#Everything in Labyrinth is FROM Sarah's own imagined version of the book she reads

[thebrisingamen]

Also also,

This is a world of Alice's design

Literally, this is a line she says before she visits Wonderland, straight from the book: “If I had a world of my own, everything would be nonsense. Nothing would be what it is, because everything would be what it isn't. And contrary wise, what is, it wouldn't be. And what it wouldn't be, it would. You see?”

So Wonderland is a world of her own making. It's contradictory, nonsensical and whimsical, sure, but that's what children ARE LIKE. The magical world of Wonderland stretched itself to fit her desires and because those desires are contradictory, of course she's annoyed by it!

Alice is annoyed, and Wonderland is probably like:

Also note;

In the next story, Through The Looking Glass, is it Wonderland, or a different world that she visits? It's still all backwards and bizarre, but again, based on Alice's own, ahem, reflections. But the Mad Hatter and March Hare are still there, albeit under different guises.

Final Note: In both stories, everything shown/involved is more or less children's nursery rhymes or popular sayings at the time i.e. Mad as Hatter, Mad as a March Hare.

in almost every other children's book where the main heroine is swept away to a land of whimsy she's shown having a lovely time; braving dangers occasionally, trying to find her way home, sure, but ultimately delighting in the magic around her. meanwhile alice spends her entire time in wonderland like

[stromuprisahat]

Hey,

Could you do a meta on the similarities between Labyrinth (1986) and the Shadow and Bone Trilogy? I read through that one scene (Alina and Darkling Interactions on your blog) between Alina and the Darkling after her and Mal get captured and Alina has to bargain for his life and they speak about fairness and the way the public views them both (Chapter 21 of the first book, I believe). I vaguely remembered this type of conversation from another piece of media, and saw in your tags that you attributed it to Labyrinth. Honestly wondering how much the movie influenced the trilogy, as I feel like Alina was supposed to be a Sarah Williams type of character but got her character development strangled by the narrative. Honestly wondering if this makes Mal Toby (romance aside), because Alina fought hard for this man and chose him over the ‘glamorous’ life she could have lived with the guy with powers (Darkling/Jareth). Genya might be Hoggle (works for the bad guy before becoming loyal to the protagonist). Maybe this is all a stretch?

Sorry if this is weirdly formatted. Thank you so much!

No anon! Why?!

I've watched Labyrinth once, and didn't enjoy it, so I was considering passing this on someone else, but since you've delved into details, I just HAD TO rewatch it, because I can't stand not knowing what's going on! So, I'll type as a watch and this will get veeeeeery long.

First of all- I hate those ugly-ass puppets and scenes. I find them creepy, and not in the good way. I totally don't get the ?US? obsession with them, and yes- I've hated Sesame Street, when it got imported here, and I've always hated Czech attempts at copying such production (Táhni, Františku z Fanfárie a Jůheláci taky, když už jsme u toho.).

I feel like Labyrinth is one of those movies, where fanon became widely-accepted canon, because I just can't see plenty of stuff allegedly present.

Alina and Sarah certainly have two things in common- they live in their own version of the world, and they're unbearably immature spoiled brats, even though you'd expect more from them their age considered. Yet somehow, Sarah's so unreasonably whiny, she almost makes me love Alina. Perhaps if we'd age her up a little and gave her potentially world-saving powers, she could've taken the S02show!psycho's place. They seem more alike than the book girl.

I mean... I don't like children, and I wouldn't be such a bitch to a ?one? year old...

The baby was a spoiled child and wanted everything for himself…

The baby can barely stand and certainly doesn't seem able to talk. It doesn't have mental capacity to imagine "everything", sure as hell not want it.

…and the young girl was practically a slave.

Sorry, but a scene earlier I saw her room. I watch her father respect her privacy. Her evil step mother being nothing but polite and non-threatening. I come from a loving family, and I've been keeping eye on my eight-years-younger brother since he was born. To an extent- yes, but they just want her to make sure he doesn't burn down the house on accident or something. He's even fed for fuck's sake! That's hardly slavery. And no, she doesn't get a pass as a moody teenager. This is a spoiled brat behaviour.

Sarah's straight up lying to make herself the victim. That's very Alina. Or more precisely- it's very Alina's new mommy Ol' Bags, but then again it's been said before Alina would grow into Baghra in time.

Goblin King, Goblin King, wherever you may be… …take this child of mine far away from me!

We have a better Czech ballad about children-stealing demon punishing short-tempered mother:

"Pojď si proň, ty Polednice, pojď, vem si ho, zlostníka!“ – A hle, tu kdos u světnice dvéře zlehka odmyká.

