#that i emphasize that you can't actually make money or provide for your family if you're dead

[queenrinacat]

I work in emergency medicine, and I can tell you that a sense of doom is something we take extremely seriously. A sudden, overwhelming feeling of doom is a symptom of an imminent heart attack. When I worked 911 on an ambulance and a patient reported feeling like the world was about to end, or like they were going to die, even without any other symptoms? We rushed them to the hospital as fast as we possibly could.

I'm saying this from a place of genuine care: if you are seeing ghosts or shadows or having nightmares... and sageing, eggshells, Crystal's, and psychics arent cutting it..

Please.. please... check for things like gas leaks, water damage, vermin. I'm not saying your house isnt haunted, I'm just saying that carbon monoxide poisoning looks a LOT like being haunted.

[thosearentcrimes]

I hadn't had that much to say about Hamlet when I read it, which is why I lumped it into a larger book report. Since then I have watched Hamlet (1948) and Hamlet (1996), the Olivier and Branagh films respectively, and I have a lot more to say about those.

I didn't mention this then but I consider Hamlet a sort of combinatoric play. Too many lines to play the whole thing, but with a huge variety of themes that can be emphasized or removed to construct your own production. Since the themes complement and comment on each other in different ways, whichever selection of themes you will make for a significantly different "Hamlet", which has its advantages and disadvantages. The trickiest part of this process is that plot-essential lines may be tied into these themes, so you need to work carefully and perhaps even write a handful of lines of Shakespeare yourself, which is certainly not easy.

Olivier's Hamlet (1948) is a great demonstration of that principle. Removing Fortinbras and both Rosencrantz and Guildenstern (I wish they had also removed Osric), deemphasizing those references to purgatory that are retained, and emphasizing the incest themes leads to a very psychological and familial "Hamlet" (think psychological as in manga categories, if you are familiar with those, rather than actual psychology). It's not quite what I was looking for, but I can at least appreciate the way the text selection, setting, staging, and performance compose a coherent whole. It achieves the desired effect, and is undeniably a successful production.

Branagh's Hamlet (1996) is, in its own way, likewise a demonstration of the combinatoric principle. Perhaps laboring under the bizarre assumption common to many Shakespearean actors, convinced that Hollywood was prejudiced against The Bard, Branagh seems to have decided to demonstratively punish a studio that had proved its innocence of this prejudice with an unwatchable, unscreenable, sprawling 4 hour mess of a movie. Perhaps Hollywood reticence to produce Shakespeare, if it exists, has more to do with the apparent tendency of its practitioners to produce box office poison than with any attitudes towards the playwright. I understand being mad at the philistines who control cultural production, but frankly when you expect them to give you large amounts of money you should not be surprised that, as ostensibly profit-seeking companies, they would like you to provide a saleable product in return.

Despite a handful of nice touches like the constant use of secret doors (which could nonetheless have used more purpose), the movie that makes no judicious choices in selecting the text (Branagh composes a "complete" text out of all the lines in the Folio and all the lines in the Second Quarto versions, yes including the rant about child actor companies, no I don't know why) also seemingly makes no judicious choices in setting or staging. The action is set in the 19th century. Why? Who knows, it certainly can't serve to emphasize the themes that are being highlighted, because there are none. On that topic, Branagh "cleverly" stages Hamlet's suicide soliloquy to be addressed to Polonius and Claudius. But Polonius and Claudius don't commit suicide, unlike Ophelia who is literally right there. Surely it makes more sense for her to overhear this, if anyone? This sort of problem runs through the movie, choices seem unmotivated and the undeniably clever devices and staging are in my opinion misused. Also, the fencing scene with Laertes is quite badly done, it is silly and illegible.

One serious issue with Branagh's version, which I think proves my contention, is that Branagh clearly felt the need to spice up the boring bits with some action incongruous with the text. He was right that if he left the text as it was, the pacing would be atrocious and quite lethal to a four hour movie. But in fact the pacing remains quite bad regardless, and the value of the text (whose supposed integrity is the whole point of this exercise) is diminished significantly.

