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apoloadonisandnarcissus · 2 months ago

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Concerning the "Laws and Customs among the Eldar” chapter in "Morgoth's Ring"

This particular chapter is always brought up when Sauron x Galadriel is being discussed, or even as an argument against “Rings of Power” legitimacy as a Tolkien adaptation, and to “prove” how it’s impossible for Galadriel to have romantic feelings for Halbrand as confirmed by Director and executive producer Charlotte Brändström, because she’s already married to another.

This essay paints a very idillic and romanticized view of Elven marriage, and the Catholic inspiration is very visible here. Everything that’s written is the perfect Catholic marriage and conduct: no premarital sex, no casual sex, monogamy for live, divorce is forbidden, sex is marriage, sex = children, marriage is always out of love and free-will, sex is a sacred bound between two elves, an unique and eternal bound. And so on.

All of this seems very straightforward, except for the part the Tolkien fandom seems to collectively ignore Christopher Tolkien notes on this chapter, where he provides context and explanation for what’s actually written.

The Context

The “Laws and Customs among the Eldar” essay, Christopher tell us, were two manuscripts (one which Tolkien left unfinished), that he arranged as he saw fit and he goes to great lengths in “Morgoth’s Ring” to explain his decision. To him, this essay wasn’t a part of “The Silmarillion”: “There is no indication that it was intended to stand in the text of the Quenta Silmarillion, but there can scarcely be any question that my father did so intend it.” He recognizes, however: “it’s not easy to say from what fictional perspective Laws and Customs among the Eldar was composed”.

As I have explained (p. 199), I have found that the best method of presenting the material is to give at this point the long essay concerning the nature and customs of the Eldar, although of course it cannot be said to be a part of the Quenta Silmarillion.

What’s the problem? Tolkien was on longer alive to either confirm or deny this. If this essay was, indeed, a part of “Quenta Silmarillion”, it means it was written by the Eldar loremasters (like everything that’s written in the mentioned work), and what we have here is a biased account of events.

However, Christopher Tolkien believes this essay is written from the POV of mortal loremasters (Men):

There is a reference to the Elves who linger in Middle-earth 'in these after-days' (p. 223); on the other hand the writer speaks as if the customs of the Noldor were present and observable ('Among the Noldor it may be seen that the making of bread is done mostly by women', p. 214) - though this cannot be pressed. It is clear in any case that it is presented as the work, not of one of the Eldar, but of a Man: the observation about the variety of the names borne by the Eldar, 'which … may to us seem bewildering' (p. 216; found in both texts, in different words) is decisive.

What does this mean? This account is the product of second-hand observation, and probably not the most reliable source of information about Eldar lifestyle (sort of speak). Either way, this essay is either a biased account (Eldar POV) or one born of observation and second-hand information (Men POV).

Christopher does write: “in this account the lives and customs of the Eldar have been considered mainly in their natural courses in days untroubled, and in accordance with their true nature unmarred. But, as has been said, the Eldar did not escape the Shadow upon Arda, that caused both misfortunes and misdeeds to afflict them.”

It must be understood that what has yet been said concerning Eldarin marriage refers to its right course and nature in a world unmarred, or to the manners of those uncorrupted by the Shadow and to days of peace and order. But nothing, as has been said, utterly avoids the Shadow upon Arda or is wholly unmarred, so as to proceed unhindered upon its right courses. In the Elder Days, and in the ages before the Dominion of Men, there were times of great trouble and many griefs and evil chances; and Death afflicted all the Eldar, as it did all other living things in Arda save the Valar only.

Now, this seems to imply that this essay is meant to be interpreted as how the Elves would conduct themselves if they had remained in Valinor (natural course in days of untroubled), and if Morgoth has not corrupted Arda (unmarred). Not how they actually behave in the legendarium.

For Christopher Tolkien, the marriage and the children bits weren’t even the core message of this essay, immortality is, because death (mortality vs. immortality) is one of the major themes of Tolkien work:

[...] all these questions are very secondary to the import of the work itself: a comprehensive (if sometimes obscure, and tantalising in its obscurity) declaration of his thought at that time on fundamental aspects of the nature of the Quendi, distinguishing them from Men: the power of the incarnate fea (spirit) in relation to the body; the 'consuming' of the body by the fea; the destiny of Elvish spirits, ordained by Eru, 'to dwell in Arda for all the life of Arda'; the meaning of death for such beings, and of existence after death; the nature of Elvish re-birth; and the consequences of the Marring of Arda by Melkor.”

And this is why folks need to read Tolkien letters and Christopher Tolkien’s notes and introductions. Otherwise, you won't understand what's actually being said, and what the message is.

And with this context, all the “exceptions” and “contradictions” to this essay in the legendarium became clear and make sense. They aren’t paradoxal, at all. It’s this particular essay that shouldn’t be taken a such face value.

The so-called “Contradictions”

For the sake of the argument, let’s see some examples on the legendarium that contradict this essay.

"Permanent marriage was in accordance with elvish nature, and they never had need of any law to teach this or to enforce it." and "the Eldar wedded once only in life".

We have the exceptional case of Finwë. Interestingly enough, Christopher Tolkien mentions Finwë and Míriel (Feänor parents) in his introduction note to this essay, however it’s not the “re-marrying” bit that strikes him as odd and contradictory to his father writing, but Míriel wanting to die (for real), which is “unnatural” to an Elf. Elves were gifted with immortality by Eru Ilúvatar, and only Him can give or take immortality (not the Valar).

In short, Míriel spent so much for her spirit (fëa) being pregnant and giving birth to Fëanor, she wanted to die. Her spirit left her body (hröa) and went to the Hall of Mandos and she refused to be re-embodied. Afterwards, Finwë was allowed, by the Valar, to marry Indis, and had four children with her (among them was Galadriel’s father, Finarfin). This is only exception of re-marrying and sort of explains why divorce is forbidden among the Eldar because all the Noldor problems are blamed on it.

"Marriage is chiefly of the body, for it is achieved by bodily union, and its first operation is the begetting of the bodies of children".

This implies that the only purpose for Elven sex is to have children. However, Tolkien himself contradicts this view in another work:

"the act of procreation, being of a will and desire shared and indeed controlled by the fëa [soul], was achieved at the speed of other conscious and willful acts of delight or of making. It was one of the acts of chief delight, in process and in memory, in an Elvish life, but its intensity alone provided its importance, not its time or length: it could not have been endured for a great length of time, without disastrous “expense”. But the act of procreation not being one of growth until the union of the seed and being under control off the will does not take long - though it is longer and of more intense delight in Elves than in Men: too intense to be long endured.” "The Nature of Middle-earth"

The “act of procreation not being one of growth until the union of the seed” is a clear reference to “childless sex”; sex where children are not the purpose nor end result of. This seems to indicative that Elves can control whenever they want to reproduce or not. After all, a Elven child is a combination of the will and soul of the two parents, and this is the true “union of souls”.

This might seem a bit bizarre, but maybe the explanation is that Elven-women biology is alike that of mortal women, where reproductive circles exist, and women have a “fertile window”.

[...] her Sindarin name was Galadriel, "for it was the most beautiful of her names, and had been given to her by her lover, Teleporno of the Teleri, whom she wedded later in Beleriand. Unfinished Tales

In his Letter 43, Tolkien somewhat explains what he means by "lover": a man's dealings with women can be purely physical (they cannot really, of course: but I mean he can refuse to take other things into account, to the great damage of his soul (and body) and theirs); or 'friendly'; or can be a 'lover' (engaging and blending all his affections and powers of mind and body in a complex emotion powerfully coloured and energized by 'sex'). So much for the “no premarital sex”…

"seldom is any tale told of deeds of lust among them [Eldar]."

"But among all these evils there is no record of any among the Elves that took another's spouse by force; for this was wholly against their nature, and one so forced would have rejected bodily life and passed to Mandos"

Contradicting this, we have the cases of the brothers Celegorm and Curufin (Sons of Fëanor) with Lúthien. Of course, neither of these characters took Lúthien as wife by force, but this episode alone contradicts the “against their nature” bit and how there are no tales of deeds of lust among the Eldar.

In “Lay of Leithian”, Lúthien gets captured by the brothers Celegorm and Curufin. They hold her captive; they seize her and even strip her of her (magical) cloak. By removing Lúthien’s cloak, the brothers are, also, striping her of some of her power, making her vulnerable to them. Celegorm becomes enamored by Lúthien’s beauty and wants to take her as wife by force, by coercing her father, Thingol, into an alliance. She escapes thanks to Huan, the Hound of Valinor, but the brothers would go on to try to seize her, again, but this time she’s already with Beren.

**Trigger warning: mentions of sexual assault**

“The Eldar wedded once only in life, and for love"

"Their families, or houses, were held together by love and a deep feeling for kinship in mind and body."

"But these ceremonies were not rites necessary to marriage […] It was the act of bodily union that achieved marriage, and after which the indissoluble bond was complete."

There’s a tale that contradicts all of this, in the Tolkien legendarium. And that’s the story of Aredhel and Eöl the Dark Elf (“The Silmarillion”, “The Nature of Middle-earth” and “Morgoth’s Ring”).

Aredhel, the “White Lady of Gondolin”, was Fingolfin's daughter, and she lived in Gondolin with her brother Turgon. Gondolin was a isolated kingdom, and Aredhel was an adventurous spirit who felt trapped. One day, she’s granted permission to leave, and she intents to meet with the Sons of Fëanor. Anyway, she eventually gets separated from her escort and finds herself in the dark forest of Nan Elmoth.

In “History of Middle-Earth”, Tolkien writes: “Eöl found Irith, the sister of King Turgon, astray in the wild near his dwelling, and he took her to wife by force: a very wicked deed in the eyes of the Eldar.”

The account in “The Silmarillion” paints a somewhat different picture, even though it recognizes that Eöl used spells to trap Aredhel and force her deeper into the forest, until she arrived at his doorstep: “And when Aredhel, weary with wandering, came at last to his doors, he revealed himself; and he welcomed her, and led her into his house. And there she remained; for Eol took her to wife, and it was long ere any of her kin heard of her again. It is not said that Aredhel was wholly unwilling, nor that her life in Nan Elmoth was hateful to her for many years.”

Some say Tolkien changed his version but this comes from a misunderstanding of what “The Silmarillion” is and how it’s pretty much a case of unreliable narrators. When Tolkien writes that Eöl took Aredhel “to wife by force” is a very clear indication that he raped her (precisely because sex = marriage to the Eldar).

In both cases, Aredhel stays with Eöl (alive), bears him a child (Maeglin), but she escapes back to Gondolin when she gets the chance. The tale ends in tragedy, because Aredhel is impaled by Eöl poisoned javelin.

This tale alone contradicts everything that’s written in the “Laws and Customs among the Eldar” essay, because not only Eöl takes Aredhel as wife by force, but he also isolates her from the world and this entire marriage screams abuse and physiological and physical violence. So much for the idillic Elven married life…

In this story we have even more evidence against the “Eldar customs” essay. After Aredhel escapes, Eöl chases after her, and runs into Curufin, her cousin. Eöl invokes Aredhel’s status as his wife, as means to “get her back”. And Curufin answers this: "Those who steal the daughters of the Noldor and wed them without gift or leave do not gain kinship with their kin.”

Apparently, sex alone is not enough to consider a couple married at the eyes of the Noldor, nor is it a "indissoluble bond". What Curufin is saying is that the Noldor didn't consent to the marriage nor were given any "tribute" (gift), and that Eöl has wronged the Noldor as a whole, not only Aredhel, and he has no "right" to her (even, thought, they have a child together). And this is a very pagan way of thinking (probably from the germanic inspiration Tolkien used for his lore), and contradicts the Catholic views of the "Eldar customs" essay.

The “love eternal” and “Elves are emotionally monogamous for life" is a fandom headcanon. There’s no textual evidence of this, not even in the “Laws and Customs among the Eldar” essay. When Tolkien writes “indissoluble” it means there is no divorce, the couple is stuck together forever, never mind how they’ll eventually feel about each other in the future. In “The Nature of Middle-earth", Tolkien does write Elven couples outgrow their “sexual needs” after children are born and devote themselves to other intellectual pursuits, and usually lead separate lives.

#tolkien legendarium #tolkien lore #jrr tolkien #the nature of middle-earth #morgoth's ring #Christopher Tolkien #Laws and Customs among the Eldar #rings of power #haladriel #saurondriel #Charlotte Brändström

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patheticbatman · 3 months ago

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Answeringmysister got this one!!!

My 54th Win a Commission story was an adaption of the Juniper Tree, also known as the Almond Tree, The Millstone, and now the Acacia Tree! It’s a dark, Grimm tale of abuse, transphobia, neglect intersexism, colorism, revenge and cannibalism - definitely an October tale! Read on … if you dare!