Kytice- Polednice (Karel Jaromír Erben)

“Come and get him, noon witch, come take him! I can bear no more!” And look, someone’s outside – a thumb is stealthily working the lock at the door.

A Bouquet: of Czech Folktales (transl. by Marcela Malek Sulak)

I went through it quickly, and the translation doesn't look bad, so it's available on libgen if you're interested.

Alina had her immortality and complementary powers, but what does Jareth see in Sarah is beyond me.

Sarah says she wants her brother back, but honestly- it sounds more like she doesn't want to get in trouble because of him. I don't know if it's only the acting, or if it's intentionally portrayed so, but she doesn't look like someone, who just realized they care about someone else.

It might be the whiny undertone in her voice. Irritating, if anything.

Yeah, a pissing puppet is exactly what I needed to see...

Genya is certainly prettier than Hoggle.

And doesn't piss in public.

The walls of the Labyrinth look like Terezín before reconstruction.

Sarah gets an advice and doesn't bother to delve into it. Another tiny similarity with Alina. Except Alina had her half-a-thought of doubt, and her advisor is a malevolent cunt with her own interests. The freaky worm seemed genuine in its desire to help.

Obligatory song and dancing. *shoot me, please*

The only way out of here is to try one of these doors. One of them leads to the castle at the centre of the labyrinth. And the other one leads to… …certain death.

Please, pick the death one...

"Helping hands"... every creep's wet dream...

Yeah, the evil hot accent isn't enough to make me like this villain. Fucking 80s...

Those depressive warning faces are probably the only thing I might even ~like~.

Okay, NOW he was hot.

Jareth and Sarah have the fairness conversation, when he shortens her time to punish her for her defiance. Aleksander and Alina's take place, when he wants her to face consequences of her own actions and accept responsibility. He's the wronged one there, because she didn't consider anyone or anything, when she chose to trust Baghra and ran off.

Sarah gets Hoggle to follow her by stealing his stuff. She gets the doorknockers to let her in by tricking the mumbling one into taking the unpleasant ring back into his mouth and doesn't even try to pull it out again, or knock without it attached. She's rather cruel in her thoughtlessness, isn't she?

Aleksander never shames Genya for wanting to be Alina's friend. He never blackmails her to help him. She's the one, who provokes his rightful wrath for no good reason.

I think Jareth might be what LB (sometimes) wants us to see in Aleksander. Except it's hardly what she shows by his actions, only what her characters describe.

Another difference- Aleksander doesn't only want Alina, he needs her for his plan to save his people. Jareth merely has the worst possible taste in women.

Okay, the dog making hoof-clopping noises also isn't the worst idea.

I'm kinda sorry Aleksander never tried to poison/drug Alina. That might be fun. Even the collaring couldn't really make her compliant, so he's technically nicer even in this aspect. I can see antis claiming he tried to woo her by showing her the splendor of Little Palace and giving her the centre role in Winter Fete, but the former wasn't different from Grisha in officer training, the later was the Crown's doing. He's even said to despise such events.

Sarah is a modern teenager. Alina's considered adult in her world. I got to the ball scene, where it's painfully obvious Sarah is a child in adult's clothes and make-up. I'm a bit surprised she was played by an actual teenager.

Alina starts off willing to do anything for Malyen, and ends up becoming just what he wants. Sarah starts off selfishly bullying a baby, only to turn 180° as soon as he's stolen, so excuse I'm not persuaded she means it. She doesn't manage it in next hour and half.

~ I have to face him alone. - But why? ~ Because that's the way it's done.

The logic is very Alina, but she never insists on facing the Darkling alone, except that one time she attempts murder/suicide.

Oh no, Aleksander would never wear something this teAsticleless

And no, I truly don't mean the colour.

I ask for so little. Just let me rule you… …and you can have everything that you want. Just fear me, love me, do as I say… …and I will be your slave.

Again, that's no Aleksander at all. He didn't want to rule Alina, he wanted to rule alongside her. He only tried to force her once she endangered his plans for his country and people.

He never promised her everything she's want, because the only thing she seems to want is to be left alone to live in obscurity with no expectations placed on her.

He doesn't want her to fear him and she never does. He doesn't even crave people's fear. He uses it as a tool, when there's no better option.

He doesn't mind Alina defying him, finds it attractive actually, as long as it doesn't ruin- once again- his plans for Ravka and Grisha protection.

The slave line actually reminds me of much better representation of book!Aleksander- I Wanna Be Your Slave by Måneskin.

