Podcasts about shakespeare

Chelsea J. Smith walks into a studio and suddenly I feel like a smurf. She's six-foot-three of sharp humor, dancer's poise, and radioactive charm. A working actor and thyroid cancer survivor, Chelsea is the kind of guest who laughs while dropping truth bombs about what it means to be told you're “lucky” to have the “good cancer.” We talk about turning trauma into art, how Shakespeare saved her sanity during the pandemic, and why bartending might be the best acting class money can't buy. She drops the polite bullshit, dismantles survivor guilt with punchline precision, and reminds every listener that grace and rage can live in the same body. If you've ever been told to “walk it off” while your body betrayed you, this one hits close.RELATED LINKS• Chelsea J. Smith Website• Chelsea on Instagram• Chelsea on Backstage• Chelsea on YouTube• Cancer Hope Network• Artichokes and Grace – Book by Chelsea's motherFEEDBACKLike this episode? Rate and review Out of Patients on your favorite podcast platform. For guest suggestions or sponsorship email podcasts@matthewzachary.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Christopher Marlowe (1564-1593) was born into relative obscurity and died in mysterious circumstances at the age of 29. And yet, somehow this ambitious cobbler's son brought about a spectacular explosion of English literature, language, and culture. In this episode, Jacke talks to Stephen Greenblatt about his book Dark Renaissance: The Dangerous Times and Fatal Genius of Shakespeare's Greatest Rival, which illuminates both Marlowe's times and the origins and significance of his work. PLUS author Eric Marshall White (Johannes Gutenberg: A Biography in Books) stops by to discuss his choice for the last book he will ever read. Join Jacke on a trip through literary England (signup closing soon)! The History of Literature Podcast Tour is happening in May 2026! Act now to join Jacke and fellow literature fans on an eight-day journey through literary England in partnership with ⁠⁠⁠⁠⁠⁠⁠John Shors Travel⁠⁠⁠⁠⁠⁠⁠. Scheduled stops include The Charles Dickens Museum, Dr. Johnson's house, Jane Austen's Bath, Tolkien's Oxford, Shakespeare's Globe Theater, and more. Find out more by emailing jackewilsonauthor@gmail.com or masahiko@johnshorstravel.com, or by contacting us through our website ⁠⁠⁠⁠⁠⁠⁠historyofliterature.com⁠⁠⁠⁠⁠⁠⁠. Or visit the ⁠⁠⁠⁠⁠⁠⁠History of Literature Podcast Tour itinerary⁠⁠⁠⁠⁠⁠⁠ at ⁠⁠⁠⁠⁠⁠⁠John Shors Travel⁠⁠⁠⁠⁠⁠⁠. The music in this episode is by Gabriel Ruiz-Bernal. Learn more at ⁠⁠⁠⁠⁠⁠⁠gabrielruizbernal.com⁠⁠⁠⁠⁠⁠. Help support the show at ⁠⁠⁠⁠⁠⁠⁠patreon.com/literature ⁠⁠⁠⁠⁠⁠⁠or ⁠⁠⁠⁠⁠⁠⁠historyofliterature.com/donate ⁠⁠⁠⁠⁠⁠⁠. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at ⁠⁠⁠⁠⁠⁠⁠thepodglomerate.com/historyofliterature⁠⁠⁠⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome back to another conversation about Shakespeare's delightful comedy. This week we discuss the differences between “noting” and investigating, Dogberry the wise fool who sees but nonetheless can't communicate clearly in contract with the characters who can communicate but don't have vision, the question of who the play's hero is, and much, much more. Happy listening! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit closereads.substack.com/subscribe

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.

Set in the French Riviera at the height of post-war euphoria, Shakespeare's romantic comedy about bantering rivals who become reluctant lovers and youthful sweethearts who are nearly thwarted by jealous scoundrels is a romp through a maze of relationships, gossip, passion, persecution and forgiveness. Translated into modern English verse by Ranjit Bolt and directed by Brendon Fox, with original music composition and sound design by Lindsay Jones. Learn more about your ad choices. Visit megaphone.fm/adchoices

To cap off Julius Caesar season (Julius Caeson?) Milo and Phoebe are discussing the 1953 Marlon Brando movie of the Shakespeare play. It's black and white, it's available in full on Facebook and it's VERY slutty. Listen to the full episode for discussions of the socio-political context of the 1590s, the 1950s and the teleology of auto-erotic asphyxiation. Get this episode and more on Patreon here: https://www.patreon.com/posts/144598229/ Check out Milo on tour in Bristol, Bath, Europe and Ireland: https://www.miloedwards.co.uk/liveshows

Bu kez ben okurum'da Deniz Yüce Başarır, konuğu Memet Ali Alabora ile 2021 Yılı Nobel Edebiyat Ödülü'nün sahibi Zanzibar doğumlu yazar Abdulrazak Gurnah'ın Kumdan Yürek adlı romanını derinlemesine konuşuyor. Kitabın temaları, anlatım dili, karakter derinliği ve Alabora'nın kişisel göçmenlik deneyimiyle kurduğu paralellikler etrafında dönen sohbette, Gurnah'ın ana meselelerinden olan sömirgecilik de tartışılıyor. Shakespeare'in Kısasa Kısas adlı oyununun bir uyarlaması olan romanı, bir de bu ikilinin gözünden dinleyin. Tabii yine Başarır'ın sesinden romandan bölümler de var podcastte. 

Neid ist die tödlichste Form der Anerkennung. Mit: Siegfried Terpoorten (Erzähler), Christian Kerepeszki (Peter), Joachim Aeschlimann (Romeo), Karin Berri (Julia) Tontechnik: Roli Fatzer Regie: Päivi Stalder Produktion: SRF 2017 Dauer: 11:30

