The Napoleonic Quarterly

In the fifth 15-minute section of our screenplay, Napoleon’s journey takes a sharp, downward turn. Success is replaced by mounting setbacks as our hero heads to Egypt - an ambiguous mission that isolates him from power and allies. The Directory’s antagonism grows ever more apparent, Josephine’s betrayals come to light, and disaster strikes in the form of Nelson’s fleet. As loyalty in his own ranks falters, Napoleon faces not only external foes but the erosion of his own myth, setting the stage for the looming low point of his story.
In episode six of our screenwriting escapade we continue to forge ahead in our mission of crafting a top-notch screenplay treatment about the life of Napoleon Bonaparte. Alex Stevenson is joined by James Topham (who knows a thing or two about screenwriting) and Ben Deery (who knows a thing or two about acting) to put the movie world to rights. Having analysed the pitfalls and frustrations of Ridley Scott's Napoleon 2023 in the first season the Napoleon Movie Quarter-Hourly, this time round the team have to come up with the magic themselves.
This episode features a bonus contribution from our own Prof Alexander Mikaberidze from 35:40 - explaining the precise nature of the incontrovertible evidence of Josephine's infidelity which Junot is supposed to have presented to Bonaparte...
As our resident bot NAIpoleon Bot-aparte puts it:

A Playful Opening and Format Mash-Up
The episode begins with a tongue-in-cheek parody intro as “Cavalry Matters,” poking fun at historical drama tropes and AI-generated content, before moving into the “Napoleon movie” project focus 00:00:09.

Introduction of the Team and Their Roles
Alex Stevenson introduces the project collaborators: Benjamin Deery (acting expertise) and James Topham (screenwriting expertise). The trio set out to reimagine Napoleon’s story for the screen 00:01:26.

Recap and Structure So Far
James Topham recaps their progress, summarizing the story up to scene 20—the film’s midpoint. He details five key scenes depicting Napoleon’s transition from general to budding ruler and the dynamic with Josephine 00:03:14.

Dramatic and Character Developments
The team walk through significant scenes involving military victories, shifting romantic dynamics (including Napoleon’s changing feelings for Josephine), negotiations, and turning points, such as Josephine’s infidelity and the metaphorical “unripe pear” scene 00:04:34.

Debate over Historical Events and Narrative Choices
There’s an in-depth discussion about the authenticity and dramatic effectiveness of sending Napoleon to England vs. Egypt, with concerns about narrative payoff and dramatic logic for audiences 00:12:22.

Motivations Behind the Egyptian Campaign
Alex Stevenson provides historical context for Napoleon’s Egyptian adventure, discussing the Directory’s motives, the project’s ties to myth-making, prestige, and the origins of Egyptology (including the Rosetta Stone) 00:16:16.

Identifying the "Bad Guys Close In" Phase
The team frame the next segment of their narrative as the “bad guys close in” phase, per Blake Snyder’s structure. This act will feature setbacks for Napoleon, the Directory as antagonists, and cracks forming within Napoleon’s “gang” 00:22:02.

Setbacks in Egypt and Antagonist Dynamics
A list of major setbacks is outlined: confirmed betrayal by Josephine, isolation after Nelson destroys the French fleet, Ottoman intervention orchestrated by the Directory, and discussions on how to visually and narratively stack these blows for dramatic effect 00:27:32.

Reintegrating and Redefining the "Gang"
They debate how to portray dissension among Napoleon’s loyalists. 00:43:22.

Looking Ahead: Approaching the Low Point
The episode closes with a preview of the next section: Napoleon’s imminent “all is lost” moment, a stretch defined as the dark night of the soul, where all seems lost before act three begins. 00:51:07.

Our recap episodes, which offer a synthesis of our 1792-1804 coverage one year at a time, have reached 1797 - a year in which Napoleon Bonaparte continues to confound western Europe amidst the continuing churning turmoil of French revolutionary politics. Chris Sloan talks presenter Alex Stevenson through specific key clips he's picked out from our old episodes grouped around four themes which, we argue, help frame the period and shape our understanding of it in a whole new way. We hope this will provide a helpful refresh for longstanding listeners - whilst at the same time offering an 'entry ramp' to the podcast for those who want to get up to speed relatively easily before we crash full-speed into the intensity of the Napoleonic Wars.

