#teenage hamlet and ophelia

[autismmydearwatson]

Broke: painting highly sexualized art of Ophelias river suicide

Woke: painting highly sexualized art of Javerts river suicide

#ENOUGH about teenage angst i wanna see that slutty cop ass up in that water #javert #les miserables #les mis #ophelia #hamlet #classic lit

[shakesqueers13]

Say what you want about the 2023 Shakespeare in The Park production of Hamlet, but the choices made in that play WORKED. Having Hamlet wear a black hoodie and camo pants and him dramatically putting his hood up when he was pissed off was inspired. Having Horatio video tape Claudius on an iPhone camera from the side of the stage during the play within the play was hilarious. Having the play within the play be a hip hop dance number that represented the murder!?! Fantastic. Having Ophelia be a singer before she went mad and having a beautiful voice that everyone loved to listen to and then seeing her singing get worse and worse as she got nearer to death?!?! Hamlet pulling out his iphone after killing Polonius to show his mom a picture of his dad compared to a picture of Claudius and angrily swiping back and forth between the two as he said “What judgement would step from this… to this?” The crowd fucking lost it every time. Horatio singing to Hamlet as he died made me fully sob every time. The way they did the ghost on stage was so chilling and I can’t even accurately describe it, you just had to be there. Hamlet being deeply exasperated the entire time was just perfect. Hamlet and Horatio had a secret handshake. Laertes inexplicably carried an acoustic guitar case for much of the play which was very funny but also hit you with the heartbreaking implication that he had used to play while Ophelia sang and he stopped carrying it after she died. It was peak teenage-angst-hamlet and it was so dear to me. PLEASE if anyone has a recording, send it to me.

#shakespeare #william shakespeare #hamlet #hamlet and horatio #hamlet x horatio #Ophelia #shakespeare shitposting

[capricorn-0mnikorn]

In defense of Shakespeare's Daughters

When students find out that:

Shakespeare has no living descendants (and that's why we don't have to ask "Which Shakespeare?" like we do with the Bach family),

That he did have a son, once, but that boy died when he was only ten years old, and

That son was named "Hamnet" (not a typo, BTW)

Those students who go on to become Shakespearean scholars can get a bit obsessed when it comes to themes of fathers, sons, and grief (particularly in that one play about a Prince of Denmark).

So I'd like to take this time to point out that Shakespeare was also the father to two daughters: his firstborn, Susanna, and Judith, Hamnet's twin sister.

And to help me make the point that the Father/Daughter relationship was important to him, and not just a consolation prize, here's a few of the plays that hinge on it (an incomplete list):

The Tempest: a father and daughter as the only humans on a tropical island.

Romeo and Juliet: The tragedy unfolds with exponential speed when Juliet's father decides that she must marry Tybolt immediately.

Much ado About Nothing: The comedy almost becomes a tragedy when Leonato rejects his daughter during the wedding ceremony.

The Winter's Tale: In the first half of the play, the jealous king rejects his infant daughter, wrongly thinking she is a bastard. In the second half of the play, we see the daughter as a teenager, and her relationship with her adoptive father, a shepherd; the play is resolved when she returns home, with her adoptive father, to her birth father.

Hamlet: Let's face it -- the whole play gets mired in schemes, secrets, and second guesses until Ophelia's response to her father's death unleashes a flood of action.

Merry Wives of Windsor: the "B Plot" is all about how the young adult daughter of Mr. and Mrs. Page successfully schemes to marry the young man she actually loves, instead of either of the arranged marriages her parents are hoping for.

#Shakespeare #father/daughter #plot points #The Tempest #Romeo and Juliet #Much Ado About Nothing #The Winter's Tale #Hamlet #Merry Wives of Windsor

[cleverclove]

You wanna sell me on a teenaged Hamlet? Okay. Cast a pimply college kid with braces. Cast me a boy who voice cracks and has a slight lisp from the metal in his teeth.

Give me an Ophelia who loves laptop stickers. Give me a Horatio who listens to lofi beats on his off-time. Give me a Laertes who goes nowhere without his hydroflask (filled with poison ofc 🥰)

Make them YOUTHFUL. Show how the world destroys their innocence with no mercy. And by the end of it, show how they’ve all grown up too quickly and are still children.

#hamlet #laertes #ophelia #horatio

[cutegirl920]

Hamlet characters I can beat in a fist fight at a Denny's parking lot at 3 AM.

Reasonings:

Gertrude: She doesn't seem to be that much of a fighter; straight up calls for help when she feels threatened by Hamlet halfway in Act 4

Polonius: He's an old guy who ain't the sharpest tool in the shed. If Hamlet can easily kill him with one stabbing, then I can beat the living shit out of him.

Osric: IDK, he doesn't give fighter vibes.

