Podcasts about shakepeare

Ava Roy grew up in rural Western Massachusetts, in an area rich in literature and theater. Ava met Ann Podlozny back east before Ava came to California to attend Stanford, which is where she created a theater production group. Today, Ava is the founding artistic director of We Players, a 25-year-old theater company based in San Francisco. Ann, who'll play Lady Macbeth in an upcoming, all-woman production of Macbeth, is based in London and came back to be in the play and to support her friend Ava in whatever way she can. While at Stanford, Ava let her art play, in the sense of public displays such as throwing banners off the clock tower and tying bodies to sculptures around campus. She discovered that art would be her life's work, not just a hobby. One idea she had while in Palo Alto was to do a production of Shakepeare's Romeo and Juliet held all around the Stanford campus. It was a success, as the audience grew and grew as it moved around, picking up more and more people along the way. Ava was able to turn this type of theater into an independently designed major. After graduating, she moved to the East Bay and started doing theater productions there and in The City. She started partnering with the National Park Service (NPS) in 2008 and then with SF Recreation and Parks in 2018. Ava's first production at Fort Point, the Civil War-era fort under the southern base of the Golden Gate Bridge, was in 2008. From 2009 to 2011, she had a three-year residency on Alcatraz, further deepening her relationship with the NPS. In 2013, she kicked off Macbeth at Fort Point. But a funny thing happened—a government shutdown that year effectively ended that run under the bridge. Fast-forward nearly a decade, and the NPS reached out to see whether Ava and We Players were interested in trying again to produce Macbeth at Fort Point. That brings us to the present day. Ava's friend Ann had left theater and had been working in movies. She'd also been taking epic walks—as in hundreds of miles at a time, all over the world. She was on one of these walks when she and Ava connected over Zoom and Ann offered to play the part of Lady Macbeth to Ava's Macbeth in We Players' upcoming production. Ann would not only play one of the two major roles in the play, but she would also be there for Ava to help with various aspects of putting it all together, including casting. It was somewhere in this time that the decision was made for this to be an all female-identifying and non-binary cast. We Players is run and was founded by women, but they hadn't done a production with a cast like this before. It was 2024, before the election. It just felt right. Ann and Ava talk about the themes of Macbeth and how they relate to the current times we're in, no matter who we are. Ava touches on how important it is for her to foster a caring, kind, nurturing environment among her cast members, and how poignant that is for such a violent play like Macbeth. Then we pivot to talk about how times have changed, 10 years removed from the last time they did this at Fort Point, and how they have not. Ava also describes what it's like inside of Fort Point, something we in San Francisco might not all know about. One point they want to emphasize for anyone who comes to see their show—it's cold as hell, even by SF standards. We Players' production of Macbeth at Fort Point opens on April 11 and runs through May 18. All shows start at 6 p.m., Thursday through Sunday (with a few exceptions), rain or wind (duh) or shine. Tiered tickets (for equitable access) are available at the We Players website. We recorded this episode in the Gramercy Towers in March 2025. Photography by Jeff Hunt

SOU adds music to Shakepeare in a new production of "Pericles"

When people think of the plays of Shakespeare, they tend to think of his comedies and tragedies that spotlight interpersonal dynamics like love and jealousy, pretense and reality. But my guest would say that many of Shakepeare's plays, especially his sometimes overlooked histories, are also unmatchable in revealing the dynamics of power.Eliot Cohen is a military historian, political scientist, professor of international studies, and former State Department counselor, as well as the author of The Hollow Crown: Shakespeare on How Leaders Rise, Rule, and Fall. Today on the show Eliot takes us through what Shakepeare's plays can teach us about navigating the three-part arc of power: acquiring power, exercising power, and losing power. Along the way, we discuss how these lessons in leadership played out in the lives of real-life historical figures as well.Resources Related to the PodcastPlays discussed:Richard IIHenry IV, Part 1Henry IV, Part 2Henry VRichard IIIJulius CaesarCoriolanusKing LearMacbethThe TempestAoM Podcast #853: The Real Rules of PowerAoM Podcast #792: How Power CorruptsAoM Article: A Lesson From TR & Taft on Pursuing a Life You LikeAoM Article: There Is No Indispensable ManRobert Caro's biographical series on LBJAll the King's Men by Robert Penn WarrenSupreme Command: Soldiers, Statesmen, and Leadership in Wartime by Eliot CohenConnect With Elliot CohenEliot's faculty page

William Shakespeare started writing plays in an era when popular theater was exploding and cementing its place in culture. Audiences spanned economic classes, professions and educational backgrounds, and he was keenly aware of the need to write for all attendees. He frequently wrestled with topics that retain relevance for society across centuries, such as power struggles, relationships, politics, and love. Not only are Shakespeare's plays still performed constantly, but his storylines and themes are also frequently borrowed for contemporary entertainment. The Scottish actor Brian Cox has performed classic Shakespeare roles, including King Lear, hundreds of times on stage. Most recently he played the iconic patriarch Logan Roy on HBO's “Succession,” a modern King Lear story. Simon Godwin, the artistic director of the Shakespeare Theater Company in Washington, D.C., is tasked with keeping Shakespeare's work fresh with every new season and reaching a broad cross-section of audience members. Both joined entertainment leader and former Disney CEO Michael Eisner for a conversation at the festival about Shakepeare's timeless messages and storylines. aspenideas.org

Most shrink from Shakespeare. His language is archaic and hard to understand. Behold! Carmen Khan is here to help you understand what the Bard is saying - and, more importantly, why he's saying it.

Oh hating love, oh loving hate! Mary and Victoria are discussing mixed feelings towards Shakepeare and the amount of space his works occupy in our cultural education and experiences.    https://howlround.com/interrogating-shakespeare-system   [Original air date: September 26, 2020]

Where there's a party, there's usually cake.  This colourful cake is consumed on Old Christmas day and is connected to the three visitors to a certain baby many many years ago.  It will remind you of a certain Shakepeare play about turning the world upside down.  If you find it's treasure then prepare for extra fun and frivolity.  So grab your fork and get ready for feasting because we're exploring the history and origins of King Cake.  Boar's Head episode: https://sites.libsyn.com/271751/seasons-eatings-boars-head   Website: https://www.seasonseatingspodcast.com Facebook: https://www.facebook.com/seasonseatingspodcast Instagram: https://www.instagram.com/seasonseatingspod Twitter: https://www.twitter.com/seasonseatpod Email: seasonseatingspodcast@gmail.com Youtube: https://youtube.com/@seasonseatings Ko-fi: https://ko-fi.com/seasonseatings

This week on ‘Has It Aged Well?' Abbas and Urjita tackle Shakespeare by revisiting the first film In Vishal Bharadwaj's Shakepeare trilogy: Maqbool, based upon Macbeth. Joining them for the episode is writer and content creator Aditya Kulshreshtha aka Kullubaazi. Despite Urjita having mistakenly rewatched the other Shakespeare adaptation ‘Omkara' for this episode the trio manage to stick the landing by keeping the conversation more or less Maqbool centric. Topics covered include: The stellar casting, references to The Godfather, the role of lust in the story, why Lady Macbeth is one of the best villains, the trio's respective history with the bard, the fantastic use of Urdu and Hindi, Bharadwaj's inspirations and a lot more.  Check out Kullu's Mubi reel here: https://www.facebook.com/kullubaazi/videos/756710445013581Follow Kullu on Instagram here: https://www.instagram.com/kullubaaazi/Follow Abbas on instagram here: https://www.instagram.com/abbasmomin88/?Follow Abbas on twitter here: https://twitter.com/AbbasMominFollow Urjita on Instagram here: https://www.instagram.com/urjitawani/Follow Urjita on twitter: https://twitter.com/WaniUrjitaSee omnystudio.com/listener for privacy information.

The technology of explosions to celebrate or mark an occasion of jubilation that we know today as fireworks was a new thing for Shakespeare's lifetime. Shakespeare mentions the word “firework” only twice in his works, once in relation to a fight in Henry VIII and another time in relation to a show or pageant in Love's Labour's Lost. Our guest this week, Simon Werrett is the author of a book on the history and science behind fireworks and he joins us today to share exactly how they worked for Shakepeare's lifetime, which celebrations were held using fireworks, and what the people of 16th century England thought about this wild and exotic light display.  Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

The technology of explosions to celebrate or mark an occasion of jubilation that we know today as fireworks was a new thing for Shakespeare's lifetime. Shakespeare mentions the word “firework” only twice in his works, once in relation to a fight in Henry VIII and another time in relation to a show or pageant in Love's Labour's Lost. Our guest this week, Simon Werrett is the author of a book on the history and science behind fireworks and he joins us today to share exactly how they worked for Shakepeare's lifetime, which celebrations were held using fireworks, and what the people of 16th century England thought about this wild and exotic light display. 