A peça “The Brotherhood”, da encenadora brasileira Carolina Bianchi, foi apresentada em Paris, no final de Novembro, no âmbito do Festival de Outono. Este é o segundo capítulo de uma trilogia teatral em torno dos feminicídios e violências sexuais e mostra como uma inquebrantável força masculina tem dominado a história da arte e do teatro, engendrando simultaneamente violência e amor quase incondicional pelos “grandes génios”. “The Brotherhood” é o segundo capítulo de uma obra sísmica, uma trilogia teatral em torno da violência contra as mulheres em que Carolina Bianchi e a sua companhia Cara de Cavalo mostram como o misterioso poder das alianças masculinas tem dominado a história da arte, do teatro e das próprias mulheres. Em 2023, no Festival de Avignon, a encenadora, actriz e escritora brasileira quebrou fronteiras e despertou o teatro europeu para a sua obra com o primeiro capítulo da trilogia “Cadela Força”, intitulado “A Noiva e o Boa Noite Cinderela”. Nessa peça, arrastava o público para o inferno dos feminicídios e violações, a partir da sua própria história, e ingeria a droga da violação, ficando inconsciente durante grande parte do espectáculo. Agora, em “The Brotherhood”, Carolina Bianchi volta a trazer consigo as 500 páginas da sua tese e expõe incontáveis histórias de violência contra as mulheres, glorificadas por Shakespeare, Tchekhov e também tantos dramaturgos e encenadores contemporâneos. Ao mesmo tempo que questiona toda a complexidade que gera a deificação dos “génios” masculinos na história da arte e no teatro, Carolina Bianchi demonstra, com brilhantes laivos de ironia, que os deuses têm pés de barro e que as musas têm uma espada numa mão, mas também uma mão atrás das costas porque - como ela - têm um amor incondicional pelos “mestres”. Este segundo capítulo volta a abrir com uma citação de “A Divina Comédia” de Dante, situando-nos no purgatório e antecipando o inferno. Talvez por isso, uma das primeiras questões colocadas pela actriz-escritora-encenadora é “o que fazemos com esse corpo que sobrevive a um estupro?”, a essa “morte em vida que é um estupro”? O teatro de Carolina Bianchi ajuda a pensar o impensável ao nomear a violência e ao apontar todos os paradoxos intrínsecos ao teatro e à arte: afinal, não é o próprio teatro quem perpetua a “brotherhood”, esse tal sistema que se autoalimenta de impunidade e violência, mas que também se mantém porque “somos todos brotherhood”? Em “A Noiva e o Boa Noite Cinderela”, a principal inspiração de Carolina Bianchi era a artista italiana Pippa Bacca, violada e assassinada. Em “The Brotherhood”, é a poetisa Sarah Kane quem mais a inspira pelo seu amor à poesia e à própria violência. Quase como uma fatalidade, Carolina recorda que Sarah Kane dizia que “não há amor sem violência”. Uma violência que atravessa toda a peça, como um tornado, porque “a violência é uma questão infinita para mim” - explica a encenadora à RFI. Resta saber quanto tempo as placas tectónicas da “brotherhood” no teatro vão conseguir resistir ao tornado Carolina Bianchi.   “The Brotherhood” foi apresentado no Festival de Outono de Paris, de 19 a 28 de Novembro, na Grande Halle de La Villette, onde conversámos com a artista.                                        “O que significa situar-se no teatro depois de voltar do inferno?” RFI: O que é “The Brotherhood” e porque é que lhe consagrou a segunda parte da trilogia “Cadela Força”? Carolina Bianchi, Autora de “The Brotherhood”: “‘Brotherhood' vem de uma expressão da Rita Segato, que é uma antropóloga argentina, que quando eu estava estudando para o primeiro capítulo ‘A Noiva e o Boa Noite Cinderela', eu cheguei a essa nomenclatura. Ela diz ‘brotherhood' para essa essa fraternidade entre homens, em que o estupro é parte de uma linguagem, de uma língua falada entre esses pares. Então, ela coloca o estupro como algo que é uma questão da linguagem com que essa fraternidade conversa, é uma consequência dessa conversa e isso para mim foi muito interessante de pensar porque tem esses aspectos dessa protecção. Fazer parte dessa fraternidade tem coisas maravilhosas e tem coisas terríveis e também acho que o espectáculo revela isso. Essa fraternidade é extremamente nociva, extremamente daninha para os membros dessa fraternidade também, para aqueles que são excluídos da fraternidade, e para aqueles que também fazem parte ela pode ser muito cruel. Acho que a peça busca trazer essa complexidade, é uma situação complexa de como olhar para esse amor que nós temos por essas grandes figuras da arte que se manifestam nesses homens que foram importantes, que são influenciadores, por exemplo, do teatro e em toda parte. O que é que atribui essa fascinação, esse poder e a complexidade que isso tem, as coisas terríveis que isso traz. Acho que é um grande embate com todas as coisas e eu não estou excluída desse embate, dessa contradição. O amor que eu sinto por esses grandes génios também é colocado ali numa posição bastante complexa e vulnerável.” O que faz desse amor que tem pelos “grandes génios”? Como é que, enquanto artista mulher, o mostra e, ao mesmo tempo, o denuncia? Diz que a peça “não é uma denúncia”, mas o que é que se faz com todo esse amor? “Eu acho que essa é uma das grandes perguntas da peça. O que é que a gente faz com todo esse amor? Eu não sei porque continuo habitando esse ponto de sombra, de contradição que é um ponto que me interessa habitar dentro da arte, dentro do teatro. Para mim, é mais sobre essa grande pergunta. Eu não tenho essa resposta. Eu não sei o que a gente faz com esse amor, mas eu acho que poder nomear que esse amor existe e que ele é complexo e que é difícil e que tem consequências e coisas que são dolorosas a partir desse amor foi uma coisa importante para mim. Como eu digo em cena, não é uma peça de denúncia, não é esse o lugar da peça, mas levantar essas questões e olhar do que é feita também essa história da arte. A trilogia toda traz muito essa pergunta: como a arte tem representado ou tem sido um espelho de coisas que, de facto, acontecem na sociedade e mesmo a arte, com toda a sua história de vanguarda e com toda a sua liberdade de certos paradigmas, ela consegue também ainda se manter num lugar de prosseguir com certos tipos de violência.” Em 2023, quando falámos do primeiro capítulo, “A Noiva e o Boa Noite Cinderela”, disse que era “uma antecâmara do inferno, já com um pé no inferno”. Agora abre novamente com uma citação da Divina Comédia. Continuamos no inferno ou estamos antes no purgatório? “Sim. Nesta peça já estamos num purgatório, é acordar no purgatório. Tem uma frase da peça que é: “O que significa situar-se no teatro depois de voltar do inferno?”. Acho que essa frase resume um pouco essa busca de um posicionamento. Eu descreveria a peça como uma grande crise de identidade. Ela parte de uma crise de identidade, como uma jornada nesse purgatório, seguindo um mestre – como Dante segue Virgílio nesse purgatório. O mestre aqui seria um grande encenador de teatro, um grande artista, esses reconhecidos génios como a gente se refere. Acho que seria isso, seria uma jornada dessa tentativa de se situar num contexto do teatro. O teatro não é só um assunto da peça, o teatro é uma forma, é a linguagem como esta peça opera a sua discussão, a sua conversa.” Ao mesmo tempo que o teatro consegue pôr em palavras o que a Carolina descreve como a “fenda” que é a violação, o teatro também perpetua esse sistema de “brotherhood”, o qual alimenta a impunidade e a violência. Por que é que o teatro contribui para a continuação desse sistema e como é que se pode travá-lo? “Aí tem uma pergunta que eu não tenho resposta mesmo e que acho que nem existe: travar uma coisa dessas. Eu acho que sou pessimista demais para conseguir dizer que isso vai acabar. O facto de estar tão imersa nos estudos dessa trilogia vai mostrando que isso, para mim, está longe de terminar. Acho que a gente tem vivido transformações bastante importantes, contundentes, em termos de mudanças mesmo, mas acho que talvez a maior mudança que a gente tem aprendido, falando numa questão de corpos que não estão dentro dessa masculinidade que tem o poder, eu acho que é a questão da autodefesa que a escritora Elsa Dorlin aponta muito bem. Então, acho que uma das estratégias de autodefesa também é conseguir falar sobre certas coisas, é conseguir articular, talvez através da escrita, talvez através desta arte que é o teatro, nomear mesmo certas coisas, trazer esse problema para um lugar de debate. Para mim, a questão das respostas é impossível, é impossível, é impossível. Eu acho que o teatro tem essa história como parte de uma questão da própria sociedade. O teatro começa com esse actor que se destaca do coro, a gente tem a tragédia, a gente tem essa perpetuação dessa jornada heroica, os grandes encenadores, os grandes dramaturgos que eram parceiros dos grandes génios. A gente tem uma história que é feita muito por esses grandes mestres.” Mas, se calhar, as placas tectónicas do teatro podem começar a mudar, nomeadamente com o que a Carolina faz… Um dos intérpretes diz “Somos todos Brotherhood”. A peça e, por exemplo, a parte da entrevista que faz ao encenador “génio” não é a demonstração de que, afinal, não somos todos “brotherhood”? “Aí é que está. Eu acho que não. Eu acho que tem uma coisa que é menos purista nesse sentido do bem e do mal, do lado certo, do lado errado. Eu acho que é justamente isso. Tudo aqui neste trabalho está habitando esse lugar de complexidade, esse lugar de que as coisas são difíceis, é esse pathos que está manchado nesta peça. Então, a questão sobre o reconhecimento, sobre a empatia e também sobre a total distância de certas coisas, ela fica oscilando. Eu acho que a peça traz essa negociação para o público. A gente habita todos esses lugares de contradições. Eu acho que quando aparece esse texto, no final da peça, “tudo é brotherhood”, também se está dizendo muito de onde a sociedade tem as suas bases fincadas e como apenas o facto de ser mulher não me exclui de estar, às vezes, compactuando com esse sistema.” É por isso que se apropria dessa linguagem da “brotherhood”, por exemplo, na forma como conclui a entrevista do encenador “génio”? “Para mim, fazer uma peça sobre a ‘brotherhood', sobretudo usando o teatro como a linguagem principal, tinha a ver também com abrir um espaço para que essa ‘brotherhood' pudesse falar dentro da peça, pudesse se infiltrar dentro da peça e governar a peça. Por isso, essa coisa de uma outra voz que narra a história. Então, para mim, a peça precisava trazer essa ‘brotherhood' como guia, de facto, e não eu tentando lutar contra isso, porque senão acho que isso também revelaria pouco dessa complexidade, desse movimento que a ‘brotherhood' traz. É uma força e uma linguagem e eu precisava falar essa língua, ou melhor, tentar falar essa língua dentro da peça. Acho que isso também revela muito da complexidade minha que aparece ali, não como uma heroína que está lutando contra alguma coisa, mas alguém que está percebendo algumas coisas, mas também se está percebendo a si própria no meio dessa confusão.” Leva para palco essa complexidade, essa confusão. Admite ter sido vítima dessa violência, mas continua atraída por ela e dá a ideia que a violência engendra a violência. Porquê insistir nessa violência que alguém chama de “tornado” dentro da peça? “Porque não tenho outra opção neste momento. Acho que tem uma coisa de uma obsessão com o mal, que combina talvez uma questão para mim de temer muito esse mal, de já ter, em algumas vezes na minha vida, sentido essa força, essa presença, esse mal. Acho que esse mal é algo que temo e, por isso, também me obceca muito. É a linguagem com a qual agora eu consigo articular parte da minha expressão, parte da minha escrita, parte da minha presença. Acho que essa questão da violência é uma questão infinita para mim. Tem uma frase do ‘Boa Noite Cinderela' que é:‘Depois que você encontra a violência, que você sofre uma violência, enfim, você fica obcecada por isso”. Tem uma frase também na própria ‘Brotherhood', quando os meninos estão lendo uns trechos das 500 páginas que me acompanham ali em cena sobre a pesquisa da trilogia, e eles dizem: ‘Bom, então ela escreve: eu não superei o meu encontro com a violência. Eu sou a sua filha'. É impossível. Você fica obcecada.” A Carolina diz, em palco, que já não pode com a palavra violação, com a palavra estupro, que já não pode falar isso… Não pode, mas não consegue parar. É mais uma contradição? “Completamente. Mas isso é muito o jeito que eu opero, é nessa contradição e, ao mesmo tempo, dizendo que se a palavra agora não está carregando essa violência dessa forma, se eu não posso dizer a palavra estupro porque eu estou cansada de me ouvir dizer isso, vem a poesia com a sua forma. E aí a forma do poema é violenta e é isso que eu também estou debatendo ali. Então, é mudar uma forma de escrita e ir para um outro lugar onde essa violência apareça de outras maneiras.” Mas que apareça na mesma? “Não sei porque, para mim, por exemplo, a violência poética é uma outra forma de violência. Se a gente for pensar em termos de linguagem, a forma de um poema tem uma outra maneira de as coisas aparecerem, de a gente descrever as coisas, delas existirem, delas saírem, que é diferente de quando você está trazendo, por exemplo, um material documental para o seu trabalho. São maneiras diferentes de expressar certas coisas. Eu acho que é isso que eu estou debatendo ali no final da peça.” Aí diz que “o melhor caminho para a poesia é o teatro”, citando T.S. Eliot. Porém, também diz que o amor que você precisa não é o teatro que lho pode dar, nem a vida. Gostaria que me falasse sobre o terceiro capítulo da trilogia. Há esperança no terceiro capítulo? “O terceiro capítulo vai falar sobre poesia e escrita que, para mim, são coisas que estão muito perto do meu coração e isso já está apontado no final de ‘Brotherhood'. Sobre a esperança, eu não sei. Eu não sei porque o terceiro capítulo tão pouco vem para concluir qualquer coisa. Vem para ter a sua existência ali. Não sei se, na trilogia, se pode esperar um “grand final”, entende? Acho que a questão da esperança para mim, não sei nem se ela é uma questão aqui. Eu acho que é mais entender o que o teatro pode fazer? O que é que essas linguagens artísticas podem fazer? E, às vezes, elas não fazem muito e outras vezes elas fazem pequenas coisas que também já parecem grandes coisas.” Em si, o que fez? Há uma mudança? “Completamente, Completamente. Acho que a cada espectáculo dessa trilogia é uma mudança enorme porque você fica ali mergulhada em todas essas questões durante muito tempo e vendo a transformação dessas questões dentro da própria peça à medida que a vai repetindo. Porque demanda um tempo para você olhar para aquilo que você fez e ver o que essa coisa faz nas outras pessoas porque você, como directora, pode pensar ‘Ok, eu quero que a peça tenha essas estratégias de comunicação com o público, mas você não sabe, você não tem como saber o que aquilo vai fazer nas pessoas, que sinapses ou que desejos ou que repulsa ou que sensações aquilo vai trazer nas pessoas. Isso, para mim, é um momento interessante do teatro, bonito, essa espécie de ritual em que estamos todos ali, convivendo durante esse tempo, em muitos tempos diferentes - o teatro tem isso, o tempo da plateia, o tempo do palco, são tempos completamente diferentes - e vendo o que acontece.” Uma das questões principais da peça, que anuncia no início, é “o que é que fazemos com esse corpo que sobrevive a um estupro? Essa morte em vida que é um estupro?”. Até que ponto o teatro é, para si, a resposta? “Eu acho que o teatro é uma maneira de se formular a pergunta. Quando a gente vê na peça a pergunta colocada, transmitida por uma pessoa que sou eu, para eu chegar até essa pergunta é muito tempo e é muita elaboração a partir do pensamento do teatro. Então, acho que o teatro me ajuda a conseguir elaborar esses enunciados, essas perguntas, esses enigmas. Eu vejo o teatro como o lugar do enigma, onde o enigma pode existir, onde há coisas que não têm respostas, onde essa complexidade pode existir e pode existir na forma de enigma, de uma forma que não apresenta a solução. Então, acho que o teatro me ajuda a formular as perguntas e isso, para mim, é uma coisa que é muito bonita do teatro, é um lugar de uma honestidade muito profunda, como fazer para se chegar nas perguntas. O teatro é, para mim, o lugar dessa formulação, esse laboratório de formulação dessas perguntas, essas grandes perguntas.” Outra grande pergunta que se ouve na peça é: “Se a brotherhood no teatro desaparece, o teatro que amamos morre com ela? Estamos preparados para ficar sem esse teatro?” A Carolina não está a abrir uma porta para que esse teatro venha a existir? “Não sei se estou abrindo essa porta, mas ao formular essas perguntas, elas também ficam ali, nesse espaço, e agora elas habitam todas essas pessoas que estiveram aqui nestes dias assistindo a este espectáculo. Isso o teatro faz, esse compactuar, essas perguntas, tornar essas perguntas um processo colectivo. Agora essas perguntas deixam de ser perguntas que me assombram e passam a ser perguntas que talvez assombrem algumas pessoas que estiveram aqui. Isso é muito interessante. Mais do que acreditar que você está operando uma grande transformação, eu gosto de pensar num outro ponto, acho que só o facto de abrir essa pergunta, de fazê-la existir agora, colectivamente, isso é um trabalho, esse é o trabalho. Para onde ela vai a partir daqui, nem sei determinar, é um ponto bem nevrálgico do teatro, deixar as coisas ficarem com as pessoas. Eu busco muito esse lugar de não infantilizar o público, de deixar o público ficar com essas perguntas, de deixar o público ficar confuso, perdido. Acho que a gente às vezes ganha muito com isso, ganha muito com a confusão, quando ela é colocada. A gente pode permanecer com o trabalho mais tempo na gente quando ele consegue apontar esses enigmas, quando ele consegue manifestar as coisas de um jeito que a gente precisa pensar, que a gente precisa se debruçar. Nem tudo precisa de estar num tempo de uma velocidade lancinante, onde todas as questões são colocadas e imediatamente resolvidas, até porque essas resoluções, não sei se elas vão ser, de facto, resoluções.”

