Podcast appearances and mentions of William Shakespeare

What do the element palladium, William Shakespeare, and this episode have in common?  Palladium is the 46th element on the periodic table.  Shakespeare was rumored to have secretly written the King James Bible at the age of 46. In Psalm 46, the 46th word from the beginning of the psalm is often claimed to be “shake,” while the 46th word from the end is “spear.”  And this episode is the 46th time I've answered your questions.  Stay tuned for the 46th episode of questions and answers on this episode of Everything Everywhere Daily. ⁠Shop the store at ⁠⁠Shop.Everything-Everywhere.com⁠ Sponsors Hexclad Get 10% off your order at ⁠hexclad.com/DAILY⁠ Mint Mobile Save 50% on Unlimited premium wireless plans starting at $15/month at ⁠MintMobile.com/EED⁠ Quince Go to ⁠quince.com/daily⁠ for 365-day returns, plus free shipping on your order! DripDrop Go to ⁠dripdrop.com⁠ and use promo code EVERYTHING for 20% off your first order! Square Get up to $200 off Square hardware when you sign up at ⁠square.com/go/daily⁠ Babbel Go to ⁠babbel.com/daily⁠ for up to 60% off Subscribe to the podcast!  ⁠https://everything-everywhere.com/everything-everywhere-daily-podcast/⁠ -------------------------------- Executive Producer: Charles Daniel Associate Producers: Austin Oetken & Cameron Kieffer   Become a supporter on Patreon: ⁠https://www.patreon.com/everythingeverywhere⁠ Discord Server: ⁠https://discord.gg/Ds7Rx7jvPJ⁠ Instagram: ⁠https://www.instagram.com/everythingeverywhere/⁠ Facebook Group: ⁠https://www.facebook.com/groups/everythingeverywheredaily⁠ Twitter: ⁠https://twitter.com/everywheretrip⁠ Website: ⁠https://everything-everywhere.com/⁠  Disce aliquid novi cotidie Learn more about your ad choices. Visit megaphone.fm/adchoices

Director of Programming and Performance at the Folger Shakespeare Library, and Artistic Director of Folger Theatre, KAREN ANN DANIELS joins host Nathan Winkelstein for a deeply personal conversation about William Shakespeare's Much Ado About Nothing. They delve into the play's iconic “Kill Claudio” speech in Act 4, Scene 1, Daniels' own “gateway drug” to Shakespeare, and her enduring connection to his work. Daniels and Winkelstein explore Shakespeare's leading women, the ways they navigate — and push against — their societal roles, and the complicated realities of being a woman in the world. They discuss the friendship between Beatrice and Hero, the pressures of social status and relationships, and Daniels' playful approach to Shakespeare. Along the way, they consider how theater can expand our sense of what is possible—and why Daniels saw so much possibility in Beatrice.

A los 80 años ha fallecido el actor Tim Curry, todo un icono polifacético que quedará para siempre inmortalizado como el transilvano doctor Frank'N'Further en "The Rocky Horror Picture Show" (1975) y como cúspide de una serie de personajes tan excéntricos como inolvidables. Su amplio rango interpretativo, aunque siempre dijo que sus preferidos eran los villanos cómicos entre la excentricidad y la caricatura, y un don magnético para la pantalla, le llevó también a destacar como el estafador de "Annie" (1982), el mayordomo de "El juego de la sospecha" (1985), cluedo cinematográfico que acabó convirtiéndose en uno de los grandes hitos de la comedia de la época, el Señor de la Oscuridad de "Legend" (1985), el conserje de hotel de "Solo en casa 2: Perdido en Nueva York" (1992), el cardenal Richelieu de "Los tres mosqueteros de Alejandro Dumas" (1993) o el carismático Long John Silver de "Los Teleñecos en la Isla del Tesoro" (1996). En televisión fue William Shakespeare en la miniserie de 1978, el pendenciero Bill Sikes de "Oliver Twist" en 1982, sembró terror como el payaso Pennywise de "It" (1990) y se puso en la piel de Gomez en "La familia Addams: La reunión" (1998). Este reportaje pertenece al programa "El Cine de LoQueYoTeDiga" nº 492 (18x01) y fue emitido el 5 de septiembre de 2026.

How did a favourite of Elizabeth I go from royal darling to executed traitor?Professor Suzannah Lipscomb is joined by Dr. Alex Gajda and Dr. Will Tosh to explore the meteoric rise and catastrophic fall of Robert Devereux, Earl of Essex, one of the most glamorous yet volatile figures in Elizabethan England. Together they unpack the true motives behind Essex's rebellion and the surprising propaganda role played by William Shakespeare.Watch Prof. Suzannah Lipscomb's new series How The Tudors Lost Their Heads now on Nat Geo and Disney+MOREHenry Wotton: Outlaw and Royal SpyListen on AppleListen on SpotifyRobert Dudley: Elizabeth I's Forbidden LoveListen on AppleListen on SpotifyPresented by Professor Suzannah Lipscomb. The researcher is Max Wintle, audio editor is Amy Haddow and the producer is Rob Weinberg. The senior producer is Anne-Marie Luff.All music courtesy of Epidemic Sounds.Not Just the Tudors is a History Hit podcastHistory Hit is part of Little Dot Studios, a Certified B Corp™Want even MORE fascinating history? Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week PLUS early access, ad-free podcasts. Sign up at https://www.historyhit.com/subscribe Hosted on Acast. See acast.com/privacy for more information.

Lucius berates his father for killing his own son, and Titus's brother Marcus implores him to allow them to bury Mutius in the family tomb. Titus grudgingly agrees to it and tells Marcus that he hopes to prosper by Tamora's sudden advancement, since he was the one who brought her to Rome. Assuming that Titus orchestrated her escape with Bassianus, Saturninus publicly rejects Lavinia before leaving to marry Tamora. After the wedding, Saturninus and Bassianus strike an uneasy peace. Bassianus tells Saturninus that Titus had no part in Lavinia's abduction. Tamora also vouches for Titus's innocence, then pulls Saturninus aside and tells him he must pardon Titus or risk the anger of the Roman people. She promises her new husband that she will find a way to get revenge on Titus and his family. Saturninus finally absolves Marcus, Titus and his remaining sons. Tamora reassures Bassianus and Lavinia that they need not fear punishment as long as they behave. As they leave to enjoy the double wedding feast, Titus invites Saturninus to a celebratory hunt the following morning. Outside the palace, Aaron the Moor walks alone during the festivities, ruminating on his love affair with Tamora. He revels in her new status as Empress, looking forward to the power he will wield through her. He comes across Tamora's sons, Demetrius and Chiron, who are fighting each other over who gets dibs on Lavinia. Aaron breaks it up and tells them Lavinia has just married Bassianus. When he sees that the brothers don't care and are determined to take Lavinia for themselves regardless, he encourages them to lure Lavinia away from the hunting party the next day and rape her together.  CREDITS: The PLAY ON PODCAST SERIES, “TITUS ANDRONICUS”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by AMY FREED. All episodes were directed by DANNY SCHEIE. Radio play by CATHERINE EATON.   Executive Producer: MICHAEL GOODFRIEND   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   JAMES CARPTENER                          as    TITUS ANDRONICUS PATRICK KERR                                   as    MARCUS ANDRONICUS CAROLYN (“CARRIE”) KOZLOWSKI  as    TAMORA JORDAN BARBOUR                               as    BASSIANUS, AEMEILIUS and QUINTUS DANNY SCHEIE                                   as    SATURNINUS BRUCE YOUNG                                   as    AARON THE MOOR MARK H. DOLD                                    as    LUCIUS and YOUNG LUCIUS JAMIE ANN ROMERO                             as    LAVINIA and THE NURSE JOMAR TAGATAC                                  as    DEMETRIUS, MUTIUS and OTHERS DEAN LINNARD                                   as    CHIRON, MARTIUS and OTHERS MICHAEL GOODFRIEND                      as    PUBLIUS, ARBUS and OTHERS   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Original Music Composition, Mix and Sound Design by LINDSAY JONES. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES).   The Play On Podcast Series “TITUS ANDRONICUS” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “Revenge is a dish best served cold”. Learn more about your ad choices. Visit megaphone.fm/adchoices

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In writing about Sara Teasdale last time over at the Parlando Project blog I mentioned that she has been grouped with a set of 20th century female poets as a "Songbird Poet." The implied charge here is that these poets are less concerned with the deep meaning of poetry and are content to just make pleasant word-music.  Upholding up the deeper meaning school I'd have an opening to report that the songs of birds are not all pleasant and meaningless. They sing for desire, for companionship, and for defense, among other things; though as a person in this Project I have to say that making a song, something one appreciates uttering, might be a worthwhile thing. Here's another minor poet who I'm sure we've kept in a parlor cage as a songbird, one William Shakespeare. This tidy little song from his play The Merchant of Venice  talks about idle, surface-deep, love ("Fancy"). But wait, like is often the case with the Songbird Poets, there's a more complex message inside it. The Parlando Project takes various words (mostly literary poetry) and combines them with original music in differing styles. We've done over 900 of these combinations, and you can hear any of them and read about our encounters with the words at our blog and archives located at frankhudson.org    

Schauspieler, Musiker, Regisseur – ein gefeierter Star. Christian Friedel ist bekannt aus internationalen Produktionen wie „The Zone of Interest“ oder „The White Lotus“ sowie aus der Serie „Babylon Berlin“. Er arbeitet an Sets auf der ganzen Welt. Gleichzeitig ist der gebürtige Magdeburger seit vielen Jahren eng mit Dresden und dem Staatsschauspiel verbunden. Bei der Veranstaltungsreihe „SZ trifft“ war Friedel nun im Dresdner Schauspielhaus zu Gast. Der Ansturm auf Tickets für die Veranstaltung war enorm. Fast 1000 Anfragen hat es gegeben, der große Theatersaal war problemlos gefüllt. Im Gespräch mit SZ-Kulturchef Oliver Reinhardt spricht Friedel über seine Karriere zwischen Film, Theater und Musik, seine Leidenschaft für William Shakespeare und darüber, warum ihm die Arbeit auf der Bühne trotz internationaler Filmproduktionen besonders wichtig bleibt. Das Gespräch, das unterhaltsam, witzig und feinsinnig ist, führt auch zu gesellschaftlichen und politischen Themen. Friedel erzählt, warum er sich heute in der Öffentlichkeit deutlicher positioniert als noch vor einigen Jahren. „Ich will den Leuten nicht erklären, was sie zu tun haben. Das ist nicht meine Aufgabe“, sagt er. Dennoch beschäftige ihn die zunehmende Angst und Spaltung in der Gesellschaft. Auch über die AfD, Gespräche mit Menschen in seinem eigenen Umfeld, die die Partei wählen, und die Bedeutung einer freien Kunst spricht Friedel ausführlich. In dieser besonderen Ausgabe von „Thema in Sachsen“, dem Podcast von Sächsischer Zeitung und Leipziger Volkszeitung, hören Sie den Mitschnitt des Abends im Dresdner Schauspielhaus. Die Veranstaltung wurde am 17. September aufgezeichnet.

"Tragedy of Hamlet, Prince of Denmark" by William Shakespeare is a profound exploration of themes such as revenge, madness, and the complexity of human emotion. Set against the backdrop of a royal court in Denmark, this timeless tragedy delves into the moral dilemmas faced by its characters, particularly the tormented Prince Hamlet as he grapples with his father's death and the quest for justice. The play's enduring relevance lies in its deep psychological insights and the exploration of existential questions that resonate with audiences today.

