#madame beaumont

[princess-ibri]

Does the French fairytale Princess Mayblossom exist in the Disneyverse?

Eh, I was tempted for a bit as it is where the og name Carabosse comes from, but ultimately I decided that it was 1. A little too close to what we already have with Sleeping Beauty (hence why the name travled over into the Sleeping Beauty Ballet and became ubiquitous with the Wicked Fairy until Maleficent's portrayal gained prominence)

And 2. Its just a little bit too silly? Well not silly so much as tounge in cheek, which was very common for the salon fairy tales/ conte de fees before the Brothers Grimm's more folkloric style gained popularity (one of the reasons Beauty and the Beast has managed to become a staple when so many of the other salon takes have faded was because Beaumont's version reworked it into this folklore style)

And while I can definitely appreciate the tounge in cheek aspect and actually enjoy it from time to time my personal tastes run more towards Grimm's style.

[adarkrainbow]

How Mother Goose's fairytales switched from adults to children

I have frequently talked about how printed fairy tales were always originally meant for adults, not children.

The fairytales of Charles Perrault and madame d'Aulnoy in France were for an adult audience and adult in tone and content (with illusions of "childishness" as a narrative convention), and only later became stories for children due to a mass-spreading, an access to popular culture and a misinformation about their purpose. Before them, the first "fairytale collections" of Basile and Straparola, the "Pentamerone" and "The Facetious Nights" are very obviously for adults due to their nature as NSFW dark comedy filled with sex, rape, gore, scatophilia and Punch-and-Judy humor. Even in the case of the brothers Grimm! The first edition of the brothers' fairytale collection was for a purely scientific, cultural, folkloric purpose - it was meant to be read for scholars and folklorists and other adults. It was only as they realized that their book turned out to be a huge best-sellers for families, and that it was most often used as a way to entertain children, that they decided to make their stories more "kid-friendly". Hence why each re-edition of their collection became more "SFW" and more edited (they even made a side-book, a mini-collection of fifty edited fairytales specifically selected for children!)

This is the long history of fairytales. Each time prepared by adults, for adults, and yet ending up in the hands of children and being treated as for kids... And since the cosmos loes balance, now that the fairytales are throoughly ingrained and defined as "for children", they always end up being reimagined and renvented for an adult audience... Anyway.

The reason I bring back this entire topic is because I recently stumbled upon an article about Martine Hennard Dutheil de la Rochère, about the adaptations of Perrault's "Les Fées" (The Fairies, better known today as "Toads and Diamonds") for England. It was quite an interesting read so I will share some of its content below, rearranged a bit with additional info (such as the one above).

First off, it should be noted that, from the get go, when fairytales of France were first translated in England, the idea that they were for adults was still around. For example the very first literary fairytale of France, L'île de la félicité, by madame d'Aulnoy, was translated as early as 1691 - because the novel which contained it was translated, "The History of Adolphus", and since it stayed within its original context, it stayed an "adult read" (since the novel was a story for adults). [For more information about it, check M.D. Palmer's text "The History of Adolphus, the first French Conte de fée in English")

This doesn't come from the article I talked about, but in another paper about the European fame of madame d'Aulnoy's fairytales in the 18th and 19th centuries, there was this precision that the same way in England Charles Perrault's name was overshadowed by the one of the fictional "Mother Goose", madame d'Aulnoy's own name was erased for a nickname seemingly coming out of nowhere: "Mother Bunch". Just a desire to match the other famous "fairytale mother"? Not quite... Because the name "Mother Bunch" was associated in England with a specific type of woman - the type of woman who knew more private, romantic, erotic secrets, the kind of woman teenagers would go to to ask advice on how to seduce other people, and young couples would question about how things were meant to go in bed. A kind of Nanny Ogg, if you know your Discworld. A saucier "Mother Goose". It was probably not because the English audience perceived the subversive, erotic and bawdy elements within madame d'Aulnoy's fairytales, unfortunately ; but it was mostly due to England being aware of the various scandals and extravagant adventures madame d'Aulnoy lived, which gave her a reputation of a quite unconventional woman.

The real "turn", the true switch within a general perception of these fairytales was probably the first real translation in English of Charles Perrault's fairytales: Robert Samber published in 1729 "Histories, or Tales of Past Times... with Morals by M. Perrault". This was the original sin, so to speak. Because you see... Robert Samber meant this book to be for children and he did not hide it.

As I repeatedly said before, Charles Perrault's fairytales were not meant for children. He did imitate a simplistic story-style associated with children stories ; he did include morals at the end of each of his tales... But his intended audience (and test audience, and those he dedicated the stories to) was made of adults, his morals were all ironic and subversive, and his stories were filled with puns and references only an adult person (and more so an adult person of a certain social condition living by or near the royal court) would understand. But Robert Samber? He made a huge effort to highlight how Perrault's fairytales were moral - like, literaly, he took every Moral of Perrault at first-degree, as praising virtue and denouncing vice, completely missing the jokes and incoherences within it - and were "educational". And perfect for children. In fact, Robert Samber dedicated his translation to the children of a certain lord Carteret. Bear this in mind, it will come back later.

A clear and obvious proof of Samber literaly falsifying the text to fit his personal perception is the preface of his translation. He did translate most of Perrault's own preface for his fairy tales... But he included in it extracts from another preface. The preface of Jean de la Fontaine's Fables. An extract about how Plato praised the fables of Aesop when it came to teaching children about wisdom and virtue, and how he advised people to prefer them to the "poetry of Homer" (the Iliad, the Odyssey, etc). Not only did Samber literaly took the words of a different author for a different work and grafted them here... But when you are aware of the context, it becomes even more extravagant.

I spoke regularly about this, but the fairytales of France took place within a cultural battle known as "La Querelle des Anciens et des Modernes". On one side, the "Ancients", people then in charge of the dominating cultural institutes, and who held the long tradition that any cultural piece worth anything had to come from the classical and "perfect" era of the Greek and the Romans. On the other side, the "Modern", a new generation of culture-makers who claimed that other sources and other influences could be used rather than Antiquity - more "modern" resources such as the various romances and epics of the Middle-Ages. La Fontaine and Perrault were not bitter enemies at all - in fact, Perrault greatly admired La Fontaine and references his Fables within his own fairytales... But they stood on opposite sides of the schism. La Fontaine was part of the Ancients - hence why his most famous work was the Fables, a French adaptation of Aesop's own fables and other Antique stories "recreated" for Renaissance France. Perrault, meanwhile, was the unofficial leader of the Moderns - hence why he created his fairytales, inspired by French folklore rather than any Greek epic or Roman tragedy. As such, to confuse the explanation-texts of these two authors isn't just falsifying a translation - it is literaly fusing and reinventing two conflicting and contradicting opinions about the use and format of culture. And it completely falsifies Perrault's own initial project and intentions. (Plus it perpetuates a confusion between "fables" and "fairy tales")

Not only that, but Samber also removed several key sentences from Perrault's preface. Including those that explicitely said that his fairy tales could be read differently depending on the age and the level of experience of the reader... A subtle way to point out the obvious: under an apparently simplistic and childish folk-story was hidden an adult literary work. But again, for a Samber taking literaly every one of Perrault's Morals and aiming a book for children and only children, such sentences had to be removed.

Another fascinating element... In his preface, Robert Sambre points out that the fairytales within his book are organized in a pedagogical way, from the most childish to the most mature. Another "proof", according to him, of why this book was made for children. Problem... Robert Sambre used a Dutch print of the fairytales, a 1721 Amsterdam edition which completely changed the order of the fairytales. Perrault's original order, in the 1697 edition, was: Sleeping Beauty - Little Red Riding Hood - Bluebeard - Puss in Boots - Toads and Diamonds - Cinderella - Riquet with the tuft - Little Thumbling. But in Samber's edition? Little Red Riding Hood - Diamonds and Toads - Bluebard - Sleeping Beauty - Puss in Boots - Cinderella - Riquet with the tuft - Little Thumbling. And... one more fairytale. "L'adroite princesse, ou les aventures de Finette" (translated as "The Discreet Princess"). This fairytale was actually not part of Perrault's texts - it was written by Perrault's niece, and one of the famous French fairytale authors, mademoiselle Lhéritier. But ever since this Dutch printing (and then its English translation, and then ever before since the first mistake was made in 1716), there is a common habit of identifying this fairytale as being Perrault's... a mistake which still appears sometimes today. But all of that to say, Samber's edition was complete randomness.

A few more reads disponible in English: "The Authentic Mother Goose Fairy Tales and Nursery Rhymes", 1960, by Barchilon and Petit + Jones' "Mother Goose's French Birth and British Afterlife" (this article is disponible on publicdomainreview.com)

Dutheil de la Rochère highlighted several key differences between Perrault's original French text, and Samber's translations, about the "Diamonds and Toads" fairytale. First, Samber's translation of the title as "The Fairy" - which isn't what Perrault wrote (he titled his stories "The Fairies", for subtle reasons since there is only one fairy in his story but who poses as two different women ; Samber probably meant to "correct" the title). Then there is the fact that Samber removed a certain "rustic", "peasant" tone and vocabulary within the dialogues, which Perrault precisely included to make the reader feel like in the French countryside and among common folks. There is also Samber's "moral" removing of a specific sentence - Perrault wrote that if the mother prefered one sister over the next, it was because she looked more like her and "people like more what is like them". It was part of Perrault's satire of human nature - Samber simply removed it all together. Finally, there is a distinctive "childish" selection of words to make the story seem more... "kiddy" let's say. Where Perrault wrote "a beautiful girl", Samber writes "a pretty little girl". Where Perrault wrote "my mother", Samber writes "mamma".

Random trivia: The nasty sister's name is translated as Fanny, a name derived from Frances and quite common in England at the time, soon to be associated with John Cleveland's scandalous "Fanny Hill, or Memoirs of a Woman of Pleasure". Perrault's name was merely "Fanchon", which is a rural diminutive of "Françoise" and was one of those stereotypical names for a young peasant girl.

Mind you, the "infantilization" of fairytales was not all due to England. It happened within France itself. Perrault, d'Aulnoy, Lhéritier and others were the first wave of fairytales, end of the 17th century. id 18th century there was a revival of the traditional French literary fairytale, a "second generation" so to speak - and a part of this generation grew the idea of writing fairytales for children. Chief in this school of thought was madame Leprince de Beaumont, the woman behind the most famous version of "Beauty and the Beast". She was a governess for the aristocracy, and part of what was then a progressive movement: teaching girls! Arg! The progress! As such, she personaly read fairytales as the perfect tool to teach children in a pleasant and educative way, and she was one of the first fairytale authors in France to have like straightforward manichean, moral and religious Morals at the end of her tales. Heck, her fairytale collection is called "Le magasin des enfants, "The children store", precisely because it was a children book.

But where am I going with this? Remember when I said Samber dedicated his work to the children of Lord Carteret? Well, Leprince de Beaumont also dedicated her work to children... To one child specifically. Sophia Carteret, youngest daughter of Lord Carteret (a character in the book was even based upon her). Indeed, while Madame Leprince de Beaumont was French and wrote in French, she had emigrated to London in 1748 and had worked there for British aristocracy. Given she created her own fairytales after Samber did his translation of Perrault's, and she herself described in her texts Perrault's story as "puerile but perfect for children" (*cough cough*), it is very likely she was influenced in her fairytale writing by Samber's complete reinterpretation and flasification of Perrault's tales. And since Leprince de Beaumont's work came to be spread and known throughout Western Europe... Began the misconception that fairytales had been written for kids.

Trivia: Madame Leprince de Beaumont wrote her own variant of "Toads and Diamonds" - but she wrote it as a fable. "The fable of the widow and her two daughters", in the line of other French fables for children such as those of Fénelon.

Last reading recs: Shefrin's "Governess to their Children: Royal and Aristocratic Mothers Educating Daughters in the reign of George III" (in "Childhood and Children's Books in Early Modern Europe" by Immel and Witmore) + Seifert's "Madame Leprince de Beaumont and the Infantilization of the Fairy Tale" (in "The Child in French and Francophone Literature".

[adarkrainbow]

Indeed! It is a little trivia people point out from time to time.

Mérimée never wrote about the "merveilleux", the style to which fairytales belong, however he left a deep mark within the "fantastique", its twin style. [Merveilleux (marvelous) is how French literature classifies tales where the supernatural is "accepted" or part of the world ; Fantastique (fantastical) is a term for all stories where the supernatural exists, but shocks the protagonist or suddenly appears within a "normal" world. Fairy tales are merveilleux, Dracula is fantastique.]

And it is quite fascinating to see that his two most famous fantastique tales (two short stories) are both imbued with a certain... I can say "fairytale subtext". One is "La Vénus d'Ille", an extremely famous story in French literature, likely inspired by the opera "Zampa", but which is the literary, French variation of a certain story-type that modern audiences today will be more familiar with under the shape of Tim Burton's The Corpse Bride. (Except La Vénus d'Ille is... much less joyful than The Corpse Bride)

The other is Lokis, a short story technically about Lithuanian legends and folklore, but which also explores a more general motif in European folklore: the supernatural bear/the bear-men/the bear husband.

Why did I not know until just now that Prosper Mérimée, the author of the original book of Carmen, was the great-grandson of Jeanne-Marie Le Prince de Beaumont, the author of the second and more familiar French literary version of Beauty and the Beast?!

@ariel-seagull-wings, @adarkrainbow

[lepetitdragonvert]

La Belle et la Bête / Beauty and the Beast

d’après le conte de Madame Le Prince de Beaumont

CERF - bohem press

1981

Artist : Fiona Moodie

[pompadourpink]

hi! what are the fairy tales that most french kids grow up hearing?

Hello,

I would say mostly Charles Perrault's Tales of Mother Goose (Sleeping Beauty, Puss in Boots) and Madame de Beaumont (la Belle et la Bête), as well as a handful of the Andersen tales (the Little Mermaid, the Princess and the Pea) although they are Danish. Madame de Ségur's Les malheurs de Sophie used to be popular as well because of the animated show (1998).

We are also expected to memorise a dozen Fables by Jean de la Fontaine in primary school (which are adaptations of Aesop's works). Later, most of us have to read Candide by Voltaire and one or two of the Lettres Persanes of Montesquieu.

Hope this helps! x

Fanmail - masterlist (2016-) - archives - hire me - reviews (2020-) - Drive

[unchataparis]

Iris Verdi

Liladrien Week 2024 | Day Six: School

Adrien has started to call neo-Françoise Dupont the ‘green school’, although this probably wouldn’t make much sense to anyone else.

After all, to specifically attribute such an adjective would usually mean that the place stands out for it. No one would call a Haussmann terrace in the middle of Paris the ‘limestone house’ and no one would describe a specific cow among a black-and-white pasture as the Holstein-Friesian cattle.

Neo-Françoise Dupont is surrounded by buildings just as frondescent, just as sustainable, just as solar punk. Ink-dark glass panels installed upon rooftops, slanted on both sides, to catch every last drop of UV light. Lively lavender and frog-green ivy climbing up brick façades, low buildings, and a community garden in each apartment park – appropriately named because with the rise of interest in human-centred, hands-on community hubs, each residential area in Paris is now built around children’s playgrounds.

Still, when Adrien bikes to school this morning, waving hello to neighbours and fellow students – bikes because there are no longer any needs for individual cars and he lives too close to the school to rely on the entirely electric mini buses –  he pulls up to a Françoise Dupont that seems a cut above the rest of regenerated Paris.

Apple and tangerine trees planted in the courtyard bloom generous fruit in the height of spring, a warm breeze ruffles the verdant leaves. Colour-coded bins are clearly marked Déchets, Recyclage, and Compost. Stickered rainwater tanks decorate corners and crevices. 

Members of the student council and volunteers are manning the morning breakfast program. Fresh juice, waffles, cereal, yoghurt, eggs, and bacon are divided in catering trays and sampled freely by hungry students bearing wooden plates and metal cutlery.

In Adrien’s new homeroom, manned by a newcomer to the school named Madame Beaumont, most of his classmates are already gathered and they cheer to see him.

“Morning, Adrien!” Kim bellows across the room. He’s wearing a recycled polyester and cotton-blend hoodie with thrifted jeans. Beside him, Max dons a tunic weaved from hemp linen.

“Morning!” Rose chirps.

“You’re almost late!” Alya teases.

“Hey, guys.” Adrien looks down at the front row where Marinette is sitting. Hair tied into pigtails with gingham ribbons, lids and lips tainted with cocoa-butter-based cosmetics. She beams, clearly waiting for him and demurely pats the seat beside her. Adrien drops his canvas satchel and blows a gentle kiss towards his girlfriend. Marinette’s cheeks darken even further, already adorably flushed, and although she trembles, she doesn’t panic. Adrien is so proud of her. Marinette is growing over her fears admirably, conquering past trauma bit by bit like a champion.

“Alright, class!” Madame Beaumont announces, clapping her hands together to rein some control over her raucous homeroom. 

Nathaniel is doodling in a kraft paper sketchbook and Mylène is showing off her homemade bead jewellery to Juleka and Ivan. In the row behind them, Alya and Nino had leaned over to start talking to Adrien and Marinette about plans for the weekend. The Seine is crystal-clear and smells of salt and algae, perfect for swimming in. And afterwards, how about a picnic at the Jardin du Tuileries?

“Class!” Madame Beaumont repeats sharply. “Please – your attention, please!”

Voices settle down and rears are fully planted down on benches.

Madame Beaumont clears her throat before the classroom’s interactive whiteboard. Adrien sees the plans for today’s lessons floating there: agriculture lectures and an introspective analysis of Dead Poets Society.

“I’m very happy to announce that we’re going to have a new student join our class today,” Madame Beaumont says. “Her name is Iris Verdi and she hails all the way from Italy. This is her first time in France and she’s still getting a little used to the language. So, please give a very warm welcome and a friendly greeting to our new friend!”

Adrien claps along with the rest of the class as Madame Beaumont gestures for someone outside the classroom to step in. Adrien claps along with the rest of the class as an unusually tall girl saunters her way beside Madame Beaumont. Adrien stops clapping when the girl turns to face them with a smile that borders on a smirk, but no one else does.

The rest of the class continues clapping for this girl. She has long, nearly-yellow blonde hair twisted into a low chignon. She wears a red wool beret and matching blazer, a smart grey vest, a pleated black skirt, and polished leather boots. Her eyes are vixen-like and rimmed with black, her lips are pouty and glossy with the colour of ripe apricots.

“Bonjour, everyone!” she says in a sweet, melodic voice. Her nails are almond-shaped and painted the same colour as her lips. She has slung upon one shoulder a brown leather schoolbag. “It’s so nice to see you all.”

“Hi, Iris!” the class choruses.

Adrien looks behind him to see all of his friends beaming at Iris with nothing but geniality and sociable curiosity in their eyes. Adrien looks to his right to see Marinette nodding at Iris with warm welcome.

“As Madame Beaumont told you all,” Iris says in an accent that is different to the one she used when she came to their school as a new student last time. Less high-pitched, more sensible. With an undercurrent like trickling water. “This is my first time in Paris and French is a third language. Please forgive me if I make any errors.”

“Nonense!” Rose cries. “You sound fine.”

Everyone chants in agreement.

Iris’ eyes curve with her smile, her hands coming up to cup her mouth in faux overwhelm. 

“Oh, you guys are so kind!” she coos. “I can already tell I’m going to have the time of my life here!”

“French is your third language?” Marinette asks. “What’s your second?”

“English,” Iris replies easily. “Although that’s only because I’ve spent half of my childhood growing up in California.”

“California?” Alya says, perking up as she always does whenever anyone makes the slightest mention of the U.S. 

“Isn’t that where Hollywood is?” Nathaniel remarks.

“Yes!” Iris says. “Actually, I lived with my uncle just on the outskirts of LA where he owns a vineyard. It was a super cool place to grow up, because you get to meet the fanciest people and celebrities who come to tour.”

The class whispers their excitement to each other.

“How exotic!” Madame Beaumont says.

“If everyone’s willing,” Iris says, unclasping the magnetic flap of her bag. “I could show you all some pictures–”

“Excuse me,” Adrien says, speaking up. He feels as if he had been submerged in a dream-like trance where he was nothing but a helpless and doomed witness to pre-destined events. He listened to the inane conversation and if he himself lacked a mouth to speak with and a will to act with. Adrien snapped out of his stupor because Iris’ act of opening her bag reminded Adrien intensely of her opening her bag when she showed Adrien her faux-Fox Miraculous almost exactly one year ago. “But aren’t you Lila Rossi?”

Read the rest on Ao3 here.

[jeongyunhoed]

As seen on my FF.net Also seen on my Ao3

Following the events of fifth year, a new adventure awaits for Norah Lee. Boys, exams, school events, common room parties, and old foes outside of Hogwarts. Even battling pensieve guardians was easier than this.

Main Pair: OC/? Genre: Adventure/Angst/Fluff (it's a little of everything, tbh)

KEEP IN MIND: Characters are aged up (even if the story's got them in sixth year) to make it more appropriate. Time period is leaning towards the modern day so in case you might find anachronisms in the dialogue or references, this is why. This may also be quite a lengthy fic too.

BE WARNED: Social anxiety, mentions of blood and injury, grief, drinking, kissing but nothing more than that, death (this is Hogwarts Legacy, after all)

P.P.S: Some "trauma dumping" ahead between Norah and Garreth. Also some slight sexual tension too. I'm setting up what would be a very FWB relationship ahead. No smut though. Smut's gonna be in the sequel.

Masterlist

Chapter 16

The congratulatory comments Norah heard didn't seem to stop at Hogwarts. Everywhere she, Amit, Sebastian, and Natty went, she would be met with well-wishes from people whom she helped the year prior. At the back of her mind, Norah felt like this seemed to pose a distraction from the fact that Harlow was still on the loose and was rebuilding his business enterprise, perhaps finishing what Ranrok and Rookwood started but failed. As much as she wanted to revel in the good feeling of having achieved such an accolade, Norah felt like there was still more to be done. Even Madam Beaumont had previously warned her that she had done all that she could. And Merlin knows what Mrs. Daisy Rabe and Madam Bickle would tell her next about this.

Or worse, that damned Officer Ruth Singer. Norah didn't have fond memories of her encounters with the so-called law enforcer. If she and Natty had to take matters into their own hands to catch Harlow the first time, she was doubtful Officer Singer and the authorities would make more of an effort this time. The lack of effort only made Norah despise Officer Singer.

But, as Norah had observed, only months into the sixth year at Hogwarts, she was also undergoing the very familiar, but also quite bittersweet, feeling of her friend circle going through some changes. Because Andrew and Poppy had now become an item, she hardly hung out with them as she was now absorbed into Andrew's circle of friends. Natty seemed like she was on the verge of it as well, given the possible nature of her relationship with Henry, whatever it was that was going on between them. This reminded her that the wizarding world wasn't all that different from how muggles lived their lives. Including friends who ditched their friends to be with their romantic partners.

Nevertheless, Norah had come to terms with it, but it left her unsure of who to turn to now. They only had a year left until they were finished with Hogwarts, and what then? They would be on their own. Those thoughts had left her with the conclusion that she seemed better off hanging out with whoever wanted to hang out with her.

The price to pay for being a Slytherin, perhaps. Everyone would eventually not like her as much. It seemed like a lonely life was ahead, and being named the Hero of Hogwarts wasn't as all as it's cut out to be.

She dwelled on those thoughts while sitting at the bar of the Three Broomsticks one afternoon, with days left until the Hufflepuff common room party. More than a month left until the Yule Ball as well.

"Sickle for your thoughts?"

Norah snapped out of her continued dwelling when she saw Garreth appear, seating himself on the stool next to her while Sirona poured him a pint of butterbeer. "What?"

"You looked like you've got something on your mind," Garreth replied before taking a sip of his drink. "In fact, if I recall correctly, you've been like that for a while, is something wrong?"

Norah smiled and shook her head. "Don't worry about it. I can deal with it."

But the redhead didn't seem so convinced. "Even heroes need help, you know," He teased.

"Hero," Norah scoffed. "That's interesting. I don't feel like it, that's for sure."

Garreth's teasing expression faded at her words. "I'm sorry, that might've been inappropriate for me to say."

Norah waved a hand dismissively. "No, no, it's not your fault. I'm sorry, I'm just not feeling like myself today."

The Gryffindor looked down at his drink, then glanced at her. "Norah, I know our last conversation ended the way it did, but that doesn't change the fact that you've helped me, that you've been willing to help me, without even asking for anything in return."

"Then do me a favor and please don't ask," Norah quipped, glancing at him. "I know you're just trying to help, but I can assure you, I can handle it. Whatever it is."

Garreth didn't press any further, taking a long drink of his butterbeer as he glanced at her every now and then. "My oldest brother thinks the same way whenever we can tell he's having a hard time. Thinking he can deal with it on his own because it's what's expected of him. Whenever we ask if we could help, he brushes it off, telling us not to worry because he, as you said, could deal with it. He thinks we simply don't understand," He said quietly as he recalled those memories. "I'm really going to back off after this, but just know that it's good to let it out. Better out than in, is what my mum always says."

He finished his pint, asking Sirona for another one, in which she obliged, glancing at Norah with a hint of concern on her face from time to time. The two of them continued drinking in silence. Norah was stubborn that way. She didn't want to involve anyone out of knowledge that most of them couldn't even fathom what she had to face the year before. Even as they had repeatedly assured her that they would be fine.

As Amit once told her after they went through the goblin mine, that the whole escapade was enough of an adventure for a lifetime.

But if she wanted to change it, to change this thinking, she knew she had to make an effort, and it was going to be hard. She was, what the muggles would call, brooding, and she didn't like it.

"I don't know what to do," She suddenly said, after feeling some difficulty saying it. Garreth glanced at her, not saying anything but he remained still, ready to listen. "We're in sixth year, I don't know what to do after we leave Hogwarts, what profession to take up, and as much as I say I don't care if no one asks me to the Yule Ball, it still stings to know that it might be true. I have some unfinished business to take care of, NEWTs might become my cause of death, and I'm not sure if I still have my group of friends this year."

Garreth stared at his own drink while he listened. He wasn't sure if it was a good time to try and make her feel better, but his instincts told him not to say anything for now. Perhaps Norah was going to say more, and she did.

