#like. it's a good movie it's just not a faithful adaptation at ALL

[karmaphone]

where's THIS Carrie in the movie?

[drowningparty]

Four of them should kill the fifth. He's executed, accused of treason. The four who have shed blood will be bound forever.

Les possédés (1988) dir. Andrzej Wajda

[guardianspirits13]

Ok. I’m still trying to gather my thoughts and settle my hyperfixation after episode 3 of the Percy Jackson show, but one of my conclusions is that this is one of very few adaptations that actually understands the term ‘adaptation’ and furthermore what makes one successful.

On a fundamental level, understanding and respecting the source material is a must. You need to not just know the bullet points of the story, but you need to know the ‘why’s’- why does this story need to be heard, why do people like it, why does it stand out from the others in it’s genre, etc.

Second, you need to deconstruct the source material and piece it back together in a way that makes sense for the new format. Copy-pasting almost never works, since there will inevitably be discrepancies between the readers’ imagination and the adaptation that can distract from immersion.

Third, you need to provide something new. Why does this story deserve to be told in a different format? What can this add to the original themes of a story? What can we change to make the message come across more on screen? Will this dialogue really be as funny when it’s said out loud?

We’ve seen a lot of terrible “adaptations” of animation and books and musicals into movies/tv shows, and I think even among the better ones there is a dissonance between the desire to stay faithful to the source and the desire to make a good adaptation, with whatever changes that may necessitate.

I think while we’ve watched the casting of this series, the hints here and there, and final the premiere with bated breath, they’ve been playing the long game. They cast Walker as Percy before he was in the Adam Project. Many people expressed…unsavory…feelings when Leah was cast as Annabeth, but those of us that trusted the team behind this project- including the author himself- did our best to welcome her and were repaid tenfold with her performance in this episode particularly.

Most of the scenes in this episode were not at all how I imagined them in the book, but I adored it. They took what they were given and expanded on it. They created a mini-arc for the trio learning to trust each other. They gave Medusa a labyrinthine lair. Annabeth is a 12 year old walking into a convenience store for the first time in 6+ years with $200 in her pocket, of course she’s gonna buy as much as she can carry.

The love and care and artistry that went into this single episode brings me so much joy and gives me so much hope. Like I was already excited for a faithful adaptation, but seeing these characters come to life on screen, once you see their chemistry with each other and how they speak and push and pull at each other’s emotions, it has never been more clear to me the amount of care and foresight that went into this show.

Rick said that these kids are the characters he created and for like 2 years I’ve trusted that that was true, but today it was proven beyond the shadow of a doubt.

I am just…in awe.

[chironshorseass]

what bugs me most about the pjo show is that i know they could’ve done better. i knowwwww they could’ve been as faithful as they wanted to the books. for anyone saying “oh, but it’s an adaptation! it isn’t meant to be the same so stop whining that they took stuff out or that they’re adding things in different order!” well yes, i agree that adaptations aren’t meant to be a carbon copy of the source material for the simple fact that it’s adapting the source material into a different medium (television), yet it’s just that! a form of adapting the things that are unable to be channeled from, say, a book—or on the contrary, adding things that make sense for television but couldn’t be channeled into the books otherwise…all of this in a faithful manner. a good adaptation is one that stays true to the source material by properly adapting its themes, characters, symbolism, context, pacing, and the overall story/plot so as to not only be seen as a sort of love letter to the fans, but also to reach a wider audience.

just look at the hunger games! the movies are so faithful to the books to the point that most of the scenes are taken straight out of the books, dialogue and all. and they’re movies, aka less runtime than a freaking tv show and they still did it better. did the hg movies have to take a few scenes out? yes; they have only so much time to tell the story as it is told in the books. did they resume things, like the games themselves? also yes. but did most of the important scenes and character moments stay in the movies? also also yes. again, THESE ARE MOVIES!!!!! a medium much more limited than a freaking tv series with multiple episodes that have enough run time to add even more scenes from the books than what could be possible in a 2 hour (max) movie!!!!!!!!!!!!!

and yet they STILL changed so much that rly had no business being changed other than that the writers decided they felt like it because…..a lot of it im not even sure. and the worst thing of it all is that freaking rick riordan took part in script writing yet so much of the source material has been watered down???? they make a whole ass episode about a monster fight with the majority of the scenes from said episode not even present in the books instead of sticking to the perfectly good source material???? and by doing so they delete the small details that are very much integral to character development and plot???? huh???? the math isn’t mathing. don’t get me wrong, i do like some changes, but then i think: at what cost do they add these things when there was a perfectly good narrative without it? like, at what cost do we get the whole turning to gold sacrifice scene if they’re gonna take out all the fun details that make the lightning thief the lightning thief? for example the silly water park merch and then annabeth displaying her spider phobia and her mortification at going to the thrill ride of love with percy and then being broadcasted to olympus. this is just one episode, but they’ve been doing it in all of them. and u know, it’s not that i don’t hate-hate most these changes. again, what bugs me is that this was supposed to be a faithful adaptation. again, it’s a tv series, with so much more time to develop everything from the books. rick is behind it, who apparently hated the movies for how unfaithful they were. the cast is great. and yet…the script is so mediocre. the spark is lost. character traits are looked over in place for weird pacing and even weirder changes. if the hunger games could do it, then surely a pjo tv series could as well? apparently not? i really really Don’t Get It.

[noneorother]

The secret timeline inside of Good Omens season 2 revealed, *part1*

Part 1 l Part 2

If you’ve ever watched a ballet or an opera, you know how the rhythm in the music is used throughout to determine not only the movements of the dancers, but also when lines are sung or spoken. This is almost unheard of in television, but what if I told you it was hidden in season 2 of Good Omens? If one were to, say, meticulously cut together only the scenes set in the present day into one big timeline, you would get one long video that is exactly 2 hours 22 minutes 00 seconds and 00 frames long. An ineffable cut that is so perfect it defies all logic. (I’ve burnt a timecode into this ineffable edit to help pick up the rhythm.)

Even though there are large swathes of the second season with no music, there is a constant tempo weaving its way through the show: What if the seconds ticking by in the runtime itself was the music? Here’s an example of what I found. Behold a supercut of every single time Shax shows up, or Hell is mentioned in series 2 in the ineffable edit. They always arrive on a 6 in the time stamp (ex: 00:XX:X6).

(SOUND ON is an absolute must here, otherwise you won't hear any of the triggers)

Shax rings Crowley on a XX:X6. Shax miracles herself into the car on a XX:X6. Shax knocks on windows on a XX:X6. Shax’s big scary moment at the bookshop happens at 66 minutes exactly (lol). Crowley calls out for Shax on a XX:X6. Beelzebub starts spewing flies on a 6. People mention hell and it’s always on XX:X6 etc. etc…(Bonus: I also left in Maggie flipping the damned the double-bird on a XX:X6) I’ve also left in the only appearance of Shax or hell at all in the whole series that isn’t tied to a six: the park bench scene with Crowley. Shax seems to be off by one line, showing up on a XX:10, then back to XX:X6 on her second reply: “Bills, mostly”. I can only theorise that this scene, while technically in season 2, is not supposed to *be* in season 2 (even just judging by the trees, sun and the overcoats, it’s not summer like in the rest of the season). And it’s not only sixes! Every time I go through I find more and more little beats that line up exactly with ineffable timings. I can only do one video per post, so I’ll have to cut it up into sections, but Gabriel, doors, car horns, bird calls, Aziraphale, food, drinks, Angels, dialogue, Maggie, Nina, jokes, clocks, bells… The list goes on and on. 

Neil called this season “The bridge”

Because we all know how much Neil loves double meanings and wordplay, I just have to ponder the idea that when Neil said this season was “the bridge” between seasons 1 and 3, he meant it double-literally. First, as in the bridge Aziraphale and Crowley have to cross in order to get them into position for the second coming. We even see the physical manifestation of this bridge leading everyone in the background of the opening credits. But this season is also a bridge in the sense that it’s a musical section that introduces new ideas or material in the middle of a song. This whole season is the music that deviates from the familiar, and re-contextualizes the chorus and the verses so we can appreciate them in a new way. 

Let’s not forget that 2:22 is also exactly the same timing as this (and only this) track from the good omens s2 album (read all about the soundtrack here):

Why is this so bonkers? I think GOS2 might be the first ever “Total” series of television.

Having everything in the series timed and choreographed would actually make it a very faithful adaptation of the Powell & Pressburger film The Tales of Hoffmann (read about the movie and it’s effect on all of s2 here). If you watch the tales of Hoffman, you will realize that the entire film is actually done more like animation, with the music and vocals all performed in a studio, mixed and edited first, and then the actors came back to act out their choreographed and lip-synched parts for the cameras afterwards. The result is "Total film": a movie that feels more like a ballet, with every movement, action, and line happening in time with the music. As far as I can tell, very few films have ever attempted this, with The Tales of Hoffmann and Playtime being the only two “complete” films I could find in this style. (The Red shoes has one section, and An American In Paris has a few)

“Why would ambitious filmmakers simply film an opera? Many admirers of the work of Michael Powell and Emeric Pressburger have assumed that their decision to make The Tales of Hoffmann (…) was in some way an admission(…) that they couldn’t go on making their edgy, over-the-top melodramas after the rejection and interference they’d suffered, (but) there’s a case for considering The Tales of Hoffmann as one of the finest and boldest works that Powell and Pressburger produced, so far ahead of its time as a wholly “composed” film... Late in his life, Powell himself said that he thought it was one of the best films that he and Pressburger had made.” - Criterion review, Tales of Hoffmann

Here’s a simple example from An American in Paris

If season 2 *is* scripted and choreographed to line up with specific timings, I’m pretty sure that would make this the first ever “total” or “composed” season of television ever attempted. Not only does this take an ASTOUNDING amount of planning, scripting and editing finesse, not to mention a completely controlled set, it takes a real understanding of how to perform as an actor using rhythm and metre, which would go a long way to explain why all of the main actors coming back for season 2, with the exception of John Hamm, are well regarded theatre performers, (especially of Shakespeare).

