#especially book-to-screen adaptations

[spending-life-pretending]

Have we talked yet about how amc Interview With the Vampire is singlehandedly saving the tv slowburn

[littlcdarlin]

Pedro saying what he loved about playing General Acacius was “to go and just be blood-soaked and then I see his kind of loyalty and gentleness live next to [his wife]”… he should read Your Fingers In These Wounds and then play my Joel 😔😔😔 I want to speak to him about what he thinks of my characters

[falllpoutboy]

wow this is some “book accurate” show we’re getting here folks

[tupperwareyoucanrunover]

No you can’t insult tv adaptations of books they’re my children

[stripedtabbycat]

as a Bookish Child i ended up watching a lot of movies that were adapted from books after already reading the books first, so i was used to the idea that movies often changed things from the book. this didn't really bother me as a kid because i understood on some level that these were different versions that were telling different stories, sometimes mostly similar and sometimes just doing their own thing. i didn't question it too much.

then i got older and realized at some point that for a lot of people (and i mean a LOT of people), the movie adaptation of something would be the only version of the story they would ever experience and what they would always think of as that story, and then bad adaptations started to bother me a whole lot more. and i began to become pretentious and annoying about it. this is my villain origin story

[amplexadversary]

I kind of operate on a similar, but not completely overlapping view that, given different media have different strengths and weaknesses, selecting one with such that your project can take the fullest advantage of is a key component of being a skilled artist, when one has control over that kind of thing.

Which, taken to extremes, marks an artistic choice that takes advantage of a unique or mostly-unique feature of the work's medium as a highly desirable one, even if it makes the work hard to adapt, or forces an adaptation to drop the feature of the work that the medium enabled (though, to be honest, I think more of those themselves can be worked around than people tend to strictly assume.)

What's the fancy theory term for the belief that the virtue of a medium is in the things that distinguish it from other media, and the most successful pieces of art qua (film, novels, video games) are specifically those impossible to present in any other way?

Anyway I don't wholly endorse it, but on some instinctive level I do think art created by people who do is more, like, aesthetically virtuous than stuff you can adapt without destroying the whole point of it.

[bweeeb]

SWEETNESS

PEDRO PASCAL × READER

Summary: After an interview, the casua thing between you and Pedro ends up making the public suspect that he is not denying someone who is twenty-three years old.

warnings: nothing major, very cute, age difference but both are adults (obviously), bad writing maybe. Enjoy.

— So, according to the recordings, I think we all saw how close you two have become. How has that been?

You and Pedro smiled at the woman, who seemed to be around 35, interviewing you both.

The curiosity in her eyes was obvious.

— I think it’s been time well spent.

Pedro said, laughing and glancing at you, who was already laughing even before speaking.

— I think our characters demanded a connection of...

— Hatred and anger.

Pedro interrupted you, and you laughed loudly.

— Yes. That’s why I’ve been spending the past few months figuring out which tool is best for channeling hatred towards someone.

— Our makeup team has been covering up all the damage we’ve been doing to each other.

Pedro added, and your extravagant laughter made him laugh as well. You two really were doing some damage to each other, but that was your little secret.

— You can clearly see you can’t stand being around each other.

— No, we can’t.

You said with a smile, waiting for the next questio

— And the movie tackles a delicate theme about relationships and age gaps. What made you both accept such controversial roles? Especially you, Pedro...I’m sure you’ve broken all the minds of 20-something girls with this film.

— He definitely has.

— I don’t know what it is with you all nowadays, thinking an old guy like me is attractive. The conversation shifted back to you and Pedro, and the interviewer smiled with amusement. The chemistry between you two was undeniable, even more than you realized.

— Because you’re a man, you give off the feeling of being a man but don’t have to prove it. You know what I mean? You understand me?

You asked the interviewer, who nodded, agreeing that it was indeed a big difference.

— Of course, I’m a man, but an old one.

— Shut up and answer the question.

You said, laughing, as Pedro gave you a mock-offended look in his usual dramatic way.

— Honestly, I wasn’t going to take the role. When I got the audition, I just said, "Nope." But a lot of people kept telling me I’d be the perfect Nick for the book adaptation, and I hate disappointing my fans.

— So you still wouldn’t date someone in their twenties? Maybe?

— No.

Pedro quickly denied it, and you wanted to roll your eyes but didn’t.

— And you, darling?

Nice deflection, you thought, almost laughing at him.

— Ahm, I gave it a lot of thought, especially about the nude scenes I was informed of before accepting the role. I didn’t want to freak out my family. But once I learned more about the characters, I discovered the adaptation was from a book I love, so I couldn’t say no.

— That’s amazing. I heard you even got a real piercing for one of the scenes in the movie. Are you wearing it now?

The question was directed at you, and you smiled painfully, moving your hair away to reveal the piercings you got during filming.

— I added thirds and a helix. Yep, these guys are fine. — You pointed at the piercings farthest from the cartilage. — But I’ll be honest, this one is hurting a lot right now. I was even going to ask if someone could help me after this because it didn’t hurt this much when I got it done.

You laughed, and both the interviewer and Pedro looked at you with concern. Pedro leaned closer, moving your hair from your neck.

