#milady de winter icons

[normasdesmonds]

mylène demongeot as milady de winter in les trois mousquetaires: la vengeance de milady (1961)

[formulaheart]

dress wearing dartagnan you will always be famous

never forget this man ran to his best friends house, in a women's dress, in the year 1625(?), because a dress is better than being naked, away from a woman he's been sleeping with for weeks, who also just tried to murder him, who is ALSO the ex wife of said best friend

EDIT because i got the dates wrong

[montalais]

(ALMOST ALL) THE LADIES OF SEASON 1 - THE MUSKETEERS

A continuation of this. You can find the folder with all the icons here.  Source: my own screencaps + HD images from Far Far Away Site

[wingsofhcpe]

Mar's BBC vs Book Canon Musketeers Assession: a Short Yet Comprehensive Guide

(read under the cut!)

bbc d'Artagnan: baby. has not done anything wrong in his life ever, actual angel, just very stupid.

vs

book d'Artagnan: has the power of god and anime on his side, most annoying little bitch you'll ever meet, broke, has a stupid horse, perpetually single.

*

bbc Athos: depressed older brother figure that's not-so-secretly very soft and loving of his found family and would die to protect them, also still horny for one Milady de Winter. Carries the communal garrison braincell.

vs

book Athos: drunk misogynist who yearns for death and whose only reason to live is his son Raoul. All his braincells have committed self-murder.

*

bbc Porthos: feisty ray of sunshine who has never had a single evil thought in that silly head of his, actually quite clever, complicated and emotional, deserves the world.

vs

book Porthos: vainest person you'll ever meet, doesn't know when to shut up, sugar baby who cares only about himself (and maybe Aramis), has not had a single intelligent thought in his entire existence.

*

bbc Aramis: cinnamon roll, golden retriever, actually quite clever, troublemaker who can't keep it in his pants, lovable self-sacrificial idiot who would get himself killed in a heartbeat to save his loved ones, brightest smile in all of Paris. Invented bisexuality.

vs

book Aramis: mean, edgy, probably secretly a vampire, would sell you to satan for one (1) corn chip, one bad day away from going on a murder spree. Also invented bisexuality.

*

bbc Treville: exasperated dad.

vs

book Treville: extremely exasperated dad.

*

bbc Cardinal: genius evil mastermind played by Peter Capaldi.

vs

book Cardinal: genius evil mastermind sadly not played by Peter Capaldi.

*

bbc Rochefort: worst person you'll ever fucking meet, arguably the only downgrade in the show.

vs

book Rochefort: sneaky lil bastard that's also the bestieTM, we stan.

*

bbc Constance: feminist icon, beautiful queen I'd kill and die for, gaslight gatekeep girlboss.

vs

book Constance: she's just there and then she dies ig.

*

bbc Milady: my cunning evil murderwife, would die for her, deserves the world.

vs

book Milady: actually I believe Athos should have strangled her with his own hands, fuck her.

*

bbc Bonacieux: evil greasy little man, fuck him.

vs

book Bonacieux: he's just... kinda... there I guess? Idk man Dumas looked at the Bonacieuxs and went "nah".

*

bbc Louis: annoying little shit but he's kinda cute and nice sometimes

vs

book Louis: manchild, just There ig.

*

bbc Anne: radiant angel who has done nothing wrong in her life ever and she's also perfection itself.

vs

book Anne: literal drama queen.

