Podcast appearances and mentions of Tom Stoppard

Alice looks at new press reports which claim ultra-processed foods may be driving an increase in bowel cancer in the under-50s. Meanwhile, Mike shouts into a microphone and Marsh goes to the Old Vic to watch Tom Stoppard's Arcadia.Sign up for the Skeptics with a K Patreon at https://patreon.com/skepticswithak, or to support Merseyside Skeptics as well as the podcast, donate at https://patreon.com/merseyskeptics.You can also chat with us on the Skeptics in the Pub Discord server.Mixed and edited by Morgan Clarke.

This is a free preview of a paid episode. To hear more, visit andrewsullivan.substack.comSally is a journalist, columnist, TV commentator, author, wife to Ben Bradlee, and legendary DC hostess. Who better to talk to about the implosion of The Washington Post? She also founded the Post's religion website, “On Faith.” She's the author of six books, including the spiritual memoir Finding Magic, and We're Going to Make You a Star — about her time at “CBS Morning News.” Her latest novel is Silent Retreat, and she's now working on a memoir called Never Invite Sally Quinn. Her energy at 84 is, well, humbling. We had a blast.For two clips of our convo — on Sally's initial impression of Bezos, and the time Bill Clinton called her the b-word — head to our YouTube page.Other topics: born in Savannah, GA, and learning voodoo as a kid; moving as an Army brat; her general dad who captured Göring and helped create the CIA; at Smith College wanting to be an actress; rebelling against Vietnam and the wishes of her dad by marrying Bradlee; the Georgetown party circuit and how it's grown more partisan; throwing a pajama party for Goldwater; dating Hunter S. Thompson; Watergate and Woodstein; the Grahams; Tom Stoppard; Hitchens; Howell Raines; Newt's revolution; Bill's womanizing; Hillary defending her cheater; the Monica frenzy; Obama rising on merit; Barack the introvert; Jerry Brown; the catastrophe of Biden running in 2024; Dr. Jill's complicity and cruelty; Jon Meacham; Maureen Dowd; David Ignatius; Bradlee's dementia; declining trust in journalism; Bezos nixing the Harris endorsement; his life with Lauren Sanchez; sucking up to Trump; the Will Lewis debacle; Sally's spiritual life; silent retreats; Zen meditation; the humor in Buddhism; the denial of death; debating the the Golden Rule; children in Gaza; and the need more than ever for in-person gatherings.Browse the Dishcast archive for an episode you might enjoy. Coming up: Jeffrey Toobin on the pardon power, Michael Pollan on consciousness, Derek Thompson on abundance, Matt Goodwin on the UK political earthquake, Jonah Goldberg on the state of conservatism, Tom Holland on the Christian roots of liberalism, Tiffany Jenkins on privacy, Adrian Wooldridge on “the lost genius of liberalism,” and Kathryn Paige Harden on the genetics of vice. As always, please send any guest recs, dissents, and other comments to dish@andrewsullivan.com. A listener writes:Thanks for all these good episodes. Is Vivek still planning to be a guest soon? I have been looking forward to that episode.He got cold feet. Too bad. On the other hand, I tend to avoid active politicians. Because they're rarely as candid as I'd like a guest to be. Oh well.A fan of last week's pod who lives near Atlanta writes, “The longtime Dishheads on the Mableton cul-de-sac definitely approve of your interview with homegrown talent Zaid Jilani”:I agree with his description of Mableton as a bit like the United Nations; I see that diversity in our grocery stores and local restaurants. He mentioned how he was often the only Pakistani and thus perceived as a nonthreatening minority. It makes me wonder how much the diversity mix affects how people perceive immigration? If a large group from one country arrives, does that seem more like an invasion? If a similar number arrives but from a wide range of locations, does that seem more like the normal American melting pot?After 30 years of living in Mableton, this may partly explain why I am not bothered by immigration in the way that you are, Andrew. I expect to see and hear all sorts of people wherever I go in my neighborhood. Today the teller at the bank spoke accented English. There are regular clerks at my grocery store who are immigrants. Our new HVAC was installed by immigrants. As an Atlanta suburb, there are many people descended from African slaves. European ancestry is merely one possibility off the long colorful menu around here.I think pace and numbers matter. A slower pace and fewer — with no massive homogenous populations arriving at once. And a new emphasis on Americanization over “multiculturalism”.From a listener who wants to “Make Democrats Great Again”:Great conversation with Zaid Jilani last week. I am very concerned that hardly any Democrats are being at all introspective, trying to figure out where they went wrong and how to become a party that can actually win elections — maybe even hearts and minds. They are only defined as anti-Trump, and their only hope is for Trump to go down in flames — which he very well might, but all they aspire to is winning as the least-worst party.The policy directions for reclaiming sanity and moderate voters are obvious (to me, at least). Here are my top three issues:1. AffordabilityThe longest lever to affect affordability is housing. Democrats have been complete failures in this regard, with strongholds like California and NYC being the least affordable places. When they talk about “affordable housing,” they only mean housing that is forced below market rate for the few poor people lucky enough to get it. They offer no solutions for the middle class or young people.The solution is obvious: build more. Plough through the various restrictions that are preventing housing from being built. There is no reason housing can't be cheap, except for NIMBY politics. Scott Weiner in California has been doing great work on this.Health care is the second-longest affordability lever. Obamacare made some progress, but not nearly enough, especially in terms of keeping costs down. But I'm not sure we're ready for another push on this; I say focus on housing.2. ImmigrationObviously there should be some immigration, and obviously we have structured our economy such that many jobs are only done by immigrants. But the Democrats' policy of simply not enforcing immigration law is untenable, especially for a group asking to be put in charge of law enforcement. We need those migrant workers, so find a way for them be here legally. Not through amnesty, but through some sort of bureaucratic process: have the employers fill out a form; have the prospective worker fill out a form in some office in Mexico; have someone process the form; and give them a green card.This is simple stuff! And yes, it would be helpful to admit that open borders, sanctuary cities, and subverting the law were not good ideas.3. CultureEnd wokeness. America is not a country consumed by white supremacy, and the people who voted for Trump are not racists. There are hardly any racists! And drop the other insanities, like the trans stuff.The message needs to be, “We are the Democrats and we want to help anybody from any state who needs help.” Hard to convince struggling white people in the South that you're going to help them when you seem to despise them. Love your brother, for crying out loud. And naturally, today's woke Democrats would be much more accepting of this message if it came from a racial minority candidate.Another wanted to hear more:I wish you had asked Zaid about Josh Shapiro. Also, when Zaid talked about affordability, he never mentioned housing — which is why there are so many ex-Californians in his home state of Georgia and elsewhere. “Build Baby Build” should be the slogan of the Democratic Party, rather than gaslighting Americans into believing housing prices will come down because we are getting rid of immigrants (Vance).Here's a dissent:About 20:30 into your interview with Zaid Jilani, he said that the root of all the Abrahamic faiths is that the meek have rights. You replied that this applied more to Christianity and Islam than to Judaism. I say this neither rhetorically nor to admonish you, but how much do you know about Judaism? Your comment is completely mistaken. Just what do you think Judaism says about the meek?Another has examples:In Genesis, you find that all humans were created b'tzelem Elohim (in the image of God). Moreover, Jewish texts consistently frame care for the poor as a legal obligation and moral imperative, not mere charity. Every Jewish child learns that promoting economic justice is mandated. It is called tzedakah.This religious mandate has manifested itself in the real world. Jews have been disproportionately represented in social justice movements aimed at promoting human equality. It wasn't an accident that two of three civil rights movement activists murdered in Neshoba County, Mississippi by the Ku Klux Klan were Jewish.Points taken. Big generalizations in a chat can be dumb. My quarrel may be semantic: the meek is not merely the weak. It's about the quiet people, those easily trampled upon. Like many of Jesus' innovations, it takes a Jewish idea further.Another listener on the Zaid pod:I wonder if you ever play the game of “which time would you like to go back to”? I do! And only half-jokingly, I often say 1994 in DC. Something about, for example, Christopher Hitchens on CSPAN in a dreary suit jacket discussing such *trivial* aspects of politics in a serious way. How perfect! When I listened to your episode with Zaid Jilani about how the left can win, it seemed dated to about this period in the early ‘90s.Ah yes, the Nineties. They were heady times and I think we all kinda realized it at the time. The economy was booming, crime was plummeting, Annie Leibovitz took my picture, and we had the luxury of an impeachment over a b*****b. Good times.On another episode, a listener says I have a “rose-colored view of President Obama”:In your conversation with Jason Willick, you said that Obama was a stickler for proper procedure and doing things the right way. I might instance, on the other side:* Evading the constitutional requirements on treaties in pursuit of the Iran deal (an evasion that the Republicans were stupid enough to go along with)* Encouraging the regulatory gambit of “sue and settle”* The “Dear Colleague” letter* “I've got a pen and a phone”Points taken. Especially the DACA move. But compared to Biden and Trump? Much better. One more listener email:I've been following you for years, but more recently I became a subscriber, and it's a decision I don't regret! I usually listen to the Dishcast over the weekend, and I always find it extremely stimulating, but there is also something relaxing about the length and scope of your conversations.I want to respond to something you said in your Claire Berlinski episode on the subject of Ukraine. Although I appreciate your position in defence of international law, you implied that Russia's claim to Ukrainian land is somehow “historically legitimate.” This is not only problematic from a logical standpoint (does Sweden have a historically legitimate claim to Finland and Norway, or does the UK have a claim to the Republic of Ireland, the US, and all its former colonies?), but also not based on historical reality.Unfortunately, this is not the first time your comments on Ukraine seem come through the prism of a Russian lens. I am sure it's not intentional; perhaps that's not a subject you have invested much time in, which is legitimate. However, I find it a bit surprising that, as we approach the fifth year of Russia's full-scale invasion, you still don't seem to have had the curiosity to explore this and invite any specialist on Ukraine. If Timothy Snyder is too political these days, I would recommend Serhii Plokhy — possibly the most eminent historian of Ukraine — or Yaroslav Hrytsak. They would each be a very interesting conversation.The Dishcast has featured many guests with expertise on the Ukraine war, including Anne Applebaum (twice), John Mearsheimer, Samuel Ramani (twice), Edward Luttwak, Fiona Hill (twice), Robert Wright, Robert Kaplan, Fareed Zakaria, Douglas Murray, Edward Luce, and Niall Ferguson.A reader responds to last week's column, “The President Of The 0.00001 Percent”:Like you, I'm not against people getting rich. A lot of good is done by a few people who have enough money to seed research and the arts, and pursue things that ordinary worker bees would never have the margin of time or resources to pursue. Good so far.But all strong forces need regulation and/or protective barriers, whether it's the weather, sex, patriotism, or capitalism. What's going on now is obscene. Progressive taxation is a social good: it doesn't stop anyone from getting richer and richer; it doesn't remove the positive motivators for success; it just means that the farther they get, the higher their proportionate contribution to the system that lets them get there. There are various ways to tweak the dials, but there is nothing philosophically wrong with tweaking them in a way the sets some outer limit. Let it be very high, but let it not be infinite.Here's a familiar dissent:You were right to torch the nihilism of the .00001 class. You were right to call out moral evasions. But when you referred to “the IDF's massacre of children in Gaza,” you collapsed a morally and legally distinct reality into a slogan. Words matter. “Massacre” implies intent. It suggests that the deliberate killing of children is policy rather than tragic consequence. That is a serious charge, and it deserves serious evidence.The governing reality in Gaza is not that Israel woke up one morning and decided to target children.

One of the most celebrated plays of the 20th century, and perhaps the finest work of Tom Stoppard, Arcadia, has recently returned to the stage in a new production at the Old Vic Theatre.This revival, opening only a few months after the celebrated playwright's passing, is directed by Carrie Cracknell.Check out Mickey-Jo's thoughts on the lauded play, its mathematical complexities, and this new production in this full review...•00:00 | introduction02:23 | overview / synopsis10:05 | themes / development15:17 | this production21:00 | conclusionAbout Mickey-Jo:As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠MickeyJoTheatre⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 95,000 subscribers. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows in New York, London, Edinburgh, Hamburg, Toronto, Sao Pãolo, and Paris. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK, Musicals Magazine and LondonTheatre.co.uk. Instagram/TikTok/X: @MickeyJoTheatre Hosted on Acast. See acast.com/privacy for more information.