Once upon a time, in a town called Kintore by the rest of the world, but Waļungurru by its citizens, there lived a Pintupi woman and man named Amelia and Jack. They were happy in all ways except one, for they wished for a child.

Just as they were beginning to let go of that dream, Amelia found out she was pregnant. They were over the moon with happiness.

They were still happy when the child was born. They gave him the government name, ‘William’. But everyone called him Billi.

Billi was a little different than other boys. He was born with PAIS. That means he looked and sounded more like a girl. But nobody bothered him about it, and he was happy too.

But Billi‘s mother grew ill. The little family moved to Alice Springs for better medical care. Despite moving further away, Billi‘s father found a job as a trip advisor for Uluru, the sacred mountain of all the peoples who originally came from that part of Australia. This did not make much sense to Billi, as the Alice was further from the mountain, but he was happy as long as his mother healed.

The cancer went into remission, but his parents liked the increased pay and wanted to stay nearby, just in case the cancer came back. So they stayed, and Billi’s mother won the lottery. It was not the grand prize, but it was enough to buy a nice house for cash. They moved to a good neighborhood, where Billi could walk to his singing instructor’s house twice a week - for his voice was as clear as crystal - and Jack did not have to dive far to work, nor did Amelia to drive far to get to the hospital. In their new backyard, the little family planted an acacia seed from Kintore.

But Amelia did not stay in remission for long. A year later, the cancer came back, and Billi’s mother died. It was his sixth birthday.

He and his father mourned for quite some time, and grew distant. Sometimes Billi would wake up in the middle of the night, and Jack would only then be getting back.

One day, Billi’s father brought home a pregnant woman. “This is your new stepmother, Charlotte,” he said. “You will have a sister soon.”

Billi and his stepmother did not get along. But both loved his little sister, Kylie, and doted on her often. Billi loved to walk her to and from school, and would take her out for ice cream when he had enough pocket money. Which was not often, as Charlotte had convinced the father that Billi had to pay for his singing lessons himself when he turned 12. Thankfully, his testosterone was still covered.

Billi was a kind soul, and never let his frustrations over Charlotte affect how he treated his sister. The stepmother did not see that as a point in his favor. He considered the days where she shunned him to be better than the days she yelled, so he avoided her whenever possible.

He and Kylie would sit under the acacia tree when things were especially bad – for Charlotte did not hold her ire back from anyone, not even her own daughter.

When Billi turned eighteen, his stepmother wanted to throw him out. His father, who was the only one who owned the house, argued for once, saying that Billi would stay until he finished university and got a job. Grateful for his father standing up for him for once, Billi doubled down on his studies to become a doctor, and gave up singing.

But Charlotte was still angry. For a year she seethed, and Billi avoided her best he could. He did not know what she was thinking, but he did not want to find out.

The day after Kylie’s twelfth birthday, Kylie came out as non-binary, and said that their name was Sinai.

Jack was supportive, and Charlotte cooed over how the name Sinai was from the Bible. But when Sinai and their father went to bed, Charlotte grabbed Billi by the arm, digging her nails into his flesh.

“This is your fault,” she hissed. “You took my little girl away and turned her into some kind of freak!”

Billi shook her off his arm and gave her a dirty look. “I did jack,” he said. “Sinai is a sweetheart who knows themself. You better treat them right.” And he went off to bed.

But Charlotte was not done.

The next day, when Billi was running late to class, he tried getting in the house. The front door was locked. Billi did not have his keys.

He tried the back door. Also locked.

He tried the side door.

Charlotte was standing there, hand on the knob, and would not let him in. He begged and pleaded – he just needed his keys, but she would not let him in. So he clung to the other side of the handle, and pulled with all his might. It was his house too, after all.

With a smirk, Charlotte let go.

And Billi felt his head crack onto the cement steps.

Working quickly, she set up his corpse so that it would lean into the back door, and unlocked the front door. Then she started cooking, and when Sinai came in from school, asking them to get some vegetables from the side garden.

Being twelve and strong, when the side door did not immediately open, Sinai threw their whole body into pushing the door open.

They screamed when they saw their brother land at the foot of the steps, dead.

Charlotte acted surprised, and quickly guilt tripped her child. “I don’t want anyone to hurt you,” she said, with a devil dancing in her heart. “We can bury him, and say he ran away because he was offended about your gender. That way, your Dad will not be angry.”

Again, because they were twelve, tricked, and overwhelmed, Sinai agreed. And when their mother went back to calling them Kylie, they did not argue.

Unfortunately for Charlotte, nowhere in the yard had spots big enough to hide the entire body without having to cut through thick tree roots. The acacia tree had just spread too far. So she cut Billi up, and she and Sinai buried bits of him around the yard, in the few spots where the acacia tree roots had not reached.

When it was an hour away from dinner, and there was still a whole thigh to bury, Charlotte panicked. “Give it here,” and snatched the thigh from the shellshocked Sinai, cut off the meat, and handed the bloody, still pink bone to her child. “Bury that where you can.” She said. “I’ll go wash up and make dinner. When you’re done, wash up too.”

Try as they might, dirt caked under their nails and tear trucks cutting through the dust on their cheeks, Sinai could not find another spot. Eventually, they apologized to their brother and laid the bone in the cradle of the tree branches. “I love you. I’m sorry,” they sobbed, and ran back to the house.

That night, the family dined quietly on what appeared to be pork chops. The father mourned his son’s leaving. Sinai mourned what she had thought she had done. Being quiet was the only way Charlotte could keep from smirking and showing that she was not mourning at all.

“Dinner tastes good tonight. Fresh and tender.” The father patted Charlotte‘s hand.

“Thank you,” she smiled. “Someone I know was cutting down on her herd size. You know, getting rid of all the freeloaders and useless pigs.”

Sinai had to leave the table after that.

Three days later, as the sun came up, a red-tailed black cockatoo emerged from the cradle of branches where Billi’s bone laid.

The cockatoo flew around the Alice, until he spotted a man painting a landscape outside. He alighted upon a branch, and sang like a normal cockatoo. But once the man’s eyes landed upon him, the cockatoo began to sing in a human voice.

She died, oh my mother.

Barely passed just one year,

Father found a new dear,

And married that other.

Charlotte, my stepmother,

Had my sibling soon here.

And we lived in fear,

Wishing not to bother.

But Charlotte, she slayed me,

And blamed my sweet Sinai.

My father, he savoured me,

To him, they both did lie.

My sibling, they laid me,

On branches in the sky.

Then the he trilled, and in a much more normal cockatoo voice, said, “Oh what a pretty bird am I!”

The man pulled out his phone to video. “Oh, do that again, please!”

“I do not repeat my performance for free,” said the cockatoo.

The man pulled out a beautifully embroidered handkerchief. “It’s new!” He called. “Will this do?”

The cockatoo swooped down, grabbed the handkerchief, and repeated his song. Then he sat still, and let the man paint him.

A day later, the cockatoo flew to a builder site. Their radio had just crapped out, and the crew was complaining.

The cockatoo landed and sang,

She died, oh my mother.

Barely passed just one year,

Father found a new dear,

And married that other.

Charlotte, my stepmother,

Had my sibling soon here.

And we lived in fear,

Wishing not to bother.

But Charlotte, she slayed me,

And blamed my sweet Sinai.

My father, he savoured me,

To him, they both did lie.

My sibling, they laid me,

On branches in the sky.

Then the he trilled, and in a much more normal cockatoo voice, said, “Oh what a pretty bird am I!”

The builders pulled out their phones. “Sing again, why don’t you?” said one lady.

“I do not repeat my performance for free,” the cockatoo replied.

The lady took off a great pair of barely used and well-made work gloves. “How about these, you cheeky bugger?” She was smiling.

The cockatoo swooped down, took the gloves and sang once again.

“Charlotte?” The lady scratched her head. “I think I knew Charlotte, who married a widower. She has a kid of her own now. I wonder if -”

But the cockatoo landed on the radio, and it started playing, and so she stopped wondering.

A day later, he landed outside of a jeweler’s window, and sang,

She died, oh my mother.

Barely passed just one year,

Father found a new dear,

And married that other.

Charlotte, my stepmother,

Had my sibling soon here.

And we lived in fear,

Wishing not to bother.

But Charlotte, she slayed me,

And blamed my sweet Sinai.

My father, he savoured me,

To him, they both did lie.

My sibling, they laid me,

On branches in the sky.

Then the he trilled, and in a much more normal cockatoo voice, said, “Oh what a pretty bird am I!”

The jeweler pulled out xes phone. “Hey, mate,” xe cried, “sing for me again? I’d like to video you.”

The cockatoo replied, “I do not repeat my performance for free.”

The jeweler held out a beautiful opal ring. “How about this?”

The cockatoo swooped down, took the ring, and sang again. Then he sat still for many pictures, and the jeweler went on to make a new ring based on the bird.

At sunset, the cockatoo flew away to the acacia tree, where all his treasures laid next to the thigh bone.

That evening, the cockatoo flew out and saw his father and Sinai sitting in the garden. Sinai looked sick, and the father looked upset, but was trying to comfort his child. “Don’t worry Sinai. He probably just had a tiff with your mother. I’m sure he’ll be back soon. I doubt he’ll still deadname you.”

The cockatoo alighted on a branch within view. He sang,

She died, oh my mother.

Barely passed just one year,

Father found a new dear,

And married that other.

“Charlotte!” The father cried, “Come quick! That singing bird everyone’s been talking about is here!” He pulled out his phone.

Charlotte was in the bathroom, having been incontinent all week. She saw the scene in the reflection of the window in her sink mirror.

The cockatoo sang some more.

Charlotte, my stepmother,

Had my sibling soon here.

And we lived in fear,

Wishing not to bother.

The father stopped smiling.

Sinai started sniffling again.

The cockatoo went and grabbed the handkerchief.

But Charlotte, she slayed me,

And blamed my sweet Sinai.

The cockatoo dropped the handkerchief to the crying Sinai, and turned back to the tree, singing,

My father, he savoured me,

To him, they both did lie.

He dropped the work gloves to his father, whose mouth was agape in horror.

Once again, the cockatoo flew back into the tree. He came out and sang,

My sibling, they laid me,

On branches in the sky.

Charlotte, who had only heard the last bit as she came outside, but had heard about the gifts, and saw what had already been given, knew what was left. “Well, all right, then,” she called, irritable. She held a hand out and opened her mouth wide to the sky to say, “Give it h-��

The cockatoo dropped the ring down her throat.

Charlotte grabbed her throat and started stumbling. Her back hit the acacia tree.

It began burning.

The ground shook.

Bones and flesh came trembling out of the ground, and rolled to the tree, which had closed around the choking, murderous woman.

The father and child shrieked.

The cockatoo flew into the blaze.

And Billi, clad in a cloak of feathers of black, gold and red, with the ring as a clasp at his throat, walked out. “So here it ends, and here am I.”

The little family fell to the ground and held each other.

Art Explanation

This story is based on the European fairy tale, ‘The Juniper Tree’, or occasionally, ‘The Almond Tree’. I moved it to be set in the Northern Territory (NT) of modern Australia because I really wanted to draw this one guy whom I found a picture on the internet. Titled, ‘Face of an Aboriginal Man, Alice Springs Area’* c. 1970s by the photographer Alan Scott. I thought the focus of the piece had a neat face, so I reconstructed the story so I could draw him as Billi.

* Note: The indigenous people of the continent we now call Australia are generally grouped together under the demonym (people name) ‘Aboriginal Australian people’. While some sources, such as the photo serving as Billi’s inspiration, refer to this group of people as ‘Aboriginals’ or ‘Aborigines’, it is now considered an inaccurate and disrespectful practice. If you must refer to these people, say ‘Aboriginal Australian people/person/children etc’. However, the best choice is to either include more specific demonyms, such as the specific people they come from, like Pintupi or Noongar, or to not bring it up at all. Too often, nonwhite people are seen as their heritage, and not as individuals. While the two are often inextricable, the imbalance is real, and an outsider should be wary and considerate.

It took me a lot of research, but eventually I changed the details of the story to fit in NT. The cannibalism is from the original, for the record. Juniper trees are not meant for high heat areas - while they can stand little rainfall, they are more fit for cold or windy areas. And as domesticated nut-bearing trees, Almonds would not do well without a lot of access to water. So the tree was changed to an acacia! They are endemic to the area, and grow fast, perfect for the timeline within the story. As for the bird type, in most versions, Billi’s character is transformed into a songbird. But while researching birds endemic to the area stretching from Waļungurru (Kintore) to Alice Springs, I came across the Red-tailed Black Cockatoo. They are not songbirds, though some can speak human languages, but I liked that they were larger birds. In the original tale, a little songbird carries a (probably heavy, considering materials back then) pair of red shoes, a bag of gold and a millstone all by himself. Sure, it is a fairy tale, but that always bugged me. As such, Billi in bird form gets cockatoo appropriate gifts.

