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REPRODUCING SHAKESPEARE

Shakespeare’s Serial Returns

in Complex TV
Christina Wald
 Reproducing Shakespeare

Series Editors
Thomas Cartelli
Department of English
Muhlenberg College
Allentown, PA, USA

Katherine Rowe
Office of the President
The College of William & Mary
Williamsburg, VA, USA

Pascale Aebischer
Languages & Literature, Queens Building
University of Exeter, School of Arts
EXETER, UK
Reproducing Shakespeare marks the turn in adaptation studies toward
recontextualization, reformatting, and media convergence. It builds on
two decades of growing interest in the “afterlife” of Shakespeare, show-
casing some of the best new work of this kind currently being produced.
The series addresses the repurposing of Shakespeare in different technical,
cultural, and performance formats, emphasizing the uses and effects of
Shakespearean texts in both national and global networks of reference
and communication. Studies in this series pursue a deeper understanding
of how and why cultures recycle their classic works, and of the media
involved in negotiating these transactions.

Editorial Board Members: Gina Bloom (University of California, Davis);

Alice Dailey (Villanova University); Stephen O’Neill (Maynooth
University, Ireland); Sujata Iyengar (University of Georgia).

More information about this series at

http://www.palgrave.com/gp/series/14505
 Christina Wald

Shakespeare’s
Serial Returns in
Complex TV
Christina Wald
English and Comparative Literature
University of Konstanz
Konstanz, Germany

ISSN 2730-9304        ISSN 2730-9312 (electronic)

Reproducing Shakespeare
ISBN 978-3-030-46850-7    ISBN 978-3-030-46851-4 (eBook)
https://doi.org/10.1007/978-3-030-46851-4

© The Editor(s) (if applicable) and The Author(s) 2020

This work is subject to copyright. All rights are solely and exclusively licensed by the
Publisher, whether the whole or part of the material is concerned, specifically the rights of
translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on
microfilms or in any other physical way, and transmission or information storage and retrieval,
electronic adaptation, computer software, or by similar or dissimilar methodology now
known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are
exempt from the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and information
in this book are believed to be true and accurate at the date of publication. Neither the
publisher nor the authors or the editors give a warranty, expressed or implied, with respect
to the material contained herein or for any errors or omissions that may have been made.
The publisher remains neutral with regard to jurisdictional claims in published maps and
institutional affiliations.

Cover illustration: Mina De La O, Getty Images

This Palgrave Macmillan imprint is published by the registered company Springer Nature
Switzerland AG.
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
Für Hans und Heinrich
 Acknowledgements

This book, which is concerned with returns and recyclings, is itself very
much the product of a long process of rethinking, rewriting, and many
conversations with colleagues and friends. My interest in Shakespeare and
TV series started with the research for my inaugural lecture at the
University of Konstanz in 2016 on Coriolanus and Homeland, and I am
grateful to my colleagues for their generous and thought-provoking
responses to my ideas. The most decisive work on this book was accom-
plished when I was a fellow at the Institute for Advanced Study Konstanz
in the academic year 2017–2018, and I would like to thank the staff, my
co-fellows, and the outstanding academic community at Konstanz for
their intellectual inspiration.
In summer 2019, Tobias Döring and I co-organised a workshop on
“Shakespearean Transections and Translocations” at the University of
Konstanz, where I presented my research, and I would like to thank every-
one for our lively and stimulating discussions: Dympna Callaghan, Ewan
Fernie, Sandra Fluhrer, Ina Habermann, Sabine Schülting, and Stefan
Willer. My thanks go to Elisabeth Bronfen, too; our conversations between
Zürich and Konstanz on our shared intellectual curiosity about Shakespeare
and TV have been a pleasure. I am very grateful to the participants of the
London Shakespeare Seminar and the Harvard Renaissance Colloquium
for their insightful comments on my project, in particular to Gordon
McMullan, Stephen Greenblatt, and James Simpson. My special thanks go
to Tobias Döring, who has offered precious advice and encouragement

