What's up fuckers

Romeo: I’m so glad you asked *yaps*

I don’t know who made this but I’ve been laughing at it for at least seven years it’s so beautiful. Reminds me of when my friends in high school drew Maximillian Robespierre as an anime girl.

Horatio, pointing to Laertes: He’s dead

Horatio, pointing to Ophelia: She’s dead

Horatio, pointing to Osric: He’s not

Horatio, pointing to Hamlet: He is

MY FAVORITE CHARACTER EVER IS GETTING RECOGNITION BY MY FAVORITE ARTIST!!!

I think a lot about how Ophelia’s death was offstage, yet it’s the most talked about “scene” of hers. Everyone wants to discuss her death— a private ceremony where she expressed by saying nothing about it that she didn’t want to be manipulated and used anymore— rather than the bold statements she made in act four scene five, aka the statements she made while she was alive. My personal theory (and hope) is that this track will involve the concept of everyone wanting to know about the death (private life) of the “showgirl” rather than the life, which the album intends to focus on (as indicated by the title), as well as the way media neglects the statements she makes when focusing on her artistry and values in favor of criticizing her personal experiences. In other words, I think TS12’s first track will allude to themes similar to what I’ve been pointing out in essays I’ve written throughout the years: Ophelia doesn’t want to be used the way she has been her entire existence.

Every character who ignores this message of hers for the sake of using her death as an excuse to fight each other ends up losing in the end.

Claudio: so you think women should die? Misogynist much?

Benedick: why did you automatically assume they’d die? Do you think women are weak?