Vulgar History Podcast
What If Anne Boleyn Sewed Her Head Back On?
March 25, 2026
Hello, and welcome to Vulgar History, a feminist women’s history comedy podcast. My name is Ann Foster, and I’m so excited to share this episode with you. I’m talking with author Rebecca Lehmann, author of a new novel called The Beheading Game. When I tell you, I saw the announcement that this book was going to be published maybe two years ago, and I read the premise of it, and it made me look up Rebecca Lehmann on Instagram, message her to be like, “Hi, when your book is published in two years, please come on my podcast. I have to talk to you about it.” She was like, “Okay!” My energy might have been a bit intense, but she was cool with it. And then, been promoted in, like, People magazine talked about it. When I saw that there was a cover reveal on People magazine, I messaged her again to be like, “Hey, remember me? Please come on my podcast when this book is published.” I feel like I might have been at the front of the line of people begging to talk to her about this book. And so, I got to read an early copy of it. I was obsessed. When I say this book could not be more on brand for me, for you, for the Vulgar History podcast, it’s… When I tell you the premise, you’ll get it.
The premise of this book is, and it’s a novel, it is historical fiction, I guess, technically fantasy fiction, because if only this had happened. The book starts with Anne Boleyn wakes up after having her head cut off by Henry VIII. She wakes up, and she is just like, “Oh, there’s my head. I’m in a coffin.” She sews her head back on, and she just, like, gets going. She’s like, “You know what I need to do? Get revenge against this motherfucker.” She’s determined to go and murder Henry VIII. Amazing premise! Incredible premise.
And when I tell you this book is so good, it’s so well written. Like, it’s this amazing, bananas premise, and Rebecca, we talked about this in the interview, she did so much historical research to see what was life like. Like Anne Boleyn, you know, she’s walking around the city. What was the city like? There’s a bit of sapphic energy in this book. It’s just got literally everything you could want in a book. It’s so good. I’m so excited to have Rebecca here to talk with me about this book that I think is going to be everyone’s favourite. Everybody has to read it, so you can talk to me about it. So, please enjoy this conversation with Rebecca Lehmann about her incredible novel, The Beheading Game.
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Ann: So, I’m joined today by Rebecca Lehmann, author of The Beheading Game. Welcome, Rebecca.
Rebecca: Hi, Ann! It’s so nice to meet you. Thank you for having me on Vulgar History. I’m so excited to be here.
Ann: I wanted to let the listeners know that I think this is the longest lead time I’ve ever had between offering to have someone on the podcast and having the person on the podcast, because when your book was first announced in, like, Publishers Weekly, I was like, “Hi!” [both laugh] This is, like, two years ago. I’m like, “Can I interview you in two years?”
Rebecca: I remember that. I was so excited to hear from you then. And now, it’s great for it to come to fruition now.
Ann: Yeah! My cat is here, she’s excited, too. But yeah, it was funny. Like, I think I saw the announcement of your book come out, and I was like, “Oh my god, this sounds great.” And I feel like five or six people sent me, they’re like, “Ann, did you see about this?” Because it’s just like so on-brand for me and my podcast. [Rebecca laughs] Do you want to explain to everybody the premise of the book, like what’s got everybody so excited?
Rebecca: Yeah, absolutely. So, The Beheading Game is an alternative history about Anne Boleyn. In the book, she wakes up after her own beheading, kind of like the night of her beheading. Anne Boleyn was beheaded on the 19th of May 1536 on charges of adultery, incest, and treason that many historians now think were false charges.
But she wakes up the night of her beheading. Her head is still off, and she escapes from her grave with her head under her arm, flees the Tower of London, sews her head back on, and then she goes on a revenge quest to try to kill Henry VIII before he can marry his next wife, Jane Seymour. Because in real life, Henry VIII marries Jane Seymour just 11 days after Anne Boleyn’s execution, which, for me, is one of those big signs that perhaps it was a set of trumped-up charges just to get her out of the way. Like, if your husband has you murdered by the state and has the next wife waiting in the wings, maybe it’s not, you know, real charges that are being prosecuted there. So, she goes on a quest to try to kill him before he can marry Jane Seymour because she wants to protect her daughter Elizabeth’s claim to the throne, and she’s concerned that once Henry marries Jane, they will have another heir and displace Elizabeth. So, her primary focus is protecting her legacy via Elizabeth and protecting Elizabeth who, at the time of Anne Boleyn’s execution, was not yet three years old. She was very, very young.