Hermione Lee is the renowned biographer of Virginia Woolf, Edith Wharton, Penelope Fitzgerald, and, most recently, Tom Stoppard. Stoppard died at the end of last year, so Hermione and I talked about the influence of Shaw and Eliot and Coward on his work, the recent production of The Invention of Love, the role of ideas in Stoppard's writing, his writing process, rehearsals, revivals, movies. We also talked about John Carey, Brian Moore, Virginia Woolf as a critic. Hermione is Emeritus Professor of English Literature at the University of Oxford. Her life of Anita Brookner will be released in September.TranscriptHenry Oliver: Today I have the great pleasure of talking to Professor Dame Hermione Lee. Hermione was the first woman to be appointed Goldsmiths' Professor of English Literature at the University of Oxford, and she is the most renowned and admired living English biographer. She wrote a seminal life of Virginia Woolf. She's written splendid books about people like Willa Cather, Edith Wharton, and my own favorite, Penelope Fitzgerald. And most recently she has been the biographer of Tom Stoppard, and I believe this year she has a new book coming out about Anita Brookner. Hermione, welcome.Hermione Lee: Thank you very much.Oliver: We're mostly going to talk about Tom Stoppard because he, sadly, just died. But I might have a few questions about your broader career at the end. So tell me first how Shavian is Stoppard's work?Lee: He would reply “very close Shavian,” when asked that question. I think there are similarities. There are obviously similarities in the delighting forceful intellectual play, and you see that very much in Jumpers where after all the central character is a philosopher, a bit of a bonkers philosopher, but still a very rational one.And you see it in someone like Henry, the playwright in The Real Thing, who always has an answer to every argument. He may be quite wrong, but he is full of the sort of zest of argument, the passion for argument. And I think that kind of delight in making things intellectually clear and the pleasure in argument is very Shavian.Where I think they differ and where I think is really more like Chekov, or more like Beckett or more in his early work, the dialogues in T. S. Elliot, and less like Shaw is in a kind of underlying strangeness or melancholy or sense of fate or sense of mortality that rings through almost all the plays, even the very, very funny ones. And I don't think I find that in Shaw. My prime reading time for Shaw was between 15 and 19, when I thought that Shaw was the most brilliant grownup that one could possibly be listening to, and I think now I feel less impressed by him and a bit more impatient with him.And I also think that Shaw is much more in the business of resolving moral dilemmas. So in something like Arms and the Man or Man and Superman, you will get a kind of resolution, you will get a sort of sense of this is what we're meant to be agreeing with.Whereas I think quite often one of the fascinating things about Stoppard is the way that he will give all sides of the question; he will embody all sides of the question. And I think his alter ego there is not Shaw, but the character of Turgenev in The Coast of Utopia, who is constantly being nagged by his radical political friends to make his mind up and to have a point of view and come down on one side or the other. And Turgenev says, I take every point of view.Oliver: I must confess, I find The Coast of Utopia a little dull compared to Stoppard's other work.Lee: It's long. Yes. I don't find it dull. But I think it may be a play to read possibly more than a play to see now. And you're never going to get it put on again anyway because the cast is too big. And who's going to put on a nine-hour free play, 50 people cast about 19th-century Russian revolutionaries? Nobody, I would think.But I find it very absorbing actually. And partly because I'm so interested in Isaiah Berlin, who is a very strong presence in the anti-utopianism of those plays. But that's a matter of opinion.Oliver: No. I like Berlin. One thing about Stoppard that's un-Shavian is that he says his plays begin as a noise or an image or a scene, and then we think of him as this very thinking writer. But is he really more of an intuitive writer?Lee: I think it's a terribly good question. I think it gets right at the heart of the matter, and I think it's both. Sorry, I sound like Turgenev, not making my mind up. But yes, there is an image or there is an idea, or there are often two ideas, as it were, the birth of quantum physics and 18th-century landscape gardening. Who else but Stoppard would put those two things in one play, Arcadia, and have you think about both at once.But the image and the play may well have been a dance between two periods of time together in one room. So I think he never knew what the next play was going to be until it would come at him, as it were. He often resisted the idea that if he chose a topic and then researched it, a play would come out of it. That wasn't what happened. Something would come at him and then he would start doing a great deal of research usually for every play.Oliver: What sort of influence did T. S. Elliot have on him? Did it change the dialogue or, was it something else?Lee: When I was working with him on my biography, he gave me a number of things. I had extraordinary access, and we can perhaps come back to that interesting fact. And most of these things were loans he gave them to me to work on. Then I gave them back to him.But he gave me as a present one thing, which was a black notebook that he had been keeping at the time he was writing Rosencrantz and Guildenstern, and also his first and only novel Lord Malquist and Mr. Moon, which is little known, which he thought was going to make his career. The book was published in the same week that Rosencrantz came up. He thought the novel was going to make his career and the play was going to sink without trace. Not so. In the notebook there are many quotations from T. S. Elliot, and particularly from Prufrock and the Wasteland, and you can see him working them into the novel and into the play.“I am not Prince Hamlet nor was meant to be.” And that sense of being a disconsolate outsider. Ill at ease with and neurotic about the world that is charging along almost without you, and you are having to hang on to the edge of the world. The person who feels themself to be in internal exile, not at one with the universe. I think that point of view recurs over and over again, right through the work, but also a kind of epigrammatical, slightly mysterious crypticness that Elliot has, certainly in Prufrock and in the Wasteland and in the early poems. He loved that tone.Oliver: Yes. When I read your paper about that I thought about Rosencrantz and Guildenstern quite differently. I've always disliked the idea that it's a sort of Beckett imitation play. It seems very Elliotic having read what you described.Lee: There is Beckett in there. You can't get away from it.Oliver: Surface level.Lee: Beckett's there, but I think the sense of people waiting around—Stoppard's favorite description of Rosencrantz was: “It's two journalists on a story that doesn't add up, which is very clever and funny.”Yes. And that sense of, Vladimir going, “What are we supposed to be doing and how are we going to pass the time?” That's profoundly influential on Stoppard. So I don't think it's just a superficial resemblance myself, but I agree that Elliot just fills the tone of that play and other things too.Oliver: In the article you wrote about Stoppard and Elliot, the title is about biographical questing, and you also described Arcadia as a quest. How important is the idea of the quest to the way you work and also to the way you read Stoppard?Lee: I took as the epigraph for my biography of Stoppard a line from Arcadia: “It's wanting to know that makes us matter, otherwise we're going out the way we came in.” So I think that's right at the heart of Stoppard's work, and it's right at the heart of any biographical work, whether or not it's mine or someone else's. If you can't know, in the sense of knowing the person, knowing what the person is like, and also knowing as much as possible about them from different kinds of sources, then you might as well give up.You can't do it through impressions. You've got to do it through knowledge. Of course, a certain amount of intuition may also come into play, though I'm not the kind of biographer that feels you can make things up. Working on a living person, this is the only time I've done that.It was, of course, a very different thing from working on a safely dead author. And I knew Penelope Fitzgerald a little bit, but I had no idea I was going to write her biography when I had conversations with her and she wouldn't have told me anything anyway. She was so wicked and evasive. But it was a set up thing; he asked me to do it. And we had a proper contract and we worked together over several years, during which time he became a friend, which was a wonderful piece of luck for me.I was doing four things, really. One was reading all the material that he produced, everything, and getting to know it as well as I could. And that's obviously the basic task. One was talking to him and listening to him talk about his life. And he was very generous with those interviews. I'm sure there were things he didn't tell me, but that's fine. One was talking to other people about him, which is a very interesting process. And with someone like him who knew everyone in the literary, theatrical, cultural world, you have to draw a halt at some point. You can't talk to a thousand people, or I'd have still been doing it, so you talk to particularly fellow playwrights, directors, actors who've worked with him often, as well as family and friends. And then you start pitting the versions against each other and seeing what stands up and what keeps being said.Repetition's very important in that process because when several people say the same thing to you, then you know that's right. And that quest also involves some actual footsteps, as Richard Holmes would say. Footsteps. Traveling to places he'd lived in and going to Darjeeling where he had been to school before he came to England, that kind of travel.And then the fourth, and to me, in a way, almost the most exciting, was the opportunity to watch him at work in rehearsal. So with the director's permissions, I was allowed to sit in on two or three processes like that, the 50th anniversary production of Rosencrantz and Guildenstern at the Old Vic with David Lavoie. And Patrick Marber's wonderful production of Leopoldstadt and Nick Hytner's production of The Hard Problem at the National. So I was able to witness the very interesting negotiations going on between Tom and the director and the cast.And also the extraordinary fact that even with a play like Rosencrantz, which is on every school syllabus and has been for 50—however many years—he was still changing things in rehearsal. I can't get over that. And in his view, as he often said, theater is an event and not a text, and so one could see that actual process of things changing before one's very eyes, and that for a biographer, it's a pretty amazing privilege.Oliver: How much of the plays were written during rehearsal do you think?Lee: Oh, 99% of the plays were written with much labor, much precision, much correction alone at his desk. The text is there, the text is written, and everything changes when you go into the rehearsal room because you suddenly find that there isn't enough time with that speech for the person to get from the bed to the door. It's physics; you have to put another line in so that someone can make an entrance or an exit, that kind of thing.Or the actors will say quite often, because they were a bit in awe—by the time he became well known—the actors initially would be a bit in awe of the braininess and the brilliance. And quite often the actors will be saying, “I'm sorry, I don't understand. I don't understand this.” You'd often get, “I don't really understand.”And then he would never be dismissive. He would either say, “No, I think you've got to make it work.” I'm putting words into his mouth here. Or he would say, “Okay, let's put another sentence or something like that.”Oliver: Between what he wrote at his desk and the book that's available for purchase now, how much changed? Is it 10%, 50? You know what I mean?Lee: Yes. You should be talking to his editor at Faber, Dinah Wood. So Faber would print a relatively small number for the first edition before the rehearsal process and the final production. And then they would do a second edition, which would have some changes in it. So 2%. Okay. But crucial sometimes.Oliver: No, sure. Very important.Lee: And also some plays like Jumpers went through different additions with different endings, different solutions to plot problems. Travesties, he had a lot of trouble with the Lenins in Travesties because it's the play in which you've got Joyce and you've got Tristan Tzara and you've got the Lenins, and they're all these real people and he makes him talk.But he was a little bit nervous about the Lenin. So what he gave him to say were things that they had really said, that Lenin had really said. As opposed to the Tzara-Joyce stuff, which is all wonderfully made up. The bloody Lenins became a bit of a problem for him. And so that gets changed in later editions you'll find.Oliver: How closely do you think The Real Thing is based on Present Laughter by Noël Coward?Lee: Oh, I think there's a little bit of Coward in there. Yes, sure. I think he liked Coward, he liked Wilde, obviously. He likes brilliant, witty, playful entertainers. He wants to be an entertainer. But I think The Real Thing, he was proud of the fact that The Real Thing was one of the few examples of his plays at that time, which weren't based on something else. They weren't based on Hamlet. They weren't based on The Importance of Being Earnest. It's not based on a real person like Housman. I think The Real Thing came out of himself much more than out of literary models.Oliver: You don't think that Henry is a bit like the actor character in Present Laughter and it's all set in his flat and the couples moving around and the slight element of farce?The cricket bat speech is quite similar to when Gary Essendine—do you remember that very funny young man comes up on the train from Epping or somewhere and lectures him about the social value of art. And Gary Essendine says, “Get a job in a theater rep and write 20 plays. And if you can get one of them put on in a pub, you'll be damn lucky.” It's like a model for him, a loose model.Lee: Yes. Henry, I think you should write an article comparing these two plays.Oliver: Okay. Very good. What does Stoppardian mean?Lee: It means witty. It means brilliant with words. It means fizzing with verbal energy. It means intellectually dazzling. The word dazzling is the one that tends to get used. My own version of Stoppardian is a little bit different from, as it were, those standard received and perfectly acceptable accounts of Stoppardian.My own sense of Stoppardian has more to do with grief and mortality and a sense of not belonging and of puzzlement and bewilderment, within all that I said before, within the dazzling, playful astonishing zest and brio of language and the precision about language.Oliver: Because it's a funny word. It's hard to include Leopoldstadt under the typical use of Stoppardian, because it's an untypical Stoppard.Lee: One of the things about Leopoldstadt that I think is—let's get rid of that trope about Stoppardian—characteristic of him is the remarkable way it deals with time. Here's a play like Arcadia, all set in the same place, all set in the same room, in the same house, and it goes from a big hustling room, late 19th-century family play, just like the beginning of The Coast of Utopia, where you begin with a big family in Russia and then it moves through the '20s and then into the terrible appalling period of the Anschluss and the Holocaust.And then it ends up after the war with an empty room. This room, is like a different kind of theater, an empty room. Three characters, none of whom you know very well, speaking in three different kinds of English, reaching across vast spaces of incomprehension, and you've had these jumps through time.And then at the very end, the original family, all of whom have been destroyed, the original family reappears on the stage. I'm sorry to tell this for anyone who hasn't seen Leopoldstadt. Because when it happens on the stage, it's an absolutely astonishing moment. As if the time has gone round and as if the play, which I think it was for him, was an act of restitution to all those people.Oliver: How often did he use his charm to get his way with actors?Lee: A lot. And not just actors. People he worked with, film people, friends, companions. Charm is such an interesting thing, isn't it? Because we shouldn't deviate, but there's always a slightly sinister aspect to the word charm as in, a magic charm. And one tends to be a bit suspicious of charm. And he knew he had charm and he was physically very magnetic and good looking and very funny and very attentive to people.But I think the charm, in his case, he did use it to get the right results, and he did use it, as he would say, “to look after my plays.” He was always, “I want to look after my plays.” And that's why he went back to rehearsal when there were revivals and so on. But he wasn't always charming. Patrick Marber, who's a friend of his and who directed Leopoldstadt, is very good on how irritable Stoppard could be sometimes in rehearsal. And I've heard that from other directors too—Jack O'Brien, who did the American productions of things like The Invention of Love.If Stoppard felt it wasn't right, he could get quite cross. So this wasn't a sort of oleaginous character at all. It's not smooth, it's not a smooth charm at all. But yes, he knew his power and he used it, and I think in a good way. I think he was a benign character actually. And one of the things that was very fascinating to me, not only when he died and there was this great outpouring of tributes, very heartfelt tributes, I thought. But also when I was working on the biography, I was going around the world trying to find people to say bad things about him, because what I didn't want to do was write a hagiography. You don't want to do that; there would be no point. And it was genuinely quite hard.And I don't know the theater world; it's not my world. I got to know it a little bit then. But I have never necessarily thought of the theater world as being utterly loving and generous about everybody else. I'm sure there are lots of rivalries and spitefulness, as there is in academic life, all the rest of it. But it was very hard to find anyone with a bad word to say about him, even people who'd come up against the steeliness that there is in him.I had an interview with Steven Spielberg about him, with whom he worked a lot, and with whom he did Empire of the Sun. And I would ask my interviewees if they could come up with two or three adjectives or an adjective that would sum him up, that would sum Stoppard up to them. And when I asked Spielberg this question, he had a little think and then he said, intransigent. I thought, great. He must be the only person who ever stood up to him.Oliver: What was his best film script? Did he write a really great film.Lee: That one. I think partly the novel, I don't know if you know the Ballard novel, the Empire of the Sun, it's a marvelous novel. And Ballard was just a magical and amazing writer, a great hero of mine. But I think what Stoppard did with that was really clever and brilliant.I know people like Brazil, the Terry Gilliam sort of surrealist way. And there's some interesting early work. Most of his film work was not one script; it was little bits that he helped with. So there's famously the Indiana Jones and the Last Crusade, he did most of the dialogue for Harrison Ford.But there are others like the One Hundred and One Dalmatians, where I think there's one line, anonymously Stoppardian in there. One of the things about the obituaries that slightly narked me was that there, I felt there was a bit too much about the films. Truly, I don't think the film work was—he wanted it to be right and he wanted to get it right—but it wasn't as close to his heart as the theater work. And indeed the work for radio, which I thought was generally underwritten about when he died. There was some terrific work there.Oliver: Yes. And there aren't that many canonical writers who've been great on the radio.Lee: Absolutely. He did everything. He did film, he did radio. He wrote some opera librettos. He really did everything. And on top of that, there was the great work for the public good, which I think is a very important part of his legacy, his history.Oliver: How much crossover influence is there between the different bits of his career? Does the screenwriting influence the theater writing and the radio and so on? Or is he just compartmentalized and able to do a lot of different things?Lee: That's such an interesting question. I don't think I've thought about it enough. I think there are very cinematic aspects to some of the plays, like Night and Day, for instance, the play about journalism. That could easily have been a film.And perhaps Hapgood