My favorite part about changing his bird form was that the (female and some intersex) red-tailed black cockatoos have the same color feathers as the Aboriginal Australian flag! If you consider the goldish spotting on the feathers and the yellow sun on the flag as similar enough, which I do. I love flags.

I expanded the introduction of the story. It probably was not necessary - it hit the standard ‘a couple wants a kid, the mother dies, evil stepmom arrives on the scene’ but I wanted to make it assuredly modern, and explain why all the characters are there and do what they do. Waļungurru is a community located in southwest NT largely comprised of Pintupi people. It is located near Uluru*, a spectacularly cool solitary mountain sacred to many of the Aboriginal Australian peoples in the area. It is also a huge tourist destination, and a lot of the local people depend on it for jobs, even if they live hundreds of kilometers away. The high amounts of visitors, litter and waste did erode Uluru away somewhat over the last century, but thankfully control of the mountain has returned to the control of the local Aboriginal Australian peoples, who have regulated visitors in a much better fashion. Regardless, many Uluru tourists pass through Alice Springs, nicknamed ‘The Alice’, before reaching the mountain. It has the closest large(ish) airport and accommodations, so many take the train from Alice Springs to the station near Uluru. As an ‘immigrant’ from Waļungurru, who did not have to move there as a young man for job opportunities (they have a mining industry), it made sense to me that Jack could get a job as a trip advisor.

The mom, Amelia, wins the lottery because I needed someone to elevate the family to an economic status that would be desirable to golddiggers. I did consider switching the genders of the dad and mom, so Jack would be the one who died, but I wanted to create a situation where the stepparent could use the pregnancy as an excuse to get into Billi’s house. While such a phenomenon is possible for a mom and stepdad combination, it is more rare, and I already had a set idea in my mind. I did not necessarily like using Amelia as a prop for the dad’s emotional stagnation and mistakes, but there is a reason why it is such a common trope - it is realistic. I am not saying a single father cannot be attentive and compassionate, nor am I saying a woman cannot be emotionally distant and neglectful. But in our society, ‘single’ fathers (regardless if they remarry) are given a lot more grace and time regarding their emotional responsibilities to get over the deaths of their wives than single mothers are given for the deaths of their husbands. I gave her the name Amelia because I think it is a beautiful name. Like many dead mothers in fairy tales, she protects her child when she passes through her tree. In this story, she also gets to kill her child’s murderer :).

All that to say, the dad, Jack, was not perfect. This is not said in the story, but he sought out a woman who was the exact opposite to his first wife. This woman happened to be a golddigger who saw his emotional vulnerability, paid-off house and decent salary as a good reason to baby-trap him. He then introduced this hostile woman to his son’s life, he allowed her to terrorize both of his children, and her entitlement eventually killed Billi. It takes purposeful ignorance and passivity to let such things happen. While Jack was definitely not trying to be terrible, and often did what he thought was best, I firmly believe that counts as emotional neglect. Like so many fairy tale fathers, he let his children down, even if he made sure they were fed and housed. If I was married to a person who wanted to kick my child out because it turned 18, I would kick my spouse out before my child. That’s why Billi gets his father a pair of work gloves - that man has a lot of work to do. I gave him a cool denim and wool jacket and a receding hairline just because I thought they made for a nice combination. He is named Jack because it is popular in Australia and I like it. Yes I know it is also the name of Nanny’s father - that fact was unrelated to my decision.

Charlotte, the stepmother, is a racist white lady with a common Australian white lady name. I wanted to make sure it was clear she was not cool or special. Like many parents who are of the dominant ethnic group of their area and have children who are mixed, she was attracted to people who look different from her but discomfited that her child did not visually align with the dominant culture’s beauty values. Charlotte is skinny, dressed well, wears contacts, and wears her hair and nails in such a way to indicate she does not expect to do much work. While some mixed race white and Aboriginal Australian people do have naturally straight hair, Sinai does not. The only reason her hair is straight in the story is because Charlotte makes them straighten it regularly - a practice that often permanently damages very curly hair, sometimes causing hair loss. She is not a good mother. Sinai wears unflattering clothes in the story because Charlotte only buys her those kinds of clothes - she does not feel like finding nice things for her fat child, especially when Sinai displeases her by coming out as non-binary.

And she is far, far away from being a good stepmother to Billi. She definitely believes in out-dated gender social norms and is not a queer or intersex ally. I think she would definitely be hateful towards the child that reminds her that there was another woman in the house before her. While many stepmothers are lovely people (like Nanny!), I wanted to make Charlotte especially nasty and bitter. She believed herself more entitled to her spot as queen of the house than Billi was to his life.

Charlotte receives a ring because that’s all she really wanted - a wealthy marriage. And it kills her in the end.

Billi’s sibling Sinai was inspired by a post I saw about how non-binary people and intersex people are often compared, but are different. Non-binary people are people whose gender - internal perception of their personal traits in line with socio-cultural values and roles - is not female or male. This could mean that they feel like a mix between the two, or something outside of that binary entirely. Intersex people are people whose genitalia or hormones do not align with standard levels, shapes or sizes of their sex, sex meaning whether or not one has two X chromosomes or on X and one Y. Some intersex people may even have more than two sex chromosomes! But regardless, the two concepts are not the same. Many intersex people’s genders align with the binary genders. While some do consider themselves non-binary, that group is by no means the entirety of the intersex population. If one is not intersex, one is perisex.

But seeing as Charlotte, Sinai’s mom, probably would not care, she ends up blaming Billi and his PAIS for Sinai’s gender. When in reality, the two are entirely unrelated, and only Charlotte is responsible for her murderous actions. Visually, Sinai is based on four ideas. One, the pictures of mixed race white and Aboriginal Australian children I saw while reading online about Australian youth culture and how that interacts with racial identity. Two, a friend who wishes there were more representation of fat and nonwhite non-binary people. Three, their headband is meant to look like the Aboriginal Australian flag. And four, a post I came across pointing out that despite over sixty percent of the world’s population needing eye correction by adulthood, and how over fifty percent of people wear contacts and glasses (when they can access such medical care), yet most visual media does not depict an accurate amount of characters with glasses. Sinai also has a front tooth gap because I think it is cute.

Sinai is the name of a desert mountain in the Bible, a sort of homage to both of her parents, which seems like something a twelve year old would consider when picking out a name in the hopes that their parents would support their social transition. Their deadname is a reference to an Aboriginal Australian character named Kylie from a great book series, ‘Curse Words’ by Derin Edala.

Sinai gets a handkerchief from Billi because they are a victim too. While they were complicit in the murder, they were also twelve, and he understands that. It is very hard to stand up to someone you love when you are that age.

Onto Billi! Before I even decided to make Sinai non-binary, I knew I wanted Billi to be intersex. The Acacia Tree is the last drawn (but not posted, I have two more to go!) of my planned 56 stories for the coloring book project. I started in August 2017 - I wish I knew the day but I do not - which means as of writing this it has been nearly exactly seven years. Jesus Christ. I am excited to be done. But regardless, I have created many cisgender (people whose gender matches with the sex assigned at birth), transgender (people whose gender does not match with the sex assigned at birth - this includes non-binary people) main characters. I have created men, non-binary and women characters. But all of them have been perisex! Which is crazy, when considering the numbers, because nearly 1 in 50 people are noticeably intersex when born, and many discover their hormonal differences later in life. As such, I wanted to include at least one character who was canonically intersex. If you choose to headcanon more as intersex, go right ahead! But I did not consider it when creating the other characters.

PAIS stands for Partial Androgen Insensitivity Syndrome. Passed via the X chromosome, it does not usually noticeably affect people who have two X chromosomes. But for those with at least one Y Chromosome, it means the development of typically-male genitalia is stunted, and secondary sex characteristics at puberty, such as body hair growth and Adam’s apples, is often slowed, stagnant at certain points or does not occur at all. As Billi is a cisgender intersex man, he chose to take testosterone to counteract his PAIS, so he could feel gender euphoria and combat any dysmorphia (discomfort in one’s body and image). PAIS is found in roughly one person in 99,000 people, so it is not the most common condition, but it works!

Billi is named such because I like the name, and once again, it is common in Australia. I doubt Grandad will read this, so I am sticking with it. I spelled Billi with an ‘i’ at the end in the feminine fashion, as opposed to the apparently more masculine ‘y’, because while Billi the character is a man, I like to think that is how he pays homage to being intersex. In his first picture while human*, he wears his hair loose, an open poet’s shirt and arguably bell bottom pants with boots. In terms of hair, I did consider giving him a hat just like that of his inspiration. But he was supposed to be going to class. No one except posers wear cowboy hats to class, in my experience. As for his fashion, I dressed him up in clothes I like on men. No other consideration was made. I decided to enjoy myself and draw who I liked. And I did!

* I made sure to draw and write him as a human more than as bird, because many Characters of Color spend more screen time in a disciplinary transformed state, which sucks. People of Color do not get a proportionate amount of representation and roles anyway, and I want to be part of the solution, not part of the problem. I just really like themes of transformation, magical or not.

His cloak of feathers in the last picture was just supposed to be cool. I like it when people are transformed back to human and get a souvenir to keep. Perhaps … he could even turn back if he so wished. I know I would miss flying.

Regarding Billi’s resurrection: many fairy tales feature magic trees from dead mothers. Before Cinderella had a fairy, she had a tree. And so on. So after three days (a slight reference to the Bible) Billi is resurrected, cradled in the ‘arms’ of his ‘mother’. It would have been a lot harder for Amelia to help her son if Sinai had not placed his bone in the tree. Then Amelia’s tree was able to catch on fire and fully reform her son.

Last thing before I finally talk about the art: Billi’s song. I wrote it in Petrarchan sonnet form. The original song is shorter but I like sonnets.

I originally drew the title picture for ‘The Juniper Tree’, way back in 2023, when I finally let go of adapting Thumbelina. As a callback to my original title style, I made it cursive, with a related element (in this case, a tree) connected to the words. I had to redraw it when I realized that a juniper would not work, and switched it to an acacia. I did trace my ‘The’ off my phone and onto paper though - I liked it and felt it would still work. It took me several tries to write acacia to my satisfaction. Tree was surprisingly hard too. I finished the title earlier this month, shortly after seeing the EXCELLENT Deadpool & Wolverine movie for the third time (as of right now I have seen it four times, I would not be opposed to seeing it a fifth). (Edit from later: I saw it a fifth time dressed as Deadpool, with my friend dressed as Wolverine!)

The second picture, both textually and chronologically, is either my favorite or my second favorite, I cannot decide. I tried to draw that scene earlier this summer, but could not get the angles right. I am very thankful that I felt confident about this one this time. And like I said before, I enjoyed drawing that outfit on Billi.

The third illustration was the fourth I drew. I was not very inspired for this one, and I feel like my acacia tree does not lean dramatically enough. Either way, I am glad it is done. I drew the tree, liked the sketch version well enough, and realized I would get irritated trying to erase just enough to fit a cockatoo, and not enough to ruin the piece. So I drew the cockatoo and the handkerchief on a separate piece of paper, cut them out, and pasted them together. I think you can sort of tell that they were not drawn on the same paper, but I like the effect. The initials on the handkerchief are DSC - short for Deathsmallcaps, a reference to the font which Terry Pratchett writes the dialogue of his character, Death, and my tumblr handle. Though, if you ever want to see a more condensed blog of my art, you should probably go to Patheticbatman on Tumblr. It does not have everything, because I cannot find every one of my art posts on tumblr, unfortunately, but all my recent works get posted there first.

The fourth picture was the third I drew. I had fun trying to figure out the angles for that bathroom - I hope I got them right! It is also a reference to how the stepmother in my adaption of Snow White was introduced - she was looking into a mirror. So one begins, and another ends. This is the last we see of Charlotte - unless you count the blaze behind the family in the next picture as Charlotte, lol.

And yeah! The fifth and very last illustration is my other favorite! I think everyone’s faces came out great, the hands were grasping (hard and something I often avoid) cloth in a convincing fashion, and the hug felt genuine. I have Jack kissing Billi’s cheek because fathers should show affection to their sons. Everybody is crying - I hate drawing tears in my style but I have yet to do anything about it lol. Billi is looking down at Sinai in love, to tell her that there is nothing to forgive, and they are looking up at him in awe and absolution and sheer happiness. I am not saying Sinai will not feel complicated about their mother’s death, but I think they much rather have their brother around. Billi is holding both his father and sibling tight because they make him feel secure - you know for darn sure he will never let himself or them be taken away again.

Anyways, this explanation ended up being about 50% longer than the actual story, so I will be done now. Hope you enjoyed!