vii
viii ACKNOWLEDGEMENTS

through all phases of this project, and to Juliane Vogel for much inspira-
tion and her enthusiasm, which has guided me through less-­enthusiastic
moments.
While working on this book, I taught several seminars on Shakespeare
and TV series and I appreciate the contributions of my students as well as
their passion for the topic. I would like to thank all participants of my
research colloquium in Konstanz for their astute feedback, in particular
my wonderful doctoral students (some of whom are post-docs now)
Jasmin Bieber, Anja Hartl, Jonas Kellermann, Susanne Köller, and Marit
Meinhold. My student assistants Maria Litherland, Evelyn Mohr, and
Felix Sauer have supported me in researching and writing this book—
thank you. I am indebted to Sofia Meyers for her meticulous and percep-
tive proofreading of the manuscript. Thomas Cartelli drew my attention
to some of the TV series discussed in this study, and I would like to thank
him and his co-editors Pascale Aebischer and Katherine Rowe for their
interest in my project and for accepting it as part of their “Reproducing
Shakespeare” series. I am also grateful to the three anonymous peer
reviewers, whose comments helped to substantially improve this study.
An earlier and shorter version of Chap. 5 has appeared as “The
Homeland of Coriolanus: War Homecomings between Shakespeare’s
Stage and Current Complex TV” in Shakespeare Survey 72 (2019),
136–149. I am grateful to the editor Emma Smith for granting me per-
mission to recycle this material. This book was supported by funds made
available by the Centre for Cultural Inquiry (ZKF) at the University of
Konstanz.
 Contents

1 Shakespeare and Complex TV: “Our Old Work Coming

Back to Haunt Us”  1

2 The Tempest and Westworld: Returns of the Dead 21

3 King Lear and Succession: Returns of the Predecessor 83

4 Hamlet and Black Earth Rising: Returns to the Roots137

5 Homeland and Coriolanus: Returns of the Soldier187

6 The Serial Shakespeare Aggregate: “This is Your World.

Or What’s Left of It”227

References239

Index263

ix
 CHAPTER 1

Shakespeare and Complex TV: “Our Old

Work Coming Back to Haunt Us”

In the first episode of Westworld, the administration of an amusement park

peopled with robots faces technical problems with one of the androids,
who threatens the technicians with lines like “By most mechanical and
dirty hand / I shall have such revenges on you both / The things that I
will do / What they are yet I know not, but they will be / The terrors of
the earth” (1.1.61). While the team is unsettled by these off-script men-
aces, wondering “What the hell was that?” and emphasising “We didn’t
program any of those behaviors” (1.1.62), Dr Robert Ford, the creator of
the park, attributes them to “Shakespeare” (1.1.60). He explains to his
bewildered colleagues that in a previous role in one of the park’s pre-­
programmed scenarios, the android played a professor of English litera-
ture who had such quotations at his command. The memories that the
team thought had been deleted have somehow found their way back into
the android’s program. According to Ford, there is “no cause for alarm
[…]. Simply our old work coming back to haunt us” (1.1.63).
Such unexpected Shakespearean returns are the focus of this study.
Through selected case studies, I am exploring how the “old work” of
Shakespeare’s topics, plots, dramaturgical devices, characters, and poetry
surfaces in current complex TV series. The following chapters will ask how
such unforeseen Shakespearean returns impact the TV series. Do they
affect the “core code” of the new narratives (1.1.64), as the technical team
in Westworld suspects? Are these returns intentional or surprising afterlives
of a past considered forgotten? How can we account for this haunting

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2 C. WALD

quality of the Shakespearean legacy? Do the Shakespearean returns help us

understand topical concerns negotiated in the series? And what new
insights may the twenty-first-century remediations grant us into
Shakespeare’s texts? Pursuing these questions, the book offers four case
studies that read Shakespeare’s The Tempest with the science fiction-West-
ern Westworld, King Lear with the satirical dynastic drama of Succession,
Hamlet with the international legal thriller Black Earth Rising, and
Coriolanus with the political thriller Homeland. The final chapter will
bring the insights together, aiming to distil important characteristics of the
emerging adaptational aggregate of ‘serial Shakespeare’.
The four series discussed in my study were selected because their
engagement with Shakespeare covers a broad spectrum of adaptational
strategies that allows for mutually illuminating readings as well as for theo-
retical insights. Westworld, with which I begin, features direct quotations
from several Shakespeare plays including The Tempest. Succession explicitly
refers to a number of Shakespeare plays in its diegesis, but does not directly
mention King Lear. However, the Lear legacy has been highlighted in the
marketing and journalistic reception of the series. Black Earth Rising con-
tains only one direct reference to Shakespeare in a Hamlet allusion at the
very end of the series and has never been marketed or received as
Shakespearean, while Homeland does not refer to Shakespeare at all and
has not been publicised as related to Shakespeare. In the course of examin-
ing the case studies that this study offers, the relation between Shakespeare
and the respective series hence becomes increasingly subtle and debatable,
which raises pertinent questions that are currently discussed in adaptation
studies regarding what is ‘Shakespeare’ and what is ‘not Shakespeare’.1 In
each of the series, I will argue, a particular form of a return is taken over
as a topic from Shakespeare, and at the same time, this serialised form of
return speaks to the series’ adaptational stance: returns of the dead in
Westworld, returns of the predecessor in Succession, returns to the roots in
Black Earth Rising, and returns to the home in Homeland. The four series
were also chosen because they negotiate urgent political and social con-
cerns, such as artificial intelligence, the safeguarding of democracy, post-
genocidal and postcolonial justice, and terrorism. They all premiered after
2010, and three of them are ongoing as I complete this manuscript, with
Homeland’s eighth and final season and Westworld’s third season being
broadcast in 2020 and Succession’s third season announced for 2020 or
2021. There are (as yet) no plans for a continuation of the miniseries Black
 1 SHAKESPEARE AND COMPLEX TV: “OUR OLD WORK COMING BACK… 3

