#also screaming crying throwing up at him wanting to play ophelia

[in-the-super-sargasso-sea]

Tim Roth For Cosmopoliton Magazine (January 1987)

[jamiedc-they-them]

Being Fitz’s sibling would include

SPOILERS FOR THE WHOLE SHOW

With your childhood, it made you close but cautious about who you told about it.

You both worry about each other constantly.

You had smarts, but action was always your thing.

So, you became an agent at the academy and Fitz went to Sci-Ops.

You are introduced to Simmons via Fitz after they become friends.

You become close to her. She becomes like a sister to you.

Despite the rivalry between Sci-Ops and the Academy, you and Fitz still act like you were.

You call each other all the time during your training and grade taking.

When the time comes for Coulson’s team, he picks you as well.

He wouldn’t want to split you both up.

You both are elated to see the other. Hugging as soon as you saw each other.

However, seeing what you do in the field just makes him concerned as you are always in danger.

You always assure him that you’ll be ok. As you have your friend Ward having your back.

As the year progresses, he becomes more at ease as you all become friends with the team and he gets used to you leaving on misisons.

At first he has the wrong idea about you and Ward (that you are a thing) but you quickly clear things up.

When Ward betrays you, Fitz is hurt. But he can see that you are far more hurt by it than he ever could be.

They were like brothers. But you had known the man longer than Fitz ever would.

You go with Fitzsimmons to the BUS, both being caught by Ward.

You fight with Ward to defend Fitz and Simmons. They are helpless and only watch you.

You manage to hold your own, but are then forced to watch as the pair are dropped in the ocean.

You manage to get out, but it’s Jemma that greets you.

“I’m so sorry, Y/N....I couldn’t stop him.”

You never blame Jemma for what happened. You assure her it wasn’t her fault.

Despite how much you both care for Fitz (in different ways obviously) you both distance yourself from him.

When Jemma goes undercover, you throw yourself into more and more missions.

Skye tries to get you to go and talk to him, but you always freeze whenever she does.

“I’m sure he’d appriciate it, Y/nn.”

“I’m sure he would. But....he’s different.”

“He’s still your brother.”

“I know.”

He’s hurt by your apparent abandonement, feeling alone.

So, you go up to him.

“Hey...Fitz.”

He is with Mack at the time, but the man seems to be a little more lineant with you than others.

“Hey.” He’d say, scratching his head.

“How have you been?” You ask.

“Good, uh, good yeah. You?”

You nod, “....Good. I’m glad your hanging on in there.”

“...Yeah -- yeah, me too.”

It’s awkward. Very awkward.

You don’t know how to adapt to this new version of him.

Mack tries to help. And, for the most part, is succesful in this part.

Overtime, you understand how to adapt. But you also recognise that, despite some adjustments, he’s still your brother.

When Jemma returns, you try and help meand their dynamic.

“She’s your best friend, Fitz.”

“She left.”

“I did too.”

“....That’s differet. Your family.”

“And she’s not.”

“We....left things in a weird place.”

You have to admit, Fitz having feeling for Jemma was not something you saw coming.

But, you support him.

As the year continues, you check in on them and help both as much as you can.

When Simmons is taken, you go with Fitz wherever he goes.

You know he can be self destructive at the worst of times. So you stay with him as he desperatly searches for Simmons.

“You don’t have to do this, Y/N.” He’d keep telling you.

“I have to, Fitz. You’re my brother, and she’s family.” Is what you’d always say in response.

When he jumps, you scream out his name.

But you let out a sob of joy when you see him and Simmons unharmed.

When Fitz is taken, you go all in on finding him.

You even go to Maveth and play a part in beating Ward.

As you punch him, you tell him, “Don’t. You. Ever. Hurt. My. Family!”

You both go back. You both are embraced by Simmons and Daisy.

When Daisy gets taken by Hive, you and Fitzsimmons do all you can to find a cure for your best friend/sister.

When Fitz is hurt by Daisy, you help him recover. But hold no ill will towards Daisy.

When the final fight with the swayed Inhumans occurs, you and Fitz fight side by side for the first time.

And, in an understatement, you work well.

You and Fitzsimmons take them down.

As the six month gap goes on, you both have moments to rest and talk.

You start working through some of the things you’d gone through to get to this.

Simmons is nothing but delighted to see her boyfriend and best friend starting to somewhat heal.

Radcliff acts in a fatherly manner to you as well. But you don’t go over alot.

Coulson fills that role instead.

Not that he wasn’t already.

When Fitz is supposedly, “dead” from the ghost wave thing, you refuse to belive it.

So, when he comes back, you hug him tightly.

When the LMD thing occurs, he comes to you and begs for you to trust him.

You, naively but obivously, do.

That lands you in almost being killed.

You are forced to stab your brother. Only to find that it was a robot.

Jemma finds you, taking your shaken form with her own to hide.

Daisy finds you both and gets you both on her side.

“Y/N, I know this is fucked up right now. But Fitz needs you, alright?”

It’s not much, but it keeps you going.

So, when you go into the framework, you find him being this monster.

You know he always has had a darkness to him from his past, but seeing it is something else.

You, meanwhile, seemed to somewhat embrace yours by being an apparent apathetic interrogater.

It is something your father praises you for.

It sickens you that both him and Fitz do.

When you reunite with the girls, you don’t know what to think.

Your entire world has been rocked upside down.

Jemma and you watch as he kills Ophelia and cry out.

When confronting your father, he is genuinly shocked to see you. 

Jemma isn’t the one to kill him. You are.

Jemma comforts you the best she can.

“You saved me, Y/N.”

“I -- I killed him.”

This shakes you.

Daisy tries her best as well.

“He was a monster.”

“He made a monster out of me.”

“No, he didn’t. You fought back against it, Y/N.”

You get a call from your brother.

“I never expected this from you, Y/N. My own blood. You can consider yourself a traitor and stipped of the Fitz name.”

You drop the phone and break down, being comforted by your two best friends.

When you escape, he shoots you in the leg as well as Jemma.

He puts the pistol to your head, “Say. It. Say, ‘I am Y/N, just Y/N.’

You are about to, when Radcliff saves you.

“Y/N bloody well is a Fitz.”

He brings you both to the portal, “I’m so sorry this happened to you, my friend. You deserve better.”

Needless to say, you both have a difficult time talking after the whole Framework thing.

Despite the happy dinner, you both sit apart.

There’s a rift now in the dynamic.

You sit on Jemma’s otherside. Making her be in between you both.

