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It is noteworthy that even before her suicide, Juliet appears the stronger of the two, not least because Shakespeare develops her more fully and gives her an unusual amount of backstory. 5.

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Par Marlena Tronicke, «‘What are you doing?’: Re-Claiming Juliet’s Agency in the YouTube Series Sassy Gay Friend», Shakespeare en devenir [En ligne], IV.

Arts graphiques et nouveaux media, N°14 — 2019, Shakespeare en devenir, mis à jour le : 19/02/2022, URL : https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=1806. 241-258. Nonetheless, her unconventionally dominant behaviour conflicts with Renaissance gender norms and patriarchal discourses that require her to be silent and submissive.

O’NEILL, Stephen, Shakespeare and YouTube: New Media Forms of the Bard, London, Arden Shakespeare, 2014. As Susan Sontag makes clear, “Camp sees everything in quotation marks. At his first entrance, Romeo likens his feelings to “A madness most discreet, / A choking gall and a preserving sweet” before concluding “I have lost myself.

TRONICKE, Marlena, Shakespeare’s Suicides: Dead Bodies that Matter, New York & London, Routledge, 2018. […] To perceive Camp in objects and persons is to understand Being-as-Playing-a-Role.

4Linda Hutcheon, A Theory of Adaptation, New York, Routledge, 2013, p. The fact that this is also Romeo’s final line in the play highlights this action even further, but this is mainly due to dramatic convention – the kiss is verbalised rather than acted out.

In the case of Sassy GayFriend, this even works in a twofold way, as the series has in turn been adapted by individual YouTubers, who have filmed their own episodes with new characters.10 As a result, both Shakespeare’s characters and the series’s eponymous title character have freely wandered off into other texts, recognised as cultural objects in their own rights.

romeo and juliet sassy gay friend

Come on, you stupid bitch.

  • She's a stupid bitch.

  • (music)

    • 1If, as both the play itself and its critical history tell us, Romeo and Juliet’s love is the greatest and most tragic love story of all time, the underlying concept of love is remarkably ambivalent. 132-144.

    7Robert K.

    Logan, Understanding New Media: Extending Marshall McLuhan, New York, Peter Lang, 2010, p. Far from trivial, the question of whose weapon Juliet uses therefore either renders her suicide a self-determined act or a somewhat melodramatic Liebestod.

    17Catherine Belsey, “Gender and Family”, in Claire McEachern (ed.), The Cambridge Companion to Shakespearean Tragedy, Cambridge, CUP, 2002, p.


    O churl, drunk all, and left no friendly drop
    To help me after?

    SONTAG, Susan, Notes on ‘Camp’, London et. That Romeo later decides on actual suicide just as quickly as he previously offers to kill himself also speaks in favour of a general lifeweariness rather than an immediate response to Juliet’s banishment.