jackson or Wallace Stevens or, you know, uh, he's so capacious in his knowledge of literature.And, like, just a couple months ago, he sent me an email, I don't, I can't remember, we were talking about something about Salem's Lot, and he was like, “Yeah, when I was writing Salem's Lot,” which again, this is 1975 when he's writing Salem's Lot, so that's a long time ago. He's like, “I was really into James Dickey's poetry.”Jennie: Whoa.Caroline: You know, who was an American no, you know, poet laureate. Uh, he's like, “And I was reading everything I could read of, of his and then I read Deliverance, and then I went back to his poetry, and that really impacted how I wrote the chapters [00:37:00] about the Lot,” which if you've read Salem's Lot, has some very lyrical, poetic chapters about the town, like, “The town knew about darkness.The town had its secrets and knew how to kept it.” And then he, like, sends me the entire poem that he was thinking about that James Dickey wrote. So I mean, it's, he's, and it's not performative. He's not, like, he has nothing. He doesn't need to prove anything to me, you know?Jennie: Right, to anyone, yeah.Caroline: He just literally loves, he loves literature.Like, this guy, he loves poetry. I mean, he actually writes poetry. He wrote poetry as an undergraduate. Uh, it was actually the core start for him of The Stand, was a poem he wrote called The Dark Man one day when he was, like, hungover in the school, like, cafeteria. Like, so it's like he, he's been thinking about literature and living with literature and, uh, since he was a teenager, if not earlier.His mom brought him, uh, Bram Stoker out of the public library when he was nine, so I mean, the guy- Whoa ... ‘cause he asked for it. He asked for Dracula. [00:38:00] I wasn't reading Dracula when I was nine. Were you? I mean-Jennie: No,Caroline: no. I was reading Little House on the Prairie. I mean-Jennie: Yeah. Yeah, exactly. Wow. Wow. So- I mean, this book, again, it's called Monsters in the Archives: My Year of Fear with Stephen King by Carolyn Bicks.It's just incredible, whether you're a King fan, whether you're a horror fan, um, but for sure for all writers, which are all our listeners. If you can, if you can bear it.It's very specific, um, a very specific- specific exploration of, of how good writing works really. Yeah. Right. And, and how you... You know, there's always that perennial question of how do you get emotion on the page? How do you make your reader feel something? And you, you show it very specifically, and I wanted so badly [00:39:00] to, to get into the details, and I, and I, I just, I just couldn't.Um, maybe someday, but, um, I just, I just can't recommend it enough for, for, um, this audience and, um, you know, anyone who's interested in any of these things we've talked about.Caroline: Thank you so much. I really appreciate that. And I will say, like, the Pet Sematary chapter, which is the first one, that was the first day I was in the archives.One of the things I discovered about him day one was how much attention he pays to word sounds. So I think for any writer interested in sort of doing a deep dive into, like, how one word change, right- Yeah ... can make a difference, you know? Yeah. And I didn't appreciate that about his writing until I went in there and saw his notes to the copy editor where he's like, “Nope, the word's clitter, not clatter.This is why.” You know? Like,Jennie: he's- There's a, um- Yeah ... yeah, there's a book I love, it's probably right behind me, um, called The Artful Edit by Susan Bell, in which she [00:40:00] shows examples of that kind of very careful change in, um, The Gre- The Great Gatsby and The English Patient and various works of, of literature, and your, your whole book is like that.It's, it's just amazing. Um- Thank you ... so is the next book gonna be the Shakespeare one you had thought of before? Or are you gonna- ... go in the, in the personal direction?Caroline: You know, it's such a good question. I think right now I'm just taking a break, you know, because I'm the kind... Like, I immerse myself in a project, and this has been so all-consuming.Um, and I'm back to doing my Everyday Shakespeare podcast, which I love and I missed. Um, so I'm doing that. And I, I really don't like to think too far ahead about what I'm going to write. I like to have it come organically.Jennie: Yeah.Caroline: Um, so I could go back into the archives. I could write another one of these kinds of books, but I don't know if that's the [00:41:00] right thing for me right now.Jennie: Yeah.Caroline: Um, I want to make sure whatever I write next- You know, I loved writing this book so much. It's my favorite... I mean, it's, it was such a powerful experience for me, um, because I could bring my personal experiences into it and my scholarly self into it. I don't... You know, it's gonna be hard to recreate that.Yeah. I think it can be done, but I don't wanna force it. Yeah. So I'm gonna wait and see what the next, what the next oneJennie: is. Don't you, don't you love the interviewer who's like, “Hey, congratulations. You wrote a book. What, what's your nextCaroline: one?” What are you working on now? What are you doing now? I know. And I get that.I'm like-Jennie: So mean ...Caroline: I'm just, I'm just reading books I wanna read. I'm doing my laundry. I'm getting to know my dog again. You know?Jennie: Oh, wow. Well, thankCaroline: you. But, you know, it's a fair question. Yeah.Jennie: Yeah, yeah. Thank you for coming and chatting about this, and for writing such a cool book. And- Thank you ... um, I'm looking forward to seeing what you do next.Caroline: Thank you, Jennie. It was a [00:42:00] pleasure.Jennie: Well, for our listeners, until next time, stop playing small and write like it matters.The #amwriting podcast is produced by Andrew Perilla. Our intro music, aptly titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output because everyone deserves to be paid for their work This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

Verdis „Macbeth“ in der selten gespielten Urfassung von 1847: Die Opernfestspiele Heidenheim begeistern mit einer düsteren Inszenierung und musikalischer Brillanz.

Tonight's sleep story is Macbeth by William Shakespeare, retold by Edith Nesbit. You know the story of Macbeth and Lady Macbeth and their thirst for power at any cost originally written by William Shakespeare. This adaptation by Edith Nesbit condenses and simplifies the story but the end remains the same. If you're still awake, the second story is Measure for Measure. A story you might not be as familiar with. Support the podcast and enjoy ad-free and bonus episodes. Try FREE for 7 days on Apple Podcasts. For other podcast platforms go to https://justsleeppodcast.com/supportOr, you can support with a one time donation at buymeacoffee.com/justsleeppodOrder your copy of the Just Sleep book! https://www.justsleeppodcast.com/book/If you like this episode, please remember to follow on Apple Podcasts, Spotify or wherever you listen to your favourite podcasts. Also, share with any family or friends that might have trouble drifting off.Goodnight! Hosted on Acast. See acast.com/privacy for more information.