— Oh, crap, darling, it’s swollen. You need to take care of this. — He said in such a calm voice that even if the interview ended right then, the audience would already be glued to the screen. — Do you want to stop?

— I’m fine, thank you.

Without even realizing it, you brushed your thumb against Pedro’s wrist, where his hand rested on your neck to examine you.

Later, the interview was posted, and you almost laughed at how fast the channel edited it. Your ear was still throbbing like it was being pierced again, and lying on the couch, you felt like crying—not because it hurt that much, but because you hated the feeling of discomfort in your body.

— Darling?

You heard Pedro call you and looked over the back of the couch to see him smiling at you.

— Now I’ve finally wrapped everything up. No calls. Ugh. — He flopped onto the couch, and noticing your silence, he looked at you oddly. — What’s wrong?

— Nothing.

You denied it, not wanting to worry him.

— Look at me and say that.

He raised an eyebrow and laughed, sitting cross-legged on the couch.

— Nothing.

— Come on, baby, your ear is hurting, isn’t it?

You murmured your agreement. He then places a hand on your neck and places a kiss on your lips, you move closer, deepening the kiss until he pulls you into his chest, on the side that didn’t hurt.

— I’m sorry about this.

— It’s not your fault.

— No, but you seem exhausted by the pain, and I’m sorry for that.

— Thank you. Have you seen what everyone’s saying?

— I haven’t.

— You’re a terrible liar. They’re calling you a liar. You laughed, feeling comforted in his embrace.

— Me? A liar? Yo nunca mentiría.

— You’re a liar and ridiculously hot when you speak Spanish. “Oh, I’d never date anyone in their twenties,” and two seconds later, “And you, darling?”

— What’s wrong with that?

— Friends don’t call friends “darling.” Like, we’re friends who hook up, but you get my point.

You thought for a second and worried you’d sounded over the top in the classification you seemed to be giving you two.

— You’ve been the most argumentative exception I’ve ever made.

He said, and you nodded in agreement.

— I hope I am. I’d hate to find out another young woman took my spot as a legend.

— Legend for what?

— For being the youngest person in the world to hook up with the ridiculously hot Pedro Pascal. You said, and he laughed loudly. You didn’t know how far this would go, but you intended to enjoy the sweetness of that man for as long as it lasted

÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷

I hope everybody enjoy this.

Requests are opened!

[drchucktingle]

Good evening Dr. Tingle! Would you ever like to see a film adaption of Bury Your Gays? I think it would be so neat (especially with all of the tv and movie references present in the novel). If there ever was a movie, who would you want hypothetically cast?

HELLO BUCKAROO this is always a fun question to consider actors for a book adaption. when writing i sometimes CAST IN MY HEAD and sometimes it is just kind of a made up buckaroo. there are really only two characters in BURY YOUR GAYS that were cast in my head while writing and i will mention those below.

ultimately WHOEVER was to trot in these rolls i would be happy with, so lets just consider this a fun way through imagination. i will say that i would prefer to cast queer actors, but also i know the business of hollywood means sometimes that does not work out to get the movie on screens. if bury your gays was turned into a movie i would really have no say in any of this anyway, but queer actors would be my preference when possible.

despite all of that, when writing MISHA, the actor in my head was NOT a queer actor as far as i know (although for some reason us queer buckaroos have given him a pass to play queer characters which i think is very funny and interesting, i guess we just love him a lot regardless) anyway lets kick it off there

MISHA BYRNE

when writing BURY YOUR GAYS i was picturing none other than BILL HADER. maybe it is because i was watchin a lot of BARRY at the time, not exactly sure why but thats the truth.

that being said i think i would be great to get a queer lead in there. so if that was the case i would say LEE PACE, and of course we have the ultimate fan cast MISHA COLLINS

TARA ITO

this is the other character that was FULLY IN MY HEAD as i wrote it and mentally cast from day one. it also kind of coincides with the trot of a tv show i was watching at the time which was PEN 15. so tara in my mind was always MAYA ERSKINE

ZEKE ROMERO

not exactly a known actor in my head, but when considering options i think that OSCAR ISSAC would be very good

JACK HAYS

there are a few options for this, but i keep thinking of a very clean shaven MURRAY BARTLETT in a suit. another options would be ZACHARY QUINTO especially if we get chris pine as chris oak because thats just some incredible META KIRK AND SPOCK action for the sledgehammer scene.

now onto the dang villains.

CHRIS OAK

okay so obviously we gotta cast CHRIS PINE in this role (i might have an in). however if that does not work out i would like to suggest COLMAN DOMINGO

THE SMOKER / UNCLE KEITH

would be neat to have the monsters also play their inspiration. in the case of THE SMOKER i think STEVE BUSCEMI would be incredible

MRS. WHY / AGENT Y

last buck not least i propose ELIZABETH DEBICKI as MRS. WHY

if you have not read bury your gays yet but now you are DANG INTERESTED then you can get it here. thanks for reading buckaroos feel free to reply with your own castings. I AM NO EXPERT you know my art just as well as i do so i am curious your thoughts. LOVE IS REAL

[sweetbuckybarnes]

Crossword Masters

Summary: On their way back from closing a case, Spencer realises he had finished his crossword book. Only to look over the shoulder of BAU member Y/N, and see her playing a crossword game.

