#is all the incredible adaptations and retellings its inspired

[sketching-shark]

I was curious to know, is there a specific adaptation of JTTW that you particularly enjoy? Whether its good or accurate isnt important but more like in your personal taste

AUGH going to be honest @seasonalsummers in that I don't feel like I can pick just one...there's so many excellent retellings! But I will take this opportunity to present some of my favorites.

So first up we have the 1986 Journey to the West tv series. It is in many ways very goofy and gaudy, but there's just as many reasons why it's considered one of the best retellings out there, from its genuine heart to the adherence to the og classic. And needless to say its Sun Wukong really set a standard for cheeky scheming monkey behavior. You can start watching it here:

Next up is 2016s The Monkey King 2. While this film is one of those retellings that gives the White Bone Demon a lot more prominence than she has in the og classic--and definitely has its own silly stupid moments--it also stands as one of the very few retellings that directly addresses the paradox of Tang Sanzang's mission: that he's trying to get the sutras to help mortals achieve a state of peace all while abhorring violence, and yet its only because of the violence of his disciples, especially Sun Wukong, that he's able to right a number of wrongs or simply go from day to day uneaten. You can watch it here:

And now it's time to give kudos to 2015's Monkey King: Hero Is Back. While this film is FAR from a faithful retelling and (usual refrain) has its own silliness, pretty simple plot, and gross-out humor, it also has so much heart and stands as a wonderful embodiment of the dad Wukong characterization. One also has to give it credit for its main child character, Jiang Liuer, being a genuinely charming kid who's wonder at the world and desire to do good drives the story forward in a sincerely lovely way. You can watch it here:

More recently--and in a work that is at best only loosely following the plot of Xiyouji--is 2022's Lighting Up the Stars. This film follows the story of a Li Nezha coded little orphan girl Wu Xiaowen and a Sun Wukong coded funeral director Mo Sanmei as they go from a very tense relationship to a genuinely loving father-daughter relationship. While there are moments of this film that feel kind of overwrought, it's an honestly wonderful exploration of what goes into dealing with death and the importance of love in all its many forms during life. I also have a soft spot for Mo Sanmei, who from what I've seen is the very peak of explicitly shitty cringefail loser who then genuinely works hard to become a better person Sun Wukong out there. It can be watched here:

Turning away from film and animation for a moment, I simply have to give proper kudos to Chaiko Tsai's comic The Monkey King. Between the gorgeous art, fun character designs, a good sense of how to translate many of the stories of Xiyouji into comic format, and a resolution to the Sun Wukong vs. Niu Mowang fight that I actually prefer above that in Journey to the West itself, this is definitely a comic worth going through! You can purchase it here for about $30.00

And last but certainly not least, one simply has to give due credit to 1964's Uproar in Heaven. It's an absolute gem of stylized Chinese animation, a work with the very rare allowance on the Monkey King getting to go full grandpa for tons upon tons of monkeys at Mt. Huaguoshan, and it's very faithful to the first half of the og classic with the difference that here Sun Wukong does his havoc in heaven and gets away with it. All around its a really fun work to watch and does have a lot of importance from both an animation and a historical perspective. You can watch it here:

So those are my favorite adaptations of Journey to the West! It's but a fraction of the adaptations out there, but I hope other people found these as fun as I do.

[grecoromanyaoi]

helloo since we're on the topic: top historical fiction (or adjacent) ? can be any time period I just really love your taste in shows/games/etc and am always on the lookout for history inspired media !

thank you!!! im rly glad im like. inspiring other ppl to engage w things im insane abt hudofajsdfdassfsad. anyways. i will probably expand that list bc i literally forgot every single thing i ever read. also i havent watched that many movies so far

ancient times: i havent really watched a lot of movies/series set in ancient times so far :(

rome HBO (2005-2007) (tv series) - OF COURSE. i personally think its one of the best series ever made. they combine political, miliatry history with the lives of every day people in an incredible way. they never let you once engage with the series through modern lenses. according to my teacher (a historian, archeologist & self described 'romaphile') its incredibly historically accurate, mostly the clothing, set designs, characterization, military practices, etc. except for the things they straight up made up, of course.

i really enjoyed gladiator (2000), i think its a masterpiece.

prince of egypt (1998) i guess?

all the asterix movies of course, all the animated ones and most of the live actions. but i wouldnt really call it historical fiction

ok i havent actually finished watching it for now but sebastiane (1976) - an erotic, x rated, gay interpretation of the martyrdom of st sebastian. its in latin also.

wait i cant believe i forgor about assassin's creed odyssey - so far the only one ive played. its so fun and incredibly immersive visually. especially pour moi who cries into the pillow about how ill never experience the ancient world. also you can b a faggot which is always fun. i have things to say about their portrayal of same-sex sexuality and slavery in classical greece but i get why they did that considering its supposed to like. appeal to a lot of people, and a more "historically accurate" portrayal (for example of pederasty or how common slavery was etc.) would b v difficult for a lot of their target audience. alas.

medieval and early modern era:

the name of the rose (1986) - my medieval history teacher literally showed us bits of this movie to teach us about monasteries and monks fhdosiasdjasd.

the borgias (2011-2013) - incredibly messy, lots of political intrigue, and so so fun to watch. about the history of the borgia family. filled to the brim with drama.

the three musketeers (1993) - my favorite adaptation, also coincidentally the one i grew up on. casting tim curry as richelieu was genius. he slays so hard.

i also like bbc's the musketeers (2014-2016) - a neat little series. very fun and entertaining to watch.

outlaw king (2018) - like i dont think most ppl heard of this movie. its about robert the bruce's fight to reclaim the throne of scotland. starring chris pine

vikings (2013-2020) - its fun. i havent watched the entire series tho. dont expect anything resembling historical accuracy

the northman (2022) - you will see something resembling historical accuracy

mihai viteazul (michael the brave) (1971) - a fun movie. very much romanian propaganda tho.

1670 (2023-) - such a fun series!!! incredible cast, shows respect to the actual history and the lives of historical people. really cute and funny.

caravaggio (1986) - a biopic about caravaggio.

wait i also forgor about pentiment - an intriguing, immersive, and incredibly beautiful video game! it has a lot of 'the name of the rose' vibes, with it being a medieval murder mystery taking place in a monastery. its incredibly touching and made me cry, and in the last few years i very rarely cry. also im 99% sure its an indie game? go support the creators!

vaguely-medieval/early modern fantasy:

mirror mirror (2012) - a retelling of snow white. a very fun movie imo, with incredible costume design. julia roberts plays the evil queen and she SLAYS. armie hammer is unfortunately in that movie.

stardust (2007) - one of my fave movies growing up. more modern-inspired but still.

the green knight (2021) - controversial i know but i actually loved this movie! i liked it both as a standalone movie but moreso as a 21st century adaptation to sir gawain and the green knight.

galavant (2015-2016) - !!!!!!! one of the most series ever! they manage to tackle such difficult concepts and conversations with a hilarious wit. so fun to watch. i listen to a lot of the songs still, and rewatch every once in a while.

disenchantment (2018-2023) - very fun to watch, especially the first season.

i also really liked the novel uprooted by naomi novik. its a polish-inspired fantasy.

modern era:

killers of the flower moon (2023) - of course. a masterpiece

aferim! (2015) - a romanian movie set in 19th century wallachia, about two officers, a father and son, who were sent by a nobleman to retrieve an escaped enslaved romani man. a lot of the people in the comments were calling the movie humorous and funny, maybe im missing smth (as im watching with subtitles n dont understand the original language) but it was a very difficult watch for me??

the handmaiden (2016) - need i say more

black sails (2014-2017) - a prequel to the famous novel 'treasure island'. not an easy series to watch. incredibly good.

the favourite (2018) - need i say more pt 2

the rabbi's cat (le chat du rabbin) (2011) - animated movie set in early 20th century algeria. a rabbi's cat learns to talk overnight.

the nice guys (2016) - a fun murder mystery set in the 1970s

o brother, where art thou (2000) - a retelling of the odyssey set in the southern us in the 1930s

victor/victoria (1982) - set in early 20th century paris. julie andrews pretends to be a man and takes on a job as a drag queen. extremely fun, extremely gay movie.

lady chatterley's lover (2022) - very much porn for moms but it was a nice watch imo

amulet (2020) - set in like. idk. sometime in the 20th century. this is a horror movie, deals a lot with misogyny, sa, and so on. i really like it, personally. a lot of people, mostly weird men, dont tho.

the great (2020-2023) - i have mixed feelings about this show. on the one hand, its really fun to watch. on the other hand, its basically ofmd for girls who have public mental breakdowns whenever someone claims corsets were oppressive. and theyre so weird about russians, jesus christ.

disses:

domina (2021-) - i just couldnt get into it, esp since i tried right after finishing rome hbo. it was kind of silly, and not in a good way. takes itself wayyyy to seriously.

i didnt like spartacus (2010-2013) - the dialogue was almost grotesque and the editing, especially the transitions, straight up killed me

damsel (2024) - holy fuck what a trainwreck of a movie. absolute waste of angela basset and robin wright. the only good thing were the costumes.

lancelot du lac (1974) - i just didnt like it at all. couldnt get into it. i guess it was way too french and artsy fartsy for me. a movie that was trying to say both too little and too much at the same time.

i didnt rly like bram stoker's dracula (1992) - i mean. it was a fine movie. it was definitely not the godfather. the movie itself was meh. the visuals tho? absolutely stunning

[extraordinaryhistories]

#16 – 'Jason' (A Sun Came, 1998)

‘Jason’ is the other half of the A Sun Came diptych that begins with ‘The Oracle Said Wander’: two songs that function as vague retellings of classical Greek narratives favoured by Sufjan. ‘The Oracle Said Wander’ centres itself around Cadmus, but ‘Jason’ takes as its subject the Argonaut of the same name, whose quest for the Golden Fleece is an enduring staple of Greek mythology that finds adaptation and re-adaptation today.

This tale needs little introduction compared to that of Cadmus, and the song benefits from it, because ‘Jason’, despite the glut of words present across its six minutes, remains wilfully obtuse. Motifs from the tale are present: there is mention of an Argon, of brave knights, and of the dragon guarding the fleece. But the rest remains glibly indirect. It seems to be written as an ode of sorts, Sufjan being front and centre of the hero’s cheer squad; the core refrain is ‘Jason, you’re the only one / Jason, like a steady son,’ placing the narrator at a remove from the thrust of the plot. This will soon become an incredibly important feature of Sufjan’s storytelling manner. Sufjan almost never places himself in the narratorial perspective of his subjects. He has intimate knowledge of them, but he remains ever deferential, always the supportive bystander but never the centre itself. It’s what gives his lyrics their charming humility. (And also what makes it all the more astoundingly subversive in the rare occasions when, on a song like ‘Saturn’, he speaks to you with all the horror-inspiring authority of God himself. But that’s for a later entry.)

This aside, not much else can be divined from these lyrics. ‘Jason’ is a song about Jason, news at 11.

