#on the level of rosencrantz and guildenstern are dead

[desos-records]

suddenly struck with thoughts about the devastating concept of Jason Todd

because he was good. because he had a bleeding heart despite every reason not to. he loved school and was good at it. he was the first to be adopted, with little pretense of guardianship. he did everything he could to be a perfect Robin and live up to an impossible ideal. he only ever wanted Bruce and Dick to like him.

because he met Bruce in the same place and on the same day that Bruce's parents died--the single defining moment of Batman's existence. and he made Batman laugh. he hit the Dark Knight, Terror of Gotham, with a tire iron. he wasn't afraid of the man who turned fear into a weapon.

because he couldn't save his mother from herself, but he tried. because he was too good not to try and save the woman who gave him up. too good to play the Joker's game. the crowbar didn't kill him, the bomb did. he died knowing he wouldn't make it and tried anyway. he died a hero.

because other Robins have died, but none of them put an irrevocable tear in the mythos of Batman. because Jason Todd always dies, in every universe. he dies for the sins of his father. he was put to death by popular vote, sacrificed by the crowd. doomed by the narrative and doomed by the audience. the boy who only ever tried to prove he was good enough--wasn't good enough.

because he has every reason to be angry. because he didn't ask to be murdered, didn't ask to be brought back, and when he did everyone acted like he was better off dead. Bruce tried to kill him and nearly succeeded. he's blamed for his own death and blamed for his resurrection. he can never come home because the house is haunted by his own ghost.

because he's been the hero, the victim, and the villain. because his family and his writers and his universe don't know what to make of him. they don't know how to look his tragedy in the eye. and how can you?

it hurts to look at the hero who cannot be good enough, the victim who will only ever be angry, the villain who can sometimes be right. the audience hates to feel complicit and, in this exceptional case, they are.

#don't look at me #the writing potential of jason is so often wasted #death in the family still haunts me tho #jason todd #dc #red hood #he could be an exploration of tragedy #on the level of rosencrantz and guildenstern are dead #but nooooo #robin #batman #dc comics

[galactic-aesir]

once im no longer dying from school i can be insane and contemplate making a Kagerou Daze mv for Rosencrantz and Guildenstern are dead

#rosencrantz and guildenstern are dead #its *MY* stress levels and *I* get to choose my brainrot blorbos #ragad

[rosethornewrites]

I’m going to follow through before my high goes away and my anxiety decides this is a bad idea.

Behold, my Rosencrantz and Guildenstern are Dead academic paper for a drama literature class 13 years ago:

The Idle Hands of Rosencrantz

​It is rare to find any work that, in a translation to a different medium, stays exactly the same. This is especially true of movies, which have a blueprint designed to hold an audience’s attention. In the film version of Rosencrantz and Guildenstern are Dead, one of the more interesting changes involves spectacle. Rosencrantz and Guildenstern are essentially incapable of acting in any real manner, because their fate is laid out for them. They are merely waiting, as men whose roles were written by the gods, for the story to write them as dead so that they may disappear. Because they are idle except when directly involved in the plot of Shakespeare’s Hamlet, they spend much of their time pondering their existence or, especially in the case of Rosencrantz, playing with random items. Although much of Rosencrantz’s fiddling is amusing to the audience—as the laughter in class indicated—its purpose is not solely humor. In fiddling around with things that are inevitably destroyed and making background noises that ultimately have no meaning, the spectacle of their actions comments on the fact that they are trapped in the background that they are a part of, incapable of effecting their own play just as they were incapable of effecting Hamlet. This serves to reinforce the point of the play: that Rosencrantz and Guildenstern are incapable of effecting the world around them in a lasting way because their fate, as the Player comments upon, is “written…there is no choice involved” (Stoppard 80).