*

BONUS ROUND- GRIMAUD

bbc Grimaud: hot evil emo dude, idk what his problem was tho

vs

book Grimaud: actually he just doesn't get paid enough for this shit so if he wanted to murder Athos like in the show I'd understand that lmao

[fools-and-perverts2]

i finished the musketeers season 2!!! (spoilers ahead)

oh my god what a finale

these last 3 episodes have been definitely the best from this series as a whole really its been so iconic

rochefort - i knew he was going to go there!!!! i knew it was going to happen and i was right!!! i remember when they come up with the plot about him hiring a prostitute and calling her the queen i was like,,,, ohh this bitch is CREEPY creepy. but yh i know Marc Warren from hustle(which he's great in) so it was strange seeing him in such a different role but he's so good! I'm being genuine when i say i hated rochefort more than i hated agrivaine - and that's saying something

ohhh and milady de winter in her milady de rescue mission she smashed those moffat woman allegations with a hammer (back in season one i thought she would end up just being a sexy assassin ex wife and nothing else but no!!! she's one of my faves now!!!)

poor queen! i felt so bad for her this entire time cos yeah they really did that but i still love her uwu i was kindof shipping her with constance this entire time??? idk what the fandom thinks I've been avoiding for spoiler reasons but yeah i see yuri potentiel there. maybe i just like women

but yeah in conclusion - great actors, great tv, i felt things and people died, very nearly cheered when rochefort croaked it but stopped myself at the last second, it was great. i can't wait for season 3 i love you goodbye

[alejandromogollo]

Remembering the legendary Lana Turner on her birthday ❤️ Here as the iconic Milady De Winter in The Three Musketeers. #lanaturner #bornonthisday #thethreemusketeers #imitationoflife #thepostmanalwaysringstwice #oldhollywood #alejandromogolloart https://www.instagram.com/p/CoZ-Cb6oWhJ/?igshid=NGJjMDIxMWI=

[sanutto]

                                         the musketeers series icons for alex

alexandra dowling as queen anne, maimie mccoy as milady de winter and tamla kari as constance bonacieux on BBC period drama

~{ like/reblog if use or credits on twitter @thekingfraser } ~{ don’t repost. }

[smuggsy]

Athos + Milady icons (please like or reblog if you use). I’ve also added some headers with white background that can be used along with them.

[grimmerie]

testing out photoshop for the first time, so uhhh. have some musketeers icons. all are 150x150, please like or reblog if you use!

[cy-lindric]

Professionnal little snake man John Francis Mordaunt

[iconsmadebyalex]

106 - 100x100 - maimie mccoy (milady de winter) - Part 2

more under the cut - Please reblog post if using.

[zuzcreation]

Icons of Maimie McCoy as Milady de Winter in The Musketeers (x6)

[emptymasks]

I’ve seen a lot about your thoughts on Elisabeth and Tanz der Vampire, and they’ve been really helpful getting into those musicals! But you have a huge list of other musicals that people can get into…

So I was wondering if you had any musicals you hadn’t mentioned in a while that you really like or would like to talk about??? (preferably something from your lists that has a blue heart please?)

Oh if only you knew how long the list of European musicals really is... I however have only seen 9 (if I counted right) and I have a lot more that I still need to watch. Oh also, I only put the blue hearts on any musicals that I was providing multiple links for so people could see which version I reccoment the most highly. If a musical only had one link and didn't have a blue heart it doesn't mean I didn't like it.

I've watched: Mozart das Musical, Elisabeth das Musical, Tanz der Vampire, 3 Musketiers, Mozart L'Opéra Rock, Dracula (the Graz production), Rebecca das Musical, Roméo et Juliette and Schikaneder.

If you enjoyed those two you're likely to enjoy Rebecca! It's written by the same composer/lyricist team as Elisabeth and Mozart (and same lyricist as Tanz der Vampire - though if you're listening to any German musical, original or translated, 90% of the time the lyrics will have been done by Michael Kunze that man is everywhere). The Stuttgart production has my favourite set design of any musical! Well... Actually probably. There are so many big set pieces it's insane, way more than I've seen in some Broadway and West End musicals. You can tell so much work went into it and the visual effects that I won't spoil if you don't know the plot but if you know the plot you know what I mean by the effects at the end are so good and I didn't expect them at all and I freaked out so much the first time I watched it. Jan Ammann as Maxim in the Stuttgart production is the best Maxim. No I won't take any argument. Other actors feel a bit one-dimensional to me, but the way Maxim acts at times comes from trauma and some actors and productions seem to forget that, but Jan really goes for it and his Maxim is a lot more sympathetic and I just want to give him a hug. Pia Douwes as Mrs Danvers, if you've seen her in Elisabeth what more do I need to say, she's amazing. A musical goddess. Her Danny is a bit more wild than some, but she kills it. My favourite video, which I put the blue heart next to, has understudy Christina Patten as Ich/I, but I adore her she's my favourite. She adds some spunk to Ich in act 2 and her voice is so pretty and aaaa. I just love these three actors together in these roles.