Earth Rising, the most recent of the series discussed in this study, which
was first aired in 2018.
My study traces the Shakespearean legacy in an aesthetic phenomenon
that has recently gained as much popular as scholarly attention: in TV
series that are characterised by long narrative arcs; large budgets; high
production standards; a cinematographic look; elaborate scripts written by
teams of prestigious authors, many of whom are known for their previous
film work; casts that include well-known actors; and, above all, narrative
complexity and self-reflexivity. The series are typically developed with mul-
tiple seasons in mind, but decisions on their continuation are usually made
during or even after the broadcast of each season, so that season finales
have to be conclusive enough to be the end of the entire series but open
enough to allow for new seasons. As the series can develop their characters
over many episodes, they can offer psychological complexity and depth.
The scripts are responsive, since the authors, directors, producers, and
actors can take into account audience reactions and journalistic criticism in
the writing and filming of later episodes and seasons. Scholars have offered
competing labels to categorise this new kind of TV series, including ‘qual-
ity TV’ (Thompson 1996), ‘prestige TV’ (Bignell 2013), ‘transgressive
television’ (Däwes et al. 2015), and, most influential, ‘complex TV’
(Mittell 2015), Jason Mittell’s term that I will be adopting, too.
Historicising the development, Mittell has shown how the new form of
TV storytelling has spread since the late 1990s, deliberately offering an
alternative to conventional episodic series that require some plot closure at
the end of each episode (2015, 17). Instead, complex TV unfolds cumula-
tive narratives with long story arcs. It experimentally merges established
genres to create new forms; Black Earth Rising’s combination of a legal
thriller with a coming-of-age drama or Westworld’s blending of science
fiction and the Western are typical examples. Mittell notes that serials are
a minority phenomenon, with most television shows still working with
more conventional narrative patterns, but it is one that has gained consid-
erable public attention and cultural capital in recent decades (cf. 31). Such
narrative experiments in the commercial medium of TV became possible
because the number of channels and networks rose and audiences for each
show shrunk. Therefore, shows which attract a small but dedicated audi-
ence have become commercially viable. What is more, the cultural prestige
of particular series has helped to make a channel’s brand seem more
sophisticated (cf. 34). Thus, a commercial for HBO, the channel that has
produced a number of award-winning shows including Succession and
4 C. WALD

