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#viola x orsino
eva-eyre · 2 months
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finished reading Twelfth Night 😭 it’s so good! it’s so witty and funny but had so much emotional depth too — i especially enjoyed Viola’s character and her relationship with Orsino… so i do wish we got to see a bit of their married life.
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mxlcncholy · 2 years
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orsino: what’s your type?
viola/cesario: you
orsino:
orsino: i meant your blood type bro you’re bleeding
orsino: thanks tho you’re my type too
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mistressaccost · 2 years
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they lost focus and had a consensual workplace relationship
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astro-tag-9 · 1 month
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If ur still doing asks can u do
Pisces sun Pisces moon (might be Cancer rising but I’m unsure)
Capricorn moon Libra sun Libra rising
❤️‍🔥❤️‍🔥❤️‍🔥❤️‍🔥❤️‍🔥❤️‍🔥❤️‍🔥❤️‍🔥❤️‍🔥❤️‍🔥❤️‍🔥❤️‍🔥❤️‍🔥❤️‍🔥❤️‍🔥❤️‍🔥❤️‍🔥❤️‍🔥
❤️‍🔥Duke and Viola ❤️‍🔥
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shakespeare plays need fandoms. like real, actual fandoms, not just 13 people on tumblr. i want people to make velocity edits of this favs. i want angsty hamlet edits to exist. i want viola x orsino and viola x olivia ship wars to exist. i want chronically online tiktokers to fight over this shit. i would pay real money to see people to make AUs on ao3 where the most unhinged ships who have never met to become canon. i want really poorly written romeo and juliet fanfics to happen. someone please help me make this dream a reality
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shakespearesiphone · 2 months
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Alright remaining followers I need your help pls gimme your Viola x Orsino playlist recommendations
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(For context Viola is one of the crossdressing protagonists, known as Cesario while they're in the guise of a man, but they have so much genderqueer energy that their relationships with both Olivia and Orsino are simultaneously very gay coded lmao)
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sickz6mbie · 3 months
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NIGHTMARE ⴵ
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GENERAL MASTERLIST
Remember to give credits for the scps.
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Full movies/shows
65 (2023)
Bones and All
Crimson Peak
Don't Open Till Christmas
Krampus
Midnight Mass
MTV: DOWNTOWN
Pierrot le fou
Prada x Elle: mini movies
Raw (2016)
Red Eye
Saturday the 14th
Supernatural - Bitten full episode
Supernatural - Scoobynatural full episode
The faculty
Tron: Legacy
Characters
Angela Mason - Supernatural
Anna - Mange (2012)
Ava Wilson - Supernatural
Bela Talbot - Supernatural
Caroline Munro in DOTC
Castor Zuse - Tron: Legacy
Courtney Cox in Shameless
Crystal Romanowski - Small engine repair
Dean Winchester in 15X14 - Supernatural
Debbie Hyatt - Saturday the 14th
Del Luccetti - Wayne
Duke Orsino (funny/clumsy scenes) - she's the man
Emily - Cherry (2021)
Gina - MTV Downtown
Gretta James - Begin Again
Gwen Stacy (most scenes) - Spider-Man 3
Inès Kami - Disparu à Jamais
Jack - Rachel, Jack & Ashley Too
Jennifer - My First Mister
Jessie Burlingame - Wrong Turn
Junior - Junior (2011)
Justine (blood, crazy, sad scenes) - Grave/Raw (2016)
Justine - Titane
Karen Page (young scenes) - Daredevil
Katrina Clark - Me before you
Kelly Baker in DOTC
Kelly Keefe - Shameless
Koa - 65 (2023)
Lisa & Jackson - Red Eye
Lisa Reisert - Red Eye
Lucille Sharpe - Crimson Peak
Magda - Warning (2021)
Maren Yearly's outfits - Bones and All
Marinette Pichon - Marinette (2023)
Mia - Fish Tank
Missy Pantone - Bring it on
Monique Valentine - she's the man
Olivia Taylor - Wilderness
Oswald Cobblepot (season 5 scenes) - Gotham
Pamela Barnes - Supernatural
Penelope Lockhart - Seeking a friend for the end of the world
Regina George verse (all Reginas) - Mean Girl movies
Ruth C. - Never let me go
Sidonie - Madame Claude (2021)
Sophie (all scenes) - Aftersun
Sophie - Silent Night (2021)
Tommy D. - Never let me go
Veronica Miller - The last song
Viola & Olivia - she's the man
Violet Mulligan - Begin Again
Yolanda - Saturday the 14th
Yvonne - She's the Man
