#oliver twist retelling

[i-wakeupstrange]

au where book nancy takes book fagin up on his offer to poison bill sykes and they run off with dodger to live another day

[p34ce0fm1nd]

*tries not to think about how saltburn is some twisted version of pygmalion*

pygmalion is a greek story of how a sculptor created a woman from marble and fell in love with her. he prayed to Aphrodite to make her real, and his wish was granted.

pygmalion has soon become the story of molding a person into who you want them to be, and falling for them; falling for how you perceive them in your head. “she’s all that” is a modern retelling of pygmalion; the change, the love.

oliver changes for felix, one could say by his hand. he molds himself to be what felix loves, what he needs. oliver is both pygmalion and the statue.

[rainsfiction]

I think one of the most interesting things about Oliver is that he absolutely could’ve been a permanent fixture at Saltburn with Felix if only he had been a little less greedy. His biggest downfall is that his upper middle class privilege made him overly presumptuous with his greed in a way that left cracks in his carefully thought out plans.

First and foremost, it’s important to note that Oliver is an unreliable narrator in ways that made his third act monologue an unexpectedly interesting part of the film. His monologue is meant to not only justify his actions but is also a way for Oliver to make himself out to be smarter and better than he truly is. He’s working overtime to convince himself that he’s won and that he’s achieved this through his own actions. Whether you chose to believe him or not is up to you; what really matters is that you understand that no matter how big (or little) of a role he played in securing Saltburn for himself, he still royally fucked up his original plan on multiple occasions. He is not a mastermind who got what he originally wanted all along. He was not all knowing and he was not watching everyone play checkers while he played chess. Oliver. Fucked. Up.

The bicycle scene (whether you believe he tampered with the tire or not) and the pub rescue scene were more than enough to win over Felix. Felix was shallow and would've given no extra thought to Oliver's usefulness or perceived poverty. Oliver could’ve hinted at a difficult home situation and used the family strain he already experienced as a hook for Felix if necessary. It would’ve been enough... but then Oliver got greedy. He started building up the poverty case more and more, in the hopes of getting more and more of Felix, and that was his first major mistake.

It’s important to remember that we see Felix not from Oliver’s POV directly, but from Oliver’s POV in his twisted retelling that we have no reason to believe. Though Oliver probably knew Felix intimately, he doesn't share that Felix with us. He shares the godly image he built in his mind that is tainted by his own self deprecation. In Oliver’s world Felix was seconds from dropping him at any given moment, because why would Felix keep Oliver? In reality, Felix had already deemed Oliver the perfect new toy. Sure, Felix was irritated in the cleaning argument scene… but if we work under the assumption that Felix had already chosen Oliver, then Oliver pointing out his privilege in an way that made him acknowledge it would’ve ultimately intensified Felix’s saviour complex once he got past the initial discomfort. It might’ve taken a moment, but Felix would’ve ran straight back to Oliver soon enough. Though Oliver couldn't see it, we see through the jealousy Felix's circle of friends display that Oliver was a more permanent fixture in Felix is life than most were comfortable with. The problem was that Oliver couldn't handle the wait, and his greed overrode his patience and lead to yet another mistake when he escalates the situation by bringing in a dead father that he didn’t actually need.

Farleigh and Oliver’s dynamic is so interesting because Farleigh immediately recognises Oliver for what he truly is. Farleigh has an interesting class dynamic where by right he should be a permanent fixture at Saltburn as a member of the Catton family, but he’s been carelessly demoted to upper middle class purgatory. He recognises Oliver as his competition almost immediately despite having played this game for far longer. Farleigh is happy to play this game in school, because he knows it well enough to win, but then Farleigh is shaken when he realises Oliver has become his competition in fighting their way into the Catton family. Farleigh recoginses what Oliver doesn't, that Oliver is permanent. He hates that Oliver’s race mixed with his Oscar winning poverty act has given Oliver that extra boost that makes him a real threat to Farleigh's place in Saltburn.

