Key & Peele's Comic Spin on Shakespeare

They Really Did That to Othello - Key & Peele

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Estimated reading time: 8 minutes for the text on this page.

Summary

Key & Peele put a hilarious spin on Shakespeare in their sketch 'They Really Did That to Othello.' As they take on roles discussing Othello, they blend modern slang and humor with classic Shakespearean elements. The duo comically express outrage over the tragic fate of Othello, questioning Shakespeare's choices in a manner that resonates with contemporary audiences. Highlighting racial themes with wit and satire, they bring to light the absurdity of some of Shakespeare's plot decisions while making us laugh with their clever banter.

Highlights

The clever use of modern slang mixed with Shakespearean language is hilarious. 😆
Key & Peele's expressive outrage over Othello's fate is both funny and insightful. 🤔😂
Their interaction with 'Shakespeare' adds a comical twist to the classic narrative. 🤣📜
The sketch mocks the tragic ending of Othello with tongue-in-cheek humor. 🎭😜
Key & Peele's unique take on Shakespeare showcases their comedic genius. 🌟😁

Key Takeaways

Key & Peele masterfully blend Shakespearean drama with modern humor. 🎭😂
The sketch humorously critiques the racial elements in Shakespeare's Othello. 🏴‍☠️🎭
The duo's playful banter and modern lingo breathe new life into a classic tragedy. 🔄😄
Their portrayal highlights absurdities in classic literature with wit and satire. 📚😝
The actors' chemistry enhances the humorous critique on racial issues. 👬😆

Overview

In 'They Really Did That to Othello,' Key & Peele dive into the world of Shakespeare with their unique comedic twist. The duo comically explores the tragic fate of Othello, critiquing the narrative with modern slang while maintaining the rhythmic flair of Elizabethan English. Their expressive performances highlight the ridiculousness of the play's tragic end, making it impossible not to laugh.

The sketch is a perfect example of how Key & Peele tackle serious themes such as race relations through humor and satire. By bringing a modern perspective to Shakespeare's work, they shed light on the racial dynamics present in the play, triggering a humorous yet thought-provoking response from audiences. They manage to capture the essence of Shakespeare while turning it on its head, making it relevant and amusing for today's viewers.

Key & Peele's chemistry and outstanding comedic timing shine in this sketch. Their ability to interweave classic literature with contemporary issues and humor is what makes this skit stand out. Whether it's their catchy phrases or the cheeky confrontation with a fictional Shakespeare, the sketch is a testament to their creative prowess and an example of comedy that both entertains and enlightens.

Chapters

00:00 - 00:30: Intermission Excitement The chapter titled 'Intermission Excitement' features an intermission during what appears to be a performance of the play Othello. The characters express their excitement and enjoyment of the play with humorous and modern expressions mixed with Elizabethan language. They mimic swordplay and express a fondness for the play's themes, noting how they appreciate Shakespeare's work for including a 'brother,' likely referring to the character of Othello. The scene is lively and vivid, with a playful tone throughout.
00:30 - 01:00: Discussion of Othello's Role The conversation revolves around the character Othello, who is praised by the speakers. They both admire him for being a general, and his ability to defy social expectations by marrying a white maiden without facing criticism. This is seen as a positive sign for people of color, as Othello represents empowerment and success. The dialogue is infused with humor and admiration for Othello's character and status.
01:00 - 01:30: Concession Stand and Predictions The scene is set at a concession stand where characters are engaging in a playful exchange. One character jestingly asks to borrow money to buy a capon, while another humorously reveals he has a Cornish game hen hidden. Their banter continues until the bell signals the start of the second act, prompting them to move along. A character predicts, albeit jokingly, that violence will occur in the next act of Shakespeare's Othello. The dialogue reflects a humorous and casual tone, mixing modern language with Shakespearean references for comedic effect.
01:30 - 02:00: Shock at Othello's Death The chapter "Shock at Othello's Death" reflects an emotional reaction to the death of Othello in Shakespeare's play. The narrator expresses disdain for the outcome and criticizes Iago for his deceitful actions, suggesting that he should have been dealt with earlier in the play. The narrator is puzzled as to why Othello would take his own life over a failed relationship, suggesting that if men took such actions after every breakup, many would be gone. The mention of Shakespeare seems to highlight the contrast between the literary depiction and real-life expectations.
02:00 - 02:30: Confronting Shakespeare The chapter 'Confronting Shakespeare' features a comedic interaction where characters accuse Shakespeare of killing Othello, a black protagonist from one of his plays. The group discusses the controversial ending of 'Othello,' expressing dissatisfaction with the way it was written. They humorously accuse Shakespeare, calling him 'Slick Willy,' and try to deflect the blame to Christopher Marlowe. Shakespeare has previously tried to use Marlowe as a scapegoat when facing backlash, specifically referencing 'The Merchant of Venice.' Despite the heated and humorous exchange, the tone remains light-hearted as the characters urge calmness.
02:30 - 03:00: Calling for a New Hero The chapter titled 'Calling for a New Hero' seems to involve a dialogue between characters who discuss the emergence of a new black hero. The tone appears to be both urgent and playful, as characters possibly referencing cultural icons and figures. There is a humorous exchange where one character insists that another must take responsibility for writing or creating this hero character. This discussion is interspersed with imitations of funk music, adding a cultural and musical context to the narrative. Overall, the chapter captures a moment of anticipation and creativity regarding black heroes, infusing it with humor and cultural references.
03:00 - 03:30: Demanding a New Black Hero The chapter titled 'Demanding a New Black Hero' begins with a conversation involving references to notable figures like Shaft and a person named Levi. The dialogue suggests a discussion about representation, identity, and possibly the influence of cultural icons in the community. With limited context, the chapter might be examining the need for new role models or heroes within the Black community, reflecting on past figures and envisioning future leaders.