Can you mix Shakespeare and kids? When was the last time you read or watched the Bard? Do you have a community of readers to read Shakepeare with? to read Shakespeare for? Can you create a community of Shakespeare appreciators with your children? Charity dives into quality retellings of William Shakespeare which are suitable for children, especially the

March is Women's History Month, at least in the United States so I am continuing to feature women scientists on the podcast all month. I thought I would start off with a little history about women in Stem. We women have a way of persisting and despite continuing to face barriers to professional advancement, we just will not stop. What lengths have we gone to? Like Rosalind, of Shakepeare's As You Like It, who disguised herself  as a young man in an effort to travel through the forest without fear of harm, Women have altered their appearance and behavior throughout history to succeed in STEM fields dominated by men. While some, like  military surgeon James Barry, whose real name was Margaret Ann Bulkley, went to  extraordinary measures that lasted a lifetime, others like Jeanne Baret disguised herself as a  man to get onboard a scientific expedition well before Darwin ever set foot on the Beagle. It  would take until 1959 before women, presented as women, were even permitted on scientific  expeditions. Fast forward to today when my guest Dr. Lela Schlenker spends most of her time asking if she can come aboard a commercial fishing boat.  Dr. Lela Schlenker is a marine scientist with a fascinating background. She is currently a Visiting Assistant Professor at the Williams Mystic Program. This is a really special program run by Williams College in collaboration with Mystic seaport. This is an important program to Dr. Lela Schlenker and you'll find out why in the episode. You can keep up with Dr. Lela Schlenker on her website  lelaschlenker.com and on Twitter @LelaSchlenker To follow us on social media visit @wildconnectpod  and @realDrJen for Twitter & @RealDrJen  and www.jenniferverdolin.com for more. Love the show or simply enjoyed this episode? Give us a like and share so others can find us too. 

In 1588, William Shakespeare turned 24 years old. This year is part of what we call “Shakespeare's Lost Years” because we don't know precisely what Shakepeare was doing at this time. Many speculations have been made that Shakespeare hopped a ride with one of the touring companies that visited his hometown of Stratford Upon Avon to make his fortunes in London. Of course, the details are not known for sure, but our guest this week brings new evidence to the discussion by investigating one major flood event that struck Stratford Upon Avon in 1588. Prior to this significant disaster, Shakespeare's hometown was a major stop of the route of travelling playing companies across England, and after this disaster, the town seems to drop off of the itinerary, leading some to speculate that the damage and subsequent fall from its' status as a tourist destination may have played a role in William Shakespeare leaving for London. This week we welcome our guest, Laurie Johnson to the show to share his research into the flood of 1588 to tell us what may have happened to the town of Stratford Upon Avon that led to the departure of the bard. 

In this episode of The Wildland Podcast, Daniel and Morgan of Timshel Wildland and the Robinia Institute discuss the role of humans in wild systems in review of Shakepeare's The Tempest. We tackle question such as: what is a wild system? What does wisdom have to do with regenerative agriculture? What is the role of humans and human impact in wild or natural systems? Are wild and natural systems ... actually "wild?" All of this and more on this episode of the Wildland Podcast!

