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if much ado about nothing 2011 has 1 million fans, im one of them. if much ado about nothing 2011 has 100 fans, im one of them. if much ado about nothing 2011 has 10 fans, im one of them. if much ado about nothing 2011 has 1 fan, that’s me. if much ado about nothing 2011 has 0 fans, then i am dead

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Ok, it's no surprise that I deeply enjoy Much Ado About Nothing as a play (and there are some truly delightful film and filmed staged productions), and there's a lot of talk about the scene between Beatrice and Benedick after Hero and Claudio's aborted wedding (Act IV, scene i).

What I don't see a lot of though, is how Benedick literally accidentally talks Beatrice into asking him to kill Claudio.

Yeah, Beatrice didn't walk into that scene ready to ask BENEDICK to make this right. Let's walk through the lesser-quoted lines from this scene.

We all know the iconic, "Lady Beatrice, have you wept all this while," but then we get this little exchange:

Benedick. Surely I do believe your fair cousin is wronged. Beatrice. Ah, how much might the man deserve of me that would right her! Benedick. Is there any way to show such friendship? Beatrice. A very even way, but no such friend. Benedick. May a man do it? Beatrice. It is a man's office, but not yours.

Benedick asking if a man may do "it" is a blatant offer to try to fix things, but it's pretty damn clear at this point in the text that he has big-ass heart eyes and hasn't thought this offer through, because the way to right Hero is to either get Claudio to recant--which he's not going to do because that is going to make him look like an absolute dingus and it will embarrass Don Pedro--or else to kill him in a duel. To ask a man to kill his best friend--even if that best friend is a complete and utter chungus--is cruel. It is one thing to call a friend out for being a dick to Hero, but to ask for Benedick's to be the hand that kills Claudio is a whole other level that Beatrice is going out of her way to excuse him from.

She is explicitly--and correctly, frankly, given the chains of command and power dynamics involved--excusing Benedick from being responsible for Claudio's behavior and correction. And while yes, part of dismantling the patriarchy is men holding each other accountable, murder is not accountability, it's the beginning of a goddamn blood feud. So Beatrice is over here very subtly going "You have clearly not thought this offer through, and I'm not going to ask you to kill your best friend." It is not his office.

And rather than hearing what Beatrice is saying, Benedick goes and MAKES IT HIS OFFICE by declaring his love for Beatrice. Which like...aside from this being not the moment, it just makes it even clearer that Benedick is not actually listening to Beatrice here. His focus is on her, but Beatrice is razor-focused on Hero and the fact that Claudio just more or less ended Hero's life. But here's the other thing.

I subscribe to the "Beatrice and Benedick had a prior relationship before the play and it ended badly" theory, because I think it explains a lot about their dynamics. But that also makes this scene a little bit risky and pointed. Because yeah, while Beatrice warns him not to swear he loves her and then eat his words, if they have a history, then her "Kill Claudio" is not just a request. It's a test.

He already didn't choose her once, presumably for way lower-stakes reasons. So to ask him to choose her, to be on her side, with all of what that means, is a test of a possible new relationship. And it's one Benedict comes perilously close to failing, because of course he's not going to kill his best friend and brother-in-arms.

And just like that, Beatrice is out, because Benedick "dare easier be friends with [her] than fight with [her] enemy." His choice is not her, and she will not be anyone's second choice. Especially given that choosing Claudio means that Benedick is engaging in the infuriating mental gymnastics where Hero can have been done badly wrong, but Claudio somehow isn't Hero and Beatrice's enemy.

This is not a complicated situation; Claudio was absolutely in the wrong, caused harm, and needs to be called on the goddamn carpet for it, and Benedick is over here trying to "both sides" it. I'd have been out too, and then he has the nerve to insist that he and Beatrice be friends before she's allowed to leave the stage! I adore that she then full-on goes off on him, and every single time Benedick tries to get a word in edgewise, Beatrice comes up with another argument and just cuts his ass off. There is no "letting him explain," there is no "I'm just playing devil's advocate," there is no "trust me, I know Claudio." There is only the facts of what happened, and Beatrice hammering them directly into Benedick's head. Lots of productions cut out the attempted interruptions by Benedick in favor of letting Beatrice run with a monologue, but if you look at the text, he tries FOUR SEPARATE TIMES to interrupt her.

