No doubt Smith hopes to paint Glock as a monster once again, and the theatrical complaint pulls no punches. Glock’s actions, Smith writes, “resemble the senseless and self-destructive rage of Shakespeare’s King Lear, when he foolishly mistreats a loyal but candid daughter, Cordelia, in favor of cunning and ruthless flatterers. Perhaps neither pathology nor psychology can provide a satisfactory explanation for why an aging billionaire would spend his twilight years seeking to terrorize members of his own family.”