This is what makes the karaoke scene so interesting. Up until that point Farleigh see's Oliver as lesser and underserving of a place at Saltburn. The karaoke scene shows a significant shift where Farleigh finally accepts Oliver as a worthy opponent and potential teammate. With the obvious attraction between them Oliver should’ve taken him up on his truce without question. Alas, Oliver’s greed takes control once more and he immediately tries to place himself above Farleigh despite the offer of solidarity presented to him. This is what leads to the Rent scene where Farleigh successfully declares war once more, and where Oliver calls him over to finish the song in a way that ensures that he wins that round. The problem is that unlike Farleigh, who is focused on playing an upper middle class game of infiltrating the 1%, Oliver gets so lost in cosplaying poor that he loses focus of what the real game is. He’s so focused on the humiliation his poor character must feel from singing Rent that he loses sight of the acceptance of the role the song portrays that Farleigh displays which allows for Farleigh to win the next round. He fails to recognise that he needs Farleigh as an ally to get what he truly wants, and that was one of his biggest mistakes of all.

Oliver's want for Felix ultimately becomes his biggest downfall as he lays the foundations for relationships with the Cattons only to taint those relationships for Felix's comfort. Felix didn't need to be happy with Oliver at all times, but Oliver was greedy for the affection that came with Felix is good graces. Oliver singlehandedly undid the work he had done on Venetia – and by extension the work he had done on Elspeth – to keep Felix's easy affections. Felix was sulking, but he would've gotten over it pretty quickly if Oliver practiced some subtlety and put in just that little bit more work for the affection he craved. Oliver didn't have the patience for the long game. He wanted Felix is affection immediately and that meant that he made the mistake of closing off all alternative entryways into the Catton family prematurely.

Despite all his mistakes Oliver still could've had Felix even after the birthday surprise disaster. Though Felix was angry, he had ultimately declared his love by positioning himself as the Juliet to Oliver's Romeo, as indicated by his costume to Oliver's birthday party. Though Felix's love and care was exploitative and tainted by his privilege, it was also real and present in all the ways that mattered. In the maze, despite Felix is harsh words, what really stands out is how we see Felix contemplate kissing Oliver and doing everything in his power not to give in. It's the first time it's made clear to the audience that Felix is just as dangerously in love as Oliver is. Felix would've taken any excuse imaginable to forgive Oliver in that moment. All Felix was asking for was clarity. Oliver could've given Felix the smallest bit of who he truly was and Felix would've done what he always did and filled in the blanks in a way that allowed him to play saviour. Felix would've given Oliver everything he'd ever wanted in that maze if only Oliver was willing to win the game on Felix is terms. Oliver could've had his cake and eaten it too, but his greed made him want more than that. When he realised he couldn't have it all he made an impulsive decision driven by his unquenchable thirst that lead to his biggest mistake of all. Oliver's need to be better, his need to be smarter, and his need to win the game on his own terms is what ultimately lead to Felix's death.

If Oliver had been more careful he could've had it all through Venetia or Farleigh or Elspeth... but he had already destroyed all alternative pathways through his own greed. When Oliver loses Felix, he loses any chance he might've had at elevating himself into the Catton's league. In the end, Oliver's third act monologue becomes a desperate attempt to make Saltburn worth it. Saltburn is not worth it. Oliver fishes the Cattons stones out of the water because without them Saltburn becomes nothing. In the end Oliver is alone, performing for the Cattons in a house long abandoned. Saltburn is the consolation prize Oliver had to convince himself he always wanted.

[serenescribe]

Bit of an odd request but I was listening to a bit of music and I was hit by an idea-

Idk if you know the tale of the Snow Queen, but essentially snow queens powerful ice mirror shatters, all but two pieces are recovered. One shard lands in a boys eye making him turn icey and Queen snatched him up.