I forgot the dad’s glasses whoops

#win a commission #wac #the acacia tree #the juniper tree #the almond tree #intersex character #cannibalism #abuse #murder #revenge #red-tailed black cockatoo #Alice springs #Pintupi character #I guess characters

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deafchild2000 · 10 months ago

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I love the fact it's almost agreed upon that Bella would be the one to see Charlotte as for who she is while being friends with Cleo, Rikki, and Emma.

But one question: Should Bella hear both sides of the story, would she pick up on the bigger picture that they could have chosen to get along if they faced their issues head-on?

Like I have my HCs that Charlotte was meant to be a mermaid and it was issues with the others that spoiled it for her - and wouldn't that come convenient that in light of a world-ending comet one day heading towards Earth, a young girl changed into a mermaid in Ireland would help take out that comet albeit in a different location like her predecessor?

Bella had to figure out how to be a mermaid since she was a child, and in that plethora of fanfic ideas, whatever help she had came from different sources. Because of this, it wasn't about reminiscing about the past but trial & error until she figured out how to have a foot on land and sea. And while that leaves a lot of room for interpretation, it mainly says she never stuck to one way of thinking. She had to adapt and be open-minded (especially since she was always traveling.)

The girls meanwhile only had Louise in S1 and one bad experience with a Dr. Denman. Max helped flesh out Gracie when Cleo had repeated the past by breaking up with Lewis. There was no "other girl" threat to convince Gracie to get back with him and stay a mermaid - her reasons likely stemmed close to home. Charlotte, in hindsight, was a challenge and an opportunity to explore the possibility of "MORE" - and both sides failed IMO.

Bella arrived when Emma was gone and there was no avoiding the hypocrisy in the convenience. Because Bella was nothing like Charlotte and had her own guy to deal with - she was essentially welcomed with open arms in the long run. And while it's great to say Emma and Bella would've gotten along great if they met, there's no avoiding that what was used against Charlotte was voided to accept Bella.

And I want to believe Bella would find it unacceptable. If Charlotte was remorseful and bears the weight of Bad Guy, what exactly were the girls'? Would they be honest with how they felt and treated her or would they cover up their hand in the matter and make themselves victims?

Or, better yet, she goes to Lewis who fills in the blanks?

Either way, I love Bella but I feel this scenario would call for a major fight.

If she was anything like me, Bella would see the hints that Charlotte was meant to go to Mako. From Lewis's side - it should've been obvious Charlotte's grandmother was either Gracie or Julia since the minute he learned she was looking for the island. Or if not obvious, a major hint. Then, from Charlotte's side - hearing how Cleo showed Charlotte the land entrance to the Moon Pool while moonstruck, and depending on how she explains it, Cleo comes off as leading her there and almost letting her become a mermaid until others arrived & the moon fever wore in time to stop her - therefore another major hint shown from a close call. And then there's how Charlotte stated Gracie's her grandmother, how she left things behind, how having Lewis lie kept falling through, and how it eventually led her to Max - essentially Charlotte playing detective with her mom being the truest source about Gracie.

I would hope this blows Bella's mind because at that point in time, Charlotte could've been told the truth because this was her family history and the girls were denying her that. Plus, because Bella is considerate, imagine how great this news would've been for Max and Louise (if she hadn't died at that point). Max hadn't moved on from Gracie and Louise lost both her friends and never got to see them ever again - finding Julia's locket was the only reason she even learned she died!

Charlotte's entire existence ties both generations together even more than the Secret could.

To reiterate:

Gracie told her stories about her time as a mermaid, even if she didn't say it.

Gracie died leaving personal effects for her, including drawings of Max, Mako Island, and the Moon Pool.

Charlotte was drawn to Mako since then, and finding it and someone to take her was almost a challenge.

She goes to Mako Island on a Full Moon and one of the current mermaids is moonstruck, allowing Charlotte to follow (be lead) to the entrance to the Moon Pool. Even almost enduring metamorphosis.

Upon learning Gracie had some grand secret regarding Mako, Charlotte sought to piece the clues together and unraveled the lies told to lead her astray.

She finds out the truth and unbeknownst to her, those who know the truth won't let her have access to the truth. So she has to be sneaky until she finds Max, who feels it's fair to let her know the truth.

At that point, it's glaringly obvious how much the odds were against Charlotte, but Bella realizes it's less to do with Mako (which given the Water Tentacle, it says so much about Charlotte's first attempted metamorphosis) than it really is to do with her friends interfering with their personal hangups and clearly wanting to leave Charlotte out.

(Cue Bella glaring at her friends akin to a mother's glaring at a child when they screw up)

And that's before Charlotte came anywhere near the truth. Bella would have a lot to say - especially to Cleo and Rikki - about making fun of Charlotte and acting superior just because they're mermaids and a lot to say to Emma - for claiming to be mature and responsible - about letting that behavior go on.

She could lay blame at Louise and Max but ultimately realize they were doing the best with what they had and couldn't have realized that unwittingly presented a possible a conflict of interest. They hadn't kept tabs on Julia or Gracie, so what could they have done if they knew one of them had a grandchild?

(One of the few things I like about MM tied to H2O is that it exposed everything Louise had thought and told the girls (which, let's be honest, was weaponized against Charlotte) was wrong. There can be more than 3 in a group. They can travel in groups of three, and have friends in groups of 3, but it's no less limited to being only 3. When Zac became a merman, the issue of being the sole 4 merfolk in town wasn't an issue. And when Evie was changed, there were 5 and they all got along to help one another. Hell, it's 6 if you count Rita as the elder mermaid/guardian!)

Then, Bella gets the reasoning behind their behavior, and...she just can't follow it. "Only three mermaids"? As someone who's been on their own, it makes no sense. When Bella met Cleo and Rikki, she had finally found the support she could have used growing up and she was happy to meet Emma. The more, the merrier. The lockets? She probably adored the symbolism that transcended when she learned about the 50s Mermaids but wouldn't trade her crystal for anything. She maybe would have wished someone like Louise had shown up in her life when it mattered. And while she lacked weather powers (and likely had to remember where she was in 2007), she enjoyed having multiple powers to her advantage even if they weren't as highly useful as the others - so perhaps she wasn't phased at hearing Charlotte had multiple powers since she was alone in the moon pool just as Bella was. And why was having multiple powers an issue? If the girls were in a bad situation like the one with Denman, wouldn't another mermaid be helpful? Wouldn't having a mermaid with all their abilities help in any situation one power or more didn't work? Or if one of them was transformed and the other two couldn't get there fast enough?

I want to imagine Bella not seeing Charlotte being a mermaid with multiple powers as a problem, as she has multiple powers as well and they come through in times of crisis. And then wondering why the girls couldn't see this as an advantage.

But then, she got to the parts about how the girls felt and treated Charlotte after her transformation. Bella would hear it as if it was a problem after evidence showed it was inevitable and, looking at everything leading up to Comet Eva, maybe it was supposed to happen. There was no need to lie anymore and everything should have been smooth sailing once dealing with her powers or power at the time. She's not too surprised Cleo and Charlotte initially had the same power but Cleo clearly was obsessive over being the one to have it. And the irony that they only got along once until Charlotte found out she had more powers (at a good time) actually hurt Bella once the comparison to her own powers was made. The conflicting tales of teaching Charlotte how to handle her powers definitely give Bella whiplash because the former mermaid had been given reasons to feel as if she had something to prove and for calling her "reckless", the girls had told her plenty of their own stories to put her to shame - and they were more risque! However, Rikki's behavior definitely got called out.

Then, the Ronnie Incident was told by both sides - personally, I want to believe she would have chewed the girls out! Charlotte clearly acted out because the girls laughed at her and even if Bella never got attacked by dolphins - the blatant disregard for what must've been a vulnerable fear to confide in was treated as a joke and probably a taunt at Charlotte being a mermaid behind her back. And as a consequence, Charlotte forced herself to confront her fears and that ended badly, for her and the dolphin.

Everything else must be felt like the girls had decided to be upfront with their disapproval of her and Charlotte decided to be the Bad Guy they wanted to her to be. And in the end, depending on both narratives, what should have been a joyous moment for Charlotte was ruined because of internal struggles when it didn't need to be.

I won't say Charlotte's later behavior would slide with Bella (after Sophie Benjamin, she's much more tolerable). But I do imagine the girls actually would feel ashamed because Bella is a kind and unfailingly sweet girl, so being grilled and disappointment from her as she spits out facts of a greater picture they wouldn't (chose not) to see might truly show them how thoughtless and inconsiderate they were towards Charlotte.

(Bonus points Bella finds out the girls attacked Annette - Charlotte's mom and Gracie's daughter/the child of Cleo's 50s counterpart - and she has a hard time ever looking at the girls the same way ever again.)

#h2o just add water #charlotte watsford #cleo sertori #gracie watsford #rikki chadwick #bella hartley #emma gilbert #mako mermaids #louise chatham #h2o just add water max hamilton #h2o just add water julia

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memorydragon · 8 months ago

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Since I've now played through the remake eight times now (this is normal) I felt like I should say a few words on Trials of Mana, or Seiken Densetsu 3/Secret of Mana 2 as we called it back in the day.

First of all, let me say SD3 is one of my top two games of all time (the other being Tales of Phantasia). I have played this game an unholy number of times in my youth. I've had the Trials of Mana remake for a while now, tbh, but have held off on playing it because I didn't want Remake Disappointment. But coming off of three games in a row that ended on a downer (I'm looking at you, Kiseki) and a really rough semester, I finally decided to give it a go.

On the whole, I have to agree with the review that I read before diving in. Which is to say, it's a very faithful adaptation. It has everything that made the original fun and enjoyable. I do kinda wish they'd actually put a bit more effort into additional content (because there is so much they could have done and it would have been amazing), but overall very satisfying to play through.

I will say I am delighted that my fave was turned into a bisexual icon. He and Angela are both very bisexually color coded and my headcanon is that they are bi besties who wingman for each other and chat under the sacred bi tree about mutual crushes. ("He's hot." "He's not the smartest around." "Yeah, but you have to admit those muscles." "You're bringing me around to himbos." vs "Do you ever just look at Riese and think damn." "All the damned time. She could have her wicked way with me any day." "She's Riese, she's too kind for wicked." "I know. T_T" ) Like, if I could find the way to transfer photos from the ps4 without massive amounts of headache and digging, there's one screen cap for when I got an achievement of them in their dark classes still matching and it was like, yes, good.

Hawkeye is still my absolute fave, especially since they animated him with dancer warmups and very bisexually. He has soulful sad eyes. He hits fast. His beaming smile at friends is sweet. He's a treasure hunting thief. He was most definitely sleeping with Eagle He's out for revenge but ends up pitying Belladonna.

And honestly, let me just say that Fairy just kind of going 'oh, well. I don't have much choice, the MC is the only character around' as the way of picking the chosen of Mana still tickles me. Like, not even giving them a choice about things, just there's only one person here and now you're the chosen one.

I do like the voices, both english and japanese. Charlotte is still.... unfortunately translated, but the fact that their actor pool is all from New England is hysterical. Like, the Wiki says Angela has a valley girl accent and I'm over here like, um... I can see how you think that, but she's very definitely still a New Englander. No one says 'on' like that in California, I should know. That's where they put me in speech class.

Overall the game is easier, not just because they give all sorts of tips that I would have loved to know the first time I played. (The first time I played was... well. This is a game that very much needed the manual it no doubt came with, but I was emulating an english translation that didn't come with the manual. And I still persisted in playing.) The two main differences is that now the game lets you powerlevel your way through things and full screen class skills can be avoided. The former was Weird, because I played the original an unholy number of times and had every level and seed acquiring down to an art, and suddenly I'm several levels above where I should be, but it's keeping the skill points for later. That took a lot of adjusting to, but I managed, and now am usually past 38 even before I get to the first mana stone. XD Kinda makes me miss using the second class changes, but oh well. Full screen skills being avoidable is part of a 3d environment, which is honestly nice. It does make beastmen/swordsman and other monsters much, much easier though. It's no longer Kill Immediately and aggressively before they use their tech and shred your party.

The trap door monster in Laurant is much more of a bitch though. Fuck that thing, 3d made it so much worse.

The post game content is a bit monotonous, but not terrible. What I wish they'd done more with is the personal quests and at least a bit more interaction between certain party arrangements. Mainly along the shared quest lines. The all girl/all boy party was a fun touch, but I'd I wish they'd even done a bit more with that. Just more interaction with the characters, since that's half the charm of the game was who is and who isn't in your party. Writing didn't seem to be the remake crew's strong point though. Honestly, being faithful to the original is probably way more than enough. It's just wishful that we could have gotten a little bit more than just a little bit extra.

The new techs and new game plus does make replaying through faster, which is sometimes great when you just want to play with combinations. They also let you reset your class with specific items, which is a fantastic addition. I don't use it much, but being reminded why Riese's light/light class had the worst summon, it was nice to be able to switch her around. I also like that you can change the outfits regardless of class, which is great when Angela's dark/dark class was honestly clashing terribly on top of being a bikini armor. Now when I want to use Ancient, I just switch to her more reasonable outfits.