"Frankly, I was still embarrassed after the whole boggart thing. Carrow cursing me in the entrance hall was another thing to be embarrassed about," Norah somehow felt herself becoming more at ease. "Adele Kang told me I would've been confused for a Gryffindor because of how much I bled, apparently. But I ultimately felt ashamed, because people have this image of me in their heads, that I'm brave or something, that I couldn't get hurt, that what happened to me down at the caverns was nothing. I'm having a hard time trying to live up to that."

You don't have to, you never had to, Garreth thought. He wanted to say it, but he knew better than to do so for now.

"In reality, all those things that happened to me the year before? I was just as terrified, I feared for my life just as much as anyone. Imagine having to face several acromantulas in one year? Fighting troll after troll after troll? An entire cellar full of spiders big and small, multiple loyalist and Ashwinder encampments? Inferi?" Norah sighed. "The cave near the castle that's been infested with dugbogs, a dragon fighting ring. Sometimes I get the shivers just imagining those dead dugbogs still floating in the water."

Garreth also shuddered at the thought.

"But most of all? It's terrifying knowing that I actually fancy someone. But I know he doesn't plan on anything. He's too scarred by his own past to consider anything, not that I know he likes me back, but," Norah shrugged. "It's like everything and nothing all at once."

The description seemed familiar, and Garreth had an idea of who she was talking about. He's a complete idiot if he doesn't ask her to the ball, Garreth thought. But hearing her explain what was on her mind seemed to humble him a little bit and comfort him at the same time. The hero of Hogwarts, the youngest recipient of the Order of Merlin, First Class, admitting how even she had been struggling this entire time. Perhaps since the end of fifth year even.

Norah glanced at him, having been quiet this entire time. "I'm sorry for suddenly dumping this on you, I know it's a lot," She said, emptying her pint. "I told you I needed to deal with it on my own."

Garreth shook his head. "It's not a problem. In fact, I think it's a wonder that you managed to make it out of those in one piece, no injuries, nothing," He said. "...You still don't have a date to the Yule Ball, do you?"

She shook her head. "No, but I just think it's because I've scared anyone who would want to try, off," She muttered with a sigh. "Or maybe I'm just not anyone's type, which leaves me wondering what I should do to appear otherwise."

"You don't have to do anything," Sirona blurted out, refilling their pints. They can tell she had long wanted to say something. "You won't lose anything if no one asks you, but you should never feel like you're doing something wrong. In fact, I think it says more about those boys than it does about you if no one seeks you out for the Yule Ball."

Norah stared at the bubbles and the foam of her butterbeer. "It is pointless to try and make all that effort to get a boy to notice me," She nodded. "Besides, it's not the end of the world if no one asks me to the ball, compared to what Natty and Nellie are making it out to be."

The mention of Nellie made Garreth look up, then sigh. "Nellie really fancies Amit," He said. "You were right last time, maybe I really should move on."

Norah frowned. "It went downhill, huh?"

Garreth hummed. "She said she never really saw me as anything other than a friend, a schoolmate even. What's worse? I'm not even her type."

"I'm sorry, you must really like her," Norah said, moving her pint towards his in a toast. "The next round of butterbeer's my treat."

She laid down some more coins before Garreth could decline. "Thanks," He said, only to sit up when he remembered something. "My brew's ready now, by the way. It's in the Honeydukes cellar if you'd like to come try some," He suggested.

"We can finish this first," Norah joked as they downed what was left from their mugs.

~

A moment later and they found themselves in the sweet shop's cellar, looking at a barrel painted red with gold letters that said "Weasley's Fizz-beer." Garreth conjured some mugs to fill it in with the bubbly amber-colored liquid that smelled like the sweet treat itself. "Took a while to perfect, a year and a half, but I think I've nailed the recipe now. I would've preferred to make it look like the candy, but this is much better," He was pleased, taking another sniff of the beverage.

Norah brought the mug to her lips to take a sip. It tasted just like Fizzing Whizz-bees, only much stronger. It wasn't sickly sweet, but sweet enough to mask the alcohol content for a moment. It took her a moment to realize that she was already inches off the floor, as was Garreth, who looked even more overjoyed and nearly spilled his drink in the process.

Once their feet were firmly on the floor, Garreth put his mug down, arms suddenly outstretched and coming in for a hug. Norah, taken by surprise, wrapped an arm around him to return it, feeling a little calm now at the contact. He was warm, they both were, from the few butterbeers and then this. The brew aside, Norah could get a whiff of his cologne.

"I have to hand it to you, Garreth, you did well on this. You should bring this to the Hufflepuff party," She suggested as they pulled away, taking another sip and feeling herself float off the floor a few inches again. It was mostly to hide how she felt her cheeks heat up at how close they suddenly got. She reminded herself that it was because of the butterbeers and the brew.

Garreth grinned. "You think I should?" He said, making sure to reach out to her while she took another sip.

"Yeah, I mean, I didn't die or break out or anything, I think it's a success," Norah gave him a thumbs up as her feet were back on the ground.

She put the empty mug down, followed by a quick evanesco to clear them. "I'm quite brilliant, aren't I?" Garreth looked proud, as if his little revelation about his heartache earlier never happened.

Norah laughed as they went down the secret passage to leave. "Don't push your luck, you might not be to successful next time."

They passed through the familiar caverns, opting to swim rather than make the jump instead to get to the other side. Garreth took the lead, his cheeks suddenly getting ruddy when Norah emerged from the water, followed by a charm to dry their clothes. He was going to pretend he didn't accidentally glance at the way Norah's wet clothes clung to her.

"I'm forever glad you told me about this passage, Garreth. With people trying to look for me all of a sudden, even those I don't know, this is a nice way to go back to the castle," She said as they passed through the narrow lanes, some of which were covered in cobwebs.

Garreth turned to her, the thoughts of the two of them getting wet from the body of water they climbed out from and their little hug in Honeydukes cellar still on his mind. At this point, some parts of her dark brown hair were still wet at the ends, further reminding him of how she looked.

"Well, you were the new fifth year, I needed to tell you some of the ins and outs of the castle, even ones not many teachers know about, especially Professor Black," He tried to say as coolly as possible as they entered the lift that would bring them up to the entrance of the passage. "Besides, it looks like we ended up in Hogsmeade and back together after all," He said.

Norah smiled, the two of them getting off the elevator and climbing up the steps to the door that was behind the statue. She could feel herself getting rather light-headed, a little tipsy even, and she suddenly giggled, making Garreth turn to her, holding her by the arm in case she fell over.

"We might have had a bit to drink, huh? Or my brew was surprisingly strong," The redhead started laughing as well. "Ironically, I didn't even put alihotsy into this brew," He leaned toward her, the two of them leaning on each other for support. "Oh no, this isn't going to sit well with anyone."

"Your brew was stronger than you thought," Norah playfully slapped his arm, which slinked around her waist while they held each other up. "But I think we needed it, to clear our minds of whatever we're going through," she said, looking down at their feet.

As she looked up, she caught his gaze, their expression softening the closer they got to the entrance, the looming figure of the statue near. "I've got some hangover tonic in the common room," He said quietly. "You know, I'm curious as to what it would be like to kiss you."

Norah's cheeks turned pink at the remark. "Why don't you find out for yourself?" She challenged, another giggle escaping her.

The redhead hummed and groaned. "If I do anything, it will feel like I'm taking advantage of you again," He said, shaking his head.

Another giggle came from her. "I'm giving you an advantage. You get to kiss me, I finally know what it'll be like to be kissed by someone not related to me," she said. "This doesn't mean anything anyway, you were curious, I let you. And of all places, we're here, where hardly anyone can see us."

Garreth chuckled. "I don't know what it is about you Slytherins, especially you, Norah Lee. If I didn't know any better, I'd think you fancied me."

Norah scoffed. "I simply took the opportunity of wanting to know what it's like to be kissed. If you don't want to, it's okay. That just means you're a good person."

As if on reflex , Garreth wrapped his other arm around her waist. "You're making it hard for me to resist. Are you sure nothing will happen?"

"I should ask you the same thing," Norah patted his cheek, which he immediately leaned into. "You really made something strong with that brew, if the two of us are being like this..." She muttered, staring when Garreth pressed his forehead on hers. "How are you going to give me that hangover tonic when our common rooms are far away from each other?"

Garreth hummed. "You're right. Do you think we should sleep it off?" He said, giving her a little squeeze before letting go. "Maybe I could get Sallow to bring it to you."

"Sebastian?" Norah laughed. "I don't think anyone should know, at least for now."

"If you say so," Garreth sighed, trying to hold back his laughter as they stepped out.

[zelenxa]

1311 - The Beaumonts

Dayana walks down downhill from the Beaumont house, lifting her dress up to her ankles to avoid tripping on the fabric. The sun hangs high in the afternoon sky, surrounded by a cloudless sky.

Recently, it feels like Dayana and Gloria have grown distant from each other. The time Dayana spends at home spaces and then lessens. Alexandre has spent much more of his time in the surrounding villages of Dayana’s own - likely much to the delight of the local taverns and inns - and whilst it’s been perhaps the best few months of her life, it’s left Dayana further distress over her mother shattering their little bubble of joy.

“Madame,” Alexandre greets, reaching a hand out to help Dayana onto the bandwagon.

She resists the urge to blush, instead huffing, a small smile pulling at her face. As of this morning, the bandwagon holds two other people in the cart; A woman Dayana recognizes from the Galbury Tavern, Beatrice, and another man she doesn’t recognize at all guiding the bandwagon with the donkey.

“Oh? Am I early?” Dayana questions, looking to her fiancé. The troubadour squeezes her hand in a quiet sign of affection before confirming her question. Beatrice buds in a beat later, pulling her orange hair into a ponytail.

“We’re going to town square.”

“What are you doing so far from home?” Dayana asks, repositioning her space on the haystack to lean on Alexandre’s shoulder. He lays his head atop hers.

“Vacation,” Beatrice takes a sip from her ale. She pulls back with a sour look of displeasure on her face. Dayana hears Alexandre snort. Beatrice reiterates her answer. “With the influx of people coming in to trade harvested goods, we’re running out of my special herbs…” She swallows. “Why the hell is this so sweet?”

Dayana shrugs, Alexandre answers for her. “The alewife has a sweet tooth.”

“Yeah,” Beatrice inspects the mug of ale with a look that signals she finds it an abomination. “Clearly.” She pauses before standing up, dusting straw off her bottom. She hands the ale off to Alexandre, who gladly takes the free drink.

The couple falls quiet after Beatrice’s retreat, though it doesn’t particularly mean it’s silent. The town square is filled to the brim with activity. Even with the scorching sun, traders are out and loudly advertising goods while people go about their day’s work. Every once in a while, Alexandre strings something about on his lute and then returns to humming, repeating the progress as his time on the instrument grows longer. Dayana exhales, at this moment wishing she had lived closer to the village. She’d liked waking up to this activity, even as she knew her mother very well-preferred the silence the houses closer to the southern fields provided.

“Hey,” she starts suddenly, sitting up to look at Alexandre properly. “Do you…” Dayana feels her mouth go dry, the spur of boldness sparkling out.

Alexandre notices the hesitancy and fear in her voice immediately, and looks up, dark brown eyes meeting Dayana’s lighter, amber shades. “Do I..?”

“Uh—“ Dayana stumbles, which only further makes Alexandre worry. He lays down his lute and looks at Dayana the way he always does when something serious has occurred and he wants her to know she has his full attention. Just recognizing the stunt makes Dayana’s chest loosen enough to babble a resemblance of her fears. She knows Alexandre, her mother doesn’t.

“My mother,” she gets out with trouble. “She… She doesn’t know.” Alexandre knows this. She’s told him of every conflict she and Gloria have faced in light of their relationship, yet she reaffirms it. “Y-You know this, right? My, my dowry, it’s not…”

“Likely to occur..?” Alexandre finishes for her, voice uncharacteristically softening.

“Yes,” Dayana blurts out, releasing the word out of her lips like a dam strained against the weight of the ocean. With how long she’s held this fear in her heart, its intensity feels like the weight of a hundred worlds.

Alexandre reaches out to hold Dayana’s hands, accent thick when he says his next words. This confession moment feels too important to be said off to the sides of this rowdy environment, but it fits them. Was it not a tavern they had met anyway?

“Day, I was well aware of the complications of your dowry from the moment your mother denounced any notion of a relationship with me,” he says, reaching up to touch her hair. “I’ve thought on this, and I don’t care. I’ve made it this far without extra coin, I can make it further.”

He pauses, a flicker of doubt revealing itself through his own armor. “Your mother is right, though,” he adds, and it sounds almost like he struggles to say it in fear of what Dayana will answer next. “My profession will not yield the most desirable future for our children, but it is something I want to do, something I love to do… It requires a lot of traveling, and the fruits of my labor often bear themselves late. I know you know this, and you know that I know you know it, but—”

“I’m well aware too,” Dayana cuts in, repeating his very words. “I’ve had a lot of time to think on it too,” she reaffirms, aware, for the longest time, her image of their future together was concealed by rose-tinted glasses and naïveté. In part, it still is.