Episode: 1660 Simplicity, complexity, and Shakespeare.  Today, Seattle Actor Megan Cole is here to talk about complexity, simplicity, and Shakespeare.

Llegamos al final de esta obra de Shakespeare.

Macbeth y su esposa, dos almas negras.

SLEERICKETS is a podcast about poetry and other intractable problems. Make a one-time donation (not tax-deductible)For more SLEERICKETS, subscribe to SECRET SHOW!Leave the show a rating here!SLEERICKETS is now on YouTube!For a frank, anonymous critique on SLEERICKETS, subscribe to the SECRET SHOW and send a poem of no more 32 lines to sleerickets [at] gmail [dot] comSome of the topics mentioned in this episode:– Order Brian's book The Optimists! It's so good! Now give Brian's book a 5-star review!– My chapbook The Soft Black Stars is out now!– My essay on Macbeth in Portico– Micah Mattix's newsletter Prufrock– Poems for Katie by Timothy Green– Rattle– Rattlecast– The Poetry Space– Zen in the Art of Archery by Eugen Herrigel– Voices from the Other World by James Merrill– Iain McGilchrist– James PennebakerFrequently mentioned names:– Joshua Mehigan– Shane McCrae– A. E. Stallings– Ryan Wilson– Morri Creech– Austin Allen–Jonathan Farmer– Zara Raab– Amit Majmudar– Ethan McGuire– Coleman Glenn– Chris Childers– Alexis Sears– JP Gritton– Alex Pepple– Ernie Hilbert– Joanna Pearson– MattWall– Steve Knepper – Helena Feder– David Yezzi– Victoria Moul– Katie Dozier & Tim Green– George David Clark– Tristram Fane Saunders– Philip Metres– Helena Feder– Nida SophasarunOther Ratbag Poetry Pods:Poetry Says by Alice AllanI Hate Matt Wall by Matt WallVersecraft by Elijah Perseus BlumovAdvice from an Unknown Poet by Alice Allan & Jonathan FarmerAlice: In Future PostsBrian: brianplatzer [at] gmail [dot] comCameron: Minor TiresiasMatthew: sleerickets [at] gmail [dot] comMusic by ETRNLArt by Daniel Alexander Smith

Seguimos con esta obra de sangre y ambición.

La maldad de la ambición.

La ambición que lleva al asesinato.

La ambicion de poder.

Regresamos a William Shakespeare.

Episode 223: Last time, in the first part of my look at ‘Macbeth', I took you through the plot of the play and discussed the themes of ambition and guilt in it, with a focus on the character of Macbeth himself. I also looked at some of the language in the play and at the possibility that Thomas Middleton updated it for a revival in the 1610s or 1620s, and how he probably developed the scenes with the three witches at a time when devil plays and ideas about witches in the real world were very popular. This is the text that we most likely have in the First Folio, which is the first printed version of the play. Please do listen to that episode first before embarking on this one. Having spent some time on the character of Macbeth in the last episode I'm now going to pick up with a look at his wife. The character and actions of Lady MacbethReferences to equivocation in the playThe trial of Henry Garnet and the use of equivocationThe witches and the Macbeths as equivocatorsThe impact of the Porter's speechThe Porter's scene as a throwback to medieval cycle plays‘On The Knocking at the Gate in Macbeth' by Thomas De QuinceyThe critical history of the playThe later performance history of the playThe curse of ‘the Scottish play'‘Macbeth' as a very Jacobean play Support the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetpYou can find an advertisement free version of the latest podcast episodes by joining on Patreon at the lowest paid tier level – that's for just £1 per month. Hosted on Acast. See acast.com/privacy for more information.

"I can boss my robot overlords around and go, 'I wanna try this thing.'"That line right there? That's the whole episode.This week Dr. Fonz sits down with Dustin Rimmey, aka Rimmey, a 19-year Kansas educator who went from "programming languages just don't stick in my brain" to building his own classroom tools with nothing but a keyboard and a stubborn refusal to quit.No computer science degree. No dev team. Just what Rimmey calls "caveman prompting." You describe what you want. You fail. You try again. And somehow, a Wordle-style history review game shows up on the other end.In this episode, Rimmey breaks down:What vibe coding actually is (and why "caveman prompting" might be the most honest term in EdTech right now)How he built a Macbeth review game for a colleague's English class using nothing but iteration and gritWhy he intentionally builds tools he can't afford, instead of waiting for district approvalThe "AI-resilient assignment" approach he's testing so students still show their thinking, even if they use AIA wild cross-border collaboration story with a UK educator working around strict student data lawsWhy failing in front of 30 kids might be the best thing you do for them all yearThis one isn't about mastering code. It's about mastering the courage to hit "generate" and see what happens.Chapters:00:00 Welcome & Sponsor Shoutouts00:03 Meet Dustin Rimmey: Journeyman Teacher, Full-Time Tinkerer00:07 How Rimmey Fell Into Vibe Coding00:12 Building Classroom Tools From Scratch (Macbeth Game, Timers & More)00:19 Bridging the Tool-Access Gap for Under-Resourced Teachers00:25 The TCEA Story & a Cross-Border Collaboration With a UK Educator00:34 Teaching Kids to Fail on PurposeSpeed Round Highlights:Rimmey's EdTech kryptonite: literally all of it (he'll test every tool, every time)Who he'd trade places with for a day: a school librarianHis billboard message to the world: "Play, period."Grab your coffee (shoutout Comeback Coffee) and get ready to rethink what "learning to code" even means.Connect with Dustin Rimmey:Twitter/X: https://x.com/JustRimmeyInstagram & TikTok:@teachersplaigroundWebsite: https://www.teachersplaiground.com/A huge thank you to our sponsors, Book Creator, Peel Back Education, Eduaide.AI, and Comeback Coffee, for believing in this mission. If you'd like to support the show, visit https://buymeacoffee.com/myedtechlife/membership.Blessings. Stay Techie ✌

