Title or something

I promise I'm not a bot, I'm just lurking here

[nymphoutofwater]

Here's a remade masterpost of free and full shakespeare adaptations! Thanks @william-shakespeare-official for this excellent post. Unfortunately, a lot of the links in it are broken, so I thought I'd make an updated version (also I just wanted to organize things a bit more)

Anthony and Cleopatra: ~ Josette Simon, Antony Byrne & Ben Allen - 2017

As You Like It: ~ At Wolfe Park - 2013 ~ Kenneth Brannagh's - 2006

Coriolanus: ~ NYET Alumni - 2016 ~ Tom Hiddleston - 2014 ~ Ralph Fiennes - 2011

Cymbelline: ~ Michael Almereyda's - 2014

Hamlet: ~ David Tennant - 2009 ~ Ethan Hawke & Diane Venora - 2000 ~ Kenneth Branagh's - 1989 ~ BCC's Part One & Two - 1990 ~ Broadway - 1964 ~ Christopher Plummer - 1964 ~ Laurence Olivier's - 1948

Henry IV: ~ BBC's Part One & Two - 1989 ~ The Brussel's Shakespeare Society's - 2017

Henry V: ~ The BBC's - 1990 ~ Laurence Olivier's - 1944

Julius Caesar: ~ Phyllida Lloyd's - 2019 ~ The BBC's - 1979 ~ John Gielgud - 1970

King Lear: ~ The RSC's - 2008 ~ Laurence Olivier - 1983 ~ The BBC's - 1975 ~ James Earl Jones - 1974 ~ Orson Wells - 1953

Love's Labour's Lost: ~ Calvin University - 2016

Macbeth: ~ Antoni Cimolino & Shelagh O'Brien's - 2017 ~ Ian McKellen & Judi Dench - 1969 ~ Sean Connery - 1961

Measure for Measure: ~ Hugo Weaving - 2019 ~ The BBC's - 1990

The Merchant of Venice: ~ Al Pacino - 2004 ~ Trevor Nunn & Chris Hunt - 2001 ~ The BBC's - 1980 ~ Lawrence Olivier - 1973

The Merry Wives of Windsor: ~ The Royal Shakespeare Company's - 1982

A Midsummer Night's Dream: ~ Oliver Chris & Gwendoline Christie - 2019 ~ City of Columbus's - 2018 ~ Julie Taymor's - 2014 ~ The Globe's - 2013 ~ The BBC's - 1988 ~ Lindsay Duncan & Alex Jennings - 1986

Much Ado About Nothing: ~ Shakespeare in the Park - 2019 ~ Kenneth Branagh - 1993 ~ The BBC's - 1984

Othello: ~ The BBC's Part One & Two - 1990

Richard II: ~ David Tennant - 2013 ~ Deborah Warner's - 1997 ~ The BBC's - 1978

Richard III: ~ Ian McKellen - 1995 ~ Laurence Olivier - 1955

Romeo and Juliet: ~ Simon Godwin's - 2021 ~ The BBC's - 1988 ~ Laurence Harvey & Susan Shentall - 1954

The Taming of the Shrew: ~ Ontario production? ~ American Conservatory Theater - 1976 ~ Richard Burton & Elizabeth Taylor - 1967 ~ Mary Pickford & Samuel Taylor - 1929

The Tempest: ~ Gregory Doran's - 2017 ~ The BBC's - 1988

Timon of Athens: ~ Barry Avrich's - 2024

Troilus and Cressida: ~ Audio Production ~ This one I found on youtube? - 2016

Titus Andronicus: ~ Anthony Hopkins - 1999

Twelfth night: ~ Texas Shakespeare Festival's - 2015 ~ Alec Guinness, Joan Plowright & Ralph Richardson - 1970

Two Gentlemen of Verona: ~ Katherine Steweart's - 2018 ~ The BBC's

The Winter's Tale: ~ Antony Sher - 1999 (Warning: they don't have a bear...)

Bonuses:

Time Loop Hamlet! (A personal fav of mine)

Rock Opera Hamlet???

Shakespeare animated tales

The Complete Works Of Shakespeare Abridged comedy

From the original post:

A Midwinter's Tale, about a man trying to make Hamlet.

Russian Hamlet here

Here's Scotland, PA, the 2001 modern Macbeth retelling.

Rave Macbeth for anyone interested is here.

This one is the Taming of the Shrew modern retelling.

The french Romeo & Juliet musical with English subtitles is here!

