Review : Will #8

Ok, after a great episode that was weak on sex and violence we’re back with blood flying.  This one opens up not just with a disembowelling but a decapitation. Awesome. This time it’s somebody we know – the fat guy from a few previous episodes who was captured and tortured. And this time we see Southwell in the audience praying for his soul.  This does not sit well with Marcus, whose son was busted by Topcliffe last week.

I don’t get most of this episode. There’s very little Shakespeare in it.  Their friend Autolycus – who is part of the storyline so infrequently that I would forget his name were it not for the reference to the text – has a new girlfriend.  Which ends up with him getting plague.  How that happens? I don’t know.

 

But he ends up in a plague house, which basically means he’s dead.  But a twist!  Burbage can’t let him go alone, so agrees to be boarded up in a plague house with him.  What? Did that actually happen? We know he’s not going to die, so I’m not sure what the writers are getting at with this little side trip.

Shakespeare has an idea – he’s going to write a story exposing the Queen’s torturer Topcliffe.  That play? Richard III.

Shakespeare learns that Southwell now has Alice Burbage on his side as well, which gets them (Shakespeare and Southwell) into an argument since Shakespeare sees it as putting Alice in harm’s way, while Southwell is

 

starting to be shown as a bit of a nut who cares only about people’s eternal spirit and is thus not troubled by people being captured and tortured.

Best line of the night? Alice says that Shakespeare’s offering nothing of value to the world because who cares about Henry VI Parts 1, 2, 3. He swears that he is working on a play of such greatness… to which she responds, “What, part 4? Does it have a funny dog?”  Ouch.

Marlowe is still his typical atheist self. Having failed to meet the devil he

wants to see Southwell, to meet god. We know how that’s going to go.

It’s clear that the story is racing toward some conclusions, but that also means focusing on the story that they’ve been telling, rather than Shakespeare’s biography. So you know how I’m going to feel about that.  I get it, I get why it’s necessary. I’m just not all that interested in it.  An episode like this is in the background while I do other things.

Let’s see what the next episode has for us!  There’s only ten I’m told, so whatever’s going to happen is going to happen soon.

The Expression “Waiting for the Other Shoe to Drop”

Howdy, y’all! Bardfilm here!

Ever since I hacked into Shakespeare Geek’s blog, I’ve been waiting for him to get within shouting distance of a computer and shut me out. In fact, he tweeted something that made me suspect he was on to me. The expression for the state I’m in is “waiting for the other shoe to drop.”

You may not know that the expression comes from Shakespeare’s day. You see, Thomas Dekker wrote a hilarious comedy called The Shoemaker’s Holiday. It was so popular that audiences were crying out for a sequel. And the Elizabethan theatre was all about the sequel—I mean, three parts to Henry VI?

Everyone thought a sequel was coming, and it was rumored that Shakespeare was going to collaborate on the piece. They were so excited, they felt like they were on pins and needles, only that expression hadn’t been invented yet. So they started saying “We’re waiting for the other Shoemaker’s Holiday to drop.”

Of course, that expression was awkward, so it was shortened to “We’re waiting for the other Shoemaker to drop.” And then it was shortened still further to “We’re waiting for the other Shoe to drop,” giving us the expression we all know and love.

So I’ll keep this up until that shoe drops.

In the meantime, “Let not the creaking of shoes nor the rustling of silks betray thy poor heart to Shakespeare Geek!”

Quick! Before he gets back!

Bardfilm here, and I’m worried that Shakespeare Geek will get back and learn that he’s been hacked. Before he does something irrevocable, I’ll use this Bully Pulpit one last time.  Here goes . . .

Finding Nemo is Pericles

Up is King Lear

Monsters, Inc. is Titus Andronicus

Beauty and the Beast is Taming of the Shrew (and so is The Lady and the Tramp)

Pocahontas is The Tempest

Robin Hood is As You Like It

Dumbo is King Henry VIII

and

The Lion King is Hamlet!

Did Hamlet Intend to Kill Polonius?

Heigh, ho! Bardfilm here.

I just read a brief 2001 article by Eric Sterling that argues that Hamlet knew that it was Polonius behind the arras and that he kills him on purpose (rather than killing him by mistake, thinking him to be Claudius).

Here’s his argument in a nutshell:

It’s an interesting idea, but I’m not sure Sterling addresses the counterarguments sufficiently. He asks us to consider the lines “I took thee for thy better” and “For this same lord I do repent” as Hamlet pretending he mistook Polonius for Claudius.

Does Hamlet have enough motive to kill Polonius? If he knows it’s Polonius back there, how can he kill him without a soliloquy examining the pros and cons of such an action?

Taylor Swift’s New Single . . . and Shakespeare

Sign no more, dear readers. It’s Bardfilm here!

A few days ago, Taylor Swift announced a new album—the first in several years. It will be called Reputation (Reputation, reputation, reputation! O, I have lost my reputation! I have lost the immortal part of myself, and what remains is bestial. My reputation, Iago, my reputation!).

Yesterday, she released “Look What You Made Me Do,” the first single from the album. In it, the narrator disclaims all responsibility for her actions, putting that responsibility on the you of the song’s title.

What character or line from Shakespeare most closely fits this song?  Is it “O, I am fortune’s fool”? Or the opposite of “The fault is not in our stars but in ourselves”? Or is it more like Edmund’s speech near the beginning of King Lear?  He says, “My father compounded with my mother under the dragon’s tail, and my nativity was under ursa major; so that it follows I am rough and lecherous.” Of course, he’s making fun of the idea there, but it might fit.

Any other places where people talk about responsibility in Shakespeare?

p.s. Here’s the song and its accompanying video: