I first spotted the Deadpool / Shakespeare crossover in July 2016 and wrote that I was “cautiously optimistic”.  I wrote that I’m not a fan of the current trend of just writing things in iambic pentameter and calling it “Shakespearean”, nor do I appreciate the Kill Shakespeare technique of just having the characters kill each other. I suggested in my original post that while I was afraid of both of those things, I was still the picture of “wishful thinking”, because what if I’m wrong?

I’m not wrong.

Took me forever to find this.  I would periodically visit the local comic shops, flipping through the stacks and sometimes asking where I might find it. My mom even got me a gift card to the local Newbury Comics at my suggestion because I knew I’d have something to buy.

Never found it. That card just burned a hole in my pocket for the better part of a year until relatively recently (month or two ago?) when I finally asked a clerk whether anybody had it, and where I might find it. Turns out another store in Boston supposedly had it.  I file that knowledge. But then, a week or two later, we find ourselves in Boston.  Next thing you know I’m walking out of the store with Deadpool #7 : Deadpool Does Shakespeare. This is actually a reprint of the original, but hey, I’ll take it. This is the one with Deadpool dressed as Cupid on the cover, in case you’ve ever spotted it in the wild.

It is … about what I expected. It’s Deadpool after all, the “merc with the mouth”.  If you’re not familiar with the comic (or the movie), he’s famous for breaking the fourth wall and basically behaving as if he knows he’s in a comic book.  So he opens with something straight out of a PG-13 Twelfth Night: “What country, friends, is this? And what the f%&*???”

And so it goes. He meets Shakespeare, and kills him. When Hamlet’s father’s ghost appears, first Deadpool assumes that it’s Christmas, and then ponders whether they are in a galaxy far, far away (Ian Doescher, who wrote this one, also wrote the Star Wars crossover books).

It then turns into Kill Shakespeare, as our hero meets a steady stream of Shakespeare’s characters, all of whom claim to want to kill someone else, and who try to convince him that they’re the good guy and he should help them kill the bad guy.  All in some syllable-counting iambic pentameter.

I’m glad to add it to my collection, but there’s not much else I can say about it. It’s exactly what I thought it was going to be.

 

 

I have to admit, now that we know it’s cancelled, I’m disappointed.  I thought there was a lot wrong with it, but seeing Shakespeare and his fellows on tv every week was kind of exciting.  I know more people are sitting down to watch Game of Thrones every week but I enjoyed having a show of my own to anticipate.

This will be something of a live blog as I watch.  I DVR’d it last night but it’s live to me 🙂  Total spoilers will abound, so beware.

Weird that last week’s episode ends with Will running through town, but now he’s walking. Step it up, man! You’re girlfriend’s getting choked out.

I don’t love how Walsingham became an important character with just two episodes left. You can’t just drop a name like that and expect it to mean anything without a chance to learn about the character.

Suddenly Topcliffe’s enforcer (Justice Young?) is a real human, with a conscience? Again, would have been nice to learn more about this character. Holy…?! Just as I write that he kills the jailer as a cover story for letting Will escape with Alice.  Yikes.

It’s weird to watch this and have context for the real story.  The real Topcliffe did eventually get Southwell, and does live until old age.  So I am not expecting him to get any sort of comeuppance in this episode.  But I still want to see how it plays out.

Bizarre that Will can carry a nearly dead Alice around the streets and literally nobody turns their head to look at him.

Will ends up at Amelia Bassano’s house (makes sense) so her personal physician can take care of Alice (with leeches, of course).  This makes everything all better, and soon Will takes her home.

So, to be clear — in the time Topcliffe had her, he never bothered to get her name? He doesn’t immediately head to her house?  Not a great interrogator, it seems.

Now the whole Burbage family knows about Alice and Will, and worse, that he’s a Catholic. So this is what the whole series has been about, even calling back the “Topcliffe was looking for a man with a cut on his hand” from the first episode.  I just don’t feel like it’s built properly to these kinds of reveals. Nobody’s really explained how Richard III is going to be so screamingly obvious to everyone in the theatre (the groundlings are not known for their post graduate degrees, you know) that it’s a scathing satire of Topcliffe.