Rosencrantz and Guildenstern: First tier if I'm fighting them separately or the third tier if I'm fighting them together (they're metaphorically conjoined characters); they're basically comic reliefs, so they don't pose much of a threat. However, if I'm fighting them together, I'm at a disadvantage as it'll be a 2 VS 1 fight now and I take that they would make for good battle partners even if they're not good at the battle part.

Hamlet: Dude is good with a rapier, has murdered people before and might be able to outsmart me in a fist fight such as using trick tactics (like throwing sand in my eyes) but I don't imagine him being the most fit person ever, especially if you were to believe that he's a teenager.

Horatio: Same boat as Hamlet minus the rapier and murdering parts.

Claudius: Dude murdered a king and may not hold back in a fistfight. Although, he's old IIRC.

Laertes: Very skilled with a rapier and likely has loads of skills in terms of fighting. If he finds my fixation on his sister weird, he'll be more determined to beat my ass for Ophelia's sake.

Marcellus and Bernardo: Even if I were fighting them separately, they would be still at the third tier as they're armored guards; they're used to fighting.

Fortinbras: Dude led a fucking army and participates in battle. I would be lucky to survive the fight.

Hamlet Sr.: He's a ghost. Even if he doesn't use any supernatural abilities he has on hand, how tf do you hit a ghost? There's a reason fighting type moves don't affect ghost types

Ophelia: I ain't beating up my favorite Hamlet character; she doesn't deserve it.

#hamlet #tier list #shitpost #prince hamlet #ophelia #horatio #laertes #king claudius #queen gertrude #rosencrantz and guildenstern #Fortinbras #Polonius #shakespeare

[so-true-jestie]

listen i KNOW Hamlet is not a teenager but. i love the idea of teenage Hamlet for no other reason than how it plays with the idealism that belongs to the very young. teenage Horatio trying to support his friend, who's just lost his dad, who's not allowed to go back to the school he loves, and wants to end his own life. Rosencrantz and Guildenstern who are helping Hamlet's parents because that's the right thing to do, right? parents must want the best for their kids. they think they're on the right side and can't understand why Hamlet turns on them. and Hamlet himself, idolising his father at a crucial age where he's finding his identity and looking for a role model, absolutely goes insane and destroys them.

and don't even get me started on Ophelia. looking at her first relationship through rose-tinted glasses, internalising that kind of misogyny in her formative years? being so much more vulnerable to what she is subjected to by her father (depending on how you play them) and by Hamlet?

i completely stand by adult Hamlet in the sense that identity formation is an ongoing thing. but also... maybe when you're just kids who think people are inherently good, contending with the power of the adults around you, all this growing up is very hard to do.

#this probably isn't new or whatever but #man do i have Feelings #hamlet #shakespeare

[moonlarked]

well ACTUALLY hamlet is about when you don’t let people handle their feelings properly so they have to choose between extremes

Claudius and Gertrude wanted Hamlet to forget about his grief entirely. The ghost wanted him to kill a man. The King and queen made him feel guilty for not getting past his grief and then he felt guilty for not killing Claudius fast enough.

Ophelia was either a chaste and perfect dove or a guilty teenager. Then her father was killed by her ex and everyone was somehow surprised she ended up how she did.

Laertes brought an actual mob to the castle gates and Claudius told him no actually, we’re going to deal with your grief my way. And both of them ended up dead for it.

#hamlet #laertes #ophelia #shakespeare #classic lit #does this make sense? I think it makes sense

[scrambled-eggsed]

i was writing a REALLY long post and lost the point like six times through it so i deleted everything and will say this instead

it is SO important to me that hamlet is thirty years old. i know it works amazingly well for him to be a teenager, and it is such a sympathetic reading of him as a character, but i still think it glosses over really important parts of his place in the story

basically, what i could try and fail to say with a whole essay, is that hamlet is not a dramatic emo teenager. he is a dramatic emo ADULT. and i dont mean to say he is stupid or ridiculous or whatever! maybe a bit but only because he is so out of place. but thats my POINT - he is a fully fledged adult. as a grown and developed human being, he is a gentle, philosophical, even a poetic person. and he was so abruptly ripped from his own world, from the sure path he was on - you gotta remember he was actually headed somewhere. he was studying at university, he had ophelia, he had horatio. he was his own man! and the play only BEGINS with him basically being trapped back in his hometown - a place he doesnt even like! - with his family, to which he has essentially become a stranger

as much as it is painfully relatable to think of hamlet as a teen, him being an adult is such a big part of his character. even just about his existential crisis - not a teenager in a terrible situation who comes to face the horrors of life and death, but rather an adult, whose steady and familiar (and above all else imo, CHOSEN AND SELF-MADE) life crumbles completely in about a month. from this point onwards i could only offer a standard hamletrant but truly i think his actions and decisions and difficulties are all so deeply rooted in him being an adult man who was placed in the middle of. well. The Tragedy Of Hamlet, Prince Of Denmark. and had to face the truly empty darkness that replaced the sure future he thought for decades he was going to have

#hamlet #p sure this is a very standard take but honestly i just saw One Post Too Many with emo teen hamlet #hamlet prince of denmark #i am too tired to actually continue this point bc i literally cannot stay on topic

[histrionic-dragon]

I know there's a lot of debate about how old Hamlet is supposed to be--teenager? mid-thirties? somewhere in between?

