kenneth is my favorite


Gosh, that part in Much Ado About Nothing when Beatrice and Benedick read each other’s secret love letters and admit their love is always so cute. But, like, too cute. 

That’s more like it. That’s the response I’d expect of two hyper-critical sarcastic dorks in love.

anonymous asked:

How do you feel about Richard Madden's portrayal of Romeo?

Ah, his portrayal is close to my own understanding of the character, so he is a magnificent Romeo in my eyes.

He handles Romeo’s complexity admirably—the development of the character is tangible throughout the whole story. In the first act, for instance, his body language denotes weariness, and the delivery of his lines is governed by monotony. His clichéd poetry inspired by Rosaline seems void, lacking passion, uninterested. It contrasts greatly with his attitude from the end of the first act on, after he interacts with Juliet: his facial expressions, his way of bending thoughts, and the energy of his voice all shift toward authenticity now, toward hope and emotion. Were Richard Madden younger, he would completely resemble a child. He is one of the most fanciful, soft Romeos I have ever seen. He devotes his whole self to the joy he feels around Juliet, constantly placing his hands on his heart and looking up at the sky, as if his body and soul were all immersed in the concept of Love. Look how delighted he is during Juliet’s ‘wherefore art thou’ speech:

He is overly emotional, unable and unwilling to restrain his euphoria. There is a rare delicacy about him that enchants me. The emotion of his voice colors his words so richly, there is no way one could argue that this Romeo doesn’t truly love his Juliet. He continues to cover his mouth with his hands or put them on his heart throughout the whole production. This is literally him as he tells Friar Lawrence about his love for Juliet:

Another funny, adorable moment is when he informs the Nurse that the wedding is to be celebrated that very afternoon. He is so excited, his heart filled with so much hope, that it is hard not to be affected by his enthusiasm:

The queen Mab sequence I also found very interesting. Romeo looks delighted as Mercutio narrates Mab’s deeds—but when his friend’s speech darkens and shifts toward chaos, bringing up soldiers who dream ‘of cutting foreign throats, / Of breaches, ambuscadoes, Spanish blades…’, Romeo’s mood changes and becomes displeased. I thought this was an interesting reaction, given that it lays emphasis on Romeo’s yearning for love and beauty and his rejection of disorder and violence. Actually, during the last part of the speech, Mercutio places his cane (the same cane he will use to provoke Tybalt) between Romeo’s legs, clearly in a very inquisitive and harmful way. There is annoyance and confusion in Romeo’s expression in the meantime. The production mainly ignores the importance that toxic masculinity has in the play (Sampson and Gregory, for instance, are played by women and their stupid macho conversation was cut out entirely). It saddens me, really, because I think this side of the play exposes the destructiveness of patriarchy. So I found this tense moment between Romeo and Mercutio very interesting.

Richard Madden also explores Romeo’s weakness and fragility. When he hears of Juliet’s death, he is overcome by tears while pain and despair take over his whole self:

His death speech is replete with tears—he again uses his hands to convey his emotions, now sank in agony and hopelessness:

If you’ve been following me for a while, you might know this is the kind of Romeo that I love. I like my delicate, oversensitive, foolish, dreamy boy. The only scenes I found unimpressive are the duel and death scenes. I thought there wasn’t enough depth in his acting during Mercutio’s death and his fight with Tybalt. He should be, in my opinion, much more troubled and desperate, since he undergoes various dilemmas in that part of the story. As for the death scene, my problem lies not in Richard’s acting but in the script itself—Kenneth Branagh reorganized Romeo’s last speech, so he changed the order of many of his lines for some unknown reason, and also removed passages that I think are quite relevant (like the excerpt that begins as ‘Shall I believe that unsubstantial death is amorous…’ or the inclusion of Tybalt’s corpse). His acting, nonetheless, is truly satisfying. I especially loved (and by that I mean it totally broke my heart to pieces) that he was unable to finish his last line, ‘Thus with a kiss I die’. He didn’t get to say the word ‘die’, in spite of his best efforts.

