From Joe Marler’s visual-only stunts to the incomprehensible shuffling sounds Steven Bartlett recently subjected headphone users to, dodgy audio experiences are on the rise

To understand where we are in the evolution of podcasting, the opening episode of Joe Marler Will See You Now is unexpectedly instructive. The podcast finds Marler, former rugby player and breakout star of The Celebrity Traitors, impersonating a psychotherapist and subjecting guests to “totally unregulated psychological testing”. The mock-therapy conceit is hardly a new one, but on paper it still has the makings of a successful pod. Celebrity host fresh from ratings-busting TV triumph? Check. Fancy studio setup for the viewing crowd? Check. Weird visual stunts that will leave audio listeners baffled? Er … check?

The big news in podcasting from the last 18 months has been the medium’s swift and unstoppable pivot to video. Where a podcast was previously defined as an audio recording available to stream online, it has since expanded to become an umbrella term taking in visual and audio content. The idea, at least in theory, is that audiences get to choose whether they watch or listen. But there are creeping signs that video is taking precedence, with audio considered to be secondary.

The wife of William Shakespeare takes centre stage in a rich, sensitive examination of parental grief, sensitively narrated by Jessie Buckley

The jury is still out on the merits of Chloé Zhao’s Hamnet, which arrives in cinemas next month, but there is no arguing with the quality of the source material. Maggie O’Farrell’s lyrical and immersive novel, which won the Women’s prize in 2020, imagines the relationship between William Shakespeare and his wife, Agnes Hathaway, and their grief over the death of their 11-year-old son, Hamnet, from the plague in 1596. The book opens with the young Hamnet realising his twin sister Judith is unwell and searching for an adult to attend to her, while unaware that he is the one who is fatally ill.

Shakespeare – who is never named and instead referred to as “the husband” or “the father” – is depicted not as a literary superstar but a flawed man who is rarely home. The focus is on Hathaway, a free-spirited woman with deep connections to the landscape. The narrative shifts between her childhood, the early years of her marriage and the aftermath of Hamnet’s death, during which Shakespeare writes one of his greatest plays, Hamlet (records state that the names Hamlet and Hamnet were interchangeable in those days).