I don't know if it would work for the whole play, but I would love to see a version of the first soliloquy done as a teenager writhing with social embarrassment. It opens with, basically, "This is so cringe I wanna melt into a puddle of goo, or, like, kill myself" ("O that this too, too solid flesh would melt, thaw, and resolve itself into a dew, or that the Everlasting had not fixed his canon 'gainst self-slaughter") and goes on to "the whole world sucks" ("how weary, stale, flat, and unprofitable seem to me all the uses of the world") and then at length through "My mom is horny for my uncle, who is, like, not even all that, and it's really gross." See: https://owlcation.com/humanities/Hamlets-1st-Soliloquy

Imagine it as a very long text narrated out loud via speech-to-text to the group chat (Horatio, Rosencrantz, Gildenstern, Ophelia). "But break, my heart, for I must hold my tongue" stands for "gtg they're coming in omgggg :P"

#Shakespeare #Hamlet #Teenager Hamlet

[fontainegirl]

* ◟ : 〔 ANYA TAYLOR-JOY, NONBINARY + SHE / THEY 〕 OPAL FONTAINE , some say you’re a TWENTY SEVEN YEAR OLD lost soul among the neon lights. known for being both DRIVEN and CONFRONTATIONAL, one can’t help but think of MERMAIDS by FLORENCE + THE MACHINE when you walk by. are you still an ASSOCIATE / HEADLINE PERFORMER for THE BURNING GODS / OLD WORLD CASINO, even with your reputation as THE STAR? i think we’ll be seeing more of you and LIMBS THAT APPEAR TRANSLUCENT IN CERTAIN LIGHTING, A FAMILIAR FACE HIDDEN BEHIND A MASK, DRESSES MADE FROM BLOOD DIAMONDS, although we can’t help but think of OPHELIA (HAMLET) + AVA (EX-MACHINA) + LIZZY WIZZY (CYBERPUNK 2077) whenever we see you down these rainy streets.

FULL NAME: Opal Anette Fontaine NICKNAME(S): Opie, Anette AGE: Twenty-Seven GENDER: Nonbinary PRONOUNS: She/They BIRTHPLACE: Paris, France OCCUPATION: Headline Performer & Model GANG AFFILIATION: Associate of Burning Gods FC: Anya Taylor Joy

APPEARANCE

HAIR COLOUR: Dyed platinum blonde, originally dark brown. EYE COLOUR: Brown HEIGHT: 5”7 PIERCINGS?:Both ears. TATTOOS: None.

TRAITS

POSITIVE: Driven, Honest, Independent NEGATIVE: Confrontational, Secretive, Spoiled

BACKGROUND

TW gore, body mutilation, body issues,underage drinking, drugs, 

She remembers very little of her past, only what they’ve been re-taught by others. Opal has been in the spotlight since childhood - there are magazines and ads that show them as a child, be it for clothing or toys or jewelry, an accessory for their mother, the actress Brigette Fontaine. That is obvious, something that can be physically seen and understood, and with it comes very vague memories; Opal can remember being painted for pageants, can remember their mother smacking her chubby baby thighs and encouraging them to spit-take the sweets they chewed. Who’s papa? There are photos around their grand parisian home, a stern looking man with a cold gaze, a man who prioritizes work over family and is disappointed that Opal is not a man. When he has a son with another woman, there is a complete disappearance of him from her life.

They didn’t stay in Paris because now she’s in New York, a singer in a casino. America held better studios, better make-up and record companies that Opal could be thrown at. A few minor roles, nothing serious, teenage years spent on sitcoms as the ditzy french best friend, accent thick and played for laughs in front of a live studio audience. There is always a sense of discomfort for Opal when they watch these, as if it wasn’t a happy time, makes her skin crawl. Something bad happened, she cannot recall what. Parties came next, underaged in nightclubs and bars just barely 18 when pictures started showing up in papers of her in various states. Boyfriends twice her age, men with children younger than her taking her out to dinner. There are articles online Opal has read, comments still available after all these years. 