Westworld, claimed “It’s not TV. It’s HBO”. Like Shakespeare’s plays,
‘complex’ or ‘quality’ TV is hence situated ambiguously between high-
brow and popular culture. References to Shakespeare frequently function
as markers of high cultural learning while at the same time self-reflexively
raising the question of where the TV show itself belongs in this stratified
notion of culture. In this respect, the series participate in a common post-
modern trend of Shakespearean appropriations, which self-reflexively
negotiate their own status (cf. Lanier 2002). It might be part of this par-
ticipation in Shakespearean ‘high culture’ that the prestige series predomi-
nantly use Shakespeare’s tragedies as references, traditionally the more
esteemed form of dramatic art.
The new trend of serial Shakespeare was prepared by TV and film ver-
sions of Shakespeare that contributed to the fact that many people today
predominantly encounter Shakespeare’s oeuvre through filmic adapta-
tions, which frame the experience of reading the plays or seeing them on
stage (cf. Ryle 2014, 9). Current TV series keep drawing inspiration from
and in turn influence filmic, literary, and theatrical Shakespeare versions in
what can be considered a transmedial transformation of Shakespeare’s
oeuvre. As Douglas Lanier noted ten years ago, “[i]nstead of being par-
ticular texts, ‘Shakespeare’ […] becomes a collection of narratives highly
mobile from context to context, verbal style to style, genre to genre, media
platform to platform” (2010, 107). According to Lanier, after the peak of
Anglophone mass-market Shakespeare films in the 1990s and early 2000s,
“the adaptational energy once associated with Shakespeare on film has
migrated elsewhere” (105). This study argues that the adaptational energy
has partly travelled to complex TV, which offers a new field for fruitful
examinations of the Shakespearean legacy and which has taken up charac-
teristics of the earlier films, such as contemporary settings, modern lan-
guage, revised plots, and a high degree of intertextuality (Cartelli and
Rowe 2007, 2).
Several precursors to the recent phenomenon of complex TV’s serial
Shakespeare can be identified. From 1978 to 1985, all Shakespeare plays
were filmed and broadcast by the BBC and PBS with considerable eco-
nomic success. BBC Television Shakespeare popularised the oeuvre but at
the same time drew attention to the aesthetic challenges of airing
Shakespeare on the small screen while trying to maintain part of the the-
atrical experience, that is, theatrical sets and shots that allow one to see all
interacting characters. Furthermore, the creativity of directors was cur-
tailed by “a strict house style: sets and costumes were to be ‘traditional’
 1 SHAKESPEARE AND COMPLEX TV: “OUR OLD WORK COMING BACK… 5

and radical or revisionist interpretations were out of the question” (Purcell

2011, 526). In addition to a wealth of TV productions of particular plays,
the next serial BBC endeavour more innovatively transformed selected
Shakespeare dramas for TV. ShakespeaRe-Told, broadcast in 2005, rewrote
four plays in contemporary English, with topical settings and adapted
plots. The TV project thus participated in a development instigated by
filmic Shakespeares of the 1990s, namely, “to bring Shakespeare in line
with late twentieth-century visual culture and in the process loosen the
equivalence between Shakespeare and text. Through film of this period
Shakespeare became definitively post-textual” (Lanier 2010, 106). In con-
trast to the BBC’s earlier project, the aesthetic aim of ShakespeaRe-Told
was to create works “made for, not translated to, television” (Kidnie 2009,
120) by using techniques that were once regarded as cinematic but which
have by now become typical of ‘quality’ TV, such as “[l]ow lighting, track-
ing shots, extreme close-ups, camera positions strikingly above or below
eye height, digitally enhanced images, and point-of-view shots” (121).
The Canadian TV series Slings & Arrows (2003–2006) dedicated each
of its three seasons to one specific Shakespeare play. In every season, an
artistic team attempts to stage a Shakespeare tragedy (Hamlet, Macbeth,
and King Lear) and find themselves haunted by its plot in their everyday
lives. As Laurie E. Osborne has noted, Slings & Arrows is one of the earli-
est examples of how Shakespearean dramaturgy can be serialised: “Whereas
televising Shakespeare in Britain and the U.S. has most frequently taken
the form of full performances or adaptations of individual plays, Slings &
Arrows embraces the serial nature of television as a medium and deploys
both sequencing and seasons to create a more extensive and sustained
engagement with the problems of intermedial performance” (2011, 2).
The artistic team of Slings & Arrows has acknowledged that examples of
complex TV, specifically The Sopranos and Six Feet Under, inspired their
aesthetic choices and their writing (7). In 2012, BBC Two aired the inter-
national co-production The Hollow Crown, featuring Shakespeare’s second
historical tetralogy as a miniseries, followed in 2016 by The Hollow Crown:
The War of the Roses, which presents the first tetralogy. While The Hollow
Crown uses Shakespearean lines and historical settings, its filmic style
clearly participates in current complex TV and was meant to draw on the
success of historical fiction series such as The Tudors (2007–2010) (Wray
2016; Pittman 2015; Mullin 2018).
Looking at Shakespearean motifs in complex TV, this book is an inter-
vention at the intersection of Shakespeare adaptation studies and m ­ edia/
6 C. WALD

