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Twelfth Night
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This article is about Shakespeare's play. For other uses, see Twelfth Night (disambiguation).
Malvolio courts a bemused Olivia, while Maria covers her amusement, in an engraving by R. Staines after a painting by Daniel Maclise.
Twelfth Night, or What You Will[notes 1] is a comedy by William Shakespeare, believed to have been written around 1601–1602 as a Twelfth Night's entertainment for the close of the Christmas season. The play centres on the twins Viola and Sebastian, who are separated in a shipwreck. Viola (who is disguised as Cesario) falls in love with Duke Orsino, who in turn is in love with the Countess Olivia. Upon meeting Viola, Countess Olivia falls in love with her thinking she is a man.
The play expanded on the musical interludes and riotous disorder expected of the occasion,[1] with plot elements drawn from the short story "Of Apollonius and Silla" by Barnabe Rich, based on a story by Matteo Bandello. The first recorded performance was on 2 February 1602, at Candlemas, the formal end of Christmastide in the year's calendar. The play was not published until its inclusion in the 1623 First Folio.
Contents
[hide]
1 Characters
2 Synopsis
3 Setting
4 Sources
5 Date and text
6 Themes
6.1 Gender
6.2 Metatheatre
7 Performance history
7.1 During and just after Shakespeare's lifetime
7.2 Restoration to 20th century
7.3 20th and 21st century
8 Adaptations
8.1 Stage
8.2 Film
8.3 Television
8.4 Radio
8.5 Music
9 Influence
10 Notes
11 References
12 External links
Characters[edit]
Scene from Twelfth Night, by Francis Wheatley (1771–72)
Viola - a shipwrecked young woman who disguises herself as "Cesario"
Sebastian – Viola's twin brother
Duke Orsino – Duke of Illyria
Olivia – a wealthy countess
Malvolio – steward in Olivia's household
Maria – Olivia's gentlewoman
Sir Toby Belch – Olivia's uncle
Sir Andrew Aguecheek – friend of Sir Toby
Feste – Olivia's servant, a jester
Fabian – a servant in Olivia's household
Antonio – a sea captain and friend to Sebastian
Valentine and Curio – gentlemen attending on the Duke
A Servant of Olivia
A Sea Captain – friend to Viola
Synopsis[edit]
A depiction of Olivia by Edmund Leighton from The Graphic Gallery of Shakespeare's Heroines
Viola is shipwrecked on the coast of Illyria and she comes ashore with the help of a Captain. She has lost contact with her twin brother, Sebastian, who she believes to be drowned. With the aid of the Captain, she disguises herself as a young man under the name Cesario, and enters the service of Duke Orsino. Duke Orsino has convinced himself that he is in love with Olivia, who is mourning the recent deaths of her father and brother. She refuses to see entertainments, be in the company of men, or accept love or marriage proposals from anyone, the Duke included, until seven years have passed. Duke Orsino then uses 'Cesario' as an intermediary to profess his passionate love before Olivia. Olivia, however, falls in love with 'Cesario', setting her at odds with her professed duty. In the meantime, Viola has fallen in love with the Duke Orsino, creating a love triangle among Duke Orsino, Olivia and Viola: Viola loves Duke Orsino, Duke Orsino loves Olivia, and Olivia loves Viola disguised as Cesario.
Sir Toby Belch coming to the assistance of Sir Andrew Aguecheek, Arthur Boyd Houghton, c. 1854.
In the comic subplot, several characters conspire to make Olivia's pompous steward, Malvolio, believe that Olivia has fallen for him. This involves Olivia's riotous uncle, Sir Toby Belch; another would-be suitor, a silly squire named Sir Andrew Aguecheek; her servants Maria and Fabian; and her melancholy fool, Feste. Sir Toby and Sir Andrew engage themselves in drinking and revelry, thus disturbing the peace of Olivia's household until late into the night, prompting Malvolio to chastise them. Sir Toby famously retorts, "Dost thou think, because thou art virtuous, there shall be no more cakes and ale?" (Act II, Scene III).
Sir Toby, Sir Andrew, and Maria plan revenge on Malvolio. They convince Malvolio that Olivia is secretly in love with him by planting a love letter, written by Maria in Olivia's handwriting. It asks Malvolio to wear yellow stockings cross-gartered, to be rude to the rest of the servants, and to smile constantly in the presence of Olivia. Malvolio finds the letter and reacts in surprised delight. He starts acting out the contents of the letter to show Olivia his positive response. Olivia is shocked by the changes in Malvolio and agreeing that he seems mad, leaves him to be cared for by his tormentors. Pretending that Malvolio is insane, they lock him up in a dark chamber. Feste visits him to mock his insanity, both disguised as a priest and as himself.
Meanwhile, Viola's twin, Sebastian, has been rescued by Antonio, a sea captain who previously fought against Orsino, yet who accompanies Sebastian to Illyria, despite the danger, because of his affection for Sebastian. Sebastian's appearance adds the confusion of mistaken identities to the comedy. Taking Sebastian for 'Cesario', Olivia asks him to marry her, and they are secretly married in a church. Finally, when 'Cesario' and Sebastian appear in the presence of both Olivia and Orsino, there is more wonder and confusion at their physical similarity. At this point, Viola reveals her identity and is reunited with her twin brother.
The play ends in a declaration of marriage between Duke Orsino and Viola, and it is learned that Sir Toby has married Maria. Malvolio swears revenge on his tormentors and stalks off, but Orsino sends Fabian to placate him.
Setting[edit]
Illyria, the exotic setting of Twelfth Night, is important to the play's romantic atmosphere.
Illyria was an ancient region of the Western Balkans whose coast (the eastern coast of the Adriatic Sea which is the only part of ancient Illyria which is relevant to the play) covered (from north to south) the coasts of modern-day Slovenia, Croatia, Bosnia and Herzegovina, Montenegro, and Albania. It included the city-state of the Republic of Ragusa which has been proposed as the setting.[2]
Illyria may have been suggested by the Roman comedy Menaechmi, the plot of which also involves twins who are mistaken for each other. Illyria is also referred to as a site of pirates in Shakespeare's earlier play, Henry VI, Part 2. The names of most of the characters are Italian but some of the comic characters have English names. Oddly, the "Illyrian" lady Olivia has an English uncle, Sir Toby Belch.
It has been noted that the play's setting also has other English allusions such as Viola's use of "Westward ho!", a typical cry of 16th century London boatmen, and also Antonio's recommendation to Sebastian of "The Elephant" as where it is best to lodge in Illyria (The Elephant was a pub not far from the Globe Theatre).[3]
Sources[edit]
The play is believed to have drawn extensively on the Italian production Gl'ingannati (or The Deceived Ones),[4] collectively written by the Accademia degli Intronati in 1531. It is conjectured that the name of its male lead, Orsino, was suggested by Virginio Orsini, Duke of Bracciano, an Italian nobleman who visited London in the winter of 1600 to 1601.[5]
Another source story, "Of Apollonius and Silla", appeared in Barnabe Riche's collection, Riche his Farewell to Militarie Profession conteining verie pleasaunt discourses fit for a peaceable tyme (1581), which in turn is derived from a story by Matteo Bandello.[6]
"Twelfth Night" is a reference to the twelfth night after Christmas Day, called the Eve of the Feast of Epiphany. It was originally a Catholic holiday and therefore, like other Christian feast days, an occasion for revelry. Servants often dressed up as their masters, men as women and so forth. This history of festive ritual and Carnivalesque reversal, based on the ancient Roman festival of Saturnalia at the same time of year (characterized by drunken revelry and inversion of the social order; masters became slaves for a day, and vice versa), is the cultural origin of the play's gender confusion-driven plot.