as well, although it could be a kind of John le Carré type film thriller, though it's such a set of complicated interlocking boxes that I don't know that it would work as a film. It's not one of my favorite players, I must say. I struggle a little bit with Hapgood. But, yes, I'm sure that they fed into each other. Because he was so busy, he was often doing several things at once. So he was keeping things in boxes and opening the lid of that box. But mentally things must have overlapped, I'm sure.Oliver: He once joked that rather than having read Wittgenstein from cover to cover, he had only read the covers. How true is that? Because I know some people who would say he's very clever in everything, but he's not as clever as he looks. It's obviously not true that he only read the covers.Lee: I think there was a phase, wasn't there, after the early plays when people felt that he was—it's that English phrase, isn't it—too clever by half. Which you would never hear anyone in France saying of someone that they were too clever by half. So he was this kind of jazzy intellectual who put all his ideas out there, and he was this sort of self-educated savant who hadn't been to Oxford.There was quite a lot of that about in the earlier years, I think. And a sense that he was getting away with it, to which I would countermand with the story of the writing of The Invention of Love. So what attracted him to the figure of Housman initially was not the painful, suppressed homosexual love story, but the fact that here was this person who was divided into a very pernickety, savagely critical classical editor of Latin and a romantic lyric poet. In order to work out how to turn this into a play, he probably spent about six years taking Latin lessons, reading everything he could read on the history of classical literature. Obviously reading about Housman, engaging in conversation with classical scholars about Housman's, finer points of editorial precision about certain phrases. And what he used from that was the tip of the iceberg. But the iceberg was real.He really did that work and he often used to say that it was his favorite play because he'd so much enjoyed the work that went into it. I think he took what he needed from someone like Wittgenstein. I know you don't like The Coast of Utopia very much, but if you read his background to Coast of Utopia, what went into it, and if you compare what's in the plays, those three plays, with what's in the writing about those revolutionaries, he read everything. He may have magpied it, but he's certainly knows what he's talking about. So I defend him a bit against that, I think.Oliver: Good, good. Did you see the recent production at the Hamstead Theatre of The Invention of Love?Lee: I did, yes.Oliver: What did you think?Lee: I liked it. I thought it was rather beautifully done. I liked those boats rowing around that clicked together. I thought Simon Russell Beale was extremely good, particularly very moving. And very good in Housman's vindictiveness as a critic. He is not a nice person in that sense. And his scornfulness about the women students in his class, that kind of thing. And so there was a wonderful vitriol and scorn in Russell Beale's performance.I think when you see it now, some of the Oxford context is a little bit clunky, those scenes with Jowett and Pater and so on, it's like a bit of a caricature of the context of cultural life at the time, intellectual life at the time. But I think that the trope of the old and the young Housman meeting each other and talking to each other, which I still think is very moving. I thought it worked tremendously well.Oliver: What are Tom Stoppard's poems like?Lee: You see them in Indian Ink where he invents a poet, Flora Crewe, who is a poet who was died young, turn of the century, bold feminist associated with Bloomsbury and gets picked up much later as a kind of Sylvia Plath-type, HD type heroine. And when you look at Stoppard's manuscripts in the Harry Ransom Center in the University of Austin, in Texas, there is more ink spent on writing and rewriting those poems of Flora Crewe than anything else I saw in the manuscript. He wrote them and rewrote them.Early on he wrote some Elliot—they're very like Elliot—little poems for himself. I think there are probably quite a lot of love poems out there, which I never saw because they belong to the people for whom he wrote them. So I wouldn't know about those.Oliver: How consistently did Stoppard hold to a kind of liberal individualism in his politics?Lee: He was accused of being very right wing in the 1980s really, 1970s, 1980s, when the preponderant tendency for British drama was radicalism, Royal Court, left wing, all of that. And Stoppard seemed an outlier then, because he approved of Thatcher. He was a friend of Thatcher. He didn't like the print union. It was particularly about newspapers because he'd been a newspaper man in his youth. That was his alternative university education, working in Bristol on the newspapers. He had a romance heroic feeling about the value of the journalist to uphold democracy, and he hated the pressure of the print unions to what he thought at the time was stifling that.He changed his mind. I think a lot about that. He had been very idealistic and in love with English liberal values. And I think towards the end of his life he felt that those were being eroded. He voted lots of different ways. He voted conservative, voted green. He voted lib dem. I don't if he ever voted Labour.Oliver: But even though his personal politics shifted and the way he voted shifted, there is something quite continuous from the early plays through to Rock ‘n' Roll. Is there a sort of basic foundation that doesn't change, even though the response to events and the idea about the times changes?Lee: Yes, I think that's right, and I think it can be summed up in what Henry says in The Real Thing about politics, which is a version of what's often said in his plays, which is public postures have the configuration of private derangement. So that there's a deep suspicion of political rhetoric, especially when it tends towards the final solution type, the utopian type, the sense that individual lives can be sacrificed in the interest of an ultimate rationalized greater good.And then, he's worked in the '70s for the victims of Soviet communism. His work alongside in support of Havel and Charter 77. And he wrote on those themes such as Every Good Boy Deserves Favour and Professional Foul. Those are absolutely at the heart of what he felt. And they come back again when he's very modest about this and kept it quiet. But he did an enormous amount of work for the Belarus exile, Belarus Free Theater collective, people in support of those trying to work against the regime in Belarus.And then the profound, heartfelt, intense feeling of horror about what happened to people in Leopoldstadt. That's all part of the same thing. I think he's a believer in individual freedom and in democracy and has a suspicion of political rhetoric.Oliver: How much were some of his great parts written for specific actors? Because I sometimes have a feeling when I watch one of his plays now, if I'd been here when Felicity Kendal was doing this, I would be getting the whole thing, but I'm getting most of it.Lee: I'm sure that's right. And he built up a team around him: Peter Wood, the director and John Wood who's such an extraordinary Henry Carr in in in Travesties. And Michael Hordern as George the philosopher in Jumpers. And he wrote a lot for Kendal, in the process of becoming life companions.But he'd obviously been writing and thinking of her very much, for instance, in Arcadia. And also I think very much, it's very touching now to see the production of Indian Ink that's running at Hampstead Theatre in which Felicity Kendal is playing the older woman, the surviving older sister of the poet Flora Crewe, where of course the part of Flora Crewe was written for her. And there's something very touching about seeing that now. And, in fact, the first night of that production was the day of Stoppard's funeral. And Kendal couldn't be at the funeral, of course, because she was in the first night of his play. That's a very touching thing.Oliver: Why did he think the revivals came too soon?Lee: I don't really know the answer to that. I think he thought a play had to hook up a lot of oxygen and attract a lot of attention. If you were lucky while it was on, people would remember the casting and the direction of that version of it, and it would have a kind of memory. You had to be there.But people who were there would remember it and talk about it. And if you had another production very soon after that, then maybe it would diminish or take away that effect. I think he had a sort of loyalty to first productions often. What do you think about that? I'm not quite sure of the answer to that.Oliver: I don't know. To me it seems to conflict a bit with his idea that it's a living thing and he's always rewriting it in the rehearsal room. But I think probably what you say is right, and he will have got it right in a certain way through all that rehearsing. You then need to wait for a new generation of people to make it fresh again, if you like.Lee: Or not a generation even, but give it five years.Oliver: Everyone new and this theater's working differently now. We can rework it in our own way. Can we have a few questions about your broader career before we finish?Lee: Depends what they are.Oliver: Your former colleague John Carey died at a similar time to Stoppard. What do you think was his best work?Lee: John Carey's best work? Oh. I thought the biography of Golding was pretty good. And I thought he wrote a very good book on Thackery. And I thought his work on Milton was good. I wasn't so keen on The Intellectuals and the Masses. He and I used to have vociferous arguments about that because he had cast Virginia Woolf with all the modernist fascists, as it were. He'd put her in a pile with Wyndham Lewis and Ezra Pound and so on. And actually, Virginia Woolf was a socialist feminist. And this didn't seem to have struck him because he was so keen to expose her frightful snobbery, which is what people in England reading Woolf, especially middle class blokes, were horrified by.And she is a snob, there's no doubt about it. But she knew that and she lacerated herself for it too. And I think he ignored all the other aspects of her. So I was angry about that. But he was the kind of person you could have a really good argument with. That was one of the really great things about John.Oliver: He seems to be someone else who was amenable and charming, but also very steely.Lee: Yes, I think he probably was I think he probably was. You can see that in his memoir, I think.Oliver: What was Carmen Callil like?Lee: Oh. She was a very important person in my life. It was she who got me involved in writing pieces for Virago. And it was she who asked me to write the life of Virginia Woolf for Chatto. And she was an enormous, inspiring encourager as she was to very many people. And I loved her.But I was also, as many people were, quite daunted by her. She was temperamental, she was angry. She was passionate. She was often quite difficult. Not a word I like to use about women because there's that trope of difficult women, but she could be. And she lost her temper in a very un-English way, which was quite a sight to behold. But I think of her as one of the most creative and influential publishers of the 20th century.Oliver: Will there be a biography of her?Lee: I don't know. Yes, it's a really interesting question, and I've been asking her executors whether they have any thoughts about that. Somebody said to me, oh, who wants a biography of a publisher? But, actually, publishers are really important people often, so I hope there would be. Yes. And it would need to be someone who understood the politics of feminism and who understood about coming from Australia and who understood about the Catholic background and who understood about her passion for France. And there are a whole lot of aspects to that life. It's a rich and complex life. Yes, I hope there will be someday.Oliver: Her papers are sitting there in the British Library.Lee: They are. And in fact—you kindly mentioned this to start with—I've just finished a biography of the art historian and novelist, Anita Brookner, who won the Booker prize in 1984 for a novel called Hotel du Lac.And Carmen and Anita were great buddies, surprisingly actually, because they were very different kinds of characters. And the year before she died, Carmen, who knew I was working on Anita, showed me all her diary entries and all the letters she'd kept from Anita. And that's the kind of generous person that she was.That material is now sitting in the British Library, along with huge reams of correspondence between Carmen and many other people. And it's an exciting archive.Oliver: She seems to have had a capacity to be friends with almost anyone.Lee: Yes, I think there were people she would not have wanted to be friends with. She was very disapproving of a lot of political figures and particularly right-wing figures, and there were people she would've simply spat at if she was in the room with them. But, yes, she an enormous range of friends, and she was, as I said, she was fantastically encouraging to younger women writers.And, also, another aspect of Carmen's life, which I greatly admired and was fascinated by: In Virago she would often be resuscitating the careers of elderly women writers who had been forgotten or neglected, including Antonia White and including Rosamund Lehmann. And part of Carmen's job at Virago, as she felt, was not just to republish these people, some of whom hadn't had a book published for decades, but also to look after them. And they were all quite elderly and often quite eccentric and often quite needy. And Carmen would be there, bringing them out and looking after them and going around to see them. And really marvelous, I think.Oliver: Yes, it is. Tell me about Brian Moore.Lee: Breean, as he called himself.Oliver: Oh, I'm sorry.Lee: No, it's all right. I think Brian became a friend because in the 1980s I had a book program on Channel 4, which was called Book Four. It had a very small audience, but had a wonderful time over several years interviewing lots and lots of writers who had new books out. We didn't have a budget; it was a table and two chairs and not the kind of book program you see on the television anymore. And I got to know Brian through that and through reviewing him a bit and doing interviews with him, and my husband and I would go out and visit him and his wife Jean.And I loved the work. I thought the work was such a brilliant mixture of popular cultural forms, like the thriller and historical novel and so on. And fascinating ideas about authority and religion and how to be free, how to break free of the bonds of what he'd grown up with in Ireland, in Northern Ireland, the bombs of religious autocracy, as it were. And very surreal in some ways as well. And he was also a very charming, funny, gregarious person who could be quite wicked about other writers.And, he was a wonderfully wicked and funny companion. What breaks my heart about Brian Moore is that while he was alive, he was writing a novel maybe every other year or every three years, and people would review them and they were talked about, and I don't think they were on academic syllabuses but they were really popular. And when he died and there were no more books, it just went. You can think of other writers like that who were tremendously well known in their time. And then when there weren't any more books, just went away. You ask people, now you go out and ask people, say, “What about The Temptation of Eileen Hughes or The Doctor's Wife or Black Robe? And they'll go, “Sorry?”Oliver: If anyone listening to this wants to try one of his novels, where do you say they should start?Lee: I think I would start with The Doctor's Wife and The Temptation of Eileen Hughes. And then if one liked those, one would get a taste for him. But there's plenty to choose from.Oliver: What about Catholics?Lee: Yes. Catholics is a wonderful book. Yes. Wonderful book. Bit like Muriel Spark's The Abbess of Crewe, I think.Oliver: How important is religion to Penelope Fitzgerald's work?Lee: She would say that she felt guilty about not having put her religious beliefs more explicitly into her fiction. I'm very glad that she didn't because I think it is deeply important and she believes in miracles and saints and angels and manifestations and providence, but she doesn't spell it out.And so when at the end of The Gate of Angels, for instance, there is a kind of miracle on the last page but it's much better not to have it spelt out as a miracle, in my view. And in The Blue Flower, which is not my favorite of her books, but it's the book of the greatest genius possibly. And I think she was a genius. There is a deep interest in Novalis's romantic philosophical ideas about a spiritual life, beyond the physical life, no more doctrinally than that. And she, of course, believes in that. I think she believed, in an almost Platonic way, that this life was a kind of cave of shadows and that there was something beyond that. And there are some very mysterious moments in her books, which, if they had been explained as religious experiences, I think would've been much less forceful and much less intense.Oliver: What is your favorite of her books?Lee: Oh, The Beginning of Spring. The Beginning of Spring is set in Moscow just before the revolution. And its concerns an Englishman who runs a print and publishing works. And it's based quite a lot on some factual narratives about people in Moscow at the time. And it's about the feeling of that place and that time, but it's also about being in love with two people at the same time.And, yes, and it's about cultural clashes and cultural misunderstanding, and it is an astonishingly evocative book. And when asked about this book, interviewers would say to Penelope, oh, she must have lived in Moscow for ages to know so much about it. And sometimes she would say, “Yes, I lived there for years.” And sometimes she would say, “No, I've never been there in my life.” And the fact was she'd had a week's book tour in Moscow with her daughter. And that was the only time she ever went to Russia, but she read. So it was a wonderful example of how she would be so wicked; she would lie.Oliver: Yes.Lee: Because she couldn't be bothered to tell the truth.Oliver: But wasn't she poking fun at their silly questions?Lee: Yes. It's not such a silly question. I would've asked her that question. It is an astonishing evocation of a place.Oliver: No, I would've asked it too, but I do feel like she had this sense of it's silly to be asked questions at all. It's silly to be interviewed.Lee: I interviewed her about three times—and it was fascinating. And she would deflect. She would deflect, deflect. When you asked her about her own work, she would deflect onto someone else's work or she would tell you a story. But she also got quite irritable.So for instance, there's a poltergeist in a novel called The Bookshop. And the poltergeist is a very frightening apparition and very strong chapter in the book. And I said to her in interview, “Look, lots of people think this is just superstition. There aren't poltergeists.” And she looked at me very crossly and said they just haven't been there. They don't know what they're talking about. Absolutely factual and matter of fact about the reality of a poltergeist.Oliver: What makes Virginia Woolf's literary criticism so good?Lee: Oh, I think it's a kind of empathy actually. That she has an extraordinary ability to try and inhabit the person that she's writing about. So she doesn't write from the point of view of, as it were, a dry, historical appreciation.She's got the facts and she's read the books, but she's trying to intimately evoke what it felt like to be that writer. I don't mean by dressing it up with personal anecdotes, but just she has an extraordinary way of describing what that person's writing is like, often in images by using images and metaphors, which makes you feel you are inside the story somehow.And she loves anecdotes. She's very good at telling anecdotes, I think. And also she's not soft, but she's not harshly judgmental. I think she will try and get the juice out of anything she's writing about. Most of these literary criticism pieces were written for money and against the clock and whilst doing other things.So if you read her on Dorothy Wordsworth or Mary Wollstonecraft or Henry James, there's a wonderful sense of, you feel your knowledge has been expanded. Knowledge in the sense of knowing the person; I don't mean in the sense of hard facts.Oliver: Sure. You've finished your Anita Brookner biography and that's coming this year.Lee: September the 10th this year, here and in the States.Oliver: What will you do next?Lee: Yes. That's a very good question, though a little soon, I feel.Oliver: Is there someone whose life you always wanted to write, but didn't?Lee: No. No, there isn't. Not at the moment. Who knows?Oliver: You are open to it. You are open.Lee: Who knows what will come up.Oliver: Yes. Hermione Lee, this was a real pleasure. Thank you very much.Lee: Thank you very much. It was a treat. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