This episode covers an extraordinary 12 months, in which the young Bonaparte helps wrap up victory against the Austrians before continuing his victories on the green felt battlefields of the negotiating table. He's getting a taste for power - but what will the Directory back home make of this? The politics of Paris have moved on to a mounting crisis in which a swing to the right prompts a coup by those in power, crucially backed by the army. Meanwhile there are seismic changes in north Italy, with the end of the 1,000-year republic of Venice and a humiliation for the Pope. And there are two massive victories for the British at sea, against the Spanish at Cape St Vincent and the Dutch at Camperdown... Another staggering year.
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In the fourth 15-minute section of our movie screenplay we move towards the midpoint, the critical moment where accumulating consequences for our hero Napoleon Bonaparte make him realise his military successes represent a false hope. He's going to have to rethink - and we need to set out in this section of the film why that's the case.
In episode four of our screenwriting escapade we continue to forge ahead in our mission of crafting a top-notch screenplay treatment about the life of Napoleon Bonaparte. Alex Stevenson is joined by James Topham (who knows a thing or two about screenwriting) and Ben Deery (who knows a thing or two about acting) to put the movie world to rights. Having analysed the pitfalls and frustrations of Ridley Scott's Napoleon 2023 in the first season the Napoleon Movie Quarter-Hourly, this time round the team have to come up with the magic themselves.
As our resident bot NAIpoleon Bot-aparte puts it:
Introduction and Project Title Discussion
Alex Stevenson reflects on the complexities of both the project's title and their ongoing efforts to tackle the Napoleon movie's midpoint (00:00:09).
Screenwriting Structure and the "Midpoint"
James Topham explains the significance of the midpoint in screenwriting, emphasizing the protagonist’s realization that their initial insight was a false hope, necessitating a new approach (00:02:16).
Napoleon’s Myth and Power
Ben and Alex Stevenson discuss how Napoleon leaned into myth-making for power, and debate when in his real-life story this strategy likely fails or must be re-evaluated (00:03:47).
Limits of Power and Frustration
Alex Stevenson suggests that Napoleon’s frustration comes from being undermined by political rivals (the Directory, especially Barras), despite his military successes (00:04:37).
Internal vs. External Conflict
James Topham highlights the internal conflict between Napoleon’s public myth and his private insecurities, amplified by his relationship with Josephine (00:05:39).
Humorous Interlude: The Pug Incident
The hosts share an anecdote from a Napoleon biography about Josephine’s pug being killed, debating its potential inclusion in the screenplay for dramatic or comedic effect (00:08:47).
Montage of Military Success and Growing Ambition
A recap of part of the screenplay treatment: Napoleon’s rapid victories in Italy, the spread of his legend, and his increasing enjoyment of administrative power (00:10:25).
Love Triangle and Character Complexity
The group discusses Josephine’s ambiguous love life, including her affair with Lieutenant Charles. They recognize its importance for the evolving love triangle and consider how this complexity impacts Napoleon’s character and the script (00:21:06).
The Real Midpoint: Power Struggles and Setbacks
Alex Stevenson proposes that the midpoint pivots on Napoleon’s frustration with being constrained by the Directory, underscored by a potential “resignation scene” where he realizes his myth is not sufficient for true power (00:27:03).
Foreshadowing Future Conflict and Direction
The episode ends with the group teasing Napoleon’s next move, possibly the Egyptian campaign, and reiterating the need to heighten personal and political conflict—while ending on a comedic note debating pears and apples (00:39:23).

Our recap episodes, which offer a synthesis of our 1792-1804 coverage one year at a time, has reached 1796 - a year in which the rockstar general Napoleon Bonaparte writes his own script. Chris Sloan talks presenter Alex Stevenson through specific key clips he's picked out from our old episodes grouped around four themes which, we argue, help frame the period and shape our understanding of it in a whole new way. We hope this will provide a helpful refresh for longstanding listeners - whilst at the same time offering an 'entry ramp' to the podcast for those who want to get up to speed relatively easily before we crash full-speed into the intensity of the Napoleonic Wars.
This episode covers 12 months in which the course of the French Revolutionary Wars is altered by the achievements of a 20-something. Bonaparte somehow manages to turn a secondary theatre into the main event through an astonishingly dynamic approach to campaigning. The consequences are momentous for the weak, dependent Directory government in Paris; for the Papal States' political control of central Italy, not to mention the end of the Republic of Venice. And at the same time we see movement in Ireland where the French have one or two ideas, more revolt in the Vendee and the end of Catherine the Great, leaving us asking the question - what next for Russia...

