everyone shut up and look at her <3
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@loveloveactuallyactually
everyone shut up and look at her <3

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"i love my bf" this "i love my gf" that. i love the people and the people love me???? so much that they restored the english monarchy??? im part scottish french italian a little bit dane but one hundred percent party animal??? champagne????
tidbit: if you read the left and right lines together, it's hamlet's thoughts when horatio attempts to drink the poisoned liquor and join hamlet in death <3
Fortinbras in Hamlet: FEAR ME! I AM FORTINBRAS KING OF NORWA- holy shit what the fuck is going on do you need a minute
i read something so so fascinating about hamlet and particularly ophelia’s role in it a while back (when working on my ophelia & abortion paper) which is, summarily, that ophelia does not obey the “expected” behavior of a love interest as typical for early modern drama at this time, including in shakespeare’s own works. simply put? she denies her own desires and obeys her father. this was not the case for virtually every other early modern women “love interest”! (scare quotes because ophelia is far far more than a love interest, but it is one of her many roles in the play.) women in early modern drama did not obey their fathers, they chased after/worked hand in hand with their beloveds. juliet is an obvious and probably the most well-known example, but desdemona also defies her father’s preferences to marry othello, bianca defies baptisa, etc. and so it is deeply fascinating that, at least on one level, ophelia chooses to obey her father’s wishes and thus denies her own desire to be with hamlet. (and the fact that ophelia even “helps” her father investigate hamlet was even more a distortion of the aforementioned early modern theatrical trope—daughters helping their fathers against their beloveds simply was not done.)
which of course creates a fascinating parallel: ophelia does not fulfill her desire just as hamlet does not fulfill his revenge. these characters are defined by what they do not do throughout the play. from this alone, it is easy to argue that hamlet and ophelia are the most clearly defined foils in all of hamlet, but the reasons go on and on—they are the only two characters who experience madness, they both prioritize obedience to their fathers above all, ophelia is the only character to verbally match hamlet’s wit, etc.

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the grief of growing
bbc ghosts 02x04 — the thomas thorne affair
can you imagine if shakespeare had a full head of hair for most of his career and just started rapidly balding maybe 2-3 years before he got that portrait painted, and now he's immortalized with the big shiny fivehead, which he hadn't even had for that long
imagine if christopher marlowe actually started balding relatively young in his late 20s but he got that portrait painted before his hairline receded so now he's known as the one with lustrous gorgeous locks and shakespeare's stuck with the male pattern baldness. that would be so funny
also every time i see a portrayal of shakespeare with a non-receding hairline (will tnt, hamnet, born with teeth) i shake my head sadly like he doesn't know... he has no idea what's coming....
Ghosts doodle bc I adore these dead old grumps
if karl marx was born today he would be a baby. and it would be his birthday

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Other artist chase trends and make relevant artwork
I make sticker sheets dedicated to my childhood special interests 😎
Fun fact! I got a box set of Horrible Histories for my 18th birthday ☺️
#horriblehistories #cbbc #bbcghosts #britcom #matbaynton
them
gabii :3

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While I was initially confused by people shipping Gabriel and Ian despite having no canon interactions, I did realize it made sense, in part due to the fact that both characters spend the majority of the film in a similar status of trapped within the confines of their roles serving others, their real authentic selves ignored, neglected, and/or disrespected by the people around them, especially those with power over them, but also in part due to the powerful combination of Ian's pathetic kicked puppy energy and Gabriel's vibe that she aligns with that one post someone made about making people clap for their lameass boyfriend under threat of blowing a building up if they didn't
So I just saw the most incredible production of Macbeth that wove parental grief into the whole regicide plot in such a fascinating way.
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?
It was a PHENOMENAL production.