The accident was terrible. Still, nobody knows how it came about - did Brigette owe money? The former actress had been taking out loans to fuel an addiction to surgery and opioids. Or was it the absent father? Involved with arms dealings with Chinese triads and Saudi prince’s that had gone horribly wrong? Or was it Opal themselves? Drunk behind the wheel? Nobody knows, only the outcome is fact; that legally, Opal Fontaine should be dead. Two limbs crushed to a bloody pulp, spine cracked, blood spilling from her ears. And yet - she isn’t. Half of their body has become meshed with robotics, Opal a picture of modern cybernetic enhancements and what they can do. There was a price to it all, for stuff like that doesn’t come for free.

Brigette Fontaine dead, aged 58, overdose. All that debt is piled onto Opal who learns that their life was paid for with dirty money, an arrangement with a local gang Burning Gods. It was transferred to her, now a headline singer at Old World Casino, a shadow of who they were prior to the accident.

OTHER

Got a job at Old World Casino due to nepotism but is actually a good singer.

Hasn’t seen her younger half-brother before.

They have cybernetic enhancements, as their right leg and arm had to be completely replaced following the accident. Part of the spinal cord is also synthetic. These enhancements, particularly the one of their right hand, have allowed her to become oddly good with computers. 

Though in debt to the Burning Gods, she also works off some of that via doing a little hacking which is why her associate status isn’t chosen but almost contractual.

Still models occasionally for magazines. Their most recent one is becoming the face of Hi-Chew in America.

Speaks French, English and Korean.

Legally dead for 30 minutes.

Sells feet pics online.

Kind of a huge bitch actually.

The accident was about 5 years ago.

#lawlessintro

[roseofnohr]

not to be a hamlet enjoyer on main, but rhaenyra is really in her ophelia era. a teenage girl being treated like nothing more than a marriageable object by all the men around her, especially her father? no one around her bothering to understand her legitimate pain and just dismissing her as a Hysterical Young Woman?? hmm which character am i describing

#house of the dragon #let’s watch hotd #rhaenyra #hamlet

[capricorn-0mnikorn]

"For she may strew dangerous conjectures in ill-breeding minds" (making a fresh argument for my 'Ophelia was murdered' interpretation of Hamlet)

Three-years-and-change ago, I wrote a post with my conspiracy theory literary interpretation that Ophelia was murdered. A couple weeks ago, I was tagged in another post about "The Tragedy of Hamlet," and that brought me back to my chosen hill to die on.

In this post, I'll focus on Gertrude herself, and on the iambic pentameter, because

A) The rhythm of English has not changed in the last 400 years, and B) We know Shakespeare himself wrote it that way on purpose.

Now, Shakespeare used iambic pentameter to direct the pacing of a scene, depending on context (I'm basing this on the work of Shakespearean actor and scholar Ben Crystal; see the link at the end to a video where he demonstrates how this works):

If an actors line was shorter than ten syllables, followed by a full line, that could tell the other actor in the scene exactly how long to pause and do some nonverbal reaction before speaking (the unspoken syllables are there, they're just silent).

If two, or more, lines add up to exactly ten syllables, that could tell the actors to pick up the pace, and answer without pausing

If each line is less than ten syllables, but more than ten when added together, Tell the actors to speak over each other / "step on each other's lines.

And Shakespeare uses all three variations in Act 4, scene Five.

In dialog lines of irregular length, I'll indicate silent syllables with "-_" for each iamb, and I'll underline the when the overlapping syllables blend to make a clean line of iambic pentameter. Then I'll write out the shared & overlapping dialog as though they were lines of verse, showing the stressed syllables in bold.

I hope that's clear (or will quickly become so).

First: Act 4, scene Five (MIT.edu) opens in the middle of things, with a Walk-and-Talk that would make Aaron Sorkin proud:

QUEEN GERTRUDE: I will not speak with her. -_ -_ HORATIO and Gentleman: [Insert astonished blinking man GIF here] Gentleman: She is importunate, indeed distract: Her mood will needs be pitied. QUEEN GERTRUDE: What would she have?

Her moods will needs be pit- What would she have?

Okay, so hearing that Ophelia is "acting up" certainly got the queen's attention, eh? She doesn't even wait for Gentleman to finish the last word of his line (Also: she's being told that a teenage girl is really upset that her dad's dead. And Gertrude's response is to snap: "What does she want?" Really?! Yikes).

The unnamed Gentleman goes on to describe how Ophelia is speaking of her dead father and vaguely alluding to conspiracies, that her speech is basically word salad, but her "winks and nods" give the impression that she's speaking in code.

Gentleman: [concluding] Indeed would make one think there might be thought, Though nothing sure, yet much unhappily. HORATIO: 'Twere good she were spoken with; for she may strew Dangerous conjectures in ill-breeding minds.