Ann: Yeah, so like, the premise is just gold. It’s just perfect.
Rebecca: Thank you.
Ann: I know there’s a lot of excitement around your book. And I think it’s just, like, so many people, especially with things, like most recently, I guess, Six: The Musical, people are just so on board the side of Anne Boleyn, the side of the wives against Henry VIII. So, just imagining one of them going to kill him, everyone’s just like, “Yes!” [laughs]
Rebecca: [laughs] That’s how I also felt. That’s why I wrote the book.
Ann: Well, that was my first question, I guess. Well, kind of two connected questions, which is kind of like: What is your history of being interested in Anne Boleyn? And then, what was the spark of the idea for this book?
Rebecca: Yeah, you know, I am an American, and so I didn’t get a great history, British history as a kid. You know, I knew there was an English king with a lot of wives. I think, like a lot of people of my generation, I encountered Anne Boleyn in The Tudors and some of that early 21st century media about her. And I was always really bothered by the way that she was depicted, like even in The Tudors where I think she has kind of a complex character, she’s often portrayed as, like, a homewrecker, someone who uses her sexuality to get what she wants out of people, and there’s a general sense of like, “Well, she got what she deserved,” when she gets executed. Like, she flew too close to the sun, her wax wings melted; that’s what she had coming to her. But I just thought that there had to be more about her than that.
And it doesn’t take a lot of research to find out that, actually, Anne Boleyn was a really intelligent woman; she spoke multiple languages, she was a theologian, she was a true believer in the Protestant Reformation. So, you know, for example, the story that, like, Henry VIII breaks with the Catholic Church to marry Anne Boleyn is true, but also Anne Boleyn is pushing him to leave the Catholic Church because she wants England to join this Protestant Reformation, and that was really important to her. She was very well read, she was a strong character, she kind of dominated many rooms that she would enter. I think if she lived today, she would be so full of charisma that it would be, like, impossible to ignore her as she moved through the world. And that would probably still bother people, because I think that when you are a woman who is smart, and in charge, and has a lot of charisma, people resent that then, as in now. I hope less now than 500 years ago. But I think that part of the story really caught my attention. Like, why is this woman, who has all of these things going for her, treated as this pariah of history? When, in fact, she’s just a victim of an egomaniacal king’s abuse.
So, I wanted to find a way to retell this story and give her a fairer shake, and get her point of view in there, and do this kind of feminist retelling. And I went over and over ways to do this. How could I retell her story? What if she escaped before she was beheaded? Or what if she married her cousin, James Butler, and went to Ireland and lived in a castle there and didn’t marry Henry VIII at all? Or what if I set the story forward in time and she had more resources, she lived in the 20th century and could, like, you know, call a domestic violence hotline or something?
But what I thought was the thing that makes her story really resonate is that she is beheaded, you know? The thing that stands out to us across time is that this really smart, really talented woman was rewarded for her talents and smarts and political power by being executed, by having this state-sanctioned misogynistic violence carried out against her. And so, I thought, I don’t want to defang that monster; that’s the thing that makes her story resonate. What if, instead, she could somehow come back?
And there are so many stories of people that come back from the dead with their heads off. Like, there’s a whole category of these. Yeah, they’re called cephalophore stories. So, like, Gawain and the Green Knight is a good example, and that myth kind of threads through The Beheading Game, you know, where the Green Knight comes to the court of King Arthur and says, “Does anybody want to take one blow at me? If you beat me, you can have my magical axe. But whatever blow you give to me, I’ll give to you a year later.” And Gawain steps up and beheads him with one blow and thinks, “This is great. He’s dead. Now he can’t come after me.” But then the Green Knight picks up his head and just walks off, and he has to go show up.
Ann: Oh, I’m thinking, like, is The Legend of Sleepy Hollow, like, with the…?
Rebecca: Absolutely. Yes.
Ann: Okay, okay!
Rebecca: The Legend of Sleepy Hollow in North America is one of those stories, or the story of St. Denis, or a couple of different cephalophore saints, like, saints that get beheaded and then just pick up their heads and keep on going. And so, I thought, what if she did that? What if she sewed her head back on? And then what would happen after that? I wanted to have this revenge fantasy play out or, like, try to play out to see if she could do it. But then also, I wanted to just kind of drop her into Tudor London without the trappings of wealth and royalty and see what would happen to her, which is, like, a second story that kind of runs through the novel.
