Rambling Through The Avenues Of Time

Antony 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: ~ Stockbridge Drama Society's - 2019 ~ The RSC's - 2019 ~ 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 ~ David Tennant and Catherine Tate - 2011 ~ 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

Romeo and Julieta: A Día de los Muertos Love Story

There’s also many other Latine Shakespeare adaptations listed in this archive

MacChef, a retelling but well... in a kitchen!

The Flying Karamazov Brother's comedy of errors part 1 & part 2

Overly Sarcastic Productions' zoom performances of Julius Caesar and Macbeth

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.

i think it's uncomfortable, but often necessary to recognize when we're watching a show or a film or reading a book or playing a video game with different expectations or desires than the story ever promised to fulfill. simply, you can't draw blood from a stone, you know? and I think this idea, however simple, is often very easy to forget when you're in fandom because fanworks are innately transformative. in fandom, we draw blood from stones all the time. we re-imagine characters, relationships, universes in whichever way we deem fit so that we can experience wish fulfillment. but as the fourth wall between fandom and the creatives behind media becomes thinner and thinner, the boundary between what is the job of storytellers (to tell a story), what is the job of the audience (to receive the story or opt out), and what is the job of fandom (to connect with one another over shared imaginative and transformative reception of the story being told) is getting muddied to detrimental effect. coupled with the rise of hyper-individualism and the increasing commodification of fanworks into traditionally published forms, this is where we get a real wave of entitlement from fandom -- this sense that the storyteller owes something to us by virtue of our fannish devotion and that perceived failure to meet our desires is worthy of a host of outrage and abuses. i think this is where paratext comes in and why the notion of what is or isn't canon feels perhaps more debatable now than ever before. i think it's born from a blend of hyper-individualism effecting how we think and behave as audience members, the increasing sense of entitlement that is borne out of such individualist thinking, the vanishing of the fourth wall between fandom and the mainstream as well as the creators of media that fandom enjoys, and a growing inability to accept the story you're being told on its own terms (and go happily and exclusively to fandom to remedy the urge for something more). because, really, what paratext offers is a sense of legitimacy -- usually when it conveniently upholds what you privately wanted in the first place. if the show you love isn't giving you enough to substantiate your ship, you can get your fix through an actor's interviews, their exposure to fanfiction and fan art, and their perceived approval of the ship. their opinion, by virtue of their literal proximity to the show, legitimizes your own. if the movie you love doesn't do enough with a character you find interesting, a scrapped plan for what the character might've done or a deleted scene might do the same. etc etc.