Awesome: Much Ado About Nothing

  • Hero's triumphant return in the final scene.
  • Here's to a scheming clergyman whose plan actually has the desired effect. Yes, Laurence, we're looking at you.
  • Antonio's series of monologues in 5.1 where he pretty much tells off everyone.
    Antonio: Boys, apes, braggarts, jacks, milksops!
    Leonato: Brother Anthony-
    Antonio: HOLD YOU CONTENT!
  • When Boracchio is explaining the plot to destroy Hero to Don John. Bonus points if Don John throws on an Evil Laugh for good measure.
  • Beatrice and Benedick's first argument.
  • Dogberry and his bumbling crew exposing the whole sham.
  • Let's face it. B & B have slapped each other around so much, they have the best chance at happiness of any pair Shakespeare ever wrote.
  • Beatrice's 'If I were a man' speech, when she shows Benedick and the audience exactly how little she is prepared to take Claudio and Don Pedro's shitty treatment of Hero, and actually convinces Benedick to challenge Claudio to a duel since she can't do it herself, however much she'd love to.
    Beatrice: Is he not approved in the height a villain, that hath slandered, scorned, dishonored my kinswoman? Oh, that I were a man! What, bear her in hand until they come to take hands and then, with public accusation, uncovered slander, unmitigated rancor—O God, that I were a man! I would eat his heart in the marketplace.
    Benedick: Hear me, Beatrice,—
    Beatrice: Talk with a man out at a window! a proper saying!
    Benedick: Nay, but Beatrice,—
    Beatrice: Sweet Hero! she is wronged, she is slandered, she is undone.
    Benedick: Beat—-
    Beatrice: Princes and counties! Surely, a princely testimony, a goodly Count Comfect; a sweet gallant, surely! O! that I were a man for his sake, or that I had any friend would be a man for my sake! But manhood is melted into cursies, valour into compliment, and men are only turned into tongue, and trim ones too: he is now as valiant as Hercules, that only tells a lie and swears it. I cannot be a man with wishing, therefore I will die a woman with grieving.
    • In this, Emma Thompson's enraged rant from the 1993 version kicks Amy Acker's quiet boil from the 2012 version to the curb. You halfway expect Thompson's Beatrice to issue Claudio a challenge and take care of business herself without the need to use Benedick as an intermediary.