[running-with-kn1ves]

Regarding the last ask, glad you liked it :). love talking to you, not only do i get new ideas, but it feels amazing to talk another fellow person on "morally-questionable" fictional men ❤️. and Jonas is just that. like any other person he has morals. he feels guilt and feels strongly about the unspoken rules all humans (and creatures) should and always go by. such as don't kill, rape,steal,cheat,lie,etc. butttt since he's a yandere it starts to get blurred especially when comes to reader, who very precious to him and is willy to put anything over her, even himself. while Jonas's ability to show he can provide for reader and essentially be the far best chosen mate for her leads him not to communicate with her. not because he can't of emotional issues or something is stopping him from talking to reader, it's just he felt as of he doesn't have to. like buck they both don't take in the consideration of asking their partner what they need, because they think "oh im the best at being a mate hahaha" so they just provide what THEY believe their partner's need. and totally neglecting their emotional needs. but their girls are emotionally neglected women who need their emotional and mental needs met just as their physical, financial, sexual, and food needs. our new girl is a bum out and stressed COLLEGE student. so just trying to SURVIVE through life she lives life on a very thread. her apartment is a size of a family house living room, no couch, no tv, no cable, sleeps on a futon, waits to charge her phone at the college, takes showers at her school. (PSA this is no way me shaming anyone who lives like this, i'm just trying to emphasizing a point here) she believes she has to. so rather thinking on her wants and needs, she thinks illogically. so letting herself catch feelings for Jonas is not her thinking logically. she dosent like to think the best of ppl, very pessimistic person. example if you were to tell her something or bad event had happened her response would be "not surprised". rule for the participates in this program is that in-order to be payed for their work they need to make sure baby is given birth, and the baby is healthy and such. so reader equates all of Jonas's actions as him trying to make this birth happen and the baby is healthy (which isn't entirely wrong 😭) expects him to be gone once the baby is out. but doesn’t mean she won’t be sad when it happens. the development is that reader learns to let herself go and not stress herself out on money, lets herself be happy and be pampered. while Jonas learns to be someone who doesn’t automatically jump on making decisions for the both of them (is a constant conflict in the story). to give you a perspective on the kinda guy he that he once was in the beginning of the story. he’s definitely type of guy to do big grand jester of love without consulting with her partner or to see if their comfortable. like to propose to them in public. so yeah that’s the new info i got inspired after reading your response and while typing this new ask. hope you enjoy it!

Of course! And yes ugh I love being able to discuss this with other people, the community feels really small sometimes and unapproachable.

I think that's really interesting to make Jonas like, utterly independent to the point where its actually kind of harmful to his relationship. He thinks he's got everything figured out, where he's so far into controlling everything that he just *forgets* to discuss it with his darling.

I wonder if he's the lucid or non-lucid type? Like, does he know that his darling doesn't feel the same feeling of possession and obsession, or does he believe they are as in deep of love as him? I see him as the kind who knows she doesn't love him yet, but thinks he can win her over. I can definitely see him being the type to buy a house or make a big move without consulting her because he thinks he's providing lol.

It's almost like a "at least he's got the spirit " kind of situation; he seems almost stoic. I wonder how he's going to win over his darling and make her more carefree? It seems like that'd be a hard thing to do with their whole situation but I'm interested to see how itd play out. It looks like jonas is the kind of yandere who isnt sadistic or mean, just kind of... apathetic, in a way. Hed never really hurt his family or darling, hes just a bit overprotective, especially with the whole idea of becoming a family. I wonder is there a reason he specifically chose *her*? Or was it the right place at the right time, just so coupled with the fact that she was having his child.

Honestly, it sounds like his darling deserves much better lmao. Such is the life as a college student but she definitely deserves that TLC from jonas!