However, you are on of the poeple who are taken to the future.

You are put in the ring like Daisy.

When Fitz arrives, you can’t belive it.

However, he tries not to meet your eyes if he can’t help it.

He still hasn’t forigiven himself for the Framework and the monster that always laid within him attacking you.

When he breaks you out, you both hug. But don’t really talk.

Jemma and Daisy notice it. But don’t mention it.

They know it’s your familial issue. Not their own.

Not that they don’t want to help, of course.

In fact, it’s not until you both go back that you finally talk about it.

“Fitz....about the framework.”

“I’m sorry, Y/N.”

He knows it’s not a lot, but it’s a start more than anything.

Then the Doctor comes back.

As does your shadow.

Fitz’s one hurts Daisy.

Your own hurts yourself.

Jemma finds you nearly bleeding to death.

You are both locked up, but for different reasons.

He had a Psychotic split.

You had a suicide attempt.

She and the rest visit you.

Daisy is still a bit bossy as of this time, but she’s softer with you.

She knows what it’s like to wrestle with that.

When Fitz is broken out of his cage, so are you.

You both meet Robin and are both nearly killed by her.

The three of you are forced to work on the Destory of World device.

Robin nearly kills you all.

When Fitz dies, you are broken.

You have lost someone that was a best friend to you for a long, long time.

You, of course, say yes to going into space to find him.

You can’t just leave things in the patchy ways you left them.

Daisy and Jemma, being the sister figures they are to you, check in on you and make sure you are ok.

But, like Jemma, you are desperate to find him.

So, when she pulls the lever, you are right with her.

In Kitson, you imagine him as his younger self being happy.

Some of the visions are of him in a monkey suit, it does have to be said.

When Jemma offers herself up, you offer to go with her.

“You can’t Y/N, the rest need you.”

“And I need to see Fitz.” You argue.

She puts her hands on your shoulders, “I will take care of him, Y/N. I’ll let him know how much you care about him. If this is it, he won’t go knowing that you tried to find him.”

When they return, you hug each other fiercly.

From then on, you both seem to go back to normal.

Deke even becomes close to you.

Granted, you technically have a different role.

But you take an older sister type role with him.

You help break up the pair when they bicker.

When the timeline shifts for Fitzsimmons, you aren’t there.

So, this Fitz could be entirely different.

You constanly ask Jemma if she can tell you anything, but she keeps giving you pitying glances as she tells you she can’t.

Then, suddenly, tired and nearly out of fumes, you see him.

He lands, taking off his helmet.

He looks older, but still the same old Fitz.

“Hey, Y/N.” He utters softly as everyone watches you.

You hug, tighter than ever.

He even spins you around a little.

“You don’t know long it’s been.” He tells you.

“You have no idea, brother.”

When you meet Ayla, she’s the happiest version of both of you.

You couldn’t be happier to meet someone like that.

You stay with SHIELD, but take time off to visit them.

When you can’t, you have chats remotly in the bar.

When you do visit, it’s like you can almost fix some of the wrongs you both had in your troubled childhood.

Fitz is the best dad to Ayla.

And you are the best Aunt/Uncle/Pibling to your Niece.

You both have been through so much. But you had each other.

You wouldn’t trade any of it for where you ended up.

[holidaywishes]

not all monsters do monstrous things...

Part 2: The Girl

  Summary of Series: Delly Cartwright lost her best friend, Peeta, to the games. Now, the one that took him seems to have a soft spot for her.

  Summary of Chapter: Delly’s P.O.V of the events of the last chapter.

  Warning: Some fluff, some angst, some violence

  Author’s Note: I’M BACK WITH ANOTHER CHAPTER! These two obviously were easy because they’re just P.O.V’s of the same events but I still had fun writing them whether anyone reads them or not! I’m aware that the Hunger Games Fandom is almost entirely asleep but I’ve reread the books and re-watched the movies, so I’m back in it. I’m also going to put in here again that the story idea is from a fic I read by Ophelia Tate (I believe that was the name) on FanFiction.net -- so full credit to her! If anyone does end up reading this series, I hope you enjoy it and ship Delly and Cato as much as I do! Also, have to make another note about the GIF. Credit goes to whoever made it, I found it on Google and it wouldn’t bring to the page where I could give credit, but whatever, it’s not mine don’t @ me. You know the drill!

  masterlist

  the other masterlist

xx

Delly’s P.O.V

  You sat beside Peeta’s youngest brother for most of the games but as more and more tributes lost their lives, you invited the Hawthorne’s and the Everdeen’s to watch with you. It helped a little, having everyone together, and the closer it got to the end, the more it seemed like Katniss and Peeta might both make it home.

  “It’s just a role, you know,” you said to Gale, who had abruptly gotten up in the middle of the viewing to put his empty glass in the sink, “they’re not actually in love.”

  “He is,” Gale stated with a hiss, “maybe he knows it can’t work so he’s playing it up more than he would, but Peeta is definitely in love with Katniss”

  “But she’s not in love with him...” you said

  “Does it matter?” he asked and you furrowed your brow, “if they both get out of this alive, it will be because they’ve convinced everyone they’re in love. Which means--” he stopped himself, not wanting to admit his feelings

  “Which means you can’t be with her”

  “And you can’t be with him”

  “I gave up on Peeta and I being together a long time ago,” you smirked, “he was always in love with your dear Girl On Fire.”

  “I just want her to come home safe. If she has to pretend to be with him, so be it. At least she won’t be fighting for her life.” A few days went by and the district couldn’t focus on much else other than the games

  “I think they’re going to make it” someone would say

  “They’re so in love” another would coo

  “I’m so excited to see them back home” another would sigh. The feelings were echoed by everyone in the district but it was still too early to say, at this point there were still six tributes left. You couldn’t deny that you thought Peeta and Katniss’ chances looked good because of what they were selling but you didn’t want to get ahead of yourself. And then, the moment came, when you knew it was over.

  “CATO!” the girl, Clove, from District 2 screams, “CATO!” she shrieks once more, crying out for her district partner but he is nowhere to be found. Tears begin falling from her eyes as she accepts what is now her last moment before a rock is crushing her temple. You could’ve sworn you heard something as her lifeless body fell to the ground; something in the background, a whimper or a scream. You couldn’t quite tell but when no camera’s focused on it, you assumed it was nothing. After Clove died, you knew, as well as anyone you watched the games with, that Cato would come after Thresh, then Katniss and Peeta. He was too strong for either of them to fight off alone, so you made your peace with your loss. Choosing to leave the games early that night and look at a picture Peeta had drawn for you years ago.