I’ll leave you with one last surprise I found in the discovery of the ineffable edit: remember Aziraphale’s smile at the very end if the credits? It happens on 02:23:03, as the first step off the bridge, and into season 3.

I will have much more in the next ineffable timeline post. Stay tuned…

__________________________________________

Thanks for reading all the way to the end. It’s taken me a solid month to get this perfect. There are so many hidden cuts and jumps to take into account, and I had a frame rate issue that kept exporting to 29fps instead of 25fps, but I’ve finally nailed the ineffable timeline enough that I am confident sharing in it.

Credits to @thebluestgreen and @embracing-the-ineffable for all the support and help with editing and just general good vibes. 

[thealexandriaarchives]

If you're one of the people who haven't read the Dune novels or haven't read them since the Villeneuve adaptation brainrot set in, just a couple friendly reminders I haven't seen yet!

The scar on Gurney Halleck's face is from an Inkvine Whip, the same type used by (and possibly the same one as) Glossu Rabban when he was a slave on Giedi Prime.

Despite this killer backstory we don't get Gurney vs. Rabban in the book! Rabban dies offscreen in the battle and both we and Gurney are denied catharsis. Frank loves that.

But almost Not! Because you see, Muad'Dib was in full 'IDGAF about War Crimes' mode at the end of the book, and he'd promised his boy a present of equal or lesser value with the same name. Wrote him a little coupon. 'One Harkonnen to Kill in a Brutal and Humiliating Fashion, exchange for one Nuclear Warhead'

Which leads us to the final scene, where it turns out the only Harkonnen left alive is Feyd-Rautha and Gurney is really eager to remind Paul of what their deal was.

But as we know, Paul is the Duke, the Boy-Messiah, The Emperor to be, and he can absolutely take backsies on promised Good-Boy Points atrocities.

I'm not going to get into all the ways Feyd-Rautha is differently portrayed in the book and movies, but in what is either a 'cowardly move' or the Harkonnen thought process of' 'oh hell no this guy has a serious grudge against my family, I just got free of my uncle for 20 seconds, now I'm about to spend my whole Barony getting tortured-raped to death that ain't how I wanna go out', Feyd-Rautha invokes the ancient vendetta between the Atredies & Harkonnen clans that the Harkonnens put forward a claim to call off (in bad faith but on the record) while Leto on the Record sent back a reply saying 'suck my balls you snakes it's been 10,000 years, it's on sight', which means Paul has to fight him instead in 1:1 combat.

Of course in the Villeneuve adaptation there are many many minor and larger changes that alter Feyd's character for the better, but removing a lot of his more explicit sexual abuse and manipulative pleasing behaviors to survive means we lose a lot of his internal dialogue and his best actions. He is no longer the one to have the slave not be drugged at the fight, he doesn't get to try to kill his uncle with a harem boy that looks just like Paul Atredies and have it backfire miserably. But he does get to stand up and announce himself as the Emperor's champion when he doesn't need to, simply because he wants to and he has things to gain.

It may, with the rewrites, be the only time this version of Feyd-Rautha gets to make a meaningful choice about his destiny.

Plus, Gurney got to kill Rabban, so everyone got something!

[karereiko]

Hello, everyone from Yuumori fandom.

Guess what, because of Concert that will be held in July all parts of Moriarty the Patriot Musical (op1-op5) are available to rent and watch online. With my Morimu fanarts or other talks about it I often get asked where you can watch it, often my answer is that you have to buy DVD or Bluray to watch this wonderful adaptation of Moriarty the Patriot manga. I know it's a big cost and hard to get for some so Streaming like this is a great opportunity to watch Morimu.

Official twitter posted few days ago about this possibility and here is the post with all information about it:

1600 yen is great amount to check if you will like it and wach it because I think it's worth any money, director who made morimu clearly loves manga, he treats source material with care and even makes it batter at some times, there is also a lot less cuts than in anime, like a lot. May be little spoiler or not, but Baskerville arc is there and Durham date too, as well as many Sherlock and John stuff that was cut in anime, some things from Moran arc etc. this is already big selling factor, right?

Actors are amazing and they love and care for characters they play. I wasn't into any actor adaptations before Morimu, I was ok with musicals but not caring too much about them and Morimu sold me since first part and it only got better and better each part even if you think that's not possible. Songs are there to make emotions and moments deeper or to have real fun with plot they show, they are not there just for song to be there. So yes high recommendation for you all to check Morimu if you didn't saw it yet. The most amazing thing is that you don't need VPN to buy those streams.

I was going to write about this few days ago and was busy, good I didn't because I talked with friends in Yuumori fandom who knows morimu and we were troubled to recommend this stream to people who doesn't understand Japanese. Morimu is faithful adaptation so almost like 70% lines comes from manga and you should understand what's going on if you read manga. Still, with subs it's a lot easier.

Kana did amazing job in creating English translation for Morimu Op1-Op4 at this point, all who bought DVD/Bluray versions of Morimu are using those subs and if you decide to buy own copy after seeing stream then those subs works great with DVD/Bluray versions.

So we talked over the stream matter and from what we checked with this plugin to Chrome it's possible to play subs with Morimu stream after you rent it (It works only with Chrome but if you know other program like this you can try it on different browsers, we only checked Chrome and this plugin) :

The only matter is that Kana saved subtitles in .ass file format, but you can easily format them to .srt file format that this plugin plays with this site:

You just open subtitle file and save it as srt, and open it with plugin to your Morimu stream. If you will have any more problems with subs them write me a message and I will try to help as soon as work let's me.

I think this is the easiest option that creators gave us now to watch Morimu, it was never so easy to buy or rent it until now, you had to use crazy VPN programs and other stuff to just check on it. So this is best option since for sure it won't last forever. Such promotional streamings are only around when new part is coming up, currently Concert I mentioned.

So for other things I wanna to say. If you get your copy of Morimu then please don't share it, don't post it to any social sites. Company that makes Morimu is quite strict with that matter and they do search who uploads those musicals and strikes them down/ deletes files even on places like google drive. Even without it, it's a matter of love for Moriarty the patriot. As much as fandom wants more people to watch those musicals, any piracy might destroy our chances to get Op6, possibilities for future streams and other stuff. Currently with Op5 we reached end of Final Problem arc and there is hope that maybe one day New York arc will be done in op6. Any piracy, sharing and messy stuff might destroy such chance, so please if you hold dear MTP then respect those rules. Watching streams with your friends in closed groups after you buy it isn't bad but please hold from any public sharing (they would be taken down anyway, but it would still put us fans in very bad light).

I know end of this post was not nice but it had to be told. I hope this possibility will help you see Morimu and fall in love with it like I did. I would recommend at least seeing OP1 and OP2, it should hook you and OP3 is where everything hits even more than op1-2, more hits from songs, more hits from sherliam stuff.

Hope to see you in Morimu cult :D... ehem... fandom. May you have "wind" (for some Great Detective) in your heart like William....

[sciderman]

What do you consider to be good Deadpool adaptations? This movie was my first Deadpool content in like a looong while so in need some more accurate Deadpool stuff

having a crisis of faith these days when it comes to good deadpool adaptations – there are SO few offerings... but, as far as deadpool adaptations go, the first deadpool movie really does hold up, i think. it's so sincere, when you revisit it. we're lucky to have gotten that movie. it's by no means perfect, but it's sincere. deadpool 2 is an even more wobbly time on it's feet, but i still like that portrayal of wade. i think both of those movies do a much better job doing whatever they're doing than dp/w does. they're movies. about deadpool. could they be better? oh absolutely. so much better. but... you know, i take what i can get.

we don't have much in the way of deadpool adaptation - you'd be surprised. he makes very few appearances in any other form of media. he has a video game that i don't like very much by virtue of being sensory overload for me - (but i think maybe it's fitting of the character) - he's shown up in a few tv series - his appearance in ultimate spider-man might my favourite one, just because it's so completely unhinged.

i really love that stupid episode. it just gets so many genuine laughs out of me i don't know what to tell you. his VA is unbearable, but the writing just - it's genuinely funny. and i just think it's a thoughtful portrayal of deadpool too. there's a lot to chew. from his consistent unreliable narration of himself - his patented approach of being entirely dishonest not just for tactical reasons, but because he just doesn't like confronting truths about himself - the clever ways he breaks the fourth wall, the clever ways he deflects, his ego plays - and his parallels to spider-man - it's incredible how effortlessly they managed to cram all of that into a fairly short television episode for kids - i think it's one of the best adaptations of deadpool. i feel like the writers genuinely knew and understood wade's whole thing and brought it across so effortlessly. i love how fully-formed this wade feels, and i'd honest to god really like to write about him. one day, just you wait. one day i will.

[rhysdarbinizedarby]

Couch surfer in his 30s. Oscar winner in his 40s. Why the whole world wants Taika

**Notes: This is very long post!**

Good Weekend

In his 30s, he was sleeping on couches. By his 40s, he’d directed a Kiwi classic, taken a Marvel movie to billion-dollar success, and won an Oscar. Meet Taika Waititi, king of the oddball – and one of New Zealand’s most original creative exports.

Taika Waititi: “Be a nice person and live a good life. And just don’t be an arsehole.”

The good news? Taika Waititi is still alive. I wasn’t sure. The screen we were speaking through jolted savagely a few minutes ago, with a cacophonous bang and a confused yelp, then radio silence. Now the Kiwi ­ filmmaker is back, grinning like a loon: “I just broke the f---ing table, bro!”