The musical elements of ‘Jason’ are of greater repute. This song is A Sun Came’s last rock offering, and as such, one of the last true ‘heavy’ songs – in the 90s guitar-and-drum freakout sense – on a Sufjan album. Perhaps the very last, depending on how one defines the style. Any definition of heaviness would certainly encompass ‘Jason’, anchored around a charging, drum machine-led beat and a three-chord guitar line that keeps climbing up and up and up, like Hercules ascending a great mountain. It never quite peaks; it gets around 80% there and then decides to turn back, content with its progress (and likely mindful of its length – this song is six minutes, largely consisting of the same motif, ‘you’re the only one’ repeating in chorus for a good portion of the track’s duration.)

We also get multiple of Sufjan’s vocal styles here, some of which would largely be consigned to the past following this album. Whisper-sung Sufjan appears in the sunny, optimistic ‘you’re the only one’ hook, but is at points overpowered by screaming, distorted Sufjan, singing countermelodies over the hook and creating a hodgepodge of vocal noise that never really jells in the way that (I assume) Sufjan intended to. But it certainly creates a great racket along the way. When the guitar fades out towards the end, all that’s left is the vocal, the motorik drum groove and an abundance of odd keyboard detritus that one never quite registers during the main portion of the song. It’s a dense song – this much it succeeds at. It ain’t no ‘Demetrius’.

I always thought that ‘Jason’ would work very well as a live track, aided by a smoother, more tasteful arrangement. I’m confident that the noise it creates could whip up a fervour from a crowd. It never did get that treatment, unfortunately. Or not unfortunately. It’s not really so important.

[rabbitcruiser]

National Tell a Fairy Tale Day 

Gather round the fire, and make yourselves comfortable… Tell A Fairy Tale Day is all about exploring myths and stories, old and new. From grim(m) tales to urban legends, tap the dark corners of your subconscious and see what you find…

History of Tell A Fairy Tale Day

The sharing of magical, otherworldly stories is a tale as old as time. While the term ‘fairy tale’ was coined in 1697 by Madame d’Aulnoy (conte de fées in her native French), it’s likely that some fairy tales originated as early as the bronze age over 6,000 years ago. And for most of history, fairy tales have been passed on not in written form but via the oral tradition, with each generation telling and dramatizing stories to the next.

The fairy tale’s ancient roots can be traced all over the world, from Vikram-Betaal in India and Aesop’s Fables in Ancient Greece to Arabian Nights in the Middle East. It was during the late 17th to 19th centuries that fairy tale collectors emerged, most famously Charles Perrault and the Brothers Grimm. While the Brothers Grimm aimed to preserve folktales in their pure form, documenting them in the way they were told by rural peasants unable to read or write, Perrault and others reworked fairy tales for literary and artistic effect, with some writers such as Hans Christian Andersen dreaming up their own new stories.  

As the fairy tale’s history emerges into the modern day, it’s clear that the genre is still as popular as ever – look no further than the success of Disney movies to see how these stories continue to capture our hearts and imaginations. In fact, the famous Disney castle is inspired by Neuschwanstein Castle in Germany, built by none other than the Märchenkönig (fairy-tale king), Ludwig II of Bavaria, himself. Perched on a rocky hill and with horse-drawn carriage rides up to the front door, Neuschwanstein and its elaborate interior abound in myths and legends – the castle is even home to an artificial grotto!

By celebrating Tell A Fairy Tale Day, you’ll be continuing the magical tradition that has ensured fairy tales are still very much part of our lives to this day.

How fairy tales change over time

Perhaps one of the most interesting aspects of fairy tales is how they change over time. Simple plot structures, motifs and archetypal characters recurring across many cultures make these stories rife for adaptation and reinterpretation.

Although nowadays we usually associate fairy tales with children’s literature, you may be surprised to learn that many of today’s beloved stories have rather dark and disturbing origins. Imagine a world in which no woodcutter comes to save Little Red Riding Hood from the wolf’s belly, or in which one of the ugly stepsisters cuts off her own toes so that her foot fits in the slipper! From the 18th century onwards, many fairy tales were toned down and reworked so that they were more suitable for children.

These stories and the genre itself have also been adapted and reinvented for different time periods and cultures. Alongside original modern-day fairy tales, there are also various retellings, for example in urban settings or different countries. One particularly common type of retelling comes from women writers. Authors such as Angela Carter and Margaret Atwood have taken what are often seen as outdated tropes about women and reinvented them – the damsel in distress becomes the plucky heroine, and the trapped bride leaves her ogre husband for her happily ever after.

Why fairy tales are important

As it is often claimed Albert Einstein once said, “If you want your children to be intelligent, read them fairy tales. If you want them to be more intelligent, read them more fairy tales.” We might not expect such high praise for fairy tales from a world-famous theoretical physicist, but Einstein recognized the importance of the imagination. Fairy tales are incredibly valuable for both children and adults when it comes to learning about the world in which we live and developing our capacity for creativity. Fairy tales have also been considered fertile ground by psychoanalysts. With their twists and turns, age-old themes and familiar characters, our favorite stories may reveal not only the workings of our personal subconscious but also the fundamental elements of our collective psyche.  

How to celebrate Tell A Fairy Tale Day

It should be clear by now that, when it comes to celebrating Tell A Fairy Tale Day, you really can let your imagination run wild! And while it’s a day that kids will love, it’s also a great occasion for adults too.

Gather your friends and family and take it in turns to share your favorite stories with one another. Time to brush up on your acting skills, as the more dramatic enactments the better – whether you’re good at impersonating a wicked witch or excel at acting out the characters’ quest through the enchanted forest, you’ll want to really make the tale come to life for your audience. And why not sit around a bonfire toasting marshmallows or string up some fairy lights in your living room to add to the atmosphere?

Alongside sharing the stories we know and love, fairy tales are the perfect genre for getting creative and honing your writing skills. Take a well-known story and tweak it to fit a different time or setting, or have a crack at inventing your own. It may well start with ‘Once upon a time’, but it’s completely up to you whether there’s a ‘Happily ever after’! Many libraries and literary organizations will also share stories and creative resources and even hold events to help mark the occasion.

If writing’s not your thing, then there are plenty of films and programs based on fairy tales for you to enjoy. Disney’s Snow White and the Seven Dwarves, Cinderella and The Little Mermaid are just some examples of the media giant’s adaptations, while movies and TV series such as Into the Woods and Tell Me a Story interweave and retell various classic fairy tales for new audiences.

And if you feel like going all out, why not host a fairy tale themed party? Encourage your guests to come in fancy dress, put on an enchanted feast of yummy snacks such as gingerbread houses and toadstool cupcakes, and throw some legendary party games like hunt the pea and castle building.  

However you choose to celebrate Tell A Fairy Tale Day, it’s sure to be a magical occasion!

Source

[reelreflections]

Old Boy- From the Top to a Flop

Where did it all go wrong when deciding to retell an already 'perfect' story?

!SPOILER WARNINGS!

Drawing the line between remake and reinterpretation.

God knows why the already cult classic film ‘Old’ Boy’ (directed by Park Chan-Wook, 2003) would ever need a reboot, specifically taken on by Spike Lee, but here alas I am writing this article, releasing a whole ten years after the original, 2013's Old Boy definitely holds an interesting take stemming from the blueprint. When Lee was asked about his approach to this project he claimed that he "wasn't scared", and what had originally pulled him to the idea was the story and the visuals that Chan-Wook was able to bring to life the first time around.

It's a pretty gray area when deciding if this is a remake or a reimagination, many even claiming that it was just simply "based on" its predecessor. But when we put the two films side by side, it's obvious the influence this holds, specifically recreating some frames shot-for-shot. Though many claim that Lee's take on the film is indeed an interpretation, it's difficult to see that when it follows the same plot and format as Chan-Wook's.

Though these two films revolve around the same story, they couldn't be any more different.

The Vast Variance

It's only fitting that I reveal the stories behind both films so we can dissect the contrasts. There's so much to cover, so let's touch on what's important….SPOILER WARNINGS!

Chan-Wook's take on Old Boy was originally inspired by the manga under the same name, taking on the main theme: revenge. Within the 2003 take, we follow Oh Dae-Su a drunken man and deadbeat father as he is being bailed from jail, soon to be mysteriously kidnapped and imprisoned for the next 15 years. Held over by the company of television and at the same dinner every single day, Dae-Su is then suddenly released back into society. With no whereabouts of who his captor was and their reasoning behind the imprisonment, Dae-Su set off on an expedition of conspiracy to seek out his imprisoners and give them their due vengeance.

Oh! He also makes efforts to find his daughter who he later finds out is his "lady friend" he's made during his travels.

To speed things up, we hit the end of the movie in which we find out that the man who had originally kidnapped Dae-Su was an old school friend, Woo-jin, in which Dae-Su had spread a lie about him and how he had sexual relations with his own sister, ultimately just leading her to commit suicide. So, in true revenge fashion, it was only appropriate for Woo-jin to hold Dae-Su captive for 15 years and then subconsciously set him up with his daughter to turn the original rumor back on him!

So with that, Dae-Su is left with the revenge being turned back on him and the heavy knowledge that he's been hooking up with his own daughter the entire time… yikes…

So, with that all out of the way, we are left with a so-called adaption of this incredibly complex and horrifying psychological thriller. After the super slow pacing and more than enough filler, we are met with Joe Doucett played by Josh Brolin, this being Lee's adaptation of Dae-su's character. The two men aren't too different from each other, both being drunkard assholes and weak fathers, except Joe this time seems to hold more morality when it comes to his parental role.

This time around, our main character is kidnapped under even more mysterious circumstances, only to wake up in a similar hotel-esque solitary confinement. Doucett soon realizes through a news report that his wife has been killed and his daughter adopted by another family. Once released after 20 years rather than 15, Joe is set on the same course of revenge. In similarity, Joe also comes across a love interest, which shares the exact same fate as Dae-su's daughter. As the film is brought to an end, Joe finds his captor, a stereotypical evil British man who had locked Doucett away for the same reasonings as the original.

With the same plot and endings pulled from each film, the debate on calling Spike Lee's rendition an adaptation rather than a remake is quite tricky.

Where It All Went Wrong

So why exactly is this "remake" so poorly held against its original?

First off, the Westernization of the original South Korean film is overtly sickly. Not only was the location of the film changed to be set in The United States, but each of the character's names was also reworked to fit a Westernized framework. The entire appeal of the film was also converted into fit more into a grungy, blockbuster action genre other than in the psychological thriller category.

What arguably went the most wrong with this remake is that it lost the original magic it held to begin with. For a story following a man in mysterious isolation for 20 years, you would think that the film would focus on his loneliness and the aftermath of this traumatic event, though we only get one scene barely encapsulating the dreaded sense of loneliness that is present originally. The lack of response coming from Joe to these huge plot points really disconnected him from the entire storyline overall. Maybe those extra five years rewrote Joe/Dae-su into a completely new character?

Some of the biggest appeal originating from Chan-wook's take was the stylization and choreography, specifically in the iconic hallway fight scene.

With the original being so closely inspired by the Old Boy manga, it was likely a quick translation of action that was implemented in the fight scenes. Due to Lee's version being a rendition of something that was already inspired by another source, it's likely that his edition didn't pull from the manga as much. With that, lots of the historical and cultural themes presented in the manga were likely not passed down, leading the film to lose its original magic and inherently flop.