Though nothing sure, yet much unhapi-'Twere Good she were spoken with; for she may strew Dange-rous conjectures in ill-breeding minds.

Finally, Gertrude says: "-_ -_ -_ Let her come in."

Horatio and the Gentleman are talking over each other, in their efforts to sway the queen. I get the feeling this attempt has been going on for some time; it may have started with: "She's really sad about her father. she could use some support in dealing with grief.." But the argument that finally sways Gertrude is: "She's a potential threat to Claudius's Power."

Shakespeare wrote the line about the threat she posed in a completely different meter. Instead of giving that line a scansion of: "de-dum, de-dum, de-dum, de-dum, de-dum," he's given it the rhythm of "Dum-de-de, dum-de-de, dum-de-de, dum," which makes it stand out from the rest of the scene. That's another red underline Shakespeare is giving us.

The longish pause could have come at the end of her line, but I think it makes more sense to have her hesitate before agreeing to see Ophelia.

Exit Horatio to go fetch her. Then:

To my sick soul, as sin’s true nature is, Each toy seems prologue to some great amiss: So full of artless jealousy is guilt, It spills itself in fearing to be spilt.

As I noted in my previous post, these are two rhyming couplets -- the only "plain dialog" in the scene that rhymes (other than Ophelia's songs, but they rhyme because that's what song lyrics do), and not even in Shakespeare's usual way of rhyming alternate lines.

Now what, pray tell, could the queen be feeling so guilty about (that she absolutely, positively, does not want Ophelia to find out)?

That Ophelia's father died because of something she had asked him to do? Quite possibly. But Ophelia already knows her father has died, and the queen expressing regret about it would not likely make the queen appear guilty.

Maybe Ophelia doesn't know, however, that her father was in the queen's chamber when he was killed, and the queen is afraid Ophelia would get the wrong idea. But whatever sin Gertrude is trying to hide, it's probably not that she's cheating on Claudius with Polonius so soon after the wedding (unless that's exactly it. I doubt it, though. Polonius is basically a walking-talking plot point).

At first, I thought she felt guilty about the fact that her own son (and Ophelia's boyfriend) was the murderer, and that's the secret she doesn't want Ophelia to find out. That's reasonable. That's what any halfway decent person would worry about, to protect the heart and mind of a young woman that's almost family.

But then, between Ophelia's first confrontation with the queen and her "Flower Speech," Leartes breeches Elsinore's defenses, and leads a raging mob (those ill-breeding minds in which dangerous conjectures have already been planted) to the doors just beyond Stage Left, and:

Leartes: Where is my father? Claudius: Dead. Gertrude: But not by him.

Where is my father? Dead. But not by him.

I said it in my earlier post, and I'll say it again, here: Gertrude literally does not skip a beat to defend Claudius, even when that puts her own son at risk. Doesn't stop to think about it, even for a breath.

If Queen Gertrude didn't hesitate to risk Hamlet's life. I doubt she'd be overly worried about risking Ophelia's opinion's of his character (especially since appeals to speak to her at all didn't sway her until Horatio mentioned Ophelia' threat to civil order). And yet, Shakespeare very deliberately underlined and circled the point that Gertrude is holding a deep secret guilt, and that she's afraid to speak to Ophelia, lest she let something slip.

(Also, when going back to the scene, to check something, I noticed something my mind skipped over, before: The Danish Rabble promise Leartes not to let anyone come in while he's in the room negotiating with Claudius. And yet, they're heard off-stage saying: "Let her come in" just as Ophelia reenters to give her "Flower Speech" while her brother is there. So while Leartes has been in France, Ophelia has clearly been gaining the respect of the Common Folk in the meantime. Which, to my mind, suggests this "madness" has been going on for a while, and is not a sudden reaction to deliberate or accidental poisoning. Which further suggests to me that she is simply better at "Putting on an antic disposition" than Hamlet is.)

So, all that is why Queen Gertrude started to appear very suspicious in regards to Ophelia's death.

But what's the secret Gertrude is so afraid Ophelia will find out? I think :

Claudius's legitimacy to the Danish Throne depends on the courtiers and common people Believing that he and Gertrude agreed to wed after consoling each other in their shared grief over losing a darling husband and beloved brother.

Queen Gertrude had done a "Lady Macbeth," and it was actually her idea for her first husband to have a final, forever, nap in the royal garden.

She's afraid Ophelia will figure that out. After the coded language of the Flower Speech, I think she's worried that Ophelia has already figured it out, and so gives her a little shove into the river, before she can spread that idea any further.