However consider- Snow King Silver dragging a “mortal” who has a piece of something that was his. Unaware said “mortal” is actually a fae whose intrigued by this King’s combination of harshness yet tenderness.

the snow prince Twisted Wonderland | 3.9k Summary: A mysterious spell afflicts one Lilia Vanrouge, encasing his heart in frigid cold. AO3 Link: https://archiveofourown.org/works/51960883

FREED FROM UNI, I AM! I actually had this written for a while, but put off posting it to save it for a more appropiate season. I really love Snow Queen retellings and AUs, so this was a LOT of fun to write! Thank you, Olive! :D

(An aside: There are extremely minor spoilers for TWST CH7 in here; they're all under the cut and mentioned in passing. If you're trying to avoid every little detail of CH7, I'd suggest passing up on this!)

In the heat of a sweltering summer that sweeps Briar Valley like a storm, Lilia feels a prick of something sharp enter his eyes.

It happens so fast, so swiftly, that had Lilia not been one of the fair folk, he likely would not have noticed it at all. If he were a human, for example, with their sluggish reflexes and oblivious tendencies, lacking a natural affinity for magic in comparison to the fae, Lilia would have chalked up the prick in his eye to a stray lash falling in, rubbing around until he feels as though he’s flicked it out before moving on with his day.

But Lilia is not human. He is fae.

He knows, at once, despite trying and failing to dig out whatever it is that has entered his eye, that it is not a stray lash or a speck of dust. There is a strange magic emanating off of the tiny sharp splinter, an aura he picks up on in an instant. It’s peculiar, the way it makes him shudder as he brushes against it, the sensation likened to the cold of a dead winter. It is unlike anything he has ever felt before.

But gradually, Lilia has to put a pause on his efforts. He is out on a journey to meet with humans for talks of peace, for their centuries-long wars are slowly crawling to an end. His soldiers look at him in concern, clicking their tongues as they ask him, “General, are you alright? Do we need to stop for a while?”

“I am fine,” Lilia says, waving his hand in dismissal. “I simply got something in my eye, is all.”

It is not wrong to say that, for it is not a lie at all. But Lilia knows as well as anyone else that the strange prick of magic infesting his eye warrants further inspection.

Later, he tells himself, as they continue on with their journey on horseback, for the stalemate in their war has allowed for easier travel through ways of steed.

Time ticks by, the lazy heat of summer dipping into the beginnings of a chilly autumn. But despite the changing seasons, the months that have passed since that fateful summer day, Lilia comes no closer to discovering what it is that ails him so deeply.

He is not oblivious to the changes occurring to him; quite the opposite, in fact. Lilia has carried about him a strange self-awareness about his shifting attitude, only realising the differences in how he’s been acting when he reflects on the changes in hindsight. He’s never exactly been the pinnacle of warmth, and especially not after his beloved friends died, but he’s always held a fondness in his heart for the few he opens up to — namely his second in command, Baul Zigvolt, and the young heir to the throne and son of his deceased friend, Malleus Draconia.

But now?

Lilia stifles a sigh as he reminisces, trudging through the gardens of the castle. The leaves are shifting to warm hues, leaves fluttering in shades of vermillion red and golden yellow, and the fallen leaves give a satisfying crunch when his boots stomp into them.

He exhales, twisting his lips as he raises his head up to the world around him. It looks as it always has, Lilia knows that well. And yet… something about it has felt different since that day.

Everything has begun to feel… boring. Banal and bland at best, wickedly ugly at worst. The crunch of the leaves irritates his ears, the drought of the autumn air makes his nose feel too sore. He turns his nose up at the food the castle staff serve, wrinkling his nose at the pungent smell of a dish he used to love, and he turns down whoever offers him a mug of beer, the foam that guzzles over the rim leaving his hands sticky and gross.

Lilia knows he’s changing. It’s not just his emotions, but also in the way he sees the world — everything is so intimately different in the worst way, and every waking hour he spends feels like a chore, an obligation he drags himself through. Where he used to spend time with Baul and his fellow men, or with Malleus most of all, being the one to raise him since he hatched, he now spends it all… alone.

But knowing something logically is different from knowing it emotionally. There are only so many apologies he can force out with his insincere tongue, schooling his expression into a facsimile of sincere regret. At the end of the day — of each day — Lilia truly feels nothing at all except the vacant void of a howling gelidity, frostbite nipping through his very veins.