The actual Elizabethan festival of Twelfth Night would involve the antics of a Lord of Misrule, who before leaving his temporary position of authority, would call for entertainment, songs and mummery; the play has been regarded as preserving this festive and traditional atmosphere of licensed disorder.[7] This leads to the general inversion of the order of things, most notably gender roles.[8] The embittered and isolated Malvolio can be regarded as an adversary of festive enjoyment and community,[9] led by Sir Toby Belch, "the vice-regent spokesman for cakes and ale" and his partner in a comic stock duo, the simple and constantly exploited Sir Andrew Aguecheek.[10]
Date and text[edit]
The title page of Twelfth Night from the 1623 First Folio
The full title of the play is Twelfth Night, or What You Will. Subtitles for plays were fashionable in the Elizabethan era, and though some editors place The Merchant of Venice's alternative title, The Jew of Venice, as a subtitle, this is the only Shakespearean play to bear one when first published.[11]
The play was probably finished between 1600 and 1601, a period suggested by the play's referencing of events which happened during that time. A law student, John Manningham, who was studying in the Middle Temple in London, described the performance on 2 February 1602 (Candlemas) which took place in the hall of the Middle Temple at the formal end of Christmastide in the year's calendar, and to which students were invited.[12] This was the first recorded performance of the play. The play was not published until its inclusion in the First Folio in 1623.
Themes[edit]
Gender[edit]
Viola is not alone among Shakespeare's cross-dressing heroines; in Shakespeare's theatre, convention dictated that adolescent boys play the roles of female characters, creating humour in the multiplicity of disguise found in a female character who for a while pretended at masculinity.[11] Her cross dressing enables Viola to fulfill usually male roles, such as acting as a messenger between Orsino and Olivia, as well as being Orsino's confidant. She does not, however, use her disguise to enable her to intervene directly in the plot (unlike other Shakespearean heroines such as Rosalind in As You Like It and Portia in The Merchant of Venice), remaining someone who allows "Time" to untangle the plot.[13] Viola's persistence in transvestism through her betrothal in the final scene of the play often engenders a discussion of the possibly homoerotic relationship between Viola and Orsino.
As the very nature of Twelfth Night explores gender identity and sexual attraction, having a male actor play Viola enhanced the impression of androgyny and sexual ambiguity.[14] Some modern scholars believe that Twelfth Night, with the added confusion of male actors and Viola's deception, addresses gender issues "with particular immediacy."[15] They also accept that the depiction of gender in Twelfth Night stems from the era's prevalent scientific theory that females are simply imperfect males.[14] This belief explains the almost indistinguishable differences between the sexes reflected in the casting and characters of Twelfth Night.
Metatheatre[edit]
At Olivia's first meeting with "Cesario" (Viola) in I.V she asks her "Are you a comedian?" (an Elizabethan term for "actor").[16] Viola's reply, "I am not that I play", epitomising her adoption of the role of Cesario, is regarded as one of several references to theatricality and "playing" within the play.[17] The plot against Malvolio revolves around these ideas, and Fabian remarks in Act III, Scene iv: "If this were play'd upon a stage now, I could condemn it as an improbable fiction".[18] In Act IV, Scene ii, Feste (The Fool) plays both parts in the "play" for Malvolio's benefit, alternating between adopting the voice of the local curate, Sir Topas, and his own voice. He finishes by likening himself to "the old Vice" of English Morality plays.[19] Other influences of the English folk tradition can be seen in Feste's songs and dialogue, such as his final song in Act V.[20] The last line of this song, "And we'll strive to please you every day", is a direct echo of similar lines from several English folk plays.[21]
Performance history[edit]
During and just after Shakespeare's lifetime[edit]
The earliest known performance took place at Middle Temple Hall, one of the Inns of Court, on Candlemas night, 2 February 1602. The only record of the performance is an entry in the diary of the lawyer John Manningham, who wrote:
At our feast we had a play called "Twelve Night, or What You Will", much like "The Comedy of Errors" or "Menaechmi" in Plautus, but most like and near to that in Italian called "Inganni". A good practice in it to make the steward believe his lady-widow was in love with him, by counterfeiting a letter as from his lady, in general terms telling him what she liked best in him and prescribing his gesture in smiling, his apparel, etc. and then, when he came to practice, making him believe they took him for mad.[22]
Clearly, Manningham enjoyed the Malvolio story most of all, and noted the play's similarity with Shakespeare's earlier play, as well as its relationship with one of its sources, the Inganni plays.
It may have been performed earlier as well, before the Court at Whitehall Palace on Twelfth Night (6 January) of 1601.[23] Twelfth Night was also performed at Court on Easter Monday, 6 April 1618, and again at Candlemas in 1623.
Restoration to 20th century[edit]
A Scene from Twelfth Night by William Shakespeare: Act V, Scene i (William Hamilton, c. 1797).
The play was also one of the earliest Shakespearean works acted at the start of the Restoration; Sir William Davenant's adaptation was staged in 1661, with Thomas Betterton in the role of Sir Toby Belch. Samuel Pepys thought it "a silly play", but saw it three times anyway during the period of his diary on 11 September 1661, 6 January 1663, and 20 January 1669. Another adaptation, Love Betray'd, or, The Agreeable Disappointment, was acted at Lincoln's Inn Fields in 1703.[5]
After holding the stage only in the adaptations in the late 17th century and early 18th century, the original Shakespearean text of Twelfth Night was revived in 1741, in a production at Drury Lane. In 1820 an operatic version by Frederic Reynolds was staged, with music composed by Henry Bishop.
20th and 21st century[edit]
Influential productions were staged in 1912, by Harley Granville-Barker, and in 1916, at the Old Vic.
Poster advertising performances of Twelfth Night by Yale University Dramatic Association, New Haven, Connecticut, 1921
Lilian Baylis reopened the long-dormant Sadler's Wells Theatre in 1931 with a notable production of the play starring Ralph Richardson as Sir Toby and John Gielgud as Malvolio. The Old Vic Theatre was reopened in 1950 (after suffering severe damage in the London Blitz in 1941) with a memorable production starring Peggy Ashcroft as Viola. Gielgud directed a production at the Shakespeare Memorial Theatre with Laurence Olivier as Malvolio and Vivien Leigh playing both Viola and Sebastian in 1955. The longest running Broadway production by far was Margaret Webster's 1940 staging starring Maurice Evans as Malvolio and Helen Hayes as Viola. It ran for 129 performances, more than twice as long as any other Broadway production.
A memorable production directed by Liviu Ciulei at the Guthrie Theater in Minneapolis, October–November 1984, was set in the context of an archetypal circus world, emphasising its convivial, carnival tone.[24]
When the play was first performed, all female parts were played by men or boys, but it has been the practice for some centuries now to cast women or girls in the female parts in all plays. The company of Shakespeare's Globe, London, has produced many notable, highly popular all-male performances, and a highlight of their 2002 season was Twelfth Night, with the Globe's artistic director Mark Rylance playing the part of Olivia. This season was preceded, in February, by a performance of the play by the same company at Middle Temple Hall, to celebrate the 400th anniversary of the play's première, at the same venue. The same production was revived in 2012-13 and transferred to sell-out runs in the West End and Broadway. Stephen Fry played Malvolio. It ran in repertory with Richard III.
Interpretations of the role of Viola have been given by many well-renowned actresses in the latter half of the 20th century, and have been interpreted in the light of how far they allow the audience to experience the transgressions of stereotypical gender roles.[25] This has sometimes correlated with how far productions of the play go towards reaffirming a sense of unification, for example a 1947 production concentrated on showing a post-World War II community reuniting at the end of the play, led by a robust hero/heroine in Viola, played by Beatrix Lehmann, then 44 years old.[26] The 1966 Royal Shakespeare Company production played on gender transgressions more obviously, with Diana Rigg as Viola showing much more physical attraction towards the duke than previously seen, and the court in general being a more physically demonstrative place, particularly between males.[27] John Barton's 1969 production starred Donald Sinden as Malvolio and Judi Dench as Viola; their performances were highly acclaimed and the production as a whole was commented on as showing a dying society crumbling into decay.[28]
Malvolio is a popular character choice among stage actors; others who have taken the part include Ian Holm many times, Simon Russell Beale (Donmar Warehouse, 2002), Richard Cordery in 2005, Patrick Stewart, in Chichester, in 2007, Derek Jacobi (Donmar Warehouse) in 2009, Richard Wilson in 2009[29] and Stephen Fry at the Globe in 2012.[30]
In March 2017, the Royal National Theatre's production of Twelfth Night [31] changed some of the roles from male to female, including Feste, Fabian (which became Fabia), and most notably, Malvolio - which became Malvolia - played by Tamsin Greig to largely positive reviews.[32][33][34][35] As a result, the production played with sexuality as well as gender.