“But, I want this. I promise I do.”

next (chrono) // next (allaire) // previous

[identity-library]

Diverse Sexuality (TV Shows)

A:

Agents of S.H.I.E.L.D. (2013)

José "Joey" Gutierrez (Gay)

Marcus Benson (Gay)

All Saints (1998)

Charlotte Beaumont (Bisexual)

American Dad (2005)

Greg (Gay)

Terry (Gay)

Andor (2022)

Cinta Kaz (Unspecified WLW)

Vel Sartha (Unspecified WLW)

Arthur (1996)

Nigel Ratburn (Gay)

Patrick (Gay)

B:

Battlestar Galactica (2004)

Felix Gaeta (Bisexual)

Big Mouth (2017)

Ali (Pansexual)

Charles Lu (Unspecified MLM)

Connie LaCienega (Pansexual)

Elijah (Asexual)

Jayzarian "Jay" Bilzerian (Bisexual)

Jessica "Jessi" Glaser (Bisexual)

Matthew MacDell (Gay)

Maury Beverly (Pansexual)

Megan (Bisexual)

Mona (Bisexual)

Nadja El-Khoury (Lesbian)

Shannon Glaser (Lesbian)

Simon Sex (Bisexual)

Sonya Poinsettia (Bisexual)

Tyler Pico (Pansexual)

Bob's Burgers (2011)

Natalie "Nat" Kinkle (Unspecified WLW)

Brooklyn Nine-Nine (2013)

Jenny Gildenhorn (Bisexual)

Jocelyn Price (Lesbian)

Kevin Cozner (Gay)

Raymond "Ray" Holt (Gay)

Rosalita "Rosa" Diaz (Bisexual)

C:

Chicago Fire (2012)

Clarice Carthage (Bisexual)

Darren Ritter (Gay)

Emily Foster (Bisexual)

Leslie Shay (Lesbian)

Chicago Med (2015)

Lawrence Dayle (Unspecified MLM)

Peter Kalmick (Unspecified MLM)

Terry McNeal (Gay)

Code Black (2015)

Carla Niven (Lesbian)

Malaya Pineda (Lesbian)

Noa Kean (Bisexual)

Community (2009)

Craig Pelton (Unlabeled MLM)

Frankie Dart (Unspecified WLW)

Craig of the Creek (2018)

Alexis (Pansexual)

Courtney (Lesbian)

George (Gay)

Jasmine Williams (Lesbian)

Kelsey Pokoly (Lesbian)

Laura Mercer (Lesbian)

Raj (Gay)

Secret Keeper (Gay)

Shawn (Gay)

Stacks (Lesbian)

Tabitha (Lesbian)

D:

Dead End: Paranormal Park (2022)

Barney Guttman (Gay)

Logan Nguyen (Gay)

Norma Khan (Bisexual)

Zagan (Pansexual)

Doom Patrol (2019)

Kay Challis/Crazy Jane (Lesbian)

Larry Trainor (Gay)

Dr. Who (2005)

Adric (Pansexual)

Bill Potts (Lesbian)

Canton Everett Delaware ||| (Gay)

Chris Cwej (Bisexual)

Clara Oswald (Bisexual)

Elizabeth "Liz" Shaw (Bisexual)

Heather (Lesbian)

Jack Harkness (Omnisexual + Polyamorous)

Jennifer "Jenny Flint" Scarrity (Lesbian)

Madame Vastra (Lesbian)

Melony "River Song" Pond (Bisexual + Polyamorous)

Nyssa of Traken (Bisexual)

Oliver Harper (Gay)

Olivia "Liv" Chenka (Bisexual)

Patricia Haggard (Lesbian)

Rogue (Gay)

Tania Bell (Lesbian)

Tegan Jovanka (Bisexual)

Toshiko Sato (Bisexual)

Yasmin Khan (Queer)

E:

Equestria Girls (2017)

Sunset Shimmer (Bisexual)

ER (1994)

Courtney Brown (Lesbian)

Kerry Weaver (Lesbian)

Kim Legaspi (Lesbian)

Maggie Doyle (Lesbian)

Sandy Lopez (Lesbian)

Euphoria (2019)

Cal Jacobs (Bisexual)

Elliot (Unlabeled MLM)

Jules Vaughn (Unlabeled WLW)

Nate Jacobs (Unspecified MLM)

Rue Bennett (Lesbian)

Ever After High (2013)

Apple White (Unspecified WLW)

Darling Charming (Unspecified WLW)

F:

G:

Glee (2009)

Adam Crawford (Gay)

Alistair (Unspecified MLM)

Blaine Anderson (Gay)

Brittany Pierce (Bisexual)

Dani (Lesbian)

David "Dave" Karofsky (Gay)

Elliott Gilbert (Gay)

Hiram Barry (Gay)

Kurt Hummel (Gay)

Leroy Barry (Gay)

Santana Lopez (Lesbian)

Sebastian Smythe (Bisexual)

Spencer Porter (Gay)

Grey's Anatomy (2005)

Amelia Shepherd (Bisexual)

Arizona Robbins (Lesbian)

Callie Torres (Bisexual)

Carina DeLuca (Bisexual)

Dayna Knox (Lesbian)

Eliza Minnick (Lesbian)

Erica Hahn (Lesbian)

Levi Schmitt (Gay)

Mika Yasuda (Bisexual)

Nico Kim (Gay)

Taryn Helm (Lesbian)

Teddy Altman (Bisexual)

H:

Harley Quinn (2019)

Basil Karlo/Clayface (Gay)

Edward Nygma/The Riddler (Gay)

Frank (Asexual)

Harleen Quinzel/Harley Quinn (Bisexual)

Leslie Wills/Livewire (Lesbian)

Mari McCabe/Vixen (Bisexual)

Pamela Isley/Poison Ivy (Bisexual)

Selina Kyle/Catwoman (Unspecified WLW)

Sylvester "Sy" Borgman (Bisexual)

Hazbin Hotel (2024)

Alastor (Aromantic, Asexual)

Angel Dust (Gay)

Charlotte "Charlie" Morningstar (Lesbian)

Cherri Bomb (Bisexual)

Husker (Pansexual)

Sir Pentious (Bisexual)

Vaggie (Unspecified WLW)

Valentino (Pansexual)

Vox (Bisexual)

Heartbreak High (2022)

Darren Rivers (Gay, Queer)

Donald "Ca$h" Piggott (Asexual)

Dustin Reid (Unspecified MLM)

Malakai Mitchell (Bisexual)

Missy Beckett (Bisexual)

Quinni Gallagher-Jones (Lesbian)

Rowan Callaghan (Bisexual)

Sasha So (Lesbian)

Heartstopper (2022)

Ben Hope (Unspecified MLM)

Charles "Charlie" Spring (Gay)

Darcy Olsson (Lesbian)

Isaac Henderson (Asexual, Aromantic)

Nick Nelson (Bisexual)

Tara Jones (Lesbian)

How I Met Your Mother (2005)

James Stinson (Gay)

Human Resources (2022)

Claudia (Lesbian)

Danielle (Lesbian)

Flanny O'Lympic (Bisexual)

Van (Lesbian)

I:

J:

K:

L:

M:

Miraculous: Tales of Ladybug & Cat Noir (2015)

Alix Kubdel (Aromantic)

Caline Bustier (Unspecified WLW)

Gisèle (Unspecified WLW)

Juleka Couffaine (Unspecified WLW)

Marc Anciel (Unspecified MLM)

Max Kanté (Asexual)

Nathaniel Kurtzberg (Unspecified MLM)

Rose Lavillant (Unspecified WLW)

Zoé Lee (Unspecified WLW)

Modern Family (2009)

Cameron Tucker (Gay)

Gil Thorpe (Gay)

Mitchell Pritchett (Gay)

Pepper Saltzman (Gay)

Ronaldo (Unspecified MLM)

Mom (2013)

Bonnie Plunkett (Bisexual)

Ray Stabler (Gay)

Rudy (Bisexual)

N:

Nanbaka (2016)

Jyugo (Bisexual)

New Amsterdam (2018)

Elizabeth Wilder (Bisexual)

Iggy Frome (Gay)

Lauren Bloom (Bisexual)

Leyla Shinwari (Lesbian)

Martin McIntyre (Gay)

New Girl (2011)

Melissa (Unspecified WLW)

Reagan Lucas (Bisexual)

Sadie (Lesbian)

O:

P:

Peacemaker (2022)

Christopher Smith/Peacemaker (Bisexual)

Leota Adebayo (Lesbian)

Private Practice (2007)

Amelia Shepherd (Bisexual)

Q:

R:

Raising Dion (2019)

Kat Neese (Lesbian)

Roswell, New Mexico (2019)

Alex Manes (Gay)

Allie Meyers (Unspecified WLW)

Anatsa Mufaro (Unspecified WLW)

Blaire (Unspecified WLW)

Forrest (Gay)

Isobel Evans-Bracken (Bisexual)

Michael Guerin (Bisexual)

Shivani Sen (Unspecified WLW)

Runaways (2017)

Karolina Dean (Lesbian)

Nico Minoru (Bisexual)

Xavin (Pansexual)

S:

Safe (2018)

Pete Mayfield (Gay)

Saving Hope (2012)

Bree Hannigan (Lesbian)

Maggie Lin (Bisexual)

Sydney Katz (Lesbian)

Shadowhunters (2016)

Alexander "Alec" Lightwood (Gay)

Aline Penhallow (Unspecified WLW)

Magnus Bane (Bisexual)

Olivia Wilson (Unspecified WLW)

Samantha (Unspecified WLW)

She-Ra and the Princesses of Power (2018)

Adora (Lesbian)

Bow (Bisexual)

Catra (Lesbian)

Double Trouble (Gay)

Entrapta (Bisexual)

George (Gay)

Glimmer (Bisexual)

Huntara (Lesbian)

Kyle (Bisexual)

Lance (Gay)

Light Hope (Lesbian)

Lonnie (Bisexual)

Mara (Lesbian)

Mermista (Bisexual)

Netossa (Lesbian)

Perfuma (Unspecified WLW)

Rogelio (Bisexual)

Scorpia (Lesbian)

Sea Hawk (Bisexual)

Spinnerella (Lesbian)

Station 19 (2018)

Amelia Shepherd (Bisexual)

Carina DeLuca (Bisexual)

Dayna Knox (Lesbian)

Eli Stern (Bisexual)

Emmett Dixon (Gay)

Maya Bishop (Bisexual)

Michelle Alvarez (Lesbian)

Nikki (Bisexual)

Pam Williams (Lesbian)

Travis Montgomery (Gay)

Steven Universe (2013)

Bismuth (Lesbian)

Dogcopter (Gay)

Harold Smiley (Gay)

Pearl (Lesbian)

Peridot (Asexual, Aromantic)

Ruby (Lesbian)

Sapphire (Lesbian)

Stumptown (2019)

Dex Parios (Bisexual)

T:

The Babysitter's Club (2020)

Dawn Schafer (Unlabeled WLW)

Janine Kishi (Lesbian)

The Magicians (2015)

Eliot Waugh (Gay)

The Owl House (2020)

Amity Blight (Lesbian)

Darius Deamonne (Gay)

Eda Clawthorne (Bisexual)

Gilbert Park (Unspecified MLM)

Harvey Park (Unspecified MLM)

Hunter (Bisexual)

Lilith Clawthorne (Asexual, Aromantic)

Luz Noceda (Bisexual)

Willow Park (Bisexual)

The Resident (2018)

Jake Wong (Gay)

The Rookie (2018)

Jackson West (Gay)

Gino Brown (Gay)

The Second Best Hospital in the Galaxy (2024)

Klak (Unspecified WLW)

Slug Girl (Unspecified WLW)

The 100 (2014)

Bryan (Gay)

Clarke Griffin (Bisexual)

Eric Jackson (Gay)

Lexa (Lesbian)

Nathan Miller (Gay)

Niylah (Lesbian)

Zev (Gay)

Titans (2018)

Tim Drake/Robin (Bisexual)

Total Drama (Franchise)

Bowie (Gay)

Raj (Gay)

U:

V:

W:

X:

Y:

Z:

#:

9-1-1 (2018)

David Hale (Unspecified MLM)

Evan "Buck" Buckley (Bisexual)

Henrietta "Hen" Wilson (Lesbian)

John Russo (Unspecified MLM)

Karen Wilson (Lesbian)

Michael Grant (Gay)

Tommy Kinard (Gay)

9-1-1: Lone Star (2020)

Carlos Reyes (Gay)

Tyler Kennedy "TK" Strand (Gay)

[saintandasinner]

She said yes!

I still can't believe it. After all the ups and downs we finally found each other again and you will be my wife.

I can't put into words how happy you make me and I don't want to spend a day without you because you make me complete. I can't wait to experience my future with you.

You are my life, my love and my heart.

Madame Beaumont

@monegasque-fille

[adarkrainbow]

I am currently re-reading Jack Zipes' "Fairytales and the art of subversion". Well I am re-reading this book's chapter on French fairytales, and I do plan on reading the rest of the work. And I have to say I might have been a bit too harsh about Zipes. I still wouldn't recommend him as a way to understand French literary fairytales - but at least now I understand why he is wrong, despite seemingly getting so many things right.

Because there ARE many right and true things in this book's second chapter. The summarized chronology of French literary fairytales ; the double inheritage of French folklore and Italian literature ; the enormous influence French literary fairytales had on the 18th and 19th century Germany... It's all there, correct and good.

But the main problem of Jack Zipes' interpretation and description of French fairytales remain. However I don't blame Zipes for it because this book was clearly written in the 80s United-States, for the 80s Americans, and as such yes there are things debunked now and yes Zipes evokes things that "nobody" does when in fact some people have done them before - just in Europe (like the whole segment in the first chapter about nobody caring about the social or historical analysis of fairytales). Similarly, the main flaw of this second chapter is very simply put a widespread misinformation, a common incorrect belief, but that is unfortunately still surviving to this day, and that is no surprising to see in 80s works - this misconception still is seen today, and its debunking is relatively "recent", at least recent enough to not be widespread.