809 words

After finally closing a case that took a week in Washington, the BAU were finally on the jet and were making their way back to Quantico.

Hotch was looking over his paperwork, Rossi was reading a book, Morgan had challenged Alex to a game of Poker (with gummy worms being their currency) the pair had encouraged JJ to join. Spencer was finishing his crossword, as Y/N fiddled with her phone.

Y/N had joined the team three months after the sudden death of Spencer's girlfriend Maeve, she was used to Spencer being a little bit standoffish (Alex mentioned it was something to do with her hair or some kind of facial feature she inherited from her parents).

Spencer flipped the page after he finished yet another crossword (it was something he had picked up in the past month in order to quieten his mind).

Instead of being greeted by another crossword, he met the end page and back cover of his book. Damn, it had taken him just under a week to finish this book.

He put the book down on the table and looked over at what the rest of the team was doing. Which is when he noticed the game Y/N was playing.

A crossword game.

He kept watching her as she set letters on a board, Spencer couldn't help but watch her game as points were added and deducted from her final score. How her 'opponent' must be some kind of artificial intelligence, as she completed her game with a score of 120 points to the 'opponent's 66. Spencer watched as she moved onto the next crossword she had to complete in order to unveil some kind of picture that was locked away.

Spencer looked at the crossword over her shoulder, seeing words form in front of him. Much like everything, he couldn't keep a hold of his tongue. "Sues."

Alex glanced over her shoulder at Spencer. She was getting used to Spencer. Y/N looked over at him, raising a single eyebrow and taking an earbud out of her ear. The sound of a pop hit could faintly be heard. "I'm sorry?"

That was one thing about Y/N. She was unbelievably polite. In some aspects, she could put both the British and the Canadians to shame!

Spencer points at her screen. "Indicts. Four letters, it's sues."

Y/N looked down at her phone, which showed she currently has two As, a D, a S, and a C. "Thank you, Reid."

As Y/N progressed through the game, Spencer would sometimes blurt out words for her crossword. "Netting," was one, and "amass," was another.

The two letter word in the bottom corner was bugging him. Good night. How could there be a two letter word for good night.

There is one if you were a late teenager in the early 2000s. "GN, what does that mean?"

"It's text speak. Every teenager and young adult was texting like that in the 90s and early 2000s. You're looking at one of them," Y/N held her hands up in defence.

"I wasn't."

"That's because you're an old grandpa."

Spencer was only three years older than Y/N, but she would always call him a grandpa, especially when he had a full-fledged job and his second PhD underway when she was halfway through college.

Spencer rolls his eyes at Y/N. "There is no way anyone texted like that 10 years ago."

Y/N took that as a challenge, opening her text messages and starting an empty thread (so she doesn't send a random text to someone in her contacts).

Lol, omg wuz gr8 2 c u but gtg ttyl!!!

She turned her screen to face Spencer, and it looked like his brain just broke, simply looking at it. "What is that? Is that even English?"

Y/N burst out laughing. "JJ, can you explain this to Reid?"

JJ took Y/N's phone. Not even a second later. "Laugh out loud, oh my God, great to see you, but go to go, talk to you later," she quickly receited and passed the phone back to Y/N.

"What did he mean by that?"

"Texting was in its early stages in the 90s and early 2000s, so we found a way to adapt. You could only have 160 characters, so you got creative," Y/N tells Spencer. "I once had an ex-boyfriend when I was on Spring Break from College text me J4F and a question mark," Spencer's face was still confused. "Just for fun."

"Essentially, he was asking if I was up..." Y/N trailed off. Spencer blinked. "Sex, he asked if I was awake for sex."

Spencer's eyebrows raised. "That was dating?"

"That was just for hooking up. Dating was a disaster in the 2000s. And it still is now when I think about it..."

[pedge-page]

#5 Joel dealing with his fiesty preggo wife - angry af

Can be read with others in the series or standalone

Notes: Pedro chewing gum between takes on set does things to me.

Warnings: unprotected rough sex, Daddy kink, degrading language, reader being mean at first but Joel gives it right back *winkwink*

18+ ONLY

- - - -

The two of you are sitting in the living room on your respective sofas. You keep giving Joel the devil eye from your book in your lap as he watched the football game on TV.

Eventually, you roll your eyes, slam your pages shut and stand up, barreling past him and intentionally knocking your shin angrily against his knee.

"The fuck?" He coughs.

"You're fucking annoying, Miller."

"Funny, thought that was your name too now?" He quips, eyes staring back ahead to the TV while he points to the gold band on his left finger. "What have I done now?"

"Your chewing."

Joel side eyes you, expression unchanged as he blows the most obnoxious bubble from his gum imaginable before letting it pop! and sucking back in his mouth to chew. "What about?"

“It's annoying. And you're disgusting."

"Am I now? What else?"

"You've got a big ugly ass nose, too."