  “It’s a sunflower!” His young voice rang in your ear, “it reminded me of you. So lively, so bright. Always pointed toward the sun.” You cried for him, this version of Peeta you’d lost long ago, and the boy you’d lost to the Hunger Games.

  “Goodbye, Peeta.” you whispered to yourself, holding the image close to your chest. You remember it too well, the final day of the Hunger Games. You clutched Prim’s hand tightly as her sister fought Cato atop the large, steel Cornucopia where the games had begun; only for Katniss to be flung into the large pile of ravenous mutts below. Prim whimpered into your shoulder as you stared at Peeta, one of the final two, and you hoped he’d fight all the while knowing he wouldn’t win against Cato. You watched as the two blonde boys faced each other, Cato panting angrily and Peeta furrowing his brow.

  “DO SOMETHING PEETA!” Peeta’s older brother, Flint, yelled at the screen

  “He’s terrified” his mother scoffed but you didn’t see it that way. You’d seen Peeta terrified before. During the broadcast, sure, but also whenever he’d accidentally burn something in the bakery or do something to make his mother angry. The look he was giving Cato right now wasn’t one of terror, it was of pain. How could you blame him. Without Katniss, being a victor meant less than nothing. She was the only thing that made the games worth fighting in, she was the only thing he was willing to fight for. And now that she was gone, you knew what he was planning, forcing your eyes to well up with tears; letting them fall only when he stepped off the Cornucopia to face the same fate as Katniss.

xx

  You had wanted to put the games behind you for good, but that’s not the way it worked. Especially not when you lose someone to the games. Today was the start of the Victory Tour, so you dressed in a soft yellow dress in memory of both Katniss and Peeta. Two Peacekeepers guided you and Peeta’s family to the front of the square, while two peacekeepers did the same for Gale’s family and the Everdeen’s. Your eyes wandered around the square, taking in everyone’s anxiety as they slowly filed in after you. When Cato took his place on stage, he looked taller than you anticipated but younger than he did when he was on T.V. The blood that covered his face must have shielded his youth from Panem.

  “I would first like to thank you for coming out today,” he started, his voice steady at first but it slowly began to falter as he caught sight of the crowd, “this is not an easy speech to make. The lives you’ve lost will be, uhm, will be felt by-- will be felt by the Capitol. Your sacrifices are -- will be missed.” When Prim let out a small sob, Cato turned his focus to her, straying from his carefully scripted speech, “Katniss was incredibly smart and, with the way she treated Rue, I could tell she had a big heart. Peeta had remarkable strength,” he turned to face yours and Peeta’s families. His eyes trained themselves on you and, try as you might, you couldn’t look away, “but for all his strength, he was kind, truly.” The words felt true but they quickly vanished from thought when Gale spoke up, calling the boy from District Two a murderer in a booming voice while Prim pleaded for him to stop

  “You don’t care about them. You don’t care about us!” Gale said, pushing aside Prim so he could confront the large boy who stood on the stage.

   “The Captiol thanks you for your sacrifices. Peeta and Katniss will be mourned.” The words were par for the course from a victor, undoubtedly something that was fed to them from the Capitol. You let out a whimpered sigh at the words but before you could even think to shed a tear, Gale was lunging forward. As Cato tried to walk off the stage, Gale ran to him, cocking back his arm and balling his hand into a fist

  “GALE!” You screeched, even though you knew it was useless, “GALE DON’T!” you repeated, just as Gale released his fist, missing by an inch as Cato turned to face him. You could see anger forming across his features and you feared for Gale’s fate as the boy in front of him, who was now the newest victor, pulled back his arm to throw a punch in return, but he hesitated when he looked behind the curtain on stage. Then, as if Gale knew he only had one choice, he balled another fist, only this time it connected with the side of Cato’s face and blood flew from his mouth at the blow. You and Prim screamed as the Peacekeepers separated everyone, frantically trying to get Cato to safety and discipline Gale. As they tore Gale away, you ran after him followed quickly by his family as well as Prim and Clara. When you finally reached him, you saw his arms tied to the whipping post at the side of the square.

  “I thought that was only there to scare us,” Rory asked, his voice trembling as he knew he was wrong, “they’re not going to actually use it...”

  “It looks like it” Vick replied, a harshness in his tone to cover the fear you knew he had

  “Boys, enough!” Clara and Hazelle rebuked while you and Prim started to walk to untie him. Maybe it was just a scare tactic, you thought to yourself and you could tell Prim was hoping the same thing when two large arms stopped both of you in your tracks

  “Stop right there” roared two Peacekeepers as another stepped closer to Gale. It was the Head Peacekeeper’s outfit, but it wasn’t Cray, you could tell from his movements. When he took of his helmet, you realized it was Romulus Thread and your eyes went wide. He was a callous man, a man who loved the Capitol almost as much as he loved to watch the citizens of this district bleed.

  “NO!” you heard Prim scream when you both saw Thread pull out a whip, “NO! STOP!” she yelled again after the first lash cut Gale’s back. Peacekeepers continued to hold you and Prim back, restraining the rest of your friends and family when they tried to approach, while Gale suffered enough lashes to drain him of all breath

  “STOP!” you screamed alongside Prim now, fighting to get out of the Peacekeepers grasp as tears streamed down your face uncontrollably.

  “ENOUGH!” a voice boomed from the back of the square, silencing everyone there, even Thread stopped his movements. You and Prim looked at each other briefly before the Peacekeepers released their hold on the two of you. You ran to Gale’s side not knowing if the guards would snap out of their trance-like state but needing to help the boy who had become as much of a friend to you as Peeta was. Prim followed quickly behind, frantically untying the knots at Gale’s wrist as you tried to wake him up, hearing him groan lowly, before you helped Prim. When his body finally dropped, he landed on top of you and you felt all of his weight begin to crush you. Prim took one of his arms around her shoulders and you did the same, as you began to walk him to safety

  “Mr. Berenger, sir, I--” you heard Thread whimper

  “Why would you whip this boy?” Cato questioned in a voice all of District 12 had associated him with, “because he mourns his friends? Because he is in pain?” The words he used forced you to stop. Even though his voice was callous and angry, there was sympathy to his words

  “BECAUSE HE ATTACKED YOU, SIR!” Thread yelled as he straightened his posture, only to be met by Cato’s larger frame

  “I don’t need your protection, sir!” Cato countered, sneering down at him as he towered over the new Head Peacekeeper. You watched as the District 2 victor released Gale of his charges and forbid Thread of these acts again. Something about him now, as he fought for a stranger who had just attacked him, reminded you of Peeta.

