x

75% of people globally want unbiased news (Pew Research) but are concerned they're not getting that.

Get balanced coverage with Symby. See how stories are covered across diverse outlets and spot when one side covers a story the other skips.

PODCAST

Celebrate Creativity

This podcast is a deep dive into the world of creativity - from Edgar Allan Poe and Walt Whitman to understanding the use of basic AI principles in a fun and practical way.

education books

All Episodes

24:43

The Mouse Trap

Celebrate Creativity ·

2026/02/25

Send a text Up to now, Hamlet has lived inside questions. “Did my uncle really do it?” “Can I trust the Ghost?” “Am I being manipulated?” “Am I losing my mind—or pretending to?” Act 3 Scene 2 is the moment Hamlet says, in effect: “I’m done being uncertain. I’m going to test the truth.” In other words, Hamlet creates a situation where Claudius either sits calmly… or cracks. What makes this scene so powerful is that Hamlet is doing two things at once. One: He wants evidence. Two: He wants to ...

en-us

21:22

Get Thee to a Notary!

Celebrate Creativity ·

2026/02/25

Send a text Master Shakespeare, are you ready? SHAKESPEARE: As ready as any man may be, entering a room where love is examined like evidence. GEORGE: That’s exactly it. Because what happens here is not romance. It’s a controlled experiment—and Ophelia is the instrument. GEORGE: Let’s start with the setup. Claudius and Polonius plan to spy. They stage-manage Ophelia. They put a book in her hands. They position her. What’s the moral temperature of this plan? SHAKESPEARE: Cold. And convenien...

en-us

23:33

Spies and Players

Celebrate Creativity ·

2026/02/24

Send a text GEORGE: So right away: the scene begins with the king and queen acting like concerned parents. But it feels… staged. SHAKESPEARE: Because it is staged. Mark their language: they crave a cause, a label, a tidy diagnosis — “What ails him?” Yet their hands are already in the plot. They have hired watchers. Concern and control wear the same cloak here. GEORGE: And the watchers are Rosencrantz and Guildenstern — Hamlet’s old friends. Let me ask bluntly: are they villains? SHAK...

en-us

16:05

Short But Loaded

Celebrate Creativity ·

2026/02/23

Send a text Part 1 — Polonius coaches surveillance (Polonius + Reynaldo) Polonius sends Reynaldo to Paris with money and messages for Laertes. But Polonius doesn’t say, “Go check on my son like a normal person.” He says—basically—“Go investigate my son.” Here’s the tactic, and it’s nasty in a very realistic way: Polonius tells Reynaldo: Don’t ask directly, “How is Laertes behaving?” Instead, casually drop mild accusations and see what sticks. Not monstrous lies. Little “reasonable” hints....

en-us

20:20

The Ghost Speaks

Celebrate Creativity ·

2026/02/23

Send a text Today we’re in Hamlet, Act 1, Scene 5 — the scene where the ghost finally speaks. And I want to emphasize something from the start: The ghost’s message doesn’t just give Hamlet information. It changes Hamlet’s operating system. It changes what Hamlet thinks the world is. It changes what Hamlet thinks he must do. And it changes what kind of person Hamlet is allowed to be from this moment on. [Music sting] Segment 1 — What happens in the scene (plot, slowly and clearly) GEORGE: ...

en-us

18:31

Follow It!

Celebrate Creativity ·

2026/02/23

Send a text Today we’re in Hamlet, Act 1, Scene 4. Act 1, Scene 2 gave us the court saying, “Get over it.” Act 1, Scene 3 gave us family advice that’s really control. Now Scene 4 takes us back to the battlements — the cold night air — where the play asks a different question: When truth appears in an unsettling form… Do you follow it? GEORGE: Master Shakespeare, we’ve moved from court politics and family warnings back to the night watch. Why return to the battlements now? SHAKESPEARE: Beca...

en-us

22:47

Advice That’s Really Control

Celebrate Creativity ·

2026/02/22

Send a text GEORGE: Master Shakespeare, why do we go from the public court scene into this private household scene? SHAKESPEARE: Because the disease is not only in the crown. It is in the rooms of the home. GEORGE: Let me paraphrase that in three ways so it lands: Paraphrase #1 (simple): You’re showing us that Denmark’s problems aren’t only political. They’re personal. Paraphrase #2 (blunt): The same habits that make a court dishonest can show up in a family. Paraphrase #3 (image): We le...

en-us

25:26

Get Over It!