As much as Joel suspected this angry outburst out of nowhere was just the pregnancy setting every little nerve on edge with you, he want exactly privy to being attacked with your foul words.

"S'that right? you didn't seem to have a problem with my big ugly ass nose last night when you came four times from this snout nudging your little clit when I ate ya out."

"I was fakin' it," you scoff unconvincingly, the both of you knowing it’s a lie. But you refuse to back down. "While we're at it, here's another thing: You eat pussy like a bitch."

Joel Miller did not like it when a woman had to fake shit around him. Let alone his woman obviously lying about faking it. He stands up, the broad physique of his body instantly shadowing yours. "Ya know, I don't really like your tone today, young lady." He approaches you calmly but with a threatening predatory aura.

You tilt your head mockingly. “Yeah? My young lady self is stuck here with your old, miserable, lazy ass." You don't shuffle away, feet staying planted where they are until he's directly on top of you. Your eyes narrow, challenging one another. "It's a honestly a miracle that you even knocked me up with your wrinkly, shriveled, limp dic—“

 - 

Being married is a funny thing. Sometimes you don’t even have to say what it is you don’t realize you need, but your spouse is very adapt at picking up on it. Like right now, with face being shoved into the headrest of the couch by your husband’s meaty hand on top of your head, pregnant belly hanging over the curve of the cushion while you’re knees rub against the plush seat, Joel’s incessantly powerful hips driving forcefully into your stuffed cunt over and over again like a screen door in a hurricane. 

You’re smiling like a happy drunk, moaning off the top of your lungs as Joel’s cock continues to fill you effortlessly. He’s grunting and swearing, drips of his sweat trickling on to your arched back. Normally this position would hurt, especially with the extra 30 pounds of weight in your middle completely weighing you down, pressing uncomfortably into the couch, but my, oh my does it feel like a incredulous weight off your once aggravated mind.

“Ugh--ahh! FUck!” You cry, teeth sinking into the plush leather.

“What? Ya tired already?" he taunts, panting gleefully at your submissive state. "You wanted this. Remember? Just needed a good fucking, is that it?” He seethes, rutting his hips like daggers. 

You nod dumbly, elbows fighting to keep you and the baby from being plowed into the cushion. You throw as much of your weight back on to him with each thrust, forcing him deeper.

“Yeah, oh fuck me baby— yeah that’s it.” He licks his lips, watching the spot where your swollen and glistening pussy continues to suck his length back in. “My poor little wife, needed her cunt fucked stupid to get that little brain to shut off. Little cumdump gettin all antsy, startin’ a fight when she just needed a fresh fillin'. Don’t you worry, angel. Daddy’s here to put ya back in your place.”

With one hand still forcing your face into the headrest, the other is gripping your meaty hip, bringing you flush against his thighs with each puncture. You can feel him reaching the deepest part of you, the part that you didn’t know needed itched until Joel knew to stick his cock in it.

“Ye-yes daddy!” you whine when he hits that squishy spot inside that has you seeing stars, finger nails biting into the leather as you milk his cock with your orgasm.

“Ah-fuck yeah baby, keep goin’, keep cummin’ on Daddy’s dick—that’s my whore—my good wife—FUCK yeah!—fuuucckkk, ya needed that cum, I can feel it. Squeezin’ me so god damn tight. That’s it, just let go, give me everything, Daddy’s got ya.”

And what made Joel Miller so different, so husband and now soon-to-be-father worthy, is that, even though he’s railing his heavily pregnant wife in a position that would cause most women pain, you were as comfortable as can be. Despite the aggression that poured from his lips and hips, his hands occasionally cradled your tummy, checking on the baby’s movements. Glides down your back, massaging your spine to ensure you’re relaxed and not cramping. Listens for your breathing, the sounds that escape your throat, waiting for any sign that you might be in pain. He’s constantly making small adjustments for your comfort without you even fully realizing it. You couldn’t be more in love with him.

And his big fat delicious cock that put a beautiful baby in you and hopefully, will continue to do so for many years to come.

- - - -

Previous | Next

Series masterlist

Permanent Taglist:

@harriedandharassed @lola8888673 @its-nebuleuse @zliteraturehoe @merz-8 @joeldjarin @pascalscoffin @pedroshotwifey @ghostslillady @innerpersonunknown @missladym1981 @mrs-oharaxx @survivingandenduring @milla-frenchy @cockykookiee @fairytale07 @daddy-din @pedropascalsbbg @spookyxsam @somehopeatlast @millercontracting @pedrostories

[apoloadonisandnarcissus]

One user asked me if the reason for the “push back” against Robert Eggers intention in his 2024 “Nosferatu” adaptation (especially Ellen Hutter relationship with Count Orlok) is because 1922 Ellen Hutter is meant to be a pure-hearted and virtuous woman, like her book counterpart Mina Harker from “Dracula” (a model of purity and modesty of the Victorian woman), and I decided to write a post about this.

I think many are missing Eggers intention with this film for several reasons:

1) Going Mainstream

First, this film is being a success at the box office, and while that’s amazing because I want more films like this getting made, this also means many who aren’t the “target audience” are seeing it, and completely missing the mark because they aren’t familiar with the Gothic Horror or Gothic Romance genre. Nor with Robert Eggers work.