​For Rosencrantz and Guildenstern, the play is already written, and its sheets fall on them in the beginning when they meet the players in the forest, and precede them through the rest of the film. These sheets of paper, the lines of their own play, are what Rosencrantz plays with, trying to turn them into something different. He turns one, for example, into a boat in the bath, which fascinates him as it rises and falls with the water level until it tips and begins to sink. Later, he creates a paper airplane, which he launches and which flies through the entire play, passing Ophelia and Hamlet and Claudius and Polonius before returning to him. That paper airplane, gliding through what is already there without effecting it, is what Rosencrantz and Guildenstern are—and is ultimately why Rosencrantz’s attempt to change it into something more elaborate must be destroyed before it can fly. To let the bi-plane, made of torn pieces of script, launch would be to change the Bard’s script and fate. Everything that Rosencrantz makes that could potentially change the course of the play must be destroyed, from the bi-plane to apple-core-and-script pinwheel that could potentially clue them in on which direction the wind is blowing and thus Hamlet’s state of mind. If these potentially-altering versions of the script are not destroyed incidentally, they are destroyed by either Rosencrantz (accidentally) or Guildenstern (carelessly or maliciously).

​Similarly, although it doesn’t involve the script imagery that is throughout the film, there are various scenes that act as a similar sort of metacommentary about their situation. Before playing the word game on the badminton court, Rosencrantz attempts to juggle a birdie, two rings, two balls, and a bowling pin and winds up dropping all of them. Although he was able to juggle the two balls—himself and Guildenstern—when he added the others objects he lost everything. When Rosencrantz and Guildenstern are inserted into a situation where they must handle not only themselves but various other characters with various individual agendas, they cannot succeed. When Rosencrantz then tries to demonstrate the law of gravity to Guildenstern with a feather and one of the balls, it similarly fails. The rest of the play will fall more slowly than they will. Further on, when Rosencrantz is fiddling with hanging pots in the garden, he notices that it is a Newton’s cradle and attempts to show Guildenstern. However, recognizing gravity and momentum would make the characters self-aware and thus able to make the choices that might save them. It would threaten the fate laid out for them as “victims of the gods” (Stoppard 82), and thus the pot must be destroyed before that can occur.

​Shortly after the question game on the badminton court and the observed arrival of the players, Guildenstern listens to Polonius read the love letter Hamlet sent to Ophelia to Claudius and Gertrude. Meanwhile, Rosencrantz makes background noises. Although they are at first unobtrusive birdcalls and ignored by Guildenstern, they slowly become louder and less natural. Guildenstern stops him in the middle of a duck call, and then glares at him for making a completely unnatural sound. When they approach the window again to hear the continuation of Polonius’ discussion, Guildenstern shushes Rosencrantz when he threatens to begin the noises again, as even birdcalls are not acceptable so close to the action. They must be silent observers and listeners or risk changing everything, as they very nearly do when Hamlet stabs Polonius behind the tapestry. They must fade into the background, and then fate moves them to a new location without transition for them.

​Every time Rosencrantz and Guildenstern could conceivably change their fate either by accident or by becoming self-aware, they are prevented. The humor doesn’t lie only in the actions being unusual, but in the commentary on their inability to affect their surroundings. The film version allows for this to be presented in a more visual way, utilizing spectacle to refer to the fact that they are trapped by the script within the script—that which was written by the Bard and cannot be altered, and which they are, at the end, bound to continue to repeat. This endless cycle of their lives is shuttered inside the wagon that the players tote them around in, leaving them as sleeping tabula rasas until it is time for them to be woken by a messenger and put on the road to Denmark all over again.

#academic papers #rosencrantz and guildenstern are dead #hamlet #my writing #literature #shakespeare #tom stoppard #tumblr university

[aroacehanzawa]

Thank you @immuno for the tag!!

last song you listened to: princess tutu ending theme 💗 it goes so hard and i prefer it to the opening theme tbh

last movie you watched: rosencrantz and guildenstern are dead 💔

currently watching: princess tutu❣️ i'm also following sousou no frieren, dungeon meshi, the apothecary diaries, solo leveling, and a sign of affection!

other things you’ve watched this year: i finished cardcaptor sakura clear card and milgram!

currently reading: the makioka sisters, dead souls, a hero of our time, and svsss volume 2

currently listening to: at this exact moment, this early 2000s shoujo playlist, otherwise i'm just rotating my kpop playlists lol

currently working on: my master thesis 😔👍

current obsession: jam in tea!!!! everybody say thank you to my girlfriend for introducing me to this concept 💞

Tagging: @linanord @meowandyke @yoo-joonghyuks-big-naturals @bunniezai @rosquinn @sinnabunii @bunnikida @daz4i @mauxanhduong + the girl reading this

#tag game

[robotnuts]

are there any rvb fics you still think about all the time? like i dont think a week goes by without thinking abt qed and how it def changed me on a molecular level, do you have any fics like that?

oooh good question. the most important fic is at the bottom of this post so just scroll to the final paragraph if you only want one, true recommendation of the only rvb fic that really matters.

QED is fantastic though its more of @shotgunslap's thing than mine. the partner to that is also obviously QoQ, the only rvb fic ive been able to make almost all my friends read. i think about the south/north characterization every day of my life. caboose and carolina mean so much to me, etc etc. thats a pretty easy pick though so im cracking into my ao3 bookmarks to look for more niche picks.

i know there was actually a lot of rvb fic that was just posted to tumblr that i think ive gone back and tried to reblog at some points but i never organized it, i should have archived it, people who wrote good femslash and rvb women liked to just post it under a readmore on their tumblrlog and you have to go digging through decades old tags to find it now

okay. the big one i actually do still think about all the time forever and ever is saltsanford's stuff about epsilon/wash's relationship. this is the big one i still think about that centers on their backstory, but also, put my guns in the ground, which is one of the Big fandom tuckington longfics, also has such good washpilon stuff in it and they're so fucking juicy. when tucker asks wash how many times he's broken his ribs and he says four and epsilon says "actually it was five" before realizing How Bad of a Move that would be. Hello? Hello?????? i want them to be forced to reimplant and have weird mind brain trauma sex SO BAD sorry im normal. this is another one that takes place during/after the chorus era

on the spectrum of fics that i actually dont yet feel ashamed reccomending, primtheamazing, who wrote QoQ, also wrote some other good stuff. i am a HUGE fan of this fusion fic, the punchline to the tucker/caboose fusion is HYSTERICAL. this one where grif forgets who simmons is due to temple shennanigans and flirts with him is also very like. trope-y but i like that shit so this goes here too

ok. now onto the stuff that it is actively embarrassing for me to be recommending. but. prim's logrimmons fic is hysterical and was the stepping stone to creating the lolixgrimmons mind palaces with my friends so its worth it just for that. but also its really fucking funny. so is the one where locus has to listen to them have sex and gets himself caught

the truly embarrassing one for me to have here is the piece of softboy grimmons content i participate in. sadly i do enjoy s15 content sometimes for the softboy grif sensitive emotions exploration i will admit to being a hypocrite there and i really liked that one and reread it frequently (just realized this is written by the QED person so! you might already know of it)

and then finally. the most important red vs blue fanfiction of all time, guns are for shooting. it has it all. sarge. washington. sarge again. kismesisitude. grif and simmons acting like rosencrantz and guildenstern (are dead). locus being invisible and getting caught by lopez with a bag of flour. it's written by the person who wrote QED. You want to read it right now. Read it right now. READ IT RIGHT N

wait no the cute bit about sarge declaring war on gravity and upending a bag of flour onto lopez isnt in guns for shooting. what fic is that from

#its mainly mx qed relationshipcrimes and mx qoq primtheamazing who are my favorite writers it seems #so anything there is pretty good #oh on the cute grimmons level i also like 'What kind of trash dragon' #which.. might be written by prim? i know they have a few orphan fics floating around out there #including uh. green is a shade of red which i havent read but know is a good red team locus fic that they wrote and then orphaned

[greenhappyseed]

What's your fic about?

It’s MHA from Inko’s point of view, with a central theme revolving around “presence” and a healthy dose of Izuku being a teenage boy. I adore Rosencrantz and Guildenstern Are Dead-style stories that weave around canon events (though I’ll have to diverge from canon at some point). I’m not sure yet if I want Inko to build up a platonic co-parenting relationship with Toshinori or something that veers romantic. I do enjoy a slow burn, sweet idiots-in-love kind of thing, so probably that! I’d also like to see Inko build relationships with other characters, rather than just starting the story with, say, her and Mitsuki as besties. And I want to give her a chance to interact with Katsuki, Ochako, Aizawa, Present Mic, Eri, etc. The “problem” is that I haven’t written fiction in 20+ years, aside from a short anonymous one-shot last year, and the story I want to tell is a too big and sprawling for my talent level. I’m plugging away at it and think I’m close enough to start publishing soon-ish.

#bnha #mha #my hero academia #boku no hero academia #inko midoriya #toshinko #I suppose?

[starbuck]

Obligatory disclaimer that folks can have any interpretation they want and I’m not here to take that away but, to ME, The Narrative absolutely is distinct from the “free” choices of the characters.

The Narrative is the overarching narrative force that dictates the outcome of a story from before it even begins and controls the actions of the characters forced to play it out. It is the story, the author, God, destiny, necessity, all of the above. 

While every story has an author, some are more open-ended than others. Prequels tend to have unusually high levels of The Narrative since we already know how their stories end (Black Sails, Better Call Saul), as do re-told versions of well-known stories (Rosencrantz and Guildenstern are Dead, Robert Icke’s Oresteia, Jesus Christ Superstar). 

Could the characters have made different decisions and averted their terrible ends? I mean, I guess? Sometimes? I’m not saying that there are NO “free” choices in any of these stories but, for some characters, it does very much feel like their ending was inevitable no matter what choices they made. They were well and truly trapped.

When I made the post about tragedies with less focus on The Narrative and more on the individual decisions of characters, I meant something very specific which is that occasionally there are stories where it feels like the characters actually could have made better decisions, but chose not to, not because The Narrative was forcing their hand, but because they simply didn’t feel like it.

The Narrative is ALWAYS at play, to some degree (hence my scare quotes around “free”), but sometimes its influence is stronger than others, even within the same story.

But yeah, anyway, that’s just my thoughts. This is definitely all very subjective and up for interpretation tho, so feel free to disagree! 

#woohoo! this doesn’t matter #but the ‘we’ just got me - so i had to respond #like - cool interpretation! i don’t share it though! #okay no one more Hot Take though… #a GREAT kind of story is when The Narrative comes in and does one (1) thing #and sets the rest of the tragedy off #and EVERYTHING after that is ‘free’ individual choices #that WERE preventable #but the characters were so heavily influenced by that initial Thing that they can’t accept their own freedom #like. beloved. You actually COULD walk out!!!! #YOU COULD LEAVE!!!!!! #great stuff

[bridewhiskey]

I've read through most of the trigun fic on Ao3, and so many comics and art on Twitter and Tumblr, and I just have to say that it's some of the most consistently high quality across the entire Fandom I've ever encountered. I'm not even joking. I've been reading fic since I was 11, well over a decade and I've never seen quality this consistent. (I'm mostly talking about Canon compliant and Canon divergence fic. I tend to not particularly enjoy full AU's personally) but it's all just so well done. They tend to be based as character studies/introspection, and they're all such strong characters (especially Vash & Wolfwood) that they can fuel tens of thousands of words of fic and it's so hard hitting and emotional every time.

It's incredible how consistent the quality is. And I'm talking Fandom wide, from fic to individual art pieces to comics. So many different creators just absolutely connect with the themes and motifs, and the emotional maturity of Canon as well. It's all amazing and packed with symbolism, and with the internal guilt from many of the characters, and the looming tragedy of Canon; it just takes the work to another level.

The one downside of this is cycling back to other Fandoms that I love and having Much higher standards. Legitimately, Trigun fic as a whole is LEAGUES ahead of damn near every other Fandom I've been immersed in, some of them for many years.

I recognize that this pertains mostly to my preferences in what I want from a fic, but I cannot stress enough how good it is.

Honestly it perfectly caters to my love of "Rosencrantz and Guildenstern are dead" narratives. But that's like, an entire essay on the genre so I won't go into it too deep.

The number of times I've been reading a fic or comic, or looking at a singular piece of art, and it makes me feel so much I just want to cram my phone into my mouth and eat it; is frankly embarrassing.