And here's the problem: Jack Zipes writes his chapter and his analysis with one preconception and one thesis. Perrault (and others like mademoiselle L'Héritier or madame d'Aulnoy) wrote their fairytales for both adults and children, but with a strong focus on children ; if they added morals to their stories it was because these fairytales were moralistic education tools ; and the main goal and nature of these fairytales was a social and cultural endoctrinment to shape the "adults of tomorrow".

The idea that Perrault and others wrote exclusively or mainly for children was indeed widespread thanks to the 19th century mishandling of fairytales as a whole ; but this is false. And from this false basis that fairytales were mainly aimed at children, Zipes creates an analysis that could have worked... But is actually false, or very, very superficial - because to consider that Perrault and co.'s fairytales were aimed at children is a superficial reading of the stories with a strong lack of critical view or context-knowledge.

The real deal of the thing is this - yes, the "wave of fairytales" started out for adults and ended up for children, as Zipes himself explains. But Zipes (and all the others he based himself on) are wrong in believing the fairytales were aimed at children since the beginnings. Perrault, madame d'Aulnoy, mademoiselle L'Héritier and the others, did NOT write for children - they wrote for adults. And yes, Perrault evoked how his stories were "for children"... But he also wrote about how his stories had been written by his teenage son and not himself - but a careful look proves that Perrault's fairytales were only aimed at children as a "pretense", as a sort of stylistic ornament, as a literary "game" so to speak, the same way Perrault had to pretend the stories had not been written by him but collected by his youngest son - it was all part of the... "persona" if you will. It was only by the mid 18th century, with the renewal of the "literary French fairytale (non-orientalist)" that some authors started to think "Wait... Maybe we could use fairytales to teach children while entertaining them! Actually do pedagogic fairytales instead of just "playing pretend" at being literary moralists!". The most defining and prominent of those authors was madame Leprince de Beaumont, the first to ACTUALLY write literary fairytales for children, as in REALLY for children, not as in "Yeah, we say we write for children but clearly only adults will read it". One might argue Fénelon did wrote, at the end of the 17th century, pedagogic fairytales for the child he was supposed to teach (THE ROYAL HEIR!)... But unlike Perrault or d'Aulnoy's fairytales, which were public, Fénelon's story were private and only published after his death, in the 18th century.

As for how Perrault and d'Aulnoy's stories, written by adults for adults, ended up as "classics of childhood literature"... Well its simple: the Blue Library and the peddling books. The Blue Library, the most famous and renowned collection of cheap books sold to the uneducated masses by peddlers, did their money by taking great classics or massively popular works and printing out heavily edited or simplified versions of them - and the Blue Library immediately took all the most successful literary fairytales of the salons, and printed them out, and shared them massively across France for the non-aristocratic folks, and the uneducated folks, and the poor peasants... Which is how the stories became part of French popular culture, but which is also why the entire literary context and socio-cultural meaning of these tales was completely lost. How could the barely-alphabetized countryside family understand the refined puns, the courtly caricatures and the book references made in these stories (often very simplified, chaotically edited or misprinted?). People only remember pretty princesses and talking cats and fairy godmothers, and thus they classified it all back into "children stories" and, in a full circle, these literary stories invented out of the folklore became in turn folktales of the French countryside...

So yes, Jack Zipes' chapter on French fairytales is wrong, and spread misinformation, but it isn't his fault - he just did with what was widespread at the time, and he did his best as a foreigner dealing with works even misunderstood in their own country, AND his work is simply a bit outdated. Its not bad, it just... Didn't age well

[princesssarisa]

What is your best advice for any writer who wishes to write a story inspired by Beauty and the Beast but wants to make sure it feels creative and fresh and new?

Hmm... there are a lot of possible answers to this question.

For starters, I'd suggest going back to the original literary versions of the tale. If the length of Madame de Villeneuve's original novel is too daunting, just stick with the shorter versions: Madame de Beaumont's, Andrew Lang's, and/or Arthur Quiller-Couch's. You might also rewatch a few of the film adaptations (Disney's, Cocteau's, and at least two or three others – the Czech Panna a Netvor is a particularly acclaimed lesser-known version).

Then decide which themes stand out the most for you and emphasize those themes in your version.

Do you want to go back to the story's original meaning, an allegory for arranged marriage, but put a new spin on that theme that reflects your views on the subject? Or do you want to downplay that theme, as most modern adaptations do? Do you view the story as chiefly about gender relations, with the Beast's frightening looks and Beauty's initial fear of him representing female fear of patriarchal power and male sexuality, which she loses as he treats her with constant respect and chivalry? Or about different types of love, with Beauty learning to choose "companionate love" (based in friendship, mutual respect, and shared interests and values) over shallow, appearance-based infatuation? Or do you prefer the Beast to represent a social outcast: someone wrongly feared, hated, and forced to hide from the world, whose true value and worthiness of love Beauty discovers?

And what matters most to you about the ending? The Beast's transformation into a human, or Beauty's willingness to love him in his Beast form?

I still remember that post I once read about Beauty and the Beast-type stories, which discussed whether the central appeal of those stories is identifying with Beauty and the fantasy of "taming the Beast" (winning the love of something frightening and making it safe and gentle to you), or identifying with the Beast and the fantasy being loved despite being "ugly," "frightening," and "different"? Of course neither of those perspectives is the single reason for the story's appeal: why cant it be both?

There are more questions you'll want to ask yourself too. Who is the real protagonist in your version, Beauty or the Beast? Whose growth takes center stage: Beauty's as she learns to love the Beast, the Beast's as he earns her love, or both equally? Will your version include a villain, or do you see no need for one? Do you want to keep the air of mystery from the original tale? (e.g. "Who is the Beast, how did he come to be, and what does he want from Beauty?") If so, that will probably require changes to the Beast's backstory, because the familiar tale is so well-known. Or are you content to cut the mystery aspect and let the audience know exactly who and what the Beast is from the start? For that matter, how did the Beast come to be cursed? Would you want to go back to Villaneuve's original version and have him cursed by a wicked fairy whom he refused to marry? (That has interesting potential in today's post-#MeToo era.) Or follow the post-Disney tradition of making it a punishment for some wrongdoing? Or some other, completely original means of enchantment?

You might also want to draw on unique traditions from other cultures' variations on the tale. For example, in Eastern European versions like Panna a Netvor or Russia's The Scarlet Flower, the Beast hides from Beauty, so through most of her arc of learning to love him, she never sees him, but only hears his voice, and doesn't know he's a Beast. Only just before she goes back to visit her family does she finally see him, so the struggle of whether or not she can love a Beast becomes a late plot twist rather than a problem presented from the start. That could be an interesting choice to adapt.

And then there are the story's two most controversial aspects: the issue of "Stockholm Syndrome" and the ending. How are you going to deal with the fact that Beauty is the Beast's prisoner through most of their romance arc? A few modern retellings have avoided making the Beast the one who threatens Beauty's father or who accepts her as a prisoner in his place, but instead portrayed both Beauty and the Beast as prisoners of whatever higher power cursed the Beast in the first place. You could find an original way to do that too. Or, if you think that would rob the Beast of the moral grayness that makes him interesting in traditional versions, find some other solution to fend off accusations of "Stockholm Syndrome." Then there's the claim some people make that the ending goes against the story's message when the Beast changes into a handsome prince. Would you want him to stay a Beast in your version, possibly with Beauty becoming (or discovering that she already is) a non-human creature too? Or would you make it clear that the Beast's hideous form symbolizes some emotional unhealthiness within him (e.g. his "animalistic" selfishness and rage in the Disney version, or his trauma and depression in Megan Kearney's webcomic) and that his becoming human again represents his healing?

I hope I haven't gone on and on too much. There are many more things I could say, but this is enough for now.

Just find which aspects of the traditional story speak to you the most, and which aspects you don't care for as much and might want to change, and then do whatever you like with them.

[carbone14]

Char B1 Bis Bearn II 401 du 37e Bataillon de Chars de Combat de la 1ère Division cuirassée saboté par son propre équipage par manque de carburant - Bataille de Flavion – Bataille de Belgique – Beaumont – Belgique – Mai 1940

Photographe : Heinz Fremke

©Bundesarchiv - Bild 101I-125-0277-09

Après la bataille de Flavion opposant les unités blindées françaises et allemandes dans le secteur de Charleroi en Belgique le 15 mai 1940, la 1ère Division cuirassée est contrainte au repli sur Beaumont. Le lendemain, 16 mai, la division tente de défendre Beaumont avant de céder le terrain. La dernière compagnie du 37e Bataillon de chars de combat à court de carburant, les équipages n'ont pas d'autre choix que de saborder leurs B1 bis avant la retraite. Le char B1 bis BEARN II 401, char du chef de bataillon, le Commandant Jean-Marie Courtot de Cissey, est sabordé rue Madame. A ses côtés, le MEUSE sera déplacé par les Allemands pour libérer le passage.

Equipage du char B1 bis BEARN II 401

Chef de char : Commandant Jean-Marie Courtot de Cissey

Pilote : Sergent Bonnat

Radios : Adjudant René Morlot et sergent Hubert Chabod

Aide-pilotes : Caporal René Lequeux et chasseur Bischoff

[marcmarcmomarc]

Kingdom Hearts IV predictions:

Kairi is the leader of a team consisting of Riku, Terra, Aqua, Ventus, Roxas, Xion, Lea, Naminé, Hayner, Pence, Olette, and Chirithy.

Sora’s mother returns.

While Donald and Goofy revisit the old worlds, Sora visits all of the new ones.

The inhabitants of each world returning from the previous games are, of course, thrilled to see Donald and Goofy again, but are sad to hear about Sora’s sacrifice.

Cast:

Haley Joel Osment as Sora

Lindsay Jones as Strelitzia

James Patrick Stuart as Luxu

Ray Chase as Master of Masters

Tony Anselmo as Donald Duck

Bill Farmer as Goofy Goof

Bret Iwan as King Mickey Mouse

Alyson Stoner as Kairi

David Gallagher as Riku

Jason Dohring as Terra

Willa Holland as Aqua

Jesse McCartney as Ventus

Jesse McCartney as Roxas

Alyson Stoner as Xion

Quinton Flynn as Lea

Meaghan J. Martin as Naminé

Zachary Gordon as Hayner

Tristian Chase as Pence

Ashley Boettcher as Olette

Lara Jill Miller as Chirithy

Susanne Blakeslee as Maleficent

Jim Cummings as Pete

Joe Ochman as Jiminy Cricket

Kaitlyn Robrock as Queen Minnie Mouse

Tress MacNeille as Daisy Duck

Corey Burton as Chip

Tress MacNeille as Dale

Enn Reitel as Scrooge McDuck

Danny Pudi as Huey

Ben Schwartz as Dewey

Bobby Moynihan as Louis

Jeff Bennett as Merlin

Corey Burton as Yen Sid

Bill Farmer as Pluto

Kathryn Beaumont as Kairi’s Grandma

David Dayan Fisher as Dilan

Dave Boat as Aeleus

Robin Atkin Downes as Luxord

Kirk Thornton as Isa

Derek Stephen Prince as Even

Vincent Corazza as Ienzo

Ryan O’Donohue as Demyx

Michael Johnston as Ephemer

Madison Davenport as Nameless Star

Kath Soucie as Sora’s Mother

Isabela Merced as Foreteller Ava

Kevin Quinn as Foreteller Gula

Travis Willingham as Foreteller Aced

Matt Mercer as Foreteller Ira

Karissa Lee Staples as Foreteller Invi

Corey Burton as Ansem the Wise

Dylan Sprouse as Yozora

Square Enix Cast:

Doug Erholtz as Leon

Cody Christian as Cloud Strife

Andrea Bowen as Aerith Gainsborough

Britt Baron as Tifa Lockhart

Mae Whitman as Yuffie Kisaragi

Tyler Hoechlin as Sephiroth

Chris Edgerly as Cid Highwind

Hedy Burress as Yuna

Tara Strong as Rikku

Gwendoline Yeo as Paine

Will Friedle as Seifer Almasy

Brandon Adams as Rai

Jillian Bowen as Fuu

Crispin Freeman as Setzer Gabbiani

Melissa Disney as Vivi Ornitier

Shaun Fleming as Tidus

Molly Keck as Selphie Tilmitt

Dee Bradley Baker as Wakka

Matt McKenzie as Auron

Atlantica (The Little Mermaid)

Takes place after The Little Mermaid II: Return to the Sea.

Cast:

Jodi Benson as Ariel

Christopher Daniel Barnes as Eric

Cam Clarke as Flounder

Philip Lawrence as Horatio Felonious Ignacious Crustaceous Sebastian

Chris Edgerly as Scuttle

Jim Cummings as King Triton

Tara Strong as Melody

Kari Wahlgren as Attina

Jennifer Hale as Alana

Tara Strong as Adella

Grey DeLisle as Aquata

Grey DeLisle as Arista

Tara Strong as Andrina

Michael J. Gough as Grimsby

Grey DeLisle as Carlotta

Ben Diskin as Chef Louis

Max Casella as Tip

Corey Burton as Dash

Jeff Bennett as Benjamin

Kevin Michael Richardson as Ray-Ray

Kevin Michael Richardson as Cheeks

Rob Paulsen as Ink Spot

Jim Cummings as Shelbow

Charlie Adler as Seahorse

Kari Wahlgren, Jennifer Hale, Tara Strong, & Grey DeLisle as Flounder’s Guppies

Frank Welker as Max

Village (Beauty and the Beast)

Takes place after the movie.