Shirley Jackson - The Haunting Of Hill House - Episode 2 - Is Hill House Haunted Or Not?!   I'm Christy Shriver and we're here to discuss books that have changed the world and have changed us.    And I'm Garry Shriver, and this is the How to Love Lit Podcast.     Read the first paragraph of chapter 2.    That is the first paragraph of chapter 2 of The Haunting of Hill House by Shirley Jackson.  This is episode 2 as we explore this haunted space- and Christy, haunted it is.  Last week, we spent a lot of time talking about Shirley Jackson and her relationship with her mother.  It was our argument that a lot of the terror she creates springs originally from the dysfunction of living with a toxic mother.  We introduced the idea of reality versus illusion and the difficulty of knowing one from the other- especially in these toxic relationships.  We introduced the idea of feeling trapped and alone.  All of these feelings metaphorically expressing themselves not just in the characters who populate the story, but also in the physical space- the haunted house itself.      And Jackson borrowed from every gothic trope she could find to build for us a very relatable creepy house-  it's so stereotypical, we have to wonder if that in itself is part of her strategy- which of course, it very much is.   But, why?  What is she expressing? Of course, we know that haunted houses do express evil and fear and always have. We, also know that houses, in and of themselves, occupy a very important place in our psyche.  As people, we have an incredibly powerful psychological attachment to the physical spaces that populate our lives.  Physical spaces can bring us memories; as in favorite vacation destinations, they can be sacred as in a church, and they can also be haunted.  Let me quote Dr. Montague as he explained the origins of haunted houses to his assistants in chapter 3     Page 50-51    Jackson, herself, was always interested in houses- and for good reason.  Her grandfather had been a very important architect  in San Francisco, and she brought all of that family interest into her own life.  Jackson wanted to write a ghost story and then she set out to write Hill House, so, I guess it just made sense for her to research a bunch of different houses in order to create the one for her story.  She even enlisted her mother to help her get some research about a famous haunted house in San Jose, California, the Winchester Mystery House- one that still attracts millions of visitors visit every year.      I also happened to notice that Dr. Montague directly references this very famous house.  I wish I can say I had heard of it, but I hadn't, so I looked it up.  A woman by the name of Sarah Winchester inherited $20 million in 1881 from her dead husband and his family who had made their money selling firearms.  She was said to have moved to California to build a home for the spirits of the dead people who had been killed by the firearms made by her husband's family.  The Winchester house is really bizarre and worth Googling.  I can see why it has so many visitors.  It is enormous: 24,000 square feet; it has 10,000 windows, 47 stairways and fireplaces, 160 rooms, and 17 chimneys among other things.      It's weird looking too with all those turrets that remind us of what a proper haunted house should look like,  and Jackson studied it and her house has turrets, but Hill House isn't just one house, and it's not near as large as the Winchester House.  It's funny how many theories there are about what all inspired Hill House.  Stanley, Shirley's husband worked as a professor at a woman's college, I'm not sure we got to that last episode, but he worked at Bennington College in Vermont.  Well the Music building on campus is called Jennings Hall, and it is apart from the other buildings.  It's made from gray stone and stands against the hills, kind of like the opening of Hill House.   Lots of people see that connection. Ruth Franklin, Jackson's most recent biographer and probably the leading expert on all things Jackson, talks about a file she found in Jackson's archive at the Library of Congress when she was researching Jackson's life.  She found a collection of pictures and newspaper clippings about all these different places and events that inspired Hill House.  One was a newpaper article about a poltergeist incident in Long island, there were pictures of a couple of castles, there was the Winchester house stuff, but then she found one called the Edward H Everett Mansion- which is also in Vermont, and actually very near Bennington where Jackson and her family lived.  Franklin and her husband went there when she was researching for her book on Jackson and were basically shocked at how evil that house looked.  She and her husband both got chills just being on the property, so Franklin believes a lot of Hill House is inspired by that place.      At the end of the day, Hill House is the invention of Shirley Jackson's mind- not a specific place on earth.  It is also a creepy ole' metaphor for something- and when you're reading the book by chapter 4 where we go to in this episode - you don't know what it could be- but you intuitively feel it has to have something to do with a home- but definitely not a happy home- but maybe a place that should have been happy but is twisted, but maybe it is even a place that promised to be happy or to be something- but it lied about that.  I think when we read novels, especially the ones we like, sometimes we don't really know what we identify with- we just feel some sort of connection.  I think that's the big question in this book- especially at the beginning.  What am I supposed to make of this house?  Why am I compelled to read about it?   If it's so creepy why does Eleanor stay there?  What compels her to go inside? What's attracting her there?  Is it just that it's not her sister's house so anything is better than that?  Is she looking for a home?  As we read further on, we will come to understand that that is exactly what it is all about.  Of course, for all of us- having a home is important.  Wouldn't you agree, with Bing Crosby, Garry, that there's no place like home for the holidays?    Homes and thus families are important, there's a lot of psychological research to support that, of course.  But let's just narrow in on the idea of that physical space we associate with our home- where we currently are living and hopefully nesting.  For many of us, if we are going to make it our home- and not just a place where we sleep and maybe eat, a home is part of our self-definition- it is that physical space that expresses who we really are.  That's why decorating a home in your own way and making it beautiful to YOU is so important.  It's why I encourage people, even if you're wealthy enough to hire professional decorators, to be involved in that process in a personal way.  Most of us, however, don't have that problem, but we should make our home reflective of our interests, our passions, our tastes.  We should let it reflect OUR identity- in a positive way.  It's also true and I quote Robert Frost here, “Home is the place that, when you have to go there, they have to take you in.”  That's another very important idea.  It is a place where you feel safe, and you can be oriented in space and time.  It's a place where you can be vulnerable without being exploited.  But that's where the dangers reside, right?  If you are vulnerable, then by definition, you can be exploited- and of course, that happens, and it definitely happened to Shirley Jackson.    For me, a house really does has a spirit to it.  As strange as that sounds, especially if someone has lived in the same place for a while.  In some sense, a physical space has to develop its own energy and personality.  This is what I mean, Garry and I got married when my oldest daughter was a junior in college.  When she entered our new house- her new home, even though we put her things in a room, put her pictures on the wall, and tried to make her feel “at home”, she just didn't bond with the physical space.  She was living at college in a house of her own, and she was spending just a few days a year with us.  Her room at our house was nice; it was beautiful; but the house just wasn't her friend yet.  A full year later, we had a house fire, and I was in tears as things burned, thankfully just one room truly burned before we stopped the fire, but Anna was very stoic about the whole thing.  She just couldn't be sad.  She told me, point blank, I don't feel anything.  I don't feel like this is my space.  This isn't my home.  Of course this made me sad because I wanted her to feel at home there in our space with her sister and step-father, but it wasn't something I had any power to create.   There were no memories in that space for her at that time, and the only that that would ever change that is creating memories for that space in that space- of course, the fire ironically was a memory for us all- but it really is about the passing of time and what we do with the passing of time.  Living there- bringing friends there, filling up the air with the smell of food and the fire place, sharing meals together- playing games around the table- the house has had to develop a spirit of its own- and hopefully a positive safe and welcoming one and hopefully one that is still being developed.    Of course you're right.  That is why it's important to be intentional about that sort of thing because just as a space can be positive, it can also be negative.  And just as it can have a positive effect on a person, it can have a negative one as well- obviously.     William Sax, Professor of anthropology, says it this way: People and places where they reside engage in a continuing set of exchanges; they have determinate, mutual effects upon each other because they are part of a single, interactive system.”  Listen to what he means- people and places engage with each other- they interact with each other and have effects on each other- they are part of one single interactive system.  It's a very interesting way of looking at how we engage the world.  This is true.  It's originally a Southeast Asian concept, but it really nails a universal truth.     Of course it's that very idea that I also see Jackson taking and running wild with it in her book- physical space interacting actively with the people who occupy its space.      Reading here how Jackson plays around with the concept of this house is really a hyperbolized version of spaces interacting with people- and in her case, she builds an entire 80 year history of negative memories in this house.  Here, crazy enough, the house actually is a villain- although I know that's not totally obvious by the end of chapter 4- but even early on before the house spooks a single person when we read the history of the house, we can see how much negative emotions and hurt are a part of the spirit of this house.     For sure, Jackson makes Hill House into a literal character in the story.  This house has emotions.  She tells us explicitly this house is without kindness and has no concession to humanity- not unlike her own mother (as we saw last episode).  She goes on to say Hill house is not fit for love or for hope- that's how Jackson literally describes it.  But unlike a real house in the real world, what makes this fictional story creepy is that we are going to see that the house has agency- or it at least appears to.  The house does stuff- or maybe it does stuff- that's the big unanswered question.  Who's doing the stuff in the house.  Either way, Of course, this is all the opposite sort of things we want in our physical home, and I'm sure almost everyone would agree with that.   And let's be mindful here.  Shirley Jackson spent a lot of time thinking about her house.  She spent a lot of time, in fact, most of her time, thinking about her home.  She was first and foremost a homemaker. And she was extremely intentional about what she invested her time in.  She did a lot of cooking- and neglected a lot of cleaning opting to make her space a fun liveable one, contrary to popular standards and practices of her time.  She, probably better than most writers or any genre at any time, knew exactly how powerful a home was and could be and how a person could frame it.  Heck, she financed her entire life out of humorously discussing hers.  Her house was famously vibrant, full of life, full of energy, full of visitors- both celebrated literary friends of hers, as well as the dozens of childhood playmates that continuously bounced between the walls.  She clearly knew how to make a happy home, but here in this book, she strips all of that positive away and we see she also knew what a house without kindness could be like.       So interesting.  What's also interesting to me is that historically, this haunted house archetype goes back hundreds of years, well before Jackson came on the scene.  We all know this, I mean who hasn't seen pictures of those gloomy castles in old Gothic stories.  We all know those houses that wreaked havoc on Victorian readers, on Scooby Doo readers, on all of us.  I've read several of these to my own kids over the years, And now that I think about it, all these haunted houses kind of look like Hill House, they usually have two stories maybe a turret or tower, but for sure a black cat on a porch, bats coming out a window, and full moon somewhere behind it.      So true,  I think I've even mailed one or two Halloween cards with those very images on them, but literary haunted houses are slightly differently than the Scooby Doo thing.  In literary fiction authors use these Gothic tropes, and I'm going to put Jackson in this group, to create some sort of metaphor, to flesh out something moral or psychological- and this makes the inside of the house much scarier than the outside- as creepy as these pictures are.  The house represents something inside that is scary and that really exists in our world.  So the question is, what about this house scares us?  What are we really afraid of?  What are the ghosts?    And for me, although, I know this is totally a non-literature way of looking at things, to answer that question I find myself looking at Shirley Jackson as a person and the world she lived in.  Shirley Jackson was a woman of the 1950s, she was a writer and commentator and a deep thinker about that world.  She was a daughter, as we discussed last week, but she was also a mother herself.  And the definition of motherhood in the 1950s was very unique in American history because, and I talked about this a little last episode, but there was a giant shift after WW2 for the American family and especially for women.  Last episode, I talked about that second wave of feminism and Jackson as a professional woman may have looked at all of that, but today I want to bring up another important and that is this idea of the postwar rush to the suburbs and America's cult of the family- that is a very big distinctive historically about this time period. And it in fact, it is still very much a part of our American identity, even to this day.  After WW2, life changed for almost everyone in a positive way.  Life wasn't as hard as it had been before the war.  People could own a home; everyone seemed to want a family.  It was a status symbol.  We all wanted a particular kind of family- the nuclear family with a mom and a dad and children who were the product of that marriage.      That's not just an American thing- isn't that what everyone aspires to all over the world even today.      Of course- but for America, in this post World War 2 era, everything was changing and prospering in a new way and so this was not a pipe dream- it was attainable in a way that had NEVER been possible before.  Think about Of Mice and Men and how destitute things were during the depression.  That was all over.  Now- People had time to think about things like competitive living.  Before that we all were just trying not to starve.  We also had mass media that was projecting what prosperity looked like, or at least should look like.  This kind of atomic family was the picture of happiness.  This social framework was on the covers of all the magazines, in all the movies, in all the tv shows.  It was sanctioned by our churches, and how good or successful we were as humans depended on how well we created this particular family.  If your family wasn't this kind of family, we used the word “broken”.  You came from a broken home.  I know this very personally because this was my reality.  I was raised in a “broken” home.  My parents were divorced- although I'm not from the 50s, but even during my childhood this was a very shameful thing for a child- something was wrong with you, with your family, with your home.  Shirley Jackson's home wasn't physically broken at all- at least not in the way that mine was, but the appearance of perfection haunted her from her earliest memories.  Her parents were in hot pursuit of that perfection.  And as an adult when she was homemaking she was very aware of all of these family and social dynamics at work.  Almost all of her writings center around these ideas in one way or another, the fiction and the non-fiction.      So, back to Hill House, if we look at a home your way, as a place where individuals are supposed to belong- let's look at these characters from that perspective of why they might be showing up at Hill House.  Because the characters in this story are definitely not coming from that background.  They are all broken, if we pay close attention.  We see that Eleanor doesn't have a father or now a mother.  Theo is very vague about her identity, even about who she lives with- we don't even know if her roommate is a man or  a woman, the only thing she lets out in her introductory comments is about spending her vacations alone at boarding school which is kind of dark, and Luke will claim later on to not having a mother.  So, I guess, none of them really have a place to go for the holidays, to use the language from Bing Crosby's song.  When they get to Hill House, although the house itself is creepy, they seem happy to have found each other.  The lure of having what this house may be offering is greater than the risk of what could be scary about it being haunted.  The girls even wear bright colors to brighten up the dreary home; they run outside, the house is in a valley and kind of covered up, but they also claim it's a “place for picnics”, something happy families do- and of course, we'll see at the end of the book that this parody of the picnic will come back to haunt both girls. In the beginning, Eleanor and Theo claim to be cousins and the last sentence of chapter 2 is, “Would you let them separate us now?  Now that we've found out we're cousins?”.      When they meet Luke in chapter 3, Eleanor very quickly asks, “Then you're one of the family? The people who own Hill House? Not one of Doctor Montague's guests?”  Of course, she doesn't mean her own family- but for Eleanor- in some ways that is what she is fantasizing about- this notion of family- a place to call home.      Let me also point out that by this point in the story, even though, we're still in the very beginning, the house has already played a benign trick on Eleanor and Theo- there was an incident about a rabbit frightening them.  It's cute and funny but odd none the less.  Hill House, for Eleanor, although is obviously ugly, vile and haunted, is not an unhappy place.  It holds promise.  When they come in and meet Dr. Montague, he pours drinks for everyone and Eleanor comments, “Everything's so strange, I mean, this morning I was wondering what Hill House would be like, and now I can't believe that it's real, and we're here.”  She struggles to believe it, but as she sits with the other three and the thought she has is this and I quote, “I am the fourth person in this room; I am one of them; I belong.”    And of course, all of the conversation between the four of them is fun-loving.  They make jokes about what they do in the other world.  Almost all of it is non-sense.  Eleanor talks about being the talk of café's, Luke says he is a bullfighter, Theo claims to be clad in silk and gold.      Yes, and Dr. Montague assumes the role of a a traditional father-figure.  He calls them children and tells them stories.  Let's read that part.  They all sit around, and he tells the story of Hill House.    Page 54-      It's definitely a creepy story and the Crain family is definitely a miserable group of people, but getting to the current moment if Mr. Montague is the father-fugure, Luke, Theo and Eleanor are the kids, then in some sense the house is the mother- there's no one else.  But from the history of the house, there was never really a real mother that ever lived here.    Yes- and that brings me back to my discussion of the 1950s.  Before the 50s, life in the United States was more difficult.  Many people we're struggling to exist- mostly fighting mother nature on a farm or a ranch.  When wealth came to the United States in that post war era, like we already said forming an ideal family and an ideal home was at the heart of that- but at the heart of the home were the children.  A new word showed up in the Webster dictionary in 1958 that had never existed in English before- that is the word, “parenting”.  And whatever it meant, parenting was about the responsibility of making perfect kids or at least making a perfect growing up experience for kids, and how to do that was naturally- again in very American form- supercontroversial and divisive.  There was this book that came out in 1944 by a doctor by the name of Dr. Benjamin Spock.  This book took America by storm.  In his book, he claimed parents should not discipline their children.  They should be permissive.  The idea before this was that humans were evil, and children were humans, so they needed to be disciplined or tamed into doing right- if you indulged them you would “spoil” them- that was the word.  Dr. Spock took the opposite approach, his theory was that all of us are good and it is not possible to spoil a child.  A child who is loved will never be spoiled by things you give him/her or do for him/her.  If they had everything they needed, they didn't need to act out or misbehave.  In either case, no matter which side of the argument you fell on- one thing both camps had in common was the child was the center of the home. Everything was about the children.     And this was where Shirley Jackson, the mother, fit in.  Look at the titles of her two books of essays about her children, Life Among the Savages and Raising Demons. Jackson took seriously this debate about “parenting”.  In 1960 she wrote a book titled “Special Delivery, a Useful Book for Brand-New Mothers”.  Let me read a small quote from an essay in there called, “Whos' the Boss?”    “After Careful study it is going to be clear to the earnest mother that the enormous propaganda on child raising in books, magazins, and even adverstisments is being largely written by babies.  Baby is the boss, the articles point out flatly; first you are waiting for him, an dthe you are waiting on him.  Perhaps this is because 20 or 25 years ago the going rage in baby care was exactly the opposite.  Children who were allowed a little freedom of choice were going to be ‘spoiled' and the worse possible thing an anguished mother could do was pick up a crying baby. In our family there is a sharp division of opinion on the question of the authority of the child.  Our four children ardently support he cause of absolute indulgence, warmly seconded by their grandparents on both sides.  My husband and I, bolstering one another secretly with reminders that we are firm, righteous, fair, stem although impartial, band beyond all else the heads of the family, have managed to fight the issue to a standstill somewhere between the two camps.”    She is funny.      She definitely is, and even in Hill House, there are parts of the dialogue that are really funny- especially when we get to the parts about Mrs. Montague who is absolutely absurd.  But here's where I want to land.  Eleanor is our central character- no doubt.  We are wedded to her point of view.  There is no doubt that the allure of Hill House is also her desire for a family- to not be alone- one of the creepier elements for me in this book is Eleanor's constant revisiting the phrase “Journeys end in lovers meeting”.  I think it's repeated 14 times, maybe more than that.     Yeah- what is that about.    Well, of course, we never really know.  It's actually a quote from Shakepeare's play 12th Night.  Which is a comedy about a girl named Viola.  12th Night is very typical Shakespeare, I actually just watched it at a Shakespeare in the park this summer in Nashville.  It's a happy play and after a lot of misteps and misidentities Viola finds true love at the end.  The Journey for Viola ended in a lovers meeting.  But the way Jackson uses it isn't like the way Shakespeare uses it at all.  It really is not used in any kind of romantic sense.  Eleanor wants to meet love, but I'm not sure she's very particular as to the kind of love she meets.  It doesn't have to be sexual, for sure.  Although there's a little bit of flirtation with Luke, it definitely ends poorly. This is a very asexual book.  In fact, the most graphic sexual part has to do with the demented Hugh Crain and his abusive relationship with his daughters.  Eleanor is looking for a family- she wants to be the center of someone's world, and that is normal and understandable, but she's also a bratty kid in many ways.  She's judgmental of everyone else, we will see.  Jackson is going to create every member of this family of Hill House to be dysfunctional and self-orbiting.  Every member of the family is tyrranically trying to be in control- and notice that is what Dr. Montague pointed out in the history of the house.  Hugh Crain, who built the house, is a horrible father- he parented his daughters as we find out late in the book- through sheer terror.  The house is a horrible mother, it's oppressive and vile and deceitful- but the Crain kids were terrible too.  They were competitive and hurtful.  And now we get these “kids” – if that is what we're going to call Luke, Theo and Eleanor- are going to all three be portrayed as self-centered and competitive.  Dr. Montague in this playful exchange at dinner says this and notice Jackson's carefully chosen words, “You are three willful, spoiled children who are prepared to nag me for your bedtime story.”  Jackson uses the loaded language of her generation- words everyone in the 1950s would recognize.      So are you saying, Jackson is saying, children are tyrranical as well as mothers?  Is everyone tyrranical?      Well, I really don't know if I'm ready to comment on that yet but maybe.  I want to point out something though that IS interesting.  Both Theo and Eleanor were selected to come to the house because they supposedly have powers, Theo has telepathic power and Eleanor can create these poltergeist experiences where we can move things around- maybe subconsciously even.  This, I think is an important detail to include.  They are not powerless, and Jackson leaves room we will see to see both of them exercising their powers at various places in the book, maybe.      What do you mean by that?  That they may be using their powers or maybe they aren't, we can't be sure?    That's it exactly- and we're not even sure if they know if they are using their powers- they seem not to really understand that they have them. Now, let's go back and think about the HOUSE itself- As the story sets itself up in the exposition, four very different people have moved into the house.  The only thing they have in common is that they all have some sort of brokenness in the background, even Dr. Montague as we will find out when we meet his hideous wife, but they all are willing to move into a house that is supposedly haunted- but how and by whom?  And what are they going to do in the house.  Of course this question comes up in their evening together- their first bonding experience sharing food and drink together- and Dr. Montague confesses that he has no idea what will happen to them.  They will take notes, but that is all he can offer. They will drink brandy- as Luke points out- they are there to drink spirits- pardon the pun.  And they most certainly will.   Before they go to bed that first night, Theo and Eleanor share the stories of where they come from.  Let's read this part.    Page 64    What is interesting about that exchange is that we, as readers, already know Eleanor is lying.  None of what she just told them is true.  Things at Hill House are not what they appear to be.  In chapter 4 when they tour the house, Dr. Montague makes a point of pointing that out.      Page 77     Much of chapter 4 is describing the house- and the house is off- you can't see it at first- but it's off center.  There is a fairly large distortion because so much is off. There's also the marble statue of Mr. Crain, the veranda that's crooked, the cold spot in front of the nursery ironically which is symbolically in the middle of the house, and then the chapter ends with noises. This is the first really scary part in the book.  Eleanor apparently wakes up with someone calling her.  She thinks it's her mother at first before she remembers she's at Hill House.  When she goes to Theo's room Theo is scared out of her mind because she's heard someone knocking, plus it's terribly cold.  The noise gets louder until Eleanor shouts wildly, “Go away, go away!”  The door trembles and shakes against the hinges and ultimately they hear a little giggle and a whisper and a laugh before the Dr. and Luke get to them.    That is all very creepy and very definitely the stuff scary movies are made of.      Yes, and chapter 4 ends with Dr. Montague's observation.    - read  ending pg 99    Whatever is pressuring the house- is pressuring this little make shift family to break up.      But then again, no one ever knows what forces  are at work in any family dynamic. Do we?  What kind of subversive forces are at work in a house, in a home… in a home that is haunted?    Ha!  Good point Jackson.  I guess we often never do.      Well, that's terrifying enough for one episode.  We will pick up with chapter 5 next time and see just what exactly Jackson is doing with our minds.  Thanks for spending time with us as we explore the terrifying world Jackson has created at Hill House.  As always please tell your friends about us, push out an episode on your twitter account, or your Facebook account.  Text an episode to a friend.  If you're a teacher and want to use podcasts for instruction, go to our website and download a listening guide for your students to fill out as they listen.  We want to support learning around the world, and helping us share the world is how you can help us grow.  Thank you     Peace out.        

