Bickering Peaks: A Twin Peaks Podcast

It goes without saying that William Shakespeare, that Sweet Swan of Avon, the upstart crow who turned the English language upside down, was an influential dude. But what many people gloss over in their Bardolatrous zeal is the central question of our show today: Who influenced Shakespeare? Ancient Bickerings The gloves come off as Aidan and Lindsay take sides to answer the central question: Since so much of Shakespeare's work was adapted from other source material... was Shakespeare a thief?   Notes: - What Inspired Shakespeare? - Warwickshire and Shakspeare's Plays - BBC Radio 4: In Our Time - Marlowe - The Holinshed Project - The University Wits - The Comedy of Errors - Shakespeare's Sources - A Midsummer Night's Dream - British Library - Romeo and Juliet - Shakespeare's Sources - The Merchant of Venice - Shakespeare's Sources - Julius Caesar - Influences of Plutarch - Hamlet Dates and Sources - Royal Shakespeare Company - Prince of Jutland (aka Royal Deceit) - a film adaptation of Amleth (and yes, it st

If there's a contest for the least known of Shakespeare's plays, we feel King John would certainly be in the running. With a meandering plot and characters that don't exactly sizzle on the page or stage, it's a tough play to rank amongst the very best that Shakespeare wrote. However, we're well past Shakespeare's early dalliances with drama, and this play reveals a level of intellectual depth, nuance, and contradiction that makes for excellence podcast fodder. We hope you'll join us for a discussion of the characters and themes of this play set in the high middle ages that nonetheless manages to focus on some very Elizabethan concerns.  Ancient Bickerings: This episode we discussed a topic that's always doomed to interpretation and mis-interpretation: authorial intention. We tried to answer the question, "Who did Shakespeare want to be the King from amidst the characters of the play?"  Notes: Shmoop Themes and Related Questions on King John: https://www.shmoop.com/study-guides/literature/king-john/themes

Looking at sex in Shakespeare’s time and works reveals a similar world stuck between two truths: the first that sex was always a many-splendoured, or at least multifaceted, thing; and the second that despite the crushing weight of legal, cultural, and religious dictates, in trying to police sex, Elizabethans wound up having a fairly free discourse on the subject. Unfortunately for modern readers, that discourse is still much more obscure than our modern, ultra-liberal discussion of everything from kinks to polyamory; such talk, while still there in Elizabethan works, is far more layered and lacks a lot of the diction we take for granted... Join The Bicks for a randy discussion about Shakespeare between the sheets! Notes: Stanley Wells' Shakespeare, Sex & Love Hays Code Nunnery = whorehouse? Some people insist this is not the case -- we'll let you be the judge! Ophelia pregnant?! Two bros...chillin in a hot tub... because Vine will never die. Monty Python - The Meaning of Life condom skit Phil

Romeo and Juliet.  Sex and love. Family and religion. It's a story made up of pairings, from the two houses at war to the two lovers who bring the feud to an end. Your two hosts dive into this immortal classic this week to talk the different kinds of love present in the play, the language and poetry Shakespeare was bringing to full use by this time, and the generational gaps presented in the play. Not to mention the objectification of women, the role of fate or destiny, and some of the criticism the play faces (in our view most unjustly) from critics today. Notes: A few thoughts about prologues: https://www.reddit.com/r/shakespeare/comments/3r9176/why_do_some_plays_have_prologues_but_others_dont/ https://www.youtube.com/watch?v=OPjygcUnMgc We'd love to hear how others came to first see R&J as well, feel free to get in touch and share with us. Ancient Bickerings: This week we answer the only question that really matters in this play: who is responsible for the deaths of Romeo and Juliet?

This episode is all about the spooky, the spectral, and the supernatural. Join us for a discussion on ghosts, visions, and outright magic. We talk about the various works of Shakespeare and how the supernatural manifests itself in each, playing with both the characters' and the audience's emotions and expectations. We also touch on the context in which these plays and poems were written, where fate and the supernatural were simply accepted parts of the world - a world in which we as a Western audience are easily able to imagine ourselves as well. From the witch appearance in Henry VI through to Shakespeare's final swan-song in The Tempest, we've got you covered with an analysis of all the major uses and themes of the supernatural. Ancient Bickerings This week's debate is less of a debate and more of a reflection on what supernatural forces we're still willing to admit some sort of belief in.    