Roméo et Juliette is another favourite of mine! It's hard to choose which one to recommend, but it has to be the original 2000/2001 production because of the sweetness and chemistry and voices of Damien Sargue and Cecilia Cara as Romeo and Juliet. They're so pretty and work together so well. The only reason I say it's hard to pick is Mercutio. I adore him, but in the original production they cut out a song they had planned for him and he doesn't really do much at all? In the 2010 revival they gave him two more songs and you care about him so much more and John Eyzen plays such a good Mercutio. So I'd recommend the original but if you want to like Mercutio more, which you should he's amazing, I'd recommend watching at least clips of John's. It's an interesting musical because all productions are non-replica and also change around the order of songs, add or take away characters, all sorts. The Hungarian production is also very popular and I'm sure it's great, I just haven't' gotten around to watching it yet.

Mozart das Musical was the first non-English language musicals I watched so I have a fondness for it, but it's not my favourite. However, I do realise I have forgotten most of the songs and the few I've gone back and listened to are better than I remember.

Dracula isn't super popular and I understand why, I don't love the plot of the Dracula/Mina romance in it, however. I do love this musical because despite how I find the plot lacking, the songs are so good! At least, I love them. And the actors are all doing a great job. And it's one of the few Dracula adaptions to keep Quincy Morris so they get bonus points for that.

Mozart L'Opéra Rock and modern French musicals... This isn't necessarily a bad thing, but they're often more like pop-rock operas now. So if you're not into musicals with that style of music it might not be for you, but I still enjoyed it even though I didn't think I would because of the style of music. Mozart and Salieri's chemistry is very good, Salieri's bisexual crisis song is iconic, actually all of Salieri's songs are iconic.

Schikaneder... eh. I didn't like it that much and I didn't really like any of the songs. There's no English subtitles, but someone sent me the entire English synopsis and I watched it with a German friend so I had double the help of understanding it. Doesn't mean others might not like it, just none of the songs stood out to me and I had no desire to listen to any of them again. It's by Steven Scharwz of Wicked fame and I love Wicked, but I didn't love this.

3 Musketiers!! God it's so underrated and not spoken about within the European musical fandom that I even forget about it and literally forgot to write about it earlier in this post. It's a Dutch musical (though did also have a German production) and it's really good!? Faces you might know are Pia Douwes as Milady de Winter, Stanley Burlseon as Cardinal Richeliu (Netherlands Der Tod in Elisabeth), Henk Poort as Athos (Netherlands Phantom and Jean Valjean). The dialgoue is funny, the songs are good, some of the set pieces have no right to exist in this tiny musical?? They made this giant boat and pelt the actors with rain just for one 5 minute song and then we never see the boat again? And while I recommend the Dutch one because Dutch musicals deserve more love and it has official English subtitles!! Official ones, not fanmade! I have the DVD and it comes with English subtitles (and Dutch and German subtitles) which is so nice. The German version is also good, good cast, Pia came back and Uwe Kroger as Richeliu and omg they rearranged the songs and the German arrangement of Nicht Aus Stein is insane and amazing and frankly iconic.

That's all of the ones I have watched. Next on my list to watch are Rudolf and Notre Dame de Paris, both of which I have listened to some songs from and already love (I've listened to way too much of Notre Dame de Paris and am so in love).