William Shakespeare by Jennifer Bassett单词提示1.Puritans 清教徒原文Chapter 1: Toby remembersMy name is Toby.I'man old man, 83 this spring.My house is right in the middle of Stratford upon Avon, and I can watch the street market from my window.But I live very quietly now, I'm just an old man sitting in a chair.I once knew the greatest man in England for 30 years, I was his friend.I worked with him in the through the good times and the bad times.He was a good friend to me.He was also the best playwright, the best poet that ever lived in England.Will Shakespeare was his name.I saw all his plays in the theatre.People loved them, they shouted, laughed and cried, ate oranges and called for more.All kinds of people, kings, queens, princes, great lords and ladies, poor people,the boys who held the horses, everyone Will Shakespeare could please them all.He put me in a play once.Well,he used my name Toby.Twelfth Night was the play I remember.Sir Toby Belch, he was a big fat man who liked drinking too much and having a good time.Queen Elizabeth I, watched that play on Twelfth Night, the sixth January 1601, she liked it too.Will's dead now, of course.He's been dead more than 30 years and no one sees his plays now.The Puritans have closed all the theatres.There's no singing, no dancing, no plays.It wasn't like that in my young days.We had a good time in London, Will and I.I've no teeth now, and my hair has all fallen out, but I can still think and remember. I remember when Will and I were young, just boys, really.翻译第一章：托比的回忆我叫托比。我是个老头儿，今年春天就83岁了。我的家就在埃文河畔斯特拉特福的正中心，坐在窗前，就能把街上的集市尽收眼底。不过我现在过得很安静，只是个坐在椅子里的老头子罢了。我曾与英格兰最伟大的人相识整整三十年，我是他的朋友。无论顺境还是逆境，我都曾与他并肩共事。他对我而言，是个难得的好友。他也是有史以来英格兰最杰出的剧作家、最出色的诗人。他的名字，叫威尔·莎士比亚。他的每一出戏，我都曾在剧院里看过。观众们爱极了他的戏，他们欢呼、大笑、落泪，一边吃着橘子，一边高喊着“再来一出”。形形色色的人，国王、王后、王子、达官显贵，还有穷苦百姓，甚至连那些帮忙牵马的男孩都包括在内——无论谁，威尔·莎士比亚都能让他们尽兴。他还曾把我写进戏里呢。准确地说，是他用了我的名字“托比”。我记得的那出戏叫《第十二夜》。里面的托比·贝尔奇爵士，是个大胖子，贪杯又爱寻欢作乐。1601年1月6日，也就是第十二夜那天，伊丽莎白一世女王也看了这出戏，她同样很喜欢。当然，威尔现在不在了。他去世已经三十多年了，如今也没人再看他的戏了。清教徒们关闭了所有的剧院。再也没有歌声，没有舞蹈，也没有戏剧演出了。我年轻那会儿，可不是这样的。那时候，威尔和我在伦敦度过了许多欢乐时光。我现在牙齿掉光了，头发也全掉没了，但我的脑子还能思考，还能回忆。我还记得我和威尔年轻的时候，说真的，那时候我们也还只是两个毛头小子呢。

Ao nos debruçarmos sobre a célebre obra "O Mercador de Veneza", de William Shakespeare, somos convidados a refletir sobre questões atemporais da condição humana: o preconceito, a justiça, a empatia e o desafio da alteridade — a capacidade de reconhecer o outro em sua singularidade e dignidade.A professora e voluntária de Nova Acrópole, Kelly Aguiar, sugere um exame de consciência: até que ponto nossos julgamentos, convenções e ressentimentos constroem muros onde deveriam existir pontes?

Midsummer Night's Dream by William Shakespeare is a timeless exploration of love, illusion, and the complexities of human relationships set against the backdrop of a magical forest. This enchanting play weaves together the lives of lovers, fairies, and a group of amateur actors, creating a rich tapestry of humor and insight into the nature of desire and reality. Its themes of transformation and the unpredictable nature of love remain relevant today, reminding us of the whimsical and often chaotic journey of our own hearts. Hearing this classic work allows listeners to appreciate Shakespeare's masterful language and the enduring human experiences that continue to resonate across the ages.

How do you write a “complete” life of Shakespeare when very little complete information about his life exists? Four centuries after Shakespeare's death, the legends that have grown up around him have taken on a cultural significance of their own. As Inaugural Folger Chair in Shakespeare Studies Paul Menzer puts it, “the verifiable facts of his life would fit on the back of a postcard. But the stories that we have told about them would fill a dozen phone books.” Menzer's book, The Complete Life of William Shakespeare, dives into the life story of one of history's most editorialized yet most enigmatic figures, navigating the space between fact and fancy. Did Shakespeare embark on a lone hero's journey, or was his move to London more of a family road trip? Could such a great poet have also been a shrewd businessman? And why aren't there more Shakespeares out there? In this episode, Menzer lays out the known facts of the Bard's biography and posits how we might connect the dots on what's missing—while throwing some “wobbles into the orbit” of well-trenched folk wisdom. From the Shakespeare Unlimited podcast. Published September 22, 2026. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the executive producer. It was edited by Gail Kern Paster. Technical support was provided by Voice Trax West in Studio City, California. Web production was handled by Megan Fraedrich. Transcripts are edited by Leonor Fernandez. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Episode 114: Love's Labour's Lost by William Shakespeare Host: Douglas Schatz Guest: Tom Littler Welcome to The Play Podcast where we explore the greatest new and classic plays. Each episode we choose a single play to talk about in depth with our expert guest. We'll discuss the play's origins, its themes, characters, structure and impact. For us the play is the thing. William Shakespeare's Love's Labour's Lost is described on the title page in the first publication of its text in 1598 as "A Pleasant Conceited Comedie." I imagine that the epithets were intended to highlight the play's courtly aesthetic, its frothy merry-go-round of courtship, and above all perhaps, its ostentatiously intricate word play. For it is a play rich in the love and perils of language. I am joined to assay Shakespeare's conceited comedy by the Artistic Director of the Orange Tree Theatre in Richmond upon Thames, Tom Littler. In the summer of 2026 Tom adapted and directed a magical double bill of Shakespeare, producing Love's Labour's Lost and Much Ado About Nothing in repertory, and staging them both 'en plein air'.

In the wake of the Emperor's death, his two sons–Saturninus (the eldest) and Bassianus (the younger, more popular)--argue over who should rule Rome, as their armed supporters clash in the streets. The Tribune Marcus Andronicus (Titus's brother) intervenes to stop the fight. He announces that the Roman people have chosen his brother, Titus Andronicus, to be the new Emperor because of his legendary military service. Titus enters in triumph with his four surviving sons, the bodies of his dead sons in coffins, and high-profile prisoners of war–including Tamora, Queen of the Goths, and her three sons. Titus refuses the crown due to his old age and instead endorses Saturninus, who becomes the new Emperor. Titus's son, Lucius, demands that the eldest captive Goth prince, Alarbus, be sacrificed to appease the ghosts of Titus's fallen sons. Tamora begs for her son's life, but Titus insists on the brutal religious rite. Alarbus is dismembered and killed. Grieved and enraged, Tamora and her surviving sons swear revenge against Titus and his family. As a reward for his loyalty, Saturninus chooses to marry Titus's daughter, Lavinia. However, Lavinia is already legally betrothed to Saturninus's rival brother, Bassianus. Saturninus abruptly changes course and decides to marry Tamora instead, making her the new Empress of Rome. With the help of Marcus and Titus's sons, Bassianus escapes with Lavinia. Furious at what he views as family treason and disrespect toward the emperor, Titus kills his own son, Mutius, for letting Bassianus and Lavinia get away.  CREDITS: The PLAY ON PODCAST SERIES, “TITUS ANDRONICUS”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by AMY FREED. All episodes were directed by DANNY SCHEIE. Radio play by CATHERINE EATON.   Executive Producer: MICHAEL GOODFRIEND   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   JAMES CARPTENER                          as    TITUS ANDRONICUS PATRICK KERR                                   as    MARCUS ANDRONICUS CAROLYN (“CARRIE”) KOZLOWSKI  as    TAMORA JORDAN BARBOUR                               as    BASSIANUS, AEMEILIUS and QUINTUS DANNY SCHEIE                                   as    SATURNINUS BRUCE YOUNG                                   as    AARON THE MOOR MARK H. DOLD                                    as    LUCIUS and YOUNG LUCIUS JAMIE ANN ROMERO                             as    LAVINIA and THE NURSE JOMAR TAGATAC                                  as    DEMETRIUS, MUTIUS and OTHERS DEAN LINNARD                                   as    CHIRON, MARTIUS and OTHERS MICHAEL GOODFRIEND                      as    PUBLIUS, ARBUS and OTHERS   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Original Music Composition, Mix and Sound Design by LINDSAY JONES. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES).   The Play On Podcast Series “TITUS ANDRONICUS” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “Revenge is a dish best served cold”. Learn more about your ad choices. Visit megaphone.fm/adchoices

Braga, King, and Ski talk Romeo + Juliet, Baz Luhrmann's 1990s spectacle of William Shakespeare's masterpiece. Leonardo DiCaprio and Claire Danes play the star-crossed lovers while John Leguizamo and Harold Perrineau steal the show as gun crazy Tybalt and Mercutio. It's pure 90s glory in a 1500s prose. It's insane. Is it any good? Listen!

Romeu e Julieta, de William Shakespeare, é uma das histórias de amor mais conhecidas da literatura ocidental. Escrita no início da carreira do dramaturgo inglês, a tragédia acompanha dois jovens apaixonados pertencentes a famílias rivais e transforma uma paixão proibida em uma história marcada por desejo, conflito, violência, escolhas precipitadas e morte. Mas será que estamos realmente diante de uma grande história de amor? O que Shakespeare nos diz sobre juventude, rivalidade familiar, destino e responsabilidade? Neste vídeo, Helissa Soares revisita o clássico para discutir seus personagens, seus conflitos e as muitas questões que fazem Romeu e Julieta continuar provocando leitores séculos depois. Venha conferir nossa análise!Junte-se à comunidade Didosseia no Hotmart e tenha acesso a um conteúdo exclusivo, que vai além das páginas do livro. Convidamos você a participar desse diálogo acerca da arte e da literatura, com resenhas ainda mais detalhadas de todo o conteúdo, mas atenção: alerta de spoiler e muito mais polêmicas!Link para a comunidade Didosseia:Comunidade Didosseia no HotmartInstagram: @didosseia.helissaYouTube: Canal DidosseiaHotmart: Didosseia no HotmartRoteiro e apresentação: @didosseia.helissaGravação e edição: @tapumelabHashtags:#RomeuEJulieta #RomeoAndJuliet #Shakespeare #WilliamShakespeare #Literatura #LiteraturaClassica #LiteraturaInglesa #ClassicosDaLiteratura #Classicos #Tragedia #Teatro #Dramaturgia #Livros #Leitura #AmorProibido #LiteraturaUniversal #AnaliseLiteraria #CriticaLiteraria #ResenhaLiteraria #ResenhaDeLivros #DicasDeLeitura #BookTube #BookTuber #ConteudoLiterario #CanalLiterario #Didosseia #HelissaSoares

