I noticed something interesting in this scene tonight:
An ongoing thesis about Shakespeare that I subscribe to is, very roughly, that the plays' power derives from a tension that is itself the result of irreducibility. Because the plays present contrary ideas that cannot be reconciled (and are not noticed as such), it's impossible to reduce them to any one simple set of values. They literally exist in a place beyond comprehensibility (at least until this effect is noticed).
My thesis advisor, Stephen Booth, observed that one set of contrary ideas in Hamlet is that, on the one hand, Hamlet very forcefully rejects "seems" in 1.2, which an audience approves of, but then that same audience also approves of Hamlet's antic disposition, which is very much on the "seems" side of the ledger. Similarly, despite being early partisans of "is" over "seems," as an audience, we also approve of Hamlet rebuking Rosencrantz and Guildenstern when he says:
...there is a kind of confession in your looks
which your modesties have not craft enough to colour...
where Hamlet is here scolding the two fellow students for their poor ability at "seems."