Only Lovers Left Alive Secuelas: NA Presupuesto: 7 Millones de USD Recaudacion: 7.6 Millones de USD Año: 2013 Director: Jim Jarmusch Actores: Tilda Swinton (Eva), Tom Hiddleston (Adam), Mia Wasikoswska (Ava) Anton Yelchin (Ian). Plática sinopsis¿De qué trata la película?Un Detroit desolado y una Tánger poblada, Adam un musico Underground y deprimido por los actos de la humanidad, se reúnen con su amante Eve.Su historia de amor ha sobrevivido por siglos, pero la llegada de la hermana de Eve interrumpe su reencuentro.¿Podrán estas criaturas de la noche sobrevivir antes de que sea demasiado tarde?Es interesante como al principio de la pelicula nos presentan a los protagonistas sin darnos cuenta como espectador, el vinilo, la canción, el universo y el disco sigue girando.Una película que no tiene trama, pero no hace falta.CARACTERISTICAS DEL VAMPIROSe mencionan varios elementos de un vampiro: Se alimentan de sangre, pero ya no muerden a sus víctimas, por la contaminación de los seres humanos, esto los hace cada vez mas frágiles. Duermen de dia, no toleran la luz del sol. Pueden morir por una estaca en el corazon, en esta pelicula, una bala de madera, algo “modernizado”. Requieren una invitación para entrar a sus hogares, inclusive entre ellos y utilizan guantes que solicitan quitárselos para tener mas confianza. Eva con su tacto, puede conocer la edad de las cosas, los instrumentos por ejemplo. ADAN, EVA y AVA¿Son los personajes bíblicos que todos conocemos y que al ser expulsados del paraíso se convirtieron en criaturas de la noche?Eva ama la naturaleza y la literatura, es mas técnica, ve el bien y el mal como algo natural por ende no ama ni odia a los zombies.Adam es musica, impulsivo y se deja llevar por sus emociones al grado que estas lo pueden consumir, no odia a los humanos, sino lo que están haciendo con ellos mismos y con el mundo.AVA es traviesa, incontrolable, y no ha aprendido a dominar sus instintos, imprudente, inquieta, su reencuentro da a entender que durante su inmortalidad los ha metido en muchos problemas, cuando Adan y Eva solo quieren llevar una vida tranquila.Ambos, Adam and Eve no son afanes de la tecnología. En comapración a Ava.OOPS del DirectorHasta que empezaron a filmar se dio cuenta que vendría primero la referencia bíblica antes de su idea principal: hacer referencia al trabajo de Mark Twain: Los diarios de Adam y Eva. Historia de amor Eva fue la primera en la historia de Twain. La audiencia se envuelve en como empiezan a adaptarse mutuamente a compartir un mundo juntos. Pérdida del Edén: juntos formar más personas (Abel, Caín, etc) es mejor que estar solos ¿Qué pasa con los hijos... o los zombies tanta generaciones después? LOS ZOMBIESAsí son llamados los seres humanos por Adam, tan molesto por sus actos y vida que esta destruyendo todo.¿Por qué tiene esta repulsión a los zombies?El que tiene más experiencia no puede evitar estar comparando siempre. Imagínate que conocieras a Dalí, Einstein, Shelley y Byron, Poe... y luego pasa el tiempo y ya no encuentras algo similar... todo se diluye. Los valores van cambiando, las ideologías también, y aquello que valorabas se vuelve cosa del pasado. Es como los adultos de hoy, dicen "en mis tiempos..." y bueno...las nuevas generaciones tienen otras perspectivas y no siempre se ven a los ojos. Ahora imagínate eso pero por 500 o 1000 años.¿Existe una desconexión entre las nuevas generaciones y la historia? Hay una teoría donde mencionan que el director hace una crítica referente a este tema. Como las nuevas generaciones no tienen idea de los conceptos históricos o lo que grandes mentes han logrado, y debido a eso, no hay un avance positivo en la humanidad. El ejemplo es Ava, quien no respeta ningún tipo de límites, reglas sociales, espacio personal, ni las tradiciones (incluso de ellos) como vampiros, está insimismada en sus deseos y necesidades y descarpa por completo al resto. Ella se ve mucho más joven y representa otra generación, que bien puede ser de humanos o vampiros. Eva se viste colorida, se pinta el cabello, es ruidosa, molesta.LOS ARTISTAS o "HEROES"Se mencionan una enorme lista de artistas, escritores, músicos de la historia que te dan a entender que los protagonistas han influenciado enormemente a estos celebres personajes y que los seleccionaban y necesitaban para que su talento sea a travez de ellos, conocido por la humanidad sabiendo que jamas seran reconocidos como los verdaderos autores.William Ross, Tesla, Jack White de The White Stripes (septimo hijo de su padre), Paganini, Poe, Shakespeare, Joe Strummer (The Clash) Basquiat, Kafka, Newton, Copernico, Jimi Hendrix etc.Christopher Marlowe, un contemporaneo de Shakespeare que se dice inclusive escribio obras de Hamlet y este a veces firmaba sus obras como Marlowe y es interesante como en esta pelicula se muestra a Marlowe como un vampiro.Teoría de Marlovia: Se dice que Christopher Marlowe era el real autor de poemas y obras de Shakepeare. La teoría es que Marlowe fingió su muerte. Supuestamente nacieron con dos meses de diferencia y Shakespear se hizo famoso tan solo dos semanas después de la muerte de Shakespeare.Se da a entender que Adam adapto tendencias suicidas y deprimentes por el tiempo que paso con Mary Shelly y Lord Byron.CURIOSIDADESEl cabello de los protagonistas se ve siempre alborotado y curioso. Resulta que utilizaron cabello de animales como cabras mezclado con cabello humano para dar el look salvaje.Eva tiene 2000 años de edad y era la matriarca druida de una triba Celta. Adam, en cambio, tiene 500 a 600 años y también tiene una conexión druida con Eva.“ironwood, lignum vitae, maybe snakewood, piratinera guianensis, or possibly African blackwood, dalbergia melanoxlon”La sangre es filmada como típicamente vemos a las adicciones, un tipo de heroína. ¿Adictos a la vida? ¿cuáles son los problemas que tiene la audiencia del siglo XXI? Adicciones, depresión, inestabilidad mental o social, son cosas con los que podemos sentir más afinidad. La inmortalidad puede hacerte quizá más experto en una o muchas cosas, pero al final, sigue habiendo una parte humana y anímica en la ecuación que no se había tratado necesariaemente en otras películas. Let the right one in, se aborda el tema, pero al final hay un poco de supervivencia. Acá ya estamos hablando de que tienen la comida asegurada, dinero asegurado, ¿qué sigue?TITULOOnly lovers left alive... ¿por qué crees que le pusieron así?DIRECCIONEscenas que contrastan lo antiguo y/o historico con lo moderno. Sus habitaciones, las referencias que hacen tanto literarias, pintura, musicales en la película pero el contexto es moderno, se visten moderno, smartphones. Es un choque entre lo antiguo y contemporáneo.Tomas lentas, silenciosas, con el objetivo de sentirte dentro de los cuartos, como si estuvieras ahí con ellos y en medio del silencio, te pones a ver lo que hay en el cuarto tirado o a tu alrededor.OTROS CUESTIONAMIENTOS¿De donde viene el valor a las cosas? Por ejemplo, las guitarras, ciertos libros... Hay una cierta melancolía asociada.Créditos:Radio Horror es producido por Caro Arriaga y Rael Aguilar.Edición por Matías Beltrando desde Destek Soporte.Música Closing Theme Hounds of Love por Dan Luscombe (Intro)Insiders por Joe Crotty (Intro)Patchwork por Patchworker f.k.a. [friendzoned] (Spoilers)Nightlong por FSM Team (Outro)★ Support this podcast on Patreon ★

