The character whose emotional journey evinced the most signs of growth and discovery still remained Viola, however, and her story held its central place in the plot. I should note that the ensemble work of the very talented cast was first-rate and the modesty of Anne Hathaway’s performance helped it fit seamlessly into the whole. Given the continually shifting center of interest and the rapidly alternating rhythm of this wonderfully crafted play, this was especially important. Nonetheless, unassuming as her performance was, it was still a star turn, though in the best sense of the turn. First, she worked with the verse quite well and did not show herself to be out of her depth (unlike many Hollywood stars who take embarrassing stabs at Shakespeare both on screen and onstage); nor did she succumb to the temptation to reduce the music of the language to sit-com pitch (though of course occasional drops in register to that level can be very funny). Her knack for physical comedy (glimpsed only briefly in Get Smart ) also enabled her to jump, literally, into her role and get a little dirty. But most of all, what she was able to do was enter fully into the magical world of Illyria while bringing along, with big-screen brightness, the lively emotional intrigue and the sense of distressed but formative adventuring that form the emotional core of Hollywood romances and urban chick flicks. In disguise, her Viola was clearly experiencing feelings she had never known before; even the throwaway revelation – “Whoe'er I woo, myself would be his wife” – had the sustained emotional pull of a revelatory close-up moment on screen. When Feste sang “Come Away Death,” she joined in, adding a new emotional color to the song with her lilting contralto. And as the adventures mounted and spun out of control, with Olivia pouncing with devouring hunger and Aguecheek flailing away wildly with his sword, Viola became very much the tested heroine of comic romance whose history, if a blank before, was now definitely being written. Indeed, in disguise a new self was being formed and defined by wholly new adventures and emotional capacities; in experiencing and articulating the pining melancholy of her “sister,” Viola was also giving voice to a new person coming into being.
from a review by yu jin ko of the 2009 shakespeare in the park production of twelfth night starring anne hathaway as viola/cesario
So I thought maybe I should just make a Boku No Hero Academia whatsapp chat so if anyone is interested in joining in on a fun chat then reblog this and send me a PM! We’ll talk about BNHA and you can meet and make new friends who have the same interest as you! :)
Keep in mind you need to have whatsapp in order to join! I will also need your name, age, and number!
SO IF YOU LIKE BOKU NO HERO ACANDEMIA AND WOULD LIKE TO JOIN A BNHA CHAT THEN REBLOG AND SEND ME A PM WOOOOOOO YEEEEE BOIII
you know can the entire tumblr side of the Kado fandom come together and make tons of fanart for our fav ships, and if we can find the creators just spam them with it… like really… we need to do that. i mean this show had to potential to give us another Victuuri…. TWICE!!!!! just to let them know they fucked up big time here.