Shakespeare's original comedy, A Midsummer Night's Dream follows young lovers and old lovers into the mystical, natural space of the forest, where the rules don't apply the way they do anywhere else. Continuing the increasing sophistication of his plays of late, Shakespeare comments on both the nature of love and the nature of the theatre. Join us as we discuss one of our favourite of the Bard's comedies! Notes: - The content of 1 Corinthians is partly mixed up by Nick Bottom after his sojourn in the woods; it's one of the most famous parts from the New Testament, and passages from it are routinely recited at weddings (much like Shakespeare's sonnets!) - Joseph Campell's monomyth and later amendments by scholars like David Adams Leeming discuss the mythological underpinnings of the journey all heroic figures take as their stories are told; though not a strictly heroic tale, Midsummer does borrow from these ideas to describe the journey of the lovers from civilization to chaos and back again. - For more disc

Topic Introduction: What's in a face? That's the question we tackle this episode, with an auditory look at the various faces that have been purported to be of Shakespeare over the ages. Which portraits have been put forth as depictions of the Bard? Of those, which are most likely, and which have been discredited?  More importantly: Why do we care so much? List of Portraits Discussed in this Episode: The Stratford monument: In Stratford-upon-Avon, installed in 1617-1618 above the chancel in Holy Trinity Church, which is where Shakespeare is buried. The First Folio engraving by Martin Droeshout: The most famous portrait of Shakespeare, featured on the title page of the First Folio. The Chandos Portrait: Aka the sexy earring portrait. Possibly depicts Shakespeare in costume as Shylock. Definitely dates from the first decade of the 17th century. Owned by the National Portrait Gallery. The Cobbe Portrait: One of the more recently identified portraits potentially of Shakespeare. The Sanders Portrait: Maybe

This week we explore one of the lesser-known history plays, Richard II. The chronological jumping-off point for the story that will eventually result in the Wars of the Roses (covered in previous episodes), this play is a through examination of the distinctions between man and king, god and country, and power and helplessness. Join us for a deep dive into the character of Richard himself, the language used to describe jolly old England, what the play is telling us about fathers and sons, and the interesting set-up for the upcoming Henry IV and Henry V plays. Ancient Bickerings: This week we dove into a favourite topic concerning kings named "Richard" - is Richard II a tragic figure? Lindsay said "yay" Aidan "nay" and somehow they both turned out to be wrong and right.

Shakespeare's sonnets are often the first and perhaps the easiest entry point for beginning students. They are lovely little bite-sized poems that exist in discrete units which can be appreciated as works of deep emotion and literary beauty or in grand cycles in the poetic tradition that lead the reader through a flurry of emotion when read together with other similarly-themed sonnets. Most of all, they contain some of Shakespeare's most romantic and certainly most famous written passages. Our study today tackles the sonnets from both angles. We consider the history of the sonnet and the tradition within which Shakespeare wrote his 154-cycle work of art, before branching out into the works themselves, looking at them within the three distinct groups scholars have identified and as works unto themselves.  Eternal Bickering It's a new year, a new decade, and so our newly named "Eternal Bickering" segment sees us tackling the age-old question of how to read the sonnets: Should they be considered autobiographi

It is the humble opinion of your hosts that Shakespeare starts coming into his own as a truly innovative playwright in Love's Labour's Lost. Up until this point, the plays have been fairly straightforward in presentation, structure, and subject matter; in LLL, all of that is played with, to great effect. Starting with this play, Shakespeare starts showing the sense of playfulness as a writer, experimenting with his craft, that marks some of the great works that follow. A conventional love story on the surface--four noble men fall in love with four noble women; hilarity ensues--bucks the trends of comedy (there's no marriage at the end) and comments on its own production ("That's too long for a play") and does so with tremendous flair and wit that Shakespeare is well-known for today, but which must have been terrifically fresh when the play was first written and performed in the middle-1590s. Join us as we chat about the fun themes presented in this innovative play! Marriage Counselling In today's bickerin

