Harris and Srinivasan discuss coloniality and British contemporary Shakespeare performance practice. Soft power is a fitting term to describe how the British government and intelligentsia continue to use Shakespeare as part of a civilizing mission long after its direct colonization of land ended. Shakespeare's canonicity makes his work inherently imperialist, and decolonizing Shakespeare then requires an actively anticolonial practice. What people might consider to be universal within Shakespeare is in fact just what they default to whiteness, maleness, the superiority of the English language and of England, and more. They have identified three concurrent problems with the current UK Shakespearean performance practice that keep it firmly colonial by feeding into ideas of monolingualism, establishmentarianism, and capitalism.