To be free , to see from outside the box, to breathe in air , to relish the little things of life and to suck your cock until your legs shake from ecstasy, lol.🌚😋
I've stated openly that I don't think The Merchant of Venice can be salvaged as a play...but The Culture'd Bumpkin's tiktok of "Redneck Shylock" has kind of knocked me over.
did I ever tell you guys about how I would adapt (the tragedy of) Hamlet (prince of Denmark) if ever given the chance. because I have so many thoughts and I’m adding onto them all the time so here’s a post with all my ideas compiled.
- firstly, it would be an animated mini-series of five episodes, each one corresponding to an Act. I think Animation is a highly under-utilised and underappreciated medium that would suit this particular story well in terms of what it could achieve visually and also these are just a bunch of words to say I’m heavily biased towards animation and just love it so much.
- there are so many fun little character design tidbits i would implement. including but not limited to: Horatio being the shortest, Claudius/Hamlet Sr identical twins (and Claudius having a Scar reminiscent scar on his face for the drama… and also the eventual Act 5 Scene 2 parallels when Laertes wounds Hamlet with the rapier in an incidentally similar way), Laertes having a silly curly moustache, Horatio and Ophelia resembling the other, Hamlet looking tired, pale and ghostly at all times, character’s hair being used as a way to show passing of time (Hamlet having hair on the long side of short in Act 1, growing but in a little ponytail over Act 2, medium-length and unkempt in Acts 3 & 4, and cut shortly and neatly in Act 5. also Ophelia’s hair growing noticeably as well and being often neatly braided with little flowers in Acts 1-2, loosely braided without flowers in Act 3, but being down and wild in Act 4 etc), and so on so forth.
- I would shamelessly be including flashbacks to pre-tragedy memories of the castle/inhabitants. Baby R&G&H running through the castle halls and playing hide and seek. Hamlet actually, god forbid, practicing fencing. The Players entertaining at the castle in Hamlet’s youth. Ophelia and Hamlet sneaking out into the garden beneath the willows by the pond, Hamlet braiding flowers into her hair while they sit together. Yorick entertaining baby Hamlet. All coloured with the softest, goldenest glows that nostalgia can manage to contrast the desaturated depressive hues of the current day. I think a lot of the tragedy of *Hamlet* specifically lies in comparing what was to what ended up being, and since the play starts after Hamlet’s entered his mourning period, it’s hard to fully comprehend the true nature of such a fall.
- Each Act having a lovely stylised title card in its introduction with themes and motifs that are specifically prevalent throughout. Act 3 would have curtains, for example, given the play staging and Polonius’ later poor choice of hiding place. Act 5 introduces the classic skull we all know and love.
- Very purposeful dramatic lighting and colour throughout. Daylight lighting and then the switch to a lot of Hamlet’s soliloquies seeming to appear under more ‘spotlight’ lighting. Early evening during the play, sunset during the scene where Claudius prays (golden light tricking through beautiful stained-glass windows), nightfall when Hamlet yells at Gertrude. Lighting also being used to dramatise entrances perhaps, such as Claudius’s prayer being interrupted by the shift to ‘spotlight’ lighting before we even see Hamlet at the door.
- Same goes with music and motifs, interwoven character leitmotifs and themes that shift keys and qualities and work together to make larger pieces and show up to herald the arrival of a character, or turn sour to match their emotions.
- the visual humour of the play being upped, as well as the wordy humour being emphasised, in order to really contrast the shift in tone throughout the halves of the play. I’ve always been a tragicomedy truther when it comes to Hamlet, I think if done well it could be a really neat way to get the audience to invest more in the characters while also really highlighting how quickly everything goes south.
I had to reupload the video due to an improper copyright claim. i really like this video and would appreciate it getting the love I hoped for it before being dunked on by the algorithm.
trans hamlet who, instead of going barefoot later on in the play to show his mental state, slowly has his button up shirt come messily undone to reveal his binder, where at the beginning he kept his shirt tightly buttoned up to the neck.
Round 2 Match 4: They Should Have Been At The Club Tournament
Propaganda below the cut.
Propaganda for Hamlet:
i’m not restarting the centuries old age debate but rest assured he SHOULD have been at the club…… society (denmark) if hamlet had just fucked off and gone to the club instead
Propaganda for Buffy Summers:
One: She found out she was the chosen one when she was only 15 and after that was forced into all the responsibility that comes with constantly having to save the world. Honestly I feel like a lot of the Buffyverse characters could fit this tournament but she most of all. In her early twenties she had to deal with raising her younger sister, paying the bills, and yeah, saving the world. Oh and she died twice.
Two: She's the chosen one, she has to juggle a very busy 'normal' life AND her Even Busier secret life battling the forces of darkness (which nobody is supposed to know about)! She is constantly going through it and gets approximately two hours of sleep a night. From the age of fifteen up. Her first real boyfriend isn't a real boy (by which I mean he's a vampire and he's kinda old and he ends up killing a bunch of people close to her and then she has to kill him). Girl has it rough. Also the principal at her high school actually hates her. And I haven't even gotten past the first two seasons yet!
Working our way through the Shakespeare Collection, our next stop is The Plays of Shakespeare edited and annotated by Charles (1787-1877) and Mary Cowden Clarke (1809-1898) and illustrated by H.C. Selous (1803-1890). The collection was published by Cassell, Petter, Galpin & Co., likely in the mid to late 1860s and consists of three volumes each arranging the plays into comedies, histories, and tragedies.
Scholarly English authors Charles and Mary Cowden Clark refer to the collection as the “People’s Edition” stating their intention for the work to be read within the household and among family circles. Keeping young readers in mind, the plays are annotated for a novice Shakespearean audience and Titus Andronicus is omitted from the collection due to its “grossness”. Additionally, the collection is heavily illustrated by Selous with wood engravings, providing valuable imagery for those unfamiliar with Shakespeare’s plays.
Volume One contains all of Shakespeare’s comedies and opens with a full-page frontispiece of the author.