Happy New Moon, Minnjas!! We had so much fun chatting in this episode today!! We discussed our growing business and all the beautiful things on the horizon for Apostrophe Soul. We recorded this episode on the New Moon in Taurus. So, we got to dig into what this particular lunation was all about through the Taurus lens. This month we are celebrating playwright, poet, actor, and artist, William Shakespeare. So, we discussed more about his life and his use of astrological references within his works and the importance of this guidance system throughout the Elizabethan Renaissance. The Globe Theatre regularly runs Shakespearian performances. If you are in the London area, you can experience Shakepeare's plays in a truly unique and magical way." Under the stars, with performances beginning at 11:59pm. If you are not in London, they offer live streams of certain performances, and you can rent or buy past performances to enjoy in the comfort of your own home! They have a podcast too!! It is called Such Stuff and it will be sure to delight! References: shakespearesglobe.com The Globe Theatre 21 New Globe Walk Bankside London SE19DT @girlandthegalaxy on Instagram @tellherco on Instagram Contact us at: apostrophesoul@gmail.com Visit our Etsy Shop! http://apostrophesoul.etsy.com Check out our website: www.apostrophesoulradio.wordpress.com Follow us: Instagram: @apostrophe_soul Facebook: Apostrophe Soul --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Series I, Chapter 12: Shakespeare's Other PoemsVenus and AdonisThe Rape of LucreceThe Phoenix and the TurtleA Lover's ComplaintNotes:I have taken some facts and quotations from the following: On The Rape of Lucrece: Hallett Smith, Introduction to The Rape of Lucrece in G. Glakemore Evans, ed., The Riverside Shakespeare, Second Edition (Boston:  Houghton Mifflin, 1997), p. 1814, 1815; and F.E. Halliday, A Shakespeare Companion (Baltimore:  Penguin, 1964), p. 402. On A Lover’s Complaint: Robert Giroux, The Book Known as Q:  A Consideration of Shakepeare’s Sonnets (New York:  Atheneum, 1982), p. 210, 211; Brian Vickers, “Did Shakespeare write A Lover’s Complaint?” accessed 8/13/18 at https://journals.openedition.org/shakespeare/1026#ftn1; see the technical argument in MacDonald P. Jackson, “A Lover’s Complaint and the Claremont Shakespeare Clinic” in Early Modern Literary Studies accessed 8/19/18 at https://extra.shu.ac.uk/emls/journal/index.php/emls/article/viewFile/67/22; see the broader argument in MacDonald P. Jackson, Determining the Shakespeare Canon:  Arden of Faversham and A Lover’s Complaint (Oxford:  Oxford University Press, 2014).Questions? Email DoctorRap@zohomail.com