  “Delly, come on,” Prim whined, making you realize that you’d completely ignored Gale, “what are you doing?”

  “Oh my gosh!” you gasped, doing your best to get your friend to the Apothecary, “I’m so sorry.” When the two of you set Gale down on the table, Prim made fast work of his wounds; soaking them in alcohol to sterilize them, cutting up old cloths to try to cover them as Gale screamed

  “Delly, hold him down,” Clara said as he writhed in pain, “we can’t help him if he won’t stay still.” You stood up, Gale’s right hand clutching your yellow dress as you pushed his shoulders into the table. His screams became quieter and you didn’t have to hold him down anymore

  “He should be okay for a while” Clara said as you pulled a chair close to sit next to him, watching his breath rise and fall in his body before another stream of tears fell from your eyes and you clutched his hand

  “You shouldn’t have done that Gale” you whispered and he seemed to groan in response. Suddenly, you felt a small breeze run through the door, causing you to look up and a gasp to escape your lips. Why was Cato here? you thought to yourself, hadn’t he gone back to the train? You stood up to put a sort of barricade between Gale and Cato before you whimpered “please, he didn’t mean it. He wouldn’t have gone further than a punch, he was just upset..” You pleaded as Cato stood by the door, wiping the water from your face and putting a hand on Gale’s shoulder

  “It’s okay,” he said, holding his hands up, palms forward, in reassurance, “I’m not going to hurt him or take him away. I just wanted to see how you– how he was doing…” More kindness, you thought, this was not the boy that the games had shown you. You furrowed your brow but decided to seat back down

  “The lashes have exhausted him and he’s lost a lot of blood” you said as you rubbed your thumb gently across the back of Gale’s hand, watching as he slept soundly.

  “I’m sorry” Cato whispered, much to your surprise and your head sprung up at the apology, your eyes growing wide as he stared at you. The mark at the side of his face from Gale’s punch was slowly forming into a purple bruise but it didn’t take away from his features. His bright blue eyes seemed to pierce through the tension, making you increasingly comfortable in his presence, and you found yourself examining him. You had always thought Gale was broad but, looking at Cato, he seemed small in comparison, “you must think I’m a monster...” he finally said, snapping you out of your head causing you to clear your throat before you spoke

  “Because of this?” you said, “this was the Peacekeepers, not you.”

  “Because of the games” he corrected, “I’ve watched those deaths more times than I care to admit. I saw how they portrayed me. How everyone else must have seen me.” You thought about it for a moment. Thinking about how cruel he was to Katniss, how he tormented the younger children in the arena and how he used Peeta throughout the games. It would be easy for you to say that he was a monster and no one in 12 would disagree with you, but you couldn’t help but consider everything he’d done for Gale in the square

  “I don’t envy you at all,” you finally said, turning your body in your chair, ever so slightly, to face him more direct, “having to train your whole life to be taught to kill other children. Many your own age or younger. I’ve never understood why death, and the deaths of so many children, was the price the Capitol wanted to collect. You had to do awful things to bring pride to your district and I am very very very… sorry.”

  “Sorry?” he questioned and you nodded

  “Yes,” you said, “to have your life mapped out for you, without your say, couldn’t have been easy. I’m so very sorry that this is the life you were led to believe was all you could have”

  “You’re so kind...” he almost whispered and you smiled to yourself, thinking about how you’d connected that word to him earlier, watching as his eyebrows scrunched together, “no one has shown me this much kindness in my life.” The idea made you sad, that he had never known kindness, but he was from District 2, they weren’t known for kindness there.

  “I don’t think you’re a monster, Mr. Berenger,” he looked at you intently as you spoke softly, “I think you’re lost. Trying to fit an image that the Capitol and your own District has created for you.” He appeared as though he wanted to say something more when someone came through the door, nearly tearing it off it’s hinges.

  “CATO!” a man you recognized barked, it was Cato’s mentor, Wade, “you can’t be here. We have to go. Now!” He brought a frantic energy into an otherwise peaceful space, causing your breathing to increase

  “Take this,” Cato said, handing you a small silver box that he’d had in his jacket pocket, “it’s not much but it should help with his healing.” As you took the box from him, your finger grazed the palm of his hand and you swore you could feel a spark.

  “Thank you” you replied with a smile before he was pulled out of the Apothecary and out of the district. You were left alone with what had happened for only a moment when Prim entered the room

  “What are you doing?” she said, leading you to turn around sharply to face her

  “Here. This is for Gale, from--”

  “The victor?” Prim interjected, taking the box from your outstretched hand, and you nodded, “what are you doing?”

  “What do you mean?”

  “Delly, don’t play dumb.”

  “Prim.. I really don’t know what you mean...” She stood silently in front of you for a minute before eventually moving toward Gale

  “Do you think I’m blind? or stupid?” she scoffed, shaking her head

  “Of course not--”

  “Then why are you being so friendly to the person who killed my sister?!” she practically yelled

  “We were talking, he dropped the charges on Gale. Thread won’t do this again, he promised!”

  “Oh sweet, naïve, little Delly,” she sighed, “the promise leaves with the victor”

  “Prim...”

  “HE KILLED YOUR BEST FRIEND!”

  “NO HE DIDN’T!” you shouted in return, shocked at your outburst, “Peeta jumped.”

  “He still killed my sister” she said softly and you walked closer to where she stood

  “I know,” you replied, “he just seemed so... broken. I’ve seen that before, from Peeta, and I just didn’t want him to think that our district is full of cruel, angry people”

  “But we are angry! Why aren’t you?”

  “What good does it do me, Prim? To be angry? That boy has never known kindness, maybe if someone had shown him some, he would’ve done the same to those tributes!”

  “He’s not a boy, he’s a monster!” she yelled and you furrowed your brow, trying to get her to understand

  “You didn’t see what I saw”

  “You’d rather defend a murderer than say something unkind about someone else?!” she argued

  “Enough! Both of you! Stop!” Clara yelled as she walked in the room, “Gale has to rest and your bickering will only agitate him. Delly, I think you should go home, your parents are probably worried sick about you.” You dropped your head, nodding in agreement, before laying a small kiss to Gale’s forehead

  “Delly..” he moaned and you looked up at Prim and Clara

  “Gale?” you said

  “Prim.. Prim’s right” he groaned

  “Don’t move, Gale” Prim said, placing her arms on his back

  “He killed our friends. And so many others..” he tried

  “Gale..”

