Omg This Is The Fucking Saddest Thing I Have Read... Don't Let This Post Die Please... Let This Spread!

Here's THE masterpost of free and full adaptations, by which I mean that it's a post made by the master.

Anthony and Cleopatra: here's the BBC version, here's a 2017 version.

As you like it: you'll find here an outdoor stage adaptation and here the BBC version. Here's Kenneth Brannagh's 2006 one.

Coriolanus: Here's a college play, here's the 1984 telefilm, here's the 2014 one with tom hiddleston. Here's the Ralph Fiennes 2011 one.

Cymbelline: Here's the 2014 one.

Hamlet: the 1948 Laurence Olivier one is here. The 1964 russian version is here and the 1964 american version is here. The 1964 Broadway production is here, the 1969 Williamson-Parfitt-Hopkins one is there, and the 1980 version is here. Here are part 1 and 2 of the 1990 BBC adaptation, the Kenneth Branagh 1996 Hamlet is here, the 2000 Ethan Hawke one is here. 2009 Tennant's here. And have the 2018 Almeida version here. On a sidenote, here's A Midwinter's Tale, about a man trying to make Hamlet.

Henry IV: part 1 and part 2 of the BBC 1989 version. And here's part 1 of a corwall school version.

Henry V: Laurence Olivier (who would have guessed) 1944 version. The 1989 Branagh version here. The BBC version is here.

Julius Caesar: here's the 1979 BBC adaptation, here the 1970 John Gielgud one. A theater Live from the late 2010's here.

King Lear: Laurence Olivier once again plays in here. And Gregory Kozintsev, who was I think in charge of the russian hamlet, has a king lear here. The 1975 BBC version is here. The Royal Shakespeare Compagny's 2008 version is here. The 1974 version with James Earl Jones is here. The 1953 Orson Wells one is here.

Macbeth: Here's the 1948 one, there the 1955 Joe McBeth. Here's the 1961 one with Sean Connery, and the 1966 BBC version is here. The 1969 radio one with Ian McKellen and Judi Dench is here, here's the 1971 by Roman Polanski, with spanish subtitles. The 1988 BBC one with portugese subtitles, and here the 2001 one). Here's Scotland, PA, the 2001 modern retelling. The Royal Shakespeare Compagny's 2008 version is here. Rave Macbeth for anyone interested is here. And 2017 brings you this.

Measure for Measure: BBC version here. Hugo Weaving here.

The Merchant of Venice: here's a stage version, here's the 1980 movie, here the 1973 Lawrence Olivier movie, here's the 2004 movie with Al Pacino. The 2001 movie is here.

The Merry Wives of Windsor: the Royal Shakespeare Compagny gives you this movie.

A Midsummer Night's Dream: have this sponsored by the City of Columbia, and here the BBC version. Have the 1986 Duncan-Jennings version here. 2019 Live Theater version? Have it here!

Much Ado About Nothing: Here is the kenneth branagh version and here the Tennant and Tate 2011 version. Here's the 1984 version.

Othello: A Massachussets Performance here, the 2001 movie her is the Orson Wells movie with portuguese subtitles theree, and a fifteen minutes long lego adaptation here. THen if you want more good ole reliable you've got the BBC version here and there.

Richard II: here is the BBC version. If you want a more meta approach, here's the commentary for the Tennant version. 1997 one here.

Richard III: here's the 1955 one with Laurence Olivier. The 1995 one with Ian McKellen is no longer available at the previous link but I found it HERE.

Romeo and Juliet: here's the 1988 BBC version. Here's a stage production. 1954 brings you this. The french musical with english subtitles is here!

The Taming of the Shrew: the 1980 BBC version here and the 1988 one is here, sorry for the prior confusion. The 1929 version here, some Ontario stuff here, and here is the 1967 one with Richard Burton and Elizabeth Taylor. This one I'm not quite sure what it is or when it's from, it's a modern retelling.

The Tempest: the 1979 one is here, the 2010 is here. Here is the 1988 one. Theater Live did a show of it in the late 2010's too.

Timon of Athens: here is the 1981 movie with Jonathan Pryce,

Troilus and Cressida can be found here

Titus Andronicus: the 1999 movie with Anthony Hopkins here

Twelfth night: here for the BBC, here for the 1970 version with Alec Guinness, Joan Plowright and Ralph Richardson.