At the very least, his men have respected this change, regardless of how perplexed they seem to be. Baul had pulled him aside once or twice to ask if he was feeling fine, but had he not been so preoccupied with his daughter’s sudden interest in the Valley’s newest dentist, a peculiar human who’d chosen to move here, of all places, he would have surely pressed the matter further.

On the other hand…

“Lilia!”

He sucks in a breath at the sound of that familiar voice. Once, it had lightened his heart to be greeted to such a cry upon returning to the castle from one of his many campaigns. But now?

“Hello, Malleus,” Lilia greets, making a deliberate effort to soften his voice as he turns to greet the young prince. Malleus has grown a great deal since he first hatched, now towering slightly above Lilia. Still, the boy has an inclination for continuing to call out to him childishly — something that had endeared Lilia in times past, but now only serves to irritate him by no fault of Malleus at all. “Is there something you require of me?”

“Not require, per se,” Malleus answers, a glimmer of hope in his eyes. He toys with the chain of his cloak with one hand. “I was merely hoping that you could spare the time to join me today for some tea. It has been quite a while, after all. I understand you’ve been busy as of late, but you do not appear to have anything on today, so I thought—”

“You’re rambling again.” Abruptly, Malleus’ mouth snaps shut. Lilia winces internally at his misstep; why had he interrupted the prince like that, in so cold a tone? He sighs. “Apologies. I have been under… a great deal of stress recently.”

“It is no matter, Lilia.”

Well that’s good, at least, Lilia thinks. Averting his gaze, he says, “Unfortunately, I do not believe I can join you today.”

A pause.

“Truly?” He hears it, the surprise in Malleus’ voice, mixing in with a forlorn misery. “I was certain that you had nothing to do today, given your schedule…”

“I—” Pressing his lips together, Lilia thinks before he says, rather stiffly, “It is true that I may not have anything on. But I would like some time to myself if you would be so kind, my prince.”

Ah, another slip up of his. To refer to Malleus by his title rather than his name… the gap between them only widens, and the only reason why Lilia worries about it is because he fears that he may go too far, say the wrong thing when it’s far too late to take anything back. But what’s done is done; Lilia raises his head in time to see Malleus recoil, hurt glimmering in those chartreuse eyes of his.

If Lilia stays longer… will he continue to mess up so miserably?

Before Malleus can speak, Lilia cuts in. “If there is nothing else that requires my attention,” he says, “I would like to return to my walk. Good day, Malleus. Give my regards to the queen.”

And, abruptly, he turns on his heels and leaves.

Oh, Lilia knows that Malleus is displeased. He knows it because, within mere moments, there is a gentle flutter of snow wafting down from the skies. He raises his head, blinking up at the fluttering snowflakes — so delicate and fragile, a byproduct of the prince’s tumultuous emotions, his magic far too powerful for him to properly handle when his emotions explode past his limits.

And yet, when he sets his eyes upon the swirling snow, Lilia feels…

Something.

He raises a hand, watching a snowflake land on his finger — so tiny, so delicate, an eight-pointed speck weaved into such an elegant pattern. It melts almost instantly against the warm flush of his skin — and yet, Lilia is transfixed, mouth parting slightly as he steps back, watching as the snow begins to flurry down faster and faster, cascading through the skies. How long has it been since he’d felt anything other than such apathy, such revulsion, such irritation and disgust? Now, Lilia only feels a sense of childlike wonder.

When was the last time he stopped to stare at the snow as it fell? He cannot remember. Has he ever stopped to observe it like this? Or had war stripped away such inconsequential pastimes from his life?

Lilia does not know how long he wanders around, watching the snowflakes dance until he goes numb, so numb with the cold. He only knows that his fingers are frozen and his lips are blue when he finally returns to the castle in a daze, barely cognisant of the way his entire body is battered, pushed past the natural limitations of his faerie strength.

Winter crashes into Briar Valley like an enemy ambush, a sudden attack spurned from the shadows of nothingness. It is the worst winter they have had in an eternity, everyone says, peering outside the frost-tinted windows as they bask within the toasty walls of the castle grounds; the fire-spells keep everyone warm for as long as they stay inside.

