somnolentstardust

[somnolentstardust]

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. Andrew Scott's Hamlet is here.

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. 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 is the Shakespeare Retold 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 BBC version is 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)

[somnolentstardust]

this is your gentle reminder to stop fighting against your adhd and instead structure your life around it

buy a pack of chapsticks and put one in the pocket of all of your coats and jackets because you always forget to bring one and chapped lips is sensory hell

leave important things where you can see them. if they go in a box or a drawer you will forget they exist

put any appointments or deadlines in your phone calendar As Soon As you get them. set a reminder for a week before, a day before, an hour before, as many as you need as often as you need them.

when that little voice in your head says "i dont need to write that down, ill remember it" that is the devil talking!!! write it down anyway!!

plan for down time. have a few hours at the end of every day to just do fun stuff like engage in your hyperfixations. even if you didnt get all of your work done that day, have the rest anyway. you probably spent the whole day beating yourself up for not doing what you Should be doing, so you still need the break.

if you never eat vegetables because its too much effort to chop and cook them, get the frozen or canned shit. it doesnt go off for ages and you just have to microwave it. theres no point buying fresh vegetables if they just keep going off and being left to rot in the bottom of your fridge

if you struggle to decide what to have for dinner every day, take the decision out of it. choose a set of meals and eat those on rotation until you get sick of them, then choose some new ones and do it again.

its not stupid if it works! our brains literally have a chemical deficiency. you are allowed to accommodate yourself. go forth and stop making your life more difficult than it has to be because "this shouldn't be this hard". it is hard, so make it easier.

#adhd

[somnolentstardust]

Solitude and Loneliness

Anne Sexton // Susan Sontag // unknown // Jaakko Pallasvuo // Olivia Laing // Olivia Laing // Anne Truitt // Definition // Definition // Dante Émile // Mitski

#web weaving

[somnolentstardust]

IT'S ALL ABOUT THE DIFFERENCE; BETWEEN BEING LONELY & BEING ALONE.

jennifer s. cheng // @camojacketfag // heather havrilesky // @camojacketfag // carol lee // @twinsfawn // jenny slate.

#web weaving

[somnolentstardust]

right person, wrong time (variations on heartbreak)

@leemartenspoetry on tumblr

vita sackville-west & fegan’s 1924 café in dublin

everything everywhere all at once (2022)

@heavensghost on tumblr

i had to get out by indigo de souza

‘calling a wolf a wolf' by kaveh akbar

river by joni mitchell

‘english song’ in a little larger than the entire universe: selected poems by fernando pessoa

slumber by ron hicks

fish in exile by vi khi nao

penitent magdalene by antonio ciseri

@ojibwa on tumblr

this is what the drugs are for by gracie abrams & the awakening by angelo morbelli

as good as it gets by fizz

lonely this christmas by mud & picture of the christmas tree at trinity college dublin, taken by me in december of 2022

this is what the drugs are for by gracie abrams & picture by andrew collins via globalnews.ca

@inanotherunivrs on tumblr & a polaroid of me taken by my ex-boyfriend

‘in a dream you saw a way to survive’ by clementine von radics & a picture of my ex-boyfriend's window, taken by me

bluets by maggie nelson & the poolbeg generating station, dublin

‘unrequited’ by sasha m george & inheritance by matthew w. cornell

[unknown]

@ faraway on instagram & lavender sprigs farm cut by linda jacobus

the museum of heartbreak by meg leder

[unknown]

‘seaside improvisation’ by richard siken

@ dracarysgang on twitter

@-love-letters-i-never-sent

@fromdarzaitoleeza on tumblr

explosions by ellie goulding

‘i had a dream about you’ by richard siken

the beatrice letters by lemony snicket

la la land (2016)

‘catalog of unabashed gratitude’ by ross gay

@stuckinapril on tumblr

@deathlywounded on tumblr

some are always hungry by jihyun yun

‘speaking practice’ by franny choi

 a self-portrait in letters by anna sexton & a picture of my ex-boyfriend in a lake in Orfű, Hungary

@sunsbleeding on tumblr

‘there is no absolution for the fallen, only the dying’ by p.d

#web weaving

[somnolentstardust]

on love as destruction

#web weaving

[somnolentstardust]

Empty Houses / Empty Stomachs

Sources: Kitty Horrorshow, "Anatomy" 🏚 Josh Quissy 🏚 Wikipedia (Abandonment - Legal) 🏚 Ashe Vernon, "Love Disorders and Other Heartaches" 🏚 @/churchrummagesale 🏚 Kitty Horrorshow, Anatomy (Transcribed by @/a-missing-ache) 🏚 Kitty Horrorshow, Anatomy 🏚 @/churchrummagesale 🏚 Wikipedia (Desire) 🏚@/churchrummagesale 🏚 Wikipedia (Hunger - Physiology) 🏚 Wikipedia (Desire) 🏚Emma Rebholz, “No Good Bloodsuckers" from The Misanthropy 🏚 @/zegalba

#web weaving

[somnolentstardust]

@roach-works // Melissa Broder, "Problem Area" // Mary Oliver, "The Return" // @annavonsyfert // Koyoharu Gotouge, Demon Slayer // Haruki Murakami, Dance Dance Dance // David Levithan, How They Met and Other Stories // Tennessee Williams, Notebooks

#web weaving #web weave

[somnolentstardust]

Oscar Wilde // L. Munir, "Lazarus" // Gustav Klimt, The Kiss // @lucidloving // Take Me to Church—Hozier // Richard Siken, "Litany in Which Certain Things Are Crossed Out" // @lucidloving // Gustav Vigeland, Man and Woman // Caitlyn Sieh, "Mythology" // @lucidloving

#web weaving #web weave

[somnolentstardust]

Hunger Games didn’t really eat holes in my brain the way that it did for some other people but god the opening lines. The opening lines. Katniss wakes up in bed and immediately, instinctively reaches beside her, only to find the bed empty and cold. Before we even know her name – before we know literally anything about her or this world or her place in that world – we know that she loves someone. We know that she is reaching for where Prim should be, sleeping safe and warm beside her, but Prim is not there. She is not there, and her half of the bed is cold and empty. People talk about characters being “doomed by the narrative” when most of the time the character was literally just a well-foreshadowed death, but Prim WAS doomed by the narrative. It’s the very first thing we learned. It’s the most key, integral, important piece of information we’re given about everything that is about to happen: Every single choice Katniss makes is to protect her little sister, and it isn’t enough. In the end, Prim still dies. Prim was dead before the story even started. Katniss, reaching. Prim’s side of the bed was cold and empty. There is no version of this story where Prim could have been saved. Katniss, reaching. The very first thing she does in the series. She wakes, and she reaches, but Prim is already gone. THAT is how you do Doomed By The Narrative. Edit: Also it is key that there was literally nothing Katniss could have done differently. If she had not acted to save Prim, Prim would not have survived the Hunger Games. But by acting to save Prim, Katniss accidentally kicked off an entire rebellion and ultimately massively increased the amount of danger Prim was actually in. The key is that this is irrelevant. If Katniss had done literally anything differently, Prim still would have died. If Katniss had faltered or changed course at any point, Prim still would have died. There was never a point where Katniss could have changed Prim’s fate. There’s no version of this story where Prim lives to see the end of it. She’s dead before the story begins. That’s doomed by the narrative.

[somnolentstardust]

The original percy jackson series is about cycles of abuse and neglect, right. Were introduced to percy as a kid who has clearly been left behind by a school system that has given up on him, restless and unengaged and self-defetist because hes been given nothing that works for him and no one even tries to meet him where he is. Then hes told no, listen, your neurodivergence is amazing and you just need to be given something that actually utilizes your unique palatte. And thats obviously the uplifting idea rick wanted for his kids, right. But once we get to know chb the same cycles are happening there too. There are kids "left behind" there too for one reason or another, because their parents dont want to claim them, because their parents werent important enough to get a cabin. Do you get it, all the kids who dont fit the most common neurotypes get shoved into the same closet. Kids are being left in a cruel world to fend for themselves without the tools they need. Theyre dying because no one bothered to accommodate them. Its such an obvious parallel that the first chapter introduces a teacher whos written to be especially hard on percys disability and she turns out to literally be one of these monsters trying to kill him. Meanwhile sally jackson tells him she named him after Perseus because she wanted a redemption for a hero whos story ended in tragedy. Meanwhile every book in the series replicates a greek myth step for step until the moment they break the cycle. Annabeth, playing Odysseus, is talked down from her hubris and grounded by her friends. Percy, playing Heracles, meets someone wronged by the original Heracles and rights his wrongs by refusing to go down the same selfish path as him. Monsters are reborn because they are--as the books explicitly call them--achetypes. These kids are stuck inside the cyclical nature of mythology because thats what happens to mythology, it gets retold over and over again. But these are the kids who have to live it. The series ends with percy being offered immortality and he rejects it because he wants to use his godly favor to force them to break their cycle of neglecting their kids. The series ends with a declaration that we cant keep letting this happen. The very first book offees the same choice. It ends with percy refusing to keep the head of medusa as a spoil of war, refusing his heroic reward. He lets his mother have the head and use it to kill gabe. Isnt that fucking crazy for a kids book? Gabe wasnt a Monster. He wasnt going to Turn to Dust and Disappear in a narratively convenient way. He was a living breathing mortal dude and percy and his mom killed him without remorse. Break the cycle of abuse!!!! Dont let this happen again!!! Anyway thats why the original percy jackson series is Hey where are you going with our breadsticks

[somnolentstardust]

i love you so bad but maybe it wasn't meant to be?

Caitlyn Siehl / in a dream you saw a way to survive by Clementine von Radics / @/inanotherunivrse on tumblr / pinterest / pinterest / unknown / holy ground by taylor swift / "MY NAME" (2021) / Letters of Sylvia Plath / foolish one by taylor swift

#web weaving #i miss him already and we're not even apart yet. #I've been crushing on him for months but I'm leaving the company in a week and a half

[somnolentstardust]

In the past I've shared other people's musings about the different interpretations of the myth of Orpheus and Eurydice. Namely, why Orpheus looks back at Eurydice, even though he knows it means he'll lose her forever. So many people seem to think they've found the one true explanation of the myth. But to me, the beauty of myths is that they have many possible meanings.

So I thought I would share a list of every interpretation I know, from every serious adaptation of the story and every analysis I've ever heard or read, of why Orpheus looks back.

One interpretation – advocated by Monteverdi's opera, for example – is that the backward glance represents excessive passion and a fatal lack of self-control. Orpheus loves Eurydice to such excess that he tries to defy the laws of nature by bringing her back from the dead, yet that very same passion dooms his quest fo fail, because he can't resist the temptation to look back at her.

He can also be seen as succumbing to that classic "tragic flaw" of hubris, excessive pride. Because his music and his love conquer the Underworld, it might be that he makes the mistake of thinking he's entirely above divine law, and fatally allows himself to break the one rule that Hades and Persephone set for him.

Then there are the versions where his flaw is his lack of faith, because he looks back out of doubt that Eurydice is really there. I think there are three possible interpretations of this scenario, which can each work alone or else co-exist with each other. From what I've read about Hadestown, it sounds as if it combines all three.

In one interpretation, he doubts Hades and Persephone's promise. Will they really give Eurydice back to him, or is it all a cruel trick? In this case, the message seems to be a warning to trust in the gods; if you doubt their blessings, you might lose them.

Another perspective is that he doubts Eurydice. Does she love him enough to follow him? In this case, the warning is that romantic love can't survive unless the lovers trust each other. I'm thinking of Moulin Rouge!, which is ostensibly based on the Orpheus myth, and which uses Christian's jealousy as its equivalent of Orpheus's fatal doubt and explicitly states "Where there is no trust, there is no love."

The third variation is that he doubts himself. Could his music really have the power to sway the Underworld? The message in this version would be that self-doubt can sabotage all our best efforts.

But all of the above interpretations revolve around the concept that Orpheus looks back because of a tragic flaw, which wasn't necessarily the view of Virgil, the earliest known recorder of the myth. Virgil wrote that Orpheus's backward glance was "A pardonable offense, if the spirits knew how to pardon."

In some versions, when the upper world comes into Orpheus's view, he thinks his journey is over. In this moment, he's so ecstatic and so eager to finally see Eurydice that he unthinkingly turns around an instant too soon, either just before he reaches the threshold or when he's already crossed it but Eurydice is still a few steps behind him. In this scenario, it isn't a personal flaw that makes him look back, but just a moment of passion-fueled carelessness, and the fact that it costs him Eurydice shows the pitilessness of the Underworld.

In other versions, concern for Eurydice makes him look back. Sometimes he looks back because the upward path is steep and rocky, and Eurydice is still limping from her snakebite, so he knows she must be struggling, in some versions he even hears her stumble, and he finally can't resist turning around to help her. Or more cruelly, in other versions – for example, in Gluck's opera – Eurydice doesn't know that Orpheus is forbidden to look back at her, and Orpheus is also forbidden to tell her. So she's distraught that her husband seems to be coldly ignoring her and begs him to look at her until he can't bear her anguish anymore.

These versions highlight the harshness of the Underworld's law, and Orpheus's failure to comply with it seems natural and even inevitable. The message here seems to be that death is pitiless and irreversible: a demigod hero might come close to conquering it, but through little or no fault of his own, he's bound to fail in the end.

Another interpretation I've read is that Orpheus's backward glance represents the nature of grief. We can't help but look back on our memories of our dead loved ones, even though it means feeling the pain of loss all over again.

Then there's the interpretation that Orpheus chooses his memory of Eurydice, represented by the backward glance, rather than a future with a living Eurydice. "The poet's choice," as Portrait of a Lady on Fire puts it. In this reading, Orpheus looks back because he realizes he would rather preserve his memory of their youthful, blissful love, just as it was when she died, than face a future of growing older, the difficulties of married life, and the possibility that their love will fade. That's the slightly more sympathetic version. In the version that makes Orpheus more egotistical, he prefers the idealized memory to the real woman because the memory is entirely his possession, in a way that a living wife with her own will could never be, and will never distract him from his music, but can only inspire it.