Not liking this film is completely valid, not every piece of media and art is meant for us. Great, move on.

And there’s nothing wrong with folks not being familiar with the Gothic genre if they are interested in learning and understanding it. The problem is when people are hellbent in misunderstanding it and stuck on their own narrow views to the point they sound brainwashed, without an ounce of critical thinking and behave like a hivemind: “if many are saying this is probably true” type of thinking. And we are in the “social media era” where everyone thinks their own opinions are valid, so there’s that too.

Also I would add many are probably used to the “Marvel formula” of “over exposition”: having the entire story spelled out on screen instead of classic storytelling with an actual build-up and narrative devices (foreshadowing, red herrings, Chekhov's Gun, etc.). This causes misunderstanding, as well, because folks used to this type of storytelling won’t understand what they are seeing because they are used to be fed everything (“exposition��) and taking everything literally. This is also a film that requires analysis; this is clearly for the “film buffs” because Eggers wants to become a “cult director” too.

Eggers probably knew this was going to happen and he probably doesn’t care either. As Von Franz so interestingly says in the film: “Neque mittatis margaritas vestra ante porcos!” And ancient Latin saying which means “Nor cast your pearls before swine!”

Directors with strict artistic views (like Eggers) rarely care if the audience understands it or not. “The VVitch” was a feminist success when it was released in 2015, apparently now some are saying it’s problematic, because “oh my God, the Devil is a deceiver! Who knew???”. “The VVitch” and this version of “Nosferatu” are also pretty much the same story with a different framing.

2) Lack of Knowledge concerning the story and the time period

Many don’t seem to know that “Nosferatu” and “Dracula” are the same thing. Count Orlok is Count Dracula.

This story takes places in the Victorian era, and Eggers transports his audience to the time period his films are set in. Which means, we can’t look at this story through contemporary lenses, nor with our current sensibilities because that’s missing the point of Eggers work.

This movie deals with female sexuality, especially its repression and containment, which was the case in the Victorian era. Women weren’t supposed to be sexual, at all. If women displayed sexuality they were considered “hysterics” and could be institutionalized by their fathers and husbands (which is what happened to 2024 Ellen, as she tells Von Franz). Really, women could be institutionalized just by talking back to her husbands in this time period. And even within marriage, female sexuality should be modest and restrained, women weren’t suppose to know sexual pleasure, and it’s the husband who took the lead, always.

Men could sleep with whoever they wanted and even go to brothels every night, but this wasn’t the case for “decent Christian women”, at all. Sex for women in the Victorian era was supposed to be a painful task they had to go through to have children. There was even the famous saying “think of England” when wives were having sex with their husbands (“think of England” as in “think of something nice” other than what’s happening).

Ellen having astral sex with Orlok and getting pleasure from it was highly scandalous for this time period. Of course this a freaking horror movie and he’s a demon, but if they were actual people, doing this, unmarried, in the Victorian era, this would be a scandal and she would be ruined socially. Which is kind of what happens, and why the whole thing causes her great shame and guilt. It has nothing to do with “abuse” or “grooming” or whatever.

And, I don’t know why many are saying this happened during Ellen’s childhood? Because what she had since childhood are her supernatural abilities, as she tells Von Franz: she knew what her Christmas presents were before opening them and had a premonition of her mother’s death. She wasn’t talking about getting that demonic D, that was during her teenage years as a metaphor for her sexual awakening/puberty. Obviously.

3) Confirmation Bias

While seeing this movie without any previous knowledge (like “Nosferatu” = “Dracula”; or the historical context where this story takes place) the opposite is also true.

I think this is more true for fans of the previous adaptations of “Nosferatu”. They are misunderstanding the story Eggers is telling in his own adaptation because their perception is shaped by the 1922 film (mostly) and the 1979. And so, they will interpret what they are seeing as a “rehash” of the previous story (which isn’t the case here, this is an entirely different story).

And so, they see 2024 Ellen as the pure-hearted and virginal 1922 Ellen who selflessly sacrifices herself to save everyone, even though that’s not the story Eggers is telling and the script contradicts this. Eggers added plots that aren’t a a part of previous adaptations (Orlok and Ellen psychosexual connection; their covenant; occult meaning) and Ellen character being completely different from the 1922 and 1979 films (she’s a antithesis to them).

And how on earth someone sees these three adaptations (1922, 1979 and 2024) and thinks they are equal and this “sacrifice” has the same meaning is beyond me, honestly.

4) The “Sexy Vampire” Trope

Last but not least, we have to talk about the “Twilight”, “Vampire Diaries”, “True Blood”, etc. generation. Some probably heard “vampire” and “Bill Skarsgård” alongside with “obsession” and a female character involved, and were probably expecting something like this:

(That’s 2024 Count Orlok beneath the prosthetics, when he played another vampire)

Eggers truly catfished his audience into watching this film by not revealing how is his Orlok truly looked like. They did warn us Bill was covered in prosthetics and completely unrecognizable, but that flew over some people’s heads?