Come again? “I just smashed this f---ing table and glass flew everywhere. It’s one of those old annoying colonial tables. It goes like this – see that?” Waititi says, holding up a folding furniture leg. “I hit the mechanism and it wasn’t locked. Anyway …”

I’m glad he’s fine. The stuff he’s been saying from his London hotel room could incur biblical wrath. We’re talking about his latest project, Next Goal Wins, a movie about the American Samoa soccer team’s quest to score a solitary goal, 10 years after suffering the worst loss in the game’s international history – a 31-0 ­ignominy to Australia – but our chat strays into ­spirituality, then faith, then religion.

“I don’t personally believe in a big guy sitting on a cloud judging everyone, but that’s just me,” Waititi says, deadpan. “Because I’m a grown-up.”

This is the way his interview answers often unfold. Waititi addresses your topic – dogma turns good people bad, he says, yet belief itself is worth lauding – but bookends every response with a conspiratorial nudge, wink, joke or poke. “Regardless of whether it’s some guy living on a cloud, or some other deity that you’ve made up – and they’re all made up – the message across the board is the same, and it’s important: Be a nice person, and live a good life. And just don’t be an arsehole!”

Not being an arsehole seems to have served Waititi, 48, well. Once a national treasure and indie darling (through the quirky tenderness of his breakout New Zealand films Boy in 2010 and Hunt for the Wilderpeople in 2016), Waititi then became a star of both the global box office (through his 2017 entry into the Marvel Universe, Thor: Ragnarok, which grossed more than $1.3 billion worldwide) and then the Academy Awards (winning the 2020 best adapted screenplay Oscar for his subversive Holocaust dramedy JoJo Rabbit, in which he played an imaginary Hitler).

Waititi playing Adolf Hitler in the 2019 movie JoJo Rabbit. (Alamy)

A handsome devil with undeniable roguish charm, Waititi also slid seamlessly into style-icon status (attending this year’s Met Gala shirtless, in a floor-length gunmetal-grey Atelier Prabal Gurung wrap coat, with pendulous pearl necklaces), as well as becoming his own brand (releasing an eponymous line of canned ­coffee drinks) and bona fide Hollywood A-lister (he was introduced to his second wife, British singer Rita Ora, by actor Robert Pattinson at a barbecue).

Putting that platform to use, Waititi is an Indigenous pioneer and mentor, too, co-creating the critically acclaimed TV series Reservation Dogs, while co-founding the Piki Films production company, committed to promoting the next generation of storytellers – a mission that might sound all weighty and worthy, yet Waititi’s new wave of First Nations work is never earnest, always mixing hurt with heart and howling humour.

Waititi with wife Rita Ora at the 2023 Met Gala in May. (Getty Images)

Makes sense. Waititi is a byproduct of “the weirdest coupling ever” – his late Maori father from the Te Whanau-a-Apanui tribe was an artist, farmer and “Satan’s Slaves” bikie gang founder, while his Wellington schoolteacher mum descended from Russian Jews, although he’s not devout about her faith. (“No, I don’t practise,” he confirms. “I’m just good at everything, straight away.”)

He’s remained loyally tethered to his ­origin story, too – and to a cadre of creative Kiwi mates, including actors Jemaine Clement and Rhys Darby – never forgetting that not long before the actor/writer/producer/director was an industry maven, he was a penniless painter/photographer/ musician/comedian.

With no set title and no fixed address, he’s seemingly happy to be everything, everywhere (to everyone) all at once. “‘The universe’ is bandied around a lot these days, but I do believe in the kind of connective tissue of the universe, and the energy that – scientifically – we are made up of a bunch of atoms that are bouncing around off each other, and some of the atoms are just squished together a bit tighter than others,” he says, smiling. “We’re all made of the same stardust, and that’s pretty special.”

-----------------------------------------------

We’ve caught Waititi in a somewhat relaxed moment, right before the screen actors’ and media artists’ strike ends. He’s ­sensitive to the struggle but doesn’t deny enjoying the break. “I spent a lot of time thinking about writing, and not writing, and having a nice ­holiday,” he tells Good Weekend. “Honestly, it was a good chance just to recombobulate.”

Waititi, at right, with Hunt for the Wilderpeople actors, from left, Sam Neill, Rhys Darby and Julian Dennison. (Getty Images)

It’s mid-October, and he’s just headed to Paris to watch his beloved All Blacks in the Rugby World Cup. He’s deeply obsessed with the game, and sport in general. “Humans spend all of our time knowing what’s going to happen with our day. There’s no surprises ­any more. We’ve become quite stagnant. And I think that’s why people love sport, because of the air of unpredictability,” he says. “It’s the last great arena entertainment.”

The main filmic touchstone for Next Goal Wins (which premieres in Australian cinemas on New Year’s Day) would be Cool Runnings (1993), the unlikely true story of a Jamaican bobsled team, but Waititi also draws from genre classics such as Any Given Sunday and Rocky, sampling trusted tropes like the musical training montage. (His best one is set to Everybody Wants to Rule the World by Tears for Fears.)

Filming in Hawaii was an uplifting experience for the self-­described Polynesian Jew. “It wasn’t about death, or people being cruel to each other. Thematically, it was this simple idea, of getting a small win, and winning the game wasn’t even their goal – their goal was to get a goal,” he says. “It was a really sweet backbone.”

Waititi understands this because, growing up, he was as much an athlete as a nerd, fooling around with softball and soccer before discovering rugby league, then union. “There’s something about doing exercise when you don’t know you’re doing exercise,” he enthuses. “It’s all about the fun of throwing a ball around and trying to achieve something together.” (Whenever Waititi is in Auckland he joins his mates in a long-running weekend game of touch rugby. “And then throughout the week I work out every day. Obviously. I mean, look at me.”)

Auckland is where his kids live, too, so he spends as much time there as possible. Waititi met his first wife, producer Chelsea Winstanley, on the set of Boy in 2010, and they had two daughters, Matewa Kiritapu, 8, and his firstborn, Te Kainga O’Te Hinekahu, 11. (The latter is a derivative of his grandmother’s name, but he jokes with American friends that it means “Resurrection of Tupac” or “Mazda RX7″) Waititi and Winstanley split in about 2018, and he married the pop star Ora in 2022.

He offers a novel method for balancing work with parenthood … “Look, you just abandon them, and know that the experience will make them harder individuals later on in life. And it’s their problem,” he says. “I’m going to give them all of the things that they need, and I’m going to leave behind a decent bank ­account for their therapy, and they will be just like me, and the cycle will continue.”

Jokes aside – I think he’s joking – school holidays are always his, and he brings the girls onto the set of every movie he makes. “They know enough not to get in the way or touch anything that looks like it could kill you, and they know to be respectful and quiet when they need to. But they’re just very comfortable around filmmakers, which I’m really happy about, because eventually I hope they will get into the ­industry. One more year,” he laughs, “then they can leave school and come work for Dad.”

Theirs is certainly a different childhood than his. Growing up, he was a product of two worlds. His given names, for instance, were based on his appearance at birth: “Taika David” if he looked Maori (after his Maori grandfather) and “David Taika” if he looked Pakeha (after his white grandfather). His parents split when he was five, so he bounced between his dad’s place in Waihau Bay, where he went by the surname Waititi, and his mum, eight hours drive away in Wellington, where he went by Cohen (the last name on his birth ­certificate and passport).

Waititi was precocious, even charismatic. His mother Robin once told Radio New Zealand that people always wanted to know him, even as an infant: “I’d be on a bus with him, and he was that kind of baby who smiled at people, and next thing you know they’re saying, ‘Can I hold your baby?’ He’s always been a charmer to the public eye.”

He describes himself as a cool, sporty, good-looking nerd, raised on whatever pop culture screened on the two TV channels New Zealand offered in the early 1980s, from M*A*S*H and Taxi to Eddie Murphy and Michael Jackson. He was well-read, too. When punished by his mum, he would likely be forced to analyse a set of William Blake poems.

He puts on a whimpering voice to describe their finances – “We didn’t have much monneeey” – explaining how his mum spent her days in the classroom but also worked in pubs, where he would sit sipping a raspberry lemonade, doodling drawings and writing stories. She took in ­ironing and cleaned houses; he would help out, learning valuable lessons he imparts to his kids. “And to random people who come to my house,” he says. “I’ll say, ‘Here’s a novel idea, wash this dish,’ but people don’t know how to do anything these days.”

“Every single character I’ve ever written has been based on someone I’ve known or met or a story I’ve stolen from someone.” - Taika Waititi

He loved entertaining others, clearly, but also himself, recording little improvised radio plays on a tape deck – his own offbeat versions of ET and Indiana Jones and Star Wars. “Great free stuff where you don’t have any idea what the story is as you’re doing it,” he says. “You’re just sort of making it up and enjoying the ­freedom of playing god in this world where you can make people and characters do whatever you want.”

His other sphere of influence lay in Raukokore, the tiny town where his father lived. Although Boy is not autobiographical, it’s deeply personal insofar as it’s filmed in the house where he grew up, and where he lived a life similar to that portrayed in the story, surrounded by his recurring archetypes: warm grandmothers and worldly kids; staunch, stoic mums; and silly, stunted men. “Every single character I’ve ever written has been based on someone I’ve known or met,” he says, “or a story I’ve stolen from someone.”

He grew to love drawing and painting, obsessed early on with reproducing the Sistine Chapel. During a 2011 TED Talk on creativity, Waititi describes his odd subject matter, from swastikas and fawns to a picture of an old lady going for a walk … upon a sword … with Robocop. “My father was an outsider artist, even though he wouldn’t know what that meant,” Waititi told the audience in Doha. “I love the naive. I love people who can see things through an innocent viewpoint. It’s inspiring.”