Kevin and Duran getting boob armor for their dark ultimate class was amazing though. Hawkeye not having revealing outfits also gives way to lots of gender headcanons. I also now have a lot of polycule headcanons, because they absolutely are. Except Charlotte. She can cuddle, but she needs to grow mentally 50 years. Then she can be the hot half elf who hits up her silver foxes/cougars, but she does not act her age in the slightest and looks about ten so she's waiting until she does some growing.

Being able to fight the black rabite on all paths rather than only available for Duran/Angela main is great too. I mean, it's still traumatic in a deeply unhinged way, but again, the game is easier in the remake. That includes superboss. Though I did not appreciate being asked twice each time I go to fight it if I'm sure I want to fight it. Like, fuck you game. I've already got the psychological trauma of the original.

(It does make me miss my irc heyday, when I had my bot named BlackRabite and would occasionally switch over just to make it bounce.)

Rabites are still the Most Monster of all time. I love them. Even when they're murdering me or I'm murdering them. You can't actually kill the black rabite. It just bounces away when it's done messing with you.

Anyway, I've played through most of the classes now, though I think I'm still missing one of each for Riese/Duran/Charlotte. I actually did a no healer run this time, which was interesting. Way easier in this version, especially with certain shared techs, but it's nice to not have to plan a party on needing a healer. I'd probably have all the classes by now if I didn't like, use Hawkeye for everything, but hey. He's a fave. I did a Hawkeye-less run, of course, but still. He's going to be in my party the majority of the time, because I love my bisexual thief. (They made his ultimate class change item the Loyal sphere, which also hits mine and Riese's Loyality kink, just as she hits his kindness kink and yeah, I've got a lot of headcanons about Riese accepting her bisexual thief boyfriend and outside game canon incest is just going to happen. Sorry, square, you made that final scene of Eagle saying the memories they had together were his most precious treasure after you've made a prequel game I didn't play that made Hawkeye Flamekhan's grandson. I found this out through wikipedia (and will absolutely be checking out how to emulate gba now, because Hawkeye's mom sounds Badass) and only after you made me ship it, so now it's just Flamekhan who gets ulcers when he finds out with Jessica as a supportive sister-in-law because only he knows he disowned his badass daughter. He only has himself to blame, while Ignorance is gonna stay blissful. And while Jessica and Hawkeye are distancing themselves from the old man because they think he's being homophobic, Jessica takes over Nevarl. As she should. Queen of Thieves we all deserve.

(Falcon in the thereafter may have had a few ulcers herself, but then decided, fuck it. Her father was the one who said he didn't have a daughter first, so she doesn't have a father. She's got a cute son-in-law now instead of step brother and will have a cute amazon princess daughter-in-law soon, so her son is obviously doing well.)

I did warn you I have thought A Lot about this. XD

The one thing I kinda wish didn't carry over is the total play time, because I do really not need to know how many hours I spend on this game. But well, no one else needs to know. XD I also kind of wish the final class was more of a combination like it promised than just a few extra stats, but hey.

Anyway, in terms of a remake, I do highly recommend it. I enjoyed it greatly, and it's very New England english cast, which most people may or may not necessarily realize that all of them are from there, but those were the vowels of my people. Also, I'm more forgiving of Charlotte's manner of speaking now, because she's hilariously also strongly from New England.

Listen, when you're put in speech classes and told your accent is terrible as a child, it's only natural to turn to Spite. That's just how it is. XD

On a final note, they animated the merchants in the most unhinged manner possible, and I adore it. It's absolute madness. They went there and it's glorious.

#This is Mem's life #Gaming stuffs #Trials of Mana #seiken densetsu 3 #I really do love this game so much #anyway now to decide who will be my next main #I'm thinking Kevin without Charlotte since I haven't done that yet

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29625 · 4 months ago

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Blade Runner/Do Androids Dream of Electric Sheep? AU.

Blade runner/replicant! Slider x Blade runner Maverick.

Contains a bit of NSFW discussion and huge spoilers of both works.

This is a sort of mish-mash of both the movie adaptation and the original novel. While Deckard is clearly a human in the original while coded as a replicant in the Final Cut version of the film. The interesting thing about Deckard is the difference in his character in the novel and the film. While Deckard in the novel is portrayed as very…human, overtly showing distress, desire, anger and jealousy, the film depicts him being colder and less human, almost like a replicant himself as he does his job. (He, a supposed “hero” shoots a female replicant from the back—in that day and age!)

I also LOVE to see his respective characterization getting mixed; Slider being his jokey self while struggling to make sense of his identity, or Maverick slowly getting more and more protective of his partner along the way. In addition, the novel features another blade runner/bounty hunter called Resch—who Deckard suspects to be an andy/replicant (and I honestly LOVE his character. The scene where he gets so defensive about being an andy that he overkills an android? GOD.) In this AU, I’ve set Slimav as partners in “retiring” replicants, as in the collaboration between Deckard and Resch in the novel—with a twist. A romantic twist in the same fashion of Deckard/Rachael in the movie. Sex to restore each other’s blurred, messy identities. A kiss to make sure they are there, together. Confusion and affection. Anger and passion. Desperation mixed with equally intense desire for each other’s touch and comfort.

The deal is, Slimav but Blade Runner. The Tyrell Corp.—now we have Dr. Charlotte Blackwood! (I love Charlie. I will let her explore my body like WTF girl!!!! Ur gorgeous and educated and everything!!!!!!!!!! Leave that man!!!!!!!!!!). She is the one who created the Nexus 8–Slider, that is—with an implanted memory, reduced/more human-like stamina, reproductive capacity, and no expiration date assigned. The Nexus 8 promises, as she claims, the next-gen of human race—and Slider is the pilot version of the series. She and her team want to test his capabilities while also flying under the radar of the authorities, particularly when there’s a group of rebel replicants lingering around. So she contacts LAPD and Maverick and “offers” to “lend” another blade runner to do the job. Of course Slider has to take the VK test because why not. Why not let them experience that sexual tension.

The rebel replicants? We’ve got Mr. Iceman (Roy Batty). I’m still thinking about how to cast other replicants but Iceman as Roy just makes sense to me. In the novel, it is implied that Rachael and Pris (who is Roy’s partner in the film but just an accomplice in the novel) are created using the same mold, looking identical to one another while being different in their positions/classes. I’m usually a IceSarah shipper (and I will DEFINITELY write them in the future!!!) so whether to cast Sarah as Pris or as Zhora (who’s also got an important, very magnificent role in both the novel and the film; cornering Resch to the edge of identity crisis in the former and making Deckard question his job and his affection towards Rachael in the movie) is the biiiig question for me. Who knows? Maybe we can go batshit crazy and make it Slimav AND Slice!

Also, maybe this is a hot take but Charlie/Carole (as J. F. Sebastian in the film). An unhinged genius who only truly loves her creations that are replicants and an equally unhinged engineer who is devoted to fulfilling her boss’s desire. C’mon, I believe she can pull off that awkward yet somewhat eerie vibes while making it cute.

And Gaff. Do you know who plays Gaff in this scenario? Goose. That’s it. I said what I said. I love how Gaff treats Deckard like his dog in the film, hitting him with his cane and turning a blind eye at his betrayal almost whimsically. Dark Goode lovers rise up. Rise up and make the tension turn all the way up.

#slimav #top gun fanfiction #ron slider kerner #slider x maverick #top gun 1986 #pete maverick mitchell #blade runner AU #this will be my this years Halloween special I hope #I still haven’t recovered the time I self-spoiled Fight Club while I was browsing Wikipedia for a very different question I had

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mermaidsirennikita · 2 years ago

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Yeah this needs to be talked about more, the amount of articles, podcasts, youtube/tiktok videos or just online comments that I saw after season 1 came out that just assume the Bton books were diverse because the show is? And the fact the new marketing push around the books is not disabusing people about that notion, mainly through the new covers (both regular and the show tie-in ones).

It's a really complicated, thorny issue in some ways and very simple in others. If I look at Just Romance Novels (which is obviously a niche, just zeroing in a genre for the sake of discussion) the genre is still dominated by product from white authors, largely with characters written as white. While it's diversifying (far more slowly than it should be) a lot of the older "proven success" books are written by white people, about white people. I don't think it's wrong to cast diversely if you're adapting those books--and on a practical, "people putting food on the table" level, I want actors of color to have as many solid, well-paying opportunities as possible.

At the same time, there are still so many authors of color neglected. Not all of whom wrote people of color on the page, of course, especially in historical romance--Sherry Thomas and Stacy Reid are two historical romance novelists who write about white characters, and it's no surprise that the potential adaptation of Stacy's works would be cast more diversely. There's a level of tracking how expectations have changed when you look at how Sinful Wallflowers was presented as a book series, and how it could be presented as a show.

And like, I'll allow that we're in the midst of a sort of "boom" (who knows how long it'll last) of period pieces cast more diversely than they would've been even 15 years ago. The approaches are often different and individualized. The Great has people of color playing characters who'd be literal white Russians "in real life", and it's literally never commented on, which I think many would prefer for a show like Bton. BUT, most of the lead characters are white, with Orlo (who I think did not get the strongest writing from jump, though Sascha wanting to leave after s1 didn't help) and Arkady (who I think is hilarious and finally got more screentime in s3, but he could've gotten more from the beginning... so much Velementov screentime should be Arkady screentime) being two of the only truly prominent people of color onscreen.

Then you have something like Sanditon, where Georgiana gets better writing than many people on Bton, but the show obviously never knew how to really confront her background, made the racist old lady the peak comic relief, and never prioritized Georgiana the way her white counterpart Charlotte was prioritized. Georgiana got an afterthought of an ending after being humiliated by the narrative several times.

One of the shows that handled this best was Tom Jones--Sophia is treated as this gem of a girl whose grandfather and aunt love her, but clearly aren't fully sure about how to solidify her safety as a Black woman of means in England. There's a very tender scene where she discusses her father enslaving her and her mother with Tom, and the show doesn't shy away from Sophia's mixed feelings on the entire thing. There's a heavy implication re: her being made to perform whiteness with face powder, etc, but nonetheless this is not dominating Sophia's storyline. She gets to be the swooning girl who falls head over heels and is desired by a good man and upheld as his ideal in every way. She confronts conflict, but she does not SUFFER, and she is not MINIMIZED in favor of white women in the story--Sophia is really pretty explicitly like, The Woman of that piece. Presented as the most beautiful, as not flawless but good and deserving of love, as a true classical heroine whose personal narrative is actively expanded to match Tom's. The only thing I find prominently weird (after one viewing) is that she and Tom never had like, a sweet wedding night scene, as we saw Tom have sex with three different white women onscreen, of of which was like.... the core villain. I would've liked to have seen Sophia get the full physical adoration there, onscreen, and it did stand out a bit that she didn't.

So those are adaptations with growing pains, not getting everything right, but some being better than others (and Bton being the bottom of the barrel, there).

Then there are things that are unequivocally wrong, and not a part of growing pains as adaptations navigate between what sells and what diversifies and what works, and one of those unequivocally wrong things is selling the Bton books as diverse reads. Those books are some of the most conventional Regency romances out there; you don't even get a lot of economic or class diversity, let alone any racial diversity. Almost everyone in that series is upper class. Even Sophie is the daughter of a nobleman. And I'm not saying it's wrong to write about those people, but for the books to now be sold as something they're not, when the author didn't even think people of color could get HEAs in her Historically Accurate World... is the worst kind of capitalism.

That's part of the extra ugliness (on top of all the obvious ugliness) here. Julia Quinn was against what she's now profiting from. It's not just picking a white author's works to be emblematic of diversity they don't represent; it's THAT author's works. And I think that making Queen Charlotte from all this, putting Julia's name on the cover (I am.... 90% sure that book was ghostwritten, with input from Julia and Shonda, but go off) just adds to all of it.

#romance novel blogging #this turned into a lot of musing but basically: agree!#there are things like w tom jones where i'm like you missed an opportunity re: sophia not getting a love scene w tom #and then there are things where actively wrong decisions are being made loudly and proudly #to basically wrench as much money from poc as possible through misleading

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navree · 2 years ago

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Lowkey hate race swapping sometimes. Now hear me out!

I don't mind when people race swap chatacters I just hate it when changing their race would totally change the entire story or have a lot of implications to the story.

I don't mind when fictional charcater race are changed but I hate it when they change a characters race who are suppose to be a certain race for a reason. When they chnage those types of characters a lot of time it changes the narrative of the story and their actions.

Same with historical show or documentaries. If this real life figure was another than they were we would have completely different story on our hands. Like please open a history book.