Cast:

Julie Nathanson as Belle

Robby Benson as Adam

Corey Burton as Maurice

Jeff Bennett as Lumière

Jane Krakowski as Mrs. Potts

Bob Joles as Henry Cogsworth

Jessica DiCicco as Chip Potts

Jo Anne Worley as Madame de la Grande Bouche

Kimmy Robertson as Fifi

Frank Welker as Philippe

Frank Welker as Sultan

Agrabah (Aladdin)

Takes place after Aladdin and the King of Thieves.

Cast:

Scott Weinger & Brad Kane (singing) as Aladdin

Jim Meskimen as the Genie

Linda Larkin & Liz Callaway (singing) as Jasmine

Jeff Bennett as Sultan Hamed Bobolonius II

Brian Hull as Iago

John Rhys-Davies as Cassim

Jim Cummings as Razoul

Frank Welker as Abu

Frank Welker as Cave of Wonders

Frank Welker as Rajah

Pride Lands (The Lion King)

Takes place between The Lion King and The Lion King II: Simba’s Pride.

Cast:

Cam Clarke as Simba

Vanessa Marshall as Nala

Kevin Schon as Timon

Ernie Sabella as Pumbaa

Khary Payton as Rafiki

Jeff Bennett as Zazu

Gary Anthony Williams as Mufasa

James Horan as Scar

Andy’s Room (Toy Story)

Takes place between Toy Story 2 and Toy Story 3.

Cast:

Jim Hanks as Woody

Mike MacRae as Buzz Lightyear

Kathryn Cressida as Jessie

Wallace Shawn as Rex

John Ratzenberger as Hamm

Blake Clark as Slinky Dog

Patrick Fraley as Mr. Potato Head

Melissa Sternenberg as Mrs. Potato Head

Sawyer Cole as Andy Davis

Laurie Metcalf as Andy’s Mom

Hannah Unkrich as Molly Davis

Jeff Pidgeon as Aliens

Frank Welker as Bullseye

La Cité des Cloches (The Hunchback of Notre Dame)

Takes place after the movie.

Cast:

Ari Rubin as Quasimodo

Renee Faia & Heidi Mollenhauer (singing) as Esmeralda

Phil LaMarr as Captain Phoebus

Jim Cummings as Victor

Jason Alexander as Hugo

Pat Lentz as Laverne

Paul Kandel as Clopin

Corey Burton as Brutish Guard

Bill Fagerbakke as Oafish Guard

Frank Welker as Djali

Thebes/Olympus/Underworld (Hercules)

Takes place after the movie.

Cast:

Tate Donovan as Hercules

Robert Costanzo as Philoctetes

James Woods as Hades

Susan Egan as Megara

Corey Burton as Zeus

Bobcat Goldthwait as Pain

Matt Frewer as Panic

Jim Cummings as Amphitryon

Barbara Barrie as Alcmene

Samantha Eggar as Hera

Wayne Knight as Demetrius

Lillias White as Calliope, Muse of Epics

Cheryl Freeman as Melpomene, Muse of Tragedy

LaChanze as Terpsichore, Muse of Dance

Roz Ryan as Thalia, Muse of Comedy

Vaneese Y. Thomas as Clio, Muse of History

Paul Shaffer as Hermes

Keith David as Apollo

Lisa Kudrow as Aphrodite

Frank Welker as Pegasus

The Land of Dragons (Mulan)

Takes place after the movie.

Cast:

Ming-Na Wen & Lea Salonga (singing) as Fa Mulan

B.D. Wong & Donny Osmond (singing) as Li Shang

Mark Moseley as Mushu

Harvey Fierstein as Yao

Gedde Watanabe & Matthew Wilder (singing) as Ling

Jerry Tondo as Chien-Po

James Hong as Chi-Fu

Jet Li as Fa Zhou

George Takei as First Ancestor

Sandra Oh as Fa Li

Benedict Wong as General Li

Wang Deshun as Emperor of China

Lisa Lu as Grandmother Fa

Frank Welker as Cri-Kee

Frank Welker as Kahn

Ant Island/Bug City (A Bug’s Life)

Takes place during the movie.

Cast:

Dave Foley as Flik

Andrew Stanton as Hopper

Jodi Benson as Princess Atta

Alma Versano as Princess Dot

June Squibb as the Queen

Richard Kind as Molt

David Hyde Pierce as Slim

Flula Borg as Heimlich

Nick Jameson as Francis

Jim Cummings as Manny

Jennifer Hale as Gypsy

Bonnie Hunt as Rosie

Michael McShane as Tuck

Michael McShane as Roll

John Ratzenberger as P.T. Flea

Brad Garrett as Dim

Corey Burton as Mr. Soil

Grey DeLisle as Dr. Flora

Marc Maron as Thorny

David Ossman as Cornelius

Frank Welker as Thumper

Jacob Tremblay as Ant Boy 1

Jessica DiCicco as Ant Boy 2

Andrew Stanton as Fly Brother 1

Jess Harnell as Fly Brother 2

Carlos Alazraqui as Loco

John DiMaggio as Axel

Kevin Schon as Slick

Miles Luna as Bug Zapper Fly

Andrew Stanton as Harry

Sabrina Fest as Daisy

Mariel Sheets as Grub

Ashley Tisdale as Lead Blueberry Scout

Melissa Sternenberg as Bar Waitress

Rodger Bumpass as Mosquito

Jess Harnell as Bus Beetle

Brad Hall as Grasshopper 1

Jeff Pidgeon as Grasshopper 2

Lee Unkrich as Ant 1

Bill Farmer as Ant 2

Dave Fennoy as Thud

J. Michael Tatum as Bouncer Wasp

Debi Derryberry as Baby Maggots

Bob Bergen as Aphie

Deep Jungle (Tarzan)

Takes place after the movie.

Cast:

Tony Goldwyn as Tarzan

Olivia d’Abo as Jane Porter

Susanne Blakeslee as Kala

April Winchell as Terk

Jim Cummings as Tantor

Jeff Bennett as Archimedes Q. Porter

Monstropolis (Monsters, Inc.)

Takes place after the movie.

Cast:

Christopher Swindle as James P. Sullivan

Carlos Alazraqui as Mike Wazowski

Mary Gibbs as Boo

Jennifer Tilly as Celia Mae

John Ratzenberger as Yeti

Bob Peterson as Roz

Christopher Swindle as Jeff Fungus

Stephen Stanton as Needleman

Stephen Stanton as Smitty

Bonnie Hunt as Ms. Flint

Regan Burns as Jerry Slugsworth

Stephen Stanton as George Sanderson

Christopher Swindle as Thaddeus “Phlegm” Bile

Phil Proctor as Charlie Proctor

Gregg Berger as Peter “Claws” Ward

Roger Craig Smith, Pete Docter, & Teddy Newton as Child Detection Agents

Great Barrier Reef/Deep Ocean/Marine Life Institute (Finding Nemo)

Takes place after Finding Dory.

Cast:

Jess Harnell as Marlin

Jennifer Hale as Dory

Tara Strong as Nemo

Ed O’Neill as Hank

Kaitlin Olson as Destiny

J.P. Karliak as Bailey

Eugene Levy as Charlie

Jen Brown as Jenny

Willem Dafoe as Gill

Brad Garrett as Bloat

Allison Janney as Peach

Austin Pendleton as Gurgle

Stephen Root as Bubbles

Vicki Lewis as Deb (& Flo)

Jerome Ranft as Jacques

Andrew Stanton as Crush

Grey DeLisle as Squirt

Idris Elba as Fluke

Dominic West as Rudder

Geoffrey Rush as Nigel

Bob Peterson as Mr. Ray

Jess Harnell as Bruce

Eric Bana as Anchor

Bruce Spence as Chum

Torbin Xan Bullock as Gerald

Katherine Ringgold as Chickenfish

Torbin Xan Bullock as Becky

Andrew Stanton as Seagulls

Metroville/Nomansian Island (The Incredibles)

Takes place during the movie.

Cast:

Craig T. Nelson as Bob Parr/Mr. Incredible

Holly Hunter as Helen Parr/Elastigirl

Jason Lee as Buddy Pine/Syndrome

Norma Maldonado as Mirage

Sarah Vowell as Violet Parr

Gillian Jacobs as Dash Parr

Brad Bird as Edna Mode (E)

Philip Lawrence as Lucius Best/Frozone

Jonathan Banks as Rick Dicker

Mark Andrews, Brad Lewis, Pete Docter, Peter Sohn, Andrew Stanton, & Jeff Pidgeon as Syndrome’s Guards

Eli Fucile, Maeve Andrews, & Nicolas Bird as Jack-Jack Parr

Bret Parker as Kari McKeen

Michael Bird as Tony Rydinger

Kimberly Adair Clark as Honey Best

Teddy Newton as Manta Jet Computer

Frank Thomas as Frank

Ollie Johnston as Ollie

Teddy Newton as Robot Bird

Nicolas Bird as Rusty McCallister

Radiator Springs/Rusteze-Dinoco Racing Center/Fireball Beach/Thunder Hollow/Thomasville/Florida International Speedway (Cars)

Takes place after Cars 3.

It isn’t combat based. Missions include keeping up with McQueen’s top speed by racing down Radiator Springs’ main street, learning how to turn right to go left at Willy’s Butte, keeping up with Cruz’s top speed on Fireball Beach, avoiding pushy competitors with the Thunder Hollow challengers, and practicing with Cruz at Thomasville, culminating in the Piston Cup race at Florida International Speedway, where the objective is to win against Jackson Storm.

Sora enters the world as a custom-made sports coupe mixing a few real-life sports car models before visits to Luigi’s Casa Della Tires and Ramone’s House of Body Art end with him modified into a next-gen race car sponsored by Dinoco (with Tex’s blessing) and with Cruz’s number.

It’s set during Cruz’s first Piston Cup racing season, so McQueen still has Doc’s colors and spends the Florida race as Sora’s crew chief.

As Sora finishes his story, Mater is certainly unhappy with Xehanort’s actions forcing Sora’s hand. “That dad-gum Xehanort”, he says angrily. Extra points if Sora doesn’t get to the part where Xehanort is dead, then Sarge gets in his face and demands him to teach Xehanort a lesson when he gets back in a militaristic manner. “Is that understood,” Sarge yells. Then Sora tries to correct him, but gets cut off and asked again, “Is that understood,” and has to respond, “Sir, yes, sir!”

Of course, during the top speed races, Luigi is the one to signal the race to begin.

In the Radiator Springs race, Sora’s top speed is tracked by Sheriff’s speed radar, and on Fireball Beach, it’s via Cruz’s personal assistant, Hamilton.

If you fail the “Turn Right to go Left” mission, Sora goes flying into the bed of cacti, and Mater fishes him out.

I know I’ll get hate for this, but Cars 2 elements are here. Heck, maybe Mater can’t be present most for the training because he’s busy with Finn and Holley. After all, does he still owe Holley a first date?

I wanted the player character in this world to be Kairi just so Storm can feel the embarrassment of losing to not one, but two “costume girls”.

The Piston Cup race is announced as a 500-lap race, but no game developer is that malicious to force the player to race 500 laps around an oval, so they’d take after the first Cars game and make it twelve laps with the sun slowly lowering throughout the race.