Lee's take ended up being exceedingly inconsistent with the jumping of styles and even some obvious continuity errors that unimmersed viewers. Some audiences even claimed that the remake looked as if a multitude of directors had worked on it, hence the constant changes in colors and lights. The vast difference between each films really disappointed the followers of the original in a sense of it's lack of "whimsy" the second time around.

I confidently would consider this film a remake rather than a rendition, simply due to the story just being shifted to pertain to another audience instead of allowing the story to take a new approach on the nightmarish possibilities the world of Old Boy had originally created.

Screen Rant. (n.d.). Oldboy: The differences between the 2003 and 2013 films. Retrieved from https://screenrant.com/oldboy-movie-2003-2013-original-remake-differences-changes/

Dead Talk News. (2023, August 31). Oldboy: Park Chan-wook’s revenge tale through Spike Lee’s lens. Retrieved from https://deadtalknews.com/2023/08/31/old-boy-park-chan-wooks-spike-lee/

Fandor. (n.d.). Why Oldboy is a masterpiece. [YouTube video]. Retrieved from https://www.youtube.com/watch?v=G54C85rPjJo&ab_channel=Fandor

Reviewer. (n.d.). Review of Oldboy (2003). [YouTube video]. Retrieved from https://www.youtube.com/watch?v=mVsPPfCHEh8&pp=ygUNI3Jldmlld29sZGJveQ%3D%3D

Unknown Creator. (n.d.). Oldboy ending explained. [YouTube video]. Retrieved from https://www.youtube.com/watch?v=w7-_eCowDjs

[katerinaaqu]

No they are not I am afraid. The only primarily plot that stayed the same is Odysseus wants to go home and the names of the creatures he encounters. All the other main plots are changed; Polyphemus, Circe, Skylla, Sirens, Charybdis, Telemacheia everything. That is an objective truth. Now if people like the changes or not is of course up to everyone's guess and taste. However just using the names of the main stops he had is not "primarily plot points are exactly the same". Not even the order of his adventures is the same (see Charybdis). SOME plot points are the same and even those were changed. If you keep like 5-10% of the story and change all the rest is not an adaptation is an original story that was inspired by something else. At least that is what I believe and what I see so far (especially the final parts he released). But okay sure I mean if he didn't even follow the same direction as the Odyssey then what would be the point? I find it interesting that we often say "phew at least he is going in the same direction!" Like...that is the bare minimum... (and as I said in the past it saddens me because he has proven in the two first sagas that he can make it happen, take liberties and be accurate to the sources, in that case more specifically Iliou Persis) and he IS very talented and passionate with his project which again saddens me even more with how my favorite book was treated in this (again plot-wise only)

If we speak that still counts as an "adaptation" or "retelling" because it still follows the story in the same direction then in my opinion the bar for what is "adapting material" is set way too low (but again that is my opinion. It is fine if someone disagrees)

I completely disagree that it couldn't. In fact it was on its way to be in the first two sagas. It is absolutely possible to happen. I think is the mentality of modern adaptations of "oh is impossible to make it as accurate as possible so not even trying to". And yet we have amazing movies and series like Ulysses (1950s) or even better L'Odyssea (1964) that followed like 90% of the plot and kept the characters according to book and took liberties either out of choice or out of budget. We also have the Prince of Egypt which took liberties to make the musical and yet it was incredibly well thought and researched material so no I completely disagree with the notion that "it is impossible" but I respect your opinion.

I know which is why stuff like that annoy me at best and infuriate me at worst because there is already plenty of misinformation there is no need to add more. Now for crosstagging like I said never claimed that one has bad intentions or not. I only said it is starting to get bizarre that every time you wanna Google "the Odyssey" you now need to specify it is the REAL thing and not some adaptation or fanfiction. (And I say that as a retelling/fanfiction writer myself!)

You realize that a fandom has gone off the rails or that it has REALLY taken over when you see "Epic the Musical" tagged under images of Achilles and Patroclus! Like...how are two characters who were both dead by the taking of Troy, yet alone by Odyssey who do not appear not even as a mention for the Underworld as they were in the Odyssey, relatable to this?!

Sorry! XD

[tplambies]

here's a little bit of communications history from an au of mine!

'Communications' first appeared as a tv show called "Number Street", airing from 1956-1959 in black and white. The show mainly followed the Elsners- Nancy, Henry, their teenage son Kenneth (or as we know him, Kennith), and their young daughter Poppy- as well as their neighbors and friends. Notable other characters were Shirley (Stephanie) and Gregory (Greg), Kenneth's best friends, and Poppy's two young accomplices, Brenda (Bri) and Ann (Avery). Some other notable reoccurring characters were Ray, Evelyn, and Nathan. Taking inspiration from shows such as I Love Lucy and The Honeymooners, the show was a sitcom that focused heavily on Henry and Nancy's relationship. It wasn't incredibly popular nor did it have the best budget- however, it was still enjoyable and somewhat charming.

there's a paragraph missing here- read here

Around the same time the case 1 fic became popular, a group of roleplayers began uploading edited versions of their au roleplays set in the 80s. The group was composed of three friends, one playing kenneth, the second playing "Shirley", and the third playing Gregory and Evelyn. The roleplayers chose to switch out the name Shirley with Stephanie, as they found it too "old timey" for the setting of their au, and used the name Greg as "Gregory's" full name. The au was pretty slice-of-life at first, with the angst being centered around kenneth's depression and being gay in the 80s (adopting the popular headcanon), though it soon took a dark turn after one of the users read the case 1 fic and wanted to take inspiration from it. It first started as Evelyn going on a killing spree and Kenneth commiting suicide but was eventually rewritten into kenneth hijacking a national news broadcast. The fic was deleted after the friend group fell apart and was considered lost for a time until somebody reuploaded it onto fanfiction.net years later. the original ending is still considered lost media.

there's a paragraph missing here- read here

At the height of the comic's popularity, another adaptation was made- "communications" as we know it now! somewhat. A user who went by thetellerofstoriezz or Spoiler online wrote two songs based on the original popular fanfics, "housewife radio" (of which there were two versions- they remastered it) and "colorbars", neither of which gained much popularity. It wasn't until they released the final version of "housewife radio", which was based on the comic, that they got popular, leading to the creation of a comic-based remake of colorbars called "broadcast illusion". this song gained even more attention then its former, leading to Spoilers cranking out two more comic-inspired songs, "black & white" and "rotary dial". They later changed the meaning of their songs to match their own rewrite, which they discussed in length on tumblr, mainly though asks. their changes were bold, erasing poppy entirely and dividing the family to sort the characters into cases 1, 2, and 3. They had planned to release more music related to their rewrite, but cracked under the pressure and deleted their social media.

FINALLY the last adaptation to date! A reboot of "Number Street" was announced for streaming services (yayyy...). At first it was going to be a riverdale-style retelling of the original show, though while doing research, the writing team discovered the show's extensive fan-made lore and ended up changing the show entirely. It turned out as a sanitized version of Spoiler's retelling, with some (but not all) of the plot holes filled and a new soundtrack. Fun Fact: the young girl who played Poppy in the original show came back to play Frances in the reboot! the show followed each case throughout a season, originally pitching three seasons but hoping to be renewed for more, in which they would make new shit up. Unfortunately, they didn't make it past two, the show being abruptly canceled during the filming of its third season. The first season was published all at once, while the second followed an episode-per-week format.

ooh this is probably riddled with typos i'll fix it later

[harrowscore]

A couple of days ago I finished reading Beauty by Robin McKinley, a retelling of *gasp* Beauty and the Beast. It was a lovely read (maybe because I truly love this story) and I thought the book made some interesting twists on the original tale.

It was published in 1978, so well before Disney's adaptation, but you can see the Mouse took some inspiration from it - or at least there were some strong similarities. Beauty here is also a bookworm (she particularly loves the ancient classics), she and the Beast are fellow intellectuals (they grow to love reading to each other in the castle's library), there's a magical mirror and magical servants (though here they're... literally invisible) etc. Speaking of the "twists" on the original tale:

Beauty is very much a tomboy and self-described as "plain" (tho in the end we find out She's Been Pretty All Along, but still... interesting, considering the main theme of the story)

The Beast has been enchanted ~200 hundred years ago. He used to be an arrogant, handsome young man (Beauty sees his painting at one point - obviously she doesn't recognize him - and its description was very effective; we never learn how he used to be like so long ago but the picture gives an idea) but now he's older and it shows. He definitely acts mature and poised, none of that post-teens nonsense (it was a good choice for the Disney movie, obviously, but the difference between the two portrayals is stark... though I don't prefer one over the other tbh, they're both valid in their own way). When he's turned back into a human he looks like he's in his late 30s/early 40s, I guess, but still incredibly handsome. Basically Belle got herself a DILF, and good for her tbh

Beauty has an amazing relationship with her older sisters. They're both more traditionally beautiful and "feminine" than she is, but I loved how the author didn't make them hostile to Belle or vice versa, despite their differences. I love how she's got some strong female company here, it's quite refreshing from the usual Mean Girls/Cinderella's Stepsisters-like depictions

So... yeah, it was a good read. Very dreamy (when will I find a dilf of my own and get ~imprisoned in a beautiful enchanted castle, living in luxury and spending days in a library full of books that have not been written yet??? 😭😭), maybe a bit slow at some points... and I wish the Beast were written as more gruff and, well, beastly, but that's just my personal preference (I like the spice 😌😌) - I understand why he acts like the perfect gentleman, that's... kinda the point of the original tale.

[esonetwork]

WHY THE SUN NEEDS TO SET ON THE GALACTIC EMPIRE

New Post has been published on https://esonetwork.com/why-the-sun-needs-to-set-on-the-galactic-empire/

WHY THE SUN NEEDS TO SET ON THE GALACTIC EMPIRE

Two of the most recent science fiction films and television series are adaptations of two of the most beloved and seminal works of Science Fiction literature. Dune, by Frank Herbert is about to be released in theatres all over the world, and Foundation by Isaac Asimov is currently streaming as a television series from Apple TV.

Both of these films are visually stunning and are made with cutting edge technology to tell the amazing stories of life for humanity among the stars and in the far flung future.

Why, then, are both of these works saddled with the most outdated and untenable form of government?

According to Miriam-Webster, an Empire is:

a major political unit having a territory of great extent or a number of territories or peoples under a single sovereign authority especially : one having an emperor as chief of state. (2): the territory of such a political unit. b: something resembling a political empire especially : an extensive territory or enterprise under single domination or control 2: imperial sovereignty, rule, or dominion

Now, this is not new for science fiction, particularly the brand of Sci-Fi that gets trotted out onto the silver screen. The original Star Wars dealt with a galactic empire that was in the midst of tightening its grip on the far flung space kingdoms of a galaxy far, far away.

Indeed, even literary science fiction is lousy with galactic empires. Bran Aldiss edited a collection of stories dealing with the concepts of Galactic Empires and it came out in two volumes.

So my question is simple: Why?