Listen, when it comes to fictional characters "racebending" means nothing to me unless it's whitewashing (Titans casting a white actor to play Dick Grayson and the MCU casting a white actress to play Wanda Maximoff when they are both literally canonically Romani both ethnically and culturally is my villain origin story) because fiction is fiction, and honestly you can tweak a story to make a character's journey adapt to the new inclusion of them being a member of a minority class so long as you're talented enough. Most writers aren't, and that's why a lot of "oh we made X character a POC in this adaptation" moves tend to ring hollow, but it is possible.

But I have a genuine bone to pick when it's about history.

For one, it's just such a lazy move. "Oh we made Bess of Hardwick Chinese!" fantastic but you do know that Chinese people existed in the late 16th century right? Like, China was a country with a lot of people in it and a thriving culture and way of life and plenty of influential people living there. Why aren't we telling stories about a Chinese woman living in that time period, it's not like that period of Chinese history was dull or as if no one ever mattered or nothing ever happened there. Like, for God's sake, it's just a way of showing that you aren't actually interested in learning about other parts of the world, or decentering Western history, specifically European history, as the only history worth learning about, you just want brownie points for being diverse without actually putting in the work to learn about the vibrant world that existed outside of Europe for the vast majority of human history, aka doing anything to actually explore different non-Western narratives and how the world moved outside of the European bubble.

For two, like you said, a lot of the time "racebending" doesn't really include attempts to accommodate how the history would change. Bridgerton is a wish fulfillment fantasy show so I don't often care about how it deals with history (even tho I do think the Charlotte was black theory is complete bunk and I refuse to engage with people who think it's real) but its whole "and now England is desegregated" thing falls very flat when you remember how involved England was in the trans-Atlantic slave trade, how reliant it was on slave labor, how invested it was in capturing and buying and selling slaves, including the royals. It puts a lot of onus on characters that they've made POC without doing any of the work, and oftentimes deals in a lot of harmful stereotypes. This was seen most egregiously in the 2021 Anne Boleyn show that cast Jodie Turner-Smith as Anne. @duchessofferia discussed this much better than I will, but relying on the same old lazy tropes that have defined Anne Boleyn with a black woman playing her turned into genuinely harmful racial representation. Having Anne be sexually aggressive and domineering and harsh in her mannerisms, especially when compared to Jane Seymour, isn't new, but having a black woman be looming over a small white woman and being sexually aggressive with her feeds into harmful stereotypes about black women and their femininity, and by having George Boleyn also be black, painting him as a sexual deviant and adding a plot where he abandons his responsibilities as a father turns him into the "absent black baby daddy" trope that still does a lot of harm to black men today. Not to mention, changing George Boleyn's race but keeping the rumor about Jane Boleyn lying on the stand to incriminate him turns a "wife turns against her husband for unknown reasons" story into a "white woman accuses a black man of sexual inpropriety that his society would frown on for the purpose of getting him executed by the state" story, which has a long and incredibly dark history in the United States (it's basically the Scottsboro Boys but Renaissance now). I mean, it's basically my primary issue with Hamilton, that the show really wants to capitalize on the whole "America then as told by America now" thing without delving into what it means to have literal slaveowners portrayed by black men and to have the character of Thomas fucking Jefferson call Sally Hemmings by a pet name in that show without any introspection into the fact that she wasn't his girlfriend but, you know, a woman he full on owned and repeatedly raped. It's all surface level and generally causes a lot more problems by refusing to alter the history to deal with these new changes, because it's history and you can't really alter it without creating a host of problems.

With Cleopatra specifically, I mentioned it before but the Ptolemies were total fuckups and literal colonizers in and of themselves, and turning them from a Macedonian dynasty into actual people of color for some kind of narrative (like there aren't any other important women of color in history, or even that time period) while not attempting to even examine the history of that dynasty and that queen in particular doesn't sit right. Like, congratulations, you've now created a story where a woman of color's most important contributions in life were her relationships with white men who held significantly more power than her and over her country, and fucked up to such a degree that her country wouldn't even be considered its own country until the 1950s. How absolutely groundbreaking. Next you're gonna tell me it's subversive to paint Livia Drusilla as a scheming, conniving bitch who manipulated everyone around her, instead of a sexist and tired trope that exists only to demonize one of the few women of actual importance in Augustan Rome because she was half a decade older than her husband and was able to keep her own power after he died. It's not just a lack of intellectual curiosity or good storytelling, but a fundamental misunderstanding of why people want to see stories about people of color, and how Hollywood itself thinks so little of their audience that they think we'll be content with a simple coat of "hey this person's a minority now!" paint over a subject without any attempt to really look into things or understand why the world works the way it does or how these people shaped their lives or the lives of those around them, never mind the new messages you're sending now with these changes.

Ultimately, it doesn't really matter. There's a lot that can fuck up with historical representation in media, and representation of people of color in media in general can always be so incredibly fucked that giving people anything is oftentimes a win in and of itself. But I honestly think that focusing on the same Euro-centric stories and just switching around Pantone skin swatches to do the bare minimum is lazy and insulting. You want me to care about historical stories about people of color? Great, give me historical stories about actual people of color. Let me hear more about ethnic Egyptians, about their lives and their culture and how they influenced history, not ahistorical trash that causes more trouble than its worth and certainly isn't doing anything new or interesting with the subject.

#personal #answered #anonymous #not to mention trying to pass it off as fact is particularly galling #say what you want about fucking bridgerton but they're not pretending this is in any way how it really went down #i'm a bit drunk and i've had a looooooong night (had to mediate a fight between my mom and my sister) so this isn't altogether coherent #but i hope i got my point across #ultimately it doesn't matter it means very little and there's so much more to complain about #but it causes genuine issues that filmmakers just don't want to look at or really introspect on #because they think that audiences of color don't deserve more than scraps #and honestly just like.......stop making media about cleopatra #she's the least interesting person of that era (you guys know me i'm an augustus girlie i think he's the most fascinating)#and there are so many more interesting egyptian queens that i wish were getting more press instead #and you know those egyptian queens were.......actual egyptians

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whitneyperkinswitt · 2 months ago

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Engaging and Educational Books for Kids: Top Picks for Curious Young Minds

Finding books that both entertain and educate can be a wonderful way for parents to encourage a love of reading while supporting their children’s development. The right stories can introduce new concepts, inspire curiosity, and teach valuable life lessons in ways that are fun and memorable. Here’s a collection of top recommendations for books that do just that—engage, educate, and entertain.

Timeless Classics with Core Values

Classic children’s books offer lessons that have stood the test of time, creating memorable experiences for generations of readers. Charlotte’s Web by E.B. White is a beloved tale that follows the friendship between a pig named Wilbur and a spider named Charlotte. This story explores themes of friendship, kindness, and the cycle of life, presenting important lessons on loyalty and compassion through its charming characters and touching narrative.

The Giving Tree by Shel Silverstein is another classic that captures the essence of giving and selflessness. In this beautifully illustrated story, a tree offers everything it has to a young boy throughout his life. While simple, the story leaves a lasting impression, helping children understand generosity and unconditional love.

Adventures in Science and Discovery

For young readers interested in science and exploration, If I Built a Car by Chris Van Dusen is a fun introduction to engineering and creativity. This imaginative story follows a young boy who designs his dream car filled with gadgets and unique features. The whimsical illustrations and clever ideas encourage kids to think creatively and explore the wonders of invention.

Another excellent science-based book is Tiny Creatures: The World of Microbes by Nicola Davies. This book introduces children to the fascinating world of microbes in a way that’s both accessible and engaging. With fun illustrations and simple explanations, kids learn about the tiny organisms that live all around (and inside) us, sparking curiosity about the invisible world of science.

Books That Build Emotional Awareness and Empathy

Understanding emotions is an essential part of growing up, and books that address feelings and empathy can help children navigate their emotions. Diane Alber's A Little Spot of Emotion series is a fantastic collection that introduces young readers to a range of feelings, from happiness to sadness to anxiety. Each book focuses on one emotion, helping children identify and understand their feelings while also developing empathy for others.

The Pout-Pout Fish by Deborah Diesen is another delightful book for teaching emotional awareness. This story follows a grumpy fish who believes he’s destined to be gloomy, only to discover the joy of sharing smiles with others. The rhyming text and vibrant illustrations make it a fun read-aloud that also encourages children to embrace positivity and look for happiness in their interactions.

Celebrating Differences and Embracing Inclusion

Books that celebrate diversity and inclusion play a vital role in helping children appreciate and respect others. We’re All Wonders by R.J. Palacio is a beautifully illustrated adaptation of the bestselling novel Wonder. The story introduces Auggie, a boy with a unique appearance, and highlights themes of kindness, acceptance, and seeing beyond appearances. This book helps children understand that everyone is unique and valuable, encouraging them to be kind and inclusive.

The Name Jar by Yangsook Choi follows a young girl named Unhei who recently moved to the United States from Korea. As she struggles with her Korean name, she learns the importance of embracing her identity and culture. This heartwarming story is a gentle reminder of the power of self-acceptance and the beauty of celebrating cultural differences.

Inspiring Creativity and Imagination

Encouraging creativity through reading can inspire kids to explore their ideas and dreams. The Dot by Peter H. Reynolds is a simple yet powerful story about a girl who believes she can’t draw until a teacher’s encouragement leads her to create her first dot. This story inspires children to try new things, be bold, and embrace creativity, no matter where they are starting from.

Harold and the Purple Crayon by Crockett Johnson is another classic that celebrates imagination. With his trusty purple crayon, Harold draws himself into a world of adventure, creating his own path as he goes. This book encourages young readers to use their imaginations and reminds them that they can shape their journeys with a bit of creativity.

Teaching Resilience and Overcoming Challenges

Books that highlight resilience teach children the value of perseverance and positivity in the face of challenges. After the Fall (How Humpty Dumpty Got Back Up Again) by Dan Santat is a creative retelling of the classic nursery rhyme. In this version, Humpty Dumpty confronts his fear of heights after his famous fall, showing children how bravery and resilience can help them overcome obstacles.

Giraffes Can’t Dance by Giles Andreae follows a giraffe named Gerald, who learns to dance despite being told he can’t. With encouragement, Gerald finds his rhythm, teaching kids that determination and believing in oneself can make anything possible. This story offers a powerful message about confidence and self-acceptance in a fun and rhythmic way.

Learning Math and Logic with Fun

Introducing math concepts through stories can make learning more engaging for children. The Doorbell Rang by Pat Hutchins introduces kids to the idea of division and sharing in a fun way. As more friends arrive, a batch of cookies needs to be divided, showing children how to approach problems with fair solutions. This story is an excellent tool for introducing basic math concepts while keeping it lighthearted and entertaining.

Anno’s Counting Book by Mitsumasa Anno is another delightful math-themed book that introduces counting in a visual, creative way. Through beautiful illustrations of changing landscapes, children learn to count and recognize patterns, making this book a quiet and calming introduction to numbers and counting.

Choosing Books for Learning and Growth

Selecting books that both entertain and educate can create a joyful reading experience while supporting children’s growth. From stories of kindness and resilience to tales that celebrate diversity and curiosity, these books offer valuable lessons wrapped in engaging narratives. By choosing stories that address a range of themes, parents can foster a love for reading while encouraging critical thinking, empathy, and imagination.

Reading is more than just a pastime; it’s a pathway to knowledge, growth, and self-discovery. By introducing children to books that entertain and educate, parents can provide their young readers with the tools to understand the world and navigate it with confidence and compassion. Each book becomes an adventure in learning, bringing children closer to understanding themselves and others.

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denimbex1986 · 1 year ago

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'Whether it’s a secret affair in “45 Years” or an unexpected chance at love in “Weekend,” filmmaker Andrew Haigh has created a gallery of indelible screen characters who yearn for emotional fulfillment and teeter just on the edge of getting it. These themes recur in his latest and most personal drama to date, “All of Us Strangers,” but here, Haigh taps into something more profound — the idea that seeking closure with your past may be the only way to open the door to joy in your future.

Adam (Andrew Scott) is a gay 40-ish-year-old screenwriter living in a brand-new but sparsely-populated high-rise on the edge of London. In fact, there seems to be only one other tenant in the building — Harry (an irresistible Paul Mescal), who shows up one night at Adam’s door with bedroom eyes and an open bottle of vodka. Adam sensibly declines his offer, but something about this young man has stirred a longing in him that he has long suppressed. Adam is damaged goods, and he knows it. He lost his parents in a car crash when he was 12, and when he finally came out in the 1990s, just as the AIDS crisis was raging, Adam chose to withdraw from seeking fulfillment sexually. That decision may have saved his life, but it came at the cost of his emotional development. That damage has never completely disappeared, and he seeks to grapple with it by writing a screenplay about his childhood. A photo of his boyhood home prompts a train trip back to his hometown where, to his shock, Adam comes face to face with his father (Jamie Bell) and mother (Claire Foy), who are still living in their family home and looking no older than they did the last time that he saw them 35 years before.