When we think about the Renaissance, we think of a great flowering in artistic creativity and intellectual innovation; we think about the beautiful paintings and sculptures of Michelangelo, the astute discoveries of Copernicus, the timeless plays of Shakespeare. Ironically though, this great creative flowering was spurred by men who were educated under a system that, by our modern lights, can seem rather rigid and rote.  My guest today unpacks this seeming paradox. His name is Scott Newstok, and he's a professor of English and the author of How to Think Like Shakespeare: Lessons From a Renaissance Education, in which he uses the Bard as a jumping off point to explore broader insights into matters of the mind. We begin our conversation with the ways Scott thinks our modern educational system is lacking, and how students' approach to learning has changed over the years. We then discuss how the Renaissance model of education, with its emphasis on language and verbal fluency, provides possibilities for strengthening our reading, writing, speaking, and thinking skills and making their refinement a lifelong habit. We delve into how artists and thinkers in the Renaissance thought about originality differently than we do, and how they believed that imitating and even copying the work of others can actually help you find your own voice. And we discuss how Shakepeare's sonnets demonstrate the way in which constraints can counterintuitively enable creativity. We end our conversation with how you can incorporate Renaissance thinking into your day to day life. Get the show notes at aom.is/renaissancethinking. See omnystudio.com/listener for privacy information.

Mariner tries to impress her best friend from Starfleet Academy who is now a visiting captain. Boimler is sent to a Starfleet medical ship after a transporter accident puts him “out of phase.” In this episode of the podcast, Wes and Clay discuss "Much Ado About Boimler" and wonder about the relationship to Shakepeare's original work. Plus! The guys talk about Lower Decks riding a joke, the show mixing up its character pairings, and turning your TV around to watch it in "handheld" mode! Are you looking for older episodes? Find this and every other episode at The Pensky Podcast! Thanks for listening. Stay connected: • https://thepenskyfile.com/links/ • e-mail: thepenskyfilevideo(at)gmail.com

Dr. Earl Showerman returns to join host Steven Sabel to highlight the details of the Shakespeare Oxford Fellowship's virtual online Shakespeare Authorship Symposium scheduled for Oct. 2-3, 2020. Support the show by picking up official Don't Quill the Messenger merchandise at www.dontquillthepodcast.com  Presented by the Shakespeare Oxford Fellowship. Learn more at www.shakespeareoxfordfellowship.org  Don't Quill the Messenger is a part of the Dragon Wagon Radio independent podcast network. For more great podcasts visit www.dragonwagonradio.com  

