A Station Eight Fan Web Site
By 2198, how much of New Olympian history is known to human scholars?
It's been years since I read it...
I think his historical and mythological background work is VERY helpful. I loved it.
But his interpretations of the plays seem very one-dimensional to me. In particular, he regards Hamlet as ambitious. He seems ONLY to regard Hamlet as ambitious and won't acknowledge that one of the most complex characters in Western Culture might have other aspects to his personality.
Mostly, I'd leave these things for individual readers to judge, but Asimov's name carries so much weight, that I felt a caveat was necessary.
The posting of the FAQ (thanks, Bishansky and JEB!) and your comments on them (including the "Weird Macbeth" part) prompted a question about this unmade two-parter from me.
We know that you had planned the following casting choices for this episode:
Macbeth as himself (or, more accurately, as his Shakespearean counterpart).
Demona as Lady Macbeth (the role that she was hatched to play :)
Goliath as Macduff
Elisa as Lady Macduff
Do you remember any of the other casting decisions for this story (i.e., who was to play Duncan, Malcolm, Banquo, Fleance, the Porter, etc.)?
Hudson was Duncan, I believe.
The rest I don't remember off-hand, largely because I don't think I had done much casting. It never got past the premise stage, unfortunately. It was the one story that I wanted to do that upper-management wouldn't approve. Even then, they were willing to approve it for a single episode. But I felt I couldn't do it justice in 22 minutes. So in essence, I'm the one who kiboshed it.
That really says something about the creative freedom we were given on the show. 66 episodes. And only one semi-rejected premise.
Did you plan to introduce any other Shakespeare plays into the Gargoyles Universe besides MacBeth, Ill Met by Moonlight and the Tempest? What did Oberon, Titania and Puck think of Ill Met by Moonlight? What did Prospero think of the Tempest?
I assume you mean "A Midsummer Night's Dream"...
I like to think that all were happy enough with Shakespeare's work. But except for Macbeth's reaction, I haven't fully worked out the responses in my mind.
In the old ask Greg, you told someone to repost a queston (what did Demona think of the play, Macbeth?) latter, after you thought about it. Well, I'm asking now.
Also, you said that Macbeth was highly amused by the play about him. Were you being sarcastic? I'd imagein that he would OUTRAGED at how William treated him, and his wife and made Duncan and Malcolm the mistreated ones. So was that just a smart ass answer on your part?
Do think Goliath likes James Joyce or William Faulkner? Just wanting to know 'cause I am trying out DUBLINERS, and I always have difficulty reading ABSALOM,ABSALOM! and, after three attempts, can never get past the third chapter! ARGH! I had an easier time with SOUND AND THE FURY. OK, thanks.
Goliath loves Shakespeare and Dostoyevski. I also love Shakespeare, but have trouble with Dostoyevski. I also LOVE Faulkner and have some trouble with Joyce. It suggests that Goliath's tastes are a bit more mature than mine.
Which is a long way of saying, Yes, he likes both.
I was going through the old archives and found that you had a hard time reading MERCHANT OF VENICE because of the anti-semitism you find in it. Well, I just thought you might like to check this out: one of my soon-to-be professors wrote a book called SHYLOCK AND THE JEWISH QUESTION, where he argues that MERCHANT... is not, in fact, an anti-semetical work at all. I didn't read that book, but I just thought to shed some new light or somehting like that. Oh, and if you do want to check this book out, the author's name is Martin Yaffe.
Thanks, I've heard of that book. Haven't gotten around to reading it yet.
In the long run, however, I personally don't think MERCHANT OF VENICE succeeds as an anti-semitic work. In fact, quite the reverse it winds up on the whole playing as, uh, pro-semitic?
But there are clear anti-semitic assumptions built into the work. Built into how Shakespeare was raised. Things that he doesn't know how to escape, may not even want to escape... but largely overcomes -- in spite of his intentions, to my mind. Because his power in drawing characters is so tremendous that he doesn't know how to create the stock Jewish villain without giving that character real life.
"I'll meet by moonlight" questions:
1 How does that name apply to the episode?
2 Why did Titanya and Oberon bother to make such a grand entrance? Or was that Avalon welcoming them back?
3 When Goliath, Gabreal and Angie fall into that water being filled filled by very hot lava, should not the water be too hot to swim in?
4 When Oberon made Goliath & his clan immune to his arts, was this some sota spell to make Oberon and his childern's magic not affect him, or was he saying he wouln't use his magic agenst them, or what?
5 By the end of the Gathering, did Oberon renew his promise about Goliath and clan being immune to his arts?
Not "I'll meet". "Ill Met". Very different.
1. It was an ill meeting under the moon when Oberon meets our gang. It's also a Shakespearean reference from "A Midsummer Night's Dream" the scene where Shakespeare introduces Oberon and Titania.
2. They do everything grand.
3. Stop calling her Angie.
5. He didn't have to. His word is law.
Where was the island of the Tempest in the Gargoyle universe? Does it still exist?
See my previous response.
1) In the Gargoyles universe, what happened to Caliban at the end of the Tempest?
2) Chronologically, where are the events of the Tempest placed in the Garg universe?
1. Not telling how the Tempest will be integrated.
2. See 1.
How did you come up the idea for Queen Mab, was it before or after Oberon first appered on the show?
After. But not long after. Mab's in Shakespeare, sort of. In a speech by Mercutio in Romeo and Juliet. So she was a natural addition to our ensemble.