I want to start organising streams where I'll host the musical either by getting the video from Youtube or my own files and anyone who wants to join can come along and watch with us, chat with us if you want or just watch there's no pressure to chat. I thought about doing weekly streams? This would also make me finally watch some of the ones I've been meaning to for ages. But I keep wondering about time zones. I'm in the UK and would want to stream at about 11pm at the latest (11pm BST/GMT+1 as we’re in daylight savings at the moment, if the streams continue past the end of October which would be wild then I’ll make a note of the time change that would be to 11pm GMT), which I know can work for other UK and Europeans, but for any Americans would be in the afternoon. So, I wondered if doing it on a weekend would be better? Then it doesn't matter if it's in the afternoon? Maybe Saturday evenings then? It would either be Saturday evenings UK time or Friday evenings UK time. What do you guys think? If people are down then I'll make a separate post with a list of what we'll be watching each week and if anything happens to me that means I can't stream one week then everything will just get pushed back a week, but I don't see that as likely to happen. And I'll only be streaming those that have English subtitles, so don't worry about not being able to understand anything.

edit: am also open to 10pm bst if others want that, im just trying to think of what time works best for everyone so sorry if 11pm is a little late for europeans, i know 10pm could be a little early for americans. also in case it sounded like these are the only musicals i will be streaming, thats not so, ive got more than just the ones mentioned on this list!

(Tagging some people who I know are or might be interested in streams to see what you think of that plan: @sirona-art @ringwraith100 @tanz-der-trash @smilingwoland @the-weird-dane @witchgaye @ami-fidele @kisstheghouls @looking-4-happiness @ladysapphire928 @sloanedestler @tinywound @persephonaae @phoenixdewinter @uwucoffee @freshbloodandgothicism )

[montalais]

So I’ve been screencaping The Musketeers like there’s no tomorrow for raisins™, so here you have a bunch of icons. Some things: 

Mostly focused on the garments, but there are a few faces too. 

As uploading everything here it’s tedious, here you have a link to a Google Drive folder. 

Use them freely; if you want to reblog or like the post if you use them, it’s cool. If not, it’s cool too. 

Source: my own screencaps + HD images from Far Far Away Site

Image descriptions under read more

Image Descriptions: grid of 9 square images displayed in rows of three. 

Upper row: image one. 245x245px icon. Taken from the last minutes of Season 2 Episode 10: Trial and Punishment, it shows a cropped image of Milady dressed in blues as the comtesse she is, from neck to knees. What we can see of the background is a blurred, well trodden road with green at its side. Milady’s dress is dark blue, with the front of the underskirt, stomacher and sleeves (which are part of a short jacket) in a lighter shade of blue. She’s turned to the left of the picture, and her standing collar is not seen, but can be guessed. She’s wearing white gloves, which get visually molded into the white long sleeves of her gown.

Upper row: image two.  245x245px icon. Taken from the early minutes of Season 1 Episode 7: A Rebellious Woman, it shows a close up of Captain’s Trèville cuirass. He’s shown from the waist up until his nose, though the wide brim of his hat is seen on the upper part of the picture. He’s looking to the left of the picture (or to his right), with a serious expression in what we can see of his face: moustache and goatee framing the line of his lips. The cuirass fills the whole picture in all its metallic glory, but we can see the collar of his white shirt peaking up, the leather shoulder of his uniform, which is a shade of camel in colour, and his blue musketeer tabard hanging from his left shoulder. The cuirass is fastened to the shoulders with a buckle, which can be seen on the right shoulder, and it has some simple decoration along the neckline and armcyes, in the shape of a band with regularly distributed raised circles of the same material.

