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A series of first female presidents from Commander in Chief to House of Cards
Elisabeth Bronfen

’s intentions’. 2 Furthermore, by speaking directly to us as an off-screen audience, even when other characters are present, Frank not only confides in us how he craftily influences politics. As Mario Klarer argues, he also entices us to believe ‘ourselves to be an accomplice of his’. 3 In that the conspiratorial address allows us to see behind his manipulations, it produces a sense of both intimacy and collusion. When describing the political ambitions that Frank shares with his wife Claire (Robin Wright), critics, in turn, have noted the resemblance to Macbeth and

in Serial Shakespeare
Deadwood
Elisabeth Bronfen

words directed at the disarticulated head perform an intimacy Al shares with no one else, facing this externalised double one last time not only allows him to meditate on his own fallibility. Speaking to the package is also a sustained performative action that keeps the Sioux chief alive in precisely the fragility of power they share. In contrast to Hamlet, it is this self-discovery that makes Al resolute in his final ploy against his enemy. Theatre of lawlessness In Measure for Measure ’s Duke Vincentio, Al has another fitting analogue in that he, too, is at the

in Serial Shakespeare
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The Americans
Elisabeth Bronfen

of her operations. When, in the process, she also confides to him her conflicted feelings about her husband, he tries to convince her to give up this marriage. He accuses her of foolishly insisting on living what to him was never anything other than a lie. Although Elizabeth can admit to Gregory that they share a history of real intimacy in a way she does not with her husband, she, nevertheless, cannot comply with his demand. If, though promising happiness, their union is conceived by the screenplay as an impossibility, this also gestures towards that which is

in Serial Shakespeare
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R. S. White

from neuroscience and the chemistry of the brain – infatuation, romance, and attachment (or passion, intimacy, and commitment). 2 But in the terms of this book, it is noteworthy first that the various kinds of love experiences available have a close relationship to the stories we are exposed to through films, and that are gathered into major genres and sub-genres like romantic comedy of courtship

in Shakespeare’s cinema of love
R. S. White

. The situation creates profound frustration in Viola. She is sexually drawn to Orsino and can on stage be placed in situations of erotic intimacy not only to enhance the comedy but also to emphasise her discomfort. In Tim Supple’s stage and film version, for example, she speaks to Orsino while he is naked in the bath. Concealed genital difference is played upon, as to

in Shakespeare’s cinema of love
Musical comedy
R. S. White

’s forthright invitation to ‘come back to my place’. While openly displaying desire to the point of lust, the men avoid intimacy and continue to work as a male group. This is marked by their common sailors’ uniforms, which becomes a problem when they need to disguise themselves as women to escape police attention (the men in Love’s Labour’s Lost disguise themselves as

in Shakespeare’s cinema of love