In 2017/18, the Royal Shakespeare Company staged Twelfth Night, which was directed by Christopher Luscombe. Adrian Edmondson played Malvolio and Kara Tointon played Olivia.[36]
Adaptations[edit]
Stage[edit]
Due to its themes such as young women seeking independence in a "man's world", "gender-bending" and "same-sex attraction" (albeit in a roundabout way),[37] there have been a number of re-workings for the stage, particularly in musical theatre, among them Your Own Thing (1968), Music Is (1977), All Shook Up (2005), and Play On! (1997), the last two jukebox musicals featuring the music of Elvis Presley and Duke Ellington, respectively. Another adaptation is Illyria, by composer Pete Mills. Theatre Grottesco created a modern version of the play from the point of view of the servants working for Duke Orsino and Lady Olivia. The adaptation takes a much deeper look at the issues of classism, and society without leadership. In 1999, the play was adapted as Epiphany by the Takarazuka Revue, adding more overt commentary on the role of theatre and actors, as well as gender as applied to the stage (made more layered by the fact that all roles in this production were played by women).[38]
Film[edit]
See also: Shakespeare on screen § Twelfth Night
In 1910, Vitagraph Studios released the silent, short adaptation Twelfth Night starring actors Florence Turner, Julia Swayne Gordon and Marin Sais.
There was a 1986 Australian film.
The 1996 film adapted and directed by Trevor Nunn and set in the 19th century, stars Imogen Stubbs as Viola, Helena Bonham Carter as Olivia and Toby Stephens as Duke Orsino. The film also features Mel Smith as Sir Toby, Richard E. Grant as Sir Andrew, Ben Kingsley as Feste, Imelda Staunton as Maria and Nigel Hawthorne as Malvolio. Much of the comic material was downplayed into straightforward drama, and the film received some criticism for this.[39]
The 2001 "Disney Channel Original Movie" "Motocrossed" sets the story in the world of motocross racing.
In the 2004 movie Wicker Park, Rose Byrne's character Alex plays Viola in an amateur production of Twelfth Night.
The 2006 film She's the Man modernises the story as a contemporary teenage comedy (as 10 Things I Hate About You did with The Taming of the Shrew). It is set in a prep school named Illyria and incorporates the names of the play's major characters. For example, Orsino, Duke of Illyria becomes simply Duke Orsino ("Duke" being his forename). The story was changed to revolve around the idea of soccer rivalry but the twisted character romance remained the same as the original. Viola, the main character, pretends to be her brother Sebastian, and a girl named Olivia falls in love with Viola as Sebastian. She also goes to a restaurant named "Cesario's". Two of Duke's Illyria soccer teammates are named Andrew and Toby. A nod is given to the omitted subplot by naming a briefly-onscreen tarantula Malvolio. Sebastian’s ex-girlfriend Monique was given the surname Valentine, and the meddling Malcolm was given the surname Festes.
Shakespeare in Love contains several references to Twelfth Night. Near the end of the movie, Elizabeth I (Judi Dench) asks Shakespeare (Joseph Fiennes) to write a comedy for the Twelfth Night holiday. Shakespeare's love interest in the film, "Viola" (Gwyneth Paltrow), is the daughter of a wealthy merchant who disguises herself as a boy to become an actor; while Shakespeare, a financially struggling playwright suffering from writer's block is trying to write Romeo and Juliet. She is presented in the final scene of the film as William Shakespeare's "true" inspiration for the heroine of Twelfth Night. In a nod to the shipwrecked opening of Shakespeare's Twelfth Night, the movie includes a scene where the character Viola, separated from her love by an arranged marriage and bound for the American colonies, survives a shipwreck and comes ashore to Virginia.
Television[edit]
On 14 May 1937, the BBC Television Service in London broadcast a thirty-minute excerpt of the play, the first known instance of a work of Shakespeare being performed on television. Produced for the new medium by George More O'Ferrall, the production is also notable for having featured a young actress who would later go on to win an Academy Award – Greer Garson. As the performance was transmitted live from the BBC's studios at Alexandra Palace and the technology to record television programmes did not at the time exist, no visual record survives other than still photographs.[40]
The entire play was produced for television in 1939, directed by Michel Saint-Denis and starring another future Oscar-winner, Peggy Ashcroft. The part of Sir Toby Belch was taken by a young George Devine.
In 1957, another adaptation of the play was presented by NBC on U.S. television's Hallmark Hall of Fame, with Maurice Evans recreating his performance as Malvolio. This was the first color version ever produced on TV. Dennis King, Rosemary Harris, and Frances Hyland co-starred.
In 1966 there was an Australian TV version.
Another version for UK television was produced in 1969, directed by John Sichel and John Dexter. The production featured Joan Plowright as Viola and Sebastian, Alec Guinness as Malvolio, Ralph Richardson as Sir Toby Belch and Tommy Steele as an unusually prominent Feste.
Yet another TV adaptation followed in 1980. This version was part of the BBC Television Shakespeare series and featured Felicity Kendal in the role of Viola, Sinéad Cusack as Olivia, Alec McCowen as Malvolio and Robert Hardy as Sir Toby Belch.
In 1988, Kenneth Branagh's stage production of the play, starring Frances Barber as Viola and Richard Briers as Malvolio, was adapted for Thames Television.
In 1998 the Lincoln Center Theater production directed by Nicholas Hytner was broadcast on PBS Live From Lincoln Center. It starred Helen Hunt as Viola, Paul Rudd as Orsino, Kyra Sedgwick as Olivia, Philip Bosco as Malvolio, Brian Murray as Sir Toby, Max Wright as Sir Andrew, and David Patrick Kelly as Feste.
A 2003 telemovie adapted and directed by Tim Supple is set in the present day. It features David Troughton as Sir Toby, and is notable for its multi-ethnic cast including Parminder Nagra as Viola and Chiwetel Ejiofor as Orsino. Its portrayal of Viola and Sebastian's arrival in Illyria is reminiscent of news footage of asylum seekers.
An episode of the British series Skins, entitled Grace, featured the main characters playing Twelfth Night, with a love triangle between Franky, Liv and Matty, who respectively played Viola, Olivia and Orsino.
Radio[edit]
An adaptation of Twelfth Night by Cathleen Nesbitt for the BBC was the first complete Shakespeare play ever broadcast on British radio. This occurred on 28 May 1923, with Nesbitt as both Viola and Sebastian, and Gerald Lawrence as Orsino.[41]
In 1937 an adaptation was performed on the CBS Radio Playhouse starring Orson Welles as Orsino and Tallulah Bankhead as Viola. A year later, Welles played Malvolio in a production with his Mercury Theater Company.
There have been several full adaptations on BBC Radio. A 1982 BBC Radio 4 broadcast featured Alec McCowen as Orsino, Wendy Murray as Viola, Norman Rodway as Sir Toby Belch, Andrew Sachs as Sir Andrew Aguecheek, and Bernard Hepton as Malvolio; in 1993, BBC Radio 3 broadcast a version of the play (set on a Caribbean Island), with Michael Maloney as Orsino, Eve Matheson as Viola, Iain Cuthbertson as Malvolio, and Joss Ackland as Sir Toby Belch; this adaptation was broadcast again on 6 January 2011 by BBC Radio 7 (now Radio 4 Extra). 1998 saw another Radio 3 adaptation, with Michael Maloney, again as Orsino, Josette Simon as Olivia and Nicky Henson as Feste. In April 2012, BBC Radio 3 broadcast a version directed by Sally Avens, with Paul Ready as Orsino, Naomi Frederick as Viola, David Tennant as Malvolvio and Ron Cook as Sir Toby Belch.
Music[edit]
In 1888, Alexander Campbell Mackenzie composed an overture based on Twelfth Night.