#trigun maximum #trimax #trigun 98 #trigun stampede #tristamp #trigun

[queeenpersephone]

is writing a darklina fic with waiting for godot/rosencrantz and guildenstern are dead vibes a crazy idea? would anyone read it? like idea: after the battle in the last ep of s1, alina and aleksander wake together in the fold. they stay there because alina can't kill him yet and she's afraid that he'll try to control her once they're out of the fold and he no longer needs her little sphere of light to stay alive. they eventually talk about the futility of their situation. probably ends tragically.

anyways these are the vibes:

“Merzost is tearing through my body.”

“Is there a cure?”

“Not one that is known, I’m afraid. Once I leave here, that will not stop me from searching. There is much more I need to do.”

It’s the first time he’s talked of leaving.

“So there’s an end to this?” she says, ignoring the way he tells her that he’s dying. There’s nothing she can do about that. After all, she needs to work herself up to killing him. It seems pointless to wonder about his health.

“What is an end?” He muses. “Is it you killing me? Is it you, your precious Tracker dead at my feet, giving into me?”

“An end is one of us winning,” she offers.

He shakes his head. “If you win, you will still live for an eternity alone. I’ve lived that. It’s not an end. It’s endless, a torture worse than death. If I win, you will fight me until I break you. Then I will be alone until I can put you back together.”

Alina tries to muster up disgust for the way he speaks of suppressing her sense of self, but she can’t. Despite his actions with the Stag, she can’t picture what terrible things he would have to do to her to make her give up. That kind of cruelty would be on another level. Her brain says he’s capable, but her heart denies such claims. “If you break me, it won’t be like traveling through time,” she says instead of disputing his ability to hurt her. She does not want to know the intricacies of his future plans. Not when they concern how he will keep her at his side. “You can’t have the me that existed before I learned the truth. I don’t know what you’ll put together, but it won’t be me.”

“Perhaps not.” He sounds thoughtful.

“And if it is me, I’ll stab you to death in your sleep,” she adds. No pretenses. That is what they have agreed to in this mist of nothingness.

So what you are saying is that, if you exist, my death is nigh.”

Alina shrugs. “I think I was meant to kill you. I knew it when you killed the Stag.”

“And before the Stag?”

Alina just looks at him. Her gaze is unreadable. “I suppose we’ll never know.”

-

“Do you hate me?” He asks.

“No,” Alina says. She knows that much.

“But it’s not enough.”

“No,” she agrees. She is apologetic, which is a bit of a surprise. She doesn’t want to feel sorry for him, for them, but she does.

“And once we step out, we take our places.”

She doesn’t answer this time. It is a pointless question. Over the past long hours, they have asked enough of those.

He pauses. “Do you love me?” He whispers.

She takes his hand. “Will love save you?” She whispers back.

#this is a bad idea i think #i'm gonna write it for me at least though #i just saw hamlet so i'm contemplative #darklina #s&b #liv writes #liv speaks #actually the craziest thing about this #is i've been listening to all of the girls you've loved before #by tswift #while writing this #i think my wires are getting crossed

[vintage1981]

Celebrating Caroline John

Caroline Frances John (19 September 1940 - 5 June 2012) was an English actress who played companion Liz Shaw in Doctor Who during its seventh season. She revived the character for the BBV P.R.O.B.E. video series, as well as the Big Finish Companion Chronicles line of audios.

John was the third of eight children born to Vera (née Winckworth), an actress and singer, and Alexander John, a theatre director. She was educated at St. Joseph's convent school, Crackley Hall in Kenilworth.

After training at the Central School of Speech and Drama, she worked in theatre and toured with the Royal Shakespeare Company and the National Theatre Company. She appeared in Juno and the Paycock in a 1966 production directed by Laurence Olivier, King Lear, Rosencrantz and Guildenstern are Dead, The Merchant of Venice and as Hero in Franco Zeffirelli's production of Much Ado About Nothing.

John played the role of the Doctor's companion in 1970 opposite Jon Pertwee's Third Doctor. John was recommended to then Doctor Who producer Peter Bryant by another BBC producer, James Cellan Jones, who sent Bryant and his associate Derrick Sherwin photographs of her. Unlike most of the preceding and subsequent female companions of the Doctor, Shaw was a brilliant scientist and understood much of the Doctor's technobabble. Shaw and the Doctor discussed things on a more equitable level of intelligence, and the Doctor respected and rarely patronised her. New series producer Barry Letts believed the character was too intellectual to be a suitable companion to the Doctor and decided against renewing her contract for the next season.