Ann: I’m going to say there’s a third story, which is sort of her thinking back to her life. I really appreciated that in the book, too, because she’s kind of thinking… So, for people like me who, God knows, I’ve been interested in the Tudors since forever, but it was a nice reminder to be like, oh, yeah! As she’s going on this quest, you’re also kind of filling the blanks of like moments from her past, moments from her life, reminding everybody, or telling people for the first time if they didn’t know. So, there’s that, there’s that, and then she’s also trying to survive. So, this is three things all happening at once. And like, your book is not a thousand pages long, so it’s all very condensed. I’m just impressed with, like, how you kind of braid those things together.
Rebecca: Yeah, thank you. I think it was really important to me to have this kind of like postmortem, no pun intended, going on in the book where she was kind of thinking back because, like, Anne Boleyn – at least as I’ve created her as a character here and as I believe she was in history – was such a strong personality that I have to believe that if she had any thoughts after her death, it would have been like, “What the F just happened. How did I go from up here to down here?” And I really wanted her to be processing that and thinking through it.
You know, some historians say that, like, up until the moment that she was executed, she was looking for Henry to come rescue her, looking out at the crowd, thinking that he was going to show up and call it all off. And I think that’s very heartbreaking. I think she probably, up until the last minute, thought it wasn’t going to actually happen, as I would feel if I were being brought up to the scaffold. I think anyone would feel you’d be in a great deal of denial. So, I wanted, after the violence of the beheading – which happens offstage in the novel, like, that’s not really part of the novel directly, she wakes up afterwards – but after that, I want, in the calm after the storm, for her to be able to look back and think like what happened and also just kind of think back on her life and the people that were important to her, like her brother, George.
Ann: Mm-hm! Which is, parts of this book— Like, as I said, I don’t know, maybe we’re similar in this way, but I was such an Anne Boleyn girly, like, in the early 2000s. [chuckles] I keep thinking about because there’s like The Other Boleyn Girl, the book and the movie and stuff, which really… Philippa Gregory, you know, I have lots of thoughts about her work, she really got people excited about the Tudors, but she takes every rumour as fact. Like, there’s a scene in the movie where, like, Natalie Portman as Anne Boleyn actively goes to seduce her brother, like all these things.
Rebecca: Yeah, I mean, there’s no real historical evidence for that other than rumour. A lot of what we know about Anne Boleyn comes through an ambassador named Eustace Chapuys, who wrote all these letters.
Ann: Oh, he was, can I just say, he’s such a messy bitch.
Rebecca: [laughs] He is such a tattler.
Ann: He would be like Andy Cohen or somebody just being like, “Oh, my god, you know what this girl just did?”
Rebecca: Yeah!
Ann: Every rumour.
Rebecca: He worked for the Holy Roman Emperor, who was Queen Catherine of Aragon’s relative, I forget, like her nephew, I think. So, he was super biased against Anne Boleyn and, you know, just referred to her as the concubine in his letters, or the great whore. Like, I don’t know. Definitely, he reports back things that were happening, but I think everything he says needs to be taken with a grain of salt. And the idea that she had an affair with her own brother, I think, is just preposterous. To me, that’s one of those things that’s like, “Well, obviously, this is a lie.” Like, you went too hard on the lie that she slept with five men. If you had just kept it to, like, she slept with one man, maybe people would believe it, or maybe I would believe it.
Ann: Well, exactly. It’s just sort of like, let’s make her into this monstrous, uncontrollable nymphomaniac. Yeah.
I guess my next question for you is just kind of about your research process, because in your book, you put us right in, like, her memories of the royal court and stuff, and Anne Boleyn, after her execution, so much of the records of her life were destroyed, like portraits were destroyed, no one knows what she looks like. So, it’s kind of like… So many people worked on it. But I also wanted to talk to you about your research you did. She wakes up, puts her head back on, and then she’s in the middle of this, like, poor, or working-class, certainly, neighbourhood. And I’m sure there’s even less known about what was it like for a casual sex worker in Tudor England. So, how did you put together…? Because it feels really lived in, like all those scenes. I know that you did lots of research. I’m just curious how you went about it.
But I wanted to say something that just occurred to me was, I don’t know if you’ve read Hallie Rubenhold’s book, The Five, about the women who were murdered by Jack the Ripper? If you haven’t, that’s cool.
Rebecca: I have not, but that sounds great.