Besides, Richard Madden’s Romeo is beautifully, heartily attuned to Lily James’ Juliet. What I love about this production is that Romeo and Juliet go beyond their roles as sad, helpless lovers, and become companions, allies, friends. They enjoy listening to and teasing each other, laughing together, always giggling and smiling like fools. Their love and their complicity are palpable, and that’s wonderful. They simply enjoy each other’s company, and it is undeniable that they have fun together. Their portrayal of the balcony scene, for instance, is the most amusing out of the ones I’ve seen. I’m particularly keen on the wedding scene. When Romeo says, ‘if the measure of thy joy / Be heap’d like mine and that thy skill be more / To blazon it, then sweeten with thy breath / This neighbour air…‘ he can’t help laughing lovingly. How could he not laugh? They behave so naturally, so comfortably around each other, their minds are so in tune—together they achieve harmony, blissfulness, freedom. When Lily’s Juliet says the line, ‘Art thou gone so? Love, lord, ay husband, friend’, no doubt she takes a moment after ‘husband’, puts her hands on her breast, and giggles achingly when she says ‘friend’.

So I have a very positive opinion of Madden’s Romeo (and the whole production by the way). There is such excitement in his eyes, such delight in his voice, such passion in his heart, and such faith in his dreams, it’s impossible for me not to love him.


“You all are starting to become real regulars here,” you smirked, jotting down what you needed to on the clipboard before putting it away.

Kozik stood at the sudden sound of your voice, “Yeah,” he bashfully smiled, “I’m starting to think that we should just buy out a room.”

You chuckled, “That might actually save the club some money.”

The way he looked down towards you, his long blonde eyelashes brushing against his cheek, hi eyes alone always seemed to make your knees weak.

“Speaking of,” his throat cleared and his face turned serious, “how is Piney?”

You shoved your hands into your lab coat and gestured for him to walk with you, “He’s a strong old mule-”

Kozik chuckled.

“-just as stubborn as one as well,” you grinned at your words. Despite his “moments” you actually really loved the time you did get to spend with that old stubborn mule.
“He’s going to be just fine, just have you and the guys watch his drinking, cut out the hard liquor for a while.”

Kozik chuckled again, “I’ll try, but no promises there doc.”

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i read a lot about art as well as women’s places in sub-movements and what not so i wanted to compile a little list of notable books i’ve read about the intersection of those things, in case it interests you at all cause it does me. some of these take on an explicitly feminist perspective while others are more objective and “historical”/ devoid of political introspection- both narratives interest me. (if this seems at all crude or without nuance it’s because i’m just a book store clerk and not an academic, lol) :

i’m surely forgetting some- but i hope this was at least a little of interest! 

anonymous asked:

Please rank your favorite Romeo and Juliet adaptations!

Of course my dear! These are all the adaptations I’ve seen, listed by personal preference. Most of them are movie adaptations because unfortunately I live in a place where theatrical productions of Shakespeare are rather rare.


  1. Romeo and Juliet, dir. Franco Zeffirelli (1968). My all-time favorite adaptation of the play. (More here, here, here, here, here, and here).
  2. Private Romeo, dir. Alan Brown (2011). Set in an all-male service academy, it is a great exploration of the hypermasculinity that’s so prevalent in the play—and it has my favorite Mercutio.
  3. Romeo + Juliet, dir. Baz Luhrmann (1996). A superb translation of Shakespeare’s Verona into the modern world. I’m not that fond of Claire Danes’s Juliet, though. More on this here, here, here, here, and here.
  4. Romeo and Juliet, dir. Alvin Rakoff (1978). A wonderful Mercutio, and there’s Alan Rickman as Tybalt! The lovers I found rather plain, though.
  5. Romeo and Juliet, dir. Joan Kemp-Welch (1976). This is the full play!
  6. Romeo and Juliet, dir. George Cukor (1936). In my opinion, the actors, talented though they are, are too old to play the lovers.
  7. Romeo and Juliet, dir. Riccardo Donna (2014). If you enjoyed the 2013 movie then you should give it a try, given that it’s not particularly loyal to Shakespeare’s words, either. It’s a miniseries!
  8. Romeo and Juliet, dir. Carlo Carlei (2013). It’s not my cup of tea—the beauty of Shakespeare’s language is rather lost. More here.