Why, in a future of faster-than-light travel, high level mathematics, incredible supercomputers, ‘droids, blasters, hovercars, thopters, personal force shields, and cloning, would you retain a political system as archaic as an empire?

Why do you need Emperors, or Princesses, or Counts, Dukes, or Barons when the guys who repair and/or invent all of the technology should be A#1 top of the heap?

Under our current capitalist system, the free market is the emperor. The only thing we have to debate is whether it should be regulated or, as the Randian Libertarians would prefer, completely unfettered by government oversight. The closest thing we have to kings or queens are the oligarchs (and those are merely side effects of corruption and nepotism the way that cockroaches are side effects of poor living conditions). The only royals in our modern world are merely vestiges of a by-gone age, allowed to persist in acknowledgement of the romance of the age of empire.

And that, maybe, is the point. Romance. Not as in Harlequin, but in the traditional sense of the word. The romance of the bygone era.

But that’s a frivolous thing to include in a science fiction novel, isn’t it?

Well, Asimov, with his Foundation Trilogy was, admittedly, retelling the Fall of the Roman Empire with a science fictional bent, so we can, perhaps, forgive the inclusion of the Galactic Empire. That was his whole thesis, that the Dark Ages need not be so dark. Having a Galactic Empire is essential to that thesis.

But what about Dune? Why the Empire? Why the Dukes and Barons and Princesses? Frank Herbert’s novel was inspired by the political situation in the Middle East with OPEC. Certainly the ruling class of the Arab world held on to power in a petty way, while being manipulated by the United States, a situation Herbert mirrors with the Spicing Guild and the CHOAM company.

His story, the story he wanted to tell, had to have those petty feifdoms squabbling for power and the Fremen and their Kwisatch Haderach eventually overthrowing the empire. Baroque was the way to go when constructing the world of Arrakis.

But why does it persist? The galaxy is indescribably vast. Even given the existence of faster-than-light travel, either through “Folding Space” or massive singularity drives or whatever, the logistics of administrating an empire over such vast gulfs of space is completely unworkable. Even just contemplating a supply chain for an imperial invasion force is unrealistic.

So why do we do it? Why do we posit the existence of Galactic royalty?

Aside from the romance, it’s experience. The sun set on the British Empire long ago but we still lionize the royal family. Former subject countries still celebrate their independence from the yoke of the empire, yet at the same time they fetishize the monarchy that once held them in thrall. Even the United States still defers to royalty despite the fact that they won their freedom from it through violent revolution.

We know Empire. Our history reeks of it either in opposition or support. The most recent and best example of a world conquering organization is the British Empire, whose ships and soldiers kept a network of trade afloat for centuries.

The audience, it seems, is able to relate to that older, venerated institution better than today’s world of high finance, political compromise, and supply chain logistics.

I guess it’s shorthand, but dammit if it doesn’t saddle a lot of science fiction with anachronism and unreality.

[theboywiththecuckooclockheart]

My Top 10 Favorite Songs From Jack and the Cuckoo-Clock Heart: Concept Album and Movie

Here I will rank my top 10 favorite songs between the movie and concept album versions of Jack and the Cuckoo-Clock Heart. I personally believe that the French concept album songs are quite different from the translations in the English movie, so I will rank them independently. That means that one song may end up on this list twice for the reasons I will explain as we go down the list. Let’s start from number 10:

10. “Mademoiselle Clé”

As simple and intimate as this scene in the movie is, I’m going to have to put the French version on this list. Mainly because it stays a bit more true to the scene in the novel which is much less PG than the movie. The French song shares the line “...she works her Blue Fairy magic on me, like in Pinocchio, but more real. Except it’s not my nose that’s growing longer.” The implications of that quote in the novel and the French song are obvious, but are much more loosely intimated in the film. Also, I simply prefer the composition of the French album song over the movie version.

You can find the French song from the concept album here on Dioysos’ official Youtube channel and the scene from the movie here on a fan’s Youtube channel.

9. “Tais-Toi Mon Coeur”

This song can only be found in the concept album and corresponds more directly to the plot of the book than the movie. The title means “Be Quiet my Heart” (or, more aggressively, “shut up, my heart”). It is such a catchy song and the old music video associated with it has a really cool animation style which some hoped would have been the style of the entire movie, but alas.

You can find the official song here on Dionysos’ official Youtube channel and the music video here on a fan’s Youtube channel.

8. “Flamme A Lunettes”

There are actually three versions of the song “Flame with Glasses” because it also shows up in the book. The book version is quite short, and is actually the most similar to the movie for that reason. However, the song in the concept album encapsulates more of the action in the novel itself, not just the song that Miss Acacia sings. Additionally, the imagery in the song from the album is much richer and Jack and Miss Acacia’s banter goes on for a little longer. Even though the scene in the movie is visually intriguing and captures some of the imagery with its setting, I’m going to have to put the album version on this list.

You can find the French song from the concept album here on Dionysos’ official Youtube channel and the scene from the English movie here on a fan’s Youtube channel.

7. “L'école De Joe”

“The School of Joe” can only be found in the movie in its instrumental form, so I don’t want to make a direct comparison to the lyric version in the album. However, I don’t think I have to. Both incarnations capture the same menacing energy and climactic build, and what the movie may lack in lyrics it sure makes up for in the scene. And while I hate to put Joe nearly halfway up my list, the song is just too powerful to put any lower.

You can find the French song from the concept album here on Dionysos’ official Youtube channel.

6. “Malagueña”

Doing the research on the Spanish songs in the album and the movie sure gave me a run for my money because I had no idea about the multilingual talents of Olivia Ruiz. She both voices and sings Miss Acacia in the French movie, the concept album (which is in French, of course), as well as the Spanish songs in both (if not all) of the translations of the movie. Her version of “La Malagueña”, a traditional Mexican Huapango song, was originally covered on two of her albums [1], and is of course identical in the concept album and the movie because there is no need to translate it. It was tough for me to choose between “Malagueña” and “Quijote”, but for the wonderful and fantastical elements surrounding it in the movie and for the great references to quotes from the novel during the scene, “Malagueña” makes it on this list.

You can find the song from the concept album here on Dionysos’ official Youtube channel and an amazing live performance of it by Olivia Ruiz here.

5. “Le Jour Le Plus Froid du Monde”

Thanks to this Youtube video and the fanart included in it, “The Coldest Day on Earth” was the first song I ever heard from the “La Mécanique Du Cœur” concept album and was how I discovered the movie in the first place. I have always been an enthusiast for anything vaguely steampunk, and a rhythm set by cuckoo-clocks is exactly the kind of song I’m looking for. Once I figured out what the French lyrics actually mean, I knew I needed to find out more about this weird world. It took me exactly two years to get my hands on a copy of the book after watching the movie, and I discovered the entire concept album around that time as well. Perhaps this song should be number one on this list because it is literally the reason I have this blog to begin with, but I just can’t deny how much I love the other songs at the top of this list.

I also can’t fail to mention the sort of reprised version of the song, called “Le Réveil Des Coucous Vivants”, or “The Awakening of the Living Cuckoos” which makes an appearance very early in the movie, but is actually the last song on the concept album. If you want to experience an amazing example of how cuckoos can be used as incredibly haunting musical instruments, I recommend you check it out.

You can find the French song from the concept album here on Dionysos’ official Youtube channel here is the link to “Le Réveil Des Coucous Vivants” on their channel as well.

4. “La Panique Mécanique”

I absolutely love how much this song builds and how it captures the experience of traveling on a train alone for the first time. This song does make a shortened appearance in the movie during Jack’s train ride, but I’m not a huge fan of how they altered the lyrics. Another thing that makes the French album version so much more striking than the English movie version is Alain Bashung’s [2] performance of Jack the Ripper’s lines. His voice is so mysterious and menacing and creates the perfect bridge into the chaotic latter portion of the song. Perhaps it is my relative lack of exposure to a variety of French voices, but his rendition just hits different than the English one in my opinion.

You can find the French version from the concept album here on Dionysos’ official Youtube channel. Unfortunately I can’t find a good link to the scene in the movie, so you will have to do some digging yourself if you are interested.

3. “Jack Et La Mécanique Du Cœur”

In third place is the French concept album version of the titular song “Jack Et La Mécanique Du Cœur”. It is the very first song on the concept album and serves as a sort of summary for the plot and kind of resembles a Greek chorus [3] that speculates what our protagonist Jack is going to do. It includes some interjection from Georges Méliès and ends with him saying “Et maintenant, bon film” (”And now, enjoy the film”), which I find very cute since it’s sort of like we are watching Méliès’ own film adaption of the story, which he tells Jack during the movie that he could very well make.

You can find the French concept album version here on Dionysos’ official Youtube channel.

2. “Jack and the Cuckoo-Clock Heart” (English version from the end credits  of the movie)

Maybe this is a cop-out, but I just couldn’t decide which version of this song to put on this list, so I included both. After much deliberation, I decided to put the English version at number two instead of three. It seems sacrilegious somehow, but I just had to put it a little higher for a couple of reasons. One, I discovered it first so it lodged itself in my consciousness before the French version did, and two, I just can’t get over Orlando Seale’s voice in this song. Of course Mathias Malzieu is completely unparalleled, but there is something about Seale’s optimistic and gallant tone that is completely enrapturing.

It’s sort of a bummer that this amazing song only shows up at the very end of the credits, but I must admit it is a difficult song to place anywhere else in the film considering the inexplicable presence of Méliès (which makes it hard to put at the beginning for the sake of the plot). But, it also doesn’t make sense at the end since it’s a summary of what we just watched and the final line tells us to “enjoy the film” as the last few credits roll up on the screen. Regardless, I should be happy that the song was ever translated into English because I can thank it for keeping my interest and passion for the story alive.

You can find the English version here on a fan’s Youtube channel.

1. “L’Homme Sans Trucage”

And finally, number one. You’d think “Jack and the Cuckoo-Clock Heart” would have taken this spot considering how much I went on about it, but “L’Homme Sans Trucage” (”The Man Without Special Effects”) from the concept album has an absolutely tangible feeling of adventure and boundlessness with instrumentals that are out of this world. Who else but Dionysos can mix record-scratching, keyboard, banjo, drums, and more simultaneously and make it sound that amazing? The song perfectly captures the “coming of age” theme of the story, and the imagery in the song is beyond inspiring. 

I also need to mention the reference in the title and in the chorus to Méliès’ diary in the story which he titled “The Man without Special Effects” (or “The Man Who Was No Hoax” per the English translation of the novel). That diary in both the movie and the novel is Méliès’ retelling of his time spent with Jack (which is why I think putting the song “Jack and the Cuckoo-Clock Heart” in the beginning of the movie would be so cool) and is emphasized a bit more in the novel than in the movie. That diary makes a sort of legend out of Jack, and its title implies entirely different layers of meaning between the movie and the novel. 

To give the movie some credit, though, the scene is a lot of fun, and I love how they styled it à la Méliès with paper cutouts and the reference to “The Impossible Voyage” [4] by the real Georges Méliès. The scene stays true to the surrealism of the story, and is definitely quite enjoyable. But, in the end, I have to give “L’Homme Sans Trucage” the number one spot on my list.