Episode 222:We can't say for sure that ‘Macbeth' was Shakespeare's next offering after 'Anthony and Cleopatra' as precise dating of these early 17th century plays is next to impossible, but whatever the case, it certainly has a very different feel and focus from it's near contemporises. Although recounting historical events it is dominated by the presence and effect of the supernatural. This proved a mix that audiences have flocked to ever since and it remains one of Shakespeare's most performed plays, for tragedy ranking only behind ‘Hamlet'.The dating of the playThe text in the First Folio and adaptations by Thomas MiddletonThe sources for the playA brief Synopsis of the playMacbeth and Julius CaesarMacbeth's ambitionThe importance of the soliloquy in the playMacbeth's feelings of guiltThe reports of the play by Simon ForemanBanquo's ghost as a manifestation of Macbeth's guiltBlood as a symbol of guiltThe torment of sleeplessnessThe tensions between destiny and free willThe three witchesLink to ‘That Shakespeare Life' episode featuring Prof. Laurie Johnson on the ‘weird sisters':https://podcasts.apple.com/gb/podcast/that-shakespeare-life/id1372846116?i=1000751203466Support the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetpYou can find an advertisement free version of the latest podcast episodes by joining on Patreon at the lowest paid tier level – that's for just £1 per month. Hosted on Acast. See acast.com/privacy for more information.

The newly-discovered Scrolls of Merlin have been stolen by a time-traveling MacBeth, so it's up to the Gargoyles to retrieve them. That's right, we check out the Disney fantasy series from the 1990s that combined Shakespeare, fairies, Celtic magic, evil billionaires, and cyberpunk aesthetics. Gargoyles, season 2, episode 4: "A Lighthouse in the Sea of Time" Starring Keith David, Ed Asner, Bill Fagerbakke, John Rhys Davies, and Paul Winfield. Written by Lydia Marano & Brynne Chandler Reaves. Directed by Frank Paur.   This is a preview of the latest episode of our series Hollywood Avalon. To hear the entire episode, join the Mary Versus the Movies patreon for $3/month to hear this and the entire series Hollywood Avalon: https://www.patreon.com/maryvsmovies. 

Macbeth; Act 5, Scene 5 MacbethJune 24, 2026 For a poor player, strutting and fretting on the stage, sometimes words and verse can spell the difference between life and death.  Jacob Ming-Trent stars in his original, multimedia, one-person play, How Shakespeare Saved My Life, the autobiographical story of how a troubled youth found salvation in poetry.  Playing through July 5 at the Folger Theatre in DC, and coming to the Public and Red Bull Theatre in October. Click here for information about How Shakespeare Saved My Life Click here to follow along with the text. Click here for a Scanned version Click here for a First Folio version.

In this episode of See See by Ceci, Rudolph Tanzi, one of the world's most influential neuroscientists, takes us inside the mind as it builds, and as it begins to come undone. Joseph P. and Rose F. Kennedy Professor of Neurology at Harvard Medical School, director of the Genetics and Aging Research Unit and co-director of the McCance Center for Brain Health at Massachusetts General Hospital, co-founder of the Cure Alzheimer's Fund, and named by TIME one of the 100 most influential people in the world, Tanzi co-discovered the very first Alzheimer's genes and helped create the groundbreaking “Alzheimer's in a Dish” model that has transformed the search for a cure. In this luminous and deeply human conversation, Tanzi traces the disease from its first description by Alois Alzheimer in 1906 (the strange plaques and tangles no one believed could cause a mind to slip away), to the golden age of treatment now within reach. He walks us through the three pathologies of plaques, tangles and inflammation; the genes he discovered and the blood test that can now see the disease coming; the brain's housekeeper cells, the microglia, and their Macbeth-like turn from caretakers to killers; and the kitchen-sink logic of the drugs his lab is racing to trials: turn off the tap, unclog the drain, stop the overflow. He shares SHIELD, his lifestyle plan for brain health, and the gut–brain axis that lets food become medicine for the mind. And then the conversation goes deep. Tanzi reflects on memory as a tapestry woven from a hundred billion neurons; on the hippocampus, the little seahorse that gives the world its context; on why music memory survives when almost everything else is gone. He speaks, with rare openness, about awareness and the self, about lucid dreaming and terminal lucidity, about the feelings of beauty, awe and love that he believes AI may mimic but never be, and finally about his conviction that everything is, ultimately, consciousness. Along the way we hear neuroscientist John Cryan on the gut microbiome and the food that feeds the brain; Cognitive neuropsychologist and Harvard Professor Alfonso Caramazza on prosopagnosia and the emotion that endures when recognition fails; four-time Grammy winner Terri Lyne Carrington and the documentary Alive Inside; photographer Domingo Milella on water, minerals and the camera obscura; parapsychology researcher Dean Radin on the taboo edges of mind; and a chorus of artists, Gregory Halpern, Marina Viotti, Andrei Ioniță, Cecilia Rivera and Kerem Hassan, on creativity, flow, and the blurring of time and space, a current that runs through Tanzi himself, a prolific musician who has recorded and performed with the likes of Aerosmith, Joe Perry and Johnny Depp. This is an episode about a terrifying disease, and about the relentless creativity, courage and compassion working to defeat it. About what memory is, what the self is, and what remains when both are taken. And about a scientist who insists, against one of the cruellest diseases of our time, now assures us: "I'm seeing the light at the end of the tunnel."

In this episode we'll continue the bitter rivalry between branches of the royal family, learn how the Scots took advantage of the Norman invasion of 1066, meet the nation's most famous Saint-Queen and find out what really happened to MacBeth. Part 2: House of Dunkeld Duncan I Macbeth Lulach Malcolm III Donald III Duncan II Edgar “the Valiant” Alexander I “the Fierce” David I “the Saint” Malcolm IV William I, "The Lion" Alexander II Alexander III Music: "Angevin - Thatched Villagers" by Kevin MacLeod Join me every Tuesday when I'm Spilling the Tea on History! Check out my Youtube Channel: https://www.youtube.com/c/lindsayholiday Please consider supporting me at https://www.patreon.com/LindsayHoliday and help me make more fascinating episodes! Intro Music: Baroque Coffee House by Doug Maxwell #HistoryTeaTime #LindsayHoliday Please contact ⁠⁠⁠⁠⁠advertising@airwavemedia.com⁠⁠⁠⁠⁠ if you would like to advertise on this podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

A five-time nominee for the Tony Award, Brian is a young Broadway veteran who has performed in every imaginable kind of show, from Macbeth to Hamilton. He also played the leading character in Shrek the Musical for one full year. Filmmaker Edward Burns has just cast him as a sibling in Finnegan's Foursome, which you can watch now on Video on Demand; it marks their fifth film together. Brian is the kind of actor other actors and directors want to work with, and our lighthearted look behind the curtain will tell you why.