Today on The Editors, Rich, Charlie, Jim, and Noah discuss Trump's capture of the Maduros, what this capture means on an international scale, and Tim Walz's announcement.Editors' Picks:Rich: Josh Treviño's piece “In Venezuela, the Era of Escaping Consequences Is Over”Charlie: John O'Sullivan's magazine piece “Tom Stoppard, the Real Thing”Jim: Noah's post "Trump Sides with Iran's Dissidents"Noah: Guy Denton's piece “The Devil's Favorite Libertarian”Light Items:Rich: Thoughtful Christmas giftsCharlie: Statue of Liberty LEGO setJim: Holiday party season endingNoah: New carSponsors:University of AustinDonorsTrustWitherspoon InstituteVaerThis podcast was edited and produced by Sarah Colleen Schutte. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

If technology is ruining the art of conversation, maybe it can save it, too. Anna Gat--poet, screenwriter, playwright, and founder of Interintellect--talks with EconTalk's Russ Roberts on how she's reviving the French salon in the digital age. They discuss why authority, moderation, and clear formats make conversation freer, not more constrained. They also explore why one of the greatest of modern plays--Tom Stoppard's Arcadia--is so resonant not only as a live theatrical performance, but also when read aloud, both alone and in a group. They conclude the episode by connecting Arcadia's themes to Gat's mission at Interintellect: Namely, preserving the value of thinking together across generations, disciplines, and worldviews.