You can find the French version from the concept album here on Dionysos official Youtube channel and the scene from the movie here on Shout! Factory’s Youtube channel.

There are 31 tracks (including interludes) on the complete “La Mécanique Du Cœur” concept album, so of course I couldn’t include them all here. The styles and tones of each song are so unique, and I think the entire album is worth a listen. I first listened to the entire album roughly concurrently with the plot of the novel, and that was a pretty great way to experience it, in my opinion. But, if you’re like me and you aren’t exactly fluent in French, it’s not like you’ll get many spoilers from the songs.

_____________

All quotes are from the film and/or novel “Jack and Cuckoo-Clock Heart” by Mathias Malzieu unless otherwise specified.

Sources and additional information:

[1] https://en.wikipedia.org/wiki/Malague%C3%B1a_Salerosa

[2] https://en.wikipedia.org/wiki/Alain_Bashung

[3] https://en.wikipedia.org/wiki/Greek_chorus#:~:text=A%20Greek%20chorus%2C%20or%20simply,voice%20on%20the%20dramatic%20action.

[4] https://en.wikipedia.org/wiki/The_Impossible_Voyage

[aion-rsa]

Ranking Cinderella Adaptations

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A dream is a wish your heart makes, and if your wish is to see countless takes on the beloved fairy tale of Cinderella, then consider your dreams having come true many times over—including this year, with a new Cinderella by way of Amazon Studios. This latest adaptation seems to have combined qualities of many of its predecessors: it’s playfully anachronistic and eschews the traditional Disney or Rodgers & Hammerstein songs in favor of a tracklist of modern pop covers; it also engages with Cinderella’s career aspirations beyond fitting her foot into a glass slipper.

But this Cinderella owes everything to the other soot-stained girls, animated and otherwise, who wished with all their hearts for decades before her. How does the new adaptation compare to the modern fairy tales, animated classics, and another fairy tale riff with an outstanding Stephen Sondheim tune? Check out our ranking of Cinderella adaptations, from worst to best.

10. A Cinderella Story (2004)

This cult classic is a clever retelling, with peak early-aughts casting of Hilary Duff and Chad Michael Murray as the star-crossed, Cyrano de Bergerac-inspired lovers: Sam toils away at her late father’s Southern California diner, under the heel of a delightful Jennifer Coolidge as her vain stepmother, while Austin is the closest thing to high school royalty as the quarterback with a sensitive side. Regina King as the longtime diner employee-turned-metaphorical fairy godmother who gets Sam to the homecoming masquerade dance is the other key bit of casting, but you’d have to really be a fan of the “fairy tales in high school” subgenre to get on board. Plus, the stable of derivative direct-to-video sequels makes the sparkle wear off with each new, formulaic installment released.

9. Cinderella (2021)

Kay Cannon’s (Pitch Perfect) progressive plot urging entrepreneurial dressmaker Ella (Camilla Cabello), her bitterly materialistic stepmother (Idina Menzel), and other original female characters to choose themselves over the supposed security of marriage is not quite enough to balance the cringey modern soundtrack and anachronistic witticisms. It’s too bad, because this Cinderella puts forth ambitious ideas, and any production with Billy Porter as the fairy godmother should be nothing but fabulous. Compared to most of her predecessors, this Cinderella is a distinctively fresh role model for the next generation of kids, but adults won’t find much magic in her story.

8. Ella Enchanted (2004)

This is a tough one, because the source material—that is, Gail Carson Levine’s 1997 middle grade novel—is unquestionably one of the very best Cinderella adaptations: Ella’s curse of obedience is an apt commentary on manipulating young girls into giving up their agency under the guise of people-pleasing. But the film—despite its adorable, baby-faced stars Anne Hathaway and Hugh Dancy—overcomplicates an already daring plot with a throne-stealing subplot (that Cary Elwes, as the unnecessary evil uncle, can’t save) and an unforgivably cheesy cover of Queen’s “Somebody to Love.” Hathaway’s voice is sweeter than Nicholas Galitzine’s rendition in the new Cinderella, but the giants dressed in early-aughts miniskirts strain even the most loose definitions of fantasy. Despite all that, it (mostly) sells Ella struggling against abuses of her obedience in a way that’s still more revelatory than many straight adaptations. Still, you’ve got plenty of better movie choices; forget this adaptation and just read the book.

7. Rodgers & Hammerstein’s Cinderella (1965)

Richard Rodgers and Oscar Hammerstein II originally wrote their classic musical for television broadcast instead of the stage, though it has found its way to the latter. CBS’ second TV production (following the original 1957 version starring Julie Andrews) introduced a bright-eyed Lesley Ann Warren (a.k.a. Miss Scarlet from Clue) as Cinderella, and unlike its predecessor was able to be recorded in color. Between the vivid hues, Warren’s expressive acting, and the array of sets, it all contributed to the feeling of watching a taped performance—an incredibly charming one, at that. But the effect does come off as overwrought at times, making it the lowest of the three specifically Rodgers & Hammerstein adaptations on the list.

6. Cinderella (2015)

While visually Kenneth Branagh’s live-action adaptation of the animated Disney classic hews so closely to its source material that it feels like a lost opportunity to be more original, there are some sly plot tweaks. Lily James’ Ella is not hopelessly naïve about her abusive home situation, yet manages to keep up the mantra of “have courage and be kind” through even the worst mistreatment. Streamlining the classic songs to score strengthens the plot, with Ella’s rare occasion of singing being what ultimately saves her. Fans of the blue dress and romantic vibe will have much to swoon over, even if they’re not surprised.

5. Into the Woods (2014)

Or, then, what if I am? / What a Prince would envision? / But then how can you know / Who you are til you know / What you want? Which I don’t… Anna Kendrick brings us a relatably existential Cinderella in this movie adaptation of Stephen Sondheim’s musical about various fairy tale characters who wind up with questionably happy ever afters—including Cinderella, who decides “not to decide,” then ends up with a philandering Prince. It’s not a complete Cinderella story, but it’s a more memorable performance in a handful of scenes than entire movies have attempted.

4. Rodgers & Hammerstein’s Cinderella (1957)

Despite only surviving in black-and-white form, CBS’ original TV broadcast shines thanks to its star: Julie Andrews, then performing My Fair Lady on Broadway, who makes this Cinderella both an amalgamation of her then-current and future roles and a performance all its own. You can see glimmers of her comic talents as Maria in The Sound of Music—this Cinderella also has more wit than other versions—but it’s her voice that elevates Rodgers & Hammerstein’s adaptation of Charles Perrault’s fairy tale into something timeless.

3. Cinderella (1950)

Few Cinderella adaptations have achieved the same sweeping sense of sheer romance in the Disney animated classic: the painted backgrounds, the dreamy sequences reflected in soap bubbles and sparkling through the palace gardens, the surprisingly high emotional stakes that make the resolution all the sweeter. And while it’s become a common Disney trope, the requisite scene in which the stepsisters cruelly rip apart Cinderella’s dress adds a layer of wickedness not present in the Rodgers & Hammerstein adaptations, nor successfully recreated in any of the live-action versions. The same goes for the goofy mice singing “Cinderelly, Cinderelly”—every subsequent CGI mouse lacks the warmth that goes into a believable animal companion. That said, the animated movie’s legacy is somewhat marred by its direct-to-video sequels of diminishing returns, though you also have to give them props for pulling an Avengers: Endgame 12 years earlier with Cinderella 3: A Twist in Time.

2. Rodgers & Hammerstein’s Cinderella (1997)

For many of us, Disney’s animated Cinderella was a childhood classic, but The Wonderful World of Disney’s ‘90s production was the first time the story truly felt magical. Rodgers & Hammerstein’s songs were updated with contemporary beats, bridging the forty years between the first broadcast and this version: “Impossible” is one of the best songs from the show, but it hasn’t been truly sung until Whitney Houston is belting it out to a starry-eyed Brandy. The production’s effortlessly diverse casting—Whoopi Goldberg as the queen, Paolo Montalban as the prince, Bernadette Peters as the stepmother—only amplifies the universal nature of the story. Almost twenty-five years later, this adaptation still feels like the television event it was when it premiered.

1. Ever After: A Cinderella Story (1998)

A truly successful adaptation is one that doesn’t have to feel beholden to its source material. By opening with the Brothers Grimm explaining the inspiration behind their own interpretation of Cinderella, Ever After rewrites all of the familiar themes into a historical fiction—specifically, Renaissance-era France—context. Danielle’s (Drew Barrymore) misfortune as an orphan servant girl is so believable thanks to the cruelty of her stepmother’s (Anjelica Huston, a legend) abuse, but so is her determination and ingenuity to rise above her station. While Disney’s animated Cinderella is romantic, Ever After is a romance: Danielle disguises herself as a comtesse in order to spend time with Prince Henry (Dougray Scott), and they develop an actual relationship, complete with rejection once her subterfuge is revealed. Plus, Leonardo da Vinci is there for comic relief and an unintentional fairy godmother assist! If you want your Cinderella story with a compelling feminist arc but you’re also burnt out on the songs, this is your happily ever after.

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Cinderella will begin streaming on Amazon Video on September 3rd.

The post Ranking Cinderella Adaptations appeared first on Den of Geek.

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[goose-books]

(original image credit to @/theyshane on unsplash)

a month or so ago the wonderful and very sharp-fanged @yvesdot said i should make a post about the process of Working On A Podcast - what, exactly, does that entail? and so today i set down upon your table a long post about the process of this podcast, its unique struggles, and What Comes Next!

for those of you who are new here: a modern tragedy is my podcast-in-progress, a loose retelling of three of shakespeare’s plays (romeo&juliet, hamlet, and macbeth) set in a modern-day high school. or, alternatively, “so so much drama localized inside a few overlapping friend groups of gay* people”

post under the cut!

tag list (ask me to be added/removed): @piyawrites @harehearts @bisexualorlando @guulabjamuns

*well. gay people and indrajit “macbitch” chopra. never let it be said i don’t have cishet rep 😤

what i mean when i say “podcast”

sometimes when i say, “i’m writing a podcast,” people get the wrong idea - they think i’m going to sit down, maybe with some friends as guest stars, and talk into a microphone for an hour. what i really mean is that i’m writing a fiction podcast - something like an audio drama, if you will.

i’ve had this story concept for a long time (since i realized i was gay, actually. sometime around my coming out i was like “...sapphic romeo and juliet. oh i’m a genius”), but it never really worked as a novel. my inspiration for making it a podcast was the penumbra podcast! which i am not caught up on but which dragged me shirt-collar-first into the world of podcasts. [blowing a kiss to mars] for juno steel.

i will admit that i actually... haven’t listened to a ton of podcasts. mostly because my incredibly helpful attention-deficit brain said listening to things is impossible forever. but let me tell you that starting to write AMT in script format worked immediately. and in hindsight? it makes sense. i mean, i am retelling some of the most famous plays of all time... why not get a little theatrical with it?

the process so far

the podcast is drafted! all 16 episodes of it. all... 176k words of it... only took me a year and a half...

i have my main cast together! AMT has a lot of side characters, not all of whom are cast yet, but my main recurring squad is gathered and i love them all VERY dearly. (also, the population of people i know irl is 75% theater kid. so i think i will be able to figure out the side character thing.)

within the group of voice actors, i also have three assistant directors, a term i use loosely because mostly i just mean… those are my right hand men. the main folks i bounce ideas off of and the main folks i have helping me organize all of this. i’ve said multiple times that i’m just the keyboard monkey and would be hopelessly out of my depth without my beloved assdirectors. (shoutout to @asimpleram, the only one who uses tumblr, you are my best friend and i love you oh so much)

i also have two “bootydirectors” who gave themselves that name and that’s just the people who know the most about recording technology and acting. thanks kings

right now the scripts have been sent out to some sensitivity readers and i am currently editing! (both with regards to sensitivity reader feedback, and also just editing the plot and character arcs in general.) (if you want me to send you AMT and you’re willing to give me your thoughts i will straight-up send it to you honestly just know it’s LONG)

i actually did not consider that writing this might be uniquely hard before i started

fun max tip: if you look too far ahead down the road and realize the breadth of the project you’re taking on you’ll freak yourself out so just dive into things headfirst without checking both ways or considering your actions!!! [i am giving you a double thumbs up from behind my monitor]

i have never written anything like AMT before! it has been an experience! there have been some unique struggles!

working with other people is harder than i expected! which is not about my group, all of whom are lovely people. it is about me and my little OCD rat brain that hates letting go of control. even though... an inherent part of writing a script... is that at some point other people will be involved... wild, i know.