-----

*Starting here, in a 2014 presentation on Shakespeare's use of language (celebrating Willy Shakes's 450th birthday), Shakespearean actor and scholar Ben Crystal demonstrates how Iambic Pentameter shows us how Shakespeare wanted the dialog to be paced in The Tragedy of Macbeth (sorry, not sorry, not superstitious). A bit later, he and his acting friends demonstrate overlapping iambic pentameter when Hamlet and Leartes fight at Ophelia's grave.

#Hamlet #macbeth #Ben Crystal #'It's just an idea. But I do like it' #iambic pentameter #justice for Ophelia #long post #bold text #underlined text #large text

[canonmisogynyvictimstournament]

Match Ups - Round 1

Since Tumblr has a link-per-post cap, here is a list of the Round 1 matchups with their links:

ROUND 1

WEEK 2

33.) Kendra Young (Buffy the Vampire Slayer/Angel the Series) vs Sylvanas Windrunner (Warcraft) 34.) Katherina Minola (The Taming of the Shrew) vs Barbarara Gordon (DC Comics) 35.) Arcee (Transformers) vs Naomi Misora (Death Note) 36.) Orihime Inoue (Bleach) vs Julia (Hellraiser) 37.) Talia al Ghul (DC Comics) vs Amy Amanda Allen (The A-Team (TV Series)) 38.) Britta Perry (Community) vs Grelle Sutcliff (Black Butler) 39.) Athena Cykes (Ace Attorney) vs Carmelita Montoya Fox (Sly Cooper) 40.) Kotori Mizuki/Tori Meadows (Yu-Gi-Oh! ZEXAL) vs Iris Sagan (AI: the Somnium Files) 41.) Kairi (Kingdom Hearts) vs Clarke Griffin (The 100) 42.) Gamora (MCU) vs Sansa Stark (Game of Thrones) 43.) Mary Winchester (Supernatural) vs Konan (Naruto) 44.) Jade Harley (Homestuck) vs Chloe von Einzbern (Fate/kaleid liner PRISMA ILLYA) 45.) Natasha Romanoff (MCU) vs Sylvia (Two Gentlemen of Verona) 46.) Dragona Joestar (JoJo's Bizarre Adventure: The JOJOLands) vs Gwen Stacy (Marvel Comics) 47.) Katara (Avatar the Last Airbender) vs Eve (Paradise Lost) 48.) Jiang Yanli (Mo Dao Zu Shi) vs Cordelia Chase (Buffy the Vampire Slayer/Angel the Series) 49.) Misa Amane (Death Note) vs Nami (One Piece) 50.) Rey (Star Wars) vs Nezuko Kamado (Demon Slayer) 51.) Tetra (The Legend of Zelda: Wind Waker) vs Margaret Houlihan (MASH (Movie 1970)) 52.) Amy Pond (Doctor Who) vs Madison Paige (Heavy Rain) 53.) Casca (Berserk) vs Sweet-P (The Caligula Effect) 54.) Stephanie Brown (DC Comics) vs Aki Izayoi/Akiza Izinski (Yu-Gi-Oh! 5D's) 55.) Dahlia Hawthorne (Ace Attorney) vs Ophiuchus Shaina (Saint Seiya) 56.) Hélène Kuragina (War and Peace) vs Laurel Lance (Arrow (CW)) 57.) Sky (Lost in Blue) vs Sonia Hedgehog (Sonic Underground) 58.) Elektra Natchios (Marvel Comics) vs Celica (Fire Emblem Echoes: Shadows of Valentia) 59.) Charlie Bradbury (Supernatural) vs Susan Pevensie (The Chronicles of Narnia) 60.) Mildred "Millie" Knolastname (Helluva Boss) vs River Tam (Firefly) 61.) Allura (Voltron: Legendary Defender) vs Mikaela Banes (Transformers) 62.) Ophelia (Hamlet) vs Momo Yaoyorozu (My Hero Academia) 63.) Amy Rose (Sonic the Hedgehog) vs Alys Brangwin (Phantasy Star IV) 64.) Abbie Mills (Sleepy Hollow) vs Misaki Unasaka (Buddy Daddies)

