College Geeklet: Zendaya is the newest Lady Macbeth

~ E Morin ~ Leave a comment

I grew up watching “Shake it Up” on Disney Channel. In fact, I grew up watching Disney Channel in general, but there were certain shows that just stuck with me into adulthood. I now find myself obsessed with how Bridget Mendler from “Good Luck Charlie” was able to get like seven degrees, how Sabrina Carpenter from “Girl Meets World” is now touring the world with Taylor Swift, and more particularly, how Zendaya has taken over the world. 

When I saw Zendaya was going to be in the new movie “Challengers” by Luca Guadagnino, I knew I had to watch. I’ve loved everything that she’s been in since her time on “Shake It Up”, and as a former theater kid, I saw Mike Faist was going to be in it as well which sealed the deal for me. But going into the movie, I had no idea that there would be similarities to Macbeth in it.

The whole movie isn’t a modern retelling of Macbeth like “10 Things I Hate About You” or “She’s The Man.” The only real connection is the main female character, Tashi Duncan. 

The gimmick with Tashi is that she’s an obsessed artist. Sort of like Tonya Harding in I, Tonya, or Nina Sayers in Black Swan. Tashi is a tennis prodigy whose entire existence is wrapped around tennis. She spends her free time analyzing players moves and every conversation she has with a character is related to tennis. She can’t even talk to her own boyfriend in the movie without it being about tennis- I’m not kidding. They get into a huge fight because he doesn’t want her to criticize him anymore, and they end up breaking up over it. 

I don’t think the intention was to make her a modern day Lady Macbeth, but she shares too many similarities to not notice. For starters, from the way the movie was marketed, and even at first watch of the story, Tashi Duncan is the villain. She gets in between two best friends and makes them hate each other so that she can watch a good game of tennis between the two. This is very similar to the surface level treatment that Lady Macbeth gets. Lady Macbeth pushes Macbeth to kill King Duncan, therefore she’s the bad guy. Right? Both characters are strongly villainized by readers and viewers. 

Both of them use their power to manipulate the men around them. Lady Macbeth uses Macbeth’s masculinity to manipulate him to kill Duncan, questioning his manliness if he does not want to kill. This works because masculinity was a huge aspect of a man’s identity at that time, and if they didn’t appear as the stereotypical man, they could be shunned by society. It is this manipulation that landed her the role of “villain” according to many readers. Tashi similarly manipulates the two men in the movies, Art and Patrick. She turns the two of them against each other with romantic entanglements that serve as a means to exert control over them. While Lady Macbeth’s goal was to become queen, Tashi knew that if they turned against each other, she would get to watch some good tennis. Art and Patrick were both so good together that she knew if they played against each other it would be a legendary match. And that’s what she got in the end. 

A lot of female characters who feel very strongly about something, whether it be their careers or goals, are often victims of attacks from audiences. I wrote my final paper for my gender studies course on this. Powerful female characters make [mostly] male audiences uncomfortable, even if some people don’t want to admit it. This is for several reasons, but the larger theme is that they feel threatened in their own masculinity, and seeing a woman so comfortable and able to knock down barriers to get what she wants makes them uncomfortable. 

There are several instances of this in literature that I noted in my paper; Eve from the Bible, Amy Dunne from “Gone Girl”, Cathy Ames from “East of Eden”, Bellatrix Lestrange from “Harry Potter”, Amy March from “Little Women”. This isn’t denying that some of them committed horrible acts, but they all matched that definition of female characters who feel super passionate about something but are clumped together as villains. Both Lady Macbeth and Tashi feel very strongly about something, Lady Macbeth feeling strongly about becoming queen, and Tashi feeling strongly about tennis. While they both do questionable things, their passion makes it easy for audiences to call them the villains of the story without looking at their other character traits.

It’s up to you if you think she is similar to Lady Macbeth…I certainly think so. Other sites have picked up on these similarities as well, such as Sports Illustrated, Ensemble Magazine,  Glamour U.K., and more. You’ll have to watch for yourself to see!

Sunday Afternoons With Judi

~ duane ~ 1 Comment

https://amzn.to/4ae0Kc7

I waited in (virtual) line for Dame Judi Dench’s audiobook, Shakespeare: The Man Who Pays The Rent. Like Sir Patrick Stewart’s book, this is one of those things that as a Shakespeare Geek you simply must experience. These are the gods and goddesses of our art still walking the earth. When they speak, we must listen.

At first I thought I was going to be disappointed with this book, as I noted in a previous post. It’s not at all like Stewart’s book. This one is not a traditional biography, auto- or otherwise. This is a collection of interviews between Dench and the narrator, her longtime friend Brendan O’Hea. The good news is I still loved it. I have the perfect analogy. Ready?

Dame Judi Dench

Imagine you’re a child again. It’s Sunday afternoon and your parents tell you that you’re all going to visit your grandmother at the rest home. Your grandmother used to be a world-famous stage actress. You’re so excited! You love visiting your grandmother; you can listen to her stories for hours. You happily travel to where she lives, and you find her seated in her comfy chair, with a cup of tea, and a book of puzzles on the table next to her, perhaps a quilt in her lap. After hugs and kisses hello, you settle down at her feet and say, “Tell us about when you were an actress?”

That’s exactly this book. One chapter is about Macbeth, another about Twelfth Night or Winter’s Tale or Cymbeline. There’s a chapter about rehearsals and one about audiences. It’s basically O’Shea saying, “Now, Judi, you first played Ophelia when you were 15…” and Dench going deep into memory, telling us what she wore, what jokes the actors played on each other, even quoting her favorite passages like they’re still as fresh in her mind as they were 60 years ago.