This Christmas Eve Nostalgia Critic talks about his all time favorite movie and why it seems to only get more relevant every year. Let's take a look at 1985's, Brazil. Join our YouTube Members - https://www.youtube.com/channel/UCiH828EtgQjTyNIMH6YiOSw/join Last weeks Nostalgia Critic - https://youtu.be/iGMHcasHpUg Check out our store - https://channelawesome.myshopify.com/ Support this month's charity - https://solvecfs.org/ Brazil is a 1985 dystopian science fiction black comedy film directed by Terry Gilliam and written by Gilliam, Charles McKeown, and Tom Stoppard. A co-production between the United Kingdom and the United States, the film stars Jonathan Pryce, Robert De Niro, Katherine Helmond, Ian Holm, Bob Hoskins, Michael Palin, Ian Richardson, Peter Vaughan, and Kim Greist. Learn more about your ad choices. Visit megaphone.fm/adchoices

Possibly the longest shownotes in history thanks to Gemini 3 Pro. Bless the swamp from which this AI slop emerged and enjoy the episode. Or just read this, I suppose. The title sucks terribly. Do better, Gemmo! Show Notes with Time‑Shifted Timestamps(All timestamps below have been shifted forward by 25 seconds to allow for theme music, as requested.)00:00 – Welcome, Cricket and the Pink Ball at the Gabba00:00:25 – Jack the Insider (Joel Hill) opens episode 137 of The Two Jacks and notes they're recording just after midday on 4 December.00:00:36 – Quick chat about the looming day–night Test at the Gabba and the prospect it could finish very quickly.00:00:44 – Hong Kong Jack explains why dusk session timings in Hong Kong line up perfectly with “Asahi o'clock”.00:01:07 – The Jacks wonder which pink ball is in use – Duke or Kookaburra – and what that means for Mitchell Starc and the batters.00:01:30 – They flag that full cricket chat will come later in the episode.Tai Po Fire, Mourning and Accountability in Hong Kong00:01:53 – Jack the Insider pivots from sport to tragedy: an update on the Tai Po (Typo) fire in Hong Kong, now with 159 dead, from ages 1 to 97.00:02:07 – Hong Kong Jack describes the government‑ordered three‑day citywide mourning period, mass flower layings, official ceremonies and a three‑minute silence.00:02:35 – Discussion of schools cancelling Christmas parties and staff functions in solidarity; a sense the tragedy is being taken seriously across society.00:02:55 – Hong Kong Jack outlines the judge‑led inquiry: not only into the Tai Po fire's causes, but also systemic issues in building management and renovation contracts on large estates, with hints of corruption.00:03:30 – Evidence emerging that the green construction cloth lacked proper fire retardant and that flammable materials were used to seal lift wells, helping the fire move inside.00:04:23 – Bodies, including one man, found in stairwells and lobbies; Hong Kong Jack cautions against jumping to conclusions before investigators reconstruct the fire.00:04:53 – Arrest tally climbs to around 12, mostly consultants/contractors involved in management and renovations rather than labourers.00:05:35 – Hong Kong Jack notes large numbers of displaced residents in hotels and temporary accommodation and outlines generous government payments to families of foreign domestic workers killed (about HKD 800,000 per family).00:06:05 – A harrowing vignette: a Javanese truck driver receives a final phone call from his wife, trapped with her employers' baby, seeking forgiveness because there is no escape.00:06:35 – The Jacks reflect on the horror of the story and promise to revisit the inquiry as more facts emerge.Australia's Under‑16 Social Media Restrictions & VPNs00:06:50 – Jack the Insider turns to domestic Australian politics: the under‑16 social media restrictions about to kick in.00:07:05 – He notes overwhelming parental support (around 80%) but says the government is now “hosing down expectations” and reframing the policy as a long‑term “cultural change” effort.00:07:30 – Platforms not yet on the restricted list – Roblox and Discord – are flagged as problematic globally for child sexual exploitation, illustrating rollout gaps.00:08:05 – They discuss technical enforcement: existing account age data, length of time on a platform and the likelihood that some adults will be wrongly flagged but quickly reinstated.00:08:35 – Jack the Insider explains the government's theory of cultural change: a generation that grows up never having had TikTok or Instagram under 16 “won't know what they're missing”.00:09:00 – Hong Kong Jack compares Australia to mainland China's efforts to control the internet and points out China still can't stamp out VPN usage, predicting similar Australian difficulties.00:09:25 – Jack the Insider clarifies that VPNs are not illegal in Australia; about 27% of connected Australians already use one, probably now closer to a third.00:09:55 – He strongly recommends everyone use a VPN for privacy and location masking, and warns that good VPNs now explicitly advise not to choose Australia as an exit node because of the new regime.00:11:00 – They note that Malaysia and several European countries (Denmark, Spain, France and EU initiatives) are eyeing similar under‑age social media restrictions, with large fines (Australia's up to about AUD 50 million or 1% of turnover).00:12:20 – Meta is already scanning and booting under‑age users, but teenagers are sharing tips on evading age checks. Jack the Insider describes various age‑verification methods: selfie‑based AI checks, account age, and Roblox's move to ban under‑15s.00:13:45 – Anecdote about Macau security doing ID checks: Hong Kong Jack's son is checked for being over 21, while Jack's own age makes ID unnecessary—an amusing generational moment.00:14:55 – The Jacks agree the policy is unlikely to stop kids having TikTok accounts but might “nudge” behaviour toward less screen time.00:16:00 – Jack the Insider stresses the real dangers of the internet—particularly organised child sexual exploitation rings like the notorious “764” network—and questions whether blunt prohibition can solve these issues.Bruce Lehrmann, Appeals and Costs00:18:22 – They move to the Bruce Lehrmann defamation saga: his appeal has failed and he's likely millions of dollars in debt.00:18:45 – Discussion of the prospect of a High Court appeal, the low likelihood of leave being granted, and the sense that further appeals are “good money after bad”.00:19:22 – Jack the Insider notes outstanding criminal charges against Lehrmann in Toowoomba relating to an alleged statutory rape, and outlines the allegation about removing a condom after earlier consensual sex.00:20:07 – They discuss the probable difficulty of prosecuting that case, and then pivot to the practical question: who is funding Lehrmann's ongoing legal adventures?00:20:35 – Hong Kong Jack explains why some lawyers or firms may take on such cases for profile, despite poor prospects of payment, and they canvass talk of crowdfunding efforts.00:21:07 – The Jacks agree Lehrmann should have left the public stage after the criminal trial was discontinued; now, bankruptcy in 2026 looks likely.00:21:58 – Limited sympathy for Channel 10 or Lisa Wilkinson; more sympathy reserved for Brittany Higgins and Fiona Brown, who are seen as exceptions in an otherwise “pretty ordinary” cast.NACC, Commissioner Brereton and Conflicts of Interest00:23:24 – The Jacks turn to the National Anti‑Corruption Commission (NACC) and Commissioner Paul Brereton's side work for Defence.00:24:03 – Hong Kong Jack recounts Senate Estimates footage where officials first claimed Brereton's Defence consulting work occurred outside NACC hours, then later admitted more than ten instances (possibly close to 20) during NACC office time.00:25:25 – Discussion of conflict‑of‑interest: the Commissioner maintaining a paid Defence relationship while heading the body that may need to investigate Defence.00:25:57 – The Jacks question the tenability of his position, especially given the NACC's opaque nature, its minimal public reporting obligations and a salary around AUD 800k–900k plus expenses.The Struggling Australian and Global Economy, Productivity and ANZ00:26:20 – Jack the Insider outlines Australia's sluggish economy: inflation remains sticky, GDP growth is flat, and government spending is driving much of the growth.00:27:00 – They discuss a small, tentative rise in productivity (around 0.2% for the quarter) and the Treasurer's caution that productivity figures are volatile.00:27:57 – Hong Kong Jack stresses that historically, economies escape malaise through productivity‑driven growth; there is no easy alternative, in Australia or globally.00:28:23 – Broader global picture: the US isn't in outright recession but is crawling; Europe is sluggish; Poland is a rare bright spot but rapid growth brings its own risks.ANZ and Post‑Royal Commission Failures00:28:54 – Focus shifts to ANZ's continuing governance and compliance failures after the Banking Royal Commission.00:29:30 – Jack the Insider shares a personal story about dealing with ANZ's deceased estates department following his mother and stepfather's deaths and the difficulty in releasing funds to pay for funerals.00:30:20 – Justice Jonathan Beach's scathing remarks: ANZ is still mishandling deceased estates, charging fees and interest to dead customers, despite years of warnings.00:31:34 – They recall Royal Commission revelations about “fees for no service” and charging the dead, plus ANZ's recent exclusion from certain Commonwealth bond business due to rorting.00:32:12 – The Jacks see this as a clear culture problem: five years on, the basics still aren't fixed, suggesting inadequate investment in compliance and little genuine reform.UK Justice Backlog and Curtailing Jury Trials00:33:05 – The conversation moves to the UK's proposal to restrict jury trials for offences likely to attract less than a two‑year sentence.00:33:35 – Hong Kong Jack notes the English historical attachment to jury trials dating back to Magna Carta, and that defendants have long had the right to opt for a jury if imprisonment is possible.00:34:38 – Justice Minister David Lammy, once a fierce critic of similar Tory proposals, is now advancing the idea himself, creating a political shambles.00:35:02 – They weigh up pros and cons of judge‑only trials for complex financial crimes, where juries may struggle to follow long, technical evidence.00:36:10 – Jack the Insider points out that even judges can find such cases difficult, but there is at least some expertise advantage.00:36:22 – They revisit the Southport riots and harsh sentences for people inciting attacks on hotels housing asylum seekers, arguing that common‑sense community judgment via juries may be better in such politically charged cases.00:37:26 – Ultimately, they doubt the reforms will meaningfully reduce the UK's huge court backlog and see it as another noisy but ineffective response.Ethics in Politics, Misleading Voters and the “Ethics Czar” Problem00:39:21 – Discussion moves to the UK budget, alleged “black holes” and whether the Chancellor misled voters about a AUD 22 billion‑equivalent gap.00:40:14 – They examine calls for the Prime Minister's ethics adviser, Sir Laurie Magnus, to rule on ministerial truthfulness, and Hong Kong Jack's discomfort with handing moral judgment to “anointed officials”.00:40:51 – The Jacks argue accountability should rest with Parliament and ultimately voters, not appointed ethics czars, whether in the Johnson era or now.00:41:36 – In Australia, Tony Burke's handling of “ISIS brides” returning to Australia is cited: he asked officials to leave a meeting so he could talk politically with constituents. The Jacks see this as legitimate hard‑headed politics in a very complex area rather than an ethical scandal.00:43:03 – Jack the Insider defends the principle that Australian citizenship must mean something, especially for children of ISIS‑linked families; stripping citizenship or abandoning citizens overseas can be a dangerous precedent.00:44:08 – Anecdotes segue into a broader reflection: politicians have always misled voters to some extent. They quote stories about Huey Long and Graham Richardson's defence of political lying.00:45:24 – They swap observations about “tells” when leaders like Malcolm Turnbull or Julia Gillard were lying; Scott Morrison, they say, had no visible tell at all.00:46:22 – Cabinet solidarity is framed as institutionally sanctioned lying: ministers must publicly back decisions they privately opposed, and yet the system requires that to function.Ukraine War, Peace Efforts and Putin's Rhetoric00:46:42 – The Jacks discuss reports of draft peace deals between Ukraine, the US and Russia that Moscow rejected over wording and guarantees.00:47:17 – Jack the Insider describes a gaunt Foreign Ministry spokesman, not Sergey Lavrov, delivering Russia's objections, sparking rumours about Lavrov's status.00:47:56 – Putin goes on TV to reassure Russians they're winning, threatens destruction of Europe if conflict escalates and claims territorial gains Russia doesn't actually hold.00:48:17 – Hong Kong Jack argues European fantasies of imposing a “strategic defeat” on Russia are unrealistic; retaking all occupied regions and Crimea would exact unbearable costs in lives and money.00:49:33 – The Jacks infer that Putin will eventually need to “sell” a negotiated deal as a victory to his own public; his current bluster is partly domestic theatre.00:49:50 – They note some odd, Trump‑like US talk of structuring peace as a “business deal” with economic incentives for Russia, which they find an odd fit for a brutal territorial war.Trump's Polling Collapse, Economic Credibility and 202600:50:13 – Attention turns to Donald Trump's polling in his second term: his net approval is negative across all major polls, in some cases approaching minus 20.00:51:04 – Jack the Insider highlights Trump's recent promises of USD 2,000 cheques to every American plus no income tax—claims they see as fantastical and electorally risky when voters inevitably ask “where's my money?”.00:51:39 – They compare Trump's denial of inflation and cost‑of‑living pressures to Biden's earlier mistakes in minimising pain; telling people “everything's cheaper now” when their lived experience contradicts that is politically fatal.00:52:34 – Hong Kong Jack notes history shows that insisting things are fine when voters know they aren't only accelerates your polling collapse.00:53:02 – They briefly touch on a special election in Tennessee: a safe Trump district where the Republican margin has shrunk. They caution against over‑reading the result but note softening support.00:54:14 – CNN's Harry Enten is quoted: this has been Trump's worst ten‑day polling run of the second term, with net approval among independents plunging to about minus 43 and a negative 34 on inflation.00:55:15 – They speculate about what this means for the 2026 midterms: Trump won't be on the ballot but will loom large. A future Republican president, they note, might still face governing without a Congressional majority.Disability, Elite Colleges and the Accommodation Arms Race00:56:07 – The Jacks discuss Derek Thompson's forthcoming Atlantic piece on surging disability registrations at elite US colleges: more than 20% at Brown and Harvard, 34% at Amherst and 38% at Stanford.00:57:10 – Hong Kong Jack explains how disability status yields exam and assessment advantages: extra time, flexible deadlines, better housing, etc., and why wealthy students are more likely to secure diagnoses.00:57:48 – They cite intake breakdowns at one college: small numbers for visual/hearing disabilities, larger numbers for autism, neurological conditions and especially psychological or emotional disabilities—suggesting a big shift in what counts as disabling.00:58:45 – Jack the Insider counters that many of these conditions were under‑diagnosed or ignored in the 1970s and 80s; growing recognition doesn't automatically mean fraud.00:59:40 – He brings in chronic conditions like ME/CFS: historically treated as malingering or “all in the head”, now increasingly accepted as serious and often disabling.01:00:02 – Hong Kong Jack quotes a Stanford professor asking, “At what point can we say no? 50%? 60%?”—underlining institutional concern that the system can't cope if a majority claim accommodations.01:01:05 – They wrestle with the employer's problem: how to interpret grades achieved with significant accommodations, and whether workplaces must also provide similar allowances.01:02:21 – Jack the Insider's answer is essentially yes: good employers should accommodate genuine disability, and it's on applicants to be upfront. He stresses diversity of ability and that many high‑achieving disabled people are valuable hires.01:03:40 – Hong Kong Jack remains more sceptical, shaped by long legal experience of people gaming systems, but agrees lawyers shouldn't be the priestly class defining morality.Cricket: India–South Africa, NZ–West Indies, BBL and the Gabba01:04:25 – They pivot back to sport: a successful South African tour of India, including a series win in Tests and a 1–1 one‑day series with big hundreds from Virat Kohli, Gaikwad and Aiden Markram.01:05:31 – Quick update on New Zealand's Test against the West Indies in Christchurch, with New Zealand rebuilding in their second innings through Ravindra and Latham.Women's Cricket and Phoebe Litchfield01:06:19 – Jack the Insider raves about the Sydney Thunder v Brisbane Heat game and singles out Phoebe Litchfield as the best women's batter in the world: technically sound, not a slogger, scoring “runs for fun” and hailing from Orange.Gabba Day–Night Test: Australia v England01:06:50 – With Usman Khawaja out, they discuss the unchanged 12 and whether Bo Webster plays, potentially pushing Travis Head up to open.01:07:39 – For England, Mark Wood hasn't recovered; they bring in Will Jacks, a batting all‑rounder and part‑time spinner, to bolster the order but lose their fastest bowler.01:08:11 – If you win the toss? Bat first, they say—if the conditions allow—and look to control the game with the bat for four hours or more.01:08:44 – They caution that with recent heavy Queensland rain, the pitch could be juicy whether you bat first or second; the key is getting cricket on Saturday.01:08:48 – Hong Kong Jack rates this as the best England attack to tour Australia in a long time, especially with Wood and Archer firing in Perth, although Archer's pace dropped markedly in the second innings.01:09:36 – They dissect England's first‑Test collapse: at one stage it was an “unlosable” match according to Ponting and the stats, but reckless strokes from set batters (Duckett, Pope, Root, Brook) handed it back to Australia.01:09:55 – Mitchell Starc's extraordinary home day–night record—averaging around 17 with the pink ball—looms as a big factor.Franchise Cricket, Empty Stadiums and Saving the Red‑Ball Game01:12:11 – Jack the Insider describes watching the ILT20 in the UAE: near‑empty stands, disengaged fielders and an overall “soulless” spectacle aimed solely at TV viewers in South Asia and the Gulf.01:13:49 – Despite his love of cricket, he worries this is a glimpse of the future if the longer formats aren't protected and nurtured. He pleads, in effect, for saving Test and other red‑ball cricket from being cannibalised by anonymous franchise leagues.Class and Cricket: Private Schools, Clubs and Stuart Broad01:14:11 – The Jacks explore the class divide in English cricket: all but one of England's Perth XI finished school at private schools; the sole exception is captain Ben Stokes, who grew up partly in New Zealand.01:15:05 – In contrast, Australia's pathway still runs largely through club cricket, though private schools with professional coaching (like Cranbrook) give some players a head start.01:15:47 – Jack the Insider notes Sam Conscientious (Sam Constance / Cummins reference is implied) spending two years at Cranbrook, reflecting how elite schools build academies with ex‑first‑class coaches that state systems can't match.01:16:20 – They agree state‑school kids like the Waugh twins still come through club cricket, but in England, some top private schools effectively operate as de facto county academies.01:17:31 – Anecdotes about Stuart Broad: a likeable “nepo baby” of former England player Chris Broad, who was toughened up by a formative season at Hoppers Crossing in Melbourne sub‑district cricket. Local players loved him.01:18:20 – Hong Kong Jack recommends Broad's appearance on The Front Bar as essential viewing for understanding his character and the cultural contrasts between English and Australian cricket.01:18:40 – More class culture: Chris Cowdrey, briefly England captain, shows up in full whites and blazer to toss with Viv Richards in surf shorts and thongs. When Cowdrey starts reading out England's XI, Viv cuts him off: “Mate, I don't care who you play, it's not going to make any difference.”F1, Oscar Piastri's Bad Luck and AFLW Glory01:21:11 – Brief detour to Formula 1: Oscar Piastri's season with McLaren seems dogged by terrible luck and questionable team decisions that have cost him a near‑certain championship.01:21:57 – Jack the Insider reflects on how F1 drivers like Piastri have effectively been in vehicles since toddlerhood, climbing the ladder from go‑karts to supercars.01:22:50 – They express hope he can clinch the title in the final race, but wryly note that F1 rarely grants fairytale endings.AFLW01:22:23 – AFLW: North Melbourne complete an undefeated season to win the premiership, comfortably beating Brisbane in the grand final.01:23:07 – Hong Kong Jack praises it as the best AFLW season yet, with marked improvement in depth and skill across the competition. North remain the benchmark everyone else must chase.Wrap‑Up, Tom Stoppard Anecdote and Season Timing01:23:49 – The Jacks look ahead to watching the Gabba Test, beers on ice for Jack the Insider and the late Hong Kong dusk session for Hong Kong Jack.01:24:01 – They note the death of playwright Tom Stoppard at 88 and share a favourite story: Spielberg offers him the Jaws screenplay; Stoppard declines because he's writing a play—“actually for BBC Radio”.01:25:11 – Final reflections on how Stoppard would have improved Jaws, then a note that the podcast will soon reach its final episodes for the year, with plans to feature listener feedback before a short summer break.01:25:56 – Jack the Insider signs off, thanking listeners and Hong Kong Jack, and promises they'll be back next week.