Welcome, friends!Why do we LOVE female rage when it's on a screen, hanging in a museum, or packaged into the perfect TikTok edit, yet become deeply uncomfortable when real women get angry?In this episode, we explore the aesthetics of female rage, from the pressure to remain beautiful and agreeable to the racial stereotypes and double standards that shape how women's anger is perceived. We look at what happens when women swallow their anger, what happens when they finally explode, and why female fury can become so compelling when it's transformed into art, literature and pop culture. And what if rage isn't always an explosion? Sometimes, it simply says: ENOUGH.Are. You. Ready?****************Sources & Further Reading:Brescoll, Victoria L., and Eric Luis Uhlmann. "Can an Angry Woman Get Ahead? Status Conferral, Gender, and Expression of Emotion in the Workplace." Psychological Science, Vol. 19, No. 3, 2008, pp. 268-275.Cahill, Cathleen D. "Gertrude Simmons Bonnin (Zitkala-Ša): Advocate for the 'Indian Vote.'" National Park Service.Davidson, Helen. "'Repugnant, Racist': News Corp Cartoon on Serena Williams Condemned." The Guardian, September 11, 2018.Epstein, Rebecca, Jamilia J. Blake, and Thalia González. Girlhood Interrupted: The Erasure of Black Girls' Childhood. Georgetown Law Center on Poverty and Inequality, 2017.Ferris State University, Jim Crow Museum of Racist Imagery. "The Sapphire Caricature."Folger Shakespeare Library. William Shakespeare, Macbeth.Folger Shakespeare Library. William Shakespeare, The Taming of the Shrew.Hajela, Deepti. "Serena Williams' Treatment at U.S. Open Resonates Among Black Women." PBS NewsHour / Associated Press, September 11, 2018.Hess, Ursula, Reginald B. Adams Jr., Karl Grammer, and Robert E. Kleck. "Face Gender and Emotion Expression: Are Angry Women More Like Men?" Journal of Vision, Vol. 9, No. 12, 2009.Jack, Dana Crowley, and Diana Dill. "The Silencing the Self Scale: Schemas of Intimacy Associated With Depression in Women." Psychology of Women Quarterly, Vol. 16, No. 1, 1992, pp. 97-106.Library of Congress. "Ida B. Wells-Barnett Holds Her Ground." Shall Not Be Denied: Women Fight for the Vote.National Museum of African American History and Culture. "Popular and Pervasive Stereotypes of African Americans."National Park Service. "A Noble Endeavor: Ida B. Wells-Barnett and Suffrage."National Women's History Museum. "Elizabeth Packard."O'Leary, Ann. "Stress, Emotion, and Human Immune Function." Psychological Bulletin, Vol. 108, No. 3, 1990, pp. 363-382.Renna, Megan E., et al. "A Systematic Review of Associations Between Emotion Regulation Characteristics and Inflammation." Neuroscience & Biobehavioral Reviews, 2023.BBC Sport. "US Open 2018: Serena Williams Accuses Umpire of Sexism After Outbursts in Final." September 9, 2018.BBC Sport. "US Open 2018: Serena Williams' Claims of Sexism Backed by WTA." September 10, 2018.Uffizi Galleries / Google Arts & Culture. "Artemisia Gentileschi's Judith in the Uffizi."Zumwalt, Dominique. "Suppressed Rage and Autoimmune Disorders in Women." SonderMind, April 18, 2025, updated April 10, 2026.****************Leave Us a 5* Rating, it helps the show!Apple Podcast:https://podcasts.apple.com/us/podcast/beauty-unlocked-the-podcast/id1522636282Spotify Podcast:https://open.spotify.com/show/37MLxC8eRob1D0ZcgcCorA****************Follow Us on TikTok & Subscribe to our YouTube Channel!YouTube:@beautyunlockedspodcasthourTikTok:tiktok.com/@beautyunlockedthepod****************Intro/Outro Music:“Fame Inc” by Savvier — https://icons8.com/music

Why do we spend so much time on William Shakespeare, and is he still worth it? This _Classical Et Cetera_ talks about why Shakespeare remains everywhere, even in a culture that rarely reads him. From his mastery of human nature to Harold Bloom's idea that Shakespeare "invented the human," this conversation makes the case for reading him well. Start where it works for you, and remember that reading just one play is a real accomplishment!   Browse our Shakespeare Collection: https://www.memoriapress.com/shakespeare/?utm_source=PodBean&utm_medium=CETC&utm_campaign=237   *What We're Reading* from This Episode:  "The No. 1 Ladies' Detective Agency" Alexander McCall Smith (Martin) "Wisdom and Innocence" Joseph Pearce (Martin) "Christy" Catherine Marshall (Tanya) "But For The Grace" Peter Grainger (Tanya) "Girl With a Pearl Earring" Tracy Chevalier (Tanya) "Growth of the Soil" Knut Hamsun (Paul) "The Trumpet of the Swan" E. B. White (Paul) "Winnie-the-Pooh" A. A. Milne (Jeremy) "The Abolition of Man" C. S. Lewis (Jeremy)

Next Chapter Podcasts presents Shakespeare's bloodiest tragedy: a brutal revenge thriller that descends into a savage spiral of betrayal, mutilation and cannibalism, performed by an ensemble of America's most accomplished stage actors in a modern English verse translation by Amy Freed and directed by Danny Scheie. radio play by Catherine Eaton, with original sound design and composition by Lindsay Jones. “REVENGE IS A DISH BEST SERVED COLD.” CREDITS: The PLAY ON PODCAST SERIES, “TITUS ANDRONICUS”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by AMY FREED. All episodes were directed by DANNY SCHEIE. Radio play by CATHERINE EATON.   Executive Producer: MICHAEL GOODFRIEND   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   JAMES CARPTENER                          as    TITUS ANDRONICUS PATRICK KERR                                   as    MARCUS ANDRONICUS CAROLYN (“CARRIE”) KOZLOWSKI  as    TAMORA JORDAN BARBOUR                               as    BASSIANUS, AEMEILIUS and QUINTUS DANNY SCHEIE                                   as    SATURNINUS BRUCE YOUNG                                   as    AARON THE MOOR MARK H. DOLD                                    as    LUCIUS and YOUNG LUCIUS JAMIE ANN ROMERO                             as    LAVINIA and THE NURSE JOMAR TAGATAC                                  as    DEMETRIUS, MUTIUS and OTHERS DEAN LINNARD                                   as    CHIRON, MARTIUS and OTHERS MICHAEL GOODFRIEND                      as    PUBLIUS, ARBUS and OTHERS   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Original Music Composition, Mix and Sound Design by LINDSAY JONES. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES).   The Play On Podcast Series “TITUS ANDRONICUS” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “Revenge is a dish best served cold”. Learn more about your ad choices. Visit megaphone.fm/adchoices

Clint, Meg and Dan debate the “most feminine” tattoo spot, share Clint’s massage and surprise glute treatment, and cover scandals involving backlash to a nude Sydney Sweeney betting ad plus Macklemore saying Ed Sheeran dropped him from a tour over “Free Palestine.” They play “Nude or Not,” with Dan revealing he’s naked in Studio B, then give away $1,000 on Easy Money and discuss A-List rankings for William Shakespeare, Lionel Messi and Jessica Alba. The crew recruits “jinxes” into a Warriors bunker at Archie Brothers to avoid ruining the playoff, chats to matchmaker Jeannie from Shortlist, explores Meg’s luteal phase rage, interviews Mina about finding her biological sister via DNA, debates a HYROX winner who soiled herself, and ends with tiny “ick” moments. 00:00 Tuesday Kickoff Banter 00:32 Warriors Jinx Bunker 01:08 Massage Storytime 03:13 Feminine Tattoo Debate 06:34 Scandal Headlines 08:37 Early Bird Giveaway 09:58 Empire Tickets Caller 13:33 Nude Plane Incident 16:28 Nude Or Not Game 20:01 Easy Money Challenge 23:19 A List Or List 24:22 Shakespeare A or B 25:14 Street Name Test 26:41 Messi and Alba Debate 28:52 Listeners Vote In 31:50 Final Rankings Fallout 33:24 Warriors Jinx Bunker 36:09 Recruiting Unlucky Fans 38:24 Sydney Sweeney Controversy 40:09 Love Genie Matchmaking 43:07 Blame It on Luteal 50:27 Luteal Rage Stories 51:46 Easy Money Round 52:35 Cal Plays Letter L 54:27 Warriors Jinx Bunker 56:19 Recruiting Unlucky Squad 01:02:47 Adopted Sisters Reunite 01:06:31 HYROX Hygiene Debate 01:11:55 Hindsight Regrets Hotline 01:15:47 Tiny Ick Triggers

Chaque soir, la metteuse en scène Andrea Jiménez invite un nouvel acteur à monter sur scène pour endosser le rôle du Roi Lear… mais sans aucune répétition préalable et sans avoir appris le texte : un véritable saut dans le vide ! Le comédien est uniquement guidé par la metteuse en scène en direct… à l'aide d'un acteur souffleur.  Mathieu Amalric, Nicolas Bouchaud, Pascal Gregory, Arthur Nauziciel, Laurent Pointrenaux, Pascal Reneric et Dorcy Rugmaba, Marcel Bozonnet : un casting de luxe avec des acteurs majeurs du théâtre et très célèbres qui acceptent de se jeter dans le vide pour jouer le Roi Lear ! le spectateur ne sait pas à l'avance quel comédien jouera le vieux roi shakespearien « c'est pour créer cet effet de surprise de l'irrépétible, de l'unique », explique Andrea Jimenez. « Les comédiens eux-mêmes acceptent pour ce désir d'être toujours surpris, de faire face à quelque chose de nouveau. »  « C'est même plus qu'une expérience, c'est un voyage. », précise Marcel Bozonnet.  Sur scène, Andrea Jimenez joue le rôle de Cordélia, la fille de Lear, et il y a un acteur qui souffle le texte à l'acteur qui joue Lear avec une oreillette... Cet acteur ne sait rien du texte... La metteuse en scène a appliqué ce dispositif 135 fois avec 135 acteurs différents et notamment au festival d'Avignon.  Le Roi Lear, tragédie de Shakespeare, a été écrite entre 1603 et 1606. La pièce raconte l'histoire d'un vieux roi qui décide de partager son royaume entre ses trois filles en échange de déclarations d'amour. Trompé par les flatteries de Goneril et Regan, il déshérite Cordélia, la seule sincère. Les deux aînées, une fois au pouvoir, l'humilient et le chassent, tandis qu'un complot parallèle oppose le duc de Gloucester à son fils légitime Edgar, trahi par l'ambitieux Edmund. Lear sombre alors progressivement dans la folie en découvrant la trahison de ses deux filles et la fragilité du pouvoir. Cordélia revient avec une armée pour le sauver, mais la défaite, les exécutions et les meurtres se succèdent, aboutissant à la mort de Cordélia et de Lear, et à une fin profondément tragique qui interroge la justice humaine et divine...  Avec cette pièce, la metteuse en scène Andrea Jimenez entend faire le lien entre son histoire personnelle et celle contée par William Shakespeare : ainsi que le Roi Lear a répudié Cordélia, la metteuse en scène a elle-même été répudiée par son père... Invités :  Andrea Jiménez, autrice et metteuse en scène de Casting Lear et Marcel Bozonnet, l'un des comédiens qui joue le rôle du Roi Lear.    Andrea Jiménez est metteuse en scène, interprète, auteure et productrice espagnole. Marcel Bozonnet est un acteur, metteur en scène et pédagogue français né à Semur-en-Auxois, le 18 mai 1944. Ancien directeur du Conservatoire national, ancien administrateur de la Comédie française, il a joué des dizaines de rôles sur toutes les scènes d'Europe avec les plus grands metteurs en scène. Il joue le rôle du Roi Lear.  Casting Lear, d'après Le Roi Lear, de William Shakespeare : à voir au Théâtre de la Ville, aux Abbesses jusqu'au 18 septembre 2026. Et la chronique Ailleurs au Canada avec Sherry Simon, professeure émérite de l'Université Concordia. Elle participe à une conférence consacrée aux Langues minorisées, pour fêter les 30 ans de la Déclaration universelle des droits linguistiques qui aura lieu le jeudi 17 septembre 2026 à l'Université Concordia Montréal.  Programmation musicale :  Le groupe Java et Winston « Macanuf » avec le titre En fait. 