Celebrate Creativity ·

2026/02/22

Send a text The scene begins with the king saying - Though yet of Hamlet our dear brother’s death The memory be green, and that it us befitted To bear our hearts in grief, and our whole kingdom To be contracted in one brow of woe, Yet so far hath discretion fought with nature That we with wisest sorrow think on him Together with remembrance of ourselves. Therefore our sometime sister, now our queen, Th’ imperial jointress to this warlike state, Now If Act 1, Scene 1 is Denmark at...

en-us

24:17

The Ghost Arrives

Celebrate Creativity ·

2026/02/20

Send a text MASTER SHAKESPEARE: Good even, sir. I come where questions are sharp and nights are sharper. MR. BARTLEY: And the first question is simple: Why begin Hamlet with guards on watch instead of opening with court life, or the prince, or a grand speech? MASTER SHAKESPEARE: Because the world must feel unsafe before you know why. The audience must stand in the dark with common men—those whose work is to keep danger out. And yet danger comes in anyway. MR. BARTLEY: So the Ghost is a kin...

en-us

15:27

Rhetoric as Wildfire

Celebrate Creativity ·

2026/02/18

Send a text Tonight is Antony— the man who takes grief, wraps it in poetry, and lights Rome on fire. And the terrifying part is that he does it while sounding… respectful. The conspirators imagine a clean reset. They kill Caesar and they expect: the crowd to applaud their courage the republic to breathe again the story to land exactly as they explain it But the moment Caesar’s body hits the ground, the conspiracy inherits a problem it cannot solve: A corpse is louder than a speech. Su...

en-us

16:19

Cassius the Manipulator

Celebrate Creativity ·

2026/02/16

Send a text The audience sees this manipulation in terms of Cassius’s treatment of Brutus and his use of flattery and reassurance to bring Brutus into the conspiracy to kill Caesar. Later, the audience learns that Cassius is willing to gain money by means that Brutus finds dishonorable and unacceptable, though the specifics are not fully revealed. Cassius is at various times petty, foolish, cowardly, and shortsighted. On the other hand, Cassius offers Brutus the correct advice that Brutus sho...

en-us

32:16

The Falling Sickness?

Celebrate Creativity ·

2026/02/12

Send a text What we honestly have is ancient testimony, not “medical proof. What the ancient sources actually say Two major biographers written well after Caesar’s death report episodes that sound like seizures: Suetonius (writing ~150 years later) says Caesar was “twice attacked by the falling sickness” during his campaigns, and also mentions fainting fits and nightmares later in life. Plutarch also describes Caesar as having episodes of illness and uses them at times to explain his b...

en-us

28:02

Man, Myth, and Problem

Celebrate Creativity ·

2026/02/11

Send a text The Caesar Shakespeare gives us is not a cardboard tyrant. That’s important. If Caesar were obviously monstrous, the play would become an easy sermon: “Kill the tyrant and save the republic.” But Shakespeare refuses the easy version. He makes Caesar impressive, admired, and also irritating. He makes Caesar popular, and also proud. He makes Caesar capable of generosity, and also capable of dismissing people. He makes Caesar a public figure, and still a man who likes being told he i...