For what ended up being a shorter episode this week, Willa has returned to the land of chocobos and Robin has returned to the land of evil chocobos. Plus, skateboards, mechs, catgirl card games, and famous dead men.Timestamps:(00:15) Shoutout to Finland(01:45) Why are we not playing Final Fantasy 11 right now?(08:20) Skate Story(12:30) Outward 2: A game that hates you(18:40) Detective Instinct colon Farewell comma My Beloved(22:20) Mirage Miracle Quest and Queen's Domain demos(25:50) What else have Willa and Robin been up to this week? (feat. Tom Stoppard, Phantom Brigade)Mentioned this week:Sharon Begley on James WatsonSupport us on Ko-fi!Check out the network at TheWorstGarbage.online!Join The Worst Garbage Discord!Follow us and send us questions!Follow Robin!Follow Willa!Music Street Food by FASSoundsFinal Fantasy 11 chocobo sound effect from Sound FX CenterThings are bad right now, but you can help make them better. Please take some time to consider how you can help trans people, immigrants, and others targeted by our fascist government with this Big List Of Links. Hosted on Acast. See acast.com/privacy for more information.

Escribió para el cine, colaboró con Hollywood, pero su gran pasión siempre fue el teatro. Allí se sentía cómodo, allí estaba su corazón. Y allí Tom Stoppard pensó su proyecto más grande y ambicioso, su apuesta por comprender la trascendencia de la escritura.

On the Overthinking It Podcast, we pay tribute to Tom Stoppard and discuss one of his greatest plays, “Arcadia” (1993). Episode 909: Tom Stoppard was an English Playwright originally appeared on Overthinking It, the site subjecting the popular culture to a level of scrutiny it probably doesn't deserve. [Latest Posts | Podcast (iTunes Link)]

La actualidad del cine llega marcada por varias noticias relevantes. José Luis Cienfuegos ha fallecido, dejando un vacío en el panorama cultural español. Se cumplen además dos años del fallecimiento de Concha Velasco, actriz imprescindible de nuestra escena. En el ámbito internacional, se anuncia la muerte de Tom Stoppard, dramaturgo y guionista británico de prestigio mundial.Además hablamos de los cuarenta años del estreno en España de "Regreso al futuro", película que se convirtió en fenómeno generacional y referente de la cultura popular. Asimismo, el 3 de diciembre se conmemora el Día Internacional del Cine 3D, una oportunidad para analizar el impacto de esta tecnología en la evolución del séptimo arte.Para reflexionar sobre estos temas contamos con José Luis Garci, Andrés Aberasturi y Miguel Rellán. Escuchar audio

Amid the prospect of an imminent US strike on Venezuela, we look at how a once overwhelmingly Catholic country has seen its evangelical population surge from just 4% in the 1970s to nearly 30% today. This religious shift is unfolding as President Nicolás Maduro faces international rejection of his 2024 victory and mounting pressure from Donald Trump's White House. William Crawley speaks to Dr Fernando Mora, an academic and former pastor who has spent years studying the rise of Evangelicalism in Venezuela.On the Second Sunday of Advent, we explore the season's history. Advent calendars are just one of many traditions that have emerged – and evolved – over centuries in connection with this annual liturgical journey. To guide us through that story, the Sunday programme speaks to Dr Colin Donnelly, Associate Professor in Reformation and Early Modern Christianities at Oxford.Following the death of Sir Tom Stoppard at the age of 88, we look back at a writer celebrated for incisive wit, emotional depth, empathy and generosity, and for the technical brilliance with which he built imaginative worlds on stage. Stoppard only discovered his Jewish heritage at the age of 55, learning at the same time that all four of his grandparents, and much of his wider family, were murdered in Nazi concentration camps. To understand how that discovery shaped his life and work, we turn to one of his biographers, Ira Nadel, author of Double Act: The Life of Tom Stoppard.Correction: In the introduction to the last item in the programme, we mentioned the widely quoted figure of more than 7,000 Christians having been killed in Nigeria in 2025. The BBC independently added up the number of deaths from the 70 reports this year and has in fact found that the total was around 3,000 deaths.Presenter: William Crawley Producers: Bara'atu Ibrahim & Katy Booth Studio Managers: Lynsey Akehurst & Sam Biddle Editor: Rajeev Gupta

On this, our 303rd Evolutionary Lens livestream, we discuss the recommendation to stop vaccinating newborns against Hepatitis B, as just handed down by ACIP (Advisory Committee on Immunization Practices) for the CDC. Why were newborns whose mothers do not have Hep B, being vaccinated against a disease that is contracted through sexual activity and dirty needles? We discuss claims of “safe and effective,” risk stratification, the childhood vaccine schedule, and what “individual-based decision-making” will mean for parents and doctors. Then, new research: tattoo ink induces inflammation in lymph nodes, and changes the immune response to vaccination. Finally: an homage to Tom Stoppard, playwright extraordinaire, author of Rosencrantz and Guildenstern are Dead, Arcadia, and so much more. RIP.*****Our sponsors:CrowdHealth: Pay for healthcare with crowdfunding instead of insurance. It's way better. Use code DarkHorse at http://JoinCrowdHealth.com to get 1st 3 months for $99/month.ARMRA: Colostrum is our first food and can help restore your health and resilience as an adult. Go to http://www.tryarmra.com/DARKHORSE to get 15% off your first order.Helix: Excellent, sleep-enhancing, American-made mattresses. Go to http://www.HelixSleep.com/DarkHorse to get 27% sitewide.*****Join us on Locals! Get access to our Discord server, exclusive live streams, live chats for all streams, and early access to many podcasts: https://darkhorse.locals.com/Heather's newsletter, Natural Selections (subscribe to get free weekly essays in your inbox): https://naturalselections.substack.comOur book, A Hunter-Gatherer's Guide to the 21st Century, is available everywhere books are sold, including from Amazon: https://amzn.to/3AGANGg (commission earned)Check out our store! Epic tabby, digital book burning, saddle up the dire wolves, and more: https://darkhorsestore.org*****Mentioned in this episode:ACIP Hep B recommendation: https://www.cdc.gov/media/releases/2025/2025-acip-recommends-individual-based-decision-making-for-hepatitis-b-vaccine-for-infants-born-to-women.htmlRetsef Levi on Hep B rec: https://x.com/cdcgov/status/1996967080793358366RFK on vaccines: https://x.com/seckennedy/status/1997104582128754854Capucetti et al 2025. Tattoo ink induces inflammation in the draining lymph node and alters the immune response to vaccination. Proceedings of the National Academy of Sciences, 122(48), p.e2510392122: https://www.pnas.org/doi/pdf/10.1073/pnas.2510392122Support the show