I was pretty sure I've seen Cinema Therapy episode on Labyrinth I deeply agreed with, but can't find it, so... :(

[dumpster-dive-reading]

Reading an early script of the movie Labyrinth- (Part 1 of 4)

So I really like this movie, and decided to check out the screenplay. For reference, the movie Labyrinth is really weird. It's full of puppets and David Bowie and has a story that feels like a coming-of-age story crashed into some creepy romance about not trusting the fey.

So all in all, one of the greatest films of all time.

I found the script on IMSDB, and you can read it here if you're interested.

For reference, anything taken from the script will have two quotation marks around it.

And, without further ado, Labyrinth:

It actually begins within the Labyrinth- a princess speaks:

""GIRL: Do not be swayed by my pleasure at the sight of you, my lord. For though my father, the Duke, has promised you my hand, I cannot consent to be yours until the evil that stalks our land from highest hill to deepest dale is .. ""

But much alike the finished movie, this girl is actually Sarah, reading from a book. The prince is actually her dog, and he's wearing a tinfoil crown- they really should have kept the dog's crown in the final movie.

Unlike the finished movie, the book has the title "Meander's Queen" and the author "Robin Zakar".

She heads home, fights with her stepmother, and is left to babysit her little brother Freddie. Yeah, his name isn't Toby in this version.

Sarah gets all upset because, of course, someone stole her teddy bear from her room and gave it to Freddie. She takes her bear back, and talks to her dog.

""SARAH is curled up on her bed, cuddling her bear. MERLIN sits beside her. She looks at the DOG.

SARAH: You're the only one who understands me, Merlin.

He licks her face. She gets up and holds the bear out in front of her.''"

But of course, Freddie starts crying. So she mentions that the only way to deal with a baby that won't stop crying is to send it to the goblins. Logically.

""She then begins one of the moat macabre lullabies you could ever imagine. She sings of how scary the dark is, how "the shadows on the wall like to eat you when you're small" and how "a baby doesn't stand a chance when the Goblins start their dance." ""

Look, I blame her parents on this one. Baby Freddie is going to end up traumatized.

Of course, everything changes when... a man rings the doorbell?

Uhh, yeah I understand this change. Honestly, I like the over-the-top dramatic entrance in the final movie.

Well, there's a strange man at the door, and Sarah goes to answer it.

""Through the door opening SARAH can see a very elegantly dressed, quite good-looking MAN of an indeterminate age. He has a worldly air, or is it other-worldly? Before he can speak a flash of lightning illuminates his face. He is a mesmerizing sight and SARAH can't help but gawk.""

He introduces himself as Robin Zaker, a name we recognize from the play. He's looking for Sarah...

Sarah is home alone with her baby brother, it's dark and storming outside, and the playwright of a local town's performance of a play has arrived at the door.

She lets him into the house.

Sarah, this should scream "Stranger Danger". It's like that scene in a horror movie where the character does something really stupid.

Gosh darn it Sarah, this is your own fault. Why would you do that?

(Then again, he is kinda hot)

""ZAKAR enters and extends his hand.

ZAKAR: It is an honour, Miss Williams. I understand you make a delightful Queen Meander.

SARAH: Well, we've just started rehearsal, but how did you know?

ZAKAR: I was passing through this part of the country and heard that it was going to be done here. This is the first amateur production of the play, which of course is delightful for me.""

I do not trust this strange man. Even if he wasn't a magical fey, he'd still be entering a child's home while their parents aren't around. Honestly, it would probably be scarier if he wasn't a magical creature.

Freddie starts crying, and there are several crashing noises. Sarah heads upstairs. Sarah is a horrible babysitter, Freddie is probably dead at this point.

Zakar then takes alcohol from the liquor cabinet? (Why is this detail in here?)

Sarah meets with Freddie, and tries to calm him down. Then she hears a voice from behind her:

""SARAH gasps and whirls around. ZAKAR is framed in the doorway. He has a drink in his hand. SARAH holds the BABY close.

SARAH: You shouldn't be up here!""

Damn right, Sarah. He shouldn't be in your house at all. Do not let creeps into your house, kids. Stranger Danger is the moral of this story.

Not sure how to feel about the deviations from the final film so far. On one hand, it no longer feels like a simple mistake that got him here. She answered the door to a stranger and let him into her house. That is far more intentional than the slip of the tongue line from a play she'd been rehearsing. Which makes sense. Imagine if every time you performed Hamlet, the ghost of Yorick could show up and steal your dog or something. I love the creepy vibes from this strange dude, and although this scene is longer than the confrontation in the film, I would not object to more David Bowie.