In the course of the last 40 years of revisionist Shakespeare criticism, some scholars have had trouble separating Hamlet and Hamlet—character and play—from their alleged embeddedness in patriarchal and misogynist constructions. In more recent years, Hamlet has also come into critical scrutiny for its uniformly Nordic whiteness. The emerging queer subjectivity of Juicy, the protagonist of James Ijames’s Fat Hamlet, may be Ijames’s primary way of distinguishing the different kind of man his latter-day Hamlet is from Hamlets and Hamlets past. But just as crucial in rendering his difference is the play’s reconfiguring of Black manhood and Black American family life in a changing South (the play is expressly set in an unnamed town in North Carolina) in a way that elides the play’s originary whiteness. Ijames’s African-Americanizing of Hamlet, the character, and Hamlet, the play, offers a particularly potent counter to recent efforts to see both as serving some kind of white supremacist function. Indeed, in the hands of Ijames, the play’s director, Saheem Ali, and its actors, Shakespeare’s play demonstrates its capacity to serve as the platform for any number of counter-colonizing functions. Moreover, by localizing the originary Hamlet’s resistance to the patriarchal insistence on revenge in a young Black man’s queer subjectivity, Fat Ham arguably taps into and releases Hamlet’s liberatory content, bringing to light what’s always been embedded there. In Fat Ham, the Hamlet narrative is at once undone and redone, rubbed and reinvigorated to serve new, emerging tastes and interests in a play different enough to serve as a free-standing work of its own.