After winning Best Adapted Screenplay Academy Award for JoJo Rabbit in 2020. (Getty Images)

It was an interesting time in New Zealand, too – a coming-of-age decade in which the Maori were rediscovering their culture. His area was poor, “but only ­financially,” he says. “It’s very rich in terms of the ­people and the culture.” He learned kapa haka – the songs, dances and chants performed by competing tribes at cultural events, or to honour people at funerals and graduations – weddings, parties, ­anything. “Man, any excuse,” he explains. “A big part of doing them is to uplift your spirits.”

Photography was a passion, so I ask what he shot. “Just my penis. I sent them to people, but we didn’t have phones, so I would print them out, post them. One of the first dick pics,” he says. Actually, his lens was trained on regular people. He watches us still – in airports, ­restaurants. “Other times late at night, from a tree. Whatever it takes to get the story. You know that.”

He went to the Wellington state school Onslow College and did plays like Androcles and the Lion, A Midsummer Night’s Dream and The Crucible. His crew of arty students eventually ended up on stage at Bats Theatre in the city, where they would perform haphazard comedy shows for years.

“Taika was always rebellious and wild in his comedy, which I loved,” says his high school mate Jackie van Beek, who became a longtime collaborator, including working with Waititi on a Tourism New Zealand campaign this year. “I remember he went through a phase of turning up in bars around town wearing wigs, and you’d try and sit down and have a drink with him but he’d be doing some weird character that would invariably turn up in some show down the track.”

He met more like-minded peers at Victoria University, including Jemaine Clement (who’d later become co-creator of Flight of the Conchords). During a 2019 chat with actor Elijah Wood, Waititi ­describes he and Clement clocking one another from opposite sides of the library one day: a pair of Maoris experiencing hate at first sight, based on a mutual suspicion of cultural appropriation. (Clement was wearing a traditional tapa cloth Samoan shirt, and Waititi was like: “This motherf---er’s not Samoan.” Meanwhile, Waititi was wearing a Rastafarian beanie, and Clement was like, “This ­motherf---er’s not Jamaican.”)

With Jemaine Clement in 2014. (Getty Images)

But they eventually bonded over Blackadder and Fawlty Towers, and especially Kenny Everett, and did comedy shows together everywhere from Edinburgh to Melbourne. Waititi was almost itinerant, spending months at a time busking, or living in a commune in Berlin. He acted in a few small films, and then – while playing a stripper on a bad TV show – realised he wanted to try life behind the camera. “I became tired of being told what to do and ordered around,” he told Wellington’s Dominion Post in 2004. “I remember sitting around in the green room in my G-string ­thinking, ‘Why am I doing this? Just helping someone else to realise their dream.’ ”

He did two strong short films, then directed his first feature – Eagle vs Shark (2007) – when he was 32. He brought his mates along (Clement, starring with Waititi’s then-girlfriend Loren Horsley), setting something of a pattern in his career: hiring friends instead of constantly navigating new working relationships. “If you look at things I’m doing,” he tells me, “there’s ­always a few common denominators.”

Sam Neill says Waititi is the exemplar of a new New Zealand humour. “The basis of it is this: we’re just a little bit crap at things.”

This gang of collaborators shares a common Kiwi vibe, too, which his longtime friend, actor Rhys Darby, once coined “the comedy of the mundane”. Their new TV show, Our Flag Means Death, for example, leans heavily into the mundanity of pirate life – what happens on those long days at sea when the crew aren’t unsheathing swords from scabbards or burying treasure.

Waititi plays pirate captain Blackbeard, centre, in Our Flag Means Death, with Rhys Darby, left, and Rory Kinnear. (Google Images)

Sam Neill, who first met Waititi when starring in Hunt for the Wilderpeople, says Waititi is the exemplar of a new New Zealand humour. “And I think the basis of it is this,” says Neill. “We’re just a little bit crap at things, and that in itself is funny.” After all, Neill asks, what is What We Do in The Shadows (2014) if not a film (then later a TV show) about a bunch of vampires who are pretty crap at being vampires, ­living in a pretty crappy house, not quite getting busted by crappy local cops? “New Zealand often gets named as the least corrupt country in the world, and I think it’s just that we would be pretty crap at being corrupt,” Neill says. “We don’t have the capacity for it.”

Waititi’s whimsy also spurns the dominant on-screen oeuvre of his homeland – the so-called “cinema of ­unease” exemplified by the brutality of Once Were Warriors (1994) and the emotional peril of The Piano (1993). Waititi still explores pathos and pain, but through laughter and weirdness. “Taika feels to me like an ­antidote to that dark aspect, and a gift somehow,” Neill says. “And I’m grateful for that.”

-----------------------------------------------

Something happened to Taika Waititi when he was about 11 – something he doesn’t go into with Good Weekend, but which he considered a betrayal by the adults in his life. He ­mentioned it only recently – not the ­moment itself, but the lesson he learnt: “That you cannot and must not rely on grown-ups to help you – you’re basically in the world alone, and you’re gonna die alone, and you’ve just gotta make it all for yourself,” he told Irish podcast host James Brown. “I basically never forgave people in positions of responsibility.”

What does that mean in his work? First, his finest films tend to reflect the clarity of mind possessed by children, and the unseen worlds they create – fantasies conjured up as a way to understand or overcome. (His mum once summed up the main ­message of Boy: “The ­unconditional love you get from your children, and how many of us waste that, and don’t know what we’ve got.”)

Second, he’s suited to movie-making – “Russian roulette with art” – because he’s drawn to disruptive force and chaos. And that in turn produces creative defiance: allowing him to reinvigorate the Marvel Universe by making superheroes fallible, or tell a Holocaust story by making fun of Hitler. “Whenever I have to deal with someone who’s a boss, or in charge, I challenge them,” he told Brown, “and I really do take whatever they say with a pinch of salt.”

It’s no surprise then that Waititi was comfortable leaping from independent films to the vast complexity of Hollywood blockbusters. He loves the challenge of coordinating a thousand interlocking parts, requiring an army of experts in vocations as diverse as construction, sound, art, performance and logistics. “I delegate a lot,” he says, “and share the load with a lot of people.”

“This is a cool concept, being able to ­afford whatever I want, as opposed to sleeping on couches until I was 35.” - Taika Waititi

But the buck stops with him. Time magazine named Waititi one of its Most Influential 100 People of 2022. “You can tell that a film was made by Taika Waititi the same way you can tell a piece was painted by Picasso,” wrote Sacha Baron Cohen. Compassionate but comic. Satirical but watchable. Rockstar but auteur. “Actually, sorry, but this guy’s really starting to piss me off,” Cohen concluded. “Can someone else write this piece?”

Directing Chris Hemsworth in 2017 in Thor: Ragnarok, which grossed more than $1.3 billion at the box office. (Alamy)

I’m curious to know how he stays grounded amid such adulation. Coming into the game late, he says, helped immensely. After all, Waititi was 40 by the time he left New Zealand to do Thor: Ragnarok. “If you let things go to your head, then it means you’ve struggled to find out who you are,” he says. “But I’ve always felt very comfortable with who I am.” Hollywood access and acclaim – and the pay cheques – don’t erase memories of poverty, either. “It’s more like, ‘Oh, this is a cool concept, being able to ­afford whatever I want, as opposed to sleeping on couches until I was 35.’ ” Small towns and strong tribes keep him in check, too. “You know you can’t piss around and be a fool, because you’re going to embarrass your family,” he says. “Hasn’t stopped me, though.”

Sam Neill says there was never any doubt Waititi would be able to steer a major movie with energy and imagination. “It’s no accident that the whole world wants Taika,” he says. “But his seductiveness comes with its own dangers. You can spread yourself a bit thin. The temptation will be to do more, more, more. That’ll be interesting to watch.”

Indeed, I find myself vicariously stressed out over the list of potential projects in Waititi’s future. A Roald Dahl animated series for Netflix. An Apple TV show based on the 1981 film Time Bandits. A sequel to What We Do In The Shadows. A reboot of Flash Gordon. A gonzo horror comedy, The Auteur, starring Jude Law. Adapting a cult graphic novel, The Incal, as a feature. A streaming series based on the novel Interior Chinatown. A film based on a Kazuo Ishiguro bestseller. Plus bringing to life the wildly popular Akira comic books. Oh, and for good measure, a new instalment of Star Wars, which he’s already warned the world will be … different.

“It’s going to change things,” he told Good Morning America. “It’s going to change what you guys know and expect.”

Did I say I was stressed for Waititi? I meant physically sick.

“Well…” he qualifies, “some of those things I’m just producing, so I come up with an idea or someone comes to me with an idea, and I shape how ‘it’s this kind of show’ and ‘here’s how we can get it made.’ It’s easier for me to have a part in those things and feel like I’ve had a meaningful role in the creative process, but also not having to do what I’ve always done, which is trying to control everything.”

In the 2014 mockumentary horror film What We Do in the Shadows, which he co-directed with Jemaine Clement. (Alamy)

What about moving away from the niche New Zealand settings he represented so well in his early work? How does he stay connected to his roots? “I think you just need to know where you’re from,” he says, “and just don’t forget that.”

They certainly haven’t forgotten him.

Jasmin McSweeney sits in her office at the New Zealand Film Commission in Wellington, surrounded by promotional posters Waititi signed for her two decades ago, when she was tasked with promoting his nascent talent. Now the organisation’s marketing chief, she talks to me after visiting the heart of thriving “Wellywood”, overseeing the traditional karakia prayer on the set of a new movie starring Geoffrey Rush.

