Welcome back to the home of the oxymoron. Evil genius. He asked the newspaper to print his obituary early so he'd enjoy it. That's like hiding at your own funeral. Yeah, it's a big, great gig. I'm Russell Kane. Join me to weigh in on whether the biggest players in history are more evil or genius. Becoming that rich, I'd say that at some level of genius. It also helps that it's a long time ago, right?

It's like the podcast version of telling your kids the ice cream van plays music when it's out of ice cream.

Listen to evil genius on BBC Sounds.

Thank you, James.

Tonight on free thinking, we're obsessed with obsession.

For instance, the compelling,

driven vision of a major creative force. As a new exhibition opens at Blenham Palace,

we'll find out how Chinese artist I Wei Wei is looking backward and forward.

And we'll put on our black conical hats to examine the man whose obsessions reshaped a continent As well as providing advertising for brandy manufacturers.

Music Beethoven's Eroica Symphony dedicated to Napoleon Bonaparte.

The historian Andrew Roberts tells us why it's time to rediscover the only man who could force the Duke of Wellington to fill his boots. But first of all,

the dramatic character who pretty much defines obsession. A wise man once observed, life's too short

to watch Tory spelling play Medea. But what about Kristen Scott Thomas playing Elektra?

That's the enticing prospect facing audiences at the Old Vic in London.

Tonight a new production opens of Sophocles' account of Greek mythology's most dysfunctional family.

Kristen Scott Thomas plays Electra, who spent decades mourning her father Agamemnon, murdered by her mother Clytemnestra and her lover Egyzthius.

But Clytemnestra says she only did it because Agamemnon sacrificed their daughter, Ephigenia, before the Trojan War.

Now Electra is waiting for her brother Arrestes to return and take revenge by killing Clytemnestra.

Hope you've managed to keep all of that straight.

Well, to disentangle the threads of fate, I'm joined now by the classicist, Edith Hall, who's a consultant on the production, and theatre critic Susanna Clap.

Both of them have come straight from the corpse-strewn first night.

Susanna, I saw this and was really compelled

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