  1. Romeo and Juliet, dir. Kenneth Branagh (2016, Kenneth Branagh Theatre Company). My favorite adaptation after Zeffirelli’s movie. More here, here, here, and here.
  2. Romeo and Juliet, dir. Dominic Dromgoole (2009, Shakespeare’s Globe Theatre). Simply beautiful! The portrayal of the lovers is adorable.
  3. Romeo and Juliet, dir. Gabriel Villela (2012, Shakespeare’s Globe Theatre). This is a Brazilian production of the play.
  4. Romeo and Juliet, dir. Don Roy King (2014, Broadway). A great Mercutio!
  5. Romeo and Juliet, dir. Daniel Kramer (2017, Shakespeare’s Globe Theatre). I didn’t really enjoy this when I saw it live, but it’s worth watching anyway. Surely it will be available as a DVD and on the Globe player sooner or later.


  1. Juliet and Romeo, a lesbian adaptation of the orchard and death scenes. It’s marvelous.
  2. Still a Rose, dir. Hazart (2016), an LGBT version of the orchard scene. It features lesbian Romeo and Juliet, gay Romeo and Juliet, and male Juliet with female Romeo. It’s worth buying!
  3. Star-Cross’d, dir. Laura Dockrill (2016), a retelling set on a British beach. The households are two opposite ice cream stores.

My goodness Murder on the Orient Express was beautiful.

My favorite part was that I didn’t have to suffer through Johnny Depp’s ridiculousness for too long.

No, I’m kidding.

My favorite part is, of course, the fabulous cinematography and the set design. Oh I wanted to touch every part of that train.

There’s a scene toward the end where Our Hero Hercule has worked out the solution, but is coming to grips with it that I particularly enjoyed.

It’s a shot of Hercule just emerging onto the platform at the rear of the train screen right…the shot cuts off any more of the train… and it’s just him at the end of the platform there looking out across to screen left and there’s nothing else but the side of the mountain in the shot, and I loved that so much.

90/95% negative space in wide shots with a subject bookending one side of the frame is kinda my photography kink.

I’m strange.

Anyway, I was expecting nothing less from the Bran man and I was not disappointed. His Hamlet is my favorite professionally filmed Hamlet, and that was shot 21 years ago. Imagine what he could do now?

As for the movie itself, it was pretty good! Having remained (remarkably and almost totally unbelievably) MotOE spoiler free my whole time on this earth, I went in with zero expectations and was constantly trying to work out what each little thing meant along with HP.

I -did- figure it out before it was revealed though. I think maybe because of the format some of the original story might have been compressed and that led me to draw the most obvious conclusion from what was constantly thrown in my face, but oh well, I still really enjoyed it.

And now more than ever I want to read it!

Originally posted by daisyridleyupdated

Originally posted by poirott

Originally posted by theletters2juliet


Favorite Characters 93/∞: Kenneth Parcell (30 Rock)

My mother always told me that even when things seem bad, there’s someone else who’s having a worse day. Like being stung by a bee or getting a splinter or being chained to a wall in someone’s sex dungeon.

A Masterpost of all my Shakespeare Movies

I’ve started a collection of Shakespeare movies – it is by no means comprehensive, but I have at least one adaptation of every play. I’m more than willing to distribute them to whomever wants them. If there’s a particular adaptation that you want, let me know and I can almost definitely get my hands on it for you. Message me for links.


Posting this under a readmore so that I can continue to add to it 

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