Chaque soir, la metteuse en scène Andrea Jiménez invite un nouvel acteur à monter sur scène pour endosser le rôle du Roi Lear… mais sans aucune répétition préalable et sans avoir appris le texte : un véritable saut dans le vide ! Le comédien est uniquement guidé par la metteuse en scène en direct… à l'aide d'un acteur souffleur.  Mathieu Amalric, Nicolas Bouchaud, Pascal Gregory, Arthur Nauziciel, Laurent Pointrenaux, Pascal Reneric et Dorcy Rugmaba, Marcel Bozonnet : un casting de luxe avec des acteurs majeurs du théâtre et très célèbres qui acceptent de se jeter dans le vide pour jouer le Roi Lear ! le spectateur ne sait pas à l'avance quel comédien jouera le vieux roi shakespearien « c'est pour créer cet effet de surprise de l'irrépétible, de l'unique », explique Andrea Jimenez. « Les comédiens eux-mêmes acceptent pour ce désir d'être toujours surpris, de faire face à quelque chose de nouveau. »  « C'est même plus qu'une expérience, c'est un voyage. », précise Marcel Bozonnet.  Sur scène, Andrea Jimenez joue le rôle de Cordélia, la fille de Lear, et il y a un acteur qui souffle le texte à l'acteur qui joue Lear avec une oreillette... Cet acteur ne sait rien du texte... La metteuse en scène a appliqué ce dispositif 135 fois avec 135 acteurs différents et notamment au festival d'Avignon.  Le Roi Lear, tragédie de Shakespeare, a été écrite entre 1603 et 1606. La pièce raconte l'histoire d'un vieux roi qui décide de partager son royaume entre ses trois filles en échange de déclarations d'amour. Trompé par les flatteries de Goneril et Regan, il déshérite Cordélia, la seule sincère. Les deux aînées, une fois au pouvoir, l'humilient et le chassent, tandis qu'un complot parallèle oppose le duc de Gloucester à son fils légitime Edgar, trahi par l'ambitieux Edmund. Lear sombre alors progressivement dans la folie en découvrant la trahison de ses deux filles et la fragilité du pouvoir. Cordélia revient avec une armée pour le sauver, mais la défaite, les exécutions et les meurtres se succèdent, aboutissant à la mort de Cordélia et de Lear, et à une fin profondément tragique qui interroge la justice humaine et divine...  Avec cette pièce, la metteuse en scène Andrea Jimenez entend faire le lien entre son histoire personnelle et celle contée par William Shakespeare : ainsi que le Roi Lear a répudié Cordélia, la metteuse en scène a elle-même été répudiée par son père... Invités :  Andrea Jiménez, autrice et metteuse en scène de Casting Lear et Marcel Bozonnet, l'un des comédiens qui joue le rôle du Roi Lear.    Andrea Jiménez est metteuse en scène, interprète, auteure et productrice espagnole. Marcel Bozonnet est un acteur, metteur en scène et pédagogue français né à Semur-en-Auxois, le 18 mai 1944. Ancien directeur du Conservatoire national, ancien administrateur de la Comédie française, il a joué des dizaines de rôles sur toutes les scènes d'Europe avec les plus grands metteurs en scène. Il joue le rôle du Roi Lear.  Casting Lear, d'après Le Roi Lear, de William Shakespeare : à voir au Théâtre de la Ville, aux Abbesses jusqu'au 18 septembre 2026. Et la chronique Ailleurs au Canada avec Sherry Simon, professeure émérite de l'Université Concordia. Elle participe à une conférence consacrée aux Langues minorisées, pour fêter les 30 ans de la Déclaration universelle des droits linguistiques qui aura lieu le jeudi 17 septembre 2026 à l'Université Concordia Montréal.  Programmation musicale :  Le groupe Java et Winston « Macanuf » avec le titre En fait. 

How are some people so much smarter than the rest of us? Where do visionary creatives and savvy decision-makers like Vincent van Gogh, Steve Jobs, Abraham Lincoln, Maya Angelou, Nikola Tesla, Marie Curie, Albert Einstein, Wayne Gretzky, Warren Buffett, and William Shakespeare get their extraordinary mental abilities? In 2021, researchers at Ohio State's Project Narrative, renowned for collaborations with NASA, Hollywood, and Silicon Valley, announced they had the answer. They named it Primal Intelligence. And they published scientific proof that Primal Intelligence was impossible for computers—but could be strengthened in humans. The human brain, and not AI, has this superpower, if only we could reach it. And that's how the US Army Special Ops got involved.Imagine being Angus Fletcher, in the Ohio State English Department, and having the military swing by to pick your brain. What resulted, however, was a peculiar alliance. With Fletcher's help, they developed Primal training for its most classified units. The training succeeded. The Operators saw the future faster. They healed quicker from trauma. In life-and-death situations, they chose wiser. Soon it was being tested on civilians—and then school children—with the same results. What was this amazing training all about? Actually, it's about you. Your brain. It's basic operating system was built to run on uncertainty through future-leaping intuition, and we've been breaking it down through education systems trying to ape computer learning. Turns out, AI is NOT the future. The human brain is. So join us live to talk to Angus about your own PRIMAL INTELLIGENCE.Episode was recorded live September 10, 2026.Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://peculiarbookclub.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Newsletter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://peculiarbookclub.kit.com/newsletter⁠VIP Membership: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://payhip.com/PeculiarBookClub⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Youtube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/@PeculiarBookClub/streams⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bluesky: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@peculiarbookclub.bsky.social⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠facebook.com/groups/peculiarbooksclub⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@thepeculiarbookclub⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Over four hundred years ago, William Shakespeare wrote a line in Hamlet that perfectly captured the foundation of modern cognitive psychology: 'There is nothing either good or bad, but thinking makes it so.' We spend so much of our lives trying to control external events, believing that a perfectly curated life will finally bring us peace. In this episode, we are going to explore why your reality is dictated entirely by your perception, how the ancient philosophers mastered this concept long before Shakespeare, and how you can train your mind to stop labeling the events of your life as 'bad.' New Episode of the Happiness Podcast with Dr. Robert Puff, Ph.D., Newport Beach Psychologist: https://www.DoctorPuff.com

Welcome to The Eagle's View!This is where you can listen to the students of Emerson School in Ann Arbor, Michigan, soar.  Fifth graders Ava and Ruthie will host this episode of The Eagle's View. You will hear about William Shakespeare, Book Reviews, Harry Potter: Books vs. Movies, Summer Camp Cat Survey, Dogman, and As Always…The Joke of the Week!Check out Zebonky right here!https://zebonky.com/Thank you for listening to The Eagles View. Be sure to like, follow, and share our podcast with your friends and family.And don't just listen—leave us a comment! We'd love to hear your thoughts, your favorite part, or even your own joke of the week.New episodes come out every Wednesday—even during summer break. Plus, The Eagle's View Presents every Monday.Be sure to check out our new merchandise on The Emerson School Store website below.https://apparelnow.com/emerson-school-store-apparel/Follow on social media too!https://www.facebook.com/theemersonschool/https://www.instagram.com/emersonschool/Thanks for hanging out with us, and remember—Eagles always soar!

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Welcome back to the 299th episode of The Cup which is our a weekly (give or take, TBD, these are unprecedented times) performing arts talk show presented by Cup of Hemlock Theatre. With the theatres on a come back we offer a mix of both reviews of live shows we've seen and continued reviews of prophet productions! For our 299th episode we bring you a a new instalment of our subseries 'Screened Plays'. This time we are covering Titus (1999), directed by Julie Taymor, starring Sir Anthony Hopkins as the titular Titus and two-time Academy Award winner Jessica Lange as Tamora, based on William Shakespeare's tragic play Titus Andronicus. Join Co-Artistic Producer Mackenzie Horner and his amazing co-panelist the returning Graeme McClelland, as they discuss whether Taymor's unique directorial stylistic choices worked, if the film's violence went too far or if it didn't go far enough, and they dive into the memorable 2011 Stratford Festival production they both saw in their youth.Follow our panelists: Mackenzie Horner (Before the Downbeat: A Musical Podcast) – Instagram/Facebook: BeforetheDownbeatApple Podcasts: https://apple.co/3aYbBeNSpotify: https://spoti.fi/3sAbjAuGraeme McClelland – Instagram: instagraeme999 // Facebook: Graeme McClelland Follow Cup of Hemlock Theatre on Instagram/Facebook/Twitter: @cohtheatre If you'd like us to review your upcoming show in Toronto, please send press invites/inquiries to coh.theatre.MM@gmail.com

On Labor Day, Play On Podcasts presents the pilot episode from our 11th series "Love's Labour's Lost". Listen to the full series and learn more here. The King of Navarre gathers together with his best friends (Longaville, Dumaine and Berowne) in the library at Howard University where he gets them to agree that they will devote themselves entirely to their studies without dating or indulging in food, drink or sleep for three full years. Berowne protests and reminds the King that the Princess of France is going to arrive soon to plead a case on behalf of her ailing father. The King promises to handle the situation and Berowne agrees to stick with his vow despite his reservations. They decide they'll amuse themselves during their downtime by laughing at the antics of Don Adriano de Armado, a visiting scholar from Spain who is hilariously full of himself. Almost as soon as the King's proclamation is issued, Sir Anthony Dull delivers a letter from Armado accusing Costard, a groundskeeper at Howard, of having an affair with Jaquenetta, a young lady who lives nearby. The King punishes Costard with a week of fasting on bread and water. Meanwhile, Armado confesses privately to his young friend and confidante, a Custodial Assistant named Moth, that he is painfully in love with Jaquenetta and vows to win her affections. The Play On Podcast series, “LOVE'S LABOUR'S LOST”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by JOSH WILDER. Each episode was directed by NELSON T. EUSEBIO the THIRD. The cast is as follows: RUSSELL G. JONES as THE KING OF NAVARRE and THE FORESTER MATTHEW ELIJAH WEBB as BEROWNE ASHLEY BRYANT as THE PRINCESS and JAQUENETTA TIFFANY RACHELLE STEWART as ROSALINE TONYA PINKINS as MARIA, HOLOFERNES, and HIEMS SHAWN RANDALL as COSTARD and DUMAINE BRANDON JONES as DON ADRIANO DE ARMADO and LONGAVILLE WALTER COPPAGE as MOTH, BOYET, DULL and MARCADE SARITA COVINGTON as LADY NATHANIEL and KATHARINE Casting by THE TELSEY OFFICE: KARYN CASL, CSA, and ADA KARAMANYAN. Voice and Text Coach: JULIE FOH Episode scripts were adapted and produced by CATHERINE EATON Original Music and Sound Design by LINDSAY JONES.  Sound engineering by SADAHARU YAGI.  Mix Engineer and Dialogue Editor: LARRY WALSH.  Podcast Mastering by GREG CORTEZ at New Monkey Studio.  Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND. The Managing Director of Business Operations and Partnerships at Next Chapter Podcasts is SALLYCADE HOLMES. The Play On Podcast Series “THE TEMPEST” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit ncpodcasts.com for more about the Play On Podcast Series. Visit playonshakespeare.org for more about Play On Shakespeare. Hear more about the Play On Shakespeare Podcast series by subscribing to Play On Premium at ncpodcasts.com, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “We are such stuff as Dreams are made on”. Learn more about your ad choices. Visit megaphone.fm/adchoices

Immortalised as Elsinore in William Shakespeare's play Hamlet, Kronborg Castle is one of the most important Renaissance castles in Northern Europe. A real castle, and historical stronghold that sits in the town of Helsingør, Denmark. Kronborg is as fascinating as it is beautiful.  Our guest this week is Laura Kiel, the Operations Coordinator at Kronborg Castle, where she plays a key role in caring for the castle's remarkable collection — from grand paintings and heavy antique cabinets to exquisite historical costumes. During her 12 years at Kronborg, Laura has also become the castle's in-house Hamlet expert, having taken part in coordinating many productions of Hamlet staged within the iconic setting of Kronborg itself.  Laura joins us today to take us inside Kronborg Castle to understand more about the history of the castle, why it was used in Shakespeare's play, and what was going on at Kronborg when Shakespeare staged his famous tragedy within it's gates.  