Here's the 1948 one,

the Orson Wells Othello movie with Portuguese subtitles there

A Lego adaptation of Othello here.

Here's commentary on David Tennant's Richard II

[venndaai]

Happy pride to the most iconic page in comics history

[planetofsnarfs]

[starrynet]

oh to be a fat and happy giraffe with a “catch me if you can, suckers” attitude

[nostalgicfun]

Looking through a Toyfare magazine from 2004 and found what might be my favorite ad ever

[sepublic]

I do think it’s interesting how the novel Dracula is meant to be a modern setting from its perspective. It’s very much that genre of story about an ancient fantasy archetype finding itself in a modern setting, complete with the rules-lawyering that often comes with modern parodies (that isn’t to say the stories of Olde didn’t have fun with loopholes either though).

Except Dracula is a story that plays itself straight. The vampire himself is not stupid. He’s possibly the oldest vampire of all which means he upgraded from animal instinct and mindless echoes of past memories to someone who’s regained his critical thinking skills. The story begins because he’s already adapted to how the modern world works now by hiring a solicitor who understands modern laws.

He knows now that he doesn’t have to march into London with an army like he used to; He can just buy property and the laws of London are forced to respect that. Similarly he’s already experimented in and discovered loopholes to vampire rules and limitations; Vampires are bound by the permission of owners so he simply uses his solicitor to buy and own a bunch of properties. If he needs to be invited in, Dracula hypnotizes someone to let him in.

Vampires need to return to their grave every dusk/dawn (whichever comes sooner), which causes their coffin to act as an anchor that limits how far from it they can travel? Dracula simply rations the earth of his grave into fifty coffins and spreads them across London so his range becomes exponentially larger.

All of these things make the story almost come across as a deconstruction and it might just be! It’s just that Dracula the novel became such a trendsetter that people nowadays see it as playing things fully straight. It almost feels as if the novel is written with the idea that readers have a basic understanding of vampires and their rules, so part of the thrill comes in the revelation of how the titular vampire is working around these rules. Likewise I’ve heard it used to be a trope in English literature for a traveler to visit some foreign land with a monster and escape by going home. But here the foreign aspect of the story is just the first (and final) arc; The monster’s plan hinges on coming to the UK itself!

So yeah. Dracula isn’t stupid and he reflects the idea that people of the past had just as common sense as the rest of us, they just had access to less/inaccurate knowledge and things worked differently back then. Dracula would be like… That bit of someone showing a medieval peasant a meme as they comprehend it perfectly and aren’t even wowed by the Doritos. If Dracula was set in the 21st century he’d probably understand social media well enough to become an influencer if he wanted to, though the issue of being invisible in cameras wouldn’t help.

[downtroddendeity]

Dracula is full of details that put it in what was at the time an incredibly modern time frame, which only isn't obvious to readers now because it's been more than a hundred years. A few off the top of my head:

Jonathan brings photographs of the properties to show to Dracula that he took with a Kodak portable camera.

Seward keeps an audio journal via phonograph recording.

Seward being a psychiatrist- the idea that you could actually try to talk to and understand a "lunatic" in order to help them get better instead of just throwing away the key was a depressingly novel concept in medicine at the time. Freud's Studies on Hysteria only came out two years before Dracula, for instance.

Blood transfusions. It's easy to make jokes about how Dracula was written before people knew about blood types and that's why Lucy gets transfusions from so many people with no problem, but because blood types wouldn't be discovered until 3 years after it was published, blood transfusion was still an extremely experimental and risky treatment that many doctors would hesitate to even consider, because sometimes when it was performed the patient would instantly die and no one knew why.

Mina's joke about "the New Woman"- anxieties about gender and feminism in Dracula are the kind of thing whole theses have been written about, but there's an obvious irony to this comment because Mina kind of is the New Woman. In contrast to Lucy, Mina is a highly-educated woman with a real actual job, and she works to hone those practical job skills because she plans to be an active participant in Jonathan's work.

When Van Helsing decks Lucy's room out with garlic flowers, he telegrams to Holland for overnight shipping across the Channel from a friend who owns a greenhouse, because garlic flowers are a good 3 months or so out of season at the time the chapter is set.

Jonathan literally makes a comment in Chapter 3 about the surreal contrasting modernity of sitting at an antique desk in an ancient castle and frantically scribbling steganographic shorthand in his notebook.