Is time running out for Venezuela's Nicolas Maduro? Christiane asks Colombia's former president Ivan Duque why he supports Trump's aggressive stance against the country next door. And while the U.S. president has his eye on Latin America, the White House is snubbing Europe again, opting not to send Secretary of State Marco Rubio to a NATO foreign minister meeting. Julianne Smith, former US Ambassador to NATO, speaks to Christiane about transatlantic tension, and those marathon peace talks between Trump's team and Putin that appeared to produce nothing.  Plus, Oedipus on Broadway! Christiane speaks to stars Lesley Manville and Mark Strong about modernizing the 2,5000-year-old Greek tragedy, and playing a mother and son in love. From the archives, we revisit a 1988 mutiny in a New Jersey monastery, and remember legendary playwright Tom Stoppard.   Air date: December 6, 2025   Guests: Ivan Duque Julianne Smith Lesley Manville & Mark Strong Learn more about your ad choices. Visit podcastchoices.com/adchoices

A short meditation on why sustainable writing comes from small, repeatable choices. We touch on Coetzee, Tom Stoppard, and the quiet ways stories ripple outward—then land on the core: build the habit, revise bravely, and let the work be enough.

We remember guitarist, songwriter, and producer Steve Cropper, who helped create the Memphis soul sound of the ‘60s and ‘70s. He died this week at age 84. Stax Records produced soul hits by Booker T. & the M.G.s, Sam & Dave, Isaac Hayes, and more. Cropper spoke with Terry Gross in 1990 about how he became part of the house rhythm section, and went on to help write hits for Otis Redding and Wilson Pickett.  Also, we remember the celebrated English playwright Tom Stoppard, who was considered a giant of theatre. He died at age 88. Stoppard wrote ‘Rosencrantz and Guildenstern Are Dead' and ‘The Real Thing,' and the screenplays for ‘Empire of the Sun' and ‘Shakespeare in Love.'Jazz historian Kevin Whitehead pays tribute to jazz organist Jimmy Smith, and John Powers reviews the new Brazilian film ‘The Secret Agent.'Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

The Economist's editor-in-chief Zanny Minton Beddoes met Sir Keir Starmer for “The Insider”, our new video offering. We bring you the analysis. Why executions in America are surging, despite declining support for the death penalty. And Tom Stoppard, one of Britain's most challenging playwrights, is remembered by his Russian translator.Listen to what matters most, from global politics and business to science and technology—Subscribe to Economist Podcasts+For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account. Hosted on Acast. See acast.com/privacy for more information.

The Economist's editor-in-chief Zanny Minton-Beddoes met Sir Keir Starmer for “The Insider”, our new video offering.  We bring you the analysis. Why executions in America are surging, despite declining support for the death penalty. And Tom Stoppard, one of Britain's most challenging playwrights, is remembered by his Russian translator.Listen to what matters most, from global politics and business to science and technology—Subscribe to Economist Podcasts+For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account. Hosted on Acast. See acast.com/privacy for more information.

‘Labour is now the party of welfare, not work' argues Michael Simmons in the Spectator's cover article this week. The question ‘why should I bother with work?' is becoming harder to answer, following last week's Budget which could come to define this Labour government. A smaller and smaller cohort of people are being asked to shoulder the burden – what do our Spectator contributors think of this? For this week's Edition, host Lara Prendergast is joined by opinion editor Rupert Hawksley, arts editor Igor Toronyi-Lalic and columnist Matthew Parris. Rupert points out the perceived lack of fairness across the Budget, Matthew thinks we shouldn't be surprised that a Labour government delivered a Labour Budget and Igor makes the case that artists thrive as a consequence of an inefficient state.As well as the cover, they discuss: the compassionate balance needed on mental health; how society seems to be approaching a ‘climbdown' over climate change; the best party tricks they've seen; and finally, their reflections on Tom Stoppard, following his death at the weekend.Plus: what is the greatest artwork of the 21st century so far – and how should we define it? The columnists discuss our various submissions from Christian Marclay's The Clock, television show Succession, album Original Pirate Material by The Streets – and even the Just Stop Oil movement.Produced by Patrick Gibbons. Hosted on Acast. See acast.com/privacy for more information.

MERCHANDISE NOW ON SALE THROUGH 12/31 ANNUAL SUBSCRIPTIONS AVAILABLE THROUGH 12/31   Tom Stoppard, the acclaimed, prolific playwright behind Arcadia, Rosencrantz and Guildenstern are Dead, Rock 'n' Roll and so many other plays, along with the screenplays to Shakespeare in Love, Brazil, and Anna Karenina, has died. He leaves behind a staggering, inspiring, often frustrating body of work that will continue to be seen long after we are gone. We are joined today by Abigail Thorn (The Acolyte, House of the Dragon) to look at the corners of his oeuvre that have spoken to us over the years, and discuss what we can learn from him going forward.   Abigail Thorn: Bluesky // Instagram The Prince: A transformative new play that has everything: sword fighting, lesbianism, Hamlet, and disappointed parents. Available on Nebula.   Philosophy Tube: Giving away philosophy degrees for free! Youtube // Nebula // Patreon   Kill James Bond! is a comedy film review/ pop culture commentary podcast about the portrayal of masculinity in cinema. November Kelly, Abigail Thorn, and Devon have watched Bond movies, War on Terror movies, Eurospy movies, and now they take on their biggest task yet: Heist Movies. What can Heat, Oceans' 11, and the Fast and Furious movies teach us about how masculinity was imagined by the people who created them? What does that say about Society? Free episodes are released every fortnight on all major podcast platforms and bonus episodes are released for supporters on Patreon on the interstitial weeks. Website / Twitter / Patreon Listen on Apple Podcasts / Spotify / Google Podcast

Looking back over a tasty time.  Musing on Broadway favorites, Tom Stoppard, Mary Poppins.  Pride and Pleasure by Amanda Vaille (Schuyler sisters). Bob Trumpy.  David Lerner (Tekserve).  Terry Martin Hekker (Disregard First Book).  Repair Cafés. Credits: Talent:  Tamsen Granger and Dan Abuhoff Engineer: Elizabeth Easton Aziz Art:  Zeke Abuhoff

Britský dramatik Tom Stoppard byl skromný a velkorysý džentlmen s jemným smyslem pro humor. Naše spolupráce začala koncertem Plastiků v londýnské Queen Elizabeth Hall na počest divadelní hry Rokenrol, kterou Stoppard napsal. Koncert i setkání s ním byl pro mě velký zážitek.

Matthew Bannister has a star-studded cast on this week's Last Word: Sir David Hare pays tribute to his friend and fellow playwright Sir Tom Stoppard.Boy George recalls the flamboyant fashion designer Pam Hogg.Sir Mark Rylance gives an insight into the many talents of the actor, director and writer Jack Shepherd.We also remember Yanxin He, one of the last surviving speakers in a village that spoke a secret language that helped women to share their suffering in a patriarchal society.Interviewee: Sir David Hare Interviewee: Boy George Interviewee: Dr Tessa Hartmann Interviewee: Yehong Wei Interviewee: Sir Mark Rylance Producer: Gareth Nelson-Davies Assistant Producer: Catherine Powell Researcher: Jesse Edwards Editor: Glyn TansleyArchive used: Tom Stoppard, Desert Island Discs, BBC Radio 4, 12/01/1985; Rosencrantz and Guildenstern Are Dead (Hamlet), Official Promo, Director: Tom Stoppard; MGM Studios, 1990; Tom Stoppard interview, BBC One 29/05/1977; Shakespeare In Love, Official Trailer, MiraMax pictures 1998, Directed: John Madden; Pam Hogg interview, Icons of Style, BBC Scotland, 16/03/2025; Pam Hogg interview, BBC Radio 2, 26/09/2012; Pam Hogg music track: Honeyland, pamhogg.com/music; He Yanxin, interview, Hidden Letters Official Trailer, Fish+Bear Pictures, Director: Violet Du Feng; Nushu: The secret Chinese language, BBC Culture, Video by Harriet Constable; Co-produced by Fiona Macdonald; 16/11/2022; Acting with...Jack Shepherd , BBC Two, 15/04/1996; In Lambeth, BBC Two, 04/07/1993; Written and Directed by Jack Shepherd; Play For Today: Through The Night, BBC One, 04/09/1977; Wycliff, ITV Official Trailer, IMDB; Season 1, Episode 1: The Four Jacks; Director: Ferdinand Fairfax;

 Listen to the Show Right Click to Save GuestsGround Floor Theatre ParadeBroadway in Austin Beauty and the Beast What We Talked About  

‘Labour is now the party of welfare, not work' argues Michael Simmons in the Spectator's cover article this week. The question ‘why should I bother with work?' is becoming harder to answer, following last week's Budget which could come to define this Labour government. A smaller and smaller cohort of people are being asked to shoulder the burden – what do our Spectator contributors think of this? For this week's Edition, host Lara Prendergast is joined by opinion editor Rupert Hawksley, arts editor Igor Toronyi-Lalic and columnist Matthew Parris. Rupert points out the perceived lack of fairness across the Budget, Matthew thinks we shouldn't be surprised that a Labour government delivered a Labour Budget and Igor makes the case that artists thrive as a consequence of an inefficient state.As well as the cover, they discuss: the compassionate balance needed on mental health; how society seems to be approaching a ‘climbdown' over climate change; the best party tricks they've seen; and finally, their reflections on Tom Stoppard, following his death at the weekend.Plus: what is the greatest artwork of the 21st century so far – and how should we define it? The columnists discuss our various submissions from Christian Marclay's The Clock, television show Succession, album Original Pirate Material by The Streets – and even the Just Stop Oil movement.Produced by Patrick Gibbons.Become a Spectator subscriber today to access this podcast without adverts. Go to spectator.co.uk/adfree to find out more.For more Spectator podcasts, go to spectator.co.uk/podcasts. Contact us: podcast@spectator.co.uk Hosted on Acast. See acast.com/privacy for more information.