Watching Will explain to Richard that he’s in love with Alice is oddly reminiscent of Chandler trying to explain to Ross that he loves Monica.  They go from best friends to “that’s my sister!” *punch* But then five minutes later they’re besties again.

Wait, Marlowe’s still in this?  We don’t have time for Marlowe.  Now there’s going to be no resolution to his story at all, I’m afraid.

Hunsdon? They have to convince Hunsdon? Who is Hunsdon?  Is he the one that they did Midsummer for?  I feel like I’ve lost a lot of these characters’ significance.  (Yes, Lord Hunsdon is Henry Carey, who was with Amelia Bassano, and a real character from history.)

I also just realized that the “Tommy” that Marlowe keeps hanging around with is Thomas Walsingham, son of Sir Francis.  The real Marlowe definitely did have a relationship with the real Thomas Walsingham. Now that makes sense, how Marlowe was able to call upon him so quickly last week.

Marlowe finally tells the story of who the old guy was in the bed a few weeks ago – Barrett Emerson.  Unfortunately this appears to be a fictional character.  There’s some theory that perhaps he’s modeled on Lord Strange, but that’s all I can find.

Marlowe gets lots of screen time in this episode but now it just feels wasted, knowing that we’ll never get to really explore anything with it.

…ok, wait, are you kidding?  Next up is a scene of Southwell and his followers self-flagellating (i.e. whipping themselves) while chanting in Latin.  That looks like something straight out of a Dan Brown DaVinci Code novel, and is a ridiculous plot twist.  Was their intent to make Southwell look like a nut? He’s been turned into the villain the last few episodes, but now he looks crazy.

Here we go, time for the play. I’m actually surprised that it took me this long to see this whole plot device as a Hamlet thing, the whole “catch the conscience of the king” and what not.  I’ve been looking too closely at the source material and not the bigger picture.  Shame on me.

The play is good. I like how Richard steps up to play the lead, I wish we could have seen him in some more of the good stuff.  The ending, I won’t spoil. I’ll just say that I approve of how it all goes down. A bit anti-climactic, just kind of “Will the plan work?  Ok, yup it worked with no complications at all.”

 

Well I guess that’s it.  Alice and Will get something of a Shakespeare in Love ending, which is really kind of a cop-out.  Maybe if there’d been a season 2 they would have done something with it, but now we’ll never know.  Marlowe never comes of anything, other than to offer an Elizabethan “Swive you, Shakespeare”.  Nothing ever comes of Moll and Richard.  Topcliffe is last seen playing with his torture instruments as if he’s going to do something to himself, with no payoff.  Marlow asks Shakespeare what he’s going to do next, and I’m dying for him to drop a hint about a big play – remember earlier in the season when he mentioned Falstaff? And how he was going to write the greatest plays man has ever known?  Instead he just shakes his head and says nothing.  That might be the most painful part of the whole thing. If he’d described his idea for Hamlet or something it would have been perfect.

I hope it’s generally looked upon as “Shakespeare on prime time can work.”  Probably not, but we can always hope.

 

As a geek in the traditional (i.e. nerdy) sense of the word I have long been a huge fan of Neal Stephenson’s work.  Snow Crash, Diamond Age, Cryptonomicon, REAMDE, Anathem, Seveneves – all highly recommended.

So when I heard that he was doing a time travel story about Elizabethan England?  I did something I don’t usually do, I went ahead and got the hardcover.

Should have waited. I think this is the first Stephenson book that I can’t say I recommend. Most of the time, like with Seveneves or Anathem, I’ll ask, “Are you up for the challenge?”  Not here, not by a long shot.

Let’s get something out of the way. Shakespeare’s not in this. They do have a visit to Elizabethan England and do meet Richard Burbage and have what I’ll admit is an amusing scene there.  But that’s it.  There’s some discussion by others about Shakespeare’s work, but that’s it.  There’s a bit about the Irish that’s worth another blog post, coming soon. So if, like me, you’re interested in this book for the Shakespeare content? Save your money. There isn’t enough.

The rest of the book isn’t up to Stephenson’s standard.  He spends most of his time amusing himself with sophomoric pokes at bureaucracy and government, with various side trip opportunities to describe sexual stuff (like what happens when you put an 1800s prostitute and a Viking warrior in the same room together) that has nothing to do with the plot.  He seems so entertained by his own words that he forgot to write a compelling story.