Academy Award nominee Paul Mescal joins Willie Geist to discuss playing young William Shakespearein his 2025 film Hamnet as well as his role in Gladiator II alongsideDenzel Washington and director Ridley Scott. Plus, the Normal People and Aftersun star opens up about preparing to portray Paul McCartney in an upcoming Beatles biopic, how he builds complex characters, and his journey from school musicals to Hollywood. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Steven welcomes Professor Nic Panagopoulos from the department of English Literature and Culture at the University of Athens, Greece, to discuss evidence that the works of Shakespeare were heavily influenced by the Greek masters of philosophy and drama. Support the show by picking up official Don't Quill the Messenger merchandise at www.dontquillthepodcast.com and becoming a Patron at http://www.patreon.com/dontquillthemessenger  Made possible by Patrons: Clare Jaget, Courtney L, David Neufer, Deduce, Earl Showerman, Edward Henke, Ellen Swanson, Frank Lawler, Garrett Jackson, Heidi, James Warren, Jen Swan, John Creider, John Eddings, Jon Foss, Kara Elizabeth Martin, Michael Hannigan, Neal Riesterer, Patricia Carrelli, quizzi, Richard Wood, Sandi Boney, Sheila Kethley, Stephen Hopkins, Teacher Mallory, Tim Norman, Tim Price, Vanessa Lops, Yvonne Don't Quill the Messenger is a part of the Dragon Wagon Radio independent podcast network. For more great podcasts visit www.dragonwagonradio.com