[School of Movies 2026] Possibly the greatest playwright the world will ever see, creator of countless clever words and idioms, '"Heart of gold", "Wild goose chase", "Good riddance!" all gifts to the English language. He was also a man whose private life was shrouded in mystery, and for the average person our familiarity with him begins and ends in the one or two plays we are forced to study at school, along with The Lion King and an awareness of crackpot theories surrounding all of these plays being written by someone else (suspects include another playwright with a completely different and humourless style, a tyrannical lord who kicked a pregnant lady in the stomach and a man who died ten years before Billy Shakes stopped producing plays, so it was good of him to leave such a ready supply). Here for you folks now, kicking off Shakestember, we discuss with Willow, a dozen film adaptations, many of which you will definitely want to seek out. Romeo + Juliet (1996) Much Ado About Nothing (1993) Hamlet (1996) The Tempest (2010) The Tragedy of Macbeth (2021) Othello (1995) The Merchant of Venice (2004) A Midsummer Night's Dream (1999) Richard III (1995) Twelfth Night (1996) King Lear (2008) Titus (1999) This week's After School Club: The Dark Tower (Part I) Next week: Romeo + Juliet

Send us Fan MailWelcome to the Hall of Imagination - and today I'm speaking with one of the characters of William Shakespeare's The Tempest. And today's episode is entitled “CALIBAN: THE ISLAND SPEAKS”First I better briefly fill you in on the opening plot of The Tempest. So: there's a man named Prospero. He used to be a duke—very fancy—then he got kicked out by his own brother. He ends up shipwrecked on an island with his daughter Miranda, brings a library the size of his ego, learns magic, and decides he's the island's new management.On the island, Prospero uses a spirit named Ariel to run errands in the air, and he uses Caliban—to do the heavy lifting on the ground.Meanwhile, Miranda meets Ferdinand, who's young and handsome. And there are two clowns—Stephano and Trinculo—who wander around drunk and accidentally audition for a coup.In the end, Prospero reveals himself, forgives everybody, gets ready to go back to Italy, and the big question is: who gets freedom, who gets punished, and who gets left behind with the island. And you can already tell that this rather complicated plot gets messy.Support the showThank you for experiencing Celebrate Creativity.

[School of Movies 2026] Back in 2021, after a surprising 24-year absence of Mortal Kombat live action movie adaptations while several really great cinematic story modes played out on the past four entries of the video game series, a movie finally emerged. It wasn't very good. But since we were all on lockdown and starved for entertainment many of us chomped it down like Baraka at a buffet. Then, five whole years later a sequel emerged that actually delivered on the basic, underachieving proof-of-concept that was pitched to us in that excuse for a first movie. Entertaining, grisly, a bit too self-conscious and at times historically inaccurate, this made for a fun time at the cinema and now we actually look forward to more. This week's After School Club: Spy Kids 4 Next week: William Shakespeare on Film

Were women in the past completely uneducated — or worse, cruelly denied any meaningful opportunity to receive an education by their parents and society at large? Some modern scholars say so, but in this "back-to-school" edition of Rachel's Trivia Challenge, the Lutheran Ladies are revisiting key literary sources as they not only explore the history of women's education but also investigate whether the prevailing narrative of our day is truly just to those who came before us.   With questions drawn from Shakespeare, Jane Austen, Charlotte Bronte, and other notable authors writing in and about their own times, this quiz will tickle the minds of literary mavens and education enthusiasts alike — even though, in the end, it may raise as many questions as it answers.   Sources referenced in this episode include ...  Gender in Cultural History: Gender and Education  Luther on education: arnold__lut_33_3.pdf  Martin Luther and female education. - Free Online Library  Martin Luther: A Sermon on Keeping Children in School (1530)  William Shakespeare, Much Ado about Nothing  Phillis Wheatley | The Poetry Foundation  Poems, by Phillis Wheatley   The Old Deluder Satan Act: deluder.html  Quote by Jane Austen: “It is amazing to me," said Bingley, "How young ...”  Jane Austen, Pride and Prejudice; Mansfield Park   Charlotte Brontë, Jane Eyre  Social History of American Education | Education | Research Starters | EBSCO Research  The story of female education in the US: from illiterate to top of the class | World Economic Forum  ERIC - ED119389 - A History of Compulsory Education Laws. Fastback Series, No. 75. Bicentennial Series., 1976  Betty Smith, A Tree Grows in Brooklyn  John Dewey Quotes About Education | A-Z Quotes  Rosa Young - Wikipedia  Civil Rights Division | Sex Discrimination  Women Continue To Outpace Men In College Enrollment And Graduation  Connect with the Lutheran Ladies on social media in The Lutheran Ladies' Lounge Facebook discussion group (facebook.com/groups/LutheranLadiesLounge) and on Instagram @lutheranladieslounge. Follow Sarah (@hymnnerd), Rachel (@rachbomberger), and Erin (@erinaltered) on Instagram! Sign up for the Lutheran Ladies' Lounge monthly e-newsletter here, and email the Ladies at lutheranladies@kfuo.org.

Corey Mach sits down to discuss his journey from performing in a hundred community theater productions in Cleveland to taking center stage on Broadway. He opens up about the hustle behind building his wildly successful concert series, Broadway Sings, explaining how a desire to create his own work led to turning pop anthems into custom orchestral arrangements and building a thriving brand from the ground up. Corey breaks down what it was like stepping into the role of William Shakespeare in & Juliet on Broadway with just three days of rehearsal after a ten month break from the tour. He shares hilarious backstage stories about accidentally turning his dressing room into the ultimate chilled hangout spot, navigating the mental shift from understudy to principal, and why playing to your personal strengths is the key to longevity in the theater industry. Corey Mach is an actor and producer known for his work on Broadway in Godspell, Hands on a Hard Body, Kinky Boots, and Merrily We Roll Along. He starred as William Shakespeare on the national tour of & Juliet before making his Broadway principal debut in the same role. Beyond his acting career, Corey is the creator and producer of Broadway Sings, an ongoing concert series in New York City that reimagines iconic pop music for Broadway performers and live band arrangements. This episode is powered by WelcomeToTimesSquare.com, the billboard where you can be a star for the day. Connect with Corey: @coreymach Connect with The Theatre Podcast: Support the podcast on Patreon and watch video versions of the episodes: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon.com/TheTheatrePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@theatre_podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook.com/OfficialTheatrePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TheTheatrePodcast.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Alan's personal Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@alanseales⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email me at feedback@thetheatrepodcast.com. I want to know what you think. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's poem has a different preoccupation than most Shakespearean sonnets–not immortalizing the beloved, but effacing the lover. Happy reading. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

The David Alliance  TDAgiantSlayer@gmail.com Garth Heckman Urge   INTRO: Its a strange memory at best: A young man at church - my sister Renee's friend. HS stud athlete, great looking, always jumping in and out of bed with whomever he could. Now in his early 30's he came to church and Renee said one night after church… he better hurry up and figure out life - his hair is getting thinner and his glasses are getting thicker.  Funny, sad, but telling of his life falling apart. He lived his life by his emotions… his “URGES” if you will.    the phrase "a piece of work" originated as a high compliment before evolving over centuries into a sarcastic insult. The Literary Origin Its earliest famous usage comes from William Shakespeare's Hamlet (around 1601). In Act II, Scene 2, Prince Hamlet marvels at the creation of humanity: "What a piece of work is a man! How noble in reason, how infinite in faculty..."       He's a piece of work ISRAELS FIRST KING!  King Saul had it all but lost his call as a know it all only to fall.      Saul's ultimate downfall was not a lack of talent or opportunity; it was a fundamental flaw in his internal compass. Saul lived a life governed by feelings rather than character.     Have you ever met someone who lives by their emotions/feelings/the wind?     I used to say to my boys… “dad is in a bad mood today, so don't push it”. WHAT I WAS REALLY SAYING WAS DAD IS IN THE FLESH… LIVING BY HIS URGES!        Romans 8:5 Those who are dominated by the sinful nature think about sinful things, but those who are controlled by the Holy Spirit think about things that please the Spirit. 6 So letting your sinful nature control your mind leads to death. But letting the Spirit control your mind leads to life and peace. 7 For the sinful nature is always hostile to God. It never did obey God's laws, and it never will. 8 That's why those who are still under the control of their sinful nature can never please God. 9 But you are not controlled by your sinful nature. You are controlled by the Spirit if you have the Spirit of God living in you. (And remember that those who do not have the Spirit of Christ living in them do not belong to him at all.)         King Saul highlights critical decisions based on fear, jealousy, and impulsivity rather than steadfast character and obedience.     1 Samuel 13:8-12 (Impatience and Panic): When the prophet Samuel delayed his arrival and the Israelite army began to scatter out of fear, Saul panicked. Instead of trusting God and waiting, his anxiety drove him to unlawfully offer the burnt offering himself. Emotions make God's Word feel optional rather than authoritative. When feelings become the filter for truth, scripture gets reduced to "does this resonate with me" instead of "is this what God said." Jeremiah 17:9 warns that the heart is deceitful above all things — not evil in a cartoonish sense, but genuinely unreliable as a final authority. A Christian who only obeys when it feels right isn't actually submitted to Christ's lordship; they're submitted to their own emotional state, with God's Word as an occasional consultant rather than the authority.   Abortion, adultery, fornication, bitterness, gossip… emotions muddy up the water.   Anterior Midcingulate Cortex it behaves like a muscle, shrinking when underused and expanding physically when you engage in effortful, resistance-heavy activities.   Anatomy of the aMCC The Friction Requirement: The aMCC only grows when you face friction or internal resistance. Pushing through a workout you love doesn't trigger the same growth as forcing yourself to do a workout—or a task—that you genuinely do not want to do     The Battle of Sarx (The Flesh): Paul describes the "flesh" not merely as the physical body, but as the path of least resistance—primal drives, comfort-seeking, and self-preservation.    The body only wants to eat, sleep be tickled and have sex!      In Galatians 5:17, he notes: "For the flesh desires what is contrary to the Spirit, and the Spirit what is contrary to the flesh. They are in conflict with each other." The subjective internal friction you feel when forcing yourself to do a hard task is the exact experiential battleground Paul describes. Mortification (Nekroo): In Colossians 3:5 and Romans 8:13, the New Testament commands believers to "put to death" or "mortify" lower impulses. This is not a passive event; it is an active, effortful override of natural inclination—the exact stimulus that drives aMCC hypertrophy.     How do you put to death the desires of the flesh? Lets put this misconception to bed for good! You do the opposite of the flesh according to scripture.       1 Samuel 14:24, 43-44 (Rashness and Impulsivity): Driven by the heat of battle, Saul made a foolish, impulsive oath binding his army to fast until evening. This emotional decision left his men exhausted and nearly resulted in the execution of his own son, Jonathan, who had unknowingly eaten honey.   Emotional highs get mistaken for spiritual maturity. Feeling moved during worship, feeling peace after a decision, feeling conviction in the moment — these can be real and God-given, but they can also be manufactured by music, social pressure, or just brain chemistry. The danger is building a faith that needs a constant emotional high to feel "real," which sets people up to crash hard when the feelings fade — and many walk away from faith entirely when the emotional experience stops delivering, mistaking the absence of feeling for the absence of God.   **When emotions supersede logic or common sense, they will typically supersede Gods best as well.     MANY/MOST times God will ask you to do something that goes against your emotions!    1 Samuel 15:24 (Fear of Man over Integrity): After failing to completely destroy the Amalekites as God commanded, Saul shifted the blame. He finally confessed to Samuel that his lack of character stemmed from insecurity, stating: "I was afraid of the men and so I gave in to them.” Remember… He's the King! And he is afraid of the men? It makes obedience conditional instead of covenantal.  Abraham didn't feel like sacrificing Isaac.  Jesus, didn't feel like going to the cross —    Obeying when you feel like it is not obedience its convenience!    men: leading a family, staying faithful in a hard marriage, disciplining kids, showing up to serve when you're exhausted — none of that runs on feelings. It runs on covenant commitment that outlasts emotion.   *If I win the lottery I will definitely tithe and even give more than 10%.  NOPE! If you can't give $10 out of $100 you won't give 1 Million out of 100 Million.      1 Samuel 18:10-11 (Uncontrolled Rage): Saul's jealousy quickly escalated into murderous anger. While David was playing the lyre to soothe him, Saul was overcome by an evil spirit and his own rage, throwing his spear at David twice in an attempt to pin him to the wall.   Emotional volatility becomes a discipleship excuse instead of a growth area.  "I just felt led" or  "I couldn't help how I reacted"  “We are in Love”.  “She started it”. “It was Tuesday”    The flesh wether in a high or a low is meant to be cultivated by the fruits of the Spirit!    I love what Socrates said “any virtue in and of itself is a danger, it must be balanced with another virtue. i.e. if you are generous but do not balance that with wisdom, you will give all your money away and your family will starve. This is what the fruits of the Spirit do for us when in the midst of great emotion.