Episode: 1586 Topsell's history of four-footed beasts and serpents.  Today, a zoology book.

For more than a year, a seven-foot creature with glowing red eyes and folded wings terrorized Point Pleasant, West Virginia—and just weeks after the sightings stopped, the Silver Bridge collapsed and killed 46 people, leaving the town to wonder whether the Mothman had been a monster, a warning, or something far worse.EPISODE BLOG PAGE (includes sources and full transcript): https://weirddarkness.com/RedEyesOfMothmanREAD or DOWNLOAD the full transcript of this episode:https://weirddarkness.tiny.us/2p8s2fxtFEATURED STORIES IN THIS EPISODE: Most everyone is familiar with the King James Bible, but did you know that King James also wrote a book on demonology during the witch hunts and trials? (The King James Book of Demonology) *** Her gravestone, decorated with a cross and flowers, reads “Jerrilynn S. Mullins — Beloved wife and best friend.” It could also be added, “a victim of a crime that will likely never be solved.” (The Unsolved Mystery of Jerrilyn Mullins) *** It was on November 15th 1966 that Point Pleasant, West Virginia had its first experience with what later became known as the Mothman. Many believe it was either the cause of a horrific bridge collapse, or perhaps a harbinger of the doom that was soon to come. The mystery remains to this day – as do some of the eerie happenings in the area. (Mothman Attacks) ** 17-year-old Kendrick Johnson was found dead in his high school's gym – but the circumstances of his death have brought more questions than answers. Was Kendrick's death a tragic accident – or cold-blooded murder? (The Mysterious Death of Kendrick Johnson)CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Show Open00:01:56.519 = Mothman Attacks00:12:50.814 = The Mysterious Death of Kendrick Johnson ***00:32:56.273 = Unsolved Mystery of Jerrilyn Mullins ***00:44:05.678 = The King James Book of Demonology ***00:54:07.021 = Show Close*** = Begins immediately after inserted ad breakLISTEN ON PODCAST APPS: Look for this podcast on Apple Podcasts, Spotify, iHeart Radio, Amazon Music, Pandora, TuneIn Radio, and other podcast apps. Get a list of free listening apps here: https://weirddarkness.com/wdapps*No AI Voices Are Used In The Narration Of This Podcast*SOURCES and RESOURCES:“The Mysterious Death of Kendrick Johnson” from The Scare Chamber: https://weirddarkness.tiny.us/dkuavkb3“The King James Book of Demonology” by Jacob Shelton for Graveyard Shift: https://weirddarkness.tiny.us/34vaad3z“Mothman Attacks” by Troy Taylor: https://weirddarkness.tiny.us/5ac64hhn“The Unsolved Mystery of Jerrilyn Mullins” by Troy Taylor: https://weirddarkness.tiny.us/224xc2w7(Over time links may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)WeirdDarkness® is a registered trademark. Copyright ©2026, Weird Darkness.Originally aired: November 15, 2021This episode of Weird Darkness, hosted by Darren Marlar, moves from a winged cryptid haunting a West Virginia river town to a Georgia teenager found dead inside a rolled wrestling mat, a Minnesota newlywed who vanished from a restaurant parking lot, and a king of England who wrote a manual on demons.It opens with the Mothman, first reported on November 15, 1966, when two young married couples driving past an abandoned World War II TNT plant near Point Pleasant, West Virginia, spotted a six- or seven-foot gray figure with folded wings and glowing red eyes that rose into the air and pursued their car down Highway 62 at over 100 miles per hour. That same night, contractor Newell Partridge of Salem watched his television fill with a strange pattern before his dog Bandit chased two red eyes toward the hay barn and disappeared forever, and the next day Roger Scarberry described passing a large dog's body near the city limits that was gone minutes later. Over the following year roughly 100 people, including Marcella Bennett, reported the creature alongside UFO sightings and men in black, and on December 15, 1967, the 700-foot Silver Bridge linking Point Pleasant to Ohio collapsed during rush hour and killed 46 people, cementing the belief that the Mothman had been a harbinger of the disaster.From there the episode turns to Kendrick Johnson, the 17-year-old three-sport athlete found dead on January 11, 2013, stuffed head-down inside a rolled wrestling mat in the old gym at Lowndes High School in Valdosta, Georgia. Investigators ruled the death an accidental positional asphyxia, theorizing the boy fell in reaching for a shoe, but his 19-inch shoulders could not fit through the mat's 14-inch opening, an hour of footage from all four gym cameras was missing and altered, and his organs were found removed and replaced with newspaper. A second and third autopsy revealed blunt force trauma to his neck and right chest, a fabricated confession recording sold to his family for $1,000 was exposed as a hoax by Sheriff Ashley Paulk, and the case, which once entangled FBI agent Randy Bell's sons Brandon and Brian Bell, was officially reopened on March 10, 2021.Vanishing from a restaurant parking lot is what happened next to Jerrilyn Mullins, a 28-year-old Oakdale, Minnesota, newlywed who left the dinner table at a Chi Chi's in Richfield around 9:00 p.m. on November 15, 1978, and was last seen by her husband's coworker Patrick Melbourne, who said he drove her 22 miles back to a Howard Johnson's and left her there. Her decomposed body surfaced in a Lake Elmo swamp on June 30, 1979, identified through dental records and jewelry, with two autopsies unable to determine a cause of death though her stomach contents placed her killing within an hour of leaving the restaurant. Melbourne, who carried a long record of sexual assault allegations and was later convicted of crimes against a 10-year-old girl, remained the prime suspect; husband Ron Mullins lost a 1989 wrongful-death civil suit for lack of evidence, and the Washington County case stayed unsolved when Melbourne died in 2015.The episode closes with King James VI and I, who returned from a 1589 trip to Denmark obsessed with witchcraft and published Daemonologie in 1597, the only treatise of its kind written by a reigning monarch. In its pages he catalogued the signs of demonic possession, describing superhuman strength exceeding six men, iron-hard skin that could not be pierced, and victims speaking languages they never learned, while arguing that demons inhabit the corpses of the pious and that only prayer and fasting, not Catholic ritual, could repel them. He acknowledged werewolves as men suffering an excess of melancholy rather than cursed creatures, dismissed fairies as illusions sent by the Devil, fixed the ratio of female to male witches at 20 to 1 by reasoning that women were more easily deceived as Eve had been, and produced a work that fueled the European and colonial witch hunts and shaped the weird sisters of William Shakespeare's Macbeth.