In 1942, Gerald Finzi set the songs "O Mistress Mine" (Act II, Scene 3) and "Come Away, Come Away, Death" (Act II, Scene 4) to music as part of his song cycle on Shakespearean texts Let Us Garlands Bring.
Roger Quilter set "O Mistress Mine" and "Come Away, Come Away, Death" in his Three Shakespeare Songs, Op. 6.
Swedish composer Sven-Eric Johanson's song cycle for mixed chorus and piano "Fancies I" includes a setting in waltz time of "O Mistress Mine" (1974).
Influence[edit]
The Danish philosopher Søren Kierkegaard opens his book Philosophical Fragments with the quote "Better well hanged than ill wed" which is a paraphrase of Feste's comment to Maria in Act 1, Scene 5: "Many a good hanging prevents a bad marriage". Nietzsche also refers passingly to Twelfth Night (specifically, to Sir Andrew Aguecheek's suspicion, expressed in Act 1, Scene 3, that his excessive intake of beef is having an inverse effect on his wit) in the third essay of his Genealogy of Morality.
The Kiddy Grade characters Viola and Cesario are named for Viola and her alter ego Cesario, respectively.
Elizabeth Hand's novella Illyria features a high school production of Twelfth Night, containing many references to the play, especially Feste's song.
One of Club Penguin's plays, Twelfth Fish, is a spoof of Shakespeare's works. It is a story about a countess, a jester, and a bard who catch a fish that talks. As the play ends, they begin eating the fish. Many of the lines are parodies of Shakespeare.
Agatha Christie's 1940 mystery novel Sad Cypress draws its title from a song in Act II, Scene IV of Twelfth Night.
American playwright Ken Ludwig wrote a play inspired by the details of Twelfth Night, called Leading Ladies.
Cassandra Clare's 2009 novel City of Glass contains chapter names inspired by quotations of Antonio and Sebastian.
Two of the dogs in the film Hotel for Dogs are twins called Sebastian and Viola.
Clive Barker's short story "Sex, Death and Starshine" revolves around a doomed production of Twelfth Night.
The Baker Street Irregulars believe Sherlock Holmes's birthday to be January 6 due to the fact that Holmes quotes twice from Twelfth Night whereas he quotes only once from other Shakespeare plays.
Notes[edit]
Jump up ^ Use of spelling, capitalization, and punctuation in the First Folio: "Twelfe Night, Or what you will"
References[edit]
Jump up ^ Thomson, Peter (1983). Shakespeare's Theatre. London: Routledge & Kegan Paul. p. 94. ISBN 0710094809. OCLC 9154553. Shakespeare, having tackled the theatrical problems of providing Twelfth Night with effective musical interludes, found his attitude toward his material changed. An episodic story became in his mind a thing of dreams and themes.
Jump up ^ Torbarina, Josip (June 1964). "The Settings of Shakespeare's Plays". Studia Romanica et Anglica Zagrabiensia (17–18): 21–59. ISSN 0039-3339. OCLC 760940009.
Jump up ^ Shakespeare, William (2004). Donno, Elizabeth Story, ed. Twelfth night, or, What you will (Updated ed.). Cambridge: Cambridge University Press. p. 7. ISBN 9780521827928. OCLC 54824521.
Jump up ^ Caldecott, Henry Stratford (1896). Our English Homer, or, The Bacon-Shakespeare Controversy: A Lecture. Johannesburg: Johannesburg Times. p. 9. OCLC 83492745.
^ Jump up to: a b Halliday, F. E. (1964). A Shakespeare Companion 1564–1964 (First ed.). Harmondsworth: Penguin. pp. 71, 505. OCLC 69117982.
Jump up ^ Griffin, Alice (1966). The Sources of Ten Shakespearean Plays (First ed.). New York: T.Y. Crowell. OCLC 350534.
Jump up ^ Laroque, François. Shakespeare's Festive World: Elizabethan Seasonal Entertainment and the Professional Stage. Cambridge University Press, 1991, p. 153.
Jump up ^ Laroque, p. 227.
Jump up ^ Laroque, p. 254.
Jump up ^ Clayton, Thomas. "Shakespeare at The Guthrie: Twelfth Night" in Shakespeare Quarterly 36.3 (Autumn 1985), p. 354.
^ Jump up to: a b Shakespeare, William; Stephen Greenblatt; Walter Cohen; Jean E. Howard; Katharine Eisaman Maus; Andrew Gurr (1997). The Norton Shakespeare (First ed.). New York: W.W. Norton. pp. 40, 1090. ISBN 0-393-97087-6.
Jump up ^ Hobgood, Allison P. (Fall 2006). "Twelfth Night's "Notorious Abuse" of Malvolio: Shame, Humorality, and Early Modern Spectatorship" (PDF). Shakespeare Bulletin. Retrieved 17 November 2012.
Jump up ^ Hodgdon, Barbara: "Sexual Disguise and the Theatre of Gender" in The Cambridge Companion to Shakespearean Comedy, edited by Alexander Leggatt. Cambridge University Press, 2002, p. 186.
^ Jump up to: a b Charles, Casey. "Gender Trouble in Twelfth Night." Theatre Journal. Vol. 49, No. 2 (1997): 121-141, p. 124.
Jump up ^ Smith, Bruce R. "Introduction." Twelfth Night. Boston: Bedford/St. Martin's, 2001.
Jump up ^ Lothian and Craik, p. 30.
Jump up ^ Righter, Anne. Shakespeare and the Idea of the Play. Chatto & Windus, 1962, p. 130.
Jump up ^ Righter, p. 136.
Jump up ^ Righter, p. 133.
Jump up ^ Weimann, Robert. Shakespeare and the Popular Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and Function, page 41. The Johns Hopkins University Press, 1978.
Jump up ^ Weimann, p. 43.
Jump up ^ Shakespeare, William; Smith, Bruce R. (2001). Twelfth Night: Texts and Contexts. Boston: Bedford/St Martin's. p. 2. ISBN 0-312-20219-9.
Jump up ^ Hotson, Leslie (1954). The First Night of Twelfth Night (First ed.). New York: Macmillan. OCLC 353282.
Jump up ^ The production was extensively reviewed by Thomas Clayton, "Shakespeare at The Guthrie: Twelfth Night" for Shakespeare Quarterly 36.3 (Autumn 1985:353–359).
Jump up ^ Gay, Penny. As She Likes It: Shakespeare's Unruly Heroines. London: Routledge, 1994, p. 15.
Jump up ^ Gay, Penny: pp. 18-20.
Jump up ^ Gay, Penny, p. 30.
Jump up ^ Gay, Penny, p. 34.
Jump up ^ Costa, Maddy (20 October 2009). "Malvolio – the killjoy the stars love to play". The Guardian. Retrieved 17 November 2012.
Jump up ^ Costa, Maddy (1 October 2012). "Stephen Fry's Twelfth Night: this all-male affair is no one-man show". The Guardian. Retrieved July 2, 2012.
Jump up ^ "Twelfth Night - National Theatre". www.nationaltheatre.org.uk.
Jump up ^ Clapp, Susannah (26 February 2017). "Twelfth Night review – on high gender alert with Tamsin Greig" – via The Guardian.
Jump up ^ Billington, Michael (23 February 2017). "Twelfth Night review – Tamsin Greig is brilliant in a show full of fun" – via The Guardian.
Jump up ^ "Twelfth Night, National's Olivier Theatre review: Tamsin Greig shines in a production otherwise at sea".
Jump up ^ "Twelfth Night theatre review: Tamsin Greig brings dazzling comic brio to a gender-bending production ★★★★★".
Jump up ^ "About the play - Twelfth Night - Royal Shakespeare Company". www.rsc.org.uk.
Jump up ^ Examined, for example, in Jami Ake, "Glimpsing a 'Lesbian' Poetics in Twelfth Night", Studies in English Literature, 1500–1900, 43.2, Tudor and Stuart Drama (Spring 2003) pp 375–94.
Jump up ^ "Epiphany (Star, 1999) Epiphany (Bow Shakespeare Series #8)". takarazuka-revue.info. Retrieved 11 December 2010.