The Hamlet Podcast - a weekly exploration of Shakespeare's King Lear. Act IV Scene vi - Gloucester wonders at Lear's fallen state, while Lear madly criticises the hypocrisies of the world. Written and presented by Conor Hanratty

pWotD Episode 3133: Tom Stoppard Welcome to popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 240,997 views on Saturday, 29 November 2025 our article of the day is Tom Stoppard.Sir Tom Stoppard (born Tomáš Sträussler, 3 July 1937 – 29 November 2025) was a Czech and English playwright and screenwriter. He wrote for film, radio, stage, and television, finding prominence with plays. His work covered the themes of human rights, censorship, and political freedom, often delving into the deeper philosophical bases of society. Stoppard was a playwright of the National Theatre; one of the most internationally performed dramatists of his generation; and critically compared with William Shakespeare and George Bernard Shaw. He was knighted for his contribution to theatre by Queen Elizabeth II in 1997 and awarded the Order of Merit in 2000. Born in Czechoslovakia, Stoppard left as a Jewish child refugee, fleeing imminent Nazi occupation. He settled with his family in England after the war, in 1946, having spent the previous three years (1943–1946) in a boarding school in Darjeeling in the Indian Himalayas. After being educated at schools in Nottingham and Yorkshire, Stoppard became a journalist, a drama critic and then, in 1960, a playwright.Stoppard's most prominent plays include Rosencrantz and Guildenstern Are Dead (1966), Jumpers (1972), Travesties (1974), Night and Day (1978), The Real Thing (1982), Arcadia (1993), The Invention of Love (1997), The Coast of Utopia (2002), Rock 'n' Roll (2006) and Leopoldstadt (2020). He wrote the screenplays for Brazil (1985), Empire of the Sun (1987), The Russia House (1990), Billy Bathgate (1991), Shakespeare in Love (1998), Enigma (2001), and Anna Karenina (2012), as well as the BBC/HBO limited series Parade's End (2013). He directed the film Rosencrantz and Guildenstern Are Dead (1990), adapting his own 1966 play as its screenplay, with Gary Oldman and Tim Roth as the leads.Stoppard received numerous awards and honours including an Academy Award for Best Original Screenplay for Shakespeare In Love, three Laurence Olivier Awards, and five Tony Awards. In 2008, The Daily Telegraph ranked him number 11 in their list of the "100 most powerful people in British culture". It was announced in June 2019 that Stoppard had written a new play, Leopoldstadt, set in the Jewish community of early 20th-century Vienna. The play premiered in January 2020 at Wyndham's Theatre. The play went on to win the Laurence Olivier Award for Best New Play and later the 2023 Tony Award for Best Play.This recording reflects the Wikipedia text as of 03:05 UTC on Sunday, 30 November 2025.For the full current version of the article, see Tom Stoppard on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Bluesky at @wikioftheday.com.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Ruth.

Today we talk about the philosophy behind the play Romeo and Juliet by William Shakespeare. We talk about how ineffective violence and honor codes are as ways of maintaining the stability of a society. How catastrophe may be a deterrent to violence. The tension presented by Shakespeare between a Christian view of love, marriage and salvation and an alternative religion of love from his time. How in the kinds of love we most admire there is sometimes an element of irrationality that makes it possible. Hope you love it. :) Sponsors: ZocDoc: https://www.ZocDoc.com/PHILO Quince: https://www.QUINCE.com/pt Nord VPN: https://nordvpn.com/philothis  Thank you so much for listening! Could never do this without your help.  Website: https://www.philosophizethis.org/ Patreon: https://www.patreon.com/philosophizethis  Social: Instagram: https://www.instagram.com/philosophizethispodcast X: https://twitter.com/iamstephenwest Facebook: https://www.facebook.com/philosophizethisshow Learn more about your ad choices. Visit podcastchoices.com/adchoices

durée : 00:13:16 - Le Cours de l'histoire - par : Xavier Mauduit - De Jorge Luis Borges à Julia Kristeva en passant par Shakespeare, les écrivain(e)s et les poètes prouvent sans cesse le pouvoir des mots face à la violence du monde. - réalisation : Benjamin Hû

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

In this episode of the show we are finishing John Dahl Fall with a conversation about his 1998 effort Rounders. Over the course of our chat you will hear us wonder how this movie was dumped unceremoniously and how Miramax decided to have more faith in Shakespeare in Love, how it fits (or doesn't) in John Dahl's creative catalogue and how it also gained second life on home video in the following years. We also talk about how cinematic or uncinematic portrayal of poker is on screen, how the movie is a de facto story of addiction, and how the script treats poker the way six-year-old boys talk about dinosaurs. Finally, we spare a precious few words on what we think about Matt Damon and Edward Norton as rising stars of the time and John Malkovich's dialect work, which is clearly unforgettable and perhaps iconic in its own way.Tune in and enjoy!Hosts: Jakub Flasz & Randy BurrowsIntro: Infraction - CassetteOutro: Infraction - DaydreamHead over to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠uncutgemspodcast.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to find all of our archival episodes and more!Follow us on Twitter (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠), IG (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) and Facebook (@UncutGemsPod)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy us a coffee over at Ko-Fi.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (ko-fi.com/uncutgemspod)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to our Patreon!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (patreon.com/uncutgemspod)

Mit dem Oscar-prämierten Kinohit "Shakespeare in Love" begeisterte er Millionen - doch seine wahre Liebe und Leidenschaft galt dem Theater: Jetzt ist Tom Stoppard, der Meister der intellektuellen Unterhaltung, im Alter von 88 Jahren gestorben. Schneider, Noemi www.deutschlandfunkkultur.de, Fazit

History has not graced us with many details about Shakespeare as a person, but we do know that he and his wife had three children, including a son named Hamnet who died at the age of 11 in 1596, four years before Shakespeare went on to write his great tragedy “Hamlet.”Maggie O'Farrell's novel “Hamnet” — one of the Book Review's 10 Best Books of 2020, and the source of Chloé Zhao's new movie of the same name — starts from those scant facts, and spins them into a powerful story of grief, art and family steeped in the textures of late-16th-century life.In this episode of the Book Review Book Club, host MJ Franklin discusses “Hamnet” with his colleagues Leah Greenblatt, Jennifer Harlan and Sarah Lyall. Other works mentioned in this podcast:“Hamlet,” “King Lear,” “Macbeth,” “The Winter's Tale,” by William Shakespeare“Little Women,” by Louisa May Alcott“Grief Is the Thing With Feathers,” by Max Porter“Lincoln in the Bardo,” by George Saunders“Fi,” by Alexandra Fuller“Things In Nature Merely Grow,” by Yiyun Li“The Accidental Tourist,” by Anne Tyler“Will in the World” and “Dark Renaissance,” by Stephen Greenblatt“Gabriel,” by Edward Hirsch“Once More We Saw Stars,” by Jayson Greene“The Dutch House,” by Ann Patchett Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app.