Cast:

Keith Ferguson as Lightning McQueen

Cristela Alonzo as Cruz Ramirez

Larry the Cable Guy as Sir Tow Mater

Chris Cooper as Smokey

Bonnie Hunt as Sally Carrera

Tony Shalhoub as Luigi

Guido Quaroni as Guido

John Ratzenberger as Mack

Lloyd Sherr as Fillmore

Paul Dooley as Sarge

Cheech Marin as Ramone

Jenifer Lewis as Flo

Michael Wallis as Sheriff

Laraine Newman as Lizzie

Jerome Ranft as Red

A.J. Hamilton as Jackson Storm

Kerry Washington as Natalie Certain

Martin Jarvis as Finn McMissile

Emily Mortimer as Holley Shiftwell

Nathan Fillion as Sterling

Wendie Malick as Louise “Barnstormer” Nash

Kevin Michael Richardson as River Scott

Jason Douglas as Junior “Midnight” Moon

Teresa Gallagher as Mater’s Computer

Bob Peterson as Chick Hicks

Lea DeLaria as Miss Fritter

Humpy Wheeler as Tex Dinoco

Lewis Hamilton as Hamilton

Bob Costas as Bob Cutlass

Darrell Waltrip as Darrell Cartrip

Richard Petty as Strip “The King” Weathers

Ray Evernham as Ray Reverham

Madeleine McGraw as Maddy McGear

Shannon Spake as Shannon Spokes

Kyle Petty as Cal Weathers

Corey Burton & Paul Newman (archived recordings) as Doc Hudson

A.J. Riebli III as McQueen’s Biggest Fan

Steve Purcell as Tractors

Lori Alan as Millie

Michel Michelis as Tomber

Jason Isaacs as Siddeley

Vanessa Redgrave as the Queen

Joe MacDonald as Stephenson

Christopher Sabat as Prince Wheeliam

Andra Day as Sweet Tea

Angel Oquendo as Bobby Swift

Will Collyer as Brick Yardley

Jeremy Maxwell as Arvy Motorhome

Bob Peterson as Dr. Damage

Will Collyer as Roscoe

Peter Sohn as Mr. Drippy

Patrick Rodriguez as Taco

Anthony Sardinha as Jimbo

Andrew Stanton as T-Bone

Jessie James Grelle as APB

Jessica Nigri as Blind Spot

Kaiji Tang as Pushover

Jen Taylor as Tailgate

Barbara Dunkelman as Cigalert

Dustin Matthews as Fishtail

Kyle Phillips as Broadside

Maggie Tominey as Patty

Tyler Coe as Bill

Brendan Blaber as Pileup

Lindsay Jones as High Impact

Jason Pace as Faregame

Tiana Camacho as Airborne

Django Craig as Superfly

Jen Brown as Jambalaya Chimichanga

Samantha Ireland as Liability

Gus Sorola as Hit

Christopher Guerrero as Run

Alex Mai as Todd

Daniel Suárez as Danny Swervez

Ryan Blaney as Ryan “Inside” Laney

Bubba Wallace as Bubba Wheelhouse

Chase Elliott as Chase Racelott

Kerry Shawcross as Tim Treadless

Corey Krueger as Rich Mixon

Zeno Robinson as Cam Spinner

Alejandro Saab as H.J. Hollis

Adam Ellis as Ed Truncan

Burnie Burns as Herb Curbler

Miles Luna as Aaron Clocker

Garrett Hunter as Harvey Rodcap

Michael Jones as J.D. McPillar

Yuri Lowenthal as Flip Dover

Kyle Taylor as Barry DePedal

Blaine Gibson as Steve LaPage

Aaron Marquis as Conrad Camber

Gavin Free as Sheldon Shifter

Flynt Flossy as Paul Conrev

Travis Willingham as Michael Rotor

Ben Schwartz as Ritchie Gunzit

Nick Landis as Eric Braker

Neath Oum as Spikey Fillups

Connor Pickens as Chris Roamin’

Clifford Chapin as Dan Carcia

Scott Frerichs as Jonas Carvers

Howard Wang as Jim Reverick

Dustin Matthews as George New-Win

Eric Baudour as Noah Gocek

Aaron Dismuke as Will Rusch

Todd Womack as M. Fast Fong

Mick Lauer as Nick Shift

Richard Norman as J.P. Drive

Christopher Wehkamp as Tom W.

Aaron Dismuke as Sudeep

Grant George as Krzysztof

Bryce Papenbrook as Shiriam

Django Craig as Kurt

Carlos Alazraqui as Ronald

Todd Haberkorn as Junyi

Harvey Guillén as Gabriel

Angel Oquendo as Aiden

Michael Malconian as Jae

Robbie Daymond as Ernesto

Anna Hullum as Melissa Bernabrake

Jason Rose as Pat Traxson

Kara Eberle as Laura Spinwell

Anairis Quiñones as Gale Beaufort

Paris/Gusteau’s Restaurant (Ratatoullie)

Takes place during the movie.

Cast:

Patton Oswalt as Remy

Brian George as Chef Skinner

Lou Romano as Alfredo Linguini

Travis Willingham as Django

Peter Sohn as Emile

Corey Burton as Anton Ego

Brad Garrett as Auguste Gusteau

Janeane Garofalo as Colette Tatou

Will Arnett as Horst

Julius Callahan as Lalo

James Remar as Larousse

John Ratzenberger as Mustafa

Teddy Newton as Talon Labarthe

Tony Fucile as Health Inspector

Julius Callahan as Francois

Tony Fucile as Pompidou

Jake Steinfield as Git

Brad Bird as Ambrister Minion

Brad Lewis, Lindsay Collins, & Lori Richardson as Rats

New Orleans (The Princess and the Frog)

Takes place during the movie.

Cast:

Anika Noni Rose as Tiana

Bruno Campos as Prince Naveen

Keith David as Dr. Facilier

Michael-Leon Wooley as Louis

Jennifer Cody as Charlotte La Bouff

Jim Cummings as Raymond

Peter Bartlett as Lawrence

Jenifer Lewis as Mama Odie

Debra Wilson as Eudora

Brian Cummings as Eli “Big Daddy” La Bouff

Ritchie Montgomery as Reggie

Dave Fouquette as Darnell

Paul Briggs as Two Fingers

Jerry Kernion as Mr. Henry Fenner

Corey Burton as Mr. Harvey Fenner

Michael Colyar as Buford

Emeril Lagasse as Marlon the Gator

Kevin Michael Richardson as Ian the Gator

Randy Newman as Cousin Randy

Danielle Moné Truitt as Georgia

Kelly Hoover as Stella

Kwesi Boakye as Newspaper Boy

Mick Wingert as Travis

Jennifer Kilger as Swooning Girl

Phil Proctor as Cajun Firefly

Seth R. Williamson as Prince Ralphie

Kingdom of Corona (Tangled)

Takes place after the movie.

Can we have a reprise of I’ve Got a Dream, and now Sora gets a chance to share his dream, to return to his friends?

Cast:

Kelsey Lansdowne as Rapunzel Fitzherbert

Zachary Levi as Eugene Fitzherbert

Kari Wahlgren as Queen Ariana

Clancy Brown as King Frederic

M.C. Gainey as Captain of the Guard

Brad Garrett as Hook Hand

Chris Marlow as Big Nose

Paul F. Tompkins as Shorty

Charles Halford as Vladimir

Stephen Stanton as Attila Buckethead

Ron Perlman as Sideburns Stabbington

Brian Hull as Patchy Stabbington

Bob Bergen as Pascal

Nathan Greno as Maximus

DunBroch (Brave)

Takes place during the movie.

Cast:

Kelly Macdonald as Merida

Billy Connolly as Fergus

Emma Thompson as Elinor

Susanne Blakeslee as the Witch

David Tennant as Lord Dingwall

Kevin McKidd as Lord MacGuffin

Craig Ferguson as Lord Macintosh

Michelle Gomez as Maudie

Peigi Barker as Young Merida

Kevin McKidd as Young MacGuffin

Steven Cree as Young Macintosh

Steve Purcell as the Crow

Callum O’Neill as Wee Dingwall

Patrick Doyle as Martin

John Ratzenberger as Gordon

Game Central Station (Wreck-it Ralph)

Takes place after the movie.

Cast:

Brian T. Delaney as Wreck-it Ralph

Sarah Silverman as Vanellope Von Schweetz

Jack McBrayer as Fix-it Felix Jr.

Jane Lynch as Sergeant Tamora Calhoun

Ed O’Neill as Mr. Stan Litwak

Rich Moore as Sour Bill

Maurice LaMarche as Tapper

Dennis Haysbert as General Hologram

Raymond S. Persi as Mayor Gene

Melissa Villaseñor as Taffyta Muttonfudge

Brandon Scott as Kohut

Grey DeLisle as Mary

Skylar Astin as Roy

Don Fullilove as Nolan

Rachael Harris as Deanna

Jess Harnell as Don

Jen Brown as Nell

Jason Douglas as J. Norwood

Pamela Adlon as Lucy

Grey DeLisle as Meg

Katie Lowes as Candlehead

Jamie Elman as Rancis Fluggerbutter

Adam Carolla as Wynnchel

Chris Pratt as Duncan

Josie Trinidad as Jubileena Bing-Bing

Cymbre Walk as Crumbelina Di Caramello

Bella Blanding as Snowanna Rainbeau

Jaeden White as Swizzle “The Swizz” Malarkey

Sawyer Cole as Gloyd Orangeboar

Suzie Yeung as Minty Zaki

Romi Dames as Adorabeezle Winterpop

Josie Trinidad as Citrusella Flugpucker

Suzie Yeung as Torvald Batterbutter

Suzie Yeung as Sticky Whipplesnit

Romi Dames as Nougetsia Brumblestain

Tucker Gilmore as Sugar Rush Announcer

Phil Johnston as Surge Protector

Arendelle (Frozen)

Takes place after the movie.

Cast:

Kristen Bell as Anna

Idina Menzel as Elsa

Jonathan Groff as Kristoff

Josh Gad as Olaf

Frank Welker as Sven

Ciarán Hinds as Grandpabbie

Chris Williams as Oaken

Stephen J. Anderson as Kai

Maia Wilson as Bulda

Rebecca Mader as Gurda

Robert Pine as Bishop

Paul Briggs as Marshmallow

Lewis Cleale as Cliff

Jack Whitehall as Gothi

Annie Lopez as Baby Troll

San Fransokyo (Big Hero 6)

Takes place after the movie.

Cast:

Ryan Potter as Hiro Hamada

Scott Adsit as Baymax

Brooks Wheelan as Fred Fredrickson

Damon Wayans Jr. as Wasabi No Ginger

Jamie Chung as Ethel “Go Go Tomago”

Génesis Rodríguez as Honey Lemon

Maya Rudolph as Cass Hamada

James Cromwell as Robert Callaghan

Alan Tudyk as Allistair Krei

Katie Lowes as Abigail Callaghan

David Shaughnessy as Heathcliff

Daniel Henney as Tadashi Hamada

Riley’s Mind/Mindscape (Inside Out)

Takes place after the movie.

Cast:

Kate Higgins as Joy

Phyllis Smith as Sadness

Lewis Black as Anger

Jason J. Lewis as Fear

Ashley Adler as Disgust

Kaitlyn Dias as Riley Andersen

Diane Lane as Jill Andersen (Mom)

Kyle MacLachlan as Bill Andersen (Dad)

Pete Docter as Dad’s Anger

Carlos Alazraqui as Dad’s Fear

Josh Cooley as Dad’s Fear

Patrick Seitz as Dad’s Joy

J.P. Karliak as Dad’s Disgust

Lori Alan as Mom’s Sadness

Paula Pell as Mom’s Anger

Laraine Newman as Mom’s Fear

Sherry Lynn as Mom’s Joy

Mona Marshall as Mom’s Disgust

Zootopia (Zootopia)

Takes place during the movie.

Cast:

Ginnifer Goodwin as Judy Hopps

Jason Bateman as Nick Wilde

Idris Elba as Chief Bogo

Jenny Slate as Dawn Bellwether

Nate Torrence as Benjamin Clawhauser

Bonnie Hunt as Bonnie Hopps

Don Lake as Stu Hopps

Tommy Chong as Yax

J.K. Simmons as Theodore Lionheart

Octavia Spencer as Mrs. Otterton

Alan Tudyk as Duke Weaselton

Allison Trujillo Strong & Shakira (singing) as Gazelle

Raymond S. Persi as Flash

Maurice LaMarche as Mr. Big

Phil Johnston as Gideon Gray

John DiMaggio as Jerry Jumbeaux Jr.

Katie Lowes as Dr. Madge Honey Badger

Gita Reddy as Nangi

Jesse Corti as Mr. Manchas

Kevin Michael Richardson as Finnick

Josh Dallas as Frantic Pig

Leah Latham as Fru Fru

Rich Moore as Doug

Kath Soucie as Young Nick

Peter Mansbridge as Peter Moosebridge

Byron Howard as Bucky Oryx-Antlerson

Jared Bush as Pronk Oryx-Antlerson

Mark “Rhino” Smith as Officer McHorn

John Lavelle as Mouse Foreman

Kristen Bell as Priscilla

Jackson Stein as Junior Ranger Scout Bully

Rich Moore as Larry

David Thibodeau as Gary

Fabienne Rawley as Fabienne Growley

John DiMaggio as Jesse

John DiMaggio as Woolter

Zach King as Muzzled Wolf

Cissy Jones as Officer Francine

Raymond S. Persi as Officer Higgins

Fabinne Rawley as Jumbeaux Café Customer

John DiMaggio as Parking Ticket Moose

Melissa Goodwin Shepard as Parking Ticket Mouse

Madeleine Curry as Parking Ticket Hippo Daughter

Brendan Blaber as Beaver Reporter

Kaiji Tang as Sheep Reporter

John DiMaggio as Pig Reporter

Bonnie Hunt as Oryx Reporter

Selah Victor as Rabbit Reporter

J. Michael Tatum as Pig Peace Rally Protester

Jen Taylor as Leopard Peach Rally Protester

Tiana Camacho as Carrot Customer

John DiMaggio as Sheep Officer

Motunui/The Great Oceans (Moana)

Takes place during the movie.

Cast:

Auli’i Cravalho as Moana

Dwayne Johnson as Maui

Rachel House as Gramma Tala

Temuera Morrison & Christopher Jackson (singing) as Chief Tui

Jemaine Clement as Tamatoa

Nicole Scherzinger as Sina

Alan Tudyk as Heihei

Oscar Kightley as Fisherman

Troy Polamalu as Villager 1

Puanani Cravalho as Villager 2

Alan Tudyk as Villager 3

Land of the Dead/Santa Cécilia (Coco)

Takes place during the movie.