  “Prim’s right, the promise goes with the victor. Thread will do this again”

  “Okay, that’s enough,” Clara said, “enough talking. Delly--” she tried to send you home again but Gale sat up

  “Believing someone is kind is dangerous, especially when they’ve proven they’re not.” You could tell he was angry as he mustered up the strength to stand in front of you, however hunched he may have been

  “I can’t be angry with him for Peeta jumping off that Cornucopia” you admitted

  “Then be angry that he showed Katniss no mercy. Be sad that your friends and family had to watch someone they loved die”

  “I don’t want to be sad anymore, Gale,” you added, “I miss Peeta everyday but I can’t be sad forever”

  “Why not?”

  “Because he’s gone. They’re gone. But we’re here. And we should be happy to be alive”

  “LOOK AROUND, CARTWRIGHT!” he yelled, “Is any of this actually living?!”

  “Gale...” you whimpered

  “Listen to me, Delly, he is not kind. He is not lost or weak or any of the things that you told him you thought he was.”

  “You heard that?” Gale scoffed, holding onto the table to keep himself steady

  “He is manipulative, that’s how he won the games. He’s a monster. Delly,” he whispered angrily, as tears began streaming down your cheeks, “he’s not Peeta...” You looked up at him, seeing his grey eyes full of nothing but rage, and shook your head at his callousness before running out of the Apothecary. You couldn’t explain to him, any of them, why you were being kind to Cato, you could barely explain it to yourself, but there was something that made you want to comfort him. If for no other reason than the knowledge that you’d never see him again.

[lizardrosen]

Andrew Scott Hamlet (2017)

I'm finally watching the Andrew Scott Hamlet and it's so good!

This post is mostly a liveblog I did on twitter, but edited for reading clarity, and with a few notes I took that I didn’t talk about in my posts.

the watchtower scene is in a security guard room filled with screens, and the ghost makes the camera short out

Andrew Scott is just. a perfect hamlet - AUGH, his bitter laugh at “unmanly grief”. He stays inside while everyone else is dancing on the balcony outside, and sits on his suitcase in the dark. He’s a good sad boy.

and he's FRIENDS with both laertes and ophelia - he and laertes share a genuinely friendly hug before laertes leaves, and then it’s so clear how much ophelia and hamet care for each other, and she holds him as he cries, and cheers him up.

Polonius is a Good Dad, and while most of his advice is stuff he's said hundreds of times before, "this above all..." isn't rehearsed, he really just wants to say what he means to a child he loves dearly

oh cool, i'm loving how they rearranged and merged the scenes here!

Hamlet's "too too solid flesh" merges into him kissing ophelia and hiding behind the couch while laertes and polonius tell her not to trust him, and then he speaks with horatio, and they just miss r&g - he hasn't gone to see the ghost yet, so he hasn't put on an antic disposition, which means claudius was already planning to keep him in line before he gave any cause for it, and I just love how shifting a few scenes changes everything so dramatically.

Hamlet and the ghost: - horatio is so frantic for his friend's safety! but then Hamlet runs to find the ghost anyway. hamlet reaches out hesitantly to touch his father's face and they CLING to each other, then "pity me not." the ghost speaks of his death super fast, as if afraid to dwell on it, then slows as he charges hamlet "taint not thy mind, nor let thy soul proceed against thy mother." But then two minutes after being told not to blame his mother Hamlet goes "o pernicious woman" he's not very good at following directions. and then, poor baby, he picks up the gun and uses it to follow claudius as he walks down a hallway on the security footage.

a very well structured scene!

polonius gave laertes a watch as a parting gift, and then after hamlet makes horatio and marcellus swear, he gets engrossed by his own watch in a way that feels dangerous, and then goes "the time is out of joint" this is a GOOD parallel and i hope it comes up again because DAMN!

Up to Me, by Bob Dylan is just. the perfect song for the transition to act two, i can't handle how well it works with the action on stage - hamlet walking off sadly, then claudius and gertrude being flirty and cute, then hamlet kissing ophelia in the bath and perusing her face

Oh man, Polonius forgetting what he has to say when speaking to Reynaldo is a moment of such stillness and silence that it’s one of the most tense and compelling things I’ve every seen. I was half convinced he was going to have a stroke right there, or that his heart would be what actually killed him in the closet scene later.

When Ophelia tells him about Hamlet charging into her room, he’s super wrong, of course, but he cares for his dauther truly. She deflates when he says “the very ecstasy of love” though, because it’s clear she won’t get any real help there.

ooh, they put To Be or Not to Be before polonius talks to him, not before the nunnery scene. interesting! It’s a fairly common visual trope for Hamlet to be barefoot at around this point in the play, but it’s always fun to see.

Polonius has a mic on him so Claudius and Gertrude can hear their conversation, and all of his asides are whispered into it, a fact Hamlet clearly KNOWS, because “Except my life” is said while mockingly lifting the collar of his teeshirt and whispering into it.

Rosencrantz and Guildenstern are perfect here, omg!!! Guil is a black woman, and Ros a tallish man, and you can tell all three were good friends. when Guil finally has to say "my lord, we were sent for" you can see on both their faces that this play just became a TRAGEDY. "o what a piece of work is man" isn't a show this hamlet is putting on, he's baring his soul, and ros and guil are literally CRYING for and with him, because they can clearly see how he’s changed. but because they know they have split loyalties they can't come closer to him to comfort him. poor babies! rosencrantz is very proud that he was able to save them by bringing up the Players, and behind hamlet's back, guildenstern mouths "tragedians" and gives him an approving nod when he gets it right. i love them so much, and they're up there with gary oldman and tim roth!

The Player is the same actor as King Hamlet, I’ve never seen that specific double casting, but it’s so perfect! Poor Hamlet trying his best to remember his speech — he’s trying his best and the actual players are very patient with him.

the middle of "O what a rogue and peasant slave" is the first moment when you can visibly see Hamlet lose it, instead of sinking into depression or twisting his own and other's words like he had been up to now, but then he pulls back suddenly and goes "why what an ass am I"

"He asked no questions, and was of our demands most free in his reply." ROSENCRANTZ, you LIAR! 27-3 and you think he might have had the edge?? But as he says this he puts his hand on Guil's shoulder to make sure she'll also keep to that story.

hey ouch, this was one of the most painful nunnery scenes i've ever seen! she's all dressed up for him, but so scared, but she rolls her eyes at the book Polonius has her read. they get a few moments to be cute together before they break up for good and they're just crying, and they KNOW they're being watched. then he laughs at the favors and just drops them on the ground before he walks away, and after she gathers them up and starts to go, he comes in through a different door to kiss her violently and throw water on her face, and everything just HURTS. (the water has a daisy in it!)