Sent us a text, you dicks!!Hello dicks and dickesses!!We are taking this week off due to personal reasons, but we leave you here with LA and a few Shakespeare quotes about thankfulness.Hope your Thanksgivings (if you celebrate it, that is!!) were warm and wonderful!!LA & OwenTo send us an email - please do, we truly want to hear from you!!! - write us at: thebardcastyoudick@gmail.com To support us (by giving us money - we're a 501C3 Non-Profit - helllloooooo, tax deductible donation!!!) - per episode if you like! On Patreon, go here:  https://www.patreon.com/user?u=35662364&fan_landing=trueOr on Paypal:https://www.paypal.com/donate/?hosted_button_id=8KTK7CATJSRYJWe also take cash!   ;DTo visit our website, go here:https://www.thebardcastyoudick.comTo donate to an awesome charity, go here:https://actorsfund.org/help-our-entertainment-communiity-covid-19-emergency-reliefLike us? Don't have any extra moolah? We get it! Still love us and want to support us??   Then leave us a five-star rating AND a review wherever you get your podcasts!!

A sex-crazed queen from an alien world kidnaps Superman because she is horny on the latest episode of Superman TAS! Join us as we discuss...Seeing Hamnet, Shakespeare fan fiction and Stranger Things Season 5!Superman was beaten like 4 times but Maxima still considers him a winner!Disagreeing on whether Batman could have stood a chance fighting Maxima!Speculating on Superman's sex life and wondering why he doesn't just hook up with Maxima in the end!The X-Men TAS Podcast just opened a SECRET reddit group, join by clicking here! We are also on Twitch sometimes… click here to go to our page and follow and subscribe so you can join in on all the mysterious fun to be had! Also, make sure to subscribe to our podcast via Buzzsprout or iTunes and tell all your friends about it! Follow Willie Simpson on Bluesky and please join our Facebook Group! Last but not least, if you want to support the show, you can Buy Us a Coffee as well! 

In our final throwback episode, Jacqueline thinks Meghan is going to like Asssistant to the Villain by Hannah Nicole Maehrer and Meghan thinks Jacqueline is going to like If We Were Villains by M. L. Rio. Even though there isn't much these books have in common other than the word “villain” in their titles, we still have lots to talk about! I mean Shakespeare, theatre, frogs holding signs, people with names that aren't names, all sorts of adventures. Happy Thanksgiving, and get ready for LTP Christmas! Follow LTP on Social Media

What happens when one of Shakespeare's most iconic characters refuses to accept her tragic fate? In this episode, we sit down with Lois Ellise, who makes her National Tour debut in the smash hit musical & JULIET, playing Susanna, serving as swing, and understudying Juliet herself.Lois shares how her BFA training from Central Michigan University prepared her for the whirlwind life of a touring performer, what it feels like to step into a show that flips one of the world's most famous love stories on its head, and why & JULIET has become one of Broadway's most talked-about new musicals.December 16–21, 2025. The Stranahan TheatreTickets can be purchased at BroadwayinToledo.com or StranahanTheater.com.

A soccer fan explains why it was easier, and possibly cheaper, to travel to the World Cup in Qatar than to get tickets for this year's event in Canada.PLUS: BC struggles with how to care for people with severe mental illnessWhat do we actually know about Shakespeare and his son Hamnet?How Whatever's podcast Dating Talk is radicalizing young menThe basketball dynasty that helped shape Haida Gwaii identity Riffed from the Headlines, our weekly musical news quiz

In this intimate conversation recorded at Shakespeare and Company, novelist Miriam Robinson joins Adam Biles to discuss her remarkable debut, And Notre Dame Is Burning. Together, they explore the novel's fractured structure and the emotional aftermath of betrayal, loss, and motherhood. Robinson reflects on her protagonist Esther—a woman piecing together the wreckage of a marriage through letters and fragments—as well as on grief, storytelling, and the disorientation of time. From the shadow of Notre Dame to the uncertainty of rebuilding a life, Robinson examines how women navigate love, autonomy, and the stories they tell themselves. Touching on subjects from miscarriage and memory to patriarchy and the politics of intimacy, this conversation balances literary craft with raw honesty.Buy And Notre Dame Is Burning: https://www.shakespeareandcompany.com/books/and-notre-dame-is-burning*Miriam Robinson is an author who has worked in the world of books and bookshops for over 15 years. Previously the host of podcast My Unlived Life, she holds an MA in Creative Writing from Goldsmiths, University of London and her short fiction has been shortlisted for a Pushcart Prize, the inaugural Pindrop/RA Short Story Prize and the Pat Kavanagh Prize. Originally from Colorado, Miriam lives in East London with her daughter and their six-toed cat Astrid.Adam Biles is Literary Director at Shakespeare and Company.Listen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Hosted on Acast. See acast.com/privacy for more information.

We discuss Shakespeare's sonnets, the identities of the Fair Youth and Dark Lady, and the Oscar Wilde short story "The Portrait of Mr. W.H."To hear the full episode, visit patreon.com/barnaclecast

Ever since her triumphant debut in Chaucer's Canterbury Tales, the Wife of Bath, arguably the first ordinary and recognisably real woman in English literature, has obsessed readers--from Shakespeare to James Joyce, Voltaire to Pasolini, Dryden to Zadie Smith. Few literary characters have led such colourful lives or matched her influence or capacity for reinvention in poetry, drama, fiction, and film. In The Wife of Bath: A Biography (Princeton UP, 2023), Marion Turner tells the fascinating story of where Chaucer's favourite character came from, how she related to real medieval women, and where her many travels have taken her since the fourteenth century, from Falstaff and Molly Bloom to #MeToo and Black Lives Matter. A sexually active and funny working woman, the Wife of Bath, also known as Alison, talks explicitly about sexual pleasure. She is also a victim of domestic abuse who tells a story of rape and redemption. Formed from misogynist sources, she plays with stereotypes. Turner sets Alison's fictional story alongside the lives of real medieval women--from a maid who travelled around Europe, abandoned her employer, and forged a new career in Rome to a duchess who married her fourth husband, a teenager, when she was sixty-five. Turner also tells the incredible story of Alison's post-medieval life, from seventeenth-century ballads and Polish communist pop art to her reclamation by postcolonial Black British women writers. Entertaining and enlightening, funny and provocative, The Wife of Bath is a one-of-a-kind history of a literary and feminist icon who continues to capture the imagination of readers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Ever since her triumphant debut in Chaucer's Canterbury Tales, the Wife of Bath, arguably the first ordinary and recognisably real woman in English literature, has obsessed readers--from Shakespeare to James Joyce, Voltaire to Pasolini, Dryden to Zadie Smith. Few literary characters have led such colourful lives or matched her influence or capacity for reinvention in poetry, drama, fiction, and film. In The Wife of Bath: A Biography (Princeton UP, 2023), Marion Turner tells the fascinating story of where Chaucer's favourite character came from, how she related to real medieval women, and where her many travels have taken her since the fourteenth century, from Falstaff and Molly Bloom to #MeToo and Black Lives Matter. A sexually active and funny working woman, the Wife of Bath, also known as Alison, talks explicitly about sexual pleasure. She is also a victim of domestic abuse who tells a story of rape and redemption. Formed from misogynist sources, she plays with stereotypes. Turner sets Alison's fictional story alongside the lives of real medieval women--from a maid who travelled around Europe, abandoned her employer, and forged a new career in Rome to a duchess who married her fourth husband, a teenager, when she was sixty-five. Turner also tells the incredible story of Alison's post-medieval life, from seventeenth-century ballads and Polish communist pop art to her reclamation by postcolonial Black British women writers. Entertaining and enlightening, funny and provocative, The Wife of Bath is a one-of-a-kind history of a literary and feminist icon who continues to capture the imagination of readers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Ever since her triumphant debut in Chaucer's Canterbury Tales, the Wife of Bath, arguably the first ordinary and recognisably real woman in English literature, has obsessed readers--from Shakespeare to James Joyce, Voltaire to Pasolini, Dryden to Zadie Smith. Few literary characters have led such colourful lives or matched her influence or capacity for reinvention in poetry, drama, fiction, and film. In The Wife of Bath: A Biography (Princeton UP, 2023), Marion Turner tells the fascinating story of where Chaucer's favourite character came from, how she related to real medieval women, and where her many travels have taken her since the fourteenth century, from Falstaff and Molly Bloom to #MeToo and Black Lives Matter. A sexually active and funny working woman, the Wife of Bath, also known as Alison, talks explicitly about sexual pleasure. She is also a victim of domestic abuse who tells a story of rape and redemption. Formed from misogynist sources, she plays with stereotypes. Turner sets Alison's fictional story alongside the lives of real medieval women--from a maid who travelled around Europe, abandoned her employer, and forged a new career in Rome to a duchess who married her fourth husband, a teenager, when she was sixty-five. Turner also tells the incredible story of Alison's post-medieval life, from seventeenth-century ballads and Polish communist pop art to her reclamation by postcolonial Black British women writers. Entertaining and enlightening, funny and provocative, The Wife of Bath is a one-of-a-kind history of a literary and feminist icon who continues to capture the imagination of readers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Thackeray's chance to redesign an Italian garden is thwarted by the disappearance of his employer.   Landscape gardener-cum-detective Jim Thackeray needs to combine his skills when a murder takes place in the Shakespeare-themed garden he has designed. The victim is the ex-wife of a Turkish multi-millionaire and the crime is committed during a ‘Shakespeare' party Thackeray is holding. Learn more about your ad choices. Visit megaphone.fm/adchoices