Upper row: image three.  245x245px icon.  Taken from the early minutes of Season 1 Episode 7: A Rebellious Woman, it shows a close up of Constance’s pink jacket (since it doesn’t have tabs I don’t think it can be classified as a hongreloin, but I guess that was the idea). She’s shown from the underbust up, until nose level, and her head is turned in the same fashion as captain Trèville’s in the previous image, who stands right behind her. Her lips are slightly parted and the light plays beautifully on her neck. The jacket in question is a pale shade of pink, with the wings and the collar in a darker shade of the same colour. It’s laced in the front and we can see her red chemise peeking from below her stays and through the slashed sleeves.

Middle row: image four.  245x245px icon. Taken from the public attending to the duel in Season 1 Episode 8: The Challenge, we can see a close up of Alice Clerbaux. Only the lower part of her face can be seen and the picture stops well over the cleavege of her blue silk gown, but we can see the pleats on the sleevecap, which is puffy, and the necklaces she wears: one runs along the side of her neckline and has grey pearls; she then wears two more of regular pearls. the first of those matches in size the grey one, and it looks as though it’s been knotted right below her throat; the other is made of a smaller set of pearls, with a silver pendant.

Middle row: image five.  245x245px icon. Taken from Season 2 Episode 4: Emilie, it shows a close up of Milady’s green dressing robe, as shown when she’s being blackmailed by Rochefort in the gardens. We can only see her face from the nose down, but her lips are pursed. She sports a light green choker (very similar to the one Ninon wore in the previous season, save for the pendant), and wears a white nightgown (which is the same seen in the flashbacks in Pinon in Commodities). The robe is green with a big pattern of leaves in a lighter tone, save in the collars facing: the colours are inverted then, as it looks like they’ve used the other side of the fabric for this purpose. The letter she’s holding peeks at the lower left side of the picture.

Middle row:  image six.  245x245px icon. Taken from a promotional shot from Season 1, it shows a close up of Queen Anne. Only a quarter of her face can be seen, from the nose down, the middle of which is aligned with the right edge of the picture, to put some emphasis on the elegant curve of her standing collar, made of a very light, light golden fabric. The picture is cropped at her neck, so we can see the golden brooch right in the middle, pinned to her light golden stays, and the darker golden layers over them. The trims along the outer layer’s front are an old shade of gold, as well as her necklace, which falls right into her neckline.

Lower row: image seven.  245x245px icon. Taken from Season 2 Episode 6: Through a glass, darkly, it shows a close up of the Queen’s light blue gown, with an emphasis on the pleats on her waist. The bodice is long and tight fitted, with internal boning, and a long pearl necklace hangs down to the lower edge of the bodice. The skirts are quite full- she’s walking towards the right side of the picture and the motion makes them look bigger. We can see a bit of detail on her right sleeve, up to the elbow, where the upper edge of the image is.

Lower row: image eight.  245x245px icon. Taken from the end of Season 2 Episode 10: Trial and Punishment, the image shows the back of Aramis as he bids his brothers good bye. He’s shown from the shoulderblades and up to the brim of his hat, and while he’s not looking at the viewer, his profile, turned to the right edge of the picture, can be seen. We can see the circular pinking detail in the right shoulder of his brown leather coat, and the top part of his leather pauldron, as well as a bit of d’Artagnan’s in the background. 

Lower row: image nine.  245x245px icon. Taken from a promotional shot from Season 2 Episode 3: The Good Traitor, the picture shows Athos, only seen from his neck to his elbow. His dark leather doublet acts as a background for the brass buttons running down its front, a peeking pistol, and the blue musketeer tabard hanging from his left shoulder. We can see its front buttons, as well as Athos’s arm bent in 45º, with his hand towards the lower left edge of the picture. His cuff is turned and some buttons can be guessed, as well as the lower part of his leather gloves. The hint of metal just below the turned cuff is the rapier.

End image descriptions.

[infantadespagne]

Milady de Winter icons.

[aion-rsa]

From Lupin III to Inspector Gadget: Examining the Heirs of Arsène Lupin

https://ift.tt/3p5oPe7

This piece contains spoilers for Netflix’s Lupin.