Cast:

Anthony Gonzalez as Miguel Rivera

Gael García Bernal as Papá Héctor Rivera

Benjamin Bratt & Antonio Sol (singing) as Ernesto de la Cruz

Alanna Ubach as Mamá Imelda Rivera

Renée Victor as Abuelita Elena Rivera

Jaime Camil as Enrique Rivera (Papá)

Alfonso Arau as Papá Julio Rivera

Herbert Sigüenza as Tío Óscar Rivera

Herbert Sigüenza as Tío Felipe Rivera

Gabriel Iglesias as Clerk

Lombardo Boyar as Plaza Mariachi

Lombardo Boyar as Gustavo

Ana Ofelia Murguía as Mamá Coco Rivera

Natalia Cordova-Buckley as Frida Kahlo

Selene Luna as Tía Rosita Rivera

Edward James Olmos as Chicharrón

Sofía Espinosa as Luisa Rivera (Mamá)

Carla Medina as Departures Agent

Dyana Ortelli as Tía Victoria Rivera

Luis Valdez as Tío Berto Rivera

Luis Valdez as Don Hidalgo

Blanca Araceli as Emcee

Salvador Reyes as Security Guard

Cheech Marin as Corrections Officer

Octavio Solís as Arrivals Agent

John Ratzenberger as Juan Ortodoncia

Denise Blasor as Ceci

Libertad García Fonzi as Young Coco

Juan Carlos Tinoco as de la Cruz’s Security Guards

Carla Medina as Tía Gloria Rivera

Montse Hernandez as Rosa Rivera

Polo Rojas as Abel Rivera

Maite Perroni as Arrivals and Departures P.A.

Ricardo Bautista as Battle of the Bands Stagehand

Emilio Fuentes as Sunrise Spectacular Stagehand

Carlos Becerril as Sunrise Spectacular Emcee

Trujo as Policeman

Rosalba Sotelo as Dead Mother

Erica Edwards as Tía Chelo

Miguel Ángel Ruiz as T-Shirt Seller

Emmanuel Bernal as Gustavo’s Band Trumpeter

Lee Unkrich as Skeleton with Corn

Emmanuel Bernal as Héctor’s Cousin

Kumandra (Raya and the Last Dragon)

Takes place after the movie.

Cast:

Kelly Marie Tran as Raya

Awkwafina as Sisu

Gemma Chan as Namaari

Izaac Wang as Boun

Benedict Wong as Tong

Thalia Tran as Noi

Daniel Dae Kim as Chief Benja

Sandra Oh as Chieftess Virana

Alan Tudyk as Tuk Tuk

Lucille Soong as Dang Hu

Dichen Lachman as General Atitãya

Sung Kang as Dang Hai

Ross Butler as Spine Chief

Dumbfoundead as Chai

Dichen Lachman as Spine Warrior

François Chau as Kahn

Sierra Katow as Fang Officer

The Encanto (Encanto)

Takes place after the movie.

Cast:

Stephanie Beatriz as Mirabel Madrigal

María Cecilia Botero & Olga Merediz (singing) as Abuela Alma Madrigal

John Leguizamo as Bruno Madrigal

Jessica Darrow as Luisa Madrigal

Diane Guerrero as Isabela Madrigal

Angie Cepeda as Julieta Madrigal

Demián Bichir as Agustín Madrigal

Carolina Gaitán as Pepa Madrigal

Mauro Castillo as Félix Madrigal

Rhenzy Feliz as Camilo Madrigal

Adassa as Dolores Madrigal

Ravi Cabot-Conyers as Antonio Madrigal

Maluma as Mariano Guzmán

Rose Portillo as Sra. Guzmán

Alyssa Bella Candiani, Noemi Josefina Flores, Paisley Day Herrera, Brooklyn Skylar Rodriguez, & Ezra Rudolph as Town Kids

Alan Tudyk as Pico

Toronto, Canada (Turning Red)

Takes place after the movie.

Cast:

Rosalie Chiang as Meilin Lee

Ava Morse as Miriam Mendelsohn

Hyein Park as Abby Park

Maitreyi Ramakrishnan as Priya Mangal

Tristan Allerick Chen as Tyler Nguyen-Baker

Sandra Oh as Ming Lee

Orion Lee as Jin Lee

Wai Ching Ho as Grandma Wu Lee

Lori Tan Chinn as Auntie Chen

Mia Tagano as Lily

Sherry Cola as Helen

Lillian Lim as Auntie Ping

James Hong as Mr. Gao

Lily Sanfelippo as Stacy Frick

Addie Chandler as Devon

Lauren Tom as Sammy (Goth Girl)

Anna Brisbin as Lauren

Madison Brunoehler as Kat (Stacy’s Second Friend)

Jackson Parfitt as Carter Murphy-Mayhew

Patricia Summersett as Jaiden (Goth Girl with Green Dye)

Jordan Fisher as Robaire

Finneas O’Connell as Jesse

Topher Ngo as Aaron T.

Grayson Villanueva as Tae Young

Josh Levi as Aaron Z.

[planet-onfire]

Durante las festividades de 1888, Ugo Fontaine celebró junto a sus padres, y los ochenta y ocho invitados que habían asistido a la glamorosa cena navideña en la mansión Fontaine. Una de las tantas preguntas obligatorias que debió responder fue acerca de su pasatiempo como mago e ilusionista, objeto de bromas y muecas confundidas por parte de los amigos de sus padres, grandes inversionistas para los proyectos Fontaine. A pesar de que nadie le cuestionó directamente sobre la familia que había abandonado, sí que fueron susurros a sus espaldas los que dominaron el festejo. Poco antes de caer la medianoche, irrumpiendo como si la fiesta hubiese sido suya, Madame Beaumont resurgió de entre los muertos. Acusó al matrimonio Fontaine del precio que habían puesto sobre su cabeza, todo por enseñar supuesta brujería a su único hijo. Ugo huyó detrás de ella cuando fue escoltada fuera de la mansión, pero al llegar al exterior solo encontró una carta en el suelo en posición invertida, The Magician.

@atimeodyssey

[mask131]

French fantasy: The children of Orpheus and Melusine

There is this book called “The Illustrated Panorama of the fantasy and the merveilleux” which is a collection and compilation of articles and reviews covering the whole history of the fantasy genre from medieval times to today. And in it there is an extensive article written by A. F. Ruau called “Les enfant d’Orphée et de Mélusine” (The Children of Orpheus and Melusine), about fantasy in French literature. This title is, of course, a reference to the two foundations of French literature: the Greco-Roman heritage (Orpheus) and the medieval tradition (Melusine).

I won’t translate the whole text because it is LONG but I will give here a brief recap and breakdown.

A good part of the article is dedicated to proving that in general France is not a great land for fantasy literature, and that while we had fantasy-like stories in the past, beyond the 18th century we hit a point where fantasy was banned and disdained by literary authorities.

Ruaud reminds us that the oldest roots of French fantasy are within Chrétien de Troyes’ Arthurian novels, the first French novels of the history of French literature, and that despite France rejecting fantasy, the tradition of the Arthuriana and of the “matter of Bretagne” stayed very strong in our land. Even today we have famous authors offering their takes, twists and spins on the Arthurian myth: Xavier de Langlais, Michael Rio, Hersart de la Villemarqué, René Barjaval (with his L’Enchanteur, The Enchanter, in 1984), Jean Markale, Jean-Louis Fetjaine or Justine Niogret (with her “Mordred” in 2013). He also evokes the huge wave and phenomenon of the French fairytales between the 17th and the 18th century, with the great names such as Charles Perrault (the author of Mother Goose’s Fairytales), Madame d’Aulnoy (the author, among others, of The Blue Bird), and Madame Leprince de Beaumont (author of, among others, Beauty and the Beast). He also evokes, of course, Charles Nodier, which was considered one of the great (and last) fairytale authors of the 19th century, the whole “Cabinet des Fées” collection put together to save a whole century of fairytales ; as well as the phenomenon caused by Antoine Galland’s French translation of the One Thousand and One Nights – though Ruaud also admits this translation rather helped the Oriental fashion in French literature (exemplified by famous works such as The Persian Letters, or Zadig) than the genre of the “marvelous”.

Ruaud briefly mentions the existence of a tradition of “quests” in French literature, again inherited from the medieval times, but quests that derived from Arthurian feats to romantic quests, love stories, “polite” novel of aristocratic idylls or pastoral novels of countryside love stories – the oldest being Le Roman de la Rose (the Novel of the Rose, the medieval text began by Guillaume de Lorris in the early 13th century and completed by Jean de Meung one century later), and the most recent L’Astrée (THE great romantic bestseller of the 17th century, written by Honoré d’Urfé). But overall, Ruaud concluded that between the 17th-early 18th century (the last surge of the marvelous, abruptly cut short by the French Revolution and the reshaping of France) and the 1980s (the time during which role-playing fantasy games and the English-speaking fantasy was translated in France), there was very little “fantasy” to be talked of as a whole, a gap that resulted in people such as Gérard Klein declare in the 90s: “Fantasy is a literature made by ignorant people for ignorant readers, and with a true absence of any kind of challenge”.

At least for literature… Ruaud however spends a lot of time detailing the “fantastical” and “marvelous” traditions of visual art – from the stage performances to the movies. There was quite a rich tradition there, apparently. He starts by evoking the massive wave that the release in the United-Kingdom of “The Dream of Ossian” caused. France ADORED Ossianic stuff – even when it was proven that it wasn’t an actual Scottish historical treasure, but a work made up by Macpherson, people still adored it – from Napoleon who commissioned enormous paintings illustrating the Ossianic stories, to the colossal opera by Jean-François Lesueur, “Ossian ou les Bardes”, created for the then brand-new Imperial Academy of music.

There was also the fashion of the “féeries”, a type of stage-show that was all about depicting stories of fairies, gods, magics and other fairytale elements – the “féerie” fashion was at the crossroad between the opera, the ballet and the theater, and in the “dreary, drab and modern” era of the 19th century, people were obsessed with these “little pieces of blue sky” and “golden fairy-clouds”. However, despite the quality of the visuals, costumes and sets (which made the whole power of those féerie, it was their visuals and their themes that drew people in), the dialogues and the plots were noted to be quite bad, simplistic if not absent. The “féeries” were not meant to be great work of arts or actual literature, but just pure entertainment. Gustave Flaubert, right after finishing Salammbô (see my previous post), was exhausted and trying to escape the colossus of the historical novels, he tried to entertain himself by getting into the fashion of the féeries. He read thirty-three féeries in one go, and he was left sickened by so much mediocrity. He decided to create his own féerie that would rehabilitate the genre, and the result was “Le Château des Coeurs”, “The Castle of Hearts”. Nine “tableaux” written by Flaubert on a “canevas” by his friend Louis Bouilhet: “The gnomes, the new avatar of the bourgeois, are stealing the hearts – and thus the ability to love – of humans, to keep them locked up in the vault of the Castle of the Hearts, as their treasure. But the fairies are afoot: they will try to revive love on earth, through two human beings that are said to still have a heart, and to still have the ability to love”. Unfortunately this play, while entirely created, was never actually showed on any stage due to two things. One, at the time the féeries were falling out of fashion and nobody wanted to see them anymore ; two, Flaubert was carried away and placed a LOT of special effects in his play, many which were incredibly more complex than those used at the time. A typical féerie special effect would be for example for a table to turn into a chair, or for a bed to turn into a hammock – but Flaubert demanded for a YOUNG MAN to turn into a DOOR LINTEL.

Anyway… The use of legends and myths was also reigniting in operas thanks to the enormous success of Wagner’s pieces. Claude Debussy created a “Prélude à l’après-midi d’un faune” in 1894, based on Mallarmé’s work (Prelude to a Faun’s afternoon), and later created a Pelléas et Melissande in 1902 based on Maeterlinck. But again… In France, the literature was all about the “fantastique” rather than the fantasy – the supernatural was supposed to be of this disquieting, disruptive, bizarre magic, wonders and horrors that entered the normal, rational, logical reality we all knew. It was the reign of Gautier, Maupassant and Poe through the lenses of Baudelaire). In the 20th century a lot of authors touched upon the “wonderful” and the “marvelous”, but they were discreet touches here and there: André Dhôtel, André Hardellet, Jacques Yonnet, Charles Duits, Henri Michaux, Marcel Aymé, Pierre Benoît, Marguerite Yourcenar, Sylvie Germain, Maurice Maeterlinck, Julien Gracq… Once again, the visuals won over literature – and to symbolize the French fantasy cinema of the 20th century, Ruaud only has to mention one name. Jean Cocteau. Cocteau and his two most famous movies: La Belle et la Bête (Beauty and the Beast, 1946) and Orphée (Orpheus, 1949). They stay to this day the greatest “fantasy movies” of the 20th century.

But unfortunately for France, there never was any “popularization” of the fantasy through media like the pulps of the USA. Science-fiction as a genre was accepted though, to the point that anything that was a “marvel”, a “wonder” or a “supernatural” had to be science-fiction, not magic. The 70s and 80s were the supreme rule of the science-fiction in France: Jean-Pierre Fontana had his stellar ark/arch, Alain Paris his antediluvian continent, Michel Grimaud his spatial colonization, Bernard Simonay his spy-satellites, Hugues Doriaux all sorts of sci-fi gadgets… In this time, if you wanted to do something out of ordinary, you had to go into speculative science, else you wouldn’t be taken seriously. Again, it was Klein’s opinion that fantasy was for “ignorant” readers and writers who didn’t like to “challenge” themselves.

However, in this “desert” that preceded the true fantasy boom of the 90s in France, Ruaud claims that there are actually true French fantasy novels: five “ancestors” of the French fantasy. And those I’ll reveal in a second post…