Polonius briefly checks that she’s okay but then goes back to talking to Claudius about sending  Hamlet to England. Meanwhile, in the background, she’s become fascinated by the daisy. She flinches away from everyone’s touch and stares at nothing, and I really like the clear progression in her, that her later breakdown isn’t just a reaction to one single shocking event, it’s all the slings and arrows that have been aimed at her throughout the play and her whole life.

ALERT, ALERT, HE'S PLAYING WITH HIS WATCH WHILE HE TELLS HORATIO HOW MUCH HE LOVES HIM!!!

(he also says Horatio is "not a pipe for fortune's finger to sound what stops you please," which is a line that's often left out, so i'd forgotten that metaphor was already on his mind)

the rest of the court enters through the auditorium, and sit in the front row to watch the show! and i only just now realized that when hamlet says "and my father died within these two hours" he's speaking ~madness~ but ALSO talking about the length of the play he's in.

The dumbshow is to the tune of One Too Many Mornings by Bob Dylan again, and shows papa hamlet's gonzago’s entire courtship with his wife, and them raising hamlet together and seeing him off to college, which then leads directly into the dialogue part of the play! it's SO GOOD.

The Lucianus monologue is very good, and then Claudius just walks out grimly, and it's presumably the intermission bc the screen goes staticky.

there's been a conceit of a camera following characters around and the image shows up on two sets of screens above the stage, so we get to see the play within the play AND hamlet et al's reaction to it at the same time.

Hamlet talks very fast and impatiently to Rosencrantz and Guildenstern as they try to tell him to visit his mother, and they’re trying SO HARD to connect with him. Interesting that the “My lord, you once did love me” line is given to Guildenstern, but it makes sense for how these characters have been played so far. I’m not at all worried that they did that to make the play straighter, because they do not shy away from the homoerotic subtext. And he pauses and really seems to think about his answer before saying “I do still, by these pickers and stealers.” And the recorder scene is just sad on both sides, everything is SAD

oh DAMN, claudius watches hamlet come into the room with a gun and then does his "O my offense is rank, it smells to heaven" speech, and seems to forget his audience as he tries to pray, and right after hamlet decides not to kill him yet, he stands and smirks and tells him "words without thoughts never to heaven go" and stands with his arms open, DARING hamlet to actually kill him. the last thing we see is his fingers trying to get a grip on the handle, and then a blackout.

if you don't know this play you might think he does it now.

when ros & guil find him he's wiping his bloody hands on polonius's shirt, and during the sponge bit he wrings it out so it drips on the floor. andrew scott is so gooood at this role but also legitimately scary.

and he's been playing with his watch more and more as everything gets more dire, i love this detail a whole bunch.

after hamlet calls claudius his mother, he hugs him and claudius reluctantly returns the embrace. for a brief moment hamlet seems to be seeking comfort here, and then he sniffles and breaks away. "To England" he says as he goes, mocking the accent.

so. ophelia. she's wheeled in strapped into a wheelchair, presumably at a psych facility. mostly she's turned inwards and singing softly, except when she hits her head and screams as if to say "you hurt me and ignored me, but you can't ignore the hurt you make me do to myself." and like. i get it, and i'm mostly glad that it's not the same version of mad ophelia you tend to see, where she's all over the stage and ripping her clothes, but still. it feels icky and ableist and like. fear tactics? shock factor? something like that.

laertes comes in looking truly unhinged -- actually gets gertrude kneeling on the ground with a gun at her temple, before claudius calms him down, and he's jumpy in a way that mirrors hamlet right after killing polonius. poor horatio is the first to come in and gets a gun pointed at him for his it. no one deserves any of what’s happening to them!

but laertes stills entirely when he sees ophelia. ouch.

flowers!

rosemary - the nurse who wheeled her chair

pansies - claudius

fennel and columbine - claudius's security guard

rue - gertrude

she drops the daisy on the ground and turns to laertes to apologize about the violets.

when claudius goes "where the offense is, let the great axe fall" gertrude looks at him sharply because THAT wasn't part of the plan, and he brushes her off with "I pray you"

the Bad Quarto scene with her and horatio is in here, and makes a LOT of sense given that interaction.

gertrude is in the doorway, unseen, as claudius tells laertes the only reason hamlet's not dead is because gertrude loves him so much. and then she's CLEARLY watching for his response when the messenger tells him about the letters from hamlet. i like this gertrude a lot.

(and I’m pretty sure I saw Hamlet being a sneaky boy and passing behind the window right by Claudius, as Claudius is handed his letters)

ooh, hamlet's wearing white and khaki when he comes back from the pirates, and he seems much calmer than he did the last time we saw him.

and laertes is so lost and sad when he says "what ceremony else?"

they're such good foils for each other, i can't stand it!

hamlet seems amazed as he asks "what is he, whose grief bears such an emphasis" and he's not angry when he climbs into the grave, more like he's expecting to be welcomed with open arms, and then he's just surprised when laertes tries to strangle him. when he says “yet have I in me something dangerous” he’s trying so hard to convince himself of this, oh kiddo.

welp, hamlet is no longer calm, as he screams about how much he loved ophelia, and writhes around on the ground. then he stands up like nothing happened and says "what is the reason you use me such?" and sounds so hurt.

some hamlets did not date laertes, but this one SUPER did

Hamlet feels bad about Rosencrantz and Guildenstern, but moves on quickly because he feels worse about Laertes, and it’s so painfully clear that he knows what genre he’s in. Osric is just a security guard (and later the judge for the fencing match) with no noticeable character but that works really well for this production, and Laertes has enough going on without having a boyfriend.

“Hamlet does it not… his madness” isn’t him giving up empty excuses, but real sorrow and despair, and maybe he really does believe he briefly became another person. I’m ! So ! Sad ! and oh SHIT, when laertes says "this one's too heavy" here, it's NOT to make sure he gets the poisoned blade but because he was moved by hamlet's apology and is BEGGING claudius to let him off the hook of needing to kill his friend, but claudius shakes his head and so they play.