Personally, I loved the historical and folklore accurate Orlok Eggers created, but, indeed, many didn’t felt the same. I’m still hearing folks complaining about the freaking mustache when Gary Oldman as Dracula, in “Bram Stoker’s Dracula” (1992) also had one, but yeah, he was hot when he was with Mina (not his usual monstrous self, we also see in that movie) so the problem isn’t the mustache is it?

Of course not, it’s because he’s a freaking rotten corpse and he won’t make the list of the “sexiest vampires ever” in cinematic history. Because that’s not what Eggers was going for. We are suppose to see Orlok was handsome in life, but he’s still a walking corpse, because, shocker, that’s what vampires are.

And Eggers is forcing the audience to confront their own bias with all the necrophilia going on in this film: “you like vampire love stories? This is what you actually like.” Many didn’t like to be confronted with that. Which probably has Eggers laughing diabolically because that was his intention, which is why he brings “Twilight” in his interviews.

And then we have the magnificent love triangle “Twilight” style, too; Ellen is Bella, Thomas is Jacob and Orlok is freaking Edward Cullen. Someone said Eggers has balls of steel, and he truly does. And it’s actually amazing he didn’t cast Robert Pattinson in Count Orlok role (they already worked together in “The Lighthouse“, 2019). But Bill Skarsgård’s imposing height and previous cinematic experience (Pennywise in “It”) was probably more in line with what he wanted, and he absolutely nailed this role.

Although we could still see Bill’s face as Pennywise in “It” (beneath all that make-up), which isn’t the case as his Count Orlok, as he’s in full prosthetics.

This also means many will latch on to the “hot guy” in this demonic love triangle: Thomas, played masterfully by Nicholas Hoult.

Many didn’t see any love story between Ellen and Orlok because they were also expecting a Disney fairytale in a freaking horror film about demons and walking corpses, but I would argue that’s not Eggers fault nor an execution flaw. Ellen and Orlok are a demonic love story, they aren’t suppose to be rainbows and unicorns. Duh? Although, yeah, if the audience could actually see Bill Skarsgård, I have no doubt more would recognize this wicked/evil love story going between these two characters.

[nammikisulora]

I recently finished Moby Dick and since then I've been contemplating what I'd want from a "perfect" adaptation of it. this is what I've got so far:

first off it needs to be a tv show, not a movie. the book is so big 'cause it needs to fit a whale in it, thus an adaptation ought to do the same

Ishmael needs to narrate this baby. give me voiceover ffs, this is absolutely essential

keep the infodumps. for the love god keep the fucking infodumps. condensed, sure, but they need to be there! everyone who watches needs to know exactly how Very Normal™️ our boy is about whales and whale hunting

also tbh i feel like the whole whale phrenology thing is pretty essential to the vibe of Ishmael. do not make this guy normal about this shit

for this to work, some kind of framing device is probably best. easiest is probably to have Old Ishmael writing The Book and figure out some way to segue between infodump documentary style and Plot

oh and also include the side stories of the ships they meet somehow

make. it. gay. I need Ishmael and Queequeg to be banging on screen, okay? at the inn in the beginning, on the Pequod after the whale flensing scene… it needs to be there

HOWEVER this must not be acknowledged in the narration. look, they're just really good friends, snuggling in bed during their hearts' honeymoon, 'kay? and checking out how hot your friend is while he's stomping around on a dead whale, cutting it up and fending off the sharks, clad in only shirt and stockings, is just what anyone would do!

what about all the things Ishmael can't possibly know about, then? like private conversations between Ahab and Starbuck and such? I mean I guess our guy could be eavesdropping, but eh - Melville didn't care, so the hypothetical show could just as well handwave it too

keep the whole end sequence as close to the book as possible. top tier imagery there

obviously there's more needed, especially in regards to the characters but eh. if anyone's got anything to add I'd love to hear it!

[perseidlion]

The Interview With the Vampire TV show is a perfect example of how adaptations do not have to follow the source material closely to be an excellent adaptation.

(This is a spoiler-free commentary, but it does discuss the dynamics of the characters in general.)

I read the books back in the day, and of course, saw the original movie. Despite a laundry list of big changes, the series still feels extremely true to the books because it captures the spirit. It gets the characters and their fucked-up dynamics right. It doesn't shy away from them being melodramatic monsters. It keeps to the rules established in the source material. The show also makes sure to preserve key moments and key scenes, but always with a twist.

Since they did that, they were free to shift things in time, amp up and adapt certain dynamics, and change the race of characters in a way that deepens the story and complicates already extremely complicated power dynamics.

The original movie stuck more closely to the era and the appearance of the characters as described by Anne Rice, but I don't think the story loses anything by changing those two elements. In fact, it gives it modern relevance and room for political and social commentary.

I have never ascribed to the idea that an adaptation has to be slavishly accurate to the source material to be a good adaptation. It just has to be smart enough to identify what to keep and what can change. An adaptation adapts. Honestly, I find it boring when I see exactly what was in a book up on screen with no surprises. Where's the fun in that?

The difference between a good adaptation and a bad one is not how accurate it is to the source material, but how well the adaptation respects what made the story compelling to begin with.

What's important here?