The David Alliance TDAgiantSlayer@Gmail.com  Garth Heckman   INTRO: Its a strange memory at best: A young man at church - my sister Renee's friend. HS stud athlete, great looking, always jumping in and out of bed with whomever he could. Now in his early 30's he came to church and Renee said one night after church… he better hurry up and figure out life - his hair is getting thinner and his glasses are getting thicker.  Funny, sad, but telling of his life falling apart. He lived his life by his emotions… his “URGES” if you will.    the phrase "a piece of work" originated as a high compliment before evolving over centuries into a sarcastic insult. The Literary Origin Its earliest famous usage comes from William Shakespeare's Hamlet (around 1601). In Act II, Scene 2, Prince Hamlet marvels at the creation of humanity: "What a piece of work is a man! How noble in reason, how infinite in faculty..."       He's a piece of work ISRAELS FIRST KING!  King Saul had it all but lost his call as a know it all only to fall.      Saul's ultimate downfall was not a lack of talent or opportunity; it was a fundamental flaw in his internal compass. Saul lived a life governed by feelings rather than character.     Have you ever met someone who lives by their emotions/feelings/the wind?     I used to say to my boys… “dad is in a bad mood today, so don't push it”. WHAT I WAS REALLY SAYING WAS DAD IS IN THE FLESH… LIVING BY HIS URGES!        Romans 8:5 Those who are dominated by the sinful nature think about sinful things, but those who are controlled by the Holy Spirit think about things that please the Spirit. 6 So letting your sinful nature control your mind leads to death. But letting the Spirit control your mind leads to life and peace. 7 For the sinful nature is always hostile to God. It never did obey God's laws, and it never will. 8 That's why those who are still under the control of their sinful nature can never please God. 9 But you are not controlled by your sinful nature. You are controlled by the Spirit if you have the Spirit of God living in you. (And remember that those who do not have the Spirit of Christ living in them do not belong to him at all.)         King Saul highlights critical decisions based on fear, jealousy, and impulsivity rather than steadfast character and obedience.     1 Samuel 13:8-12 (Impatience and Panic): When the prophet Samuel delayed his arrival and the Israelite army began to scatter out of fear, Saul panicked. Instead of trusting God and waiting, his anxiety drove him to unlawfully offer the burnt offering himself. Emotions make God's Word feel optional rather than authoritative. When feelings become the filter for truth, scripture gets reduced to "does this resonate with me" instead of "is this what God said." Jeremiah 17:9 warns that the heart is deceitful above all things — not evil in a cartoonish sense, but genuinely unreliable as a final authority. A Christian who only obeys when it feels right isn't actually submitted to Christ's lordship; they're submitted to their own emotional state, with God's Word as an occasional consultant rather than the authority.   Abortion, adultery, fornication, bitterness, gossip… emotions muddy up the water.   Anterior Midcingulate Cortex it behaves like a muscle, shrinking when underused and expanding physically when you engage in effortful, resistance-heavy activities.   Anatomy of the aMCC The Friction Requirement: The aMCC only grows when you face friction or internal resistance. Pushing through a workout you love doesn't trigger the same growth as forcing yourself to do a workout—or a task—that you genuinely do not want to do     The Battle of Sarx (The Flesh): Paul describes the "flesh" not merely as the physical body, but as the path of least resistance—primal drives, comfort-seeking, and self-preservation.    The body only wants to eat, sleep be tickled and have sex!      In Galatians 5:17, he notes: "For the flesh desires what is contrary to the Spirit, and the Spirit what is contrary to the flesh. They are in conflict with each other." The subjective internal friction you feel when forcing yourself to do a hard task is the exact experiential battleground Paul describes. Mortification (Nekroo): In Colossians 3:5 and Romans 8:13, the New Testament commands believers to "put to death" or "mortify" lower impulses. This is not a passive event; it is an active, effortful override of natural inclination—the exact stimulus that drives aMCC hypertrophy.     How do you put to death the desires of the flesh? Lets put this misconception to bed for good! You do the opposite of the flesh according to scripture.       1 Samuel 14:24, 43-44 (Rashness and Impulsivity): Driven by the heat of battle, Saul made a foolish, impulsive oath binding his army to fast until evening. This emotional decision left his men exhausted and nearly resulted in the execution of his own son, Jonathan, who had unknowingly eaten honey.   Emotional highs get mistaken for spiritual maturity. Feeling moved during worship, feeling peace after a decision, feeling conviction in the moment — these can be real and God-given, but they can also be manufactured by music, social pressure, or just brain chemistry. The danger is building a faith that needs a constant emotional high to feel "real," which sets people up to crash hard when the feelings fade — and many walk away from faith entirely when the emotional experience stops delivering, mistaking the absence of feeling for the absence of God.   **When emotions supersede logic or common sense, they will typically supersede Gods best as well.     MANY/MOST times God will ask you to do something that goes against your emotions! 

Send us Fan MailWelcome to the Hall of Imagination for an episode with William Shakespeare called words become music. And here is Master Shakespeare himself as as he explains one of the most commonly used rhetorical devices of them all.Mr. Bartley: Master Shakespeare, there is a word that continues to appear whenever people discuss your writing. That word is “parallelism.”Master Shakespeare: A formidable word, Mr. Bartley. Five syllables marching in formation. Any word of five syllables must surely be either profoundly important or invented merely to frighten schoolchildren.Mr. Bartley: In this case, I believe it may be both.Master Shakespeare: Then we must approach it carefully. What meaning do your scholars give the word?Mr. Bartley: At its simplest, parallelism means placing similar ideas into similar grammatical forms. A writer establishes a pattern, repeats that pattern, and creates a sense of balance.Master Shakespeare: Ah! Then I know the creature, though I may not always have called it by that name.Mr. Bartley: Most writers today use parallelism. You, however, seemed to invite it home, give it supper, and offer it a permanent room.Support the showThank you for experiencing Celebrate Creativity.

***⁠⁠⁠⁠⁠⁠⁠⁠Complete our⁠ listener survey⁠ for a chance to win a $50 gift card!⁠⁠⁠⁠⁠⁠⁠ *** Next Chapter Podcasts presents the complete Play On Podcast series, Troilus and Cressida, in its entirety. The PLAY ON PODCAST SERIES, “TROILUS AND CRESSIDA”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by LILLIAN GROAG. All episodes were directed by KIM MARTIN COTTON. Radio play by CATHERINE EATON.   Executive Producer: MICHAEL GOODFRIEND   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   BENJAMIN BONENFANT         as    TROILUS AWNI ABDI-BAHRI                       as    CRESSIDA JAMES UDOM                          as    ACHILLES GEOFFREY ALLEN MURPHY    as    AJAX STEVEN RATTAZZI                     as    PANDARUS and MENELAUS DAISUKE TSUJI                           as    THERSITES ANNA SUNDBERG                       as    ALEXANDRA, CASSANDRA and HELEN NOAH KEYISHIAN                       as    AENEAS, MARGARELON and HELENUS ROB NAGLE                                  as    AGAMEMNON LISA WOLPE                                 as    ULYSSES WAYNE T. CARR                          as    HECTOR and CALCHAS EDWARD GERO                           as    NESTOR and PRIAM EDDIE LOPEZ                               as    PATROCLUS and PARIS JOHNNY WU                                 as    DIOMEDES KIM MARTIN COTTON                as    ANDROMOCHE   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original Music Composition, Mix and Sound Design by LINDSAY JONES. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES).   The Play On Podcast Series “TROILUS AND CRESSIDA ” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit ⁠NEXTCHAPTERPODCASTS.COM⁠ for more about the Play On Podcast Series. Visit ⁠PLAYONSHAKESPEARE.ORG⁠ for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “The proud man eats himself”. Learn more about your ad choices. Visit megaphone.fm/adchoices

The David Alliance TDAgiantSlayer@Gmail.com Garth Heckman INTRO: Its a strange memory at best: A young man at church - my sister Renee's friend. HS stud athlete, great looking, always jumping in and out of bed with whomever he could. Now in his early 30's he came to church and Renee said one night after church… he better hurry up and figure out life - his hair is getting thinner and his glasses are getting thicker.  Funny, sad, but telling of his life falling apart. He lived his life by his emotions… his “URGES” if you will.    the phrase "a piece of work" originated as a high compliment before evolving over centuries into a sarcastic insult. The Literary Origin Its earliest famous usage comes from William Shakespeare's Hamlet (around 1601). In Act II, Scene 2, Prince Hamlet marvels at the creation of humanity: "What a piece of work is a man! How noble in reason, how infinite in faculty..."       He's a piece of work ISRAELS FIRST KING!  King Saul had it all but lost his call as a know it all only to fall.      Saul's ultimate downfall was not a lack of talent or opportunity; it was a fundamental flaw in his internal compass. Saul lived a life governed by feelings rather than character.     Have you ever met someone who lives by their emotions/feelings/the wind?     I used to say to my boys… “dad is in a bad mood today, so don't push it”. WHAT I WAS REALLY SAYING WAS DAD IS IN THE FLESH… LIVING BY HIS URGES!        Romans 8:5 Those who are dominated by the sinful nature think about sinful things, but those who are controlled by the Holy Spirit think about things that please the Spirit. 6 So letting your sinful nature control your mind leads to death. But letting the Spirit control your mind leads to life and peace. 7 For the sinful nature is always hostile to God. It never did obey God's laws, and it never will. 8 That's why those who are still under the control of their sinful nature can never please God. 9 But you are not controlled by your sinful nature. You are controlled by the Spirit if you have the Spirit of God living in you. (And remember that those who do not have the Spirit of Christ living in them do not belong to him at all.)         King Saul highlights critical decisions based on fear, jealousy, and impulsivity rather than steadfast character and obedience.     1 Samuel 13:8-12 (Impatience and Panic): When the prophet Samuel delayed his arrival and the Israelite army began to scatter out of fear, Saul panicked. Instead of trusting God and waiting, his anxiety drove him to unlawfully offer the burnt offering himself. Emotions make God's Word feel optional rather than authoritative. When feelings become the filter for truth, scripture gets reduced to "does this resonate with me" instead of "is this what God said." Jeremiah 17:9 warns that the heart is deceitful above all things — not evil in a cartoonish sense, but genuinely unreliable as a final authority. A Christian who only obeys when it feels right isn't actually submitted to Christ's lordship; they're submitted to their own emotional state, with God's Word as an occasional consultant rather than the authority.   Abortion, adultery, fornication, bitterness, gossip… emotions muddy up the water.

