By identifying King Lear with the ancient Japanese warlord Hidetora, whose violations emerge from a breach of publicly identified self-hood, Akira Kurosawa plays with the quintessentially Shakespearean focus on individual personality.
What kind of relationship do Gaiman and Shakespeare have? Is one a parasite on the other?
The risky healing power of Marc Maron's WTF podcast eulogy to Lynn Shelton.
Shakespeare's plays offer endless potential for adaptation, but sometimes, as is true of Geoffrey Wright's Macbeth (2006), when these reinterpretations fail we get a clearer impression of the original's genius.
The Trump presidency is Shakespeare's Troilus and Cressida made real – only it's stripped of the mythology and just lying bare and ugly for all to see.