TV studies, two fields which too rarely speak to each other. Not only have
“[a]daptations of Shakespeare’s plays to television […] been a relatively
neglected field of inquiry, despite the commonplace remark that
Shakespeare, were he alive today, would be a cinema or TV scriptwriter”
(Ribeiro de Oliveira 2016, 1807), but also recent publications on complex
TV have paid little attention to Shakespeare. For instance, the collection
Reading Westworld briefly acknowledges the Shakespearean quotes and
allusions of the series, but does not discuss them in any detail (Goody and
Mackay 2019). Therefore, the following chapters seek to initiate a dia-
logue between Shakespeare studies, adaptation studies, and serial TV stud-
ies. For instance, the insights into dramaturgical seriality that have been
developed in studies of complex TV such as Mittell’s can be utilised for
Shakespeare studies. Discussing how Shakespearean constellations resur-
face in a serialised manner, that is, in repetitions and variations, this study
proposes that the evident dramaturgical seriality typical of complex TV
allows insights into the less pronounced seriality that Shakespeare
employed in structuring his plays. My book thus aims at making a contri-
bution to what Thomas Leitch has projected as ‘Adaptation Studies 3.0’
(2017, 5–7) and to what Stephen O’Neill has called the “media turn” in
Shakespeare studies (2018, 1), which is guided by an awareness “of
Shakespeare as always already existing in and reappearing through media,
as well as an acute recognition that a medium brings to Shakespeare its
own frame effects” (21).
Beyond Westworld, Succession, Black Earth Rising, and Homeland, a
number of other series can be and have been discussed as Shakespeare revi-
sions, among them The Wire (Bronfen 2015b; Pittman 2020), Lost
(Stockton 2011; Barnes 2015; Hatchuel and Laist 2017), Person of Interest
(Hatchuel 2019), Deadwood (Cosby Ronnenberg 2018), House of Cards
(Dyson 2019; Bronfen 2020), Breaking Bad (Cantor 2019), Peaky
Blinders (Fernie and Gibbs 2019), and Game of Thrones (Rodgers 2015).
This list could be extended by taking into account series beyond the
Anglophone sphere, such as the Danish Borgen, which have become part
of the ‘complex TV’ phenomenon. While the shows that this book dis-
cusses are all produced by American and British channels and networks,
they are distributed worldwide via national TV channels, international on-­
demand streaming platforms, as well as DVD and BluRay. These new
forms of distribution facilitate complex storytelling as they allow for con-
centrated, uninterrupted, and multiple viewing strategies. As Mittell has
argued, “complex television encourages, and even at times necessitates, a
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- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Note: Current trends and future directions
• Ethical considerations and implications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Definition: Ethical considerations and implications
• Study tips and learning strategies
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Note: Current trends and future directions
• Research findings and conclusions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
[Figure 30: Diagram/Chart/Graph]
Unit 4: Practical applications and examples
Remember: Learning outcomes and objectives
• Statistical analysis and interpretation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
Example 31: Experimental procedures and results
• Theoretical framework and methodology
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Remember: Best practices and recommendations
• Problem-solving strategies and techniques
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Definition: Study tips and learning strategies
• Ethical considerations and implications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 34: Current trends and future directions
• Comparative analysis and synthesis
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Key Concept: Practical applications and examples
• Assessment criteria and rubrics
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Note: Critical analysis and evaluation
• Practical applications and examples
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Important: Key terms and definitions
• Theoretical framework and methodology
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 38: Ethical considerations and implications
• Interdisciplinary approaches
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 39: Diagram/Chart/Graph]
Important: Interdisciplinary approaches
• Study tips and learning strategies
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Conclusion 5: Assessment criteria and rubrics
Note: Study tips and learning strategies
• Comparative analysis and synthesis
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 41: Theoretical framework and methodology
• Theoretical framework and methodology
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Example 42: Theoretical framework and methodology
• Research findings and conclusions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Note: Current trends and future directions
• Experimental procedures and results
- Sub-point: Additional details and explanations
- Example: Practical application scenario
[Figure 44: Diagram/Chart/Graph]
Key Concept: Case studies and real-world applications
• Experimental procedures and results
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 45: Literature review and discussion
• Assessment criteria and rubrics
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Remember: Study tips and learning strategies
• Literature review and discussion
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 47: Diagram/Chart/Graph]
Note: Assessment criteria and rubrics
• Theoretical framework and methodology
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
[Figure 48: Diagram/Chart/Graph]
Example 48: Interdisciplinary approaches
• Key terms and definitions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Remember: Problem-solving strategies and techniques
• Practical applications and examples
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Chapter 6: Interdisciplinary approaches
Example 50: Study tips and learning strategies
• Practical applications and examples
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 51: Diagram/Chart/Graph]
Example 51: Fundamental concepts and principles
• Literature review and discussion
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Definition: Practical applications and examples
• Experimental procedures and results
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Remember: Key terms and definitions
• Assessment criteria and rubrics
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
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