Roger Corman partners with Edward Small for TOWER OF LONDON (1962), starring Vincent Price and Michael Pate! In this blend of Shakespeare's Richard the Third, Macbeth, and Hamlet, Corman challenges the historical record and makes Richard III a "Vincent Price wife guy," but does it succeed as a horror movie? Context setting 00:00; Synopsis 38:51; Discussion 45:57; Ranking 1:06:08

  About this episode:  In Shakespeare's Macbeth, Act 5, Scene 5, the title character states that, “Life's but a walking shadow, a poor player, that struts and frets his hour upon the stage and then is heard no more.” That line resonates well with many during the opening months of the American Civil War. With war as their stage, many believed the struggle provided opportunity for personal acclaim and glory. Some were successful. Some were not—there at the beginning but not the end. And when politics, poor performances and toxic personalities reduced some to historical footnotes, there were some who had been waiting in the wings, took center stage and found lasting fame. For those who sought or were cast into roles as this nation was plunged into civil war, this is their story. A story—full of sound and fury—of those who were Early Players for the Union and Confederacy.            ----more---- Some Characters Mentioned In This Episode: Simon Cameron Irvin McDowell Robert Patterson John C. Frémont Henry Halleck Leroy Pope Walker   Subscribe to the Threads from the National Tapestry YouTube Channel here   Thank you to our sponsor, Celebrity Word Scramble. In collaboration with Fred Kiger, they have published a Civil War edition of the Celebrity Word Scramble series. Included in the book is 16 pages of Civil War facts, stories, and insights written by Fred Kiger. Get your copy of the book here   Thank you to our sponsor, The Badge Maker - proudly carrying affordable Civil War Corps Badges and other hand-made historical reproductions for reenactors, living history interpreters, and lovers of history. Check out The Badge Maker and place your orders here   Thank you to our sponsor Bob Graesser, Raleigh Civil War Round Table's editor of The Knapsack newsletter and the Round Table's webmaster at http://www.raleighcwrt.org   Thank you to our sponsor John Bailey.   Producer: Dan Irving

Send us Fan MailToday's episode is my conversation about the 1930 film Min and Bill I'm joined by Maria Banson who writes the The Brunello Bombshell newsletter, and we talk about the interesting family dynamics at play in this film, an incredible (and Oscar worthy) performance from Marie Dressler in the lead role, and the second half of the film that flies by once the action really gets going. You can watch Min and Bill on YouTube, Tubi, or Amazon Prime or pick up a physical copy for your collection and be sure to check out Maria's newsletter.Other films mentioned in this episode include:The Big House directed by George HillThe Champ directed by King VidorTugboat Annie directed by Mervyn LeRoyThe Tragedy of Macbeth directed by Joel CoenNomadland directed by Chloé ZhaoThe Taming of the Shrew directed by Sam TaylorMorocco directed by Josef von SternbergHoliday directed by Edward H. GriffithA Free Soul directed by Clarence BrownCimarron directed by Wesley RugglesOther referenced topics:Call My Agent! (series)Dark Star by Lorna MoonSteve Kopian on unseenfilms.comDavid writing on simbasible.comSupport the show

Pablo Pombo expone en su sección en La Brújula esta película de Orson Wells y relaciona esta obra basada en la novela de Shakespeare con el tumultuoso presente del jefe del Ejecutivo.

Sam Pinkleton is the Tony Award-winning director of Oh, Mary! and the 9-time Tony Award-nominated revival of Richard O'Brien's The Rocky Horror Show on Broadway at Studio 54. His work as a director also includes Josh Sharp's TA-DA!, Morgan Bassichis' Can I Be Frank?, Noah Diaz' You Will Get Sick, The Wizard of Oz, Elizabeth Swados' Runaways, Head Over Heels (with Jenny Koons), La Cage Aux Folles, and UNTITLED DANCESHOWPARTYTHING (with Ani Taj). Highlights of his work as a choreographer include Stephen Sondheim's final musical Here We Are, Jeanine Tesori and David Henry Hwang's Soft Power, and eight shows on Broadway including Natasha, Pierre, and the Great Comet of 1812 (Tony Nomination), Macbeth, and Machinal. His film/TV work includes Dying for Sex and the musical The End, starring Tilda Swinton. His upcoming projects include the participatory Scottish dance musical Ceilidh and You're a Good Man, Charlie Brown.On this episode, Sam discusses the deliciously Dionysian alchemy of Rocky Horror, his blending of stagecraft and witchcraft, and why theatre is collective magic in action.Pam also talks about excavating both personal and historical roots of theatrical magic, and answers a listener question about conjuring supernatural support for a canine familiar.Check out the video of this episode over on YouTube (and please like and subscribe to the channel while you're at it!)Our sponsors for this episode are Wheel of Fate, Mithras Candle, BetterHelp, Blessed Be Magick, and Zouz IncenseWe also have print-on-demand merch like Witch Wave shirts, sweatshirts, totes, stickers, and mugs available now here, and all sorts of other bewitching goodies available in the Witch Wave shop.And if you want more Witch Wave, please consider supporting us on Patreon to get access to detailed show notes, bonus Witch Wave Plus episodes, Pam's monthly online rituals, and more! That's patreon.com/witchwave