Jump up ^ "Twelfth Night: Or What You Will (1996)". Foster on Film. Retrieved 11 December 2010.
Jump up ^ Vahimagi, Tise; British Film Institute (1994). British Television: An Illustrated Guide. Oxford: Oxford University Press. p. 8. ISBN 0-19-818336-4.
Jump up ^ British Universities Film & Video Council. Retrieved 19 April 2016
Donno, Elizabeth Story (ed.): Twelfth Night (Cambridge, 2003)
Mahood, M. M. (ed.) Twelfth Night (Penguin, 1995)
Pennington, Michael: Twelfth Night: a user's guide (New York, 2000)
Mulherin, Jennifer: Twelfth Night (Shakespeare for Everyone)
External links[edit]
Wikisource has original text related to this article:
Twelfth Night
Wikimedia Commons has media related to Twelfth Night.
Wikiquote has quotations related to: Twelfth Night
Twelfth Night at the Internet Broadway Database
Twelfth Night at the Internet Off-Broadway Database
Twelfth Night on IMDb
Twelfth Night Navigator Includes annotated text, line numbers, scene index with scene summaries, and a search engine.
Searchable Twelfth Night Etext Unattributed edited version: bare bones, but with a long summary.
Twelfth Night at the British Library
Twelfth Night plain text from Project Gutenberg
Twelfth Night public domain audiobook at LibriVox
Lesson plans for Twelfth Night at Web English Teacher
Twelfth Night study guide and teacher resources – themes, quotes, multimedia, study questions
For an analysis of various characters in Twelfth Night, one may refer to Pinaki Roy's essay “Epiphanies: Rereading Select Characters in William Shakespeare’s Twelfth Night”, published in Yearly Shakespeare – 2012 (I.S.S.N. 0976-9536) 10, April 2012: 53-60.
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text:
Where Do You Go To (My Lovely)?
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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2009) (Learn how and when to remove this template message)
"Where Do You Go To (My Lovely)?"
Single by Peter Sarstedt
from the album Peter Sarstedt
B-side
"Morning Mountain"
Released
January 1969 (1969-01)
Format
7"
Genre
Folk
pop
waltz
Length
4:42
Label
United Artists
Songwriter(s)
Peter Sarstedt
Producer(s)
Ray Singer
Peter Sarstedt singles chronology
"I Am a Cathedral"
(1968) "Where Do You Go To (My Lovely)?"
(1969) "Frozen Orange Juice"
(1969)
"I Am a Cathedral"
(1968) "Where Do You Go To (My Lovely)?"
(1969) "Frozen Orange Juice"
(1969)
"Where Do You Go To (My Lovely)?" is a song by the British singer-songwriter Peter Sarstedt. Its recording was produced by Ray Singer, engineered by John Mackswith at Lansdowne Recording Studios and released in 1969. It was a number-one 1 hit in the UK Singles Chart for four weeks in 1969,[1] and was awarded the 1969 Ivor Novello Award for Best Song Musically and Lyrically.[2] In the United States, the record reached No. 61 on the Cash Box Top 100 Singles. The single also peaked at No. 70 on the Billboard Hot 100 that May.
The music has been described as "a faux European waltz tune"[3] and the arrangement is a very simple one of strummed acoustic guitar and bass guitar, with brief bursts of French-style accordion at the start and the end. The arranger and conductor was Ian Green.[4]
Contents
[hide]
1 Lyrics
2 Inspiration
3 Reception
4 Sequel
5 References
Lyrics[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2014) (Learn how and when to remove this template message)
The song is about a fictional girl named Marie-Claire who grows up on the poverty-stricken backstreets of Naples, becomes a member of the jet set, and goes on to live in Paris. The lyrics describe her from the perspective of a childhood friend; it is left unclear whether they have remained close. The rhetorical question of the title suggests that her glamorous lifestyle might not have brought Marie-Claire happiness or contentment.
Even though Sarstedt himself was not French, the song benefited from the contemporary awareness in Britain of such French and Belgian singers as Serge Gainsbourg and Jacques Brel (Belgium-born of Flemish descent).
The lyrics contain a large number of contemporary and other references:
Marlene Dietrich: German American actress and singer
Zizi Jeanmaire: French ballerina
Pierre Balmain: French designer of elegant fashions
Boulevard Saint-Michel: street in the Latin Quarter of Paris
The Rolling Stones: popular British rock and roll band
Sacha Distel: French singer and musician
Sorbonne: University of Paris
Picasso: Spanish pioneer of modern art
Juan-les-Pins: fashionable beach resort on the French Riviera
Topless swimsuit: first conceived by Austrian-American fashion designer Rudi Gernreich in 1964
Saint Moritz: fashionable ski resort in the Engadin, Swiss Alps
Napoleon brandy: a blended brandy in which the youngest brandy of the blend has been aged for at least six years
Aga Khan: world-travelling Islamic leader and racehorse owner
The version on the album Peter Sarstedt is longer than the radio edit version released as a single, having extra stanzas beginning "You go to the embassy parties..." and "You're in between twenty and thirty...".
Inspiration[edit]
It is often suspected that the name Marie-Claire is inspired by Marie Claire magazine, a women's fashion weekly that began in 1937 in France. One theory says that the song is about the Italian actress Sophia Loren, who was abandoned by her father and had a poverty-stricken life in Naples. Another theory has the song being inspired by Danish singer and actress Nina van Pallandt.
According to Alan Cooper, "Sarstedt insisted it was not written with actress Sophia Loren in mind. 'Yes, it's a portrait of a poor-born girl who becomes a member of the European jet-set. And yes, there's reference to her growing up on the 'back streets of Naples', so I can see why people may think it was written with Sophia Loren in mind. But that's just a coincidence. I really wasn't thinking of anyone specific.'"[5]
The song was written in Copenhagen.[6][7]
In 2009, Sarstedt spoke to a gossip columnist for the Daily Express. He admitted he had lied about the song being about a socialite who died in a fire. He said that the song was about his girlfriend at the time, whom he later married and then divorced. According to Mark Steyn, "Anita is now a dentist in Copenhagen. Peter Sarstedt has spent 40 years singing about wanting to look inside her head. And for most of that time Anita has made a living by looking inside yours."[8]
Reception[edit]
The song was a hit far exceeding Sarstedt's other work, although he is not a one-hit wonder. In 1998 he was earning £60,000 annually in royalties from it.[9]
DJ John Peel repeatedly stated that the song was one of his least favourites. On his show on BFBS radio on 1st July 1989, he said 'It's a terrible, smug, self-satisfied, hideous record. Really have hated it ever since I first heard it'.
The song was used as a soundtrack in Wes Anderson's 2007 film The Darjeeling Limited, and in Jennifer Saunders' 2016 film Absolutely Fabulous: The Movie.
Sequel[edit]
In 1997 Sarstedt recorded a sequel, "The Last of the Breed (Lovely 2)" on his CD England's Lane.[10] This picks up the story of Marie Claire twenty years on, living now in London. It names more people and places, including Belgravia, Ballets Russes, Cape Town, Claridge's, Gstaad, John Galliano, Harrods, Jerusalem, Long Island, Milan, Rudolf Nureyev, Palm Beach, Rio de Janeiro, and Isabella Rossellini.[11] In recent years,[when?] Sarstedt and a co-writer were working on a further sequel, "Farewell Marie-Claire", in which the story was brought to a conclusion. The song was to feature the same waltz feel as the original. But Sarstedt's retirement from the music industry meant that the track was abandoned.[citation needed]
References[edit]
Jump up ^ Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. pp. 229–30. ISBN 1-904994-10-5.
Jump up ^ Lister, David (27 May 1994). "Pop ballads bite back in lyrical fashion". The Independent. Retrieved 26 June 2017.
Jump up ^ Eder, Bruce. "Peter Sarstedt: biography". Allmusic. Retrieved 7 October 2012.
Jump up ^ "Record Details". 45cat. Retrieved 26 June 2017.
