In Shulman's body of work, his rejection of the inevitability of violence between peoples is a recurring theme. Sometimes it is treated realistically and sometimes, metaphorically. The Fake History of George the Last uses the contemporary paradigm of human cloning to discuss ancient ideas of generational repetition. Its central narrative shows the process of a man discovering the violence and lies inherent in the family history passed down to him. In the play, set in a futuristic English-speaking country, there are four generations of men named George--all clones--who are predestined to go through the same family rituals and rites of passage, culminating in murder. The idea is to dramatize how violent beliefs and animosities seem inevitable and they are inherited in defiance of the possibility of individual choice.