I greet you in Jesus' precious name! It is Thursday morning, the 27th of November, 2025, and this is your friend, Angus Buchan, with a thought for today. We start in the Book of Isaiah 55:11, and the Lord says; ”So shall My word be that goes forth from My mouth; It shall not return to Me void, But it shall accomplish what I please, And it shall prosper in the thing for which I sent it.” Then we go to the New Testament, John 7:26:”But look! He speaks boldly, and they say nothing to Him. Do the rulers know indeed that this is truly the Christ? “ Now, remember what happened. Jesus told the disciples to go up to Jerusalem to the Feast of Tabernacles. He said, ”I will come later,” because they were seeking to kill Jesus. So eventually He came to Jerusalem on His own, and then He started to teach in the temple. His words were so bold that everyone listened without a word. The power of the spoken word of God. They recognised Jesus as the Christ, the Messiah, by the words which proceeded from His mouth.I want to say to you today, my dear friend, and this applies to me, we are not using the word of God enough. That is where the power is! William Shakespeare was a great writer, but there's no power when you quote Shakespeare. When you quote Sigmund Freud, there's no power. When you even quote Albert Einstein, supposed to be the most brilliant mind, there's no power, but when you quote the Word of God, there is power which accompanies the spoken Word of God.I have had the privilege of speaking at the Feast of Tabernacles in Jerusalem a number of times, and I want to tell you when you say, ”thus says the Lord,” the power comes down folks, especially if you believe it. If you look at some of those old crusade tapes of Dr Billy Graham and he says, ”and the word of God says….” As soon as he quotes Scripture, you can feel the presence of the Holy Spirit in that stadium amongst those thousands and thousands of people. I've experienced it in my own life, standing up there, feeling totally inadequate, but as soon as I start quoting the word of God, a supernatural power comes down and energises me, and I can see a change in that vast crowd.I want to speak to mothers today. You've got a sick child. Oh mom, go and lay your hands on your child and speak the Word of God over that child, speak healing over that little child. I want to say to dad, he doesn't know what to do at work anymore, there are big problems there. Speak the Word of God. I really mean that, quote Scripture. You will be surprised by how the men will come into line.Jesus bless you and have a wonderful day.Goodbye.

Ever since her triumphant debut in Chaucer's Canterbury Tales, the Wife of Bath, arguably the first ordinary and recognisably real woman in English literature, has obsessed readers--from Shakespeare to James Joyce, Voltaire to Pasolini, Dryden to Zadie Smith. Few literary characters have led such colourful lives or matched her influence or capacity for reinvention in poetry, drama, fiction, and film. In The Wife of Bath: A Biography (Princeton UP, 2023), Marion Turner tells the fascinating story of where Chaucer's favourite character came from, how she related to real medieval women, and where her many travels have taken her since the fourteenth century, from Falstaff and Molly Bloom to #MeToo and Black Lives Matter. A sexually active and funny working woman, the Wife of Bath, also known as Alison, talks explicitly about sexual pleasure. She is also a victim of domestic abuse who tells a story of rape and redemption. Formed from misogynist sources, she plays with stereotypes. Turner sets Alison's fictional story alongside the lives of real medieval women--from a maid who travelled around Europe, abandoned her employer, and forged a new career in Rome to a duchess who married her fourth husband, a teenager, when she was sixty-five. Turner also tells the incredible story of Alison's post-medieval life, from seventeenth-century ballads and Polish communist pop art to her reclamation by postcolonial Black British women writers. Entertaining and enlightening, funny and provocative, The Wife of Bath is a one-of-a-kind history of a literary and feminist icon who continues to capture the imagination of readers.

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

When Jacke started the podcast in 2015, he decided to privilege books that were at least fifty years old. (Longtime listeners will know he's made a few exceptions, but for the most part, that's been the policy.) Last month, the History of Literature Podcast celebrated its tenth anniversary - which means there are ten years' worth of books that are eligible now that weren't when he began. In this day-before-Thanksgiving episode, Jacke talks to regular guests Mike Palindrome and Laurie Frankel about Thanksgiving plans, Laurie's forthcoming novel Enormous Wings, Mike's Bluesky reading-together projects, and the literature that came out in the years 1965-1975. PLUS Jacke gives thanks for ten years of listener support, AND Eve Dunbar (Monstrous Work and Radical Satisfaction: Black Women Writing Under Segregation) stops by to discuss her choice for the last book she will ever read. Join Jacke on a trip through literary England (signup closing soon)! The History of Literature Podcast Tour is happening in May 2026! Act now to join Jacke and fellow literature fans on an eight-day journey through literary England in partnership with ⁠⁠⁠⁠⁠⁠⁠John Shors Travel⁠⁠⁠⁠⁠⁠⁠. Scheduled stops include The Charles Dickens Museum, Dr. Johnson's house, Jane Austen's Bath, Tolkien's Oxford, Shakespeare's Globe Theater, and more. Find out more by emailing jackewilsonauthor@gmail.com or masahiko@johnshorstravel.com, or by contacting us through our website ⁠⁠⁠⁠⁠⁠⁠historyofliterature.com⁠⁠⁠⁠⁠⁠⁠. Or visit the ⁠⁠⁠⁠⁠⁠⁠History of Literature Podcast Tour itinerary⁠⁠⁠⁠⁠⁠⁠ at ⁠⁠⁠⁠⁠⁠⁠John Shors Travel⁠⁠⁠⁠⁠⁠⁠. The music in this episode is by Gabriel Ruiz-Bernal. Learn more at ⁠⁠⁠⁠⁠⁠⁠gabrielruizbernal.com⁠⁠⁠⁠⁠⁠. Help support the show at ⁠⁠⁠⁠⁠⁠⁠patreon.com/literature ⁠⁠⁠⁠⁠⁠⁠or ⁠⁠⁠⁠⁠⁠⁠historyofliterature.com/donate ⁠⁠⁠⁠⁠⁠⁠. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at ⁠⁠⁠⁠⁠⁠⁠thepodglomerate.com/historyofliterature⁠⁠⁠⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

Did William Shakespeare really write the greatest plays in the English language… or have we been sold a 400-year-old lie?For centuries, schools, universities, and institutions have defended the official story of a small-town actor with no higher education, no travel record, and barely any surviving documents — somehow becoming the most brilliant writer who ever lived.But the deeper you look, the stranger it gets.In today's episode, we dive into the Shakespeare authorship conspiracy — exploring why so many historians now question whether Shakespeare was the real author… and who the true writer might have been.We break down the three most compelling suspects:

Folger Shakespeare Library director Farah Karim-Cooper's new book All the World's Your Stage explores for readers of all ages the life and times of William Shakespeare through eight of his most popular plays. Dr. Karim-Cooper discusses how this was one of her hardest books to write and reveals the surprising title of her favorite Shakespeare play; the relationship between profanity and a love of language; Shakespearean mythbusting; the confessions of a Texan sailor's daughter; the value of Shakespeare – as well as museums, arts, and humanities – beyond their “relevance;” ; how Shakespeare wrote what may be the first Black power speech; and the importance of studying Shakespeare on the stage as well as on the page. (Length 27:37) (Photo of Farah Karim-Cooper above by Henri T.) The post Farah Karim-Cooper appeared first on Reduced Shakespeare Company.