9 main characters! AMT has 9 main characters. this is somewhat excusable because the whole thing is episodic and more like a season of a tv show than a novel. but still. 9 main characters. why did i do that

i’ve never written episodically before, so i’ve had to figure out how to fit the plot into appropriately spaced intervals. there are three running plotlines (one for each play), and they’re all parallel and eventually convergent. so everything’s happening at once and it’s… hard to make episodes that aren’t just “max threw a bunch of scenes together because they were happening at the same time.” (i will admit i’ve defaulted to chronological order when spacing episodes, so the timeline doesn’t get confusing. but i hope each episode is cohesive on its own.)

balancing the tragedy and comedy in tragicomedy has been… interesting. i do to some degree feel like AMT’s gone darker than i initially imagined it; while it’s a high school retelling of these plays (and thus there’s no. there’s no murder. the only person who dies is isaac’s dad and that’s six years precanon), all three plays deal to differing degrees with suicide, among other things, and it felt… disingenuous not to write about that from a modern high schooler’s perspective.

i can guarantee a long-term happy ending for AMT! i cannot guarantee much about what’s in the middle. (there are sixteen episodes; one of my directors likened episode 7 to a five-act play’s third act, when things really start to… hit the fan. he’s right and i’m obsessed with thinking about it that way)

the massive amount of time i have been working on the thing: i started writing this podcast in january 2019. i finished writing it this past summer (2020). that’s two summers that have passed without my recording it (which is obviously easier to organize in the summer… or it was before covid but you get my point). this is… a little disheartening? i don’t know; oftentimes i underestimate how long writing projects will take me. what it comes down to is my urge to put out content vs. my urge to make it perfect…

…especially since i’m technically competing with one william f. shakespeare. (the f is for fucking.) i mean, dear old billy shakes DID write the plot out for me ahead of time, which i appreciate, but still…

AMT is absolutely consumable if you don’t know the first goddamn thing about shakespeare’s works. that said. i assume some of the people who will listen to it are shakespeare enthusiasts, casual or otherwise, and that’s a little terrifying! AMT is a shakespeare retelling, but i’ve made these characters very much my own, and i suppose i worry about how others will approach that, and whether they will disagree with my interpretations, or the way i’ve adapted the plots, and so on and so forth... i just have to live with this one, honestly. i think i could edit AMT for a thousand years and probably still find something to change about it, so i will simply have to get over myself.

that said, i don’t regret the amount of time i’ve spent on it! i think the time i’ve taken to draft and edit these episodes has been well worth the wait; i’m genuinely very happy with what i’ve created, and whether or not you agree with, say, my interpretation of a modern hamlet family dynamic, i hope it’ll still be enjoyable!

so what’s next?

as i said earlier, the scripts are currently in the hands of sensitivity readers, and i’m editing!

over the summer, the cast met on zoom frequently to read through and rehearse scenes. and i will not lie it was the most fucking fun i’ve had this entire wretched interminable year. i am constantly charmed and befuddled by the feeling of Listening To My Words Read Out Loud By A Human Voice and also i love my friends so very much

we have a tentative plan to gather the cast (socially distanced and responsibly, of course) over thanksgiving break to make some actual stabs at recording! i am too afraid to concretely promise AMT Episode 1: Fortune’s Fool by the end of 2020 but like… i’m not NOT promising it! send me your finest vibes. we’re close.

[movie-magic]

She-Hulk's Disney+ Series Will Include Deadpool-Style Fourth Wall Breaking

Earlier this year, the Marvel Cinematic Universe took its first proper dive into the world of comedy with WandaVision's era-hopping sitcom story with universal consequences. Following the success of Marvel's premiere Disney+ venture, She-Hulk will continue to explore the genre in ten half-hour episodes of a legal comedy starring Orphan Black's Tatiana Maslany.

Recently, the series has reportedly cast its villain in The Good Place star Jameela Jamil, who will supposedly play the character's nemesis Titania. Additionally, Tim Roth has been confirmed to return as The Incredible Hulk's Abomination, while recent rumors have suggested Avengers villain group The Wrecking Group will appear.

While few specific details have been made public regarding the nature of the Disney+ comedy, The Direct has learned several details regarding the series that certainly set the tone for its humor.

SHE-HULK WILL BREAK THE FOURTH WALL!

According to The Direct's sources, Marvel Studios' She-Hulk series will feature many instances of Jennifer Walters breaking the fourth wall as she does in the comics. Specifically, throughout her Disney+ show, Walters will acknowledge that she's a character within the Marvel Cinematic Universe.

Disney and Marvel have yet to confirm this rumored plot convention.

The super-powered Walters will also have multiple interactions with real-world people in her ten-episode series, paving the way for surprising celebrity cameos.

It is currently unknown whether there will be an in-universe storyline explanation for She-Hulk's fourth wall-breaking, or if the audience interactions will go unexplained as Deadpool's did in his on-screen adventures in 2016's Deadpool and its 2018 sequel.

SHE-HULK GOES OUTSIDE THE BOX

While Marvel Studios' decision to include She-Hulk's fourth-wall-breaking antics in the MCU is not unprecedented, it is nonetheless still interesting. The comedic technique has been largely phased out of Jennifer Walters' comic storylines over the past decade, so the Kevin Feige-led studio has dusted off older runs for inspiration.

She-Hulk has previously been described as ten half-hour episodes of a legal comedy, and these new details continue to further justify this description. Granted, much like WandaVision, the series will still feature Marvel's classic blockbuster moments, particularly in the climactic episodes.

Kevin Feige previously mentioned that John Byrne's Sensational She-Hulk run from 1989 will be a significant influence on the series. Notably, this run was the first time the character was shown to break the fourth wall.

Marvel Studios' eagerness to delve into a convention like breaking the fourth wall in this Disney+ series should settle some fans' fears of Deadpool being drastically changed for the MCU. Going forward from the end of the Infinity Saga, the studio appears to be committed to expanding into unexpected narrative territory.

Some fans may assume that She-Hulk only opted to include the fourth-wall-breaking humor to capitalize on the success Deadpool saw. However, within Marvel Comics, the Merc with the Mouth didn't utilize this comedic technique until Deadpool (1997) Issue 27, nearly a decade after She-Hulk's adoption of the technique.

Much like how Fox opted to handle Deadpool across his two solo films, avoiding an in-universe explanation for the comedic strategy may be the most suitable option for She-Hulk to avoid any convoluted answers. Nonetheless, if the studio does opt to address it within the series, they will likely find a clever way of addressing it, like how WandaVision's sitcom antics were the result of Wanda Maximoff's grief-dreived Hex.

Real-world people making appearances as themselves in the MCU isn't a totally new concept. News anchors such as Bill O'Reilly and Pat Kiernan have made the occasional TV appearances within Marvel's films, while tech bosses Elon Musk and Larry Ellison both popped up in Iron Man 2.

However, given Tony Stark's billionaire CEO status, there's a logical explanation for him to have interactions with major celebrities. While mutated lawyer Jennifer Walters hanging out with A-list celebrities is a much tougher one to explain away, there is one intriguing possibility.

On the page, it has often been established that Marvel Comics exists within the universe itself as a retelling of the heroic acts of superheroes. Within some She-Hulk comic runs, this has had a particular bearing on the story as past issues have often been cited as evidence within superhuman court cases.

If Marvel Studios opted to adapt this concept, they could potentially switch it up to films and series to be more meta within its own medium. This could explain away the series' celebrity cameos with appearances from the creatives behind the films, series, and comics.

Stan Lee established such a precedent, appearing on-screen with almost two decades worth of Marvel movie cameos. With the man who made the legendary comic publisher what it is today now sadly gone, it would be a shame to let the tradition leave with him.

In past comics, She-Hulk has been known to be aware of the fact she is a comic book character, occasionally tearing up her own pages and even arguing with John Byrne himself. In the writer's last issue, the comic's editor, Renée Witterstaetter, kidnapped the departing writer while she and Jennifer went on a mission to find his replacement.

If Marvel Studios is willing to play with all these comedic elements that made Byrne's time with the character so great, then it could make for some excellent self-aware comedy that pokes fun at Marvel and the series itself.

She-Hulk will premiere exclusively on Disney+ in 2022.

