- All's Well That Ends Well
- Antony and Cleopatra
- As You Like It
- The Comedy of Errors
- Coriolanus
- Cymbeline
- Hamlet
- Henry IV, Part 1
- Henry IV, Part 2
- Henry V
- Henry VI, Part 1
- Henry VI, Part 2
- Henry VI, Part 3
- Henry VIII
- Julius Caesar
- King John
- King Lear
- Love's Labor's Lost
- A Lover's Complaint
- Macbeth
- Measure for Measure
- The Merchant of Venice
- The Merry Wives of Windsor
- A Midsummer Night's Dream
- Much Ado About Nothing
- Othello
- Pericles
- The Rape of Lucrece
- Richard II
- Richard III
- Romeo and Juliet
- Shakespeare's Sonnets
- The Taming of the Shrew
- The Tempest
- Timon of Athens
- Titus Andronicus
- Troilus and Cressida
- Twelfth Night
- The Two Gentlemen of Verona
- Venus and Adonis
- The Winter's Tale
Continuing to examine the role of the media in the sensationalism—and perhaps in the proliferation—of mass shootings in America, Cullen notes that while the media is repulsed by looking at killings as a “competition,” they nonetheless go ahead with “award[ing]” records and “title[s]” to the murderers. The press knows that killers who commit “spectacle murders” are hungry for fame, glory, and an enduring legacy, yet they continue to play into the cycle of obsessive coverage, repetitious naming of the killer, and often gratuitous descriptions or depictions of the violence perpetrated during the attack. Americans are hungry for stories and networks…