This week on Episode 465 of Priority One --- We ‘Trek Out' Culber's focus on mental health, Goldsman's tease of Picard season 2, Jack Quaid's initiation into Trek-stardom, Gossipy-Gossip, and a teeny-tiny set! Of course, as always, before we wrap up the show, we'll open hailing frequencies for your incoming messages Let us know on social media like Facebook, Twitter, or by visiting our website! This Weeks Community Questions Are: CQ:  Are you excited to see more “Starfleet” in season 2 of “Picard”, or would you prefer the second season to focus on something else entirely? TREK IT OUT by Jake Morgan Wilson Cruz on Culber's Mental Health What would it feel like to be resurrected - Pulled from the clutches of death, returned into the land of the living? The wholly unusual event must be disconcerting - being one of the few people pulled from eternal oblivion. Just ask Spock, McCoy, Scotty, Worf, Wesley Crusher, Janeway, Picard - or Dr.Hugh Culber. Wilson Cruz, the actor who portrays the resurrected Doctor - Culber not McCoy - discussed the effects of breathing again with Yahoo Entertainment's “The Talk”. Cruz told “The Talk” that he didn't originally know his character was going to be killed, but was glad to receive a call shortly after to reprise the role. During those conversations, Cruz made it clear that he didn't want Culber's death to be meaningless “So many times we see these LGBQ characters, especially gay characters, killed off on our series, and there's no cost. It's as if it never happened. And I wanted there to be growth in this. He needed to learn something from it, we all did. So, I was excited about the epic way he was brought back” Cruz continued, dropping a few hints about what to expect in Discovery's third season ”I'm more excited about how he's grown in season 3 - how he's used this experience to kind of inform the way that he works on the ship. And so, we'll see more of how he works as a doctor, but also how he's taking into consideration mental health.” Akiva Goldsman Talks Picard's Second Season Wilson Cruz wasn't the only Trek-insider to talk about the future of a Star Trek series. Writer, Director, Show runner, and now prolific video interviewee Akiva Goldsman discussed Star Trek: Picard's first season, and what we may expect going forward. Goldsman told IndieWire's Christian Blauvelt that the introduction of Altan Inigo Soong, played by the incomparable Brent Spiner, served a bigger purpose than simply moving the narrative. ”We knew that this Soong character had been in our head canon when it came to the season, anyway. But, you know, we want more Brent, and we wanted to create a platform for which there could be more Brent in ensuing seasons” In regards to the introduction of the Riker-led Starfleet Armada in "Et in Arcadia Ego — part II," Goldsman acknowledged ”We knew that bringing in that fleet was a little bit of a promise, and so we tried to be thoughtful about it”. The video interview ends there, but in the article that accompanies the video, Goldsman is quoted as saying ”Especially as we go forward, we're going to start making statements about really what the world of Starfleet, at least technologically if not socially and culturally … These are the things that are likely to get a little bit more play than they did [in Season 1] in what was essentially a story about somebody who is outside of Starfleet.” For more on the development of Picard's first season, including the inspiration for the 2390's ship design, be sure to trek out the link in our show notes. Jack Quaid Describes “Lower Decks” If you're involved in Trek, no matter what else you are working on or promoting, you WILL talk about your Trek involvement - and Jack Quaid had his first lesson in this. The star of the upcoming animated comedy “Lower Decks” sat down with Entertainment publication Gold Derby to promote season 2 of the popular Amazon Prime series, “The Boys” - and as sure as the sun rises, Star Trek was addressed. Quaid, who plays “Lower Decks” Ensign Brad Boimler, admitted he wasn't sure about a release date, telling Gold Derby ”I don't know when it's coming out. I know I've recorded most of my stuff for it but it's a new “Star Trek” show, it's animated, it's from Mike McMahan, who's one of the writers on “Rick and Morty” and he's frickin' hilarious.” Like the aforementioned McMahon, Quiad stressed the comedy is for both trek fans - like self-proclaimed “trek nerd”, Gold Derby reporter Kevin Jacobsen - and non-trek fans ”If you are a huge “Star Trek” nerd[...]you're gonna get a lot of the references and a lot of the deep cut jokes, but I think even if you're new to it, I think it's something really cool to introduce you to the “Star Trek” universe as well. Me speaking personally, I didn't know a ton about it when I got cast. I had seen the J.J. Abrams movies but now I'm into it.” Kirk-shipping May Be Canon? You want gossip, Captains? You've got it. We head back to the questionable “WeGotThisCovered” for our next story, so be sure not to take this Gossip as Gospel. If you'll remember back in episode 460 of Priority One, we told you about the RUMORED casting of a young James T. Kirk for the upcoming Pike/Spock/Number 1 series, “Strange New Worlds”.  This week, WeGotThisCovered has doubled down on the rumor, claiming that not only are they casting Kirk for the series, but he may be Bisexual. According to the site ”Trusted insider Daniel Richtman has revealed on Twitter that sources are telling him Kirk could end up being portrayed as bisexual in SNW.” https://twitter.com/DanielRPK/status/1271905503678009344 You may be surprised to find out that the Original Kirk - William Shatner - had an opinion on the matter. On June 14th, Shatner TWEETED ”I suppose some of you want my reaction to the article from the “never heard of them before & clickbait rules” site on their scoop on bisexual Kirk? If @CBS,@Alex_Kurtzman & @Startrek decide  to make Kirk bisexual to align with cancel culture presentism; then it's OK

Our first Tarantino film! A former assassin, known simply as The Bride (Uma Thurman), wakes from a coma four years after her jealous ex-lover Bill (David Carradine) attempts to murder her on her wedding day. Fueled by an insatiable desire for revenge, she vows to get even with every person who contributed to the loss of her unborn child, her entire wedding party, and four years of her life. After devising a hit list, The Bride sets off on her quest, enduring unspeakable injury and unscrupulous enemies. Favorite line- "Dying in our sleep is a luxury our kind is rarely afforded." Mystery Line "What he did to Shakepeare, we are doing now to Poland."   Make sure check out Kat's cousin's film Diagnosis, links below! Tanner Craft https://www.imdb.com/name/nm9706242/?ref_=nv_sr_srsg_0 Tanner Craft film Diagnosis https://www.youtube.com/watch?v=7bMiqxyuoWk    If you could leave us a review to let us know how we are doing that would be great! Also share the show with your friends!   Patreon- https://www.patreon.com/user?u=27280667 Twitter - https://twitter.com/katandjesstalk Facebook - https://www.facebook.com/katandjesstalk/ Instagram - https://www.instagram.com/katandjesstalkthebest250/ Email - katandjesstalkthebest250@gmail.com Website - https://katandjesstalkthebest.podbean.com/    Music- https://www.audiobinger.net/ the song for this episode is entitled "The Wake Up" it is just 45 seconds of it unedited.

MacDuffman: https://www.youtube.com/watch?v=hjvWFzNnlyw Feedback: 6pspodcast@gmail.com All materials used for educational purposes

Get ready for some perfect hot takes on today’s episode of F***ing Shakepeare with freelancer Catherine Baab-Muguira. She looks behind the curtain at the self-appointed guardians of the world of culture, celebrates indulging a rabbit hole of eccentric ideas as a freelancer, and we all have a laugh about how her outstanding personal essay on her highlights helped propel her career.* Plus, we endlessly appreciate Cat for being real with us about writing, success, and mental illness as she crowns Poe, word for word, “the most likely self-help guru in history.”Check out more of Cat’s work on her website, her Contently page, and her Twitter. Cat’s essays that we discussed in the podcast:“Edgar Allan Poe Was a Broke-Ass Freelancer” in The Millions“Buy All Your Furniture at Target, For Tomorrow We Die” in The Billfold“I Spent $11,537 Becoming a Blonde” in The Cut“The Seductive Scamming of Theranos’s Elizabeth Holmes” in shondaland Suggested Reads & Honorable MentionsTigers are Better-Looking by Jean Rhys“Like This or Die” by Christian Lorentzen in Harper’s Magazine (we discuss this article at 10:55)“The Literati of New York City” by Edgar Allan Poe“The Raven” by Edgar Allan PoeJ.W. Ostrom’s works on Edgar Allan Poe’s lettersElizabeth Holmes’s net worth according to Forbes *Please note, we went out of our way not to say “highlight of her career.” You’re welcome for the lack of bad puns.

Jason Alme from “Shit Happens When You Party Naked” Podcast joins Jay and I for one of the funnest episode ever! if you don’t listen to this one your F…ing Idiot! Enjoy!

Charles Duff stands in to replace his cousin John Julius Norwich, who was forced to stand down due to ill health, at the June 5th 2018 lunch. An actor and lecturer in Shakepeare and theatre history, he entertains and enthrals in equal measure talking about his memoir, Charley's Woods published by Zuleika.

"A rose by any other name would smell as sweet. " Shakepeare

Mixing history, comedy, and tragedy, Cymbeline is a grab-bag, the equivalent of a Shakespearian mix-tape. There's no way around it: Cymbeline is Shakespeare's craziest play, a wild theatrical experiment that mashes so many different genres, plots, and styles that it's astonishing the thing makes any sense.

"Naughty, naughty! Don't touch, Butch knows best. They're something new from Gay Paree." On this epiosde of Bots, Bugs, and Babes, my father (Al Jaconetti) and I cover the 1973 Vincenmt Price cult classic Theater of Blood. We celebrate the 45th anniversary of the film, as we delve into all the different aspects of the production and the behind the scenes information that makes this a great ride. We will also talk more Shakepeare than any other epsiode of Triple B thus far! Put on your tights and call the Stage Manager and join us as we get soime culture!Feedback for this show can be sent to: botsbugsbabes@gmail.com

"Naughty, naughty! Don't touch, Butch knows best. They're something new from Gay Paree." On this epiosde of Bots, Bugs, and Babes, my father (Al Jaconetti) and I cover the 1973 Vincenmt Price cult classic Theater of Blood. We celebrate the 45th anniversary of the film, as we delve into all the different aspects of the production and the behind the scenes information that makes this a great ride. We will also talk more Shakepeare than any other epsiode of Triple B thus far! Put on your tights and call the Stage Manager and join us as we get soime culture!Feedback for this show can be sent to: botsbugsbabes@gmail.com