en-us

23:43

Macbeth Is Not Hard

Celebrate Creativity ·

2026/02/10

Send a text Macbeth is not hard. It’s human. Here’s the whole play in one simple truth: Macbeth made Macbeth. Let me say that again: The witches tempt. Lady Macbeth pressures. But Macbeth chooses. They light matches all around him—but Macbeth decides to set the house on fire. This story is not fate winning. This story is choice repeated until it becomes character. HOST: Here is Macbeth in five easy steps. Temptation — an idea enters. Choice — a line is crossed. Habit — violence becomes a met...

en-us

23:51

Macbeth’s Last Days

Celebrate Creativity ·

2026/02/09

Send us a text Macbeth’s tragedy ends when fear disappears—not because he becomes brave, but because he becomes numb and falsely certain. Now let’s locate ourselves. HOST: We’re in the final stretch. Act 4 Scene 1: Macbeth returns to the witches for more prophecy. Act 5: the kingdom turns, the signs pile up, the “impossible” begins to happen, and Macbeth faces the end. This is the arc: uncertainty → prophecy → false certainty → collapse. And that’s exactly what happens to a human mind wh...

en-us

22:36

Hell Is Murky!

Celebrate Creativity ·

2026/02/07

Send us a text HOST (George): In Macbeth, evil rarely arrives waving a pitchfork; it arrives wearing a suit and offering a reasonable argument that elections are no longer necessary. That’s how it works in public life—and it’s how it works in this play. And Lady Macbeth is the clearest example. Here’s the main idea of this episode. Lady Melania - I mean lady macbeth -doesn’t begin as a monster. She begins as a person who treats conscience like a problem to solve. Let me say that again, be...

en-us

21:34

Macbeth's Morality

Celebrate Creativity ·

2026/02/07

Send us a text Macbeth does not become evil because he’s confused. He becomes evil because he learns to call evil “reasonable.” Let me repeat that, because that’s the whole episode: He starts using good logic for a bad purpose. That’s how a smart person goes wrong. Shakespeare makes Macbeth understandable on purpose. He shows you the self-talk. We’re picking up right after the witches in Act 1 Scene 3. Macbeth has heard “king hereafter,” and now his mind is buzzing. Then: Act 1 Scene 4:...

en-us

29:47

Macbeth and the Witches

Celebrate Creativity ·

2026/02/06

Send us a text People call Macbeth a monster. But Shakespeare’s trick is sharper than that: he shows you a man who can still choose—and then shows you the exact moment he starts outsourcing his choices to ambition, marriage, and prophecy. Macbeth—thane, hero, newly honored… and about to discover that wanting something is not the same as deserving it. Now to most of you in the United States, the word THANE might be unfamiliar. It simply means a basically a Scottish noble—a trusted local lord...

en-us

27:40

Romeo and Juliet in New York

Celebrate Creativity ·

2026/02/05

Send us a text Today I’m taking that same Shakespearean blueprint and placing it in a new world: the 1961 film West Side Story. I’m going to do this in the simplest and clearest way possible: I’m going to tell the film’s story in a straight line. As we go, I’ll point out the matching Shakespeare “parts” — not as trivia, but as the engine that makes both stories run. And one clear rule: no lyrics, no musical quotations. I don't wanna get in trouble, and besides We don’t need them. This stor...

en-us

28:20

The Accelerants

Celebrate Creativity ·

2026/02/04

Send us a text Welcome back. Verona is split by a feud. Romeo Montague and Juliet Capulet fall in love, marry in secret, and attempt to outrun a culture trained for violence. Then comes the turning point: Tybalt confronts Romeo, Mercutio fights, Mercutio falls, Romeo kills Tybalt, and Romeo is banished. Juliet faces a forced marriage to Paris. A desperate plan depends on a message. The message fails. Tragedy follows. Tonight we interview three figures who did not cause the feud—but who, in ...

en-us

611 results

Similar Podcasts

Science Talk

Albert Einstein College of Medicine

五分钟心理学

柠檬心理

Daily Facts

Amalia Dupray and Montgomery Jones.

Les dents et dodo

BFMTV

Veterinary Clinical Podcasts

The Royal Veterinary College