WEEK 1

1.) Starfire (DC Comics) vs Nya Smith (Lego Ninjago) 2.) Natasha Rostova (War and Peace) vs Gwen (BBC Merlin) 3.) Marwa (What We Do in the Shadows (TV Series)) vs Mikoko Sakazaki (Kaiji) 4.) Azula (Avatar the Last Airbender) vs Jennifer Lopez (John Dies at the End) 5.) Chloe Bourgeois (Miraculous Ladybug) vs Milla Maxwell (Tales of Xillia) 6.) Kallen Kouzuki (Code Geass) vs Chi-Chi (Dragon Ball) 7.) Padmé Amidala (Star Wars) vs Bumble (Warrior Cats) 8.) Irene Adler (BBC Sherlock) vs Leia Organa (Star Wars) 9.) Alex DeWitt (DC Comics) vs Elya Musayeva (Топи/The The Swamps (2021)) 10.) Is (Kamen Rider 01) vs Amber Volakis (House MD) 11.) Marinette Dupain-Cheng (Miraculous Ladybug) vs Throné Anguis (Octopath Traveler 2) 12.) Jane Crocker (Homestuck) vs Jade (Dragon Quest 11) 13.) Leafpool (Warrior Cats) vs Katherine Pierce (The Vampire Diaries) 14.) Holy Kujo (JoJo's Bizarre Adventure: Stardust Crusaders) vs Poppy Pipopapo (Kamen Rider Ex-Aid) 15.) Mikan Tsumiki (Danganronpa 2: Goodbye Despair) vs Ochette (Octopath Traveler 2) 16.) Lisa Cuddy (House MD) vs Brunhilda/Mym (Dragalia Lost) 17.) Kaede Akamatsu (Danganronpa V3) vs Juvia Lockser (Fairy Tail) 18.) Agent Texas (Red vs Blue) vs Kamala Khan (Marvel Comics) 19.) April O'Neil (Teenage Mutant Ninja Turtles (2012)) vs Teresa (Maze Runner Series) 20.) Stephanie “Steph” Nocanonlastname (EverymanHYBRID) vs Megaera (Hades) 21.) Ochako Uraraka (My Hero Academia) vs Julia Wicker (The Magicians) 22.) Ran Mouri (Detective Conan) vs Malty S Melromarc (Rising of the Shield Hero) 23.) Magne (My Hero Academia) vs Asuna (Sword Art Online) 24.) Tasha Yar (Star Trek: The Next Generation) vs Yan Hui (Back from the Brink) 25.) Sakura Haruno (Naruto) vs Ada Vessalius (Pandora Hearts) 26.) Hinata Hyuuga (Naruto) vs Niki Nihachu (Dream SMP) 27.) Pyrrha Nikos (RWBY) vs Quiet (Metal Gear Solid: The Phantom Pain) 28.) Lucy Heartfilia (Fairy Tail) vs Pussy Galore (Goldeneye) 29.) Ann Takamaki (Persona 5) vs Mikuru Asahina (The Melancholy of Haruhi Suzumiya) 30.) Daenerys Targaryen (Game of Thrones) vs Kes (STar Trek: Voyager) 31.) Flora Reinhold (Professor Layton) vs Agent South Dakota (Red vs Blue) 32.) Deanna Troi (Star Trek: The Next Generation) vs Nemu Kurotsuchi (Bleach)

#announcements #bracket

[totheidiot]

tell me about ur hamlet tma headcanons

ASK AND YE SHALL RECIEVE. okay so i haven't thought too deep into it, it's sort of like this idea i keep thinking back, never really taking it seriously. i swore, for some reason, to never write tma fanfiction because i just know i am not going to get their voices right. but. who knows.

okay, so you know how much theatre aus happen in like high school settings, right? but i was thinking like what if i changed it a bit? like the main characters would still be teenagers but i thought, what if it was some town youth club theatre thing? people of all ages can join and audition for the parts or help around backstage (i might have had this idea just for some of the older characters just to have a part). also town vibes instead of high school, it's all chaos. are those a thing? town theatres for everyone?

elias is the owner of the theatre ofc, peter lukas funds the play. jon plays hamlet obviously (imagine him delivering the 'to be or not to be' soliloquy!! better yet, imagine him saying the men delights not line !!), martin previously worked backstage for extra cash but horatio's actor became sick and he needed to play the part (like you said !!) (think of the homoerotism of jon playing hamlet and martin playing horatio !!).

at first, i had thought of tim and sasha playing rosencrantz and guildenstern but i thought of something more perfect, the most genius thing i have ever thought of : breekon and hope as r and g. IT'S PERFECT. r and g are literally always together in every scene and you cannot refer to them individually, LIKE BREEKON AND HOPE. they are like older than jon martin sasha tim, like in their mid-twenties.

so, sasha and tim need roles now. i am not so sure on them actually; polonius and laertes but not so sure. i do have a little self indulgent idea of tim playing gertrude just because but i don't know.

ophelia, i feel like either georgie and melanie ? melanie playing ophelia would be hilarious like jon and melanie have this frenemy thing going on and it's announced that they are playing love interests, they are both like, !!!!!. and melanie is like, i am so glad i died.

SIMON AS GHOST OF HAMLET SR. A GOOD IDEA IF I HAD ANY. claudius, i don't know at all. michael and gerry work in background and flyers art and they constantly get into romantic banters about if it should be more gothic or colorful. (gerard insists it should be gothic since it's more truer to the theme. michael wants to be colorful for that irony). gertrude is the director and she needs to face thousands of comparisons to gertrude from hamlet.

and lastly, i figured out the sasha-tim casting. daisy plays polonius, sasha laertes and tim plays gertrude. out of the major characters, we only really need claudius.