With the thick layers of snow barring any method of safe travel, the ongoing talks of their peace treaties with the humans have been temporarily suspended — more for the children of men’s sakes than that of the fae. If she so willed it, Queen Maleficia could wash away the snow with a flick of her wrist, but such matters, in her opinion, are trivial; nature is not something to be fixed at an instant, so why should she expend her energy for such things?

So during those days, cooped up within the castle walls with little to do, Lilia winds up lounging in the cushioned nook of a window, a little alcove tucked away in a winding tower towards the murky corners of the castle. Few fae ever roam here, save for a scant few servants pattering about cleaning the dusty hallways, and Lilia spends many languid hours with his head pressed against the cool glass, so intensely transfixed on the dancing snowflakes outside.

They are beautiful. Perhaps they are the last bits of perfection he shall ever witness in his life.

He has found no information about the shard that pricked his eye, nor has he found any sort of cure. Lilia has spent many a month searching, sifting through the treasure trove of books in the castle’s library to no avail. He had, at one point, considered going to the queen and telling her of his predicament — “In the month of summer, I believe a magical spell of some kind has afflicted my eye.” — but his own apathy stops him every time; there is simply no point in dragging others into this matter, not because Lilia does not wish to trouble them, but because, try as he might, the larger part of him just doesn’t care.

So, with his head pressed against the cold glass, Lilia closes his eyes and sighs.

The winter solstice is approaching, the longest night of the year. As nocturnal fae, creatures of the night, it is a joyous cause for celebration for their kind. Despite the blizzard that rages across the Valley night and day, many servants, guardsmen, people of their kingdom have been looking forward to the events; the castle town shall be open to all, shielded from the elements. All fae, young and old, can look forward to a night of dancing and festivities, dining on the finest food at the banquets, and celebrating the longevity of the night.

In years past, Lilia would have looked forward to it. But now, like everything else in his life, he feels nothing at all.

“Lilia? Are you here?”

He stifles a groan at the sound of Malleus’ voice. Again and again, the boy continues to scour for him, to seek him out and spend time with him. Lilia tries to indulge him, he really does! But each occasion spent together, needing to force himself to fake sincerity the whole way through — “Oh yes, Malleus, I would like to try the new blend of tea! Thank you kindly for the offer. How is your grandmother doing? I heard she has spent some time with you as of late—”

He can’t stand it. He can’t. It gets harder and harder with each passing day, the chill that permeates his skin sinking deeper and deeper, turning his heart into one carved of ice. His eye prickles with pain whenever he grits his teeth in a false smile; across the table from him, the young prince looks detestable, a selfish beast with far too much time, uncaring of what his servants are subjected to in their indulgence of him.

So he avoids him. As soon as Lilia hears him, he flicks his wrist, a swell of magic surrounding him. Bat-formed, Lilia takes to the rafters, huddling away in the corners of the ceiling as he listens to Malleus come and go. It is only when he hears that familiar voice fading away that he dares to leave, flapping his little wings as he makes a break for another isolated corner of the labyrinthian castle.

The day of the winter solstice arrives, and with it comes the worst blizzard the valley has ever seen.

Cold winds lash against the fortifications of the castle, howling and rattling. Snow crashes from the sky, piling higher and higher upon the dead ground. And yet the castle is alight with the buzz of festivities — the many servants bustle about, wrapping up the last of their preparations, ensuring the banquet is ready with food for all, that the decor floats about in place, that the spells wrapping the castle and its town in a bubble of warmth remain solidly intact.

Throughout the day, Lilia sticks to the shadows, hovering out of sight. Today he feels… he doesn’t know how to describe it. Cold and dead as usual, his heart no longer the warm, affectionate thing it was before — but beneath the thick layers of apathy, there is something nestled beneath: the barest twitch of a muscle, a flutter of something. Lilia finds himself distracted with it the entire day as he meanders about, waiting for the clock to tick to a point when the festivities can start.