In this episode, we learn about the exciting new changes coming to the Cincinnati Shakespeare Company and also take a look at Ophelia and Laertes by Benjamin West. Other talking points include: impressing teens with Pearl Jam, winning at Shakespeare, Royal Looky-loos, Santa stick man, the birth of puke, King Lear in Detroit. Hosted by Russell Ihrig. Theme song: Offrande Musicale by Bacalao For more info and other programs, visit: cincinnatiartmuseum.org/ Links: Cincinnati Shakespeare Company: https://cincyshakes.com/ Detroit's King Lear: http://www.dia.org/object-info/1f5a75ba-5312-48bc-9613-7e448f36622a.aspx?position=4 Museum of Fine Arts Boston's larger King Lear painting: http://www.mfa.org/collections/object/king-lear-34327

Four centuries after Shakespeare's death, young scholars share new evaluations of his work - in a series of essays recorded in front of an audience in Shakespeare's old classroom at the Guildhall in Stratford-upon-Avon.3.Joan Fitzpatrick with "Wolf All?- Shakespeare and Food in Renaissance England"Joan Fitzpatrick explains her new research on what people ate in Shakepeare's England, and what food and the consumption of food signifies in his plays. She starts with details of enormously popular Dietary books, such as William Bullein's Government of Health, (first printed in 1542) and goes on to explore why eating is about far more than nourishment, shedding important new light on the old, the young, the thin, the fat, women, foreigners, the poor and social elites in Shakespeare's plays. Joan Fitzpatrick is Senior Lecturer in English Literature at Loughborough UniversityBBC Radio 3 is marking the 400th anniversary of the death of Shakespeare with a season celebrating the four centuries of music and performance that his plays and sonnets have inspired. Producer : Beaty Rubens.

Many playwrights strive to create poetry on stage, hoping to put such elegant words in the mouths of their characters that audiences will sit stunned and shaken, transported from their seats to some new world. If only all playwrights began as poets—as did San Francisco’s Marisela Treviño Orta—then all of our stages would be singing with poetry as beautiful as that in Orta’s rich fairytale ‘The River Bride,’ which just opened a five-month run at the Oregon Shakespeare Festival in Ashland. The festival, which runs annually from February to November, always begins in the Spring with four shows, gradually adding new ones. The openers this time are Shakespeare’s ‘Twelfth Night,’ Gilbert & Sullivan’s ‘Yeomen of the Guard,’ Charles Dickens’ ‘Great Expectations,’ and ‘The River Bride.’ I’ll discuss the first three in my next broadcast. Easily the best of a strong batch, ‘The River Bride’ was first staged in San Rafael in 2014, part of the AlterLab new play development program sponsored by Marin County’s AlterTheater Ensemble. Originally co-directed by Ann Brebner and Jeanette Harrison, that early production was elegantly simple, using only a few wooden blocks as set pieces. In Ashland, Orta’s slinky, sexy blend of Brazilian river mythology and Grimm’s fairytales has now been given a magical, deceptively high-tech makeover by director Laurie Woolery, working with a stellar cast and a first-rate team of visual artists. Woolery fills her stage with gorgeous images, each scene a poem in its own right, a stunning collage of sight, sound, words and emotion. Fortunately, such bedazzlements never distract from the story, or from the incandescent heart of Orta’s indelible characters. Just three days before the wedding of 16-year-old Belmira and the local fisherman Duarte, the bride’s older sister Helena is doing her best to hide her own broken heart, having loved Duarte since childhood. During a stormy day of fishing, complete with raging thunder and mysterious pink lightning, Duarte and the sisters’ goodhearted father Senhor Costa haul up a well-dressed, unconscious stranger in their fishing nets. Initially suspicious, Senhora Costa soon welcomes the soft-spoken newcomer, who gives his name as Moises, and almost immediately forms a bond with the cautious, but gradually love-struck, Helena. As Helena, Nancy Rodriguez, is spectacular, revealing layer upon layer of hidden emotion. Armando McClain, who as Moises makes an art of enigmatically smoldering, is quite good in a part that less expert actors might have played too extravagantly. Jamie Ann Romero is excellent in the tricky part of Belmira, managing to be both innocent and selfishly devious, and as Duarte, Carlo Alban is all coiled intensity and molten jealousy. Triney Sandoval is delightful as Senhor Costa, and Vilma Silva, as Senhora Costa, is perfect, playing as many shades of motherly love as there are strings on a guitar. What happens next takes place in a world of grounded fantasy and stylized realism. On the Amazon, there are legends of trickster porpoises, which for three days in June take the form of human men, looking for love amongst those who dwell on the land. That myth eventually overlaps the lives of Orta’s characters in powerful ways, as Moises’ courtship of Helena stirs up deep and forbidden passions. As in all fairytales, the ending involves the breaking of curse, but with a poetic and heart-stopping twist, just one of many satisfying pleasures Orta serves up in this transcendent, one-of-a-kind masterpiece. ‘The River Bride’ runs in repertory with ‘Twelfth Night,’ ‘Great Expectations,’ and others, Tuesday through Sunday, in the Angus Bowmer Theater at the Oregon Shakespeare Festival, in Ashland, Oregon. For information on this and ten other shows opening throughout the year, www.osfashland.org has all the details.

Anne Dondertman, Director of the Fisher Library, provides additional information about the Fisher copy of Shakepeare's 1623 First Folio, the only copy in Canada.

"Under the greenwood tree / Who loves to lie with me / And turn his merry note / Unto the sweet bird’s throat, / Come hither, come hither, come hither. / Here shall he see / No enemy / But winter and rough weather." (As You Like It, 2.5.1-8) Pack the picnic basket. Grab a blanket. Don't forget the bug spray. Shakespeare under the stars is a long-standing tradition in America—and elsewhere in the English-speaking world and beyond. Rebecca Sheir, host of our Shakespeare Unlimited series, talks with scholars and theater artists about the social and cultural forces that came together to create outdoor Shakepeare festivals. (Hint: The tradition starts a lot sooner than you might think!) Among those featured in this podcast: - Libby Appel is former Artistic Director of the Oregon Shakespeare Festival. - Charlotte Canning is a professor in the theater and dance department of the University of Texas at Austin. - Michael Dobson is director of the Shakespeare Institute at the University of Birmingham in England. - Frank Hildy is a professor of theater at the University of Maryland. - Scott Kaiser is the head of voice and text at the Oregon Shakespeare Festival. ----------------------- From the Shakespeare Unlimited podcast series. © Folger Shakespeare Library. All rights reserved. Produced for the Folger Shakespeare Library by Richard Paul; Garland Scott, associate producer. Edited by Gail Kern Paster and Esther Ferington. We had help gathering material for this Shakespeare Unlimited episode from Esther French. Thanks to Nick Moorbath at Evolution Studios in Oxford England and Eddie Wallace at the Oregon Shakespeare Festival. The music was composed and arranged by Lenny Williams.

K and E fangirl over Shakepeare's comedies

Professor of English, Katherine Duncan-Jones, discusses the real life characters and contemporaries of Shakespeare that inspired, shaped, and on occasion performed the various roles of the 'fool' in much of his work. Shakespeare's fools, in sync with Shakespeare's revolutionary ideas about theatre, began to depart from a more simple representation of the traditional jester. Like other of his characters, Shakepeare's fool began to speak outside of the narrow confines of exemplary morality, to address themes of love, psychic turmoil, and the innumerable themes that arise in Shakespeare, and indeed, modern theatre.

Professor of English, Katherine Duncan-Jones, discusses the real life characters and contemporaries of Shakespeare that inspired, shaped, and on occasion performed the various roles of the 'fool' in much of his work. Shakespeare's fools, in sync with Shakespeare's revolutionary ideas about theatre, began to depart from a more simple representation of the traditional jester. Like other of his characters, Shakepeare's fool began to speak outside of the narrow confines of exemplary morality, to address themes of love, psychic turmoil, and the innumerable themes that arise in Shakespeare, and indeed, modern theatre.

Being in "the moment" is every good actor's mantra. In the latest Downstage Center Stacy Keach and Elizabeth Marvel talk about that moment, professional training, and Shakepeare, among other topics. Of course, the "Other Desert Cities" stars also discuss their Tony nominated play through its development, the characters they portray, and the emotional power behind Jon Robin Baitz's script.

Being in "the moment" is every good actor's mantra. In the latest Downstage Center Stacy Keach and Elizabeth Marvel talk about that moment, professional training, and Shakepeare, among other topics. Of course, the "Other Desert Cities" stars also discuss their Tony nominated play through its development, the characters they portray, and the emotional power behind Jon Robin Baitz's script.