Who knows, maybe I’m just so thrown off by the lack of Shakespeare that I’m being unnecessarily hard on this one. When I described it to coworkers they said, “Sounds entertaining despite itself.”  And it was, I’ll give it that. But I don’t go through these books (especially in hardcover!) just to be entertained. I want to get something out of it.  I don’t know what I got out of this other than temporary amusement.

 

Ok we’re heading toward a big finish and lots of plots are moving forward.

Richard Burbage is a changed man after coming out of the plague house. He’s showing more attention to Moll, which is pleasant. Shakespeare has written Richard III for him, but for some reason his father James wants to play the role (because “I made this theatre and I’ll play any role I want.”).  There’s actually a nice father/son moment between the two where Richard says, “You also made me, so when I play the role, it’ll be you playing the role as well.”

Alice Burbage has fallen under the spell of Southwell, agreeing not only to be baptized but also to carry Southwell’s book to … wherever it is that it needs to go.

This doesn’t go well after Marcus narcs on them to Topcliffe in an attempt to save his son.  Southwell and his people have no time for this, dispatching Marcus when he tries to prevent Southwell from escaping, and then leaving Alice behind to be captured.  Marlowe is there, however, and won’t stand for it. He brings Sir Francis Walsingham in (I kept thinking it was Bacon, to be honest), just before Alice can be whipped and tortured.  This however doesn’t stop Topcliffe from beating her (after everyone’s left them alone), and potentially choking her to death.  I honestly don’t know what’s going to happen.  I don’t know the real Alice Burbage’s story, so it’s quite possible that she dies in this. I’m curious.

There’s some Richard III content in this one as they teach Presto (the street urchin) to play the role of Prince Edward.  Honestly I wish I knew more about the play. I can’t recognize it from the quotes, other than the obvious ones.

Next week is the final episode. I have no idea if we’ll get another season. I have no idea what the ratings have been.  I guess I’ve liked it, once we got past the ridiculous sex and violence. I’ve watched every episode.  It’ll be a shame when it’s over.

 

Ok, after a great episode that was weak on sex and violence we’re back with blood flying.  This one opens up not just with a disembowelling but a decapitation. Awesome. This time it’s somebody we know – the fat guy from a few previous episodes who was captured and tortured. And this time we see Southwell in the audience praying for his soul.  This does not sit well with Marcus, whose son was busted by Topcliffe last week.

I don’t get most of this episode. There’s very little Shakespeare in it.  Their friend Autolycus – who is part of the storyline so infrequently that I would forget his name were it not for the reference to the text – has a new girlfriend.  Which ends up with him getting plague.  How that happens? I don’t know.

 

But he ends up in a plague house, which basically means he’s dead.  But a twist!  Burbage can’t let him go alone, so agrees to be boarded up in a plague house with him.  What? Did that actually happen? We know he’s not going to die, so I’m not sure what the writers are getting at with this little side trip.

Shakespeare has an idea – he’s going to write a story exposing the Queen’s torturer Topcliffe.  That play? Richard III.

Shakespeare learns that Southwell now has Alice Burbage on his side as well, which gets them (Shakespeare and Southwell) into an argument since Shakespeare sees it as putting Alice in harm’s way, while Southwell is

 

starting to be shown as a bit of a nut who cares only about people’s eternal spirit and is thus not troubled by people being captured and tortured.

Best line of the night? Alice says that Shakespeare’s offering nothing of value to the world because who cares about Henry VI Parts 1, 2, 3. He swears that he is working on a play of such greatness… to which she responds, “What, part 4? Does it have a funny dog?”  Ouch.

Marlowe is still his typical atheist self. Having failed to meet the devil he

wants to see Southwell, to meet god. We know how that’s going to go.

It’s clear that the story is racing toward some conclusions, but that also means focusing on the story that they’ve been telling, rather than Shakespeare’s biography. So you know how I’m going to feel about that.  I get it, I get why it’s necessary. I’m just not all that interested in it.  An episode like this is in the background while I do other things.

Let’s see what the next episode has for us!  There’s only ten I’m told, so whatever’s going to happen is going to happen soon.