Jump up ^ "60's chart topper Peter Sarstedt visits the KZN Midlands". Treeroutes.co.za. Archived from the original on 2014-07-22. Retrieved 2014-03-26.
Jump up ^ Confirmation of this can be found on the CD cover of The Best of Peter Sarstedt, EMI, nr. 8297622, Australian CD.
Jump up ^ "One of those songs by Sarstedt". Sydney Morning Herald. 27 June 1982. Retrieved 2014-05-11.
Jump up ^ Steyn, Mark. "Where Do You Go To My Lovely". Steyn Online. Mark Steyn. Retrieved 10 January 2017.
Jump up ^ Murphy, Peter (27 May 1998). "So Where Did You Go To, My Lovely?". Hot Press. Dublin. Retrieved 2 September 2016.
Jump up ^ England's Lane released as Round Tower RTM CD89
Jump up ^ "Untitled" (PDF). Archived from the original (PDF) on 2 May 2006. Retrieved 26 June 2017.

Preceded by
"(If Paradise Is) Half as Nice" by Amen Corner UK number one single
26 February 1969 Succeeded by
"I Heard It Through the Grapevine" by Marvin Gaye
[hide]
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Ivor Novello Awards – Best Song Musically and Lyrically
1960s
She's Leaving Home (1968)
1970s
Where Do You Go To (My Lovely)? (1970)
Something (1971)
Don't Let It Die (1972)
Without You (1973)
Daniel (1974)
Streets of London* (1975)
Don't Cry for Me Argentina (1978)
Baker Street (1979)
1980s
The Logical Song (1980)
Woman in Love (1981)
Memory (1982)
Have You Ever Been in Love (1983)
Every Breath You Take (1984)
Against All Odds (1985)
Nikita (1986)
Don't Give Up (1987)
Something Inside So Strong (1988)
They Dance Alone (1989)
1990s
The Living Years (1990)
Sacrifice (1991)
The Whole of the Moon (1992)
Why (1993)
If I Ever Lose My Faith in You (1994)
Think Twice (1995)
Common People (1996)
Too Much Love Will Kill You (1997)
Paranoid Android (1998)
Believe (1999)
2000s
Strong (2000)
Babylon (2001)
Walk On (2002)
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Leave Right Now (2004)
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Suddenly I See (2006)
Elusive (2007)
Love Is a Losing Game (2008)
One Day Like This (2009)
2010s
The Fear (2010)
Becoming a Jackal (2011)
The A Team (2012)
Next to Me (2013)
Strong (2014)
Take Me to Church (2015)
Wasn't Expecting That (2016)
Black Man in a White World (2017)
*Awarded as The Best Song
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Rick and Morty (season 3)
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Rick and Morty (season 3)
Promotional poster
Country of origin
United States
No. of episodes
10
Release
Original network
Adult Swim
Original release
April 1 (2017-04-01)[a] – October 1, 2017 (2017-10-01)
Season chronology
← Previous
Season 2
List of Rick and Morty episodes
The third season of the animated television series Rick and Morty originally aired in the United States on Cartoon Network's late night programming block, Adult Swim. It premiered with "The Rickshank Rickdemption," which aired unannounced on April 1, 2017 and was replayed every half hour from 8pm to 12am ET, as part of Adult Swim's annual April Fools' prank. The episode was also simulcast as a looping live stream on Adult Swim's site.[1] The remaining episodes began airing four months later and concluded on October 1, 2017 with "The Rickchurian Mortydate". This season aired a total of ten episodes, despite co-creator Justin Roiland stating that they were "supposed to do 14 this season".[2]
Contents
[hide]
1 Cast and characters
1.1 Main cast
1.2 Guest cast
1.3 Other cast members
2 Episodes
3 Production
4 Reception
5 Notes
6 References
Cast and characters[edit]
See also: List of Rick and Morty characters
The actors and actresses listed below lend their voices to the corresponding animated characters.
Main cast[edit]
Justin Roiland as Rick Sanchez and Morty Smith, the two main characters of the show; Rick is an eccentric mad scientist and Morty is his kind but easily distressed grandson.[3]
Chris Parnell as Jerry Smith, Rick's son-in-law and Morty's father; a simple-minded and insecure person, who disapproves of Rick's influence over his family.[3]
Spencer Grammer as Summer Smith, Rick's granddaughter and Morty's sister; a conventional teenager who worries about improving her status among her peers.[3]
Sarah Chalke as Beth Smith, Rick's daughter and Morty's mother; a generally level-headed person, who is dissatisfied with her marriage.[3]
Guest cast[edit]
Nathan Fillion as Cornvelious Daniel, a galactic federation agent.[4]
Tony Hale as Eli, Summer's neighbor in a post-apocalyptic version of Earth.[5]
Joel McHale as Hemorrhage, the leader of the post-apocalyptic scavenger group Death Stalkers.[5]
Susan Sarandon as Dr. Wong, a family therapist.[6]
Danny Trejo as Jaguar, a human held prisoner by foreign government agents.[6]
Peter Serafinowicz as a foreign government agency director.[6]
Christian Slater as Vance Maximus Renegade Star Soldier, the leader of the superhero group The Vindicators.[7]
Gillian Jacobs as Supernova, a member of The Vindicators.[7]
Logic (Bobby Hall) as himself, a performer at a party.[7]
Lance Reddick as Alan Rails, a member of The Vindicators.[7]
Thomas Middleditch as King Tommy, a childhood friend of Beth.[8]
Keith David as President of the United States.[9]
Other cast members[edit]
Other cast members of the season, who each have voiced one or more characters, include: Dan Harmon, Brandon Johnson, Tom Kenny, Maurice LaMarche, Nolan North, Cassie Steele, Kari Wahlgren, Laura Bailey, John DiMaggio, Ryan Ridley, Scott Chernoff, Dan Benson, Clancy Brown, Echo Kellum, Melique Berger, William Holmes, Tara Strong, Jeff B. Davis, Jonas Briedis, Phil Hendrie, Rob Paulsen, Alex Jayne Go, Jennifer Hale and Mariana Wise.
Episodes[edit]
See also: List of Rick and Morty episodes
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)
22
1 "The Rickshank Rickdemption" Juan Meza-León Mike McMahan April 1, 2017 (2017-04-01) 0.68[10][b]
Rick is interrogated via a mind-computer link, inside a galactic federal prison. Summer and Morty attempt to rescue him, but they are captured by SEAL Team Ricks, who take them to the Citadel of Ricks and decide to assassinate Rick. Back at the prison, Rick tricks both the federal agents and his aspiring assassins by switching bodies with them. He then teleports the entire Citadel into the federal prison, prompting a massive battle. Amid the confusion, Rick rescues Morty and Summer and uses the Galactic Federation's mainframe to make its currency worthless. The Federation falls into chaos and collapses as a result, with the aliens leaving Earth. Rick, Morty, and Summer return home, where Jerry gives Beth an ultimatum to choose between him and Rick. She chooses Rick. After the new status quo is established, Rick reveals to Morty that his ulterior motive was to become his de facto male influence. This escalates into a nonsensical angry rant that parallels the final scene of the pilot, but this time it is centered around Rick's desire to find more of the discontinued McDonald's Szechuan sauce, a promotional product for the 1998 Disney film Mulan.
Post-credit scene: Tammy observes Bird Person's resurrection as a cyborg dubbed "Phoenix Person".
23
2 "Rickmancing the Stone" Dominic Polcino Jane Becker July 30, 2017 (2017-07-30) 2.86[11]
Rick takes Morty and Summer to a Mad Max-esque version of Earth, where they are chased by a group of scavengers, known as Death Stalkers. Rick notices that the group is carrying a valuable rock of Isotope 322, so he and the kids join them in hope of stealing it. Summer falls in love with the Death Stalkers' leader, while Morty is given the strength of a giant arm, which takes him in search of its previous owner's killer. Rick leaves and replaces the kids with androids to fool Beth. When he returns, he helps the Death Stalkers use the Isotope to power a more advanced civilization. Summer doesn't like how the change softens the Death Stalkers, and she decides to follow Rick and Morty back home. Before leaving, Rick steals the Isotope. The experience helps the kids overcome their parents' divorce. Summer reconciles with Jerry, and Morty realizes he must live his own life.