They Really Did That to Othello - Key & Peele Transcription

00:00 - 00:30 - INTERMISSION! - [hums] both: OH, OTHELLO IS MY SHITE! - [bleep]-ETH, YEAH. - OTHELLO, MOTHER[bleep]! [both imitating swordplay sounds] - [bleep], YOU DEAD, WHITE PERSON. [laughter] OH, THIS PLAY DOTH SEEM DOPE TO ME, MARTINSIA. - VERILY, LASHAWNIA. VERILY. YO, AND 'TIS ABOUT TIME SHAKESPEARE DOTH SCRIVEN THE PLAY THAT PLACES A BROTHER
00:30 - 01:00 AMONGST THE FIRMAMENTS. - THAT'S MY SHITE! - OH, WHO'S YOUR FAVORITE CHARACTER? MINE'S OTHELLO. - OH, 'TIS MINE AS WELL. 'TIS MINE AS WELL. - BECAUSE THEY GOT OTHELLO AS A GENERAL. I'M SAYING, HELLETH, YES. - AND OTHELLO DID THE BEAST WITH TWO BACKS WITH THAT COMELY WHITE MAIDEN, AND DIDST NOT ANYONE SPEAKETH AGAINST HIM. - MM. - HE STRAIGHT PIMPIN'. - METHINKS THINGS ARE LOOKING UP FOR PEOPLE OF THE DARKER HUE. - DAMN STRAIGHT. - HOO. both: ♪ HEY, NONNY, NONNY, TALKING HEY, NONNY, NONNY ♪ - COME ON. - OH, HEY, MARTINSIA.
01:00 - 01:30 - MM. - WOULDST THAT I COULD BORROW A COUPLE OF DUCATS TO PURCHASETH A CAPON FROM YONDER CONCESSION? - PSSH, MOOR, PLEASE. YOU KNOW I GOT A CONCEALED CORNISH GAME HEN UP IN MY DOUBLET. - OOH, ALLOWETH ME TO PARTAKETH UP IN THIS BITCH. - OKAY, OKAY. GET IN THERE. [bell dings] - THE SECOND ACT IS ABOUT TO BEGIN. - COME ON, Y'ALL. Y'ALL HEARD THE URSHER. - IF I KNOW SHAKESPEARE, OTHELLO'S ABOUT TO KILL EVERYBODY UP IN THIS BITCH. [laughs]
01:30 - 02:00 NO, NO, NO, MM-MM, I HATETH THIS PLAY. - HOW THEY GONNA KILL OTHELLO? - MAN, THAT TRIFLING ASS IAGO, I KNEW HE WAS UP TO SOMETHING. THEY SHOULD HAVE KILLED HIM IN THE FIRST ACT. - HOW THEY GONNA KILL OTHELLO? - HOW OTHELLO GONNA DO HIMSELF IN WITH A DAGGER HOW DOTH THAT HAPPEN? - LET ME TELL YOU SOMETHING, IF A BROTHER KILL HIMSELF EVERY TIME HE BROKE UP WITH A WHITE BITCH, THIS WORLD WOULD BE BEREFT OF BROTHERS. - YOU'D BE TALKING TO A SKULL RIGHT NOW. - OKAY? - WHERE'S SHAKESPEARES AT? - SHAKESPEARES. - OH, HE'S RIGHT THERE. both: PRITHEE. PRITHEE. - MAKE WAY. PRITHEE. MAKE WAY. BE GONE, CIRA.
02:00 - 02:30 YOU KILLED OTHELLO! - A BLACK MAN GOT IT GOING ON, AND YOU SHUFFLE OFF HIS MORTAL COIL? - I SAY UNTO THEE THAT'S A TRAGEDY. - MM-HMM. - OH, 'TIS THAT NOT THE TROUBADOUR KANYE OF THE WEST? - WHAT? WHERE'S-- WAIT. - TRUTH BE TOLD, MY LORDS, 'TIS NOT I WHO PENNED THIS DREADFUL PLAY. 'TWAS CHRISTOPHER MARLOWE. both: NAY, NAY, NAY. - YES, IT WAS. - THOU ALREADY TRIED TO USE THAT LINE OF ARGUMENT WHEN THE JEWS WANTED TO KICK YOUR ASS AFTER THE MERCHANT OF VENICE. - WE DOTH NOT PURCHASE IT, SLICK WILLY. WE DOTH NOT PURCHASE IT. - BE CALM, MY GOOD LORDS.
02:30 - 03:00 'TWILL NOT BE LONG BEFORE ANOTHER BLACK HERO GRACETH THE STAGE, AND NOW IF YOU'LL LET ME TAKE MY LEAVE. - NOT SO FAST. YOU GOING TO WRITE THAT HERO NOW. - VERILY THAT, MOTHER[bleep]. [both exclaiming and imitating funk music] THAT JOHN SHAFTE IS ONE BAD MOTHER-- - SHUT THAT MOUTH.
03:00 - 03:30 - I JUST SPEAKETH ABOUT SHAFTE. - MM. - YO, LEVI, MAN.