“All Of Us Strangers” is no ghost story in the traditional scene. Adam’s parents are very much aware that they’re dead and have returned only for a short time to ensure their little boy has turned out OK (“Being OK” is a recurring theme that Haigh skillfully weaves throughout his screenplay). As Adam tries to reassure them that he has become a responsible adult, we see the shadow of the eager-to-please 12-year-old who is still so afraid of the world that he needs to climb into bed with his sleeping parents for security.

These delicate scenes could have gone so wrong so easily. Still, it is to the enormous credit of both Haigh and Scott that what could have seemed ludicrous on the page is so emotionally compelling when played out with a subtle degree of nuanced and measured pacing to allow the calm but almost otherwordly mood of the film to sink in. Almost as tricky to pull off are the intimate scenes with Harry, who, far from the dangerous lout to whom we are first introduced, shares as many fears and insecurities as Adam, quietly observing that when gay people reach adulthood, many look back and realize that they are all, to some degree, strangers in their own family.

While at first glance, the film, adapted from the 1987 novel “Strangers” by Taichi Yamada, may seem very tailored to a specific audience, the more Haigh particularizes his characters, the more universal they become. Gay audiences will undoubtedly respond to seeing the personal and political struggles that many have encountered in life, and here, it’s depicted in such an empathetic way. Straight audiences may have a different takeaway, seeing in both Adam and Harry’s story that caring for one’s emotional needs is crucial to finding a happy life. And for those who have already lost both of their parents, the possibility that they might have a final chance to say goodbye and, wherever possible, say “thank you” is emotionally shattering.

Haigh’s particular skill at directing actors — Charlotte Rampling in “45 Years” or the ensemble in “Weekend,” for example — is well known, but the performances in “All of Us Strangers” rise to a whole other level. Mescal skillfully reveals the many layers of Harry at a pace that draws us ever closer as Harry becomes more emotionally intimate with Adam. Foy and Bell are at the top of their game and form their own bond as a believably married couple and loving parents.

But it’s Scott who quietly devastates. The British stage actor, primarily known to American audiences as the Hot Priest in “Fleabag,” has created in Adam, a gay man who appears emotionally together on the surface but whose shattered soul is barely held together by his aching need for love, whether from his parents or Harry. It’s not just that Adam wants the chance to say goodbye to his parents, an opportunity that was snatched from him as a child. He needs to hear their reassurance to him that he has indeed turned out OK. Scott is extraordinary in what is easily his best role to date, quietly gathering a growing force that provides the film with one last emotional wallop that will move any audience to tears.

If there are any qualms about the film, it may be with Haigh’s decision to include one last twist in the final moments that may be powerful in theory but rests uneasily with all that has come before. A more conventional ending here may have been the more satisfying choice and fit better with the already established themes of learning to let go and move on from unimaginable grief. Yet somehow, Haigh pulls us back with one final extraordinary image that is both gorgeous in its composition and unforgettable in its resounding impact. It lingers long after the final credits are over, firmly establishing this is Haigh’s most confident directorial work to date in a staggeringly beautiful film that will touch audiences.'

#Andrew Haigh #Andrew Scott #Hot Priest #Fleabag #All of Us Strangers #Paul Mescal #Claire Foy #Jamie Bell #45 Years #Weekend #Taichi Yamada #Strangers

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sportyconnect · 2 years ago

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In the annals of basketball history, few names resonate as powerfully as Michael Jordan and Jimmy Butler. Both players have left indelible marks on the sport, each in their unique way. This article delves into a comparative analysis of these two titans, their careers, their impact, and their legacy. Early Years and Rise to Stardom Michael Jordan, often referred to as the greatest basketball player of all time, began his journey in the New York basketball team before making a name for himself in the NBA. His exceptional talent and relentless drive for success quickly catapulted him to stardom. "Michael Jordan's exceptional talent and relentless drive for success quickly catapulted him to stardom." On the other hand, Jimmy Butler's rise to fame was a bit different. He honed his skills through 10-year-old basketball drills and played with a 10-year-old basketball size ball before making it to the big leagues. His journey is a testament to the power of perseverance and hard work. Playing Style and Achievements Jordan's playing style was characterized by his incredible scoring ability, defensive prowess, and clutch performances. He was a master of the 12345 positions in basketball, showcasing versatility and adaptability on the court. His career was adorned with numerous accolades, including six NBA championships, five MVP awards, and 14 All-Star appearances. Butler, on the other hand, is known for his tenacity, work ethic, and leadership. He has made significant strides in his career, earning multiple All-Star appearances and leading his teams to the playoffs consistently. His performance in the 2023 Pac-12 women's basketball tournament was particularly noteworthy. Impact on the Game Both Jordan and Butler have had a profound impact on basketball. Jordan's influence extends beyond his on-court exploits. He played a pivotal role in popularizing the NBA around the world and has left a lasting legacy through his Jordan Mars 270 basketball shoes. Butler, while not as globally renowned as Jordan, has made his mark through his grit and determination. His journey from a late first-round pick to one of the NBA's top players is an inspiration to many young athletes. His performance in the NCAA basketball overtime games has been particularly inspiring. The Legacy of Michael Jordan and Jimmy Butler: A Deeper Look Continuing our comparative analysis of Michael Jordan and Jimmy Butler, we delve deeper into their legacy, their impact off the court, and how they have influenced the game of basketball. Off-Court Influence Michael Jordan's influence extends far beyond the basketball court. He is a global icon, a successful businessman, and the owner of the Charlotte Hornets. His Jordan Mars 270 basketball shoes have become a cultural phenomenon, influencing fashion trends and popular culture. "Michael Jordan's influence extends far beyond the basketball court. His Jordan Mars 270 basketball shoes have become a cultural phenomenon, influencing fashion trends and popular culture." Jimmy Butler, while not as globally recognized as Jordan, has made significant strides off the court. He is known for his philanthropy, his love for country music, and his entrepreneurial ventures, including his passion for coffee. Impact on Future Generations Both Jordan and Butler have had a profound impact on future generations of basketball players. Jordan's exceptional talent, competitive spirit, and will win have inspired countless young athletes. His story is a testament to the power of hard work, determination, and belief in oneself. Butler's journey, from being homeless at 13 to becoming an NBA All-Star, is equally inspiring. His story is a powerful reminder that no matter where you come from, with hard work and determination, you can achieve your dreams. His performance in the NCAA basketball overtime games has been particularly inspiring for young athletes. The Evolution of Basketball Jordan and Butler have also played a significant role in the evolution of basketball.

Jordan's era was characterized by physical play, isolation basketball, and high-scoring games. His style of play influenced the 10-second rule in basketball, forcing teams to rethink their defensive strategies. Butler, on the other hand, represents the modern era of basketball, characterized by positionless basketball, three-point shooting, and pace-and-space offenses. His versatility on the court reflects the changing dynamics of the game. The Legacy of Michael Jordan and Jimmy Butler: The Final Verdict As we conclude our comparative analysis of Michael Jordan and Jimmy Butler, it's clear that both players have left an indelible mark on the sport of basketball. Their influence extends beyond their impressive stats and memorable game performances. They have shaped the culture of the sport, inspired future generations, and left a legacy that transcends the game itself. The Final Verdict Comparing Michael Jordan and Jimmy Butler is not a simple task. Their careers span different eras of basketball, and their styles of play reflect the changing dynamics of the game. However, their impact on the sport is undeniable. Michael Jordan is widely regarded as the greatest basketball player of all time. His six NBA championships, five MVP awards, and 14 All-Star appearances are a testament to his dominance on the court. His influence extends beyond the game, as seen in the popularity of his Jordan Mars 270 basketball shoes. Jimmy Butler, while not as decorated as Jordan, has carved out an impressive career in the NBA. His journey from homelessness to NBA stardom is a testament to his resilience and determination. His performance in NCAA basketball overtime games has been particularly inspiring for young athletes. "While Michael Jordan and Jimmy Butler come from different eras and have different styles of play, their impact on the game of basketball is undeniable." Looking Ahead As we look to the future, it's clear that the legacy of Michael Jordan and Jimmy Butler will continue to influence the game of basketball. Their stories of perseverance, determination, and success will inspire future generations of athletes. Whether you're a fan of the New York basketball team or you're just starting to learn about the 10-year-old basketball drills, the stories of Michael Jordan and Jimmy Butler serve as powerful reminders of what can be achieved with hard work, determination, and a love for the game. Stay tuned to SportyConnect for more in-depth analyses and the latest news on your favorite sports and athletes.

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forthegothicheroine · 3 months ago

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Okay, let's do this.

Hush Hush Sweet Charlotte was the followup to Whatever Happened to Baby Jane, originally intended to once again star Bette Davis and Joan Crawford, but Crawford was fired during an acrimonious shoot and replaced by Ryan Murphy's nemesis Olivia de Havilland. Conceptually, both films gave former Old Hollywood stars roles that tarnished their glamor and dug into some nasty psychological horror- though this was more of a change for Crawford and de Havilland, as Bette Davis had always been known for her willingness to play weird or "ugly" characters.

(In fact, Bette Davis did so many thrillers in all the stages of her career that I think she should be considered a bonafide Scream Queen rather than a victim of "hagsploitation" but that's a different essay.)

Baby Jane and Sweet Charlotte (as I will be referring to these films henceforward) both have some mirrored beats, which makes sense given that they had the same writer. Both are about a once-beautiful woman played by Bette Davis going mad and a still-beautiful woman who is perhaps not as nice as she seems, both have the murder of a faithful retainer, both have plots spurred on by the arrival of a male outsider, both end with Bette Davis murdering her costar and leaving her reclusive world. The themes and intended audience feelings, however, are deliberately opposite.

Charlotte is cantankerous and mean, but not cruel the way Jane is. Her status as a rich eccentric doesn't give her power she uses to hurt people- rather, it's the thing that makes her vulnerable. Her sweet-seeming, soft-spoken cousin Miriam has come to prey on her money, and the fact that she's regarded as crazy makes it easy for Miriam to even convince Charlotte to view herself as such.

Unlike the Los Angeles of Baby Jane, Sweet Charlotte is set in a decaying Louisiana plantation house where the titular character hides from the world, a Lizzie Borden-ish figure who was convicted in the court of public opinion for a brutal ax murder. She won't leave the when the state demands she do so in order to make room for infrastructure, seemingly for reasons of pride.

With that plot brought up, it's time to talk about a third film.

A Streetcar Named Desire, adapted from the Tennessee Williams play of the same name, is about a faded southern belle trying to cling to an imagined world of pride and gentility. Most of the film is a battle between Marlon Brando as Stanley "God he's so hot but he's the worst person ever" Kowalski and Vivina Leigh as Blanche "I would strangle her if she moved into my house" Dubois. Like Sweet Charlotte, it is a southern gothic in the classic sense (decayed opulence of old money that was once beautiful but was built through slavery) and like Baby Jane, it ends in violent tragedy and the star being lead away into a land of delusion.

With that in mind, let's get back to Charlotte.

The opening flashback, which shows the murder of her lover in shadows, gives us a pretty good idea that there will be a twist or two coming, and the first is Charlotte's reason for staying- she isn't holding on to the place out of pride or tradition, but because she fears her father was the real murderer, and that anyone else coming on to the land would find proof and destroy his posthumous name. Actually, though, the deceased was murdered by his jealous wife, and Cousin Miriam blackmailed the black widow for years. With that source of money finally drying up, she and a trusted doctor have conspired to gaslight poor Charlotte (again, in the classic use of the term- trying to convince her she's crazy) into an asylum so they can take control of her fortune.

Fighting to see through their manipulations, Charlotte finally sees the truth and gets one moment to act upon it- which she does, pushing something heavy on the top of their heads.

Baby Jane ends with Jane about to be taken into custody as she sinks into the delusion that she is once again a child star with a loving family. A Streetcar Named Desire ends with Blanche taken off into an asylum as she sinks into the delusion that she is once again a society lady with whom every man is in love. Sweet Charlotte ends with Charlotte leaving in a car, probably for police questioning but with her ultimate fate uncertain, and like the other two films, a crowd of spectators has gathered to gawk.

Charlotte, however, surprises the voyeurs by emerging from her home in fully composed and well-dressed fashion, her attitude one of relief. ("She looks right pretty!" says one surprised rubbernecker.) She initially carries a music box given to her by her long lost love, but then decides not to take it. In its place, she is given a letter which exonerates her, even if she's the only one who has read it. She smiles to see what she is leaving behind- that horrible old place where she wasted decades of her life in the belief that her family honor demanded it.