In this bonus episode Sebastian takes questions about episode 249, 250, and 251. First, he does his best to grapple with how morality should factor into history education. Then a listener provides an epic email about Orson Welles' legendary production of "Voodoo Macbeth" and cursed run of Romeo and Juliet. Finally, Sebastian looks at the weird legacy of the phrase "bunga bunga." Tune-in and find out how missing chickens, corrupt Italian Prime ministers, and a wounded Benvolio al play a role in the story! See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Christian Friedel zählt zu den herausragenden deutschen Schauspielern, die auch international große Beachtung finden. Seinen Durchbruch hatte er mit dem oscarprämierten Film Das weiße Band. In Elser – Er hätte die Welt verändert spielte er den Hitler-Attentäter Georg Elser, und in dem oscarprämierten Film The Zone of Interest verkörpert er den Auschwitz-Kommandanten Rudolf Höß. Zuletzt haben ihn viele auch in The White Lotus gesehen. Daneben ist Christian ein leidenschaftlicher Musiker. Seine Band Woods of Burnam bindet er gerne in seine Theaterprojekte ein, etwa Hamlet oder Macbeth. Wir hören, warum er früher zu viel Selbstbewusstsein hatte, andere damit genervt hat – und wann das gekippt ist. Denn heute erlebt man ihn ganz anders. Und was bedeutet es eigentlich, ein „historisches Gesicht“ zu haben? Er hat offensichtlich eines – hat er vielleicht schon einmal gelebt? Podcasttipp: „Mutterstadt 0711 – HipHop-Hauptstadt Stuttgart!?!“ https://www.ardsounds.de/sendung/mutterstadt-0711-hiphop-hauptstadt-stuttgart/urn:ard:show:f8c72aee02263e48/

It's Memorial Day in the United States, a day devoted to remembering the soldiers who have died in service. Together, the society grieves, mourns, and attempts to unite. Similarly, communities can come together through actions like loving; giving; marrying; conversing; acting and doing; and speaking to one another. But what happens when individuals are blocked from the processes that bring a community together? In this episode, Jacke talks to author Sarah Beckwith about her book Shakespeare and Loss: The Late, Great Tragedies, which looks at Shakespeare's use of protagonists who are driven out (or drive themselves out) of family and society in plays like Hamlet, King Lear, Timon of Athens, Macbeth, Coriolanus, and Antony and Cleopatra. How (and why) does Shakespeare portray individuals who have lost their access to these vital concepts of human bonding? And what can we learn from Shakespeare's examples? PLUS Caroline Lea (Love, Sex, and Frankenstein) stops by to discuss her choice for the last book she will ever read. The music in this episode is by Gabriel Ruiz-Bernal. Learn more at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠gabrielruizbernal.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Help support the show at ⁠⁠⁠⁠⁠patreon.com/literature⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠historyofliterature.com/donate⁠⁠⁠⁠⁠. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at ⁠⁠⁠⁠⁠thepodglomerate.com/historyofliterature⁠⁠⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

Are you looking for a way to ignite your child's creativity and build their confidence? In this episode of the Homeschool Your Kids podcast, Jae sits down with Gaby Fadhel, the director of Royal Studios Miami, to explore the transformative power of the performing arts. Discover how theater and dance can provide a vital outlet for expression and prepare students for success in any field.In this deep dive, Gaby shares his journey from professional child actor to schoolteacher and finally to the founder of a thriving arts studio. We discuss the unique challenges within the school system and why independent programs are becoming a haven for homeschoolers and creative youth alike. From the massive success of their production of ''Six the Musical" to providing paid professional gigs for teenagers, this conversation highlights how the arts build better humans, not just better performers.Key topics include:

Tonsättaren Tebogo Monnakgotla hörde på Vetenskapsradion och blev inspirerad. Nu har hennes cellokonsert, som kom till av det, premiär i Konserthuset i Stockholm. Lyssna på alla avsnitt i Sveriges Radios app. Programmet sändes första gången i april 2026. Det var när Tebogo Monnakgotla hörde ett avsnitt av Vetenskapspodden som hon bestämde sig för att skriva sin cellokonsert om humlor. Det var brittiske forskare Dave Goulson som beskrev humlornas mörka sida – vad som händer mellan drottningen, arbetshumlorna och deras ägg nere i mörkret under jord. Han beskrev det som ett Shakespeare-drama som påminde om Macbeth.Och nu finns alltså verket Bombus av Tebogo Monnakgotla, som uruppförs i Konserthuset i Stockholm, under deras 100-årsfirande. Solist är cellisten Senja Rummukainen.I Vetenskapsradion berättar Tebogo Monnakgotla om hur hon tänkt med musiken, och vi får också höra forskarna Dave Goulson och Björn Cederberg om hur det gått för humlorna sedan vi gjorde det program som inspirerade till musiken.Lena Nordlundlena.nordlund@sr.se

In this episode, Eddie Bazil breaks down the different types of EQ, explains their most common uses in mixing and production, and demonstrates how they shape and enhance sound with practical audio examples.Chapters00:00 - Introduction00:48 - What EQ Is And Different Types01:33 - Active And Passive02:45 - Linear Phase And Minimum Phase03:46 - High-Pass and Low-Pass Filters04:36 - Example 1: Using Synth Filters06:47 - Common Functions Of EQ07:27 - Example 2: Shaping A Kick Drum10:31 - Example 3: Rebalancing An Acoustic Guitar13:48 - Selecting The Right EQ Shape15:55 - Managing Redundant Frequencies18:15 - Example 4: Rebalancing A Mix#PultecEQP-1 #XferSerum #BozDigitalTransgressor2 #EventideSplitEQ #SonibleEntropyEQ+ #SSLNativeXSaturator #SSLValveComp #TokyoDawnTDRArbiterTrack CreditsExample 2: from 'Puppet' by John Walden.Example 3: from James Perret.Example 4: from 'Another Way' by forester. Written, performed and produced by René Schneeberger.https://foresterdnb.bandcamp.com/musichttps://open.spotify.com/intl-de/artist/2BtzZiEDaReXLveskYtYkmhttps://soundcloud.com/foresterdnbhttps://cambridge-mt.com/Eddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands, including Art Of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra, and many more. By his 20s, he was working as a sound designer for Akai, Roland, Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie began developing libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Rob Papen, Arturia, and Propellerheads.During this time, he trained in music production. He soon gained several prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer, and was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. This led to him offering educational workshops and classes, and becoming a contributing creator and Forum moderator for Sound On Sound.Recently, he was invited by the Recording Academy to become a professional member, approved educator, and mentor for their member base. Eddie now concentrates on providing private sound design and mixing/production tuition, and creating content for Sound On Sound magazine.https://eddiebazil.co.uk/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