Lestat is dramatic and powerful and a monster who is deeply charismatic, but also manipulative.

Louis is overdramatic and self-hating, but oddly drawn to Lestat.

Claudia is fierce, but bitter about her eternal childhood.

Their relationship is deeply toxic but with true affection. They are monsters, but monsters capable of intense love and devotion - to the point where it has the power to destroy them.

THAT is at the core of this story. THAT is what they keep intact. This frees up all sorts of avenues for play around a few key plot beats.

This room for play also gives opportunities to expand on thinner characters or rewrite them entirely. It's been a long time since I read the books, but I don't recall Daniel standing out as more than a framing device, especially in earlier books. But in the show, he's one of the best parts. Not only does he take a much more active role in the story, he delivers some of the most hilarious and cutting lines of the entire series. If the show had stuck closely to the source material, we wouldn't have this Daniel.

It was also smart of them to make Claudia a few years older. The eternal child element is preserved, but the layer of arrested teenaged hormones and womanhood that will never blossom adds an extra layer of angst and sadness. She is stuck forever in a state of rebellion, never allowed to settle and come into her own.

Having her be a young Black woman also deepens her attachment to Louis, visually, socially and symbolically. They are different from Lestat and they understand each other in a way he never can. She's still very much the Claudia from the book but with layers added to deepen her character and add new, fresh dynamics and complications.

It's also delightful to see the show take the homoeroticism that was subtextual in the early books with Louis and Lestat (and in the original film) and making it unapologetically text. Anne Rice's Vampire Chronicles have always been incredibly queer and subversive, but it's amazing to see that side of it fully embraced and stated plainly with no ambiguity or qualifiers or hints. It's queer and that queerness is woven into the fabric of the entire narrative. Louis and Lestat are the toxic beating heart of the Vampire Chronicles.

It's also important because we need messy, dark, fucked-up queer narratives. Sweet, coming-of-age stories and romances are of course, important - especially for younger queer people. But us older queer folk not only want to see ourselves in multiple genres, we want permission to see imperfect, messy, and yes, even evil characters. It's a way of reclaiming the monstrous queer that was villainized for so long and making it our own. We want to find something beautiful in the dark.

If we all thought about it, we could probably think of dozens of examples where a show or movie went far off-script from the source material and was still an excellent adaptation.

Interview With the Vampire is just the most recent and one of the best examples of a stellar adaptation that respects the source material but also builds and expands on it.

I look forward to seeing how they surprise me next season.

[twelvebooksstuff]

Finally!!! Some Book!Sarah Harding content!! Firstly I LOVE the art, it captures her VERY well!! Everything from the colors to the facial expression is just spot on!!

Secondly, they ABSOLUTELY did her dirty in the movie, to the point where they are barely even the same character anymore. And combining her with Richard Levine was a mistake for many reasons, not the least that they are foils to each others, and that Sarah would never be so impulsive!!

local man dismayed to learn that awesome female action hero is even more awesome in the book than the movie: “why did they do my girl dirty, watering her down like that?” he asks.

(meme below the cut)

[secondlina]

I've been reading my way through The Namesake after loving your Crow comics and I love it, especially the love of Oz. I grew up with the old Oz books and didn't expect to be reminded of so many characters and stories. Your art is wonderful.

Aw, thank you so much!! It's really fun to work with Oz as a setting. While Namesake does diverge from "canon" Oz stories, it's really nice to use the creatures and landscape in the material. I'd love to see a legit Oz adaptation one day, LOTR style. A lot of Oz based material tends to take influence from the musical movie, which is a great movie, but I often get frustrated at it's long shadow keeping us from seeing Ozma on screen, aka my favorite gay weirdo. Return to Oz is probably my favorite English language adaptation. As a kid I loved the Japanese anime from 1986, it has Ozma and Jinjur and Glinda as a Witch of the South. It was amazing!

Jinjur and her babes slay me :

[gayhenrycreel]

How To Train Your Dragon, and the trap of a bad faithful adaptation

spoilers for httyd, films and books

i hated httyd 3.

Toothless got reduced to a silly pet, Lightfury has a horrible design (i dare say misogynistic design, but other people have already discussed this), and Grimmel was so uninteresting that i legitimately forgot he was even in the movie a few weeks after watching.

the worst thing? its attempt at being a faithful adaptation.

unfortunately a lot of people don't know about the book series the films are based on. this is quite sad really because unlike the movies, the books increase in quality over time.

the end of the book series follows a sea dragons war on humanity, who have been enslaving dragons for centuries.

yeah so the books are about eugenics, slavery, and genocide.

the sea dragon, known as Furious, was the adoptive brother of Hiccup the Second 100 years ago. Hiccup II was murdered by his father when he found his birth family. its not too relevant to my point, but this father was the king of vikings.

now Furious is the king of dragons and is still angry about what Hiccup II's dad did.

my absolute favourite scene is Hiccup the Third, now a king, trying to stop the war by talking to Furious, hoping that he will understand that it was a singular person who killed Furious's brother, and humanity as a whole is able to improve. Furious cant bring himself to kill Hiccup, and sees his lost brother in him.