THANK YOU FOR READING THIS DISORGANIZED RANT !! i will think about this moree.

#the magnus archives #rusty quill presents: this man has too many eyes. #🍂 arian's shit #tma podcast #tma au #jonmartin #🪐 arian's asks #📷 arian's friends <33 #the eyes have got a cult #promise i will figure out a better tag for you #WHAT DO YOU THINK !!

[faewaren]

There are sometimes some strong negative feelings expressed about “updated” retellings of old stories and myths which is fair, because sometimes they are not good and ignore a lot of the important aspects of the original rather than engaging with the themes in an interesting way.

However I genuinely think retellings or going at a story from a different angle CAN be really fun and cool and interesting. It can be done well. Delving in from a different perspective, or doing a what-if, or subverting the themes and looking at them upside down can be interesting ways to engage with well-known stories.

When I was a teenager one of my favorite books was Ophelia by Lisa Klein — she’s a professor of Shakespeare and her reasoning in the foreword was that she knows Shakespeare was writing a tragedy, not a romance, so there’s a lot we don’t find out about Ophelia, but it always interested her wondering about what kind of woman she would have been before the events of the play that Hamlet would’ve been in love with her. So her book goes before the play and then through it and then after, with both fully invented parts and existing scenes, and it’s been a while since I read it but I truly enjoyed it.

Anyway the reason I’m making this post is to ask all who see it, if you WERE to come up with a version of a classic story or myth to write a book or a story or something about what would that be and why.

Personally I may legitimately someday write a polyamorous bisexual version of Lancelot/Arthur/Guinevere that’s really about how you give up humanity for/in some positions of power and the cruelty of keeping up appearances when you’re under a magnifying glass and how for the man to live sometimes the king has to die and I refuse to be embarrassed about it.

[lizardrosen]

On the timeline of Not More Native to the Heart:

I'm basing this fic series on the Andrew Scott production from 2017, so Hamlet and Ophelia were born in 1987 and most of the kids' childhood is in the early 90s - which means poor Claudius, who needs Reynaldo to help him connect to a Zoom call, has to suffer through the whole internet and tech boom, which will be fun to write.

This does make Laertes 34 in canon era, which is older than I usually like him, especially since Andrew Scott is one of the few Hamlets who I can see being older than Laertes. But the childhood dynamic I've thought about most often with these characters in general is that Laertes is older than Hamlet and Ophelia, who are about the same age, so that's what I'm going with for this version of events.

Also, since Ophelia was born in May and Hamlet is born in November that same year, that would put her a year ahead of him in school, but I really wanted them to be classmates. I refuse to change their birth months because Laertes literally calls Ophelia "O Rose of May" and Hamlet cannot be anything but a Scorpio. I could have changed it so he was born six months ahead of her and just adjusted the dialogue between Claudius and Polonius, but it's more fitting to Hamlet's whole character that he went into kindergarten a year early because he was so precocious as a child.

Caroline gets sick in March of 1992, when Laertes is nine and Ophelia is almost five, and (spoiler) dies later that year. How much later, you'll have to stick around and keep reading my installments to find out.

Laertes and Hamlet dated for a few years and broke up because they each thought the other one was unhappy and tried to "free" each other even though it was 100% unnecessary. Laertes was so miserable afterwards that he ran away to France, where he started sleeping with Rey but they don't call it dating, they're just good friends who happen to fuck and are also madly in love with each other. And not long after that, Hamlet and Ophelia started dancing around each other and eventually started dating in secret.

At the time canon takes place, Reynaldo has been working for Polonius for about ten years, which means he missed Laertes's awkward teenage years when he wore braces and didn't quite fit into himself yet, but Laertes enjoys telling him about those times, and Rey likes telling him about the strange and dangerous jobs he's had over the years before he found an employer who provided him with a life that allowed him to respect himself a little more. He truly cares for and respects Polonius, and is almost as broken up about his death as Laertes and Ophelia are, but he keeps doing his job to stay standing.

Claudius and Gertrude don't get together until after King Hamlet is killed, but there's mutual interest for about a year or two before Claudius finally commits the eldest primal curse, and it's basically an emotional affair that neither of them admit is happening. They've always had a good friendship, but it was just potential romance until the event that made it blossom into something more. (I'm secretive!)

#hamlet #not more native to the heart #laertes #ophelia #claudius #gertrude #reynaldo #my writing #of course the whole series will be from claudius's perspective so he doesn't know about most of the second to last paragraph #but i can't talk about timing for the almeida production and *not* discuss laertes and his relationship to reynaldo