We have a new image of Dakota in Cymbeline, and screen capped the trailer too.
A hamfisted attempt to inject “relevance” into one of Shakespeare’s more unfashionable plays, Michael Almereyda’s “Cymbeline” works best as a cautionary tale concerning the dangers of of believing that everything written by The Bard is “timeless.” Laboring under the misconception that the problem with the play as written was the singular lack of Apple products, (“Prithee, hie and away to an iPhone that we may snapchat till the morrow, good sir”) and not the awkward, coincidence-laden plot nor the jawdroppingly regressive gender politics, both of which remain mystifyingly intact, Almereyda makes only the most cosmetic of changes. Language (admittedly streamlined), storyline, character and even place names remain, only the clothes, cars and gadgets differ. Still, a lot of name actors get to thesp about with “thous” and “wherefores,” and some even do it rather well.
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