Furious has a bit of a freak out, saying its too late for the world to change, or possibly too soon. he concludes that its definitely not the right time.

this one line is why the ending is so good.

the dragons and humans cant coexist, because its the wrong time. just like Furious said, its not the time for coexistance.

the dragons go into hiding.

httyd 3, the film, tried to do this same ending, but absolutely butchered it because it didn't have a reason. it tries to justify it like "oh the vikings dont deserve dragons, so they all live in a cave now".

this completely misses the point.

in the books the dragons left because there was a mutual genocide happening.

in the films its because humans suddenly arent good enough now.

the whole point of the ending in the books is that its set in the past, and what was too soon back then is now the present.

so the whole book series has a message like this: "mistakes change the world. if you are a 'mistake' it means you stand out. this gives you the opportunity to help other 'mistakes'. it may feel like the world is not ready to accept mistakes (i.e, people who survived eugenics and saved the dragons no matter how much equality is viewed as a bad mistake), but now it is. those who are different can help the world accept difference. the time for equality is now".

the films ending is more like: "we are failures at creating equality and look what youve done the dragons (who are supposedly an allegory for various marginalized groups) have all left and the right thing to do was to outcast them all over again because you both have girlfriends now and Toothless cant possibly be a friend to humans while also apparently being in heat or something".

so... httyd 3 is a film about romantic relationships not only being incompatible with unrelated platonic relationships, but also so important that a marginalized demographic is unable to exist with another society because the king (who is literally just a regular guy with unexplained superpowers that ruin tension compared to literal mind controlling scaly mountains) has met a woman 5 minutes ago that he has barely any screen time with.

imagine how unhinged it would be if a real demographic cut off its ties to other cultures because a famous person got married.

this is extremely bizarre especially considering how the books had near zero romance (Hiccup has no love interest throughout the whole series and the focus is on love in general, particularly platonic and familial).

the weird addition of romance to the seperation plotline has no connection to the source material. the writers were just pulling this out their asses like 2017 tumblr arophobes.

the books do such a good job of showing that romantic love is a type of love, just like any other form of love. its there and its important, but its specifically important because it involves people caring about each other, which is also achieved through other forms of love.

its ironic because httyd 1 and 2 do this too. Astrid and Hiccup are important, yes, but Toothless and Hiccup are equally important.

why does the third film even exist? the answer is in Toothless or whatever they did to his character. hes silly but not respectful of Hiccup (he goddamn nearly electrocuted him to death and keeps trying to eat his prosthetic leg), hes clearly in heat or something and suddenly doesnt even give a fuck about the guy he has risked his life for multiple times (i guess hes in an alpha rut. you know how alphas get), and even visually there are signs.... of capitalism.

in the first film Toothless can be adorable. hes a panther, which of course is a cat. httyd 1 doesn't forget that a cat is still a predator, and Toothless can be terrifying.

by httyd 3 his eyes are bigger and closer to the front of his face. its kinda uncanny and is clearly to make him exclusively cute.

what happened to the big cuddly dragon that i was once told looks like hed eat other dragons?

hes no longer a character.

hes a marketing tool.

httyd 3 is a cashgrab. we can see it in Toothless becoming a sidekick. we can see it in the hideous weird beluga thing that is the result of normies trying to imagine a sexy dragon (come on guys, Cloudjumper is right there). we can certainly see it in, and i hate bringing this up, Dragons: The Nine Realms. that show need not exist, its literally just because its a popular franchise, which is actually quite funny because i only know about nine realms because of angry critics in my youtube feed screaming about it in videos that last over 2 hours.

if your spinoff is only known to critics who will gladly insult your show to death and superfans who by the looks of it are the same critics, there is a serious problem.

i knew something was wrong the instant i saw the characters dressed like ugly action figures. it only makes sense for Snotlout, he thinks he has perfect taste. this could have actually been funny if Snotlout was the only person dressed like a low budget furry and everyone was like "why the fuck are you dressed like that", but no, the people (children who will grow up to realise this film sucks ass and will despise it) want rpg video game movies that dont have rpg video games.

question for httyd 3. how did you get the idea to make the main cast furries? could you not hire an actual furry to design their fursuits? because fursuits are not typically that painful to look at and they certainly arent usually made of what appears to be plastic in a film set centuries ago which definitely has the resources to have textures other than plastic. ever heard of scalemail? it looks great in DnD art.

its almost like a dreamworks employee caught wind of the furry fandom but didn't actually look into it and in the process picked up something about horny dragons.

i have legit seen dragon scale inspired armour designs better than that as real life furry cosplay.

no one wants to see Fishlegs looking like some sort of very large beetle. its weird and doesnt match anything else in the movie.

httyd 2 had Hiccup with his own gear, textured leather and a wing suit that looked plausible and immersive. httyd 3 has everyone as weird beetles that could not possibly stay aloft because they are seemly wearing plastic dragon suits.

its like.... almost funny. it could literally be an avengers parody.

i want stories that have consistent themes. i want stories that follow their own rules (remember how httyd 1 and 2 involved actual research on flight mechanics).

and i want some respect for the furry artists that clearly were not involved in the fursuit designs.