Post-credit scene: As Jerry receives his unemployment check, a growling wolf appears and bullies him into handing it over. The wolf eats the check and regurgitates it, thus further ruining Jerry's new life.
24
3 "Pickle Rick" Anthony Chun Jessica Gao August 6, 2017 (2017-08-06) 2.31[12]
Rick turns himself into a pickle to get out of attending school-ordered family therapy, but Beth takes Rick's serum which would revert the transformation. Left alone, Rick eventually rolls down into an open sewer drain, where he manages to manipulate the nervous systems of dead roaches and rats to build himself a mobile exoskeleton, with added weapons such as razors and drills. He unwittingly escapes into a foreign government agency. The guards try to kill Rick, under orders from the agency director, but Rick kills them all. In the process, Rick battles and ultimately befriends a prisoner named Jaguar. Rick changes his mind and decides to attend the therapy session, arriving towards the end. Dr. Wong gives her diagnosis, observing that Rick crafts relationships that punish emotions and vulnerability. On their way home, Rick apologizes to Beth for deceiving her and uses the serum to turn human again. Morty and Summer wish to continue seeing Dr. Wong, but Rick and Beth ignore them.
Post-credit scene: Jaguar saves Rick and Morty from being killed in an elaborate piano death machine by a villain named "Concerto".
25
4 "Vindicators 3: The Return of Worldender" Bryan Newton Sarah Carbiener & Erica Rosbe August 13, 2017 (2017-08-13) 2.66[13]
At Morty's insistence, Rick agrees to join the Vindicators, a group of intergalactic superheroes, to fight their arch-nemesis, Worldender. Rick cannot hide his disdain for the superheroes, while Morty is thrilled. The next morning, the Vindicators enter Worldender's base, only to find that the previous night a blackout drunk Rick had killed him and set up a variety of puzzles that the Vindicators must solve to survive. They start arguing and kill one another, while Morty solves all the puzzles, as he knows what Rick had in mind when he put them up. After all puzzles are solved, the only ones left alive are Rick, Morty and Supernova, a member of the Vindicators. Supernova tries to kill Rick and Morty, but before she can do so, the three of them are transported to a party that Rick also set up while blackout drunk, where she gets away.
Post-credit scene: Gearhead tries to use a Vindicators vest to pick up some young girls, but when an alien terrorist attack strikes, he runs away eventually tripping and falling, breaking into pieces.
26
5 "The Whirly Dirly Conspiracy" Juan Meza-León Ryan Ridley August 20, 2017 (2017-08-20) 2.29[14]
To bolster Jerry's self-esteem, Rick takes him on an adventure at Morty's request. They visit an otherworldly resort within an immortality field so Jerry won't be harmed while away. Jerry encounters Risotto Groupon, an alien who blames Rick for his kingdom being usurped. Risotto enlists Jerry in a plot to kill Rick, but Jerry backs out after Rick apologizes for ruining his marriage. Meanwhile, Summer deals with self-esteem issues as well. Her boyfriend, Ethan, leaves her for a larger-breasted girlfriend, and Summer attempts to enlarge her own breasts using one of Rick's devices. Her aim is off, and she grows to freakish proportions. Morty wants to call Rick for assistance, but Beth refuses. Arrogantly trying to prove her own self-worth, Beth repeatedly fails to fix the problem and is tricked into releasing three tiny technical support workers that were trapped inside the machine. Once Morty figures out how the machine works, he restores Summer's size and spitefully uses it to deform Ethan in an act of vengeance.
Post-credit scene: The three tiny workers are enjoying their retirement next to a river. As an extremely deformed Ethan walks by, one of them is snatched by an eagle.
27
6 "Rest and Ricklaxation" Anthony Chun Tom Kauffman August 27, 2017 (2017-08-27) 2.47[15]
After a six-day outer space adventure that leaves them on the verge of psychological collapse, Rick and Morty decide to spend some time at an alien spa. There, they use a machine that extracts a person's negative personality traits. However, without Rick and Morty knowing, those traits are transposed into toxic physical counterparts, characterized by Rick's arrogance and Morty's self-loathing. On the other hand, the true Rick becomes more considerate, and Morty's confidence soars, which allows him to start dating girls. Toxic Rick uses a moonlight tower to remake the whole Earth in his own image, but the true Rick reverts the situation by merging back with him. Morty avoids merging back with his toxic counterpart and goes on to live a life as a stock broker in New York City. Rick tracks him down with the help of Jessica, Morty's classmate, and restores order by re-injecting the negative personality traits into him.
Post-credit scene: A tour of the same moonlight tower releases Stacy, one of the girls Morty dated in the episode, who had been inadvertently trapped inside the toxin machine.
28
7 "The Ricklantis Mixup"
"Tales from the Citadel" Dominic Polcino Dan Guterman & Ryan Ridley September 10, 2017 (2017-09-10) 2.38[16]
As Rick and Morty adventure to Atlantis, the episode shifts focus towards the Ricks and Mortys living at the Citadel. A group of Mortys, reminiscent of the protagonists in Stand by Me, journey to a portal to have their wishes granted. A rookie cop Rick starts working with an experienced Morty cop to take down drug dealers, in a plot-line reminiscent of Training Day. A Rick working at Simple Rick's wafer factory, where the key ingredient comes from said Simple Rick hooked up to a machine to re-experience his best memories, holds Simple Rick hostage after he doesn't get a promotion. An election is held for the new president of the Citadel. Despite being the underdog, the Morty Party candidate manages to secure the presidency thanks to his views on Ricks and Mortys. His former campaign manager fails to assassinate him after discovering that the new president is actually Evil Morty from "Close Rick-counters of the Rick Kind".
Post-credit scene: Rick and Morty come back from Atlantis satisfied with their trip. Morty wonders what happened on the Citadel, but Rick tells him it'll likely have no effect on their lives.
29
8 "Morty's Mind Blowers" Bryan Newton Mike McMahan, James Siciliano, Ryan Ridley,
Dan Guterman, Justin Roiland & Dan Harmon September 17, 2017 (2017-09-17) 2.51[17]
After Morty requests to have a traumatic memory deleted, Rick reveals a room where he has been storing a number of memories he has removed from Morty. However, as it turns out, besides the memories that Morty didn't want to keep from their adventures, the room also contains memories of moments where Rick was made to look foolish and had them forcibly removed. This revelation prompts a fight, during which Rick and Morty have their memories accidentally erased. Morty scours the memories to replace the ones he lost, but is displeased with the truth he finds, and convinces Rick to both kill themselves. Summer enters the room moments before they commit suicide. At this point, it is revealed that Rick has a contingency plan should this happen. Summer, following written instructions, tranquilizes Rick and Morty, restores their memories and drags them to the living room. Rick and Morty wake up on the couch, believing that they slept through an entire "Interdimensional Cable" episode.
Post-credit scene: Jerry shows up in Rick's garage and discovers a box containing "Jerry's Mind Blowers" where, in a twisted homage to E.T. the Extra-Terrestrial, he discovers he accidentally left an alien the family was trying to help to die in his car.
30
9 "The ABC's of Beth" Juan Meza-León Mike McMahan September 24, 2017 (2017-09-24) 2.49[18]
Rick and Beth enter Froopyland, a fantasy world created by Rick for young Beth. Their goal is to recover Tommy, Beth's childhood friend who's been trapped in Froopyland, and prevent the execution of his father, who is being falsely accused of eating him. Tommy, who has survived all these years by resorting to bestiality, incest and cannibalism, refuses to return to the real world. Rick and Beth manage to save his father's life by creating a clone of Tommy. Back at home, Beth is presented with the option of having a replacement clone of her created, so that she will be free to travel the world. Meanwhile, Jerry dates an alien hunter named Kiara, to Morty and Summer's dismay. When he decides to get out of the relationship, Kiara is enraged and tries to kill the kids, whom she holds responsible. The situation is resolved following the revelation that Kiara was using Jerry to get over her previous boyfriend, much like Jerry was doing with her.