[applepi3luvr]

On a more serious note,i think one of the strongest characters from MASH,hands down has to be Rosie. Cause imagine barely surviving all the bullshit Japan and their soldiers done. Imagine thinking you survived crimes against humanity,only for a new flavor or soldiers to come waltzing through your home barely a decade after the last batch. And yet despite living through that hell. Rosie still chooses kindness,she still begrudgingly opens her bar early so the near by mash unit can drown their sorrows. She still offers a place where you can pretend to be a regular degular person getting a drink after work;instead of an unwilling participant of America's latest "police action". And despite more than likey growing up in a war zone herself,Rosie still chooses to run her bar,when she could easily pack up and run somewhere safer. Rosie,despite everything life has tossed her way still chooses to hope and work for a better tomorrow. Sure Rosie may seem like your average business owner,but in the context of her life and what came before the show started. It's a miracle that Rosie has the strength and determination to build up a business and the connections she has.

[enba-and-luka]

[pussysoupforthesoul-deactivated]

Squidward clocking out of the Krusty Krab and heading to the nearest gay after hours event 

[bpdcassidy-archived-deactivated]

Come on, now, op. We all know squidward doesn’t go to the club.

He’s one of those “I’m not like other gays” gays who goes home to a bottle of wine and his obscure 50s vaudeville records, and then mopes because he can never find a boyfriend.

[calamaricarlo]

I love this website so much

[cinnamonghost]

[asa1037-rakugaki]

😢

[stardayzzing]

[Gabriel & Castiel]

The top piece is actually a second piece and the bottom one was my first try but I love the hc that Gabriel helped Castiel as a fledgling

Especially with learning to fly <3

I'm still trying to get comfortable with a younger Gabriel design but this is where I'm at right now augh

[merthurtrenches]

Ah yes! my favorite sibling dynamic. Disaster older sibling and exhausted younger sibling.

[meowmeowfart6000]

Rare aesthetic: older siblings manhandling their rather aloof younger siblings

Rarer aesthetic: now much less aloof younger siblings getting emotional when their older siblings sacrifice themselves for them

[adrianb-52s]

[boringkate]

You listen to music regularly? Why? Have you even tried quitting? Could you quit? You get music stuck in your head? Wow. You're so ruined and music brained. I bet you make your partners listen to music with you when you have sex. Music addiction has really ruined a whole generation. You know it's not realistic to expect reverb in real life, right? You're probably so desensitized that you don't even feel anything anymore when you hear a bird singing that it wants some fuck.

[paradigm-adrift]

I don't have a problem with people listening to music per se, but I do have a problem with the music industry exploiting & mistreating artists.

Personally, I abstain from all music in order to keep my hands clean but really music should just be illegal outright to protect musicians from abuse.

[terramythos]

holy shit this person in the notes

[rontology]

[ninjathrowingstork]

[ivoselle]

(feminist) thoughts on kara and ruthye's back-and-forth on the 'ruination' of spirits, souls, and hearts. ruthye and kara are resting in a room, and unbeknownst to them, the couple downstairs is ready to trade them to traffickers (two girls for one). kara shares her past, telling ruthye that clark, he's not 'like them'--- he's not ruined, not broken or tainted like she is, like how ruthye is. and ruthye's reaction to that is visible; she comes from a place of safety, only recently torn away from her by traffickers that exploit girls and women. she is new to this notion of taintedness, of brokenness. it's hard not to frame that as a metaphor for virginity, in some way: clark is hopeful, he is safe, he is a man. kara and ruthye have both been torn away from something, and with that, something has been torn from them, as young girls.

i love how this theme recurs throughout the film, with ruthye begging kara to let her kill krem: "i'm ruined anyways". and in that moment, kara realises what she's, unknowingly, dropped onto ruthye; the thought that ruthye, in having something (her family, in this case) torn from her without her consent, is forever adulterated, tarnished. the way that when women are sexually assaulted, they are adulterated by society. so kara is quick to fight that, realizing the weight of her words. i think the power in this sort of feminist narrative is kara's understanding that she is unintentionally treating ruthye as she treated herself, and finally seeing the flaws in those self-destructive modes of thought. similar to how all women must unlearn misogyny in order to love ourselves.

in the end, the two of them are not ruined. their bodies have seen pain and violence, and they themselves have enacted pain and violence, but that doesn't mean that either of them are sullied or irredeemable, or have some kind of permanent darkness within them. neither are women who have been assaulted or trafficked. supergirl 2026 discerns these concepts in a gentle but wonderfully nuanced way, and i absolutely adored it.

[pentyoffihinthesea]

Little ducklings!