[housewarningparty]

Thanks for recommending Gideon the Ninth! It was so good! Do you have a book rec tag I could check out? :)

honestly i should, huh? i’ve read more books than probably ever before this year and i’ve talked about ‘em intermittently, but not with a consistent tag. i’ll recommend some right now, though, with a healthy dose of recency bias!

sf/f

the priory of the orange tree by samantha shannon - a truly epic fantasy novel with one of the most beautiful, satisfying f/f romances i’ve ever read. the novel takes account nearly everything i hate about fantasy as a genre (overwhelmingly straight, white, and male centric, bland medieval European settings, tired tropes) and subverts them. incredible world-building, diverse fantasy cultures, really cool arthrurian legend influence. one of my favorite books i’ve ever read tbh.

gideon the ninth by tamsyn muir - which you’ve read, obviously, but for posterity’s sake i’m keeping it here! sci-fi + murder mystery + gothic horror. genuinely funny while still having a super strong emotional core and more than enough gnarly necromantic to satisfy the horror nerd in me. makes use of some of my favorite tropes in fiction, namely the slowburn childhood enemies to reluctant allies to friends to ??? progression between gideon and harrow. absolutely frothing at the mouth for a sequel.

the broken earth trilogy by nk jemisin - really the first book that helped me realize i don’t hate fantasy, i just hate the mainstream ‘medieval europe but with magic’ version of fantasy that dominates the genre. EXTREMELY cool worldbuilding. i’ve definitely described it as like, a GOOD version of what the mage-vs-templar conflict in dragon age could have been, with a storyline particularly reminiscent of “what if someone got Anders right?”

this is how you lose the time war by amal el-mohtar and max gladstone - i’m not usually big on epistolary novels, but this one really worked for me. spy vs spy but it’s gay and takes place between time traveling agents of two opposing sides of a war. the letter writing format really plays to el-mohtar’s strengths as a poet, the unfolding love story is weird and beautiful. it’s a really quick read, too, if you’re short on time or attention.

empress of forever  by max gladstone - i just finished this one this week! if you’re in the mood for a space opera, look no further. imagine if steve jobs was an asian lesbian and also like not a shitty person. this is where you start with vivian liao. you get the classic putting-the-band-together arc with beings from all across the universe, your romances and enemies-turned-friends and uneasy alliances all over the place. really satisfying character development and some extremely cool twists along the way. it’s just a fun good time.

the luminous dead by caitlin starling - this one rides the line of horror so it’s closest to that part of the list. it reminds me of the most inventive low budget horror/sci-fi films i’ve loved in the best way possible because it makes use of the barest narrative resources. it’s a book that takes place in one primary setting, featuring interactions between two characters that only meet each other face-to-face for the briefest period. the tension between the two characters is the most compelling part of the story, with competing and increasingly unreliable narratives and an eerie backdrop to ratchet things up even higher. the author described it as “queer trust kink” at one point which is, uh, super apt actually and totally my jam. the relationship at the center of the book is complicated to say the least, outright combative at points, but super compelling. plus there’s lost of gnarly sci-fi spelunking if you like stories about people wandering around in caves.

horror

the ballad of black tom by victor lavalle - we all agree that while lovecraft introduced/popularized some cool elements into horror and kind of defined what cosmic horror would come to mean, he was a racist sack of shit. which is why my favorite type of ‘lovecraftian horror’ is the type that openly challenges his abhorrent views. the ballad of black tom is a retelling of the horror at redhook that flips the narrative by centering the action around a black protagonist. 

lovecraft country by matt ruff - more of what i just described. again, lovecraftian themes centered around black protagonists. this one’s especially cool because it’s a series of interconnected short stories following related characters. it’s getting a tv adaptation i believe, but the book is definitely not to be missed

rolling in the deep / into the drowning deep by mira grant - mermaids are real and they’re the ultimate deep sea predators! that’s really the whole premise. if for some reason that’s not enough for you, let me add this: diverse cast, a romance between a bi woman who’s not afraid to use the word and an autistic lesbian, really cool speculative science tangents about mermaid biology and myth. 

the haunting of hill house by shirley jackson - it’s halloween month so i’m thinking about hill house again. one of the greatest american ghost stories ever written. especially worth the read if you follow it up w the 1964 film adaptation (the haunting) and then the 2018 netflix series.

the hunger by alma katsu - i’ve always been fascinated by the donner party even though we now know the popular narrative is largely falsehoods. still, this highly fictionalized version of events scratched an itch for me and ended up surprising me with its resistance from the most expected and toxic racist tropes associated with donner party myth.

wounds / north american lake monsters by nathan ballingrud - nathan ballingrud is my favorite horror writer of all time. one of my favorite writers period regardless of genre. in ballingrud’s work the horror is right in front of you. you can look directly at it, it’s right there. but what permeates it, what draws your attention instead, what makes it hurt is the brutally honest emotional core of everything surrounding the horror. the human tragedy that’s’ reflected by the more fantastic horror elements is the heart of his work. it’s always deeply, profoundly moving for me. both of these collections are technically short stories, but they’re in the horror section of the recs because delineations are totally arbitrary and made solely at my discretion. 

short stories

her body and other parties by carmen maria machado - tbh i almost put this in w horror but there’s enough weird fiction here for me to be willing to straddle the line. it was really refreshing to read horror that centered queer women’s perspectives. the stories in this collection are really diverse and super powerful. there’s an incredible weird fiction piece that’s like prompt-based law and order svu micro fiction (go with me here) that ends up going to some incredible places. there’s the husband stitch, a story that devastated me in ways i’m still unraveling. the final story reminded me of a more contemporary haunting of hill house in the best way possible. machado is a writer i’m really excited about.

vampires in the lemon grove by karen russell - my friend zach recommended this to me when we were swapping book recs earlier this year and i went wild for it! mostly weird fiction, but i’m not really interested in getting hung up on genres. i don’t know what to say about this really other than i really loved it and it got me excited about reading in a way i haven’t been in a while. 

the tenth of december by george saunders - i really like saunders’ work and i feel like the tenth of december is a great place to start reading him. quirky without being cloying, weird without being unrelatable.

misc

the seven husbands of evelyn hugo by taylor jenkins reid - there’s something really compelling to me about the glamour of old hollywood. this story is framed as a young journalist interviewing a famously reclusive former starlet at the end of her life. the story of how evelyn hugo goes from being the dirt-poor daughter of cuban immigrants to one of the biggest names in hollywood to an old woman facing the end of her life alone is by turns beautiful, inspiring, infuriating and desperately sad. by far the heart of the book is in evelyn finally coming out as bisexual, detailing her decades-long on/off relationship with celia st. james, another actress. evelyn’s life was turbulent, fraught with abuse and the kind of exploitation you can expect from the hollywood machine, but the story is compelling and engaging and i loved reading it.

smoke gets in your eyes by caitlin doughty - a memoir by caitlin doughty, the woman behind the popular ‘ask a mortician’ youtube series. it was a super insightful look into the american death industry and its many flaws as well as an interesting, often moving look at the human relationship with death through the eyes of someone touched by it early and deeply.

love and rockets by los bros hernandez (jaime and gilbert and mario) - this was a big alt comic in the 80s with some series within running on and off through the present. i’m not current, but this book was so important for me as a kid. in particular the locas series, which centered around two queer latina girls coming up in the punk scene in a fictional california town. the beginning starts of a little sci-fi-ish but over time becomes more concerned with slice-of-life personal dramas. 

[lexfritterwrites]

Let Lips Do What Hands Do - Part 11

Y’all, I haven’t posted in here since they updated it so everything might be terrible. Anyway, I’ll do my best. You can always catch me on AO3. 

previous

It's April, and Addie feels like crying most days. In fact, she actually has cried for the past eleven days — once in the shower, twice over her cup of tea and the other times where when she was in bed alone. Taron's been filming in Ireland for three weeks, and it's a glimpse at how life would be if they were to stay together in all the madness.

 "Sad again, huh?" Jack says, catching the gray look in her eyes. "I feel I should be offended you're not that upset about leaving me."

 Addie throws a sugar packet at him, hitting her mark on his cheek. "I know things between us won't change when I leave. You'll just be a phone call away."

 "Taron will too."

 "That's different. I don't think I like this ache, this pain." Addie absently stirs her tea. "In the words of Elphaba, 'If that's love, it comes at much too high a cost.'"

 "You know she ends up with the scarecrow at the end of that musical, right? I mean, we saw it together. I wrote a review which you edited."

 Addie rolls her eyes, too done to deal with Jack today.

 "I love him, you know. And to think we won't be together because of our location, I think I would rather not be with him at all."

 "Your call," Jack says. "I know you're scared but I think the two of you could make it work, and that's coming from a guy who stays away from relationships. You don't have to split because you're half a world away."

 "What if he meets the one but can't act on it because of me? Or what if he does act on it and I'm left devastated? It's a real poop chute."

 "It'll work out, Addie," Jack says, covering her hand with his own. "It'll work out."

 Addie slumps and rests her head on the table. "Why?"

 Jack gently musses her hair. "You didn't not date for years while you were here and the first guy you do consider turns out to be fuckin' perfect. You really know how to pick them."

 Addie laughs, feeling a little lighter at the thought.

   It's her whole year on display, the premiere of the students' films adapted from classic novels. Four fully written, produced and edited films will be turned in with her thesis, but the gala tonight will only feature twenty minutes from each with the students having a few moments to present before their film. It's an affair she's invited the whole school to as well as their family and friends, and even though Jack is by her side, the one person she wants to be there most isn't. Taron's caught filming in Ireland; Addie understands but still doesn't enjoy it.

 "Look at what you've done," Jack says, watching the rows of students talk excitedly amongst themselves, no doubtedly ready to display their hard work. "Not even a full teacher yet and you've got them inspired. That's a noble thing."

 Addie squeezes his hand. She takes the microphone and heads to the center of the stage. Pausing a moment before delivering the introduction she's prepared, she smiles. The kids eagerly sitting before her are a tribute to her and her hard work and creativity, and this life is about her just as much as it is Taron.

 She takes her seat next to Jack as the first group's film rolls across the screen, an updated retelling of Sense and Sensibility. It's funny, well thought and inclusive of the community, what with Edward Ferris having evolved into Edwina and Colonel Brandon an Indian man in the British navy. Everyone claps as the students presenting The Picture of Dorian Gray take the stage. Addie's phone buzzes in her pocket and she risks a quick chance to look at it.

 Can we watch the full-length versions this weekend? - T

 Sure, if you want. - A

 I do! At least that one. I'm dying to see how they did the marriage proposals. - T

 Addie whips her head around, looking to see him somewhere. There are faces illuminated by the screen but then she sees him, sitting on the edge of the row with his hood pulled up over his head; no doubt he didn't want to be recognized. He waves slightly when he sees her, and Addie smiles.

 He came after all.

 I'm so happy you're here! - A

 I'm really glad I could make it. Will sneak to bar at end so as not to detract. - T

 Sounds perfect. - A

 Thank you for coming. - A

 Addie is extremely proud of everything the students accomplished, and the cooking class made a giant cake for the ocassion. She sneaks a piece for Taron in her bag, poses for pictures with the kids, compliments the parents for raising some great hopes for the future, and then she's dashing out the door.

 "Adelaide, you're incredible!" Taron says, standing up from the table. He wraps his arms around her and kisses her cheek.

 "I can't believe you're here," she says, her face buried in his neck. "How'd you manage?"

 "Flew in this afternoon," he says. "Wanted to surprise you."

 "I'm very surprised," she says. "Very happy, too."

 Taron kisses the side of her head before pulling away to point her to a secluded booth. "I want to hear all about the rest of the videos. When can we watch them?" He holds her hand across the table, leaning towards her.

 Addie bites the inside of her lip, studying him. "What's wrong?"

 "What?" Taron asks, shifting backwards. Addie knows she was right to expect something.

 "Taron, I know you," she says quietly. "I know when something's up. What is it?"

 "No, Adelaide. I came here to celebrate you and the work you've done and I don't want it spoiled."

 "I feel like it's already spoiled if you don't tell me what's going on. Is everyone okay? Your mom and the girls? Your dad?"

 "Everyone's fine." He exhales loudly, looking at the table. "It's two more weeks."

 "Oh." Addie sags against the cushion. "Oh."

 Taron rubs her knuckles with his thumb. "I know it's really shitty, but it is what it is."

 "It's okay," Addie manages over the lump of emotion lodged in her throat. She feels like she's gagging but it's just the thought of his absence for another two weeks just a couple of months before she's supposed to move back to the United States. "You chase your dream and I'll chase mine."