But Beatrice just steamrolls on, and the thing is, it works.

Beatrice hits and refutes key arguments that we can just imagine Benedick bringing up. The bullshit logic of him being in a romantic relationship with Beatrice while supporting Claudio's actions. The undeniable public slander of Hero. The bullshit that is slut-shaming and measuring a woman's worth by her virginity. The divide between an "ideal" manhood and the reality of men's behavior. The nonsense that is how easily men are valorized for slandering women. Every point brought up and thrown in Benedick's face until he is left with only one final question; the only possible question that could matter at the end of this scene:

Benedick. Think you in your soul the Count Claudio hath wronged Hero?

And Beatrice is very, very sure. Which ultimately is enough for Benedick to choose her, and agree that yeah, Claudio needs to be called out and corrected, and he is now on board with taking that responsibility.

It is kind of wild to me that this scene begins with Beatrice trying to protect Benedick from the reality of the situation, and insisting that if he wants to be in love with her, if he wants to be in her life again, then this time he has to choose her for all that that means. And as Beatrice makes clear, what that means is a disruption--if brief--of the patriarchy and the status quo. Being with Beatrice means that Benedick has to stop being the prince's jester and stand against toxic masculinity and harmful patriarchy in a real, concrete way.

It's Shakespeare, so that doesn't stick beyond the happy ending, but it is here, and Beatrice really said "if you want to be with me, you have to stand with and for me and the women around me" when it was clear Benedick wasn't taking no for an answer.

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top 10 anime betrayals

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"romeo should have checked if juliet was really dead"

"orpheus just shouldn't have turned around"

"rose could have made space for jack on that door"

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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)

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Sir that's my emotional support Much Ado About Nothing (2011) with Catherine Tate and David Tennant

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per anon’s request, i present to you THE best version of beatrice’s monologue in much ado about nothing. i thought about cropping this but decided this scene must be watched in its full glory

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i watch dropout for a number of reasons, a primary one being that i like to fantasize about being paid to do comedy with a large group of working professionals who not only exist as a network of colleagues but also a healthy community of peers and friends

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Knives out and Glass Onion work bc it brings the role of mystery solving detective out of brooding tortured genius and back to its rightful place as Friendly Weirdo In a Little Outfit

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Guess who’s in the middle of their rewatch

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Listen I'm an Emily Axeford Stan first and foremost but Siobhan Thompson is just as good and should get more love bc the amount of times she leaves Brennan(and me lol) speechless bc of how well she rp-s and connects to her characters so deeply and even Emily watches her with stars in her eyes and I'm super normal and not at all parasocial

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give me a wizard with an anxiety disorder and a very round frog and i WILL get attached

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can you believe we're getting THEM back

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tula burrows end you are everything to me.

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hey, i’m sorry, i ate your boyfriend’s heart. yeah it was after he slandered, scorned and dishonoured my kinswoman. in the marketplace yeah. i mean he was approved in the height a villain so- yeah no i’m really sorry

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It’s always “why did you commit regicide” and “your covered in blood” and never How was the treason The treason looked fun was it fun

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maybe i'm just a grumpy english major but i feel like a lot of the "lol people think shakespeare is pretentious but actually his plays are just dick jokes and swordfighting" posting can verge into "lol what if the curtains are just blue" territory. yes shakespeare plays are full of those things AND they are also profound and complex and thematically rich. people spend their careers analyzing them for a reason, actually. it's not just dick jokes all the way down. and sometimes people spend their careers analyzing the dick jokes. stop trying to pick one side of the dichotomy between high and low culture. it's both. it can be both.