Ann: It’s really good. And it talks about that because, similar to Anne Boleyn, there’s a certain narrative of like, this is what these women’s lives were, and this is why they kind of deserve to be murdered. She talks in that book a lot about how they were… It was the same thing. It’s just, like, they were doing sex work, but it was a really similar thing where it’s just kind of, like, casually on and off when you need money sort of thing.
Rebecca: Yeah, which I think is very different than our concept of sex work today, where we might think, like, somebody who is doing sex work, that is their occupation, and they are doing it all the time, and/or perhaps they are being trafficked, which, of course, is terrible. So, yeah, a very different conception of it than we have today.
And yes, so like, when I was in London, I went to the Clink Street Prison Museum, which, the Clink is named that because it was on Clink Street in Southwark, and that is where the phrase “the clink,” “going to the clink,” “getting thrown in the clink” comes from. That was really helpful to just learn about how badly prisoners were treated during that time period. So, that becomes another contrast in the book because Anne is reflecting on her own imprisonment in the Tower of London, which, like, her imprisonment ends with a beheading, so it’s not great. But relatively speaking, it’s a pretty posh imprisonment.
Ann: She’s in an apartment, basically.
Rebecca: She has ladies helping her, though they’re not… Most of them are not people that she likes; they’re kind of like spies that are sent with her to tattle back to Cromwell and the King, everything that she’s saying and doing during this imprisonment. But in contrast, Alice, who has been in the Clink Prison and Anne meets her just as she’s exiting the Clink Prison after bribing the jailer to get out, has had a very, like, what we would today consider to be a cruel, unusual punishment experience in the Clink. The cells would flood every time the tide would come in; inmates had to pay for their chains and their food, and every little daily necessity that they would encounter when they were there. It was a very unpleasant place to be.
But it was helpful to go to the Clink Prison Museum and just kind of get a glimpse at an experience that people who were not well-connected and did not have a bunch of money had, if they happened to run afoul of the law or get caught.
Ann: I was in London a few years ago, I was also on a research trip, and I asked my friend who’s from there, who is from working-class London. I’m like, “What are some places I can go to see not just, like, here’s a museum of tiaras? Where can I see, like, the regular everyday people?” And she’s like, “There’s, honestly, not much.” She was just like the street, there’s some streets you can walk down that kind of look the same now as they did then, but there’s not… Yeah. So, the Clink Prison is clearly one of these places.
Rebecca: Totally. I mean, in Southwark, like when I went, I stayed in Southwark because I really wanted to get the feel for, like, what is that part of London like? Although, of course, it’s extremely different now than it was nearly 500 years ago. But like, Byward Market, which is mentioned in the novel, is still a market in Southwark, though, of course, it looks very different now than it did then. And the Globe is still there. But yeah, it’s kind of hard to find because nobody kept good records of those things. But there are people, historians working today, both academic historians, and sort of, like, citizen historians, who are doing really interesting research into: What did Tudor people eat? What did everyday Tudor people wear? I listened to a lot of podcasts while I was researching the novel, like Talking Tudors, and got a really great education that way from historians about, like, what was everyday life like for these people who were living there?
Ann: Yeah. I think it is helpful for you with this project that the Tudors is one of the time periods that there’s so many people interested in it. So, I feel like of any time period in English history, this and maybe the Victorians are the two that there’s been the most specific research into. Like, what did they have for dinner? What were their shoes made of? This is one of those times.
Rebecca: Absolutely. Like, what were the vessels that they drank liquid out of called? You know, you can find a lot of that information. What were their different layers of clothing called? I remember doing research into like, okay, what was Tudor apparel? What did, like, an everyday woman wear? What would a queen have worn? What are all the different layers called? Did they have underpants? The answer to that is no, but they had other undergarments.
Yeah, it was a lot of little details. And it was really important to me to try as much as I could to get those things right. Because the novel obviously has some magical realism elements going, it takes liberties with this plot of her being able to rise from the dead and sew her head back on. But I wanted, as much as I could, to get the historical details right here so that it was set in a place that felt authentic.