Of all Shakespeare's works, we were surprised to find that the most prescient and insightful thus far was not one of Shakepseare's plays, but one of his long form narrative poems. In the MeToo era, you'll find more willingness to discuss the terrible realities and long-lasting effects of sexual assault and gendered sexual power dynamics, but it was surprising to see them tackled so head-on in a poem from the 16th century. In this episode we talk about the gender politics the two contrasting poems put forward, the insanely high quality of Shakespeare's writing, and the amazing psychological and artistic depths he was already reaching at this point - all while providing some of the historical and literary context that would help a new reader approach the texts. This episode is also deserving of our first content warning, as we discuss sexual assault, unwanted sexual advances, and generally don't shy away from talking about the full range of what Shakespeare put forth in this unforgiving look at sex, desire, a

Mistaken identity! Random beatings! Two sets of identical twins! After the far more dramatic moments of the first Henriad comes a bit of a more lighthearted play, namely the all-too-aptly-titled Comedy of Errors. This episode we discuss the relatively scant deeper ideas wedged into this fun-hearted romp through the streets of Ephesus: lost sense of identity and the growing fascination in Shakespeare's time with all things monetary. Mostly though, this is a chance to enjoy Shakespeare at his comedic best - slapstick, silly, and utterly simple. For a dramatist mostly known for being indecipherable, it's worth mentioning the numerous adaptations of this play that have been made, just since the 1980s. Wikipedia has an excellent listing: https://en.wikipedia.org/wiki/The_Comedy_of_Errors#Film

If you've trudged through the first History Tetralogy alongside us, you'll be wondering if there's any real opportunity to redeem the Henry VI plays and their obtuse combination of too many characters, complete lack of linear time, and wandering focus. Thankfully the BBC and a very talented set of actors, writers, directors, and producers have answered that wondering with a resounding yes. Join us for our examination of The second season of the Hollow Crown, which condenses the Henry VI plays down into two two-hour dramas that manage to focus the plot, cut the extra characters, and weave a better story out of Shakespeare's original text. Notes: Production Cost - there's at least a mention of the first season costing approximately 9 million pounds (approximately $11.6 million USD as of writing, but much more before the pound started sinking these past few years). This is particularly impressive given the level of the cast that was assembled for the show, as well as the extremely high production value we rema

This episode brings us to the conclusion of the Wars of the Roses, and to the emergence of Shakespeare's first great villain, the short-reigning English king, Richard III. Long a fan and public favourite of the Bard's, this play is noteworthy for a number of reasons, including its continued relevance in the world's varied political realms. Join us for a discussion of the characters, the story, and the political interpretations of one of England's most reviled monarchs, and one of Shakespeare's most engaging characters. Marriage Counselling: This episode's marriage counsel debate revolved around which modern politician most resembles Richard III. If you've ever wanted to hear us slag two conservative politicians from North America, this is the debate for you. Extra notes: A quick search reveals that no one has, as of yet, trademarked the term "Tragic Anti-Hero" so maybe Lindsay can corner the market and open a new front of Richardian discourse "Is Stephen Harper a hologram?" by Rick Mercer, covering the 2

Richard III is supposed to have been a conniving and megalomaniacal ruler. Henry Tudor believed he was a usurper, having wrested control of the crown and throne of England from his brother, Edward IV’s, line of succession, which he later claimed was actually illegitimate. And he has stood accused of orchestrating the murders of his other elder brother George, Duke of Clarence, several advisors to his late brother King Edward IV, his own wife Anne Neville, and—most famously—his nephews, Edward V and Richard of Shrewsbury, the young Princes in the Tower. Was Richard the evil usurping murderer that the Tudors and William Shakespeare himself would have us believe? Or was he, as Richardians insist, a victim of smear campaigns and propaganda at the hands of the victors of England’s bloodiest dynastic battle? Richard III: Tyrannical Murderer or Misunderstood King? That's the question we want to discuss in today's episode of The Bicks Do Shakespeare. Notes: "Richard III: The King in the Car Park" - Channel 4 docu