In this College Deep Dive, Ryan Kasparzcak the Head of Montclair's Theatre and Dance and MTCA Director Charlie Murphy discuss:  Candid look at their MT program, dance expectations, and admissions approach. Leading with your spark, and aiming for a little better every day. Flexibility within a conservatory-style BFA and how Montclair evaluates auditions. Real talk on waitlists, relationship-building, and navigating this process with clarity and confidence. If you have any questions about the college audition process, feel free to reach out at mailbag@mappingthecollegeaudition.com. If you're interested in working with MTCA for help with your individualized preparation for your College Audition journey, please check us out at mtca.com, or on Instagram or Facebook.  Follow Us!  Instagram: @mappingthecollegeaudition YouTube: @MTCA (Musical Theater College Auditions)  TikTok: @mtcollegeauditions  Charlie Murphy:@charmur7  About MTCA:  Musical Theater College Auditions (MTCA) is the leader in coaching acting and musical theater students through the college audition process and beyond with superlative results. MTCA has assembled a roster of expert artist-educators who can guide students artistically, organizationally, strategically, and psychologically through the competitive college audition process. MTCA provides the tools, resources, and expertise along with a vast and strong support system. They train the unique individual, empowering the artist to bring their true, authentic self to their work. MTCA believes that by helping students reveal their potential it allows each school to connect with those who are truly right for their programs, which in turn guides each student toward their best college fit.  About Charlie Murphy:  Charlie is a proud graduate of Carnegie Mellon University's BFA program. As an Actor he has performed with theaters such as: NY Public Theatre's “Shakespeare in the Park”, The Pearl Theatre Company, Hudson Valley Shakespeare Festival, Chautauqua Theatre Company, Kinetic Theatre Company, and the Shakespeare Theatre of DC. With MTCA [Musical Theater College Auditions -- mtca.com], he has been helping prospective theatre students through the college process for over 15 years. As a Teacher and Director, he is able to do a few of his favorite things in life: help students to find their authentic selves as artists, and then help them find their best fit for their collegiate journey. Through this podcast, he hopes to continue that work as well as help demystify this intricate process. This episode was produced by Meghan Cordier, Kelly Prendergast and Socials by Jordan Rice. Episode theme music is created by Will Reynolds with Additional Vocals from Elizabeth Stanley Learn more about your ad choices. Visit megaphone.fm/adchoices

Host Aaron Odom (@TridentTheatre) and returning guest Micah Wyatt discuss the extraordinary passion project of Sam Wanamaker, the creation of "Shakespeare's Globe," a nearly accurate representation of The Globe Theatre which had not been seen in London since 1644. The Barefoot Band's "Gas Money for Austin" "Euripides, Eumenides" on Instagram Sources for "Euripides, Eumenides"

We are back this November with our friend and guest Audrey Young, a core company member who is playing Emma in our upcoming production of Jane Austen’s “Emma!” We talk about Shakespeare, Jane Austen, and the “Emma” rehearsal process. Come see the show this December in Flagstaff, AZ! Tickets available at FlagShakes.org.   https://linktr.ee/untamedshrewspodcast Starring… Hannah JohnsonDawn TuckerBecki ZaritskyAudrey Young Produced and edited by […]

From his possible espionage work for the Elizabethan state to his open flirtations with atheism and subversive sexual themes, the brief life of playwright Christopher Marlowe tells us much about the shadowy edges of 16th-century England. Stephen Greenblatt joins Elinor Evans to discuss the subversive, dangerous life of 'Kit', who became both a collaborator and rival of his contemporary, William Shakespeare. (Ad) Stephen Greenblatt is the author of Dark Renaissance: The Dangerous Times and Fatal Genius of Shakespeare's Greatest Rival, Christopher Marlowe (Bodley Head, 2025). Buy it now from Amazon: https://www.amazon.co.uk/Dark-Renaissance-Dangerous-Shakespeares-Christopher/dp/1847927130/?tag=bbchistory045-21&ascsubtag=historyextra-social-histboty. The HistoryExtra podcast is produced by the team behind BBC History Magazine. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Merriam-Webster's Word of the Day for November 25, 2025 is: perdition • per-DISH-un • noun Perdition refers to hell, or to the state of being in hell forever as punishment after death—in other words, damnation. It is usually used figuratively. // Dante's Inferno details the main character's journey through perdition. // It's this kind of selfishness that leads down the road to perdition. See the entry > Examples: “AC/DC has been criticized for sticking to its straightforward musical formula for more than 50 staggering years, but there's little denying the appeal of the group's adrenalized and reliable approach. As Angus Young stated in the liner notes for a reissue of ‘The Razor's Edge,' ‘AC/DC equals power. That's the basic idea.' That energetic jolt is sometimes the perfect means to raise spirits and spread actual joy, even coming from a band offering the cartoonish imagery of plastic horns and travel down the road to perdition.” — Jeff Elbel, The Chicago Sun-Times, 25 May 2025 Did you know? Perdition is a word that gives a darn, and then some. It was borrowed into English in the 14th century from the Anglo-French noun perdiciun and ultimately comes from the Latin verb perdere, meaning “to destroy.” Among the earliest meanings of perdition was, appropriately, “utter destruction,” as when Shakespeare wrote of the “perdition of the Turkish fleet” in Othello. This sense, while itself not utterly destroyed, doesn't see much use anymore; perdition is today used almost exclusively for eternal damnation or the place where such destruction of the soul occurs.

Mackenzie Eddie and Scott Siepker are overthinking a man who has a new girlfriend after his wife was cryogenically frozen, they once again revisit the viral 6-7 meme and how it might relate to Shakespeare, and of course talk about Thanksgiving. Presented by Carbliss Premium Handcrafted Cocktails. Learn more about your ad choices. Visit megaphone.fm/adchoices

Marline Williams' love for Jesus and His people shine through her Jesus Revolution romances. Listen in while we learn what Marline has in store next for her characters... in LONDON! note: links may be affiliate links that provide me with a small commission at no extra expense to you.  Had a great conversation about London in the seventies, how the Jesus People changed how the church looked to those outside, about atheism and so much more. Love the One You're With by Marline Williams To thine own self be true. Yeah, right.  Street-preaching in Hyde Park, singing Godspell's greatest hits at the Royal Albert Hall, performing at Jesus People music festivals—Dana Whitman has finally met her tribe! It's spring 1974 and Dana arrives in swingin' London wearing her heart on her sleeve and Roland Schowalter's ring on her finger. A ring that seems dangerously close to slipping off when she matches wits with droll, dashing Oxford atheist Cyril Hawthorne, self-appointed pirate king of the wild Shakespeare troupe she's joined. Her long-distance romance with all-American Roland feels fuzzy and far away, their small-town future increasingly unappealing. Rumors about Roland's loyalty—and doubts about her own—force a freaked-out Dana to do some of her most convincing acting off-stage. But her return to the States will make everything okay again. Right? How can Dana be true to herself and the man she's promised to love? Don't miss the first episode where we chatted about her debut novel! ALSO: Get her FREE 1939 novella HERE! and Her FREE 1965 novella HERE. Learn more about Marline on her WEBSITE and follow her on GoodReads. Like to listen on the go? You can find Because Fiction Podcast at: Apple Castbox Google Play Libsyn RSS Spotify Amazon and more!