Other scenes
Bodies Bodies Bodies clips for intos
Crimson Peak aesthetic scenes
Crowley's mommy issues - Supernatural
Dean being sassy
Don't Open Till Christmas aesthetic scenes
Krampus aesthetic scenes
Saturday the 14th aesthetic scenes
The faculty aesthetic scenes
Tron: Legacy aesthetic scenes
Celebrities
Avantika Vandanapu - photopack & scenepack
Chloë Sevigny - photopack & scenepack
Dolly Parton - photopack & scenepack
Gabbriette Bechtel - photopack & scenepack
Jessica Chastain - photopack & scenepack
Other ressources
Caroline themed audiopack
CC/Theme tutorial
Characters cards (MTV Downtown)
Editing terms
Mega tuto pack
Panning tutorial
Prequel filter
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megatraven · 1 year
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alex and mc do have roughly the same age difference as romeo and juliet 😌
I can also see them as Viola/Orsino with the whole employee thing... hehe
(i don't know anything about gnomes tho)
HEHEHE yes!!!!!! shakespearean alex x mc is so so good
(that's ok, i know enough for the two of us vuv)
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emjee · 4 years
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The Glorious Queer Potential of Viola and Orsino in Twelfth Night
for Shakespeare Appreciation Week - Day Three - Lovers Day
This is a long-promised essay/ramble and I’m chucking it under Lover’s Day because it mostly concerns Viola and Orsino. I suppose an alternate title for it could be Orsino: He’s as Queer as the Rest of Them.
Before we begin, brief caveat: queerness exists in many forms and means many things to many people. This is my reading as one (1) singular queer person. Also, as you will have noticed if you read this far, I’m using the word queer. Not only is it an academically accepted term and one of my personal identifiers, it is in many cases the best descriptor for people and relationships in a play written in a time where gender and sexuality were constructed differently than they are today. Am I going to use the word “bisexual” when I talk about Orsino? Probably. But overall, the play’s just queer, in terms of gender, sexual attraction, and social relationships.
Let’s start with Viola (another heads up, I’m going to refer to her mostly as Viola because that’s how she seems to think about herself, and I’m going to use she/her pronouns). I believe @shredsandpatches recently made an argument that Viola can be read as a trans woman, which is an argument I love—she’s clearly uncomfortable with her masculine disguise (“Disguise, I see, thou art a wickedness, / Wherein the pregnant enemy does much. / How easy is it for the proper-false / In women's waxen hearts to set their forms!”) but she also passes as a man marvelously well. Like, people make a few comments about her higher voice, but nobody actually seems to suspect that she’s a woman until she’s finally in the same place as Sebastian and everyone goes “twins?!” Viola being a trans woman would also make the whole “she and Sebastian are literally identical” thing much more plausible, although one should never let “biological technicalities” get in the way of a good twin plot. I think there are also arguments to be made for playing Viola as a gender nonconforming cis woman who thinks, “It’ll be safer if I just pass as a man”, or with some other relationship to genderqueerness. (And by the way, when I say “arguments to be made”, sometimes that can mean the argument is “I, a queer person, feel like playing Viola this way.” Sometimes you just gotta do it for the queer joy, you know?)
So, Orsino. The two most memorable Orsinos I’ve seen have been Nicholas Bishop in the 2017 RSC production and Oliver Chris in the 2017 National Theatre production (truly we were blessed with Twelfth Nights in 2017). The RSC production chose to look at Orsino and immediately go, “This is not a Straight Man” which was valid of them—from the get-go, you understand why Orsino might go for a person who’s got some excellent gender-fuckery going on. In the NT production, Orsino is much more of a jock and, to my interpretation, definitely Thinks He’s Straight, which is fun because you get to see his heterosexuality crumble before his very eyes. (The moment where Viola reveals herself as a woman and Orsino lets out a long “oh thank God” breath can read a little too close to “no homo” for my liking, but Oliver Chris is good at making even asshole characters weirdly endearing, so I will let it pass.)