HEY WOW RUDE!!! the music during the fencing match is Not Dark Yet (also by Bob Dylan) and everything HURTS

laertes FLINCHES and runs forward too late to stop claudius from putting in the poisoned pearl, and then he does his best to fight badly, and i'm going to CRY. hamlet's about to drink when gertrude runs forward with her napkin, then claudius grabs the cup from her and she maintains eye contact and they clasp hands as she drinks. she turns her choke into a laugh, while in the background laertes offers claudius preemptive sympathy. but everything is drawing to a close so he has to commit to hitting Hamlet, no matter his reservations.

the music stops as soon as hamlet is struck, and the brightness of the fencing match returns to the darkness of Act Two, but one by one they rise as ghosts, hand their watches over to King Hamlet, and go into the party upstage. And Laertes and Hamlet exchange forgiveness! it's a soft hopeful darkness though, something horatio wishes to be welcomed into, but hamlet tells him to "absent thee from felicity awhile" and he agrees.

hamlet gets scared for "the rest is silence" then it all snaps back to real time while he convulses in horatio's arms.

The play closes as it opens: with a bunch of news stories about the death of danish royalty.

And the closing credits are One More Cup of Coffee by Bob Dylan, it's so good!

[princefourteenbrasofnorway]

Why the distaste for Kenneth Branagh’s Hamlet? I’m genuinely curious; maybe i’m out of touch but that shit made me love the play even more (and giggle because some of it was so ridiculous).

I’m so glad u asked! (sorry for the hideously slow reply i’ve been so busy but i wanted to give a better answer than ‘kenneth succ >:( ‘ )Right. Where to begin.Kenneth Branagh has got to be the single most egotistical, narcissist, inept director i have ever witnessed. This begins with his whole ‘ah. who shall play the lead in this film i am directing....i know....ME!’ gig which seems to be a recurring theme in his movies. (I don’t always have a problem with the director playing a lead but it’s just this one is so exceptionally awful). This arrogance continues to feature throughout as it becomes less of a story of hamlet’s situation and life but more ‘the Kenneth Branagh show!’. The main points i have an issue with to do with this are the shot of hamlet and ophelia in bed together in which director Kenneth decided it was necessary to explicitly show the nature of Hamlet and Ophelia’s implied sexual relationship by having Hamlet (conveniently kenneth himself) and Ophelia (poor beautiful Kate Winslet) roll around on top of each other. almost for got to mention a fav: Hamlet’s death is made laughable by him wanting to be the entire focus of the screen as he’s carried out, eyes open in a pose resembling Jesus?? In fact the entire end of the play is a mess. Soldiers swinging in through windows? The camera focusing on a sword flying through the air with hollywood epic music playing in the background? Kenneth swinging down on a chandelier? Madness! (funny though i’ll give him that)Going back to the focus having to be on him at all times, Horatio is almost entirely uninvolved and detached from Hamlet’s death so the camera and attention goes to Hamlet alone.I also thought the way Ophelia’s madness was portrayed was entirely unoriginal, lazy and boring. I’ve seen so many interesting takes on it but that was so textbook come on kenny.I’m unmoved by all of the soliloquies apart from one that I’ll pick up on in a minute because the delivery is either just anger with none of the needed grief/sadness/emotion or just falls flat and empty. Most actors are on the ground or shaking and crying in Hamlet’s first soliloquy and his just seems bland in comparison.The only soliloquy that brought me any kind of emotion was the act four one in which he’s just screaming at the camera stood completely still in the snow as the camera gets further and further away. Made me laugh so 10/10 for that.I hated his take on Hamlet and Ophelia’s relationship again there was no depth to it it was just ‘wow hamlet’s a dick.’ and some throwing Kate Winslet around. Nothing more to it. Finally, don’t talk to me about Horatio. I know most directors are too scared to fully explore the fact that there’s probably something a bit less than heterosexual about Hamlet and Horatio’s relationship but Kenneth seems to be so hell bent against this that he’s taken away Horatio’s purpose and reduced him to an entirely irrelevant scene decoration. Most of Horatio’s character revolves around his affection for Hamlet and in the last scene he just stands and watches him die. Shakespeare is rolling in his grave watching this.In his defence at least he did the whole script word for word but at the end of the day his moustache doesn’t match his hair and his production is bad.

[quillsand]

RSC Hamlet liveblog

ok so i’m watching the filmed live rsc hamlet from last year and i decided to write down my thoughts as i watch it !!!! i’ve wanted to see this for ??? ages ?? so hopefully this should be fun !!!

this kind of got...... extremely long so i’ll put it under a read more !!!!

ok this staging is really nice and i like how they open at hamlet living a normal life at wittenberg before things go to shit

hiban abeysekera as horatio,,,, amazing casting. i’m in awe. he really gives off a skeptic vibe during the opening scene which is something i feel like a lot of horatio’s lack

(also the fact that they chose younger actors for hamlet and horatio and it shows. personally i’m all for the ‘hamlet in his late teens/early twenties’ theory and i’m glad they seem to be taking the same angle. given that they showed him graduating at the very beginning, i’d guess that puts him somewhere around 22/23, and probably the same for horatio)

claudius’ opening speech is perfect. he’s just the right amount of villain. not obviously villain but obviously fake. perf.

paapa essiedu has literally only said one line as hamlet so far and i can already tell he’s perfect. it seems like they’re going for a more angry hamlet, which i’m liking

okay but during his soliloquoy when hamlet says ‘frailty, thy name is woman’ it’s more of an exclamation and he’s looking straight at a portrait of gertrude when he says it, which i find quite interesting?? on the one hand you’ve got the obvious misogyny of the time, but here it almost feels like hamlet’s saying the opposite- as in, he will not submit as easily as his mother did to claudius’ rule

hamlet doesn’t stop crying when he sees horatio; they hug and he only wipes his eyes when the others enter. this made me far more emotional than it should’ve

these scene transitions are amazing

‘and your chaste.... treasure... open’ laertes sounds so awkward when he says this and ophelia literally puts her head on the ground and groans. amazing

i live for polonius’ rambling and cyril ni does it so well- everytime laertes opens his mouth to speak polonius just talks over him which is always how any interaction with polonius should be staged lbr

horatio grabbing hamlet by the waist and holding on to keep him from following the ghost,,,, i Approve

old hamlet’s ghost wearing bright colours in contrast to young hamlet’s black

instead of trying to make it scary when old hamlet’s ghost says ‘swear!’ they deliberately go for a humorous angle and it works. so. well. 