Waititi isn’t the first great Kiwi filmmaker – dual Oscar-winner Jane Campion and blockbuster king Peter Jackson come to mind – yet his particular ascendance, she says, has spurred unparalleled enthusiasm. “Taika gave everyone here confidence. He always says, ‘Don’t sit around waiting for people to say, you can do this.’ Just do it, because he just did it. That’s the Taika effect.”

-----------------------------------------------

Taika David Waititi is known for wearing everything from technicolour dreamcoats to pineapple print rompers, and today he’s wearing a roomy teal and white Isabel Marant jumper. The mohair garment has the same wispy frizz as his hair, which curls like a wave of grey steel wool, and connects with a shorn salty beard.

A stylish silver fox, it wouldn’t surprise anyone if he suddenly announced he was launching a fashion label. He’s definitely a commercial animal, to the point of directing television commercials for Coke and Amazon, along with a fabulous 2023 spot for Belvedere vodka starring Daniel Craig. He also joined forces with a beverage company in Finland (where “taika” means “magic”) to release his coffee drinks. Announcing the partnership on social media, he flagged that he would be doing more of this kind of stuff, too (“Soz not soz”).

Waititi has long been sick of reverent portrayals of Indigenous people talking to spirits.

There’s substance behind the swank. Fashion is a creative outlet but he’s also bought sewing machines in the past with the intention of designing and making clothes, and comes from a family of tailors. “I learnt how to sew a button on when I was very young,” he says. “I learnt how to fix holes or patches in your clothes, and darn things.”

And while he gallivants around the globe watching Wimbledon or modelling for Hermès at New York Fashion Week, all that glamour belies a depth of purpose, particularly when it comes to Indigenous representation.

There’s a moment in his new movie where a Samoan player realises that their Dutch coach, played by Michael Fassbender, is emotionally struggling, and he offers a lament for white people: “They need us.” I can’t help but think Waititi meant something more by that line – maybe that First Nations people have ­wisdom to offer if others will just listen?

“Weeelllll, a little bit …” he says – but from his intonation, and what he says next, I’m dead wrong. Waititi has long been sick of reverent ­portrayals of Indigenous people talking to kehua (spirits), or riding a ghost waka (phantom canoe), or playing a flute on a mountain. “Always the boring characters,” he says. “They’ve got no real contemporary relationship with the world, because they’re always living in the past in their spiritual ways.”

A scene from Next Goal Wins, filmed earlier this year. (Alamy)

He’s part of a vanguard consciously poking fun at those stereotypes. Another is the Navajo writer and director Billy Luther, who met Waititi at Sundance Film Festival back in 2003, along with Reservation Dogs co-creator Sterlin Harjo. “We were this group of outsiders trying to make films, when nobody was really biting,” says Luther. “It was a different time. The really cool thing about it now is we’re all working. We persevered. We didn’t give up. We slept on each other’s couches and hung out. It’s like family.”

Waititi has power now, and is known for using Indigenous interns wherever possible (“because there weren’t those opportunities when I was growing up”), making important introductions, offering feedback on scripts, and lending his name to projects through executive producer credits, too, which he did for Luther’s new feature film, Frybread Face and Me (2023).

He called Luther back from the set of Thor: Love and Thunder (2022) to offer advice on working with child actors – “Don’t box them into the characters you’ve ­created,” he said, “let them naturally figure it out on their own” – but it’s definitely harder to get Waititi on the phone these days. “He’s a little bitch,” Luther says, laughing. “Nah, there’s nothing like him. He’s a genius. You just knew he was going to be something. I just knew it. He’s my brother.“

I’ve been asked to explicitly avoid political questions in this interview, probably because Waititi tends to back so many causes, from child poverty and teenage suicide to a campaign protesting offshore gas and oil exploration near his tribal lands. But it’s hard to ignore his recent Instagram post, sharing a viral video about the Voice to Parliament referendum starring Indigenous Aussie rapper Adam Briggs. After all, we speak only two days after the proposal is defeated. “Yeah, sad to say but, Australia, you really shat the bed on that one,” Waititi says, pausing. “But go see my movie!”

About that movie – the early reviews aren’t great. IndieWire called it a misfire, too wrapped in its quirks to develop its arcs, with Waititi’s directorial voice drowning out his characters, while The Guardian called it “a shoddily made and strikingly unfunny attempt to tell an interesting story in an uninteresting way”. I want to know how he moves past that kind of criticism. “For a start, I never read reviews,” he says, concerned only with the opinion of people who paid for admission, never professional appraisals. “It’s not important to me. I know I’m good at what I do.”

Criticism that Indigenous concepts weren’t sufficiently explained in Next Goal Wins gets his back up a little, though. The film’s protagonist, Jaiyah Saelua, the first transgender football player in a FIFA World Cup qualifying match, is fa’afafine – an American Samoan identifier for someone with fluid genders – but there wasn’t much exposition of this concept in the film. “That’s not my job,” Waititi says. “It’s not a movie where I have to explain every facet of Samoan culture to an audience. Our job is to retain our culture, and present a story that’s inherently Polynesian, and if you don’t like it, you can go and watch any number of those other movies out there, 99 per cent of which are terrible.”

*notes: (there is video clip in the article)

Waititi sounds momentarily cranky, but he’s mostly unflappable and hilarious. He’s the kind of guy who prefers “Correctumundo bro!” to “Yes”. When our video connection is too laggy, he plays up to it by periodically pretending to be frozen, sitting perfectly still, mouth open, his big shifting eyeballs the only giveaway.

He’s at his best on set. Saelua sat next to him in Honolulu while filming the joyous soccer sequences. “He’s so chill. He just let the actors do their thing, giving them creative freedom, barely interjecting unless it was something important. His style matches the vibe of the Pacific people. We’re a very funny people. We like to laugh. He just fit perfectly.”

People do seem to love working alongside him, citing his ability to make productions fresh and unpredictable and funny. Chris Hemsworth once said that Waititi’s favourite gag is to “forget” that his microphone is switched on, so he can go on a pantomime rant for all to hear – usually about his disastrous Australian lead actor – only to “remember” that he’s wired and the whole crew is listening.

“I wouldn’t know about that, because I don’t listen to what other people say about anything – I’ve told you this,” Waititi says. “I just try to have fun when there’s time to have fun. And when you do that, and you bring people together, they’re more willing to go the extra mile for you, and they’re more willing to believe in the thing that you’re trying to do.”

Yes, he plays music between takes, and dances out of his director’s chair, but it’s really all about relaxing amid the immense pressure and intense privilege of making movies. “Do you know how hard it is just to get anything financed or green-lit, then getting a crew, ­getting producers to put all the pieces together, and then making it to set?” Waititi asks. “It’s a real gift, even to be working, and I feel like I have to remind ­people of that: enjoy this moment.”

Source: The Age

By: Konrad Marshall (December 1, 2023)

[toorumlk]

Hey! Do you think there’s any chance they might not make Romione canon in the upcoming HBO series because of the popularity of other pairings and JKR’s somewhat recent statements concerning the ship?

fair warning this is gonna be a long post!

you know anon, i’m not gonna deny that the possibility of romione not being canon in the hbo series doesn’t keep me up at night HOWEVER COMMA-

I believe romione will be safe because i’m placing a lot, if not all, of my faith in the upcoming hbo series being repeatedly described as a "faithful" adaptation of the 7 novels. which we can deduce to mean romione friends to lovers slow burn endgame and all that good stuff (maybe i'll talk about the potential of book romione and the serial tv medium some other time)

and sure, it can all be marketing/pandering/etc. but i find it so hard to feel cynical about hbo because i love LOVE their shows and i'm of the belief that they know how to tell a good ass story (and romione happens to be a good ass romance subplot). i also have such positive feelings about the showrunner Frances Gardiner (consulting prod on succession and also has killing eve under her belt) who JKR chose herself and one of the exec producers of the show who's set to direct of a bunch of episodes Mark Mylod (succession, the menu, tlou, got)!!!! and if you know me at all you'll know that succession is one of the main pillars of my personality and i fucking love that show so bad I would follow anyone who was part of the making of that show off a cliff if they asked me to. and Mark Mylod is a fantastic fucking episodic director who's directed and produced some of the best episodes of television ever, so i know he knows how to tell a good story. and though i'm a lot less familiar with Gardiners' work, she is a female creative who has some of my personal favourite episodes listed in her imdb (chiantishire, living+, tailgate party) who's pitch of the show made joanne give her the job so.... and y'all know im a canon bootlicker and love the books so all i'll say is.. real recognizes real.

so knowing the creative team behind hp series had a direct hand in making my favourite show of all time gets me so excited and giddy!!!!

but here's where my personal theories and speculations start: I really think with this hbo series, JKR is on a mission is create something wholly and newly hers. she was barely involved creatively in the production of the movies until DH pt. 1 and 2 and the movies have almost become an entity of its own that's drifted so far away from her. of course i realize me even just talking sympathetically about JKR is deeply touchy and might piss some people off but as a fellow creative, i feel for her man!! when i think of the best books in the series in my opinion that are filled with the best bits of world building and political commentary, what i find is that GoF was handed to a director who didn't even read the book, OotP was the shortest movie in the franchise despite being the longest book and how it entirely missed the Quibbler plot and all of harry's rage, or HBP that was filled to the brim with *chefs kiss* tom/voldemort lore which was done a complete disservice in the grey and brown sludgy mess that is the HBP movie.