The Life of Henry V by William Shakespeare w/Jesan Sorrells and Zac Stucki---Delving into William Shakespeare's The Life of Henry V, Jesan Sorrells and Zac Stucki analyze the cultural foundation of leadership, the decline of cultural confidence in Western societies, and the complex responsibilities leaders face when making consequential decisions. They connect Shakespeare's lessons on accountability and mentorship to today's leadership crises—highlighting generational gaps, the impact of cultural narratives, and how leaders can prepare to uphold a standard in turbulent times.Play: The Life of Henry VAuthor: William ShakespeareGuest: Zac StuckiHost: Jesan Sorrells---Time-Stamped Outline:---00:00 Debating France's royal succession21:07 Discussing OK Boomer Cultural Dynamics24:34 Emergence of New Political Powers42:06 Discussing future Shakespeare episodes43:58 Portraying the French as complex characters01:00:11 The thin red line of America01:05:25 Shakespeare's historical context and audience01:23:28 Defining true intelligence beyond academics01:31:32 Child's simple requests for water01:46:11 Current insurgency tactics and alliances01:55:04 Post-War Nuremberg Trials Discussion02:00:40 Discussing moral standards and politics02:15:59 Discussing King Harry's Agincourt dilemma02:28:08 Learning from older generations02:35:29 Wrapping up the podcast episode---Opening theme composed by Felipe Sarro - Bach - Silotti - "Air"  from Orchestra Suite No. 3, BWV 1068 Closing theme composed by Brian Sanyshyn of Brian Sanyshyn Music.---Pick up your copy of 12 Rules for Leaders: The Foundation of Intentional Leadership NOW on AMAZON!Check out the Leadership Lessons From the Great Books podcast reading list!---Subscribe to the Leadership Lessons From The Great Books Podcast: https://bit.ly/LLFTGBSubscribeCheck out Leadership ToolBox at: https://leadershiptoolbox.us/. ★ Support this podcast on Patreon ★

Arthur Marchetto, Anna Raissa e Igor Oliveira Neves começam uma conversa sobre Literatura e Colonialismo, discutem algumas questões para introduzir a discussão do tema e falam sobre alguns textos basilares sobre o assunto: A tempestade, de William Shakespeare; Robinson Crusoé, de Daniel Defoe; e Coração das Trevas, de Joseph Conrad.---Livros citadosO pós-colonialismo e a literatura: estratégias de leitura, de Thomas BonniciO local da cultura, de Homi K. BhabhaCultura e imperialismo, de Edward W. SaidSalvamento: Leituras do naufrágio, de Dionne BrandCoração das Trevas, de Joseph ConradA tempestade, de William ShakespeareRobinson Crusoé, de Daniel DefoeA ilha do Dr. Moreau, de H.G. WellsGrandes esperanças, de Charles DickensMansfield Park, de Jane AustenAuto Representado na Festa de São Lourenço, de José de AnchietaO Burguês, de Franco Moretti---Links⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apoie o 30:MIN⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Confira nossa vitrine na Amazon!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Siga a gente nas redes⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Já apoia? Acesse suas recompensas⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Confira todos os títulos do clube!

During her tenure as The New Yorker's television critic, Emily Nussbaum famously railed against ranking the year's best shows; she once wrote a piece entitled “I Hate Top Ten Lists.” But naming her favorite series of all time is an easier proposition, and the honor goes to a little-known Canadian production from the early two-thousands that dramatized the colorful characters and commercial struggles of a fictional Shakespearean theatre festival. In the final episode of this summer's Critics at Large interview series, Alex Schwartz talks with Nussbaum about her love of “Slings & Arrows,” which pioneered a complex balance of comedy and drama that would eventually become a hallmark of prestige television. Today, Hollywood showrunners including David Simon, the creator of “The Wire,” sing its praises—and yet it remains largely overlooked by audiences. Nussbaum, who's lately been writing as the magazine's theatre critic, is on a mission to change that.  “The history of TV is the confusion between whether something is good and whether it's popular and commercial,” Nussbaum says. “ ‘Slings & Arrows' is an example of a show that is the best show—regardless of how many people watch it.”  Read, watch, and listen with the critics: “Cue the Sun,” by Emily Nussbaum“Slings and Arrows” (2003-2006)“Hamlet,” by William Shakespeare“Macbeth,” by William Shakespeare“King Lear,” by William Shakespeare“30 Rock” (2006-13)“Orange Is the New Black” (2013-19)“Call My Agent!” (2015-19)“The Studio” (2025—)“Next to Normal” (2025)“Succession” (2018-2023) New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In Episode 232, Sarah is joined by returning guest Anderson McKean of Page & Palette Bookstore for the 2026 edition of Micro Genres! Each year, this series gives us a chance to niche down even further into the kinds of books we love — spotlighting those very specific sub-sub-genres that capture a particular reading taste. This year, Sarah and Anderson have 10 all-new Micro Genres to share, along with standout books for each. With more than 80 books mentioned, you're bound to find a few new additions to your TBR — and maybe recognize a Micro Genre or two of your own. This post contains affiliate links through which I make a small commission when you make a purchase (at no cost to you!). CLICK HERE for the full episode Show Notes on the blog. Politically-Adjacent Stories (Sarah) The Hopefuls by Jennifer Close (2016) | Amazon | Bookshop.org  [3:00]  Charlotte Walsh Like to Win by Jo Piazza (2018) | Amazon | Bookshop.org [3:11]  American Wife by Curtis Sittenfeld (2008) | Amazon | Bookshop.org  [3:36] Rodham by Curtis Sittenfeld (2020) | Amazon | Bookshop.org  [3:38]   Vantage Point by Sara Sligar (2025) | Amazon | Bookshop.org  [3:47] The Emperor of Ocean Park (Elm Harbor, 1) by Stephen L. Carter (2002) | Amazon | Bookshop.org  [4:48]   Palace Council (Elm Harbor, 3) by Stephen L. Carter (2008) | Amazon | Bookshop.org  [4:49]  The Boomerang by Robert Bailey (2025) | Amazon | Bookshop.org  [5:23] State of Terror by Louise Penny and Hillary Clinton (2021) | Amazon | Bookshop.org  [6:14]  The Situation Room by George Stephanopoulos (2024) | Amazon | Bookshop.org  [6:55]  Becoming by Michelle Obama (2018) | Amazon | Bookshop.org  [8:18]  From the Corner of the Oval by Beck Dorey-Stein (2018) | Amazon | Bookshop.org  [8:53]  Retellings that Are NOT Mythological (Anderson) Lady Tremaine by Rachel Hochhauser (2026) | Amazon | Bookshop.org  [10:41]  The Beheading Game by Rebecca Lehmann (2026) | Amazon | Bookshop.org [10:58]  Beautiful Little Fools by Jillian Cantor (2022) | Amazon | Bookshop.org [11:55]  Hester by Laurie Lico Albanese (2022) | Amazon | Bookshop.org  [12:23]  Honeysuckle by Bar Fridman-Tell (2026) | Amazon | Bookshop.org  [12:55]  Eligible by Curtis Sittenfeld (2016) | Amazon | Bookshop.org  [14:03]  Anna K (Anna K, 1) by Jenny Lee (2020) | Amazon | Bookshop.org  [14:08]  Demon Copperhead by Barbara Kingsolver (2022) | Amazon | Bookshop.org [14:20]  The Kind Worth Killing by Peter Swanson (2015) | Amazon | Bookshop.org [14:36]  The Favorites by Layne Fargo (2025) | Amazon | Bookshop.org  [14:48]  Broken Country by Clare Leslie Hall (2025) | Amazon | Bookshop.org  [14:57]  Wasp's Nest by Kat Stoddard (2026) | Amazon | Bookshop.org  [15:26]  A Thousand Acres by Jane Smiley (1991) | Amazon | Bookshop.org  [15:39]  Other Books Mentioned The Scarlet Letter by Nathaniel Hawthorne (1850) [12:32]  James by Percival Everett (2024) [12:36]  Pride and Prejudice by Jane Austen (1813) [14:07]  Anna Karenina by Leo Tolstoy (1878) [14:11]  David Copperfield by Charles Dickens (1850) [14:24]  Strangers on a Train by Patricia Highsmith (1950) [14:41]  Wuthering Heights by Emily Brontë (1847) [14:55]  The Go-Between by L. P. Hartley (1953) [15:03]  The Philadelphia Story by Philip Barry (1939) [15:32]  King Lear by William Shakespeare (1608) [15:45]  Ministers Behaving Badly (Sarah) Dominion by Addie E. Citchens (2025) | Amazon | Bookshop.org  [16:36] Awake by Jen Hatmaker (2025) | Amazon | Bookshop.org  [16:45] God Spare the Girls by Kelsey McKinney (2021) | Amazon | Bookshop.org [17:19] The True Confessions of First Lady Freeman by Deesha Philyaw (Sep 29, 2026) | Amazon | Bookshop.org  [17:36] The Dearly Beloved by Cara Wall (2019) | Amazon | Bookshop.org  [17:51] The Poisonwood Bible by Barbara Kingsolver (1998) | Amazon | Bookshop.org [18:16] Dear Reader / Love Letters to Books (Anderson) This Book Made Me Think of You by Libby Page (2026) | Amazon | Bookshop.org  [19:14] The Starless Sea by Erin Morgenstern (2019) | Amazon | Bookshop.org  [19:53] The Borrower by Rebecca Makkai (2011) | Amazon | Bookshop.org  [20:22] Dear Fahrenheit 451 by Anne Spence (2017) | Amazon | Bookshop.org  [22:24] Mr. Penumbra's 24-Hour Bookstore by Robin Sloan (2012) | Amazon | Bookshop.org  [22:37] The Storied Life of A. J. Fikry by Gabrielle Zevin (2014) | Amazon | Bookshop.org  [22:56] Other Books Mentioned I Have Some Questions for You by Rebecca Makkai (2023) [20:29] The Great Believers by Rebecca Makkai (2018) [20:31] Yellowface by R. F. Kuang (2023) [22:15] Dark Humor (Sarah) Rabbit Cake by Annie Hartnett (2017) | Amazon | Bookshop.org  [23:52] Unlikely Animals by Annie Hartnett (2022) | Amazon | Bookshop.org  [23:53] The Road to Tender Hearts by Annie Hartnett (2025) | Amazon | Bookshop.org [23:55] Goodbye, Vitamin by Rachel Khong (2017) | Amazon | Bookshop.org  [24:41] Cleo Dang Would Rather Be Dead by Mai Nguyen (2026) | Amazon | Bookshop.org  [25:42] Lost Lambs by Madeline Cash (2026) | Amazon | Bookshop.org  [25:51] The Heart's Invisible Furies by John Boyne (2017) | Amazon | Bookshop.org [26:00] Here One Moment by Liane Moriarty (2024) | Amazon | Bookshop.org  [26:47] Other Books Mentioned Real Americans by Rachel Khong (2024)  [24:44] Fantasy Even Sarah Might Like / Fantasy-Lite (Anderson) Conform (Conform Series, 1) by Ariel Sullivan (2025) | Amazon | Bookshop.org [28:54] The Night Circus by Erin Morgenstern (2011) | Amazon | Bookshop.org  [30:13] The Familiar by Leigh Bardugo (2024) | Amazon | Bookshop.org  [30:39] The Atlas Six (The Atlas Trilogy, 1) by Olivie Blake (2022)* | Amazon | Bookshop.org  [30:53] A Darker Shade of Magic (Shades of Magic, 1) by V. E. Schwab (2015) | Amazon| Bookshop.org  [31:57] Bury Our Bones in the Midnight Soil by V. E. Schwab (2025) | Amazon | Bookshop.org  [32:02] The Midnight Train (The Midnight World, 2) by Matt Haig (2026) | Amazon | Bookshop.org  [32:04] The Midnight Library (The Midnight World, 1) by Matt Haig (2020) | Amazon | Bookshop.org  [32:05] The Measure by Nikki Erlick (2022) | Amazon | Bookshop.org  [32:20] The Dream Hotel by Laila Lalami (2025) | Amazon | Bookshop.org  [32:25] The Other Valley by Scott Alexander Howard (2024) | Amazon | Bookshop.org [32:28] Other Books Mentioned The Hunger Games (The Hunger Games, 1) by Suzanne Collins (2008) [29:03] The Handmaid's Tale (The Handmaid's Tale, 1) by Margaret Atwood (1985) [29:04] Like Friday Night Lights, But Book Form (Sarah) a.k.a. Sports Books That Are About Far More Than Sports The Art of Fielding by Chad Harbach (2011) | Amazon | Bookshop.org  [35:06]  The Slip by Lucas Schaefer (2025) | Amazon | Bookshop.org  [35:15]  The World According to Garp by John Irving (1978) | Amazon | Bookshop.org [35:51] In One Person by John Irving (2012) | Amazon | Bookshop.org  [35:53]   Carrie Soto Is Back by Taylor Jenkins Reid (2022) | Amazon | Bookshop.org [36:12]  The Flock by Ellen Bar (Apr 27, 2027) | Amazon | Bookshop.org  [36:41]  The Last Days of Vic & Coco by Taylor Jenkins Reid (Mar 2, 2027) | Amazon | Bookshop.org  [38:31]  Other Books Mentioned The Amateur by Chris Bohjalian (2026)  [37:29]  The Double Bind by Chris Bohjalian (2007)  [37:48]  Women Rule the World (Anderson) The Romanov Empress by C. W. Gortner (2018) | Amazon | Bookshop.org  [40:16]  Mademoiselle Chanel by C. W. Gortner (2015) | Amazon | Bookshop.org  [40:41] Marlene by C. W. Gortner (2016) | Amazon | Bookshop.org  [40:43] The Woman with the Cure by Lynn Cullen (2023) | Amazon | Bookshop.org [41:07]  Mrs. Poe by Lynn Cullen (2013) | Amazon | Bookshop.org  [41:28]  Twain's End by Lynn Cullen (2015) | Amazon | Bookshop.org  [41:31] Lady Clementine by Marie Benedict (2020) | Amazon | Bookshop.org  [41:36]  The Other Einstein by Marie Benedict (2016) | Amazon | Bookshop.org  [41:53] The Only Woman in the Room by Marie Benedict (2019) | Amazon | Bookshop.org  [41:47] Daughter of a Daughter of a Queen by Sarah Bird (2018) | Amazon | Bookshop.org  [42:03] Other Books Mentioned Z: A Novel of Zelda Fitzgerald by Therese Anne Fowler (2013) [43:13]  Isola by Allegra Goodman (2025) [43:32]  Royals (Sarah) The Royal We (The Royal We, 1) by Heather Cocks and Jessica Morgan (2015) | Amazon | Bookshop.org  [45:04]  Red, White & Royal Blue (Red, White & Royal Blue, 1) by Casey McQuiston(2019) | Amazon | Bookshop.org  [45:06]  American Royals (American Royals, 1) by Katharine McGee (2019) | Amazon | Bookshop.org  [45:09]  Spare by Prince Harry (2023) | Amazon | Bookshop.org  [45:19] The Force of Such Beauty by Barbara Bourland (2022) | Amazon | Bookshop.org  [45:29] The Heir Apparent by Rebecca Armitage (2025) | Amazon | Bookshop.org [45:48]   The Windsor Affair by Melanie Benjamin (2026) | Amazon | Bookshop.org [46:03]  This Land is Your Land (Anderson) Land by Maggie O'Farrell (2026) | Amazon | Bookshop.org  [46:34]  Damnation Spring by Ash Davidson (2021) | Amazon | Bookshop.org  [47:33]  I Will Send Rain by Rae Meadows (2016) | Amazon | Bookshop.org  [47:52]  The Well and the Mine by Gin Phillips (2007) | Amazon | Bookshop.org [48:07]  Greenwood by Michael Christie (US Release 2020) | Amazon | Bookshop.org [49:03]  The Islanders by Lewis Robinson (2024) | Amazon | Bookshop.org  [49:32]  The Shark House by Sara Ackerman (2026) | Amazon | Bookshop.org  [49:40]  *Publication year reflects the later traditionally published edition for a book originally self-published.