As Arsène Lupin, the gentleman thief created by Maurice Leblanc in 1905, is a renowned master of disguise, it is fitting that he has inspired a number of literary characters to take up his mantle. Arguably the most recognizable riff is Lupin III, a copyright-infringing, quasi-canonical descendant by way of Japanese manga and anime. Yet it wasn’t until Netflix’s new French mystery comedy-drama series Lupin—which reinvented the source material through Omar Sy’s Lupin and the lenses of immigration, racism, and fandom—that readers and viewers have truly been challenged to consider what it means to inherit, whether through blood or through books, an iconic character’s legacy. Consider this a field guide to the many different Arsène Lupins.

What is immediately intriguing about both Lupins is that neither is as white as the top-hatted, monocled thief that Leblanc created over a century ago. Assane Diop (Sy), the charismatic lead of George Kay’s Lupin, is a Senegalese immigrant whose father Babakar (Fargass Assandé) brought him to Paris for a better life. The lethal mix of elitism and systemic racism that they encounter via Babakar’s employers, the Pellegrini family, are what shape young Assane’s life into a revenge narrative, but also become tools in his career as a gentleman thief. Yet even Lupin III, created in 1967 by manga artist Monkey Punch (a.k.a. Kazuhito Katō), is introduced as the French-Japanese grandson of Leblanc’s Arsène Lupin. In the Lupin the Third Part II episode “The Southern Cross Looked Like Diamonds,” which concerns Japanese casualties of the Pacific War, Lupin discusses his dual heritage. Both adaptations add texture to their Lupins’ stories by not allowing them to move through society quite as smoothly as the original French thief.

That said, Monkey Punch’s Lupin III certainly benefits from a fair amount of family legacy by carrying on his grandfather’s and father’s reputation as a world-renowned thief, marksman, master of disguise, womanizer—you name it. He’s almost more of a reincarnation of the original than a descendant, with the only real change being the shift in period from the early 20th century to the swingin’ sixties. Monkey Punch also drew from Lupin III’s contemporary James Bond to enhance some of those darker and more adult aspects in the manga, while basing Lupin’s on-again, off-again romance with bombshell spy Fujiko Mine on D’Artagnan and Milady de Winter’s relationship from Alexandre Dumas’ The Three Musketeers.

According to a 1995 issue of Manga Mania, Monkey Punch had initially considered keeping the blood connection a bit more under wraps, having not obtained the legal rights from Leblanc’s estate, but was convinced to embrace the Arsène Lupin connections. While Monkey Punch’s adoption of the Lupin persona wasn’t kosher by copyright standards, it was also very much in the spirit of the character—asking for forgiveness rather than permission—as well as the creator himself: Leblanc borrowed Sherlock Holmes for a few Lupin adventures before Sir Arthur Conan Doyle realized, and only then changed the detective’s name to “Herlock Sholmes” for subsequent showdowns. Still, it did eventually backfire for him, though it also led to, fascinatingly, beloved animated character Inspector Gadget (more on that later).

Read more

TV

Lupin Part 2: 2021 Release Confirmed by Netflix

By Kirsten Howard

Perhaps the most beloved iteration of Lupin III is in Hayao Miyazaki’s 1979 film The Castle of Cagliostro. Monkey Punch’s manga cast Lupin III as a rather unsympathetic master thief: callous about his victims, a caddish ladies’ man who often harassed women he saw as little more than sex objects. While the anime quickly established a moral code—stealing from rich people who either deserved it or would not overly suffer for it—it was Miyazaki’s film that gave Lupin III real heart. In rescuing princess bride Clarisse from a Gothic marriage, he displays a surprising sense of chivalry, especially when the plucky girl wants to be his sidekick. Lupin’s silent agony over turning her down lends the otherwise carefree heist film a shocking touch of melancholy, and lays the groundwork for a more well-rounded Lupin III in future outings.

