Word: iambic
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Dates: during 1990-1999
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Written by Jacobean playwright Thomas Middleton in the early 17th century, Women Beware Women might seem at risk of being somewhat out-of-date: the tricky iambic pentameter of the dialogue and rather archaic betrothal practices are more reminiscent of Shakespearean times than they are of modern day America. However, the production is at times so wicked, so sensationalist (think lots of incest and death), that the audience can't help but be captivated. Whether it be the orgy at the end of the first act or the well-choreographed (but comedic) swordplay that results in death and still more...
...PREMISE: A tale of violence and passion in the 17th century set in iambic pentameter. But don't let that scare you away: there is enough poison, familial deception, and insanity to keep you on the edge of your seat...
...Solo, You Hold Your Own Hand and Remember That Depth Is the Greatest of Heights and If You Know Where You Stand, Then You Know Where to Land and If You Fall It Won't Matter 'Cuz You'll Know That You're Right. That's 90 words--in iambic quadrameter--if you're counting at home, but we could have said it in one: nonsense...
...offerings like Biography and PBS's American Masters aim to be definitive (and, more rarely, hard-hitting), while entertainment channels tend toward frothy love letters like CMT Showcase. Others are hybrids, like Bravo's brainy Bravo Profiles, which delves into artists' creative processes--it's fan mail, but in iambic pentameter. Likewise, Intimate Portrait has a classy roster of "women of substance," which it treats with extreme deference and the Lilith Fair aesthetics of a SnackWell's commercial. "We don't claim to be journalism," says Dawn Tarnofsky-Ostroff, Lifetime's executive vice president of entertainment. "We have a very...
Happily, this adaptation hasn't gone the way of others featuring beautiful blonde heroines (think Great Expectations). While iambic pentameter usually complicates dialogue enough to make directors resort to other narrative devices (dance in West Side Story and gaudy cinematography in Baz Luhrman's Romeo and Juliet), Hoffman's production miraculously retains both the language and the humor of the original version. Case in point, Calista Flockhart is surprisingly effective, delivering lightweight slams like "spite... oh hell!" with utter conviction. Less a comedy of language than a physical comedy of errors, film makes it possible to keep all the characters...