and knowing that JKR now has a strained relationship or had a falling out with most of the top dogs involved in the films like Kloves and Yates (hallelujah what who said that) and Emma Watson and Daniel Radcliffe means this show has the chance to be a behemoth that’s entirely joanne’s, like the books are. it’ll be free of Kloves' Hermione and harmony (harry x hermione) favouritism or Watson's take on Hermione's character that makes my ass itch or Yate’s complete inability to direct his actors and make non-action scenes have heart, soul and heft. but i also can’t not address the elephant in the room: this section of the discussion is filled with every shade of grey possible because what led to the falling outs was that they all vehemently disagreed with JKR's anti-trans views and good on them they absolutely should! but like.............. i hated kloves' writing and his butchering of ron's character, i think yates is a static and boring director and im not a fan of emma's acting so like... a win is a win? NO IT'S NOT. but IT IS. BUT IT'S SO NOT. but do you see what i'm getting at???

the point i'm trying to make is that joanne is not the same person she was when she was first writing the books or when the movies were being made. I think she's a lot more ruthless and cutthroat now and while i disagree with her methods and condemn her transphobia.... i think this newfound hardness to her will lend itself to making the hbo series the best HP adaptation it can be, I'M SORRY it's absolutely fucked and i acknowledge and abhor her gender critical politics as a queer woman but im also an artist who just wants good, high quality stories to be told 😔😩

and as for the other popular ships and JKR's somewhat recent comments about romione:

I think its safe to say that joanne dgaf about this fandom and what's popular in it anymore LMFAOOOO 😭😭😭 i genuinely respect that she's always stood ten toes down about how draco's not some antihero, bad boy love interest and at best is a cautionary tale on prejudiced bullies, so I don't think that's changing anytime soon. especially considering that the dramione cottage industry that its fans have made is more or less a reactionary "fuck you" to joanne and canon which they do by writing fanfic about crimes against women and making merch and binding physical copies of said fanfics (really showing it to the big baddie transphobic DV survivor by *checks notes* auctioning hermione off as a sex slave) so I doubt she'd ever consider other ship's popularity seriously. as for the possibility of harry and hermione becoming endgame um..... if the show plans to faithfully adapt the books then we'd get harry and hermione’s quintessential sibling dynamic plus we’re already free from Kloves (also i have faith in francesca and mark knowing that harmony are just plain BORING) so i think the chances, again, are low. and if joanne really wants to stick it to her old colleagues, she can go down the route of pushing romione that much harder (and she really wouldn’t have to do much, it’s all in the books already) 😭

as for the comments on romione that she’s made in recent years, i think a lot of it’s been blown out of proportion or have gone through a terrible game of telephone. what she said (paraphrasing here) about ‘wishing she’d handled ron/hermione differently because a lot of what went into them was a wish fulfillment fantasy’ has turned into ‘jk rowling regrets making romione endgame???!!’ which is just *takes a drag from a cigarette* just another tuesday around here. i also would link to two meta posts by @saintsenara on the topic of endgame romione which i wholeheartedly agree with it

all i have to say is that going into making this show i hope joanne remembers that she based ron’s character off of a person in her life she liked when she was younger and who is still a good friend of hers now 😭😔

you guys probably know i’m in animation school which is basically film school in a different font. so i’m quite literally training to one day work in the story department on projects and work alongside writers, directors and producers, so this stuff means a lot to me! she and the creative team behind this upcoming show have the chance to make something really special and i’m finding it hard not to root for them!!!!!

[the-kestrels-feather]

I know I'm SO late to the party, but In light of the hbomberguy video, I wanted to drop a list of some of my favorite video essayists on here who are all great. Some are well known, some of them not, but all deserve a lot of love thrown their way!

Any creators I know are Queer will have a * next to their names if that's what you're looking for! (Note some of them might not have a star that should, that's not me trying to invalidate anybody I just didn't know, please feel free to correct me!)

Dominic Noble- book content! Has a series called Lost in Adaptation that judges how faithful movie adaptations of books were to their original source material, but also does some reviews/summaries as well. Very publicly denounced JKR after she was revealed to be a TERF and stated he will no longer review anything by her on his channel. Also deleted ALL of his HP videos after finding out she was a TERF (which were his most popular videos), so I have a really deep respect for him tbh. Former Channel Awesome member who publicly denounced them on several occasions, and an all around swell guy.

*Overly Sarcastic Productions- channel run by 2 people who go by Red and Blue. History and Mythology/Literature content, as well as analysis of tropes and media! I've been told their History content can be a bit... Iffy, but I'm not a Historian so I don't know, however if they get something wrong they're good about correcting it for what that counts for. Very interesting to listen to, I've watched Red's Videos roughly 100 times each. Also has a podcast.

*Strange Aeons- fandom/Tumblr history mostly, as well as some history, and weird businesses too. Reads a LOT of cursed content for her channel.

*Lindsay Ellis- Media/film analysis. obviously not as unknown as some of the others on here, but I absolutely adore her content and will forever be sad that she isn't on YouTube anymore.

Cruel World Happy Mind- MLM/explanation of controversial figures. I'm not sure how best to explain her content, but she seems genuinely lovely and is interesting to listen to. Also a victim of Illuminaughtii's ire and deserves some love. The video she made on Blair is a bit outdated since she made it at the start of when this all came to light, but imo it's definitely worth a watch. Her talking about her interaction with Blair genuinely broke my heart.

*Night Mind- Analog horror/Unfiction/ARG content! Analyzes and explains various internet horror pieces, and also has a very nice voice to listen to.

*Lola Sebastian- Film/Media Analysis!

Li Speaks- Deep dives into various nostalgia, mainly flash games!

*Princess Weekes- Media/film/literary analysis!

abitfrank- summaries and analysis of various "darker" children's content such as Coraline (book and movie), Nightmare Before Christmas, and various dark fairy tales

Hello Future Me- writing advice and world building information!

Curious Archive- deep dives into the various bestiaries of video games and the animals in real life that they're similar to, I love his Subnautica video!

In Praise of Shadows- Horror media analysis! Will often focus on specific franchises, but also covers things like horror comics and tropes as well.

Wait in the Wings- theatre! Deep dives into the back stories behind the production of various musicals! His video on Rogers the Musical that he did for April Fool's last year is comedy fucking gold

Weird Reads With Emily Louise- conspiracy theory/cult/weird thing analysis! Looks at things from an objective and skeptical view, and is very in depth. Recently served as a consulting producer on an HBO Max documentary on the Love has Won cult.

Ask a Mortician- death content! Covers various historical events and darker stories of death from the view of a Mortician.

*Izzzyzz- deep dives into fandoms, as well as well as different video games and kids' virtual worlds.

Disney Dan- Disney content! Covers the history of different mascot costumes at Disney and Disney-like parks! Has collaborated with Definctland in the past too!

Yesterworld- theme park content! Discusses history behind rides and parks, as well as some Disney movies. I think has also collaborated with Defunctland and Disney Dan?

Legal Eagle- legal content! Breaks down news about ongoing legal cases in a way that feels approachable. I like him because both my parents are paralegals and his videos have helped me understand what they mean when they're talking about work a little bit

Super Eye patch Wolf- media video essays! Mostly about anime/manga and video games, but also covers things like influencer scams and pro wrestling. His "what the internet did to Garfield" video is SO GOOD

*Jessie Gender- Media Analysis, loves Star Trek

*Laura Crone- Media Analysis video essays, her videos on the Swan Princess are fucking great I highly recommend!

*Lady Emily- Media Analysis, did a whole video on Spuder-Man turn off the dark that is SO good. Co writer for Sarah Z

Tale Foundry- covers different forms of fiction, their xenofiction video is great, as is their Angelarium one!

Defunctland- Theme Park ride and Children's TV History channel!

Jenny Nicholson- one of the sort of "big three" commentary channels with Lindsay Ellis and Sarah Z imo, covers all sorts of stuff but her most recent one is a 3 hour video on the theme park Evermore Park!

*Sarah Z- Fandom history and Media analysis! I really enjoy their content, the Johnlock Conspiracy and DashCon videos are my favorites!

Li Speaks- Flash games/virtual world analysis mostly! She has a very soothing voice to listen to, if you played like. Any MMOs or virtual worlds growing up I Highly recommend. I've watched her video on Horseland SO many times.

*Codex Entry- Video game coverage! Her videos on Pathologic are great if you're like me and wanted more after the Hbomberguy video!

Wendigoon- ARG/Spooky content! One of the early proponents of the Mandela Catalog and best known for his conspiracy theory iceberg, but has also covered things like various weird/unsolved crimes, Assassination conspiracies, and other things. His videos on Faith, Blood Meridian, The Mandela Catalog, and his Religion/Cult iceberg are some of my favorites

Dino Diego- Dinosaur fiction, like movies, video games, books, short stories, etc. his 2 videos on West of Eden and Winter in Eden are two of my favorites!

Haley Whipjack- I don't know how to describe her content really? She does a lot of deep dives (her Shrek one is my favorite), currently doing a recap of Once Upon a Time by season that is very fun. She's an elementary school teacher by day (that's not me dozing her she talks about it on her channel), and so she has fun unhinged teacher energy!

Other channels that are a sort of collection of different people talking about different things rather than 1 or 2:

TEDx

PBS

The Exploring Series

[bethanydelleman]

Best and worst adaptation of each Austen Novel (or ranking for those that only have one)?

All Austen novels have more than one adaptation; Lady Susan only has one (called Love and Friendship and it's great) but it's a novella. This will be based on what I've watched and I'm going with straight adaptations, not moderns or other variations like Pride & Prejudice & Zombies.