paapa essiedu’s hamlet is so savage,,, he goes from sincere to mocking in a matter of seconds especially after the  ‘there are more things in heaven and earth...’ line

they cut the scene with polonius and reynaldo to a couple of lines and i kind of miss the rest of the scene bc it does have some Quality polonius humour but also in context of this performance i think it probably works better without it ?? we go straight to ophelia’s distress and keep up with the fast pace

claudius and gertrude are literally so done with polonius, they start walking away whenever he strays off topic, at which he hastens to carry on with the useful information. staging done right

hamlet’s re-entrance in all colour like he’s mirroring old hamlet’s ghost

hamlet chasing polonius with a spray can,,,,,, i’m

‘except my life’ hamlet is laughing throughout this part up until the final ‘life’ at which point he just kind of. stops. 

rosencrantz and guildenstern talking to hamlet almost normally when he suddenly interrupts with the ‘were you not sent for?’ line

hamlet: so you /were/ sent for. guildenstern: pffffft.... maybe

i love how lively this performance is ??? just before the actors come in hamlet and co are on stage dancing to the drumbeat and it’s just,,v good

hamlet literally looks so transfixed by the actor’s performance- he doesn’t even notice when polonius interrupts

hamlet’s soliloquizing isn’t so much directed towards the audience as towards the sky. it kind of feels like he’s looking up to heaven/his father? i’m sure there’s some kind of Symbolism here i just can’t decide what. 

okay now i’m almost sure he’s looking to the heavens to old hamlet during the first part because the second half, from ‘treacherous villain!’ onwards is shouted /at/ the ground, aka claudius/hell

here it comes

wait for it

‘to be... or not.... to be. that is, the question.’ i’m in love with this delivery

hamlet is painting before ophelia enters and continues painting but with more aggression as the scene goes on until ‘get thee to a nunnery’

everytime he tells her to go to a nunnery, it’s pronounced very specifically, like he’s spelling out the words to a child. i’m not sure if this is meant to mock ophelia’s apparent lack of ‘innocence’ or not, but it’s very dramatic nevertheless

scratch that, this whole scene is dramatic. during the line about vanity and beauty hamlet paints on his own face and gets paint all over ophelia too, and then literally drags her across the stage before his exit

polonius offers ophelia a tissue and ophelia gets up and walks straight past him offstage

horatio is just the sweetest thing and i love him

‘hold him in my heart... as i do thee’ *five seconds of blushing and eye contact*

when polonius says ‘brutus killed me’ hamlet is tapping his chest i’m just,,, foreshadowing

when claudius stops the play and everyone is running around trying to get the lights hamlet is just stood in the background doing a victory dance it’s the Best thing

hamlet is very calm all through the rosencrantz and guildenstern interaction and then it gets to ‘you cannot play upon me’ and he just. screams it i’m so shook

claudius’ soliloquoy..... where do i begin. it feels really frantic and disjointed, like he knows time is catching up with him and also i think there are a lot of parallels to hamlet’s soliloquoys that really need exploring in greater depth but i don’t have time for that because here comes hamlet

once again, they mixed in a lot of comedy with the drama of the moment when hamlet has his moment of ~fatal indecision~ over whether to kill claudius then and there or not

polonius’ ‘oh. i am slain’ is the most hillarious thing. he doesn’t even sound surprised just vaguely amused #relatable

hamlet has his dad’s face tattooed on his chest... ok

the lighting during this scene changes so that gertrude and hamlet are mirroring the position of act 1 scene 4, with hamlet’s mother in the ghost’s place. i’m thinking it’s to show the role of parental influence over hamlet and also convenient staging for the ghost to appear behind gertrude

gertrude actually sees the ghost, just before it disappears, which i know is common to some productions but still

hamlet, dragging polonius’ body away: goooodniiiiiiight, motherrrrrr

the music turns to a rock score just before hamlet leaves for england with rosencrantz and guildenstern. it’s getting progressively darker and i love it

they included the fortinbras scene from the second folio !!!!! i’m so happy

ophelia screams when anyone touches her after her re-entrance- and i feel like it’s probably because of hamlet’s remarks about her chastity and abstinence. also the line ’we know what we are but not what we may be’ is shouted at claudius which, like, Effect

laERTES ENTERS FROM A FUCKING ROPE IN THE CEILING IM SCREAMING

instead of flowers ophelia just freaking pulls her own hair out to give to everyone.also she takes her jacket and bottoms off to make a figure on the floor which she’s either pretending is polonius or hamlet- possibly both

ophelia walks across the beam at the back of the stage as horatio reads hamlet’s letter until she’s just a shadow. 

there’s about ten seconds of silence after ‘your sister’s drowned, laertes!’ in which you can just see laertes face /crumble/ oh my god

‘too much of water, hast thou ophelia, and therefore i forbid my tears’ yeah well not me watch me cry like a baby over marcus griffiths acting skills like damn 

the gravediggers perform their lines as a song i don’t feel like this should work but it /does/

the gravedigger reminds me of a stand up comedian- most of his lines are directed to the audience instead of at hamlet despite the fact that they’re not asides and i really love the effect it gives but also it just makes me want to be in the original audience like 2000 times more

alAS POOR YORICK, I KNEW HIM HORATIO

hamlet throwing yorick’s skull to horatio- who looks surprised but not altogether that concerned. have i mentioned i love him

horatio calming hamlet down during ophelia’s grave scene by holding on to his arm as he’s about to attack laertes

laertes just looks so broken oh my god i’ve never seen a production where i sympathised with laertes so much

will hamlet and horatio judging osric together ever /not/ be my favourite part of any hamlet production? unlikely

oh no

oH NO

hamlet and laertes hugging before they fight is... everything tbh

gertrude’s poisoning doesn’t seem at all deliberate in this as there were multiple cups and she simply picked up the wrong one (i’m thinking of the 2009 hamlet where she seems to /know/ even before she drinks and continues whilst knowing the choice she’s making) i can’t think of a way in this one where the same could be said and i think i like it better that way tbh

laertes dies holding hamlet’s hand i just-

HAMLET DRINKS THE POISON SO HORATIO WON’T I’M 

i know in some productions he simply throws the cup away, or else horatio just puts it down bUT NO

‘the rest is silence’ is said so quietly; hamlet barely even gets the ‘silence’ out before he dies, it’s more like a rasp than a whisper even

horatio’s scream i can’t

he’s still cradling hamlet in his arms all throughout the conversation with fortinbras and all the way up until the curtain falls

im so emo

help me

the rest is silence

ok so to summarise

why did i start watching this at 10 it’s almost 2am

this cast is amazing

especially marcus griffiths

i love horatio

yep that’s about it