Also, just like a conversation with your grandmother, there are odd non-sequiturs that pop up between the stories, like the time they argue over whether Judi burnt the pork chops. And I’ll bet she’s not the only grandmother to utter exclamations like, “What the fuck does YOLO mean?” Breaking news, Dame Judi Dench has a filthy mouth. O’Shea even tells her, in the extra material, that editing out all her f-words was the hardest part of the whole book.

Just like listening to our elders tell their stories, it’s important to listen. Dench has stories from over fifty years of performing most of Shakespeare’s canon, and oh my yes, she has thoughts. We’ll hear her thoughts on favorite parts and plays she hates, theories she believes in, and those she finds utterly ridiculous (watch out, people who want to argue that Much Ado About Nothing is about lady parts…) Many of her stories involve actors no longer with us, making them even more important. Speaking their names – John Barton, Peter Brook, John Gielgud – feels like conjuring their ghosts to rise again. She paints a vivid picture, and you’re right there with her.

Like Stewart’s book, this one absolutely benefits from the audiobook treatment. It’s a conversation, so the back-and-forth banter is part of the fun. Dench’s voice is also a thing of beauty. I’ve watched her recite Sonnet 29 on the Graham Norton Show many times, and this is like a whole book of that. At any time, you realize she’s switched to reciting, and you can just sit back and bathe in the luxury of it. And also, like too many of our own cherished loved ones, one day that voice will be gone. So we need to cherish it while it’s here. If they told me tomorrow that Volume Two was coming out next Shakespeare Day I’d put my name on the list for that one, too.

Available Now On Amazon

Dead, My Lord, The Queen Is

~ duane ~ 5 Comments

This post is brought to you by My Own Personal Shakespeare: Macbeth Edition, our newly released book, now available on Amazon! Recapture what Shakespeare means to you.

Over at the Bardfilm blog, our good friend KJ put up a lengthy post dissecting scenes of Macbeth in the Max series Barry. If you’re a fan of either Macbeth or Barry (or Bill Hader, who stars) it’s definitely something you’ll want to check out.

I want to grab a piece of that post and expand on it. In the scene, Bill Hader plays Seyton, entering in Act V Scene V to deliver his line:

The queen, my lord, is dead.

Instead, it comes out

My lord, the queen is dead.

Here’s the thing: I really like that second one better. It’s an example you don’t often imagine—it’s not changing any words, leaving them out completely, or giving them to another character. It’s just flipping the order. Without the script in front of you, you’d be hard-pressed to remember which is the original.

But once you see them both delivered, the change is obvious. As written it feels way too formal to me. Like Seyton has no personal feelings on the matter He’s all formal. He interrupts, he remembers that he has to properly acknowledge Macbeth, then he continues his message. I suppose you could almost imagine him bursting into the room with the intent to just yell, “The queen is dead!” but he can’t do that, he’s got to throw the “my lord” in there.

Flip it, though, and it changes so much. Now it feels like he’s breaking the news. He addresses Macbeth not out of formality but because he’s got a message for him and wants his full attention. You could drag out the pause here as long as you like, depending on how difficult it is for Seyton to deliver the line. He’s about to tell Macbeth that his wife is gone.

Consider when Ross has to deliver a similar message to Macduff, that his wife and children have been slaughtered. He can’t even do it at first. Macduff is so excited to see him, asking for news, that Ross lies:

MACDUFF How does my wife?

ROSS Why, well.

MACDUFF And all my children?

ROSS Well too.

MACDUFF The tyrant has not batter’d at their peace?

ROSS No; they were well at peace when I did leave ’em.

It’s only after Macduff presses him, knowing that something’s up, that he is able to deliver the real news. Unlike Seyton, he goes on about it in great detail. Seyton has to pack all of his feelings on the matter into one line, just four words. By shifting a few words he goes from neutral observer to emotionally invested in the scene.

Where are some other good opportunities, in this play or others, where a similar re-ordering of words can make such an unexpected impact?

Still The Champion

~ duane ~ 2 Comments
Shakespeare as the champion

Well, folks, that’s another Shakespeare Day in the books. Did you have fun?

Maybe I’m watching too much pro wrestling lately (did anybody even recognize the shout-out at the beginning of the day?), but I love this image. I had it painted in classic LeRoy Neiman style, if anybody remembers his class Sports Illustrated images. Shakespeare as the Champ.

Twenty years ago, I started teaching my kids Shakespeare before one of them could even talk. It’s been a long trip, to be sure, and I had no idea how it would turn out. Now here we are with a book and everything! I wonder what’s next?

Number #1 With A Bullet

~ duane ~ Leave a comment

So, there’s this funny thing about publishing a physical book on Amazon – the reports don’t actually update until the book ships Which means the next day. So I have no idea how many copies of My Own Personal Shakespeare: Macbeth Edition we were lucky enough to sell today. I’m not sure I’ll sleep tonight, I’ll just keep refreshing the page into midnight and hope the time zones are my friend.

But what I can say is this…

#1 NEW RELEASE IN SHAKESPEARE PLAYS!

Check It Out!

New Releases in Shakespeare Dramas & Plays

Look! It’s me! Thank you so much to everyone who ordered. I may have no idea what that actual number is yet, but I know it’s enough to do *that*. And that is pretty cool.