This week, Shauna and Olivia get a little witchy and expose the history of witches in pop culture. Going back as far as Shakespeare's trio of witchy prognosticators in Macbeth through the domesticated witches of the mid 1900s, today's heroic and/or villainous Marvel witches, the Junkies talk about how witches can be representative of themes like female identity, adolescence, autonomy, sexuality and power. Then they dish on their favorite witches, the worst witches, and what powers they'd love to possess if they were magical. You can watch the Pop Culture Junkie Podcast on YouTube! Click here: https://www.youtube.com/@popculturejunkiepod/videos We have affordable and rewarding Patreon tiers! Be the first to hear new and uncensored content, if you dare! Click here: https://www.patreon.com/popculturejunkiepodcast/posts Apple Podcast: https://podcasts.apple.com/us/podcast/pop-culture-junkie/id1536737728 Spotify: https://open.spotify.com/show/7k2pUxzNDBXNCHzFM7EL8W Website: www.popculturejunkie.comFacebook: PopCultureJunkiePodcastInstagram: @pop.culturejunkieThreads:@pop.culturejunkieBluesky: @pop-culture-junkie.bsky.socialEmail: junkies@popculturejunkie.com Shauna on Instagram: @shaunatrinidad Shauna on Threads: @shaunatrinidadOlivia on Instagram: @livimariez 

In this episode, Macbeth, a mysterious new villain, uses Goliath and the Gargoyles as bait for a personal vendetta, and proves to be a formidable opponent. Meanwhile, in order to keep Goliath and his family safe, Elisa insists they move into the city's clocktower where their identities will be kept hidden. While the other Gargoyles seem willing to leave the castle, Goliath strongly opposes this plan and he lashes out at his family.

Going to the theatre can often feel like a magical experience. You sit in the dark, watching a story unfold in front of you, with your imagination filling in the gaps between the sets. It's unsurprising that theatre superstitions would be so plentiful. Intended to bring good luck or ward off bad luck, some of these superstitions have made their way into life outside the theatre. Look at how many people know it's bad luck to name Macbeth. I've grouped these theatre superstitions according to which part of the theatre or performance they refer to. I'm thrilled to also have a special guest for this theatre-based episode, so a big welcome to actor, musician and folklore writer, and contender for one of the loveliest people I know, Mateo Oxley! Let's explore the strange world of theatre superstitions in this week's episode of Fabulous Folklore! Find Mateo Oxley on Instagram: https://www.instagram.com/mateooxley/ Find the blog post with all the images and references here: https://www.icysedgwick.com/theatre-superstitions/ Get your free guide to home protection the folklore way here: https://www.icysedgwick.com/fab-folklore/ Become a member of the Fabulous Folklore Family for bonus episodes and articles at https://patreon.com/bePatron?u=2380595 Get weekly articles and bonus content at Substack: https://fabulousfolklore.substack.com/ Buy Icy a coffee or sign up for bonus episodes at: https://ko-fi.com/icysedgwick Fabulous Folklore Bookshop: https://uk.bookshop.org/shop/fabulous_folklore Pre-recorded illustrated talks: https://ko-fi.com/icysedgwick/shop Request an episode: https://forms.gle/gqG7xQNLfbMg1mDv7 Get extra snippets of folklore on Instagram at https://instagram.com/icysedgwick Find Icy on BlueSky: https://bsky.app/profile/icysedgwick.bsky.social 'Like' Fabulous Folklore on Facebook: https://www.facebook.com/fabulousfolklore/

SLEERICKETS is a podcast about poetry and other intractable problems. Make a one-time donation (not tax-deductible)For more SLEERICKETS, subscribe to SECRET SHOW!Leave the show a rating here!SLEERICKETS is now on YouTube!For a frank, anonymous critique on SLEERICKETS, subscribe to the SECRET SHOW and send a poem of no more 32 lines to sleerickets [at] gmail [dot] comSome of the topics mentioned in this episode:– Order Brian's book The Optimists! It's so good!Now give Brian's book a 5-star review!– My chapbook The Soft Black Stars is out now!Novice by Nida SophasarunAn Incomplete Mentorship by Rachel Jamison WebsterEllen Bryant VoigtAdvice from an Unknown Poet Ep 05. Bad AdviceEp 244: Possible Horrible Truth, Pt. 1Nida's poem Violent FemmesCorniche by Les MurraySecret show notesDead Poets Society (1989)Paterson (2016)A Quiet Passion (2016)Yasujiro OzuLast Chance U (2016)Friday Night LightsI Walked with a Zombie (1943)Reality Bites (1994)Matthew's essay Where the Money IsThe Tragedy of Macbeth (2021)Film QuarterlyFrequently mentioned names:– Joshua Mehigan– Shane McCrae– A. E. Stallings– Ryan Wilson– Morri Creech– Austin Allen– Jonathan Farmer– Zara Raab– Amit Majmudar– Ethan McGuire– Coleman Glenn– Chris Childers– Alexis Sears– JP Gritton– Alex Pepple– Ernie Hilbert– Joanna Pearson– Matt Wall– Steve Knepper – Helena Feder– David Yezzi– Victoria Moul– Katie Dozier & Tim Green– George David Clark– Tristram Fane Saunders– Philip Metres– Helena Feder– Nida SophasarunOther Ratbag Poetry Pods:Poetry Says by Alice AllanI Hate Matt Wall by Matt WallVersecraft by Elijah Perseus BlumovAdvice from an Unknown Poet by Alice Allan & Jonathan FarmerRatbag Poetics By David Jalal MotamedAlice: In Future PostsBrian: @BPlatzerCameron: Minor TiresiasMatthew: sleerickets [at] gmail [dot] comMusic by ETRNLArt by Daniel Alexander Smith