“You blocks, you stones, you worse than senseless things!” Shakespeare had a gift for turning a phrase! “It was Greek to me” and “mischief thou art afoot” are a few more colorful quips from his iconic play, Julius Caesar. This tragedy was written in 1599, however the actual assassination of the powerful general took place about 40 years before Jesus was born. Betrayal is shockingly portrayed as Caesar is stabbed by a crowd of cunning conspirators, the last stab belonged to Brutus, a ‘trusted' friend.It is amazing how Shakespeare takes a well-known event in history and weaves it into an unforgettable story. Political problems are prevalent today as well, but we do not have an orator with Antony's ability to turn the crowd! “Friends, Romans, countrymen, lend me your ears; I come to bury Caesar, not to praise him.” Click the link for an amazing delivery of his speech! Damian Lewis as Antony in Julius Caesar: 'Friends, Romans, countrymen' | Shakespeare SolosWhat a great time to wrestle with this text, during the dog days of summer! Thank you for joining us in our jaunt with the Bard! Let's connect to reflect! Blessings dear listeners!

***⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Complete our⁠ listener survey⁠ for a chance to win a $50 gift card!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ *** Hector's wife, Andromache, and his sister, Cassandra, beg him not to fight, sharing ominous dreams they've had foretelling his death. His father, King Priam, joins them, begging his son not to go into battle but Hector refuses to break his vows and is joined by his brother Troilus, who is eager for vengeance. Pandarus brings a letter from Cressida which Troilus reads and rips in fury. As the battle begins, Thersites stands on the sidelines mocking everyone in the fray until he is confronted by Hector and crumples at his feet. Troilus fights both Diomedes and Ajax and Hector fights Achilles but spares him in an act of chivalry. Patroclus is killed.  Achilles, heartbroken, gathers his group of mercenary soldiers (the Myrmidons) to hunt for Hector. Thersites mocks Menelaus and Paris as they fight until he's confronted by Margarelon and runs away. Hector sits down to rest after killing a Greek soldier for his armor when Achilles and his Myrmidons arrive and surround him before slaughtering him in cold blood. Troilus, enraged, rallies the retreating Trojans before cursing and rejecting Pandarus, who is left alone to deliver a scathing epilogue. The PLAY ON PODCAST SERIES, “TROILUS AND CRESSIDA”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by LILLIAN GROAG. All episodes were directed by KIM MARTIN COTTON. Radio play by CATHERINE EATON.   Executive Producer: MICHAEL GOODFRIEND   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   BENJAMIN BONENFANT         as    TROILUS AWNI ABDI-BAHRI                       as    CRESSIDA JAMES UDOM                          as    ACHILLES GEOFFREY ALLEN MURPHY    as    AJAX STEVEN RATTAZZI                     as    PANDARUS and MENELAUS DAISUKE TSUJI                           as    THERSITES ANNA SUNDBERG                       as    ALEXANDRA, CASSANDRA and HELEN NOAH KEYISHIAN                       as    AENEAS, MARGARELON and HELENUS ROB NAGLE                                  as    AGAMEMNON LISA WOLPE                                 as    ULYSSES WAYNE T. CARR                          as    HECTOR and CALCHAS EDWARD GERO                           as    NESTOR and PRIAM EDDIE LOPEZ                               as    PATROCLUS and PARIS JOHNNY WU                                 as    DIOMEDES KIM MARTIN COTTON                as    ANDROMOCHE   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original Music Composition, Mix and Sound Design by LINDSAY JONES. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES).   The Play On Podcast Series “TROILUS AND CRESSIDA ” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit ⁠⁠⁠⁠⁠⁠NEXTCHAPTERPODCASTS.COM⁠⁠⁠⁠⁠⁠ for more about the Play On Podcast Series. Visit ⁠⁠⁠⁠⁠⁠PLAYONSHAKESPEARE.ORG⁠⁠⁠⁠⁠⁠ for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “The proud man eats himself”. Learn more about your ad choices. Visit megaphone.fm/adchoices

***⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Complete our⁠ listener survey⁠ for a chance to win a $50 gift card!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ *** Patroclus trades insults with Thersites until Achilles breaks it up with news that he will keep his oath with Queen Hecuba to make peace with the Trojans out of his love for her daughter, Polyxena. Hector, Troilus and the rest of the Trojan leaders arrive in the Greek camp to negotiate a possible truce. Diomedes leaves the gathering and Ulysses and Troilus secretly follow him to Calchas's tent. Diomedes calls for Cressida, who comes out to meet him. Troilus and Ulysses watch as Diomedes flirts with Cressida, with Thersites mocking the whole scene from afar. Cressida tries to figure out a way to keep Diomedes satisfied without breaking her loyalty to Troilus. She offers him the bracelet Troilus gave her then tries to get it back but Diomedes won't let her have it. She finally gives in and agrees to let Diomedes into her tent, bidding a sad farewell to Troilus, who has seen the whole thing from his hiding place. He rages in despair and disbelief as Ulysses tries to get him to leave. The PLAY ON PODCAST SERIES, “TROILUS AND CRESSIDA”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by LILLIAN GROAG. All episodes were directed by KIM MARTIN COTTON. Radio play by CATHERINE EATON.   Executive Producer: MICHAEL GOODFRIEND   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   BENJAMIN BONENFANT         as    TROILUS AWNI ABDI-BAHRI                       as    CRESSIDA JAMES UDOM                          as    ACHILLES GEOFFREY ALLEN MURPHY    as    AJAX STEVEN RATTAZZI                     as    PANDARUS and MENELAUS DAISUKE TSUJI                           as    THERSITES ANNA SUNDBERG                       as    ALEXANDRA, CASSANDRA and HELEN NOAH KEYISHIAN                       as    AENEAS, MARGARELON and HELENUS ROB NAGLE                                  as    AGAMEMNON LISA WOLPE                                 as    ULYSSES WAYNE T. CARR                          as    HECTOR and CALCHAS EDWARD GERO                           as    NESTOR and PRIAM EDDIE LOPEZ                               as    PATROCLUS and PARIS JOHNNY WU                                 as    DIOMEDES KIM MARTIN COTTON                as    ANDROMOCHE   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original Music Composition, Mix and Sound Design by LINDSAY JONES. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES).   The Play On Podcast Series “TROILUS AND CRESSIDA ” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit ⁠⁠⁠⁠⁠NEXTCHAPTERPODCASTS.COM⁠⁠⁠⁠⁠ for more about the Play On Podcast Series. Visit ⁠⁠⁠⁠⁠PLAYONSHAKESPEARE.ORG⁠⁠⁠⁠⁠ for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “The proud man eats himself”. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this first episode of "You Could Make This Beautiful," actor Henry Winkler tells hosts Maggie Smith and Faith Salie about the poetry he's found in everything from fly fishing, to the music of Lin-Manuel Miranda, to the acting performances of the late Robin Williams. Poet and teacher Saeed Jones declares that "Nobody loves us the way poetry loves us," he reads us one of his poems, and he talks about the chemical reaction that poems set off in our brains and bodies. And Maggie and Faith offer a "poetry prescription" to a fan of theirs in Ohio who's seeking steadiness in her life. Show Notes (in chronological order): "I'm Nobody! Who are you?" by Emily Dickinson "Good Bones" by Maggie Smith "Parent Effectiveness Training" by Dr. Thomas Gordon Henry Winkler's "Launce and the dog" monologue from William Shakespeare's "Two Gentlemen of Verona" "My Shot" from the musical Hamilton Henry Winkler's novels with Lin Oliver "Alive at the End of the World" by Saeed Jones "Snow for Wallace Stevens" by Terence Hayes "Black in Blues" by Imani Perry "Scorched Earth" by Tiana Clark "Tell Me" by Kim Addonizio "Blood Dazzler" by Patricia Smith Poetry Prescriptions Maggie's prescriptions: "Thanks" by W.S. Merwin and "Sorrow is Not My Name" by Ross Gay Faith's prescription: This excerpt of "The Moon is a Kite" by Andrea Gibson If you want a hand-picked, heart-plucked "poetry prescription" to help you with something you're going through, send a brief voice memo to PoetryPrescriptions@gmail.com. All three episodes of You Could Make This Beautiful are out now and can be heard HERE. This show is an experiment, so if you love what you've heard and want more episodes, let us know! Leave us a glowing review in your podcast app, share the series with friends, and write to us: PoetryPrescriptions@gmail.com.

Tonight's sleep story is A Midsummer Night's Dream by William Shakespeare, retold by Edith Nesbit. You might know the story of Hermia and Helena, their love square ,and the mischievous sprite Puck originally written by William Shakespeare. This adaptation by Edith Nesbit condenses and simplifies the story but the end remains the same. If you're still awake, the other two stories are As You Like It and the Two Gentlemen of Verona.Support the podcast and enjoy ad-free and bonus episodes. Try FREE for 7 days on Apple Podcasts. For other podcast platforms go to https://justsleeppodcast.com/supportOr, you can support with a one time donation at buymeacoffee.com/justsleeppodOrder your copy of the Just Sleep book! https://www.justsleeppodcast.com/book/If you like this episode, please remember to follow on Apple Podcasts, Spotify or wherever you listen to your favourite podcasts. Also, share with any family or friends that might have trouble drifting off.Goodnight! Hosted on Acast. See acast.com/privacy for more information.