Rob was so excited to finally speak with Martha Plimpton! The actress joins Rob to discuss her life-changing experiences on Broadway, her HBO show, "Task," moving to London, and her experience studying animal tracking in Africa! Plus, Rob pays tribute to the brilliant writer Tom Stoppard, who passed on November 29th, soon after the recording of this interview. Make sure to subscribe to the show on YouTube at YouTube.com/@LiterallyWithRobLowe! Got a question for Rob? Call our voicemail at 323-570-4551. Your question could get featured on the show! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Watch us on YouTube: https://youtu.be/RnHcr0Q6PUQBenjamin Netanyahu edges closer to Donald Trump's extraordinary call for a presidential pardon, filing an official request with President Herzog and setting off another political storm.All this as Israel tears itself apart once again over the draft bill. Will the ultra-Orthodox secure a formal exemption from service, and what does that mean for the rest of the country?Yonit and Jonathan unpack the battle lines with Yair Ettinger of Kan News, one of the clearest voices on the Haredi world and its political power.Plus: a farewell to a giant of the stage, and a Chutzpah Award that breaks new records. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Since it was penned more than four hundred years ago, Shakespeare's “Hamlet” has been in production nearly continuously, and has been adapted in many ways. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz consider why this story of a brooding young prince has continued to speak to audiences throughout the centuries. They discuss the new film “Hamnet,” directed by Chloé Zhao, which recasts the writing of “Hamlet” as Shakespeare's response to the death of his child; Tom Stoppard's absurdist play “Rosencrantz and Guildenstern Are Dead”; Michael Almereyda's 2000 “Hamlet,” which presents the protagonist as a melancholy film student home from college; and other adaptations. What accounts for this story's hold over audiences, centuries after it was written? “I think it endures because every generation has its version of the incomprehensible,” Cunningham says. “It's not just death—it's politics, it's society. Everybody has to deal with their own version of ‘This does not make sense and yet it is.' ”Read, watch, and listen with the critics:“Hamnet” (2025)“Hamnet,” by Maggie O'Farrell“Hamlet,” by William ShakespeareKenneth Branagh's “Hamlet” (1996) Michael Almereyda's “Hamlet” (2000)“Rosencrantz and Guildenstern Are Dead” (1990)John Gielgud's “Hamlet” (1964)Robert Icke's “Hamlet” (2017, 2022)“Every Generation Gets the Shakespeare It Deserves” by Drew Lichtenberg (The New York Times)“Hamlet and His Problems" by T. S. EliotNew episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.Critics at Large is a weekly discussion from The New Yorker which explores the latest trends in books, television, film, and more. Join us every Thursday as we make unexpected connections between classic texts and pop culture. Learn about your ad choices: dovetail.prx.org/ad-choices

Plus: War crime allegations against Hegseth, Congress threatens the legal hemp industry, and reflections on the legacy of Tom Stoppard

Tom Stoppard dies at 88, Lane and Metcalf to bring ‘Salesman’ back to Broadway, Whitney Leavitt to make Broadway debut Since 2016, “Today on Broadway” has been the first and only daily podcast recapping the top theatre headlines every Monday through Friday. Any and all feedback is appreciated:Grace Aki: grace@broadwayradio.com | @ItsGraceAkiMatt read more

„Zlín, tato čtyři písmena mi po celý můj život způsobovala ten druh nervové odezvy, jako kdybych nikdy opravdu Zlín neopustil. A jak stárnu, to spojení mezi mnou a vaším úžasným městem stále sílí. Mrzí mě, že tam nemůžu být s vámi osobně, stejně jako jsem tam přítomný svou duší. Posílám vám všechnu svou lásku,“ vzkázal Tom Stoppard loni v dubnu divákům ve Zlíně před uvedením jeho hry Každý hodný chlapec si zaslouží přízeň.

Rush Hour 4 is set to finally go into production, is this thanks to Trump? With Stranger Things concluding, what's next for Netflix? And how did thre late Tom Stoppard conquer the playwriting world? Richard Osman and Marina Hyde discuss why Donald Trump has put his weight behind Rush Hour 4, what it could mean for Hollywood's political independence.A teen ensemble, retro science-fiction and a guaranteed subscription banker - Stranger Things is a jewel in Netflix's crown, but what happens now the show is about to ended? And what will the shows creators the Duffer brothers do next?Legendary British playwright Tom Stoppard has passed away. Marina and Richard pay tribute to a man who the best of the best looked up to and fought to work with.Recommendations:Marina and Richard: The Collected Works of Tom Stoppard (Plays)Whether you're hosting or guesting this Christmas, you need the UK's best mobile network and broadband technology, only from EE.Join The Rest Is Entertainment Club: Unlock the full experience of the show – with exclusive bonus content, ad-free listening, early access to Q&A episodes, access to our newsletter archive, discounted book prices with our partners at Coles Books, early ticket access to live events, and access to our chat community. Sign up directly at therestisentertainment.comFor more Goalhanger Podcasts, head to www.goalhanger.comVideo Editor: Charlie Rodwell + Max ArcherAssistant Producer: Imee MarriottSenior Producer: Joey McCarthySocial Producer: Bex TyrrellExec Producer: Neil Fearn Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on the 599th episode of The World’s Greatest Comic Book Podcast™, JC, Jocelyn, and Jeff assemble for more news and reviews of comic books and comic book-adjacent media! In Tinsel Town this week, We remember Tom Stoppard. What does Jonathan Frakes think about Starfleet Academy? Who played the elementary school teacher in this […]

Massachusetts is considering new regulations for elderly home care. We talk with Mass League of Community Health Center's Michael Curry about that, and the latest on rising health insurance costs as Affordable Care Act subsidies sunset. Tufts food policy analyst Corby Kummer breaks down the rising costs of pantry staples bananas and even… pasta. Plus, he'll tell us why Bostonians pay some of the highest prices in the country for their daily caffeine fix. Boston Medical Center's Dr. Katherine Gergen Barnett discusses her argument for stable housing and why it's vital for keeping people healthy. And, she explains what the latest CDC vaccine changes mean for people in Massachusetts. Plus, we remember English playwright and screenwriter Tom Stoppard and revisit our 2019 interview with him at Tanglewood. The Trump administration is imposing new restrictions on all refugees from Afghanistan after an Afghan national was charged in the shooting of two National Guard members in Washington DC last week. We check in with Fariba, an Afghan refugee with U.S. citizenship, about what that means for her community. And we talk with Xan Weber of the International Institute of New England about the impact on refugee communities.

La muerte de Tom Stoppard

In 2014, Colin McEnroe and the playwright and screenwriter Tom Stoppard recorded a live conversation at The Study in New Haven. Stoppard, whom Colin considers “quite possibly the most dizzyingly proficient writer of the English tongue (who) did not grow up speaking English,” has died at the age of 88. In appreciation of Stoppard and his work, we’re republishing their conversation with a note from Colin. GUEST: Tom Stoppard is a Czech-born playwright. His most famous works include "Rosencrantz and Guildenstern are Dead" and "Every Good Boy Deserves Favor." He co-wrote the screenplay for the 1998 Academy Award winning film, "Shakespeare in Love." Over the course of his career he has written for radio, television, film and stage. He' received one Academy Award and four Tony Awards for his work. Betsy Kaplan and Chion Wolf produced the hour. The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode! Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. Join the conversation on Facebook and Twitter.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

A celebration of the life and work of one of Britain's greatest modern playwrights, Sir Tom Stoppard, who died at the weekend. He was 88. We hear from theatre critic Michael Billington, actress Emma Fielding, director Patrick Marber, biographer Hermione Lee, and literary critic Tristram Fane Saunders.

Hopping onto a remote recording at the earliest opportunity, Sarah and Alex discuss the legacy of the late, great Tom Stoppard – following the news of his passing on Saturday night. In an episode of two halves, this is accompanied by a reflection on the glorious response to Paddington The Musical, which received a deluge of glowing reviews following its Sunday night world premiere. Hosted on Acast. See acast.com/privacy for more information.

Venezuela has condemned as a "colonialist threat" President Trump's warning that its airspace should be considered closed. The US does not have the authority to shut another country's airspace and the foreign ministry described his social media post as an illegal and unjustified aggression. Also: the number of people killed as a result of Israel's military offensive in Gaza in the past two years has risen above 70,000 according to the Hamas-run health ministry in the Palestinian territory; rescue operations are continuing in Indonesia after floods and landslides killed more than 300 people in Sumatra; and King Charles leads tributes to the British playwright and Oscar winning screenwriter, Tom Stoppard, who has died at the age of 88.

Gay homosexuals Nick and Joseph review ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Blade - a 1998 American superhero film directed by Stephen Norrington, starring Wesley Snipes, Stephen Dorff, Kris Kristofferson and N'Bushe Wright.Additional topics include:The Night of the Iguana with Queer Cinema CatchupJessica Simpson's first music videoMia GothCampbell Soup controversyMeraki Greek GrillThe deaths of Tom Stoppard, Danny Seagren, and Udo KierJoin us on Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/FishJellyFilmReviews⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Want to send them stuff? Fish Jelly PO Box 461752 Los Angeles, CA 90046Find merch here: https://fishjellyfilmreviews.myspreadshop.com/allVenmo @fishjellyVisit their website at www.fishjellyfilms.comFind their podcast at the following: Anchor: https://anchor.fm/fish-jelly Spotify: https://open.spotify.com/show/388hcJA50qkMsrTfu04peH Apple Podcasts: https://podcasts.apple.com/us/podcast/fish-jelly/id1564138767Find them on Instagram: Nick (@ragingbells) Joseph (@joroyolo) Fish Jelly (@fishjellyfilms)Find them on Letterboxd: https://letterboxd.com/ragingbells/ https://letterboxd.com/joroyolo/Nick and Joseph are both Tomatometer-approved critics at Rotten Tomatoes: https://www.rottentomatoes.com/critics/nicholas-bell https://www.rottentomatoes.com/critics/joseph-robinson

Peter Filichia, James Marino, and Michael Portantiere, talk about the passing of Tom Stoppard. Discussions include The Seat Of Our Pants: A New Musical @ The Public Theater, Gotta Dance @ The York, Reunions @ New York City Center, Seth Rudetsky and his Broadway Friends @ Carnegie Hall, Laowang: A read more

Playwright Tom Stoppard has died aged 88. Actors Tom Hollander and Dame Harriet Walter tell us he was the greatest writer of his generation. We digest the week in Westminster as the Chancellor denies she misled the public over the UK's finances prior to the Budget. Also, Petroc Trelawney's guide to Advent music across the UK.

A reflective, elegiac tribute to Tom Stoppard, marking his death at 88. The piece traces his journey from a childhood shaped by exile to his life as one of Britain's most brilliant and beloved playwrights. It honours his delight in language, his dazzling intellect, his late-in-life reckoning with history, and the gentleness that infused his work. It's a quiet, intimate meditation on a mind that illuminated the stage and a light now softly gone.

We dedicate this episode to the loving memory of Linda Ward. Now one with the force, her endless contributions to the Star Wars Community will never be forgotten.Peter & Jason breakdown the latest coming and going in a galaxy far far away with talking points including:- Jason's MCM Birmingham comic con experience .- Tom Stoppard, Playwright and Oscar-Winning Screenwriter, Dies at 88.- Ahsoka's Claudia Black on Why She's Not Returning for Season 2.- Jeremy Allen White Reveals How He Got Cast in The Mandalorian and Grogu.- Thomas Newman to Score Star Wars: Starfighter .- Donald Glover Reveals Health Reasons That Caused Him to Cancel Childish Gambino Tour.Follow us:Patreonhttps://patreon.com/StarBoresX (twitter)https://twitter.com/BoresStarTikTokhttp://tiktok.com/@starborespodcastInstagramhttps://www.instagram.com/starborespodcast/YouTubehttps://www.youtube.com/channel/UCLmtO6_i6WBBlVIm2h0V-qwFaceBookhttps://www.facebook.com/StarBoresPodcast

Venezuela has condemned President Trump's warning that its airspace should be considered closed. It called it a colonialist threat and an unjustified aggression against the Venezuelan people. Mr Trump's post could lead to travel uncertainty and deter airlines from operating in the area. We hear from the capital Caracas.Also in the programme: Celebrated British playwright Tom Stoppard has died; and Ukraine's battle against Russia's "shadow fleet"(Picture: People shop at a market, after U.S. President Donald Trump said on Saturday that the airspace above and around Venezuela would be closed entirely, in Caracas, Venezuela. Credit:Reuters)

In our news wrap Saturday, Trump declared Venezuela’s airspace to be considered closed despite not having the legal authority to do so, Russia carried out deadly drone and missile attacks overnight in Ukraine, the FAA ordered airlines to update software in a widely used aircraft, and acclaimed British playwright Tom Stoppard died at age 88. PBS News is supported by - https://www.pbs.org/newshour/about/funders. Hosted on Acast. See acast.com/privacy

In our news wrap Saturday, Trump declared Venezuela’s airspace to be considered closed despite not having the legal authority to do so, Russia carried out deadly drone and missile attacks overnight in Ukraine, the FAA ordered airlines to update software in a widely used aircraft, and acclaimed British playwright Tom Stoppard died at age 88. PBS News is supported by - https://www.pbs.org/newshour/about/funders. Hosted on Acast. See acast.com/privacy

AP correspondent Karen Chammas reports on the death of renowned playwright Tom Stoppard.

Podcasts could happen to anyone. David Loehr discusses exits and entrances in Tom Stoppard’s Rosencrantz and Guildenstern are Dead (first performed 1966, published 1967). John McCoy with David J. Loehr.