With both of these productions, you also have to consider the era they’re set in: the RSC is in the Victorian era, the NT in the 1970s (I think. I’m pretty sure it’s the 70s. Could be the 60s?) In the RSC, one could infer that Orsino’s commitment to getting Olivia to love him stems from the homophobia of the society he’s living in. Would he love to be able to just get with men? Sure. But the odds of him getting away with that for his entire life are low. The show’s design really makes this production Shakespeare-by-way-of-Wilde: the sets, the costumes (especially Antonio, who’s literally wearing a green carnation in his lapel). By evoking Wilde and his persecution, the production reminds the viewer that plenty of the people in this play—Antonio, Olivia, Viola, Orsino—can’t show the outside world their true queer selves, however much they might want to be.
Now, the NT production’s version of Orsino reads to me very much like someone going through a bisexual awakening. Source: I have undergone a bisexual awakening and I took one look at Orsino in this production and went *John Mulaney voice* “Oh, okay.” To me, Oliver Chris’s Orsino is going through the motions of compulsive heterosexuality. By all accounts, he should be in love with Olivia. It makes sense to him. He knows all the motions to go through. He’s talked himself into loving her because that’s what you do when you feel you need to be visibly in love with a woman and she’s the most suitable person around.
But once Orsino meets Viola, he seems to immediately adore her, in his own bro way, for herself. This isn’t what he’s used to attraction being like, he doesn’t immediately recognize it because Cesario is a guy, sometimes guys are just friends with other guys and do a lot of homoerotic boxing practice (still not over it) and it’s just dudes being bros and chilling on a table at your fortieth birthday part five feet apart because you’re not gay (spoiler: you’re actually really gay, and by gay I mean pick your favorite flavor of polysexual queerness).
Orsino continues to refer to Viola as Cesario up until the end of the play, mostly because Viola is still wearing men’s clothes. In early modern England, clothes were a huge part of gender expression. Cross-dressing was against the law (I’m 99% sure, someone please correct me on this if I’m wrong; it’s been several years since I discussed queer early modern stuff in a formal setting). Orsino referring to Viola as Cesario even when he knows she’s a woman is one of those things that has a reasonable historic explanation, but can also be read nowadays as: he likes it. Orsino’s into genderqueerness, and good on him. Genderqueerness is attractive as hell.
I know we sometimes lament the end of Twelfth Night along the lines of “But Will! Tell us what the original super-gay ending was!!” I totally understand why people want to see Olivia and Viola wind up together (Olivia—another raging queer who I didn’t even get to in this ramble—does seem to be truly in love with Viola and it’s hard to leave her disappointed at the end of the play), and I think we’re all heartbroken for Antonio (he just loves Sebastian so MUCH). However, I want to point out that men and women can still have queer romantic relationships with each other.  A love story between Viola as a straight trans woman and Orsino as a bisexual cis man is still a queer love story.
Happy Lovers Day, my loves! Have a fabulously queer day.
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Conversation
Orsino: Fine, then I guess we're boyfriend and girlfriend!
Viola: One condition!
Orsino: What?
Viola: I get to be the girlfriend!
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lordhenryisabitch · 2 years
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Orsino, watching the news: Someone tried to fight a squid at the aquarium today! Viola: *walks in covered with ink* Well, maybe the squid was being a dick.
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onscreenkisses · 5 years
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Well, you know, maybe if I had known you were a girl, we wouldn’t have talked like we did, and got to know each other the same way. And that would’ve been a shame.
SHE’S THE MAN: Viola + Duke + moments
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visa0003 · 5 years
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I want a she's the man remake...but this time it has to be GAY
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To this day I still can't tell my wife from her twin brother but other than that, our marriage is going fine.
Duke Orsino, Twelfth Night Epilogue
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