Then there are the modern feminist interpretations, also alluded to in Portrait of a Lady on Fire but seen in several female-authored adaptations of the myth too, where Eurydice provokes Orpheus into looking back because she wants to stay in the Underworld. The viewpoint kinder to Orpheus is that Eurydice also wants to preserve their love just as it was, youthful, passionate, and blissful, rather than subject it to the ravages of time and the hardships of life. The variation less sympathetic to Orpheus is that Euyridice was at peace in death, in some versions she drank from the river Lethe and doesn't even remember Orpheus, his attempt to take her back is selfish, and she prefers to be her own free woman than be bound to him forever and literally only live for his sake.

With that interpretation in mind, I'm surprised I've never read yet another variation. I can imagine a version where, as Orpheus walks up the path toward the living world, he realizes he's being selfish: Eurydice was happy and at peace in the Elysian Fields, she doesn't even remember him because she drank from Lethe, and she's only following him now because Hades and Persephone have forced her to do so. So he finally looks back out of selfless love, to let her go. Maybe I should write this retelling myself.

Are any of these interpretations – or any others – the "true" or "definitive" reason why Orpheus looks back? I don't think so at all. The fact that they all exist and can all ring true says something valuable about the nature of mythology.

[somnolentstardust]

on leaving

the raven boys, maggie stiefvater// it's time to go, taylor swift// sleep on the floor, the lumineers// how’d your parents die again?, fatima asghar// dorothea, taylor swift// giovanni's room, james baldwin// my tears ricochet, taylor swift// also my tears ricochet// motion sickness, phoebe bridgers// ?// waiting room, phoebe bridgers// paper towns, john green// are you a soldier, a poet, or a king?, @atlanticsea // @8-bitfiction //it's time to go, taylor swift// @akindplace

#webweaving

[somnolentstardust]

Certain words can change your brain forever and ever so you do have to be very careful about it.

#web weaving #writing #life

[somnolentstardust]

Reminders for the Anxious/Depressed Creatives

You’re more than what you make.

Your productivity does not determine your value.

It’s okay to do nothing sometimes.

Not everything you do has to result in a product.

Not everything you make has to be important, significant, or even good.

You can make things just for yourself.

You can keep secrets for yourself, whether it’s not posting some of your projects or not sharing your techniques.

You’re allowed to say no.

You’re allowed to rest.

#note to self

[somnolentstardust]

Writing Help

General Tips

The purpose of writing

Important: only you can tell your stories

Every fanfiction genre has value

HOW TO STAY MOTIVATED!

Maintaining Motivation

Reasons to Keep Writing

Stretch your hands and fingers

Analyze the stories that you like

Title creation

How to comment on your favorite fics

Moodboard sources

PIRATED FAN FICS!!!

Fanfiction is legitimate (featuring Neil Gaiman)

Angst and Horror: if you can't handle it

Publishing

Writing Smut: overcoming shame

Don't toss your work

Dialogue / Writing rules

Prologue

Paragraph breaks

Sentence length matters!

Dialogue punctuation

Scene Checklist

Body Language

Descriptions between dialogue

3 dots in a sentence (Ellipsis)

Using adverbs

Using adjectives

Coming Outs

Commonly misused words & phrases

Words to Avoid

Flirting!

World Building

World building through plot holes

Using context clues

Creating land

Government

Matriarchal society

Dystopia

Descriptions

Resources for Describing Physical things

Alcoholic drinks & cocktails

KISS SCENES

Clothing references

Sewing sources (includes history of fashion)

Hair texture

Skin color/tone

Sword / Martial arts inspo

Character Development

Character development, agency, plot

Esk*mo is a slur

Naming characters

Naming characters in other cultures

Character sheets

Character sheet

Emotional intelligence

Human body limits

Making threats and the third option

Bartenders

Children

Kids

Asian characters

Muslim characters

Slavic characters

Russian names

Mixed characters

Bilingual characters

Blind or Visually Impaired

Morally grey

Dangerous female characters

Liars

Romance development

Healthy Relationship

Sacrifices

Redemption arc

Redemption arc 2

Regret / Remorse

Prompts/one-liners

Prompt masterlist

Another prompt masterlist

A third prompt masterlist

Best friends to lovers

Mob Boss

Prophecy of lost child

Super power of truth

Enemies to lovers

Enemies to lovers: Reasons to hate

Enemies to lovers: Getting together

Enemies to lovers Prompts!

Enemies to lovers: Fake dating

Past-life Enemies to lovers

Late-night wandering

Compliments

Touch-starved

Romance/physical intimacy prompts

Romance: little acts of love

Smut

Reputation

Break-ups

More sources

Masterlist: body language, words, translator

Masterlist: prompts, LGBTQ+, NSFW Advice

Meme: fanfiction problems

Mr. Darcy (Pride and Prejudice)

Bechdel Test

Part 2 ->

#writing