The Lupin III bloodline has extended several generations into the future, though none of these descendants made much of an impact beyond their respective adventures. First there was Lupin III Jr. (yes, that’s his name), the son of Lupin III and Fujiko, who only ever existed in the manga. Elusiveness of the Fog, the nineteenth Lupin III TV special, uses a time machine to jump ahead to 2883 and glimpse Lupin XXXIII, a.k.a. Lupin the 33rd, identical to his green-jacketed ancestor. He gets three whole lines and mostly seems like an excuse to show that thirty generations later, little about the iconic thief has changed.

In between those two there was Lupin the Eighth, would-be star of a 1982 spinoff created in collaboration between Lupin III studio TMS Entertainment and French-American studio DiC Entertainment. The Lupin VIII series would have jumped a conservative five generations ahead, with the familiar crew’s great-great-great-great-great-grandchildren carrying on the same names, traits, and rivalries and romantic entanglements. But when the Leblanc estate got wind of this Japanese/French collaboration showing up on their continent, they put the kibosh on the project; only the pilot was animated, and was shut down before vocals had been recorded.

Because TMS and DiC had already lost their investment, they scrambled to come up with a replacement for the timeslot. And so Inspector Gadget was created, with the trenchcoat-clad cyborg bumbling his way into viewers’ hearts. Despite his complete lack of suaveness compared to any version of Lupin, you could say that, in terms of staying power, Gadget was Lupin III’s true successor.

Yet while Lupin III had every familial and financial resource at his disposal to continue his grandfather’s and father’s work, everything Assane Diop needs to know he learns from a book. The Arsène Lupin books, which Babakar gifts him right before he is framed for stealing the priceless Queen’s Necklace from the Pellegrinis. Babakar’s arrest, guilty plea, and prison suicide leave Assane burdened with a strange inheritance of misfortune, words, and blood money—as Madame Pellegrini (Nicole Garcia) pays for fancy schooling he otherwise would not have been able to afford. Attending a prestigious academy is where he forges friendships with fellow morally gray criminal Benjamin Ferel (Antoine Gouy) and his eventual partner Claire (Ludivine Sagnier) and learns how to code-switch among his peers. 

Presumably, that upbringing creates the scaffolding of connections that allows him to move through high society, but his wealth and prestige in adulthood is all due to Arsène Lupin. Assane studies those books like religious texts, like instruction manuals, like the last connection to his late father. His obsessive fandom provides him the blueprints for foolproof heists that he enhances with his own experiences at playing with disguise. Though he does later employ prosthetics for his appearance as Twitter user Salvator, for the most part Assane doesn’t obscure his face. Instead, he trusts in his marks’ implicit racial biases that they will buy him as a deadbeat dad and immigrant janitor Luis Perenna, then not blink twice when staring him in the face as millionaire Paul Sernine in the course of the same evening. In prison, he literally counts on a white guard’s inability to differentiate between two black men to switch places with a prisoner.

Assane also continues his father’s tradition of gifting the Arsène Lupin books to his own son for his 14th birthday: Raoul (Etan Simon), French-born, mixed-race and equally enamored of the gentleman thief’s adventures. While it’s unlikely that Assane wants his son to make the same dangerous enemies, he clearly wants Raoul to see himself in the character—and to see his father, who understandably has difficulty showing his true self to anyone.

This by-the-book adaptation (Arsène Lupin entered the public domain in 2012) engages with the notion that anyone can embody an iconic character—that their skin color or class upbringing doesn’t have to match the original, that they don’t have to be a blood relation to inherit a persona. For all that Lupin III exists in his own right and will endure as a classic franchise, Assane Diop’s Lupin may be the truer heir to the gentleman thief’s legacy.

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Lupin is available to stream now on Netflix.

The post From Lupin III to Inspector Gadget: Examining the Heirs of Arsène Lupin appeared first on Den of Geek.

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