Titus Andronicus is one of Shakespeare's bloodiest plays, set around the Roman revenge tragedy of its titular character and the fateful fall of his family. Along with most of the other characters as well. S. Clarke Hulse, in his essay "Wresting the Alphabet: Oratory and Action in 'Titus Andronicus'", counts "14 killings, 9 of them on stage, 6 severed members, 1 rape (or 2 or 3, depending on how you count), 1 live burial, 1 case of insanity and 1 of cannibalism—an average of 5.2 atrocities per act, or one for every 97 lines." It can be a supremely challenging play to read and watch, in spite of its short length, and the distate for this play permeates its production history; it fell out of favour in the 18th and 19th century and is still considered one of Shakespeare's least-popular plays. But if you can set aside the discomforting facts of the gruesome murders committed its 2500 or so lines, there are some interesting things being presented here. The conflation of civilized Rome and barbaric Goths, rape an

Where does that reputation for being boring come from? And what exactly do we mean by "boring"? Is this actually a stand-in for other words, like "confusing", or "obscure"? And is that reputation for boring well earned?  These are the questions we’re looking at today, as we examine the bard for boredom, in this episode of the Bicks Do Shakespeare. Links: Looking for Richard Love reading Shakespeare? It can trigger a sudden burst of drama in your brain Surviving the Teenage Brain - The Nature of Things Why do you think people consider Shakespeare boring? - Reddit Aidan's Letterboxd Profile!

We complete our end of the Henry VI trilogy with a play that had bits of everything we liked from Part 2, but with a lot more of what we didn't like from Part 1. Join us as we wrap up the sad story of Henry VI, revel in the reign of Edward IV, and lament the fact that these plays give up so much of what Shakespeare does well for so much of what he doesn't.  Notes: Margaret of Anjou did actually take on a leadership role in some of the key battles of the Wars of the Roses (such as the Battle of Tewkesbury and the Second Battle of St. Albans). I suppose the fact that we were in such disbelief about this fact just goes to show how reviled she was in comparison to other female military leaders of the time, and how little English history celebrated it's women. William of Orange did technically invade and depose Charles II (Aidan got this accidentally right when he named James II; he actually meant Charles I) - see the Glorious Revolution for more details on this deposition that occured about 200 years after the

This episode we decided to get a little personal. Rather than try to take an objective look at the characters in Shakespeare's canon, we just picked out our favourites. The ones that stand out for us after years of study, or maybe just a single performance. Forgoing any rational reasoning, we have picked out our most memorable characters, and then post-hoc tried to defend our choices to one another. Along the way we chose a select quote that we thought best summed up each character, and we even picked out a few honourable mentions, as any good listicle does. Next episode we will be returning with the last part of Henry VI, who sadly (Spoiler Alert!) did not make our list of top characters. So join us again next time as we near the conclusion of the Wars of the Roses!

Henry VI Part 2 deals with the immediate lead-up to the Wars of the Roses, with court intrigue and tons of backstabbing that results in the First Battle of St. Albans in 1455. Henry VI was an ineffectual king in the actual historical record, and Shakespeare's Henry is that to a 'T'---cuckolded by his wife and goaded into a civil war by his ill-seeming advisers, Henry's eventual downfall is telegraphed quite clearly in this play. He's surrounded by a cast of characters, from his various Dukes and Lords to his own wife, Queen Margaret, to his enemy Richard, Duke of York, to the rebel Jack Cade, who set wheels in motion toward their own separate goals that Henry could not stop on his best day. The lack of leadership from the throne leads to a power vacuum and shows the danger of "vaulting ambition" in the hands of men (and women) of loose morals. Our discussion today touches on the various characters, the source and types of power---be it from kings or "The Commons"--- and the violent nature of this installment