Ann: It absolutely does. That’s why I wanted to ask you about your research, just because I’m just like, learning so much about history, about the Clink, and about Southwark, and all these things. But also, like you just said, there’s a lot of discussion in the book, and it doesn’t overwhelm the plot at all, but just now I know the names of all these different garments and the layers because Anne Boleyn wakes up from being beheaded, and it’s like, “I can’t walk around in this blood-covered queen dress.” [laughs]
Rebecca: Right! Yeah, because she was executed in a dress that had, like, an ermine trim, which really would have popped out as something that would distinguish her as royalty. In the book, she walks through Southwark without disguising herself in any way, and I really went back and forth on that. Like, should she cloak her face or something? But she’s someone who most people, especially living in this part, Southwark, South of London, would not have seen, right? Like, everyday people were not seeing the queen; there was not television, there was not social media, there were not newspapers, there were not even photographs during this time period. So, the most likeness they might have seen of her would have been maybe on a coin, or maybe on a drawn illustration, and they would probably not have recognized her. But if she’s walking around with that, you know, kind of like, white with the black spots ermine, tell-tale ermine, that would really make her stand out, so she wants to disguise herself as a commoner so she can move more fluidly through this landscape.
The other thing that she has to worry about is that, you know, she sews her head back on, and the neck wound heals, but she has, like, very visible stitches and a big scar. So, she covers that up with a swaddling cloth that she has stuffed into her dress, prior to execution, that belonged to Elizabeth, and she wanted it to go to the grave with her so she could be close to her daughter. She pulls it out and uses it to sew it, like, into a makeshift collar to cover up that scar.
Ann: In terms of people who would recognize her, though, and I want to be very careful about spoilers or anything, but I will say the people who would recognize her are the people in the Tower of London.
Rebecca: Absolutely.
Ann: You describe the Tower of London in such a way that I feel like you went there, and you did the tour, and you took…
Rebecca: I spent so much time at the Tower of London. Ann, I just have to tell you, like, my poor, sweet husband came with me on this research trip, god bless him. I was like, “Okay, I’m going to take this five-day trip to London,” because we have two young kids, so I didn’t want to leave for too long. It’s hard to leave young kids for a long time. And I was like, “I would love for you to come with me, but you have to know when we’re there, I’m going to just be hyper-fixating on this stuff.”
And so, we went to the Tower of London, and we got there when they opened, and we stayed until they closed, which I think is like I think they open at 9:00 or 10:00 and they close at 5:00. the whole day. I spent the whole day, like, I stayed until the very end. I did the Yeoman tour where the guy in the red outfit walks you around and does a colourful history, I stopped at every exhibit, I took pictures of all the signage so that I could look at it when I got back home, so I didn’t have to take— I took a lot of notes, but so I didn’t have to try to copy down everything, I took a lot of pictures, too.
I really tried to get a feel for, like, both the kinds of historical facts that you get when you’re touring a place that has a lot of signage and has spent a lot of time and resources to become a sort of, like, education point about history for people. But I also wanted to get details like what is the light like here? And, you know, what directions do the walls face? What does it feel like when you’re standing here? What does it feel like on Tower Green? What does the White Tower look like? Which is the oldest part of the Tower of London that’s in the centre that dates back very, very far, and is this very medieval kind of fort within a fort. And then also, the Tower of London has this, like, there’s the outer curtain, the outer wall, and then the inner curtain, the inner wall, so it’s just sort of like this onion, you know, like layers of onion, that you could peel back until you find whatever part you’re looking for. But it was so much time.
We spent a day there, and then the next day, I went and spent a day, part of a day at the Clink Prison Museum. And at the end of that day, my husband said, “Could we… I’m really happy to do these things with you, but could we maybe take a break from torture for a little while?” [both laugh] Because we’ve seen so many torture exhibits, because a lot of the exhibits at the Clink Prison Museum are, like, torture-centric because it was a prison, you know?
Ann: I remember when I was a young girl, my family wanted a trip to London. All I remember then from the Tower of London was the torture exhibits, because as, like, I don’t know, a 10, 11-year-old, I was just like, “[gasps] What?”
Rebecca: What is happening here? Yeah! It was so many layers of historical torture, because it was a royal palace, castle dwelling, but also it was a prison, you know, like, for the nobility. So yeah, there’s lots of layers of like, “This person was imprisoned here, or this person was…” And of course, there’s the bloody princes, or the Princes in the Tower.
Ann: The Princes in the Tower, yeah.
Rebecca: The Bloody Tower, yeah, who were Henry VIII’s uncles, which I also found that to be a wild detail. Maybe people that are better versed in the lineage of kings take that as common knowledge, but as I was researching the novel, I was like, “Oh, wait! He’s just one generation removed from the Princes in the Tower.” So, it’s just like this legacy of violence.