During her final story, Inferno, John also played the part of Section Leader Elizabeth Shaw, an alter ego of her regular character that the Doctor encounters in an alternative time stream. John reprised the role of Shaw, albeit as a phantom, in the anniversary episode The Five Doctors, and also appeared in the special episode Dimensions in Time (1993), part of the BBC's annual Children in Need appeal. In the 1990s she appeared in a series of straight-to-video releases including The Stranger: Breach of the Peace, and as Liz Shaw in the P.R.O.B.E. stories written by Mark Gatiss. In these stories made by the production company BBV, a pipe-smoking Shaw works as an investigator (for the P.R.O.B.E. organisation).

John later appeared in two Big Finish Productions' audio dramas based on Doctor Who; Dust Breeding (2001), although playing a character other than Liz Shaw, and The Blue Tooth (2007) where, as Liz, she recounts in narrative form an adventure she once had with the Doctor and UNIT. After The Blue Tooth she played Liz in four more Companion Chronicle audio plays; Binary, The Sentinels of the New Dawn and Shadow of the Past. Her final audio play, The Last Post, which she recorded on 26 January 2012, was released after her death.

In addition to her role as Liz Shaw, Caroline John appeared as Laura Lyons in a 1982 televised version of The Hound of the Baskervilles, starring Tom Baker as Sherlock Holmes. She also appeared in episodes of Z-Cars, Casualty, The House of Elliot, and EastEnders.

John read most of the audiobook of Elisabeth Sladen's posthumously-released autobiography, with David Tennant, Brian Miller and Sadie Miller reading their contributions.

John was married to actor Geoffrey Beevers. The couple had three children: a daughter, Daisy, and sons Ben and Tom. She died on 5 June 2012 from cancer.

#Caroline John #Doctor Who #Jon Pertwee #Mark Gatiss #Bill Baggs #BBV #PROBE #Preternatural Research Bureau #Liz Shaw #UNIT #United Nations Intelligence Taskforce

[alexzalben]

So many new cast members have been added to The Lord of the Rings: The Rings of Power Season 2: Oliver Alvin-Wilson, Stuart Bowman, Gavi Singh Chera, William Chubb, Kevin Eldon, Will Keen, Selina Lo, and Calam Lynch.

Bios and headshots below (no roles named as of yet).

Oliver Alvin-Wilson’s television credits include The Bay (ITV), as “Guy Townsend,�� Murder in Provence (ITV) as “Luc Martinez,” Collateral (BBC) as ”Chips Benson” and Lovesick (Netflix) as “Alex.” In film, Oliver has been seen in Harkness, Wonder Woman 1984, and The Huntsman. He has appeared on stage in All of Us (National Theatre), Henry VI Rebellion/War of the Roses (Royal Shakespeare Company), The Twilight Zone (Almeida Theatre/Ambassadors Theatre), The Doctor (Almeida Theatre), A Midsummer Night’s Dream (Young Vic Theatre) and Nine Night (National Theatre/Trafalgar Studios) among many others.

Stuart Bowman can currently be seen in the television series The Pact (BBC), Karen Pirie (ITV), and The Control Room (BBC). He has previously played recurring roles in Alex Rider (Prime Video), Guilt (BBC), Bodyguard (Netflix), Versailles (Netflix), Grantchester (ITV), and Deadwater Fell (Channel 4) opposite David Tennant. Stuart’s work in film includes Man and Witch, The Cursed, Sunset Song, and Slow West. His recent theatre credits include Macbeth (Shakespeare’s Globe Theatre) as “Macduff.”

Gavi Singh Chera was most recently seen in the television series The Undeclared War (Channel 4) and The Lazarus Project (Sky). Other television credits include Vera (ITV) and Doctors (BBC). On stage, Gavi has appeared in productions including The Cherry Orchard (The Yard Theatre), Our Generation, Behind the Beautiful Forevers (National Theatre), Duck, 1922: The Waste Land (Jermyn Street Theatre) and Pygmalion (Headlong).