 "Thus, though we cannot make our sun stand still, yet we will make him run."

 Addie snorts, swiping a tear off her cheek. "Marvell. Good choice."

 "Anyway," Taron says. "We've got tonight."

 "Bob Seger, a modern poet."

 It's Taron's turn to laugh now and he shakes his head. "Seriously though, can I take you out to dinner and then stay up with you all night watching the work of your students?"

 "Yes, I would like that."

 "Good," Taron says, moving quickly from the table. He drops a note on its surface and helps Addie back into her coat.

 "Can I make an amendment to the plan though?"

 "What's that?"

 "Can we just pick something up and take it home? I really don't need an audience to just want to be with you and I'm wearing Spanx so I'd really like to get out of them and into my pajamas."

 "Deal," he says. "You look bloody gorgeous but comfortable is something I also enjoy. Your place or mine?"

 "Mine is closer but you have a better TV so let's do that."

 "Sounds perfect," he says. He could offer to run back by hers so she can gather things, but he knows everything she needs is available at his. Tucking her beneath his arm, he kisses the side of her head — she'd taken the news of his delay better than he would have expected.

 They're curled up in his bed and halfway through the updated retelling of Frankenstein when Addie stretches her fingers across his chest.

 "What is it, cariad?" Taron asks, shifting his eyes. He can see the crown of her head and the tip of her nose, and he can see her fingers flex against his shirt.

 "I'm thinking about us."

 "Oh?"

 She pauses the video and sits up, and it's then he sees the tears in her eyes. "I think when I leave, that should be our end."

 "Adelaide." He bolts upright and reaches for her, but his fingers don't actually land anywhere. He can't touch her now.

 "Being apart from you these past few weeks has been hell. I never thought I would be someone to feel this way about anybody, but here we are. I'm exhausted. It feels like a piece of me is missing when you're gone, like smiles are less genuine and laughter does little for my soul. I can't imagine living my life for extended amounts of time without you, feeling this way. So if we just enjoy the time we have left and part as companions who once loved each other, I think that would be better."

 "Do I not get a say in this decision?" He asks softly, his chest tight and his jaw returning to a painful clench.

 "Of course you do," she sighs. "But what is the logical outcome of this?"

 "Fuck this. You can sleep in the guest room tonight." Taron moves in a flash, storms into the bathroom and slams the door shut.

 "Taron! Taron, no!" Addie frantically scrambles off the bed and futilely twists the doorknob. "Taron! Taron, please."

 She can hear the shower running and she sinks to the floor. She knew she shouldn't have said anything.

   Taron finds her half an hour later curled up on the floor with her cheeks red and eyes blotchy. He wants to be angry, he can feel the cold inside him wanting to push her away, but he can't.

 "Addie, come on," he says, gently collecting her in his arms and setting her upright. "I'm hurting too, you know."

 She nods blearily as he leads her back to bed. "I didn't mean to ruin what we have now. I feel like shit, and now I really feel like sh—"

 "Addie, I know," Taron says. "What you're saying makes sense, but it really fucking sucks when it's said out loud. You would rather be without me than be far away and with me, and I suppose that makes sense. Your chances of moving on are better if you're not thinking about some loyalty to me."

 "Me moving on?" She laughs. Taron thinks her crying must have left her too weary to think properly. "It's you. You'll move on long before I will and I don't want you to be stuck with me."

 "That doesn't matter," he says, taking her hand. "I think you're right though. We have a few good weeks left together and we should spend them as happily as we can. Let's not fight or what-if ourselves anymore. You're here, I'm here, and we should let that be enough for now. I can't think on it anymore."

 "Is it really okay?"

 "For now." He wipes a tear from her cheek, knowing his own should be joining it had he not just cried in the shower. "Let's go to sleep and sleep very late into the morning beside each other."

   Taron bites his nail, a habit he'd gotten into since ditching cigarettes; his teeth weren't thanking him but his lungs certainly were.

 "There he is," Jack says, pulling out the chair across from Taron and sinking into it. "Mr. Egerton."

 "Jack," Taron says, shaking his hand. "I wanted to talk to you about Addie."

 "I figured," Jack says. "She told me about her plans of departure."

 "Yeah, and it's not good. How do I get her to stay?"

 “You don’t."

 "Jack, please," Taron says, rubbing his forehead. "I can't have her leave."

 "And you can't have her stay either." Jack says softly. "I know you love her, Taron, as do I, but I also know she won't stay. She'll come to regret the decision as well as you if she stays. Going back to Washington has been her goal for six years. It's all she's worked for and all she's wanted. You need to let her go."

 "Can you?"

 Jack snorts his laugh. "I don't have a choice."

 "We could talk to her together."

 "That's not going to work."

 Taron drops his head to the table, his chest feeling unbelievably tight. "I don't know what to do."

 "Taron, there's an obvious solution here."

 "What's that?"

 "Go with her."

 Taron grunts. "You and I both know that's not logical."

 "So what? You can't do for her what you want her to do for you just because you're a famous actor who happens to make more money?" Jack leans back in his chair. He's really liked Taron, like him for Addie, and he needs Taron to see the sense in this before his like gives into loathing. "You're not giving up her dream so don't let her give up hers."

 "She's your best friend. How can you be so calm?" Taron crosses his arms in front of him, elbows still on the table, and he lets his chin fall to rest against them.

 "Addie is more than a best friend to me," Jack says. "I truly believe she is my person, even if there's no romance. Addie wasn't even supposed to be born, yet here she is. Incredibly determined, driven and happy."

 "I know that." Taron leans onto his cheek.

 "I know you do," Jack says patiently. "That's part of the reason you love her." He reaches across the table and squeezes Taron's shoulder. "You have to let her go."

 "Why is that the only option?" Taron moans, rhetorically putting the words into the universe.

 Jack chuckles as he leans back in his chair. "That's the only way she'll come back."

 "You think she'll come back?"

 "I hope so," Jack says. "For both our sakes."

 Taron laughs. He'll have to make time for Jack when Addie is gone.

 He finds her asleep on the couch when he returns home, and he gently brushes a hand across her face.

 She opens one eye to look and smiles when she sees him. “I must have dozed off.”

 “Yeah,” he says softly. It spreads through him, a calm peace. She is leaving to pursue her dreams, and there is nothing he can do to stop her, nor would he want to. He kisses her tenderly, finally accepting it. “You want to go take a nap upstairs?”

 “That sounds nice,” she says, sitting up next to him. “Hey, are you okay?”

 Taron smiles and kisses her again. “I’m totally fine. I just really love you.”

 Addie’s laugh warms him and she leans her head against his shoulder. “I love you, too.”

 Taron takes her hand and quietly leads her upstairs.

[rebelsofshield]

Star Wars: The Clone Wars: Stories of Light and Dark- Review

One incredible story is not enough to make this mostly uninspired Clone Wars themed anthology worth picking up.

(Review contains minor spoilers)

It’s been a big year for The Clone Wars. Twelve years after the cult favorite animated series started, it finally came to a conclusion earlier this spring on Disney+. Lucasfilm Publishing smartly capitalized off the hype for this long awaited finale with an anthology comic series released through IDW Publishing and a young reader collection of short fiction, Star Wars: The Clone Wars Stories of Light and Dark.

On paper, the idea of a collection of short stories centered on the heroes and villains of The Clone Wars sounds incredible. I personally love short stories and From A Certain Point of View was maybe the most creative Star Wars book of the last decade. (I can’t wait for its sequel this November.) The talent assembled for this project is similarly impressive. You have veteran Star Wars writers like Jason Fry, Zoraida Cordova, and Rebecca Roanhorse alongside standout science fiction and fantasy writers such as Yoon Ha Lee and young adult stars like Sarah Beth Durst and Preeti Chhibber .

It’s disappointing then that Star Wars: The Clone Wars Stories of Light and Dark feels like a mostly phoned in endeavor. The editorial decision to make each story a retelling of an existing episode of the television series does a lot to hamper creativity to begin with. Rather than finding new tales to tell with these iconic and beloved characters, the writing talent assembled is forced to recant existing narratives and hopefully inject some life into them in the process.

The level of creativity in tackling this limiting editorial decision varies from writer to writer. Lou Anders, Tom Angleberger, and Rebecca Roanhorse opt to tell their stories in the voice of their characters through smart uses of first person point of view. Anders manages to inject his take on “Dooku Captured” and “The Gungan General” with the indignant haughtiness that made the series’ take on the Count Dooku so fun. Angleberger and Roanhorse have their characters (Bane and Maul respectively) recount their stories to another character and it’s fun just seeing the inner monologues of these different villains.

Others opt for more direct rewriting of their assigned episodes. These by and large make up the more boring or frustrating reads. While Jason Fry manages to turn “Ambush” into a discussion of Yoda’s relationship to the Force in wartime and Greg van Eekhout peppers in new bits of dialogue into the already jampacked “The Lawless,” most of these revisitings are unimpressive. The most frustrating proves to be Yoon Ha Lee’s take on season four’s incredible Umbara arc. Lee is a talented writer of military focused science fiction so his taking on this story makes perfect sense, but “The Shadow of Umbara” can’t help but feel phoned in. It feels less like an adaptation but instead a heavily truncated transcription of four episodes of content. The complex character dynamics are stripped down. The emotions are lost. The horrors of war are nonpresent. It’s beyond disappointing.

The most inspired take of the collection comes from Sarah Beth Durst who reorients the point of view of season five’s “Young Jedi” arc to Katooni. Katooni was already a standout character in this story and getting to step into this fledgling Jedi’s thoughts and really get to understand her fears, hopes, and insecurities adds a nice flair to the narrative. There’s also just a certain joy in seeing the next generation of Jedi in awe of Ahsoka. Very relatable.

It’s a bizarre product and it leaves you wondering who exactly this collection was targeted to. The stories feels so disparate and also dependent on the continuity of the series to make sense for a new reader and fans of the show are unlikely to get much out of this book due to the familiarity of the source material.

And then there is “Bug.” The final story in this collection is somehow a must read despite it all. E. Anne Convery spins an original Star Wars fairy tale out of the traumatic aftermath of “Massacre.” Centered on a nameless young girl forced to work for her abusive innkeep parents on a backwater planet, “Bug” feels instantly compelling in its deft weaving of familiar fantasy tropes with Star Wars back droppings. When a strange old woman arrives fleeing the war, our protagonist’s world begins to expand and strange magic seems to spill from every corner. Convery writers her Dathomiran visitor with the right amount of wonder and fear and she feels right at home alongside any number of fairy tale witches and sorceresses. “Bug” proves to be an incredibly enjoyable genre play but also a blast of a story in its own right. It feels like the kind of bedtime tale you could read to an adventurous child at night and it hints to a larger world just outside its doorstep.

It’s a shame then that I have trouble recommending paying for a $17.99 book just for one stellar short story. If the entire collection had showcased the same level of freedom and creativity as its final piece this may have been something really special. But unfortunately, what we are left with is a mostly forgettable collection with one diamond in the rough. I guess I have to wait until FACPOV in November after all.

Score: C