Two Gentlemen of Verona: have the 2018 one here.

The Winter's Tale: the BBC version is here

Please do contribute if you find more. This is far from exhaustive.

(also look up the original post from time to time for more plays)

at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"

like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.

"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."

... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.

and i'd still keep writing.

i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistant. so many of us have this ... fluttering urgency behind our ribs.

i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley

"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"

and i see a kid drowing. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.

it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.

you create because you're greedy.

I just wanted to talk about this scene because I noticed something: Levi is picking Hanji up, but the way he is leaning at the door and looking, I think he was waiting there for a longer time and didn’t just came at the very moment . And when he called Hanji to get moving(because she didn’t listen to poor Moblit), she looked surprised, as if she didn’t knew he was there the whole time(when he just came she would have heard his footsteps and we , the watchers ,would see him coming at this moment)

So I call it a levihan scene because it seems as if Levi watched her working and was waiting in patient for her while the others left them

apple with teeth vibez

_Monica Piloni (1978), Brazilian Contemporary artist.

Série Hybris (Hybris series), 2013

The Witcher Season 2 EP 6 SPOILER

ILY Płotka ♡♡♡

Hope you are happy on your eternal meadow, bestie~

Netflix you cruel people, how dare you

the tale of Aragorn and Arwen is a horror story, or a cautionary tale at least.

Every time I reread the Tale of Arwen and Aragorn I think…whether Tolkien intended it or not, this is a horror story about people casting Arwen into the role of Lúthien, a tragedy about someone being compared to a heroic ancestress because of her looks so many times that she might start to believe it– but in the end finds out that she is nothing like her. And she finds out too late.

The first meeting of Aragorn and Arwen is not about Arwen at all, but her ability to look like a figure out of song, which allows Aragorn to cast himself as a heroic Beren figure (and people love those who allow them to imagine being something more than they are);

For a moment Aragorn gazed in silence, but fearing that she would pass away and never be seen again, he called to her crying, Tinúviel, Tinúviel! even as Beren had done in the Elder Days long ago. Then the maiden tured to him and smiled, and she said: ‘Who are you? And why do you call me by that name?” And he answered: “Because I believe you to be indeed Lúthien Tinúviel of whom I was singing. But if you are not she, then you walk in her likeness.” “So many have said,” she answered gravely. “Yet her name is not mine.” 

And Arwen has grown up with the story of Beren and Lúthien. As long as she can remember people have seen Lúthien in her. 

Aragorn falls in love at first sight; but not in love with Arwen, not really, because he doesn’t know her. He falls in love with the image of Lúthien while singing of her; he falls in love with the idea of himself as heroic as Beren, too. Nothing is mentioned of Arwen having feelings for him at this point. It is not at all love at first sight as it was for B&L. In fact, Elrond says she likely thinks he is below her, not just in age or experience but in lineage. I don’t think he would lie, despite his lack of enthusiasm;

But as for Arwen the Fair, Lady of Imladris and of Lórien, Evenstar of her people, she is of lineage greater than yours, and she has lived in the world already so long that to her you are but as a yearling shoot beside a young birch of many summers. She is too far above you. And so, I think, it may well seem to her. But even if it were not so, and her heart turned towards you, I should still be grieved because of the doom that is laid on us.”

Luthien did most certainly did not care about Beren’s ‘great lineage’– which was not really much of one yet at the time, at least not one to impress the half-Ainu daughter of Thingol, who claimed to be King of all Beleriand. If there is any reason for their love at all (other than high doom)– it is maybe Beren’s personality. He kills no animal. He tries to be good in a very harsh world. He was about 32 years old, and unlikely to ever be King of anything.

Czytaj dalej

Oh the mirror is right!

Polish people in a silent protest It will be better with you here in Warsaw on 26.06.2020 against hate, discrimination, violence, and dramatic injustice the LGBTQIAP+ community faces every day in Poland.

We are the change, and the change lies in our hands

To make that change, we humbly ask for your attendance, because we know, that

It

Will

Be

Better

With you here

With us, side by side, as one of the colors of the rainbow,

The rainbow, which colors are love, strength and the change

The change for the better

Photos by: Karol Grygoruk, Zuza Krajewska, Dorian Górski