William Chubb is a prolific actor whose television credits include Vampire Academy (Peacock), The Sandman (Netflix), Pistol (Hulu), Quiz, Jonathan Strange and Mr. Norrell (BBC), Law & Order: UK (ITV)and House of Cards (BBC). On stage, William has appeared in numerous productions including The Tempest (Theatre Royal Bath), The Taxidermist’s Daughter (Chichester Festival Theatre), Witness for the Prosecution (County Hall, London), Othello (Shakespeare’s Globe Theatre) and Rosencrantz and Guildenstern Are Dead (Old Vic). His film credits include Sam Mendes’ Empire of Light, A Week in Paradise, and Adrift in Soho.

Kevin Eldon is a well-known performer in television, film and theatre. On television, Kevin has starred in Game of Thrones (HBO), Shadow And Bone (Netflix), Inside Number 9 (BBC) and has had recurring roles in Trigger Point (Peacock) and Dad’s Army. He also appeared in The Crown (Netflix), Criminal: UK (Netflix) and Doctor Who (BBC). In film, he has been seen in Martin Scorsese’s Hugo, Hot Fuzz, Four Lions and Set Fire to the Stars opposite Elijah Wood.

Will Keen will soon start production on Prime Video’s My Lady Jane. He most recently wrapped the indie feature Borderland opposite Felicity Jones and Mark Strong, as well as the TV series The Gold (BBC1/Viacom). He was most recently seen in Ridley Road (BBC) and The Pursuit of Love (BBC) opposite Andrew Scott and Emily Beecham. His other TV credits include His Dark Materials (HBO), The Crown (Netflix), Genius: Picasso (National Geographic), Wolf Hall (BBC) and The Musketeers (BBC). Stage credits include Patriots (Almeida Theatre), Ghosts (Almeida Theatre), Waste (Almeida Theatre), Quartermaine’s Terms (Wyndham's Theatre), The Arsonists (Royal Court) and The Coast of Utopia (National Theatre).

Selina Lo is a British-Asian actress and former martial arts champion, whose film credits include starring in Boss Level (Hulu) as “Guan Yin” and Hellraiser (Hulu) as “The Gasp.”  Her work in television includes a recurring role in One Child (BBC) as “Xu Lian.”

Calam Lynch was most recently seen in Bridgerton (Netflix) as “Theo Sharpe.” Other television credits include Derry Girls (Channel 4) as “John Paul O’Reilly” and Mrs. Wilson (BBC) as “Gordon Wilson.” In film, Calam starred in Black Beauty (Disney+), Benediction opposite Jack Lowden, and Dunkirk. He has appeared in theatre in productions including Much Ado About Nothing (The Rose Theatre) and Wife (The Kiln Theatre).

#the lord of the rings #the rings of power #lotr trop #Oliver Alvin-Wilson #Stuart Bowman #Gavi Singh Chera #William Chubb #Kevin Eldon #Will Keen #Selina Lo #Calam Lynch

[jamieroxxartist]

✔ Mark Your Calendars: Mon Dec 12 on 🎨#JamieRoxx’s Pop Roxx Radio 🎙️#TalkShow and 🎧#Podcast w/ Featured Guest:

Noah Marks (#Writer, #Director, #Producer) #DragonEatsEagle (#Movie | #Comedy) ​ ☎ Lines will be open [phone] Call in with your Questions and Comments Live on the Air.

● Click here to Set a Reminder: http://tobtr.com/12173328

Pop Art Painter Jamie #Roxx (www.JamieRoxx.us) welcomes #NoahMarks; Dragon Eats Eagle | Movie | Comedy) to the Show!

Dragon Eats Eagle: ● IMDB: www.imdb.com/title/tt20778224

Noah Marks: ● FB: @noah.marks.77 ● IMDB: www.imdb.com/name/nm11442870

Two low-level but important government workers follow orders from their absurd superiors that will determine the fate of their country in a film nobody would make but everyone wants to see.

'Dr. Strangelove' meets 'Rosencrantz & Guildenstern Are Dead’ in DRAGON EATS EAGLE, on digital platforms December 13.

Written and directed by Noah Marks, and starring Kathy Richter, Harrison Marx, and Charlie Ferrara , DRAGON EATS EAGLE breathes life into one of the many fan fictions existing around the origins of the coronavirus in a funny but morbid way.