Hush Hush Sweet Charlotte does not necessitate that the viewer has seen the fates of Jane and Blanche, but the knowledge of them is written into every frame. We aren't just breathing easier knowing that Charlotte has escaped Miriam's machinations- we are relieved to see that she has escaped the ending that seemed inevitable. She can put aside the past. She can move on. Her reality will be more freeing than her delusions.

I have extensive thoughts on how Hush Hush Sweet Charlotte is in dialogue with both Whatever Happened to Baby Jane and A Streetcar Named Desire, but it's going to take me a while to formulate them. Put a pin in that.

#hush hush sweet charlotte #whatever happened to baby jane #a streetcar named desire #bette davis

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90secondnewbery · 2 years ago

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Charlotte's Web by E.B. White

1953 Newbery Honor Book

Adapted by Emina M., Tarik C., Laila M., and Ajnur C. of Community Middle School (2022)

From Plainsboro, NJ

Judges' Remarks: What a hilarious concept, executed with style and skill! In both the book and this movie, Charlotte the spider helps Wilbur the pig, who's worried he's being fattened up to be killed and eaten. In this movie, though, Charlotte has a different plan for helping Wilbur: instead of weaving messages in her web, Charlotte teaches Wilbur karate so he can fight his way out of his bad situation! I loved the training montage (set to "The Eye of the Tiger," natch) in which Charlotte toughens Wilbur up, teaches him spiritual techniques, and shows him how to fight. The costumes were simple but effective (Wilbur's pink sweater and pig nose, the goose's paper mask, and Charlotte's costume which employs some good visual storytelling when she is slowly losing her "legs"—setting us up for when she loses the last one, and dies). The script was tight and often funny ("Thank you, Charlotte!" "It's sensei"), and the cinematography and editing were smooth and professional. The performances were fantastic: Wilbur's nervous hysteria, Charlotte's calm Zen-like demeanor, and the goose's mocking bullying. There were so many great moments, like at the emotional climax, in the fight after Charlotte dies, the way it goes slow-motion with a tinted visual effect and Wilbur hears Charlotte's advice in his head: "Look your opponent in the eye, and hit them." This movie works on so many levels! It's a triumph!

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thatbeluga · 3 years ago

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Bojack Horseman Genetics (spoilers)

I need to puzzle this out.

In Bojack Horseman, there are humans and anthropomorphic animals. They are capable of mating and having viable offspring. If one parent is a human and the other is an animal, the child could be human or animal. We know this because:

1) When Diane was pregnant with Mr. Peanutbutter, the fetus was a dog

2) Hollyhock is a horse with a horse father and human mother

3) Charlotte, a deer, had kids with a human. One kid was a deer, and the other was a human

4) The boy that Bojack mistakes for Todd has a human father and bird mother

5) Ruthie, a porcupine, has a human mother and porcupine daughter

Those are the only interspecies relationships I could think of off the top of my head. However, I still have questions

First off, what happens when two animals of different species have a child? We know that same-species animals just give birth to the same species (Princess Caroline, Bojack, most of the animal characters).

Princess Caroline is pregnant with Ralph, a mouse, but she has a miscarriage and I don't think it's ever confirmed what species the fetus was. I think it's safe to assume that it would either be a mouse or a cat.

HOWEVER

What if it was someone like Hollyhock or Penny who was having a child with an animal? Do both of them have a "human gene" that could show up? Or if they were having a child with another hybrid who also carried the human gene, could those two animals have a human child?

And what about Charlotte's human son Trip? Does he carry a "deer gene"? If he and another hybrid human had a child, could they have an animal? And if so, which animal would it be? Would the chances of having an animal be increased if Trip's partner also had a deer parent?

Or does it not work like that? Is it possible that whatever animal/human you are, is the only kind of gene you can pass on and the other gene gets "erased"? (So Hollyhock/Penny could only have a human if they had a child with a human, regardless of that human's ancestry. Or Trip could only have an animal if he had a child with an animal).

I have more questions but they're more random, so I'm gonna list them here:

- We see that birds in this universe lay eggs, despite being more or less human from the neck down. Would a bird having a human child still lay an egg, or would they only lay an egg for a bird child? Could a human bring a bird child to term in a human uterus? Or would a human giving birth to a bird child lay an egg??

- The humans in this universe have to be genetically different from humans in our world right? Obviously yes, because they're capable of having viable offspring with any species, but what are their reproductive systems like? I mean, every species in the world has to be capable of giving birth to any other kind of species. Like in season five, when Sadie gives birth to a porcupine child and seems relatively fine. Or, like I said in the previous question, would a mother's body automatically adapt to whatever animal child she was carrying? Or are all babies born the same way?

- We know that animals of the same species who have children tend to have children the same way that animals does (like when Rutabega and his wife have like seven kids at the same time). Would stuff like this apply if Rutabega was having kids with a human (and the kids were rabbits)?

- Don't even want to get into how food works in this universe.

- In the first episode of Season 6 Todd has to get black market porcupine milk for Ruthie. Is this because PC is older or because her cat milk wouldn't be compatible with Ruthie (a porcupine)?

- Could someone have fraternal twins, one animal one human? Or if it were two animals, two different species in the same womb? I assume yes, since with fraternal twin the eggs are fertilized separately. But what if each required a different type of pregnancy (like a bird and a human)?

Every question leads down a rabbit hole so I need to stop myself. Like I get the whole point of the animals is you're not supposed to think too much about it but I am thinking too much about it.

#bojack horseman #bojack #princess carolyn #diane nguyen #mr peanutbutter #todd chavez #hollyhock #penny carson #charlotte carson #ruthie #bojack netflix #bojack spoilers

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bobbyinthegarden · 2 years ago

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My Review of The Secret Garden (2020)

Spoilers for The Secret Garden (both the book, and this film), and Jane Eyre by Charlotte Brontë.

I said that I wanted to do some in-depth reviews of the various different adaptations of The Secret Garden (the film versions and other retellings), and I thought it might be fun to work my way (roughly) back in time, beginning with the most recent adaptations, and working my way back in time. I do plan on also reading some of the sequels/retellings/graphic novels that exists as well, but I’m going to start with the film adaptations.

So… I re-watched The Secret Garden (2020) and I have some thoughts.

Before I get into all of my opinions, I’d like to highlight this clip of Mark Kermode talking about the film, I think he hits the nail on the head and is very fair about the film, I agree with him, here’s a link.

There were some things that I liked, which really stood out to me about the film, it is gorgeous, the aesthetics, set design and costumes are all really great, both for the interiors and the exteriors. The film looks beautiful, cinematography and editing were also good, the camera movements feel very dynamic and the editing around many of the more fantastical elements in the film was also clever. Likewise with the performances; nobody here is going to win any acting awards for this film specifically, but none of the performances are bad. There’s an Aurora song in the closing credits. I’m an Aurora fan, so that was nice.

There are things to like here, and I’m sure if I were a child watching this film with no prior knowledge of The Secret Garden, that I would have enjoyed it well enough, though I don’t think that it would have stuck with me in the way that The Secret Garden has stuck with me since I was a child.

The films has made A LOT of changes to the source material. I said in my review of the 2015 adaptation of Heidi that I’m not of the opinion that absolute fidelity to the source materials is necessarily the best way to adapt a novel to the screen. There are plenty of adaptations that I like which deviate significantly from their source material, either in tone or plot, Bladerunner and The Shining are both good examples of this, and in my Heidi review I also mentioned Anne with an E, which alters the tone of the original Anne of Green Gables to great effect. So the fact that this adaptation of the story makes changes to the original is not a great sin in itself, I simply feel that a lot of the changes that they do make are underthought and, in some cases, confusing.

For example, the events of the book have been moved forward in time, taking place in 1947, rather than the Edwardian Era. This could be an interesting change, as 1947 was the year that India gained its independence from Great Britain, and so could be used to serve as a commentary on the colonialism that is present in the book. It doesn’t though. The updated setting adds nothing to the story. @marysfoxmask made a really interesting post about this which I’ll link here, and I entirely agree, and I don’t think I need to add anymore commentary on the topic.

@isfjmel-phleg also wrote an interesting post unpacking her thoughts about this adaption and I agree with many of her points too. Here’s a snippet from that post:

Making Mrs. Lennox and Mrs. Craven sisters/twins is straight out of the musical and 1993 film, and it’s overdone. Lilias was Mary’s father’s sister, which actually is more thematically appropriate (of course she’s unrelated to the woman who’s the book’s worst example of parenting), and I’d like to see a version where this is the case. What if it’s Mary’s father who’s distant from grief over losing a sibling? There’s room in the text for that interpretation; he’s said to be “always busy and ill.”

And I completely agree with that as well. Mary’s character arc shifting from a story about a neglected and emotionally stunted child finding spiritual and emotional growth through the cultivation of a garden, into the story of a child who needs to reconcile with her dead, neglectful mother, seems like an extremely odd interpretation to me. Both Mary and Colin’s parents get way too much focus here and are framed much more sympathetically (they even show up as ghosts), to the point where the relationship between the two sisters feels like a more significant presence than the relationship between Mary and Colin. As a consequence of giving the parents more emphasis, there are a number of characters from the book whose roles are reduced, particularly Ben, who is not present in the film at all, and Dickon, whose role in the story is greatly diminished, we don’t even meet him until 50 minutes into a film - and we meet Colin at 25 minutes in (which annoys me personally, since Dickon is my favourite character in the book). All of this leaves Dickon feeling like a mostly superfluous addition to the story, which is a shame because I know Amir Wilson can turn in a good performance when he needs to.

One thing that Mark Kermode talked about in the video that I linked above is the framing of the ‘magic’ in the story. Here’s a quote from that:

“When we find the magical garden itself (…) what you get more of is the sense that this is the garden of [Mary’s] imagination, the garden of her dreams, and there is a magical element, which is played the up […]. What you lose is the central theme that is in the novel which is that toiling in the garden, it’s working in the garden, that makes the garden have it’s restorative powers.”

Here the ‘magic’ is much more literal, treated more like a mystical forest or fantasy realm (like Narnia) rather than a place that the characters might care for. This, to me, is the fundamental most flaw of the film, as it just completely disregards the themes of its source material, opting instead for a story that is significantly more escapist and fantastical in tone, rather than the grounded story of the novel.

Okay, heading into very spoiler-y territory now, so if you don’t want to know what happens in the end of the film, stop reading now. I’m also going to spoil the ending of Jane Eyre, so be aware of that.

Final warning.

So, in this version of the story, the house burns down at the end. On a level, I do understand why this change was made, it gives the third act a greater sense of danger and ups the stakes quite a lot. I very firmly believe that Frances Hodgson Burnett was heavily influenced by the Brontë sisters when writing The Secret Garden, there are a number of similarities between both Wuthering Heights and Jane Eyre, and I plan on writing a whole post about that at some point. For now, we’re just going to focus on Jane Eyre. Jane, like Mary, is an orphan, who goes to live at Thornfield Hall, a vast house in the moors. During her stay, she frequently hears mysterious wailing and crying in the night. In The Secret Garden, this is revealed to be coming from Mary’s sick cousin Colin, while in Jane Eyre, it is revealed to be a woman named Bertha, who is the wife of the master of the house, Mr Rochester, and who is plagued by violent insanity. At the climax of Jane Eyre, Bertha sets fire to Thornfield Hall, burning the house to the ground. I am almost 100% certain, that Misselthwaite being set on fire in this adaptation, is a nod to the influence of Jane Eyre on the original book – in this case, it is Mr Craven who sets fire to his own house, in a fit of drunken confusion and grief. As an element of the story, I don’t hate it, but I don’t think it was set up very well either. It just kind of happens randomly. Fire isn’t established within the narrative at all, it’s not set up, and it’s not part of a motif either. It’s Chekov’s gun, but you never see the gun before it goes off. In Jane Eyre it works since fire is a frequent motif within the story, often used as a metaphor for Jane herself, as the narrative repeatedly associates her with images of fire, brightness, and warmth. It could have worked here, but it mostly just feels random and not very well thought out.

With all of these underthought changes, I think that the thing this film suffers most from is the fact that it is an adaptation of The Secret Garden. The film disregards many elements the plot, themes, setting and characters of the original book, but fails to truly divorce itself from the source material. I think that the resulting film would have been better if they had simply disregarded the book entirely and instead used the story as inspiration to create something new and original. But that’s just my opinion.

I’m sure that I’ll have more to say about this film in the future, but I’ll sign off with another quote from Mark Kermode’s review, which sums up a lot of my feelings quite well:

“It’s a strange mix. It’s perfectly fine. I don’t think it’s one of the classic, timeless adaptations, but it is a story that will always work if you treat it with a certain degree of respect […]. It’s not great, but it’s not bad, it’s a perfectly workable adaptation of something which I’ve seen adapted better.”

I couldn’t agree more.

#Bobby speaks #2020 movie #the secret garden #the bronte sisters #jane eyre #tsg

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