Lezalla

So at the very beginning of the play there was a scene where Macbeth and Lady Macbeth are at a funeral as the primary mourners. A stretcher is carried on with a covered body. The body was notably very small. They laid flowers on it and Macbeth immediately left for battle.

Now *I* studied Shakespeare in college so I immediately knew there is one single line that implies that the Macbeths lost a child at some point. Most of the time this isn't utilized in productions; it's just a throwaway line, intended to paint just how determined Lady M is for this regicide thing to work and how furious she is that her husband has cold feet. In this production she delivers "I have given suck, and know how tender tis to love the babe that milks me" nearly in tears. She takes a moment to steel herself before saying, "I would while it was smiling in my face, have plucked my nipple from his boneless gums and dashed the brains pit, had I so sworn" and she very nearly SCREAMED this in Macbeth's face.

Also noted was how the Macbeths looked at Macduff's children. Lady M was clutching her heart, nearly breaking watching them embrace their parents. Macbeth could not even look at them.

At the end of Lady Macbeth's plot, when she is sleepwalking and sleeptalking, she is typically portrayed as speaking to no one or to her husband. However, at a certain point of her monologue she got on her knees, raised her voice to a comforting octave, and began miming tear wiping, hand holding, hair and face stroking, around a child-sized figure. "Wash your hands, put on your nightgown, look not so pale. I tell you yet again, Banquo’s buried; he cannot come out on’s grave." Then she stands and appears to take the child's hand. "Go to bed, go to bed. I can hear knocking at the gate-" then she looks down and realizes that no one is there, followed be the most heartbreaking shriek I've ever heard followed by a full minute of her just weeping while curled up on the floor before she stood up, finished her monologue and left the stage.

Most of the time when the loss of a child is utilized in a performance or adaptation, it is assumed that the child was an infant and lost some time ago. To imply that the child died IMMEDIATELY prior to the events of the play and had been cared for and loved by their parents for a few years adds such a fascinating layer to the desperation to ascend to the throne, Lady M's madness, and Macbeth's initial hesitation into "in for a penny, in for a pound" attitude, Macbeth's fury that Banquo's, not his, children will take the throne, and even Macbeth's eventual demise following a frenzied final battle.

How far will grief push you to fill a hole? How far will grief push you to desperation? And what happens when none of your new pursuits are filling the void left by the one you lost? And what happens when you realize you have nothing left to lose?

The Picture of Dorian Gray, a book written by an author who got imprisoned for sodomy, is getting a visual adaptation where the two characters with clear homoromantic undertones are turned into brothers.

Dracula, a book about a group of friends that explore the themes of antagonism and Victorian anxieties, is getting a visual adaptation where the count falls in love with one of his rape victims.

Wuthering Heights, a book that beats the reader over the head with a bat about how the POC protagonist wants to be privileged and white, is getting a visual adaptation with a white person as the protagonist and a POC as the one he envies.

The Odyssey, a book about a man from Ancient Greece trying to get home from war, is getting a visual adaptation coated in a "Hollywood" aesthetic that rejects accurate armour and casting.

Like if academics have been having conversations about Heathcliff, his race and his ethnicity, for decades and have all come to the conclusion that the language used to describe him and just his character in general is in fact about a man of color then who are you to say otherwise? I’m 100% sure that if Emily Brontë, who’s family were abolitionists, was talking about a man who was Irish her language would have been completely different. Never mind the fact that Wuthering Heights came out a few years after slavery was abolished in Britain. Heathcliff is called a moor among other racially charged words that specifically were used against Indian people and POC. Liverpool where Heathcliff was found was a slave port! It was literally famous for that. There’s something in the text where it’s said that Heathcliff looks like his mother could be maybe Chinese but he has the dark skin of someone from India…

He was, in fact, the most agreeable young man the sisters had ever known, and they were equally delighted with him. Miss Bertram’s engagement made him in equity the property of Julia, of which Julia was fully aware; and before he had been at Mansfield a week, she was quite ready to be fallen in love with.

It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife. However little known the feelings or views of such a man may be on his first entering a neighbourhood, this truth is so well fixed in the minds of the surrounding families, that he is considered as the rightful property of some one or other of their daughters.