Pride & Prejudice: Best: 1967 BBC Miniseries (favourite interpretation of many characters) Worst: 2005 Hollywood movie (Darcy Shyboi and Elizabeth Tomboy Girlboss)

Sense & Sensibility: Best: 1995 movie (made smart changes while keeping the core of the story correct) Worst: 2008 BBC miniseries (added sex for shock value, Willoughby looks like a little weasel, Colonel Brandon was awful)

Mansfield Park: Best: 1983 BBC miniseries (only faithful adaptation) Worst: 1999 movie (destroyed Fanny, stupid fourth wall breaking, THE SEX SCENE IS BURNED INTO MY MEMORY IN A BAD WAY)

Northanger Abbey: Best: 2007 movie (perfect casting, just wish it was longer and they hadn't messed up the ending) Also best: 1987 movie, but only if you are as high as all the actors and producers clearly were when they made it.

Persuasion: Best: 1971 BBC miniseries (it is a full mini and gives the story enough room to breath, 1995 is also very good) Worst: 2022 Netflix diaster

Emma: Best: 2020 movie (understood the humour of Emma, beautiful costumes, Emma as a snob was very good, made smart updates) Worst: 1996 movie with Gwyneth Paltrow (I hated pouting Knightley and their Harriet and what they did with Mrs. Weston) Honourable mention: I do actually enjoy the 1972 adaptation, it has a perfect Harriet.

Those are my opinions, enjoy!

[wander-wren]

sometimes i wonder about what fandom is going to look like in 5 or 10 years. i think we might have already started to see a shift.

because, look, most of the oldest, biggest fandoms are from tv shows and movies, in particular ones that go on for years and scores of episodes. star trek, star wars, stargate (is everything star?), doctor who, supernatural…even sherlock really got its biggest popularity boosts in the modern day from tv adaptations. marvel and dc were comics first, too, but movies made them more accessible; their “cinematic universe” tags are the biggest on ao3 by far.

but what tv shows are we getting now? short, 8-episode things that get canceled two or three seasons in, that are usually less-than-faithful adaptations of other media anyway.

what movies are we getting? well, marvel turns more to slop every day, and everything else is remakes and sequels no one asked for. the general populace will still go see them and find some good movies that they like, but there’s not much really for fandom to grasp onto.

the best shows for fandom that we’ve had recently, that i can think of, are stranger things, game of thrones, and maybe our flag means death. stranger things is dying off, especially since they’re looking at a 3-4 YEAR gap between s4 and s5. game of thrones’s popularity plummeted after its final season, we all know that. our flag means death is still chugging fairly okay, but after that second season a lot of the fandom dropped it, and with it now being cancelled, i don’t see it sticking around.

yes, we can chalk part of this up to a new generation to of fans having this growing idea that fandom is super temporary, to be abandoned as soon as its not on trend. but media used to be on trend for a whole lot longer than it is now. seasons were longer, we had filler episodes, things were lower quality sometimes but at least they came out on a consistent schedule. i don’t mind if supernatural isn’t an artistic masterpiece, but if i was a stranger things fan waiting until 2026 for the final season, i would be annoyed if it wasn’t damn near perfect. that’s assuming i watched it at all—we’re all so used to not getting endings and moving on, so why would i bother?

i think there are two types of shows doing sort of okay about this. one is procedurals—9-1-1 is a popular one i’ve run into, and it started in 2018, around the beginning of the decline, but it’s managed 7 seasons in those six years, most of them with 18 episodes. the other is, honestly, anime—though we can and SHOULD talk about the terrible working conditions that make the fast turnarounds there possible. look at how big some anime fandoms are.

judging by the relative fandom popularity of other procedural dramas (grey’s anatomy, law & order, criminal minds), i think that’s going to remain sort of niche. fandom likes fantasy and scifi best, and they just don’t tend to have as strong of an overarching arc to dig into. at least, that’s why i wouldn’t watch them. i think there’s also a good chance these will start to die out in the coming years as well.

anime could also die out a little bit. better working conditions would necessitate less/slower content, and it’s true that most of the popular anime fandoms have been around for years, even decades.

so, what, no new, lasting tv show or movie fandoms anymore?

what will the biggest fandoms be in 5-10 years?

podcast fandoms have a shot. the magnus archives is still going strong, and i’ve been seeing a lot about dungeons and daddies. i think we’re kind of almost past the golden age for podcasts, but i am an outsider, so maybe that will change.

book fandoms seem like a kind of obvious choice, but they just don’t get as big without, you guessed it, a movie or show adaptation. and the downsizing has hit them, too—can you think of anything from the last 5 or 10 years that rivals harry potter, percy jackson, warriors, lord of the rings, hunger games, acotar…even game of thrones (asoiaf) again? i can’t. the collapse of the publishing industry is another post entirely.

2020 is really what cemented these changes, though they were starting in the late 2010s, at least. with actual industries shutting down, there was room for indie creators making things alone in their houses to pop up, and people had more time on their hands to try new things out and get into them.

the two things that have really been on the rise since 2020 is rpf and video game fic—often both combined. we’ve got genshin impact, call of duty, minecraft of course being huge, rpf of various youtubers, and k-pop rpf. now, i think rpf is contentious enough that it won’t really become the main fandom, but video game fic…might be it.

even video blogging rpf can often be a blurred enough line that people are more comfortable with it. and the thing is…youtube creators are actually more reliable than mainstream television these days. they need to be, to maintain their platforms. they need to not cancel series and to live up to their own hype as best they can and to not abandon the channel for 3 or 4 years at a time. and again, you can talk about burnout and unrealistic expectations and all of those things, but it’s still true.

maybe i’m completely wrong. maybe in 10 years the film and publishing industries will all sort themselves out and we’ll go back to the status quo. but i think this position fandom is finding itself in is interesting, and i wouldn’t necessarily be surprised if what’s most popular (both in the specific source material sense and the medium/genre sense) is different some time down the road.

[hopeymchope]

Oh GOD the fiendish David Zaslav is rebooting Harry Potter with a new "extremely faithful" adaption of the seven books. J.K. TERFling is heavily involved, she's executive producing, and they've made a TEN-YEAR COMMITMENT already.

Five Rapid-Fire Thoughts I Had in Reaction to This News:

Fuck Zaslav. (Btw, did I mention that — after deleting half of HBO Max's original content — Zaslav has now announced a price hike to the newly christened "MAX" service? As if giving a shitload of money to the planet's most notable TERF wasn't enough fuckery. FUCK that fucking shitheel.)

See below.

3. All y'all who were like "Boycott Hogwart's Legacy or You're Automatically a Terrible Person" or whatever because Rowling was going to make like a 1% royalty off of that game had GODDAMN BETTER boycott HBO MAX (....uh, sorry, it's just "MAX" now, I keep forgetting bc that name sucks — "HBO MAX" wasn't all that good a name to begin with IMO, but now it's worse) from here on out. YES, I know it's harder to boycott an entire streaming service that may contain OTHER content you want, but c'mon now, just bootleg anything you want off MAX in the future. (I'll help! I will send you a link or whatever if you need assistance. Message me. It's cool.) Because this is going to make her SO MUCH MORE MONEY due to involving her FAR MORE DIRECTLY. FUCK. WHY. Why did they fucking do this.

4. There are so many things in the books that are either A) poorly explained workarounds for continuity/logic issues or B) extremely problematic that the movies were actually BETTER for ignoring them. Can't wait to see the scene where every single known Time-Turner gets accidentally broken shortly after Prisoner of Azkaban in order to ensure the characters can never use time travel to fix their problems again! SUPER excited for the plotline where Hermione has to learn that she's silly and wrong for trying to free slaves because the slaves are fucking happier being enslaved! OH BOY!

5. God, a ten-year production commitment UP FRONT. I hope they lose so much money on this stupid-ass project that they wind up dragging their feet to produce future seasons for so long that the contract runs out before they've gotten farther than like, the third novel, and then it just dies on the vine. Would be HILARIOUS.

[always-a-king-or-queen]

there are literally so many reasons why we don't need a third Narnia adaptation

first of all, while they might not be the most accurate, the Disney movies are actually so good and, in my opinion, still manage to capture the heart and soul of the series and what it's truly about. The characters are each perfectly portrayed; the Pevensies act like actual siblings and yet love each other dearly and would die for each other even through all the petty arguments; the music creates perfect atmosphere and emotion and never fails to make me tear up or get shivers down my spine; and the CGI is honestly just absolutely stunning.

I really do not feel like we need another adaptation by Netflix.

Especially not through Netflix.

Netflix has already been known to mess up so many shows and movies by completely changing the source material or adding in unnecessary things that completely take away from the purpose of the story. I can already see them warping Narnia into something that barely even resembles the books, that strips it of its purpose and simply makes it about a fantasy world, nothing more. I've already seen posts saying that the new movies just can't end the way the books end, that heaven must be explained away, that Susan never forgets and falls down a dark path, that the faith aspect must be taken out so as not to offend new viewers.

Here's the thing.

If you take faith out of Narnia, you remove the very heart of the series. you remove the entire purpose. Because Narnia is entirely about faith, and trust, and Someone greater than yourself who sacrifices everything to save your own traitorous soul. the Disney movies did not shy away from portraying this faith as openly as possible. if anyone was offended, I've never seen proof. I have seen many nonbelievers talk about how much they were affected by Aslan's death, which goes to show that you simply don't have to be Christian to understand what Narnia is about, and to love and enjoy it.