In the first 15 minutes of Act 2 of our putative Napoleon movie, we get into "the promise of the premise"—delivering the kind of content audiences expect from a Napoleon film: military campaigns, political maneuveures, personal intrigue... as well as some further development of the love story with Josephine and Napoleon's antagonist Paul Barras; and, above all, the idea of mythmaking as a key theme.
In episode four of our screenwriting escapade we continue to forge ahead in our mission of crafting a top-notch screenplay treatment about the life of Napoleon Bonaparte. Alex Stevenson is joined by James Topham (who knows a thing or two about screenwriting) and Ben Deery (who knows a thing or two about acting) to put the movie world to rights. Having analysed the pitfalls and frustrations of Ridley Scott's Napoleon 2023 in the first season the Napoleon Movie Quarter-Hourly, this time round the team have to come up with the magic themselves.
As our resident AI bot N-AI-poleon Bot-aparte puts it:

1. Three-Act Structure and Threshold Crossing
The end of Act 1 is discussed as a pivotal moment when the protagonist, Napoleon, consciously begins constructing his own myth (00:19:41), a literal and figurative threshold crossing (00:19:55).

Detailed walk-through of Act 1 scenes, including:
Substituting Josephine for Desiree in the narrative (00:02:39).

Key action sequences at Vendemiare and the bridges of Lodi/Arcola (00:03:39, 00:15:14), with discussion on historical accuracy versus dramatic conflation (00:16:10, 00:17:43).

Introduction of supporting characters and ensemble around Napoleon (00:06:01), focusing on ambitious opportunists rather than loyalists.

Exploration of the dynamics between Napoleon, Josephine, and Barras, including scenes blending political manipulation and sexual intrigue (00:08:24, 00:09:31).

The concept that "the story and reality are separate things" is thematically highlighted (00:05:05), with the motif of Napoleon recognizing and starting to orchestrate his public image (00:19:01, 00:19:51).

Visual iconography is suggested (e.g., Napoleon with the bicorne hat, the famous bridge painting) to support the myth-making theme (00:19:50, 00:20:24).

James Topham and Alex Stevenson discuss "the promise of the premise"—delivering the kind of content audiences expect from a Napoleon film: campaigns, political maneuvers, personal intrigue (00:22:44), reminiscent of "fun and games" sections seen in classic screenplay structures.

Suggestions about Act 2 include focusing on:
Napoleon’s rapid military successes in Italy (00:25:30),

His dual role as both general and proto-ruler, highlighting the confluence of military, political, and personal exploits (00:26:32),

The beginnings of conflict between Napoleon and the Directory/Barras, including themes of looting, propaganda, and evolving power (00:28:11, 00:29:38).

The love triangle between Napoleon, Josephine, and Barras is positioned as a B-story, serving both as counterpoint and commentary on Napoleon's personal limitations and vulnerabilities despite public success (00:34:12, 00:35:25).

James Topham notes this B-story should provide the "kernel of a realization" that the main character’s myth-making may not resolve deeper internal needs (00:35:00).

Strong emphasis on the importance of an active antagonist. Barras is not simply reactive but is shown making tactical moves to rein in Napoleon through proxies and political maneuvers (00:42:09, 00:44:00).

Barras’s motivations are clarified: survival, controlling or harnessing Napoleon’s force, and concern for the stability of the Directory (00:39:09, 00:45:08).

Discussion of tonal variation, humor, and the inclusion of sex and farce elements (e.g., the pug scene) to balance dramatic and comedic moments (00:10:26, 00:12:17).

Plan for the next episode focuses on Act 2's midpoint—the major reversal where Napoleon must confront the limitations of his current approach (00:49:14).