Every theatre kid can tell you that Shakespeare's Tragedy of Macbeth is a cursed play. Some believe that even saying the name of the play in a theatre where it is not being performed can jinx a production. Stories of misfortune, injury, and death haunt productions of Macbeth like the ghost of a slain friend. It has been suggested that the curse of Macbeth goes all the way back to it's first performance in 1606. However, evidence of this is sketchy at best. When did people start believing that there was a hex on Macbeth? Does it date to the 17th century or is something else going on here? Tune-in and find out how an arrow through Laurence Olivier's leg, Shakespeare in drag, and Charlton Heston's flaming thighs all play a role in the story.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In the eighteenth century, Samuel Johnson famously argued that Shakespeare is enduringly popular because he “is above all writers, at least above all modern writers, the poet of nature; the poet that holds up to his readers a faithful mirror of manners and of life.” Johnson's view largely prevailed until the late twentieth century, when it was challenged by a growing scepticism about the existence of a general human nature. In Thinking Through Shakespeare (Princeton UP, 2026), eminent literary critic David Womersley pushes back against this change by exploring how Shakespeare's plays think through—and invite us to think through—deep human questions of lasting importance.Thinking Through Shakespeare explores four perennial human problems: personal identity, the distinction between civilization and barbarism, the relation between political power and religious authority and the tension between means and ends. It examines the history of these problems, from antiquity to today, and traces how Shakespeare engages with them in the great tragedies—Othello, Hamlet, Macbeth and King Lear—but also in his other plays. Without arguing that human nature is universal or unchanging, or that Shakespeare has some special access to timeless wisdom, the book makes the case that his drama is powerful because it serves as a forensic tool, probing rival perspectives on questions that have preoccupied many people in many societies over many centuries.By revealing in new ways how Shakespeare's plays are animated and driven by central human problems, and why he should again be viewed as the great poet of human nature, Thinking Through Shakespeare opens up a richer understanding and appreciation of his work. David Womersley is the Thomas Warton Professor of English Literature at the University of Oxford. His books include Divinity and State, Gibbon and the “Watchmen of the Holy City” and The Transformation of the Decline and Fall of the Roman Empire. He is also the editor of many books, including the Penguin Classics editions of Gibbons's Decline and Fall of the Roman Empire, Boswell's Life of Samuel Johnson and David Hume's complete essays. He is a Fellow of the British Academy and of the Royal Historical Society. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

On today's episode of "Conversations On Dance", we are joined by acclaimed choreographer Akram Khan, weeks before his brand new full length production "Lady Macbeth" premieres at the Royal Danish Ballet. He tells us how the dancers of the company have immersed themselves through months of singular focus, how the work's plot has evolved since its inception, and how much his own dance language has fused with classical ballet vernacular to create the world of this ballet. "Lady Macbeth" runs April 24th through June 4th at the opera house mainstage in Copenhagen. LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceCOD MerchListen to COD on YouTubeJoin our email listSponsorship information Hosted on Acast. See acast.com/privacy for more information.

Joseph Pearce explores Shakespeare's Hamlet and Macbeth, revealing powerful themes of conscience, sin, grace, and moral choice. The post GWWL8 – William Shakespeare – Hamlet and Macbeth – Great Works in Western Literature with Joseph Pearce – Discerning Hearts Podcasts appeared first on Discerning Hearts Catholic Podcasts.

1. Guest Author: James Shapiro James Shapiro discusses the 1936 premiere of *Macbeth* at Harlem's Lafayette Theater, a landmark integrated event during the Jim Crow era. Shapiro introduces his book, *The Playbook*, detailing the Federal Theater Project's role in American democracy. He highlights Harry Hopkins, FDR's advisor who spearheaded the Works Progress Administration (WPA). Hopkins established "Federal One," a program designed to employ artists, musicians, and writers. Hopkins insisted that professionals, such as violinists, be employed in their specific fields to entertain and serve the public during the Great Depression. (1)1915

3. Guest Author: James Shapiro James Shapiro details the creation of the famous "Voodoo Macbeth" in Harlem, directed by a twenty-year-old Orson Welles. Replacing Shakespeare's traditional Scottish setting with 19th-century Haiti, the production substituted witches with voodoo drummers and chanters. Welles, influenced by the rise of global fascism, framed evil as a systemic cultural force rather than a personal failing. The production was a massive hit, eventually moving to Broadway and touring nationally. This tour broke Jim Crow boundaries by bringing a professional Black cast to states where Black citizens lacked political representation. (3)1917

3. Headline: The Innovation and Controversy of Voodoo MacbethGuest Author: James Shapiro Orson Welles modernized *Macbeth* by setting it in 19th-century Haiti, substituting traditional witches for voodoo drumming and chanting. This "Voodoo Macbeth"became a national sensation, touring cities like Dallas and breaking local Jim Crow laws. Despite its success, the production faced scrutiny; Langston Hughesexpressed ambivalence, questioning whether the project truly represented the Black experience or merely used Black performers to tell white stories for white audiences. The play's impact on interracial performance remains a subject of cultural discussion regarding representation and voice. (3)1938 ILLINOIS

1. Headline: The Birth of the Federal Theater Project Guest Author: James Shapiro On April 14, 1936, the Lafayette Theater hosted an integrated crowd for the premiere of an all-Black production of *Macbeth*. This era-defining moment was made possible by the Works Progress Administration under Harry Hopkins, who launched Federal One to employ artists during the Great Depression. Hopkins believed in putting people back to work in fields that suited their skills rather than manual labor. He recruited Hallie Flanagan, an experimental theater professor from Vassar College, to lead the newly formed Federal Theater Project, which eventually reached millions across twenty-nine states. (1)1939 OKLAHOME

4. Guest Author: James Shapiro James Shapiro explores the complex reactions to the "Voodoo Macbeth," noting subtle racism in white critical reviews. Black intellectuals like Langston Hughes remained ambivalent, questioning if the project truly told Black stories or merely placed Black performers in "white" roles. The focus then shifts to Sinclair Lewis's *It Can't Happen Here*. Although MGM initially planned a film adaptation, they scrapped it to avoid losing the German market and to appease censors. Hallie Flanagan seized the opportunity, convincing Lewis to adapt the story for a simultaneous theatrical opening in twenty cities. (4)1928