Charlotte Brontë wasn't born the eldest child, but she was thrust into a leadership role at the age of ten, as the Brontë children dealt with the tragic deaths of their mother and two eldest sisters. How did this affect their family dynamic? And when the younger two sisters, Emily and Anne, had their novels accepted while Charlotte's alone was rejected, how did Charlotte respond? In this episode, Jacke talks to author Catherine Rayner, expert in the Brontës and a qualified nurse who's studied the effects of childhood on the development and psychology of adults, about the swirl of sibling psychologies explored in her book The Brontë Family: Sibling Rivalry and a Burial in Paradise. PLUS author Keith Cooper (Amazing Worlds of Science Fiction and Science Fact) stops by to discuss his choice for the last book he will ever read. Join Jacke on a trip through literary England (signup closing soon)! The History of Literature Podcast Tour is happening in May 2026! Act now to join Jacke and fellow literature fans on an eight-day journey through literary England in partnership with ⁠⁠⁠⁠⁠⁠⁠John Shors Travel⁠⁠⁠⁠⁠⁠⁠. Scheduled stops include The Charles Dickens Museum, Dr. Johnson's house, Jane Austen's Bath, Tolkien's Oxford, Shakespeare's Globe Theater, and more. Find out more by emailing jackewilsonauthor@gmail.com or masahiko@johnshorstravel.com, or by contacting us through our website ⁠⁠⁠⁠⁠⁠⁠historyofliterature.com⁠⁠⁠⁠⁠⁠⁠. Or visit the ⁠⁠⁠⁠⁠⁠⁠History of Literature Podcast Tour itinerary⁠⁠⁠⁠⁠⁠⁠ at ⁠⁠⁠⁠⁠⁠⁠John Shors Travel⁠⁠⁠⁠⁠⁠⁠. The music in this episode is by Gabriel Ruiz-Bernal. Learn more at ⁠⁠⁠⁠⁠⁠⁠gabrielruizbernal.com⁠⁠⁠⁠⁠⁠. Help support the show at ⁠⁠⁠⁠⁠⁠⁠patreon.com/literature ⁠⁠⁠⁠⁠⁠⁠or ⁠⁠⁠⁠⁠⁠⁠historyofliterature.com/donate ⁠⁠⁠⁠⁠⁠⁠. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at ⁠⁠⁠⁠⁠⁠⁠thepodglomerate.com/historyofliterature⁠⁠⁠⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome back to another conversation about Shakespeare's wonderful comedy. The best bit: this week we're joined by the one-and-only Tim McIntosh! Topics of conversation include the famous “gulling” scene, the difference between Benedick and Claudio, Don Pedro the schemer, and some more on “noting.” As always, happy listening! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit closereads.substack.com/subscribe

Was Richard III really the child-murdering villain Shakespeare portrayed…or the victim of one of history's greatest smear campaigns?In this deep-dive conversation, I'm joined by historian and Gone Medieval host Matt Lewis to unpack the truth behind Richard III, the Princes in the Tower, Tudor propaganda, and the infamous bigamy claim that changed the English succession.We dig into:* Did Richard III order the deaths of the Princes in the Tower?* How Henry Tudor rewrote history to justify his own reign* Shakespeare's role in cementing Richard as the ultimate villain* The bigamy allegation against Edward IV and what it really meant* New research and projects challenging the traditional storyIf you're obsessed with the Wars of the Roses, the Tudors, medieval power politics, or just love overturning the “official” version of history, this episode is for you.

You can't say “Macbeth” in a theater, but you can certainly say it on a podcast! Dana Schwartz joins us (in her third Blank Check appearance on a witch-centered film) to talk about Joel Coen's The Tragedy of Macbeth, the first solo-directorial effort from a Coen Brother after their amicable split. We're debating the success of Frances McDormand and Denzel Washington's performances, learning about the history of Scottish kings, and discovering Ben Hosley's family crest in the first Blank Check episode devoted to a work of Shakespeare. Trust us, this isn't homework. It's fun! Listen to Noble Blood Listen to Hoax  Read Anatomy A Love Story Pre-order The Arcane Arts Read If Roast Beef Could Fly Check out Forbidden Planet Watch Jefferson Mays' A Christmas Carol Sign up for Check Book, the Blank Check newsletter featuring even more “real nerdy shit” to feed your pop culture obsession. Dossier excerpts, film biz AND burger reports, and even more exclusive content you won't want to miss out on. Join our Patreon for franchise commentaries and bonus episodes. Follow us @blankcheckpod on Twitter, Instagram, Threads and Facebook!  Buy some real nerdy merch Connect with other Blankies on our Reddit or Discord For anything else, check out BlankCheckPod.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Merriam-Webster's Word of the Day for November 22, 2025 is: metonymy • muh-TAH-nuh-mee • noun Metonymy refers to a figure of speech in which a word that is associated with something is used to refer to the thing itself, as when crown is used to mean “king” or “queen.” // Wall Street, Silicon Valley, and Hollywood are common examples of metonymy. See the entry > Examples: “The stick used to command the crowd is called a ‘brigadier.' A brigadier is usually used to describe one who commands a military brigade, yes, but does not a stage manager lead his theater brigade? That's the idea, according to organizers. It was a term used so often to refer to a stick-wielding stage manager that, through the magic of metonymy, the stick itself is now referred to as a brigadier.” — Emma Bowman, NPR, 6 Aug. 2024 Did you know? When Mark Antony asks the people of Rome to lend him their ears in Shakespeare's play Julius Caesar he is asking them to listen to him, not to literally allow him to borrow their ears. It's a classic example of the rhetorical device known as metonymy, which comes to English (via Latin) from the Greek word of the same meaning, metōnymia: the use of a word that is associated with something to refer to the thing itself. Metonymy often appears in news articles and headlines, as when journalists use the term crown to refer to a king or queen. Another common example is the use of an author's name to refer to works written by that person, as in “They are studying Austen.” Metonymy is closely related to synecdoche, which is a figure of speech in which the word for a part of something is used to refer to the thing itself (as in “need some extra hands for the project”), or less commonly, the word for a thing itself is used to refer to part of that thing (as when society denotes “high society”).

Sixty-five years ago, Alfred Hitchcock shocked audiences with his film ‘Psycho.' It broke Hollywood conventions about what a film should and should not do, ushered in a new era of horror/thriller, and became one of the most studied movies in cinema history. We listen back to Terry's interview with star Janet Leigh, who talks about filming the famous shower scene. And we hear from screenwriter Evan Hunter about working with Hitchcock on his next film, ‘The Birds.'Also, Justin Chang reviews the new film ‘Hamnet,' about Shakespeare as a young playwright, husband and father. Follow Fresh Air on instagram @nprfreshair, and subscribe to our weekly newsletter for gems from the Fresh Air archive, staff recommendations, and a peek behind the scenes. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

This is an extended preview of our Nexus episode covering Star Trek VI: The Undiscovered Country. To access the full show, click through here and sign up for our Patreon today! Instantly unlock over 100 other episodes of our Star Trek recap show! We're getting into We ❤️ Movies Month here on The Nexus as well, that's right, it's time for us to (finally) take a look at the masterful Star Trek VI: The Undiscovered Country! When you really get down to it, putting the legendary villain of Khan aside, there's a real argument to be made that THISis the best of all Star Trek films. How incredible is this cold open with Captain Sulu? Did they drop the storyline of Scotty and Uhura sleeping together from the last movie? How great is it seeing Shatner fight himself in the prison break scene? Did Christopher Plummer's character ever read anyone other than Shakespeare? And we can all agree that the signatures at the end are great? PLUS: A history of the importance of various Dee Vee Dee extras!  Star Trek VI: The Undiscovered Country stars William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, Walter Koenig, Nichelle Nichols, George Takei, Kim Cattrall, Mark Lenard, Grace Lee Whitney, Bock Peters, Kurtwood Smith, David Warner, Christopher Plummer, and Michael Dorn as Colonel Worf; directed by Nicholas Meyer. The Nexus is a WHM podcast where the guys futilely go through two Star Trek series at the same time. Thank you so much for continuing to support our family of shows—we couldn't do it without you! We know you have lots of options for pods and we're super-stoked you chose to spend some time with us—thanks again! Cover art by Felipe Sobreiro.