Zoë Goslin, Chasen Schneider, Will McKay and Ariana Karp work their way through Act II of King Henry IV, Part I:

We puzzle through some of the more archaic working-class language of the carriers in Act II, Scene I
The rapid shift in both tone and setting from the nobility in the throne room talking politics to the carriers (read: truck drivers) complaining about the flea-ridden inn and their underfed livestock
The insight into how the underworld of the thieves interacts with the servant class
The Gadshill robbery, masculine pranksters and the continuing development of the relationship between Hal and Falstaff
Orson Wells on Falstaff - “Innocence is what Falstaff is, he is a refugee from a sweeter England” and the echoes of Chaucer
Falstaff as both father and child
The distinction of Falstaff being the Fool whom we laugh with and not the Clown, whom we laugh at
How aware is Falstaff that Hal will ultimately reject him?
Shakespeare’s use of simpler mono-syllabic (Anglo-Saxon) based words in highly charged emotional moments in his plays
What should it ultimately cost Hal at the end of King Henry IV part II to reject the tavern world and the people who inhabit it?
The base metal AND the glittering reformation are both parts of Hal
Lady Percy and Hotspur’s relationship, and the importance of Hotspur making the decision for Lady Percy to follow him in the scene
The audience’s investment in Hotspur’s character deepens as we witness the love that Lady Percy shows to him.