​● Media Inquiries: October Coast PR www.octobercoastpr.com

[weedle-testaburger]

Me again. Odd question. How many times have you been to a theatre? For me it’s about twice. Once to see a pantomime circa 2007 (unlike most it was actually pretty good, never saw someone forgetting their lines and making it work until then) and second time a few years later for some comedic history thing. I don’t recall the details. I’ve seen PLENTY of school plays too but it’s not quite the same. (Though I loved it when they misplaced the baby Jesus at the school nativity play) What about you?

I've been a couple of times. When I was a kid my mum's friend took me, my mum and my brother to see a gangster themed version of Romeo and Juliet because my brother was doing that in English, it was pretty weird. Then a few years later I went to a production of 1984 because my A level Politics course took us to it, and a few years back when my friends and I went on a trip to Cardiff we decided to go see Macbeth (I say we, they wanted to and I joined in, I fucking hate Macbeth bc of having to do it over and over for English instead of getting any variety in Shakespeare plays). Thinking about it, I've never been to see a play that was written as a play. I can think of a few I'm curious about though, we covered one Rob Shearman wrote in one of the creative writing classes I've been supporting and it was damn good, plus I feel like going to see something famously absurdist like Waiting for Godot or Rosencrantz and Guildenstern are Dead would be fun.

#that one anon

[spotlight-report]

"Dragon Eats Eagle" Exclusive Clip

"Dragon Eats Eagle" Exclusive Clip - Thx @OctoberCoast & @ClintOCoast

‘Dr. Strangelove’ meets ‘Rosencrantz & Guildenstern Are Dead’ in DRAGON EATS EAGLE. About the film Two low-level but immortal government workers follow orders from their absurd superiors that will determine the fate of their country in a film nobody would make but everyone wants to see. Written and directed by Noah Marks, and starring Kathy Richter, Harrison Marx, and Charlie Ferrara , DRAGON…

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#Dragon Eats Eagle #Dragon Eats Eagle movie

[nocompromise-noregrets]

🙌, 🎭, 🕦

(possibly the wrong clock emoji, my apologies!)

whee, thank you!

🙌🏻 something you can’t live without My laptop. :D (oh, and the missus and Last Cat Standing, obviously... XD )

🎭 favorite play I don't know very many, but it has to be Rosencrantz and Guildenstern Are Dead. I studied it for A-level English a long old time ago and absolutely fell in love with Tom Stoppard's use of language, and the way the play happens in between the lines and the scenes of Hamlet. I think that may well be where I first got my liking for writing between the lines of canon in fanfic, come to think of it.

🕒 time you go to bed I try and go to bed around ten, or before, because I need a lot of sleep these days, but I often don't manage it. Eleven is a hard deadline on work nights, except when I get distracted and don't get to bed until 11.30 or whatever. And then on Fridays, when I go and have my mandatory socialisation time at the pub, I tend to stay till the end of the evening chatting to the bar staff, and then I don't get to bed until midnight or after and then I'm utterly exhausted the following day and end up sleeping all morning XD I try so hard to have a proper sensible sleep schedule and I just cannot do it. (like many other proper sensible grownup routines that I can't get myself to do, like taking my meds when I'm supposed to...)

Thank you for asking! <3333333 Anyone else want to send me an emoji or two?

#ask game #go on #ask me stuff!

[vaguely-concerned]

me, a norwegian, at the end of hamlet: what do you mean, 'tragedy'

#the REAL tragedy is that despite this temporary bright spot #norway would later be subjugated under danish rule for over 400 years 😔 makes u think #makes you think there was in fact too LITTLE poison involved!!!! #(I jest I jest the remaining animosity between danes and norwegians is firmly in the 'only when it's funny' category these days lol) #anyway I went through hamlet again and this time around I found... that I hate him! #not the play it's pretty good but hamlet himself? hate him! absolutely disdain everything about him! #kept wishing laertes would just get to strangle him over his dead sister's grave in just retribution! he fucking sucks! #on so many levels!!! yeah good play tho the gravediggers are very fun and rosencrantz and guildenstern did nothing wrong