Ann: No, absolutely, for sure. It was funny because we’re recording this, not exactly when it’s coming out. But a few weeks ago on the podcast, people would have heard, I did an episode with another author talking about her new biography of Margaret Beaufort, who’s Henry VIII’s grandmother. In that book, they were kind of describing what her personality was like, and how she’s kind of cautious, but also really intelligent. And then Henry VIII’s father also was, Henry VIII was totally different, really passionate and impetuous. But then, Elizabeth was also like that again. So, it was just funny for me to read these books back-to-back and just kind of see… And Anne Boleyn is also very scholarly. So, it’s like, you can see where Elizabeth got her personality from on both sides. Skip Henry VIII’s personality, but his dad, his grandma, like, there’s the genetics on that side, as well as from Anne Boleyn, to just be really kind of thoughtful and cautious.
Thank you! Thank you so much for joining me on the podcast to talk after we arranged this first, two years ago.
Rebecca: Thank you so much for having me, Ann.
Ann: I’m so excited for your book to enter the world.
Rebecca: Yeah, thank you so much.
Ann: I’m so excited for, like… So many people are excited about this book, and I’m happy for everybody to read it. It must feel really good for you to know that this premise appeals so widely.
Rebecca: It does. It does. Yeah, it’s very satisfying. I guess there’s a lot of interest in feminist bloodlust out there, which works out well for me and for The Beheading Game. [laughs]
Ann: The timing is good.
Rebecca: Yeah, absolutely.
Ann: Well, thank you so much.
Rebecca: Thanks so much, Ann.
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So, I hope, I hope if you hear this interview, you are getting on your device, your phone, your computer, and you’re ordering a copy of this book from your local bookstore, getting the e-book, getting the audiobook, getting it from the library. Just, like, read this book. I can’t tell you how amazing it is, and I need someone to talk to about it, and that is all of you. The Beheading Game by Rebecca Lehmann, live it, love it. It is the moment. It’s everything I’ve ever wanted. Honestly, it’s so good. Read this book. Read this book. The Beheading Game. I’m obsessed.
So, another book that you may also enjoy… Isn’t it funny? I’m just like, “Read this book. You’ll be obsessed. And maybe you like this one, too.” No, I know you’ll like this one, too. It’s my book. I wrote a nonfiction book that’s called Rebel of the Regency: The Scandalous Saga of Caroline of Brunswick, Britain’s Queen Without A Crown, and it’s now available in North America, and I believe, when you’re hearing this, it is finally, finally available in the UK. So, go to your local bookstore, get yourself a little copy of it, order it online. Live it and love it and enjoy it. Maybe pair it up with The Beheading Game. Maybe I should write a book like The Beheading Game about what if Caroline of Brunswick also wreaked revenge against her shitty husband, who was also the king? You know, like Rebecca Lehmann just opened up a whole new avenue for me of just amazing things I wished that happened in history that I want to read novels about.
Anyway, her book is The Beheading Game. My book is called Rebel of the Regency. I think you’ll love them both. Thank you for listening to my Oprah’s Book Club discussion of two books that are really good.
Anyway, next week, we’re going to be back with another incredible episode of Vulgar History. I say incredible because we’re talking about a story that is pretty bananas. We’re getting back into our Regency Era. You know, we’re still going strong with that, there’s still several more Regency era scandalous women to talk about. Next week, we’re talking about a Regency era witch, and I’m going to have a very special co-host that I think you’re going to be really excited to hear from. So, until next time, my friends, keep your pants on— Keep your heads on! Or if they come off, sew them back on, wreak some revenge, be like Anne Boleyn, and keep your pants on. I’ll talk to you all next time.
Vulgar History is researched, scripted, and hosted by Ann Foster. Editor is Cristina Lumague. Theme music is by the Severn Duo. Regency Era artwork by Karyn Moynihan. Social media videos by Magdalena Denson. Transcripts of this podcast are available at VulgarHistory.com by Aveline Malek. You can get early, ad-free episodes of Vulgar History by becoming a paid member of our Patreon at Patreon.com/AnnFosterWriter. Vulgar History merchandise is available at VulgarHistory.com/Store for Americans and for everyone else at VulgarHistory.Redbubble.com. Follow us on social media @VulgarHistoryPod. Get in touch with me via email at VulgarHistoryPod@gmail.com.
References:
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Learn more about Rebecca and her work
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