Post-credit scene: Jerry's answering machine plays messages warning him that Kiara's boyfriend is coming to kill him, and Rick saying that he has killed Kiara's boyfriend, but also had sex with her.
31
10 "The Rickchurian Mortydate" Anthony Chun Dan Harmon October 1, 2017 (2017-10-01) 2.60[19]
The President calls on Rick and Morty to defeat a monster in the tunnels underneath the White House, which they do with little effort. Annoyed that he constantly calls on them without any gratitude, they go back home, with the President quickly finding out. The resulting argument leads to a battle of egos that culminates in a fight in the White House between Rick and the President's security. Meanwhile, fearing she might be a clone made by Rick, Beth reunites with Jerry to figure out the truth. Shortly after, the entire family gets together to hide from Rick, but he tracks them down. Rick eventually submits to Jerry once again being a family-member. Rick ends his conflict with the President by pretending to be Fly Fishing Rick, a Rick from a different reality, and calling a truce. The episode ends with the family happy to be together again, except for Rick who is disappointed by this outcome.
Post-credit scene: Mr. Poopybutthole returns to apologize for not appearing in Season 3, but he has gotten married and has a wife and son. He ends the scene by saying that it will be a long wait until Season 4.
Production[edit]
On August 12, 2015, Adult Swim announced that the series had been renewed for a third season.[20] Roiland reportedly began writing on November 2, 2015.[21] Mike McMahan announced that the first episode was recorded on February 18, 2016.[22] On February 5, 2017, Dan Harmon, answering questions regarding the delayed release, announced on his podcast, Harmontown, that the show was in the animation process, after a long period of writing.[23] On June 24, 2017, Harmon wrote a series of posts on Twitter, explaining that the writing process took that long to complete because of his perfectionism.[24]
Reception[edit]
The season currently holds a 98% approval rating from review aggregation site Rotten Tomatoes based on ten reviews, with an average rating of 8.85 out of 10 and an audience score average of 4.7 out of 5.[25]
Notes[edit]
Jump up ^ Season 3 premiered unannounced on April 1, 2017 as part of Adult Swim's annual April Fools' prank.
Jump up ^ "The Rickshank Rickdemption" premiered unannounced and re-ran for four hours straight with improving ratings. This is the viewership of only the first broadcast of the episode.
References[edit]
Jump up ^ Matar, Joe (April 3, 2017). "Rick and Morty Season 3 Air Date Released, Episode Currently Streaming on Adult Swim". Den of Geek. Archived from the original on April 2, 2017. Retrieved June 30, 2017.
Jump up ^ Kettley, Sebastian (2017-08-16). "Rick and Morty season 3: How many episodes does the new season have?". Express.co.uk. Retrieved 2017-10-02.
^ Jump up to: a b c d Framke, Caroline (August 6, 2017). "In season 3, Rick and Morty is still one of TV’s most inventive shows". Vox. Retrieved September 1, 2017.
Jump up ^ Virtue, Graeme (April 3, 2017). "Rick and Morty: how the world's most ingenious animation punk'd its fans". The Guardian. Retrieved September 1, 2017.
^ Jump up to: a b Greene, Steve (July 30, 2017). "‘Rick and Morty’ Review: Summer Takes Center Stage in a ‘Mad Max: Fury Road’ Therapy Session". IndieWire. Retrieved September 1, 2017.
^ Jump up to: a b c Starkey, Adam (July 19, 2017). "Rick And Morty: Susan Sarandon, Danny Trejo and more set to star in season 3". Metro. Retrieved September 1, 2017.
^ Jump up to: a b c d Greene, Steve (August 14, 2017). "‘Rick and Morty’ Review: ‘Guardians of the Galaxy’ Gets a Deadly Twist in ‘Vindicators 3: The Return of Worldender’". IndieWire. Retrieved September 3, 2017.
Jump up ^ Greene, Steve (September 25, 2017). "‘Rick and Morty’ Review: ‘The ABCs of Beth’ is a Touching Father-Daughter Adventure Drenched in Plenty of Alien Blood". IndieWire. Retrieved September 25, 2017.
Jump up ^ Swift, Andy (October 2, 2017). "Rick and Morty Wage War With the President in Season 3 Finale". TVLine. Retrieved October 2, 2017.
Jump up ^ Porter, Rick (April 4, 2017). "Saturday cable ratings: Surprise ‘Rick & Morty’ premiere gets solid numbers". TV by the Numbers. Retrieved September 2, 2017.
Jump up ^ Porter, Rick (August 1, 2017). "Sunday cable ratings: 'Rick & Morty' returns strong, more highs for 'Insecure' and 'Ballers'". TV by the Numbers. Archived from the original on August 1, 2017. Retrieved August 1, 2017.
Jump up ^ Porter, Rick (August 8, 2017). "Sunday cable ratings: 'Sharknado 5' lacks bite, 'Game of Thrones' hits total-viewer high". TV by the Numbers. Archived from the original on August 8, 2017. Retrieved August 8, 2017.
Jump up ^ Porter, Rick (August 15, 2017). "Sunday cable ratings: ‘Game of Thrones’ scores another series high". TV by the Numbers. Archived from the original on August 15, 2017. Retrieved August 15, 2017.
Jump up ^ Porter, Rick (August 22, 2017). "Sunday cable ratings: ‘Survivor’s Remorse’ premiere steady, ‘Game of Thrones’ down a little". TV by the Numbers. Retrieved August 22, 2017.
Jump up ^ Porter, Rick (August 29, 2017). "Sunday cable ratings: VMAs hit all-time low opposite ‘Game of Thrones’ finale". TV by the Numbers. Retrieved August 29, 2017.
Jump up ^ Porter, Rick (September 13, 2017). "Sunday cable ratings: 'The Deuce' starts off on par with 'The Night Of'". TV by the Numbers. Retrieved September 13, 2017.
Jump up ^ Porter, Rick (September 19, 2017). "Sunday cable ratings: ‘Outlander’ and ‘The Deuce’ steady with second episodes". TV by the Numbers. Retrieved September 19, 2017.
Jump up ^ Porter, Rick (September 26, 2017). "Sunday cable ratings: ‘Outlander’ hits total-viewer high, ‘Fear the Walking Dead’ ticks up". TV by the Numbers. Retrieved September 27, 2017.
Jump up ^ Porter, Rick (October 3, 2017). "Sunday cable ratings: ‘Curb Your Enthusiasm’ returns, ‘Outlander’ ticks up again". TV by the Numbers. Retrieved October 3, 2017.
Jump up ^ Denise Petski (August 12, 2015). "‘Rick And Morty’ Renewed For Season 3 By Adult Swim". Deadline. Retrieved August 20, 2017.
Jump up ^ Kazem Sedighzadeh (November 15, 2015). "‘Rick and Morty’ Co-Creator Justin Roiland Starts Writing Work for Season 3 of TV Series!". Master Herald. Retrieved August 20, 2017.
Jump up ^ Mike McMahan [@MikeMcMahanTM] (February 18, 2016). "We're recording episode #301 today." (Tweet) – via Twitter.
Jump up ^ "Rick and Morty Creators Give Season 3 Update: They're Drawing It". The Interrobang. February 7, 2017. Archived from the original on July 31, 2017. Retrieved July 11, 2017.
Jump up ^ Cabin, Chris (June 24, 2017). "'Rick and Morty' Season 3: Dan Harmon Explains Delay". Collider. Archived from the original on August 3, 2017. Retrieved August 3, 2017.
Jump up ^ "Rick and Morty: Season 3". Rotten Tomatoes. Archived from the original on April 5, 2017. Retrieved September 1, 2017.
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Rick and Morty
Characters
Rick Sanchez
Episodes
Season 1
"Pilot"
"Lawnmower Dog"
"Meeseeks and Destroy"
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"The Ricks Must Be Crazy"
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"The Rickshank Rickdemption"
Video games
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Rick and Morty: Virtual Rick-ality
Related
"Mathlete's Feat" (The Simpsons episode)
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