So if these new remakes remove the faith aspect, then what is the point? four siblings go to a magical land and save it from a witch and befriend a talking lion with nothing special about him and live there as kings and queens and return home and live happily ever after? there is no sacrifice, there is no "he's not tame, but he is good," there is no creation, there is no redemption, there is no last battle, there is no "in your world, I have another name", there is no sister straying down a dark path because she has forgotten how to hope, and then returning because her story is unfinished and the road to heaven is paved with flowers that symbolize her name.

so then, what are you left with? Aslan is just a talking lion, nothing more. the stone table never cracks, the sun never rises. "That by knowing me here for a little, you may know me better there" is forgotten entirely, because why would Aslan exist in our world if he is merely a talking lion in Narnia? Aslan's country is changed to be something else, and there is nothing about how Aslan suddenly no longer looks like a lion, and how the things that happened after are more great and beautiful than can be described. Edmund's life is never threatened because of his traitorous deeds; Aslan never offers his own life in place of a guilty boy, is never killed, is never resurrected.

the very core of Narnia is removed, and what you are left with is emptiness.

sure, it might make for a good fantasy story nonetheless. you might still have sweeping views and epic music and an intriguing plotline, but something will always feel like it is missing. like there is an empty hole, desperately needing to be filled.

of course, I don't know that all of that will happen; it's just speculation at this point. But I am fairly sure that it is safe to predict these upcoming movies as such. I highly doubt the producers will want to include the faith that shapes Narnia, because according to them, having a faith aspect means less viewers since too many people would be offended.

but if only they would look at the already wonderful existing adaptations, they would know that is simply not the case.

[artist-issues]

Screentime For the Prince

You know how in the original Snow White and the Seven Dwarfs, each character's true nature is revealed by what they choose to treasure?

You know, Grumpy treasures safety because his true nature is vulnerable, the Queen treasures beauty because her true nature is ugly, and Snow White is the only one who's treasure is as true as her nature: pure love?

And how the Prince only gets around 5 minutes of screentime, and in those 5 minutes, proves that he A) treasures Snow White's true nature of pure love and B) keeps his promises?

Well, I was thinking. In the new Live Action, they're basically writing in a different male character in place of the Prince and not focusing on any kind of love story. So it's not actually "Snow White." But what would a good, faithful, beautiful adaptation of Snow White look like? (You know, one that actually does adaptations correctly--like Cinderella 2015?)

What should they be doing with the Prince?

I have a general idea below.

I mean, they can't introduce him in the same way they did in the classic animation. Obviously modern people aren't used to so much nuance in their big-screen fairy tales anymore; 5 minutes of screentime isn't enough, we prefer Mr. Darcy & Lizzie Bennet-levels of couple-building interactions, at least. And that's okay.

But it means we have to fill in a lot of the blanks about where this Prince comes from and why he values Snow White's "pure love nature" so strongly.

So I figure, in my head, it might look something like:

The Prince (let's call him Walther, German for "Walt," since basically everybody who worked on the original movie agrees that it was Walt's big brain child, and the popularized "Ferdinand" is not only fan-made but makes me think of a kindhearted bull) is the heir to a neighboring kingdom's throne.

Prince Walther isn't King yet, not because his parents are still King and Queen (they're dead,) but because tradition states he can only take the throne once he's come of age. Prince Walther's like 17, turning 18. So instead, his kingdom is essentially run by this council of busybodies, with one Regent holding the throne until he's old enough to take it. Something like that.

(the picture is of Dean Stockwell who's the son of the original voice actor for the Prince, I think someone who looks like him ought to be cast.) Prince Walther experienced pure love from his parents, who treated him like a normal boy and didn't place much emphasis on courtly manners or politics when raising him. But then they died tragically, leaving their honest and innocent son to be raised by a bunch of old people who put way TOO much emphasis on those things.

Because everyone in Prince Walther's court has had to handle being next-door neighbors to the Wicked Queen's country. They're all super political, and afraid of appearing weak, and therefore, very insincere. That's what I'm saying.

Everyone he interacts with on a daily basis never comes out and says what they really want. Nobody is genuine. He lives a life of hearing words like, "good morning Your Majesty, I hope you slept well. The Grand Duke could certainly stand to sleep better; the poor fellow looked run down at breakfast." but learning that what they actually mean is, "The Duke is getting old and ineffective and when your birthday passes you should decree that he give his land and resources away to me."

And he misses the genuine love the court used to feel from his parents' kind, simple way of ruling. No political games, no complex feuds. Plus, he misses the personal love they shared as a family, genuine, uncomplicated. He missed the days when people just say what they really want, unafraid, so that their rulers can take care of their needs.

Then there's the problem of why Prince Walther's in the Wicked Queen's realm in the original movie--that's not his territory, if he has his own kingdom.

So I think it would be neat and interesting if the Queen wants Walther's land. Maybe she invited his parents, way back when, to a kind of audience to negotiate an alliance. Then she got jealous of his mother's beauty, maybe even tried to seduce Prince Walther's father, and assassinated them both when he rebuffed her. Oo, maybe even the Huntsman (her FAITHFUL Huntsman) helped her do it all those years ago.

But she didn't realize they had a young son, so she couldn't just raise her hand and say, "Hey Neighboring Kingdom, it's too bad your monarchs both mysteriously died--don't worry, I'll be your new leader" because Prince Walther's council suspected foul play (they always do, they're suspicious people) and were preemptively like "NO NO WE HAVE A PRINCE, WE HAVE A PRINCE! We're fine, we don't need help, everything's fine."

So she sort of had to stew on that. Maybe she even tried a couple more halfhearted attempts to get their throne, and they just never worked out--then eventually her attention was occupied by how much older her stepdaughter was getting, and how much prettier.

Anyway, Prince Walther asks for an audience with the Wicked Queen; he's about to become King, and he knows that the council fears their neighbor, and he sort of wants to go over and size the next-door ruler up for himself. So he rides over with a little delegation of the members of the Court he can actually tolerate the best, and is visiting.

It's not fun. They're only there for a day, but the Wicked Queen is definitely scary. For one thing, she's unnaturally beautiful and everyone he brought with him is either stupefied in her presence or terrified. He himself is very confused by her; he's an open-hearted guy, with a touch of naïveté even though he was raised with good intuition and doesn't trust the Queen. All audiences with her are full of all the formal, double-and-triple meaning conversations that he hates back home; except worse, because she makes everything seem more sinister.

So after a particularly weird conversation with the Queen where he can't decide if she was flirting with him or threatening his kingdom, he goes for a ride around the courtyard to clear his head. And what should he hear, like a breath of the freshest air since his parents died?

A pure, beautiful voice. A young girl singing--and not just singing about anything, but singing about what she really wants. Genuinely. Her heart's fondest desire--and it's not power, or land, or even freedom. Just love. She's singing loudly, like she doesn't care who might hear such a vulnerable longing.

And he climbs over the wall and sees this scullery maid. She's absolutely beautiful, even though she's dressed all in rags, and he loves the picture of her: sharing her heart with doves, who feel completely safe with her, and not having to worry about what anyone thinks of her.

He sort of eavesdrops on her for a little bit, and in this part of the movie, maybe we learn how impulsive he is. He just jumps over and tries to join in. Maybe it's even a little funny. And we can stretch out the feelings behind the part where Snow White runs from him--that feeling of her being unsure of a stranger, not because she worries about what he thinks, but because it's so surprising that anyone is taking notice of her so abruptly at all. And she doesn't know him.

Maybe he asks to extend his stay at the Queen's palace and keep negotiating or whatever, but he really just wants to get to know the scullery maid better.

Then the romance is sort of still fast, but built in a way that the audience can sink their teeth into. The Prince and Snow White have a few more mutually-agreed-upon meetings, not necessarily hiding them, but just in breaks between courtly audiences with the wicked Queen. They're both enamored with each other: she's never been treated so kindly by anyone and his whole faith in pure, innocent love and uncomplicated, genuine people is being restored just by talking to her. They bond chiefly over missing their parents.

Eventually he learns that she is the Queen's daughter--maybe from the Huntsman, maybe from Snow herself in an innocent way. He's stunned that she's treated so poorly, but the second he learns it, he confesses that he loves her and he wants to take her away from there. Plus, this solves the whole "will my kingdom go to war with the Wicked Queen or be allies even though we can't trust her" diplomacy thing--Snow White is her heir, so it would be a beautiful twist of Providence that the girl he has fallen in love with can also be the alliance of peace for the kingdoms through marriage.

Snow White accepts his proposal, but she's afraid for a moment that her stepmother won't allow it. The Prince urges her not to be afraid: he'll take her to his castle and they'll be happy no matter what: he promises it, he gives her his word, he encourages her not to worry because he won't let anything stop him. It's lovely. She finally has someone she can gift her superpower of pure love to, and someone who can treasure her like she deserves.

Problem is, the Queen overhears this last conversation, right after learning that Snow White is the new "Fairest of All" from her mirror, just like in the original film.

So while the Prince is convincing his council that he's proposed to Snow White, the Queen's largely-unknown secret stepdaughter, and is going to reveal the fact to the Queen tomorrow, the Huntsman and the Queen herself are plotting the assassination attempt that eventually leads to Snow running for her life and living with the Dwarfs before she ever gets the chance to see her betrothed again.

Then the movie unfolds largely the same way it did, but with more dialogue and nuance strengthening the original's main themes: Snow White is pure love in nature, and that's everything the Prince has been missing, and he fulfills his promise which she has total faith in. And along the way, the Dwarfs learn to care more about protecting an innocent girl than they care about protecting themselves, and treasuring a person over jewels. Grumpy in particular. And the Queen dies because she's a jealous witch who's self-love has twisted her into something ugly.

Basically, what I'm saying is, there's a way to make the Prince compelling for audiences who are now used to more fleshed-out interactions in movie couples. Just give him a background that is longing for pure, uncomplicated, innocent love. Then when he runs into Snow White, who's never been treasured and valued since her parents died, they give each other everything they've been longing for--and then they have faith in one another when circumstances, both funny and sinister, force them apart.

It's like the Notebook (just in story structure)--you build up romance in the first act through a few poignant scenes, but then the rest of the movie is about waiting for that romance to be fulfilled.

Anyway. I guess I could've said all this more succinctly, but I was kind of making it up as I went. 🤷‍♀️