And when they do begin, the many residents of the valley teleporting into the castle en masse… Oh, how does Lilia even begin to describe them? Laughter rings freely, the merry melody of music from a string band sweeping the air as dancers circle across the floor. Wine glasses clink as people toast to prosperity and magic, hoping to see the weather ease up soon, and even the queen herself is out and about, walking amidst the crowd, a smile on her face as she mingles with the few faeries bold enough to approach her.

But Lilia—

He feels nothing watching all this. Nothing at all.

And yet… there is something else. That peculiar emotion buried underneath… it sings to him, calls to him, as though someone’s voice were tugging at a string. It only strengthens as the night goes on, likened to an unbearable itch; it is the first blissful thing he has felt in what feels like an eternity, and Lilia—

He misses it. He misses being able to love, to feel something other than apathy at best, and all these horrible, miserable emotions at worst — a repugnance, a rage, an irascibility that sparks every time someone tries to converse with him. Lilia misses being able to love freely, his heart softening as he grows older, brought on by the loss he’s experienced, and the love he mustered up to be able to raise Malleus into the man he is today.

So who can blame him for slipping off, for finding a way out of the castle grounds? Lilia answers the call, sneaking past guards who are far too drunk on wine, laughing and shouting as they play games at their stations. He does not bother with whisking up thick clothes for himself; Lilia merely plunges into the blizzard, battered at once by shrieking winds and a pelting of snow against his face, of a storm so deadly chilling that it would ravage even the strongest of faes.

And yet, he does not feel cold.

He grits his teeth as he presses on, dragging his legs through the thick boughs of snow. Lilia knows not how long it takes for him to trudge, only that it feels like forever — but he knows he is getting somewhere, because with each step he takes, the tugging in his chest grows and grows, the intensity of the emotion exciting him for the first time in months.

Is this the answer to his ailment?

Is there a cure tucked within the heart of the storm?

Lilia takes one step, and then another. He takes a third, and—

All at once, everything stops.

The wind dies away. The blizzard softens to a gentle snowfall. Little flakes of snow dance through the air as Lilia walks forward, head turning to and fro. How peculiar this is! He raises a hand, watching a flake fall into the open palm of his hand and rest there, and it is only the sound of hooves clumping against snow that snaps him out of his reverie.

Lilia turns his head, and sees a child.

A boy, who gazes at him with wide eyes that reflect the northern lights — auroras of shifting veins tinted shades of pink, purple, and blue, lights that Lilia has only gotten the chance to see once during a journey across the world. His hair sweeps across his forehead, locks of the purest silver as though spun from the nighttime stars, streaked with white like the pristine paleness of snow. He sits on a white stag, ice-spun crystals hanging from its glacial antlers, and around him is a fur-lined cloak and hood that swallows him whole, far too big for his tiny body.

Lilia’s breathing hitches—

Because the boy before him is the most beautiful thing he has seen in a long time.

“Hello,” the boy says after a while, a glimmering curiosity in those wide eyes of his. His mount trots forward, bringing him closer. “I’ve never seen you before,” he says, looking at Lilia closely.

At that, Lilia laughs. “I could say the same to you, little one.” He rests a hand on his hips, relishing in the joy, the curiosity, the emotions that flood him in full force; it has been so long! “It is a rare sight to see a young boy riding a stag in a storm like this.”

The boy’s face falls, and Lilia feels… worried. Did he upset him somehow? “I’ve been trying to stop the storm for a while now,” the boy explains, auroral eyes flicking to the storm that rages outside the bubble they’re within, continuing to ravage the valley to no end. “B-but it’s my first time really trying such a thing, and I don’t… really know how.”

Ah, Lilia thinks, finally coming to understand. A lost child. A boy with power over the very elements itself, who can control the season of cold and snow. And yet, who would place such responsibility upon a child, one so very young? He feels the fervent urge to lean in and coddle him, to reassure him that it’s alright, you’re trying your very best, I can help you if you just let me.

And why shouldn’t he do such a thing?

“I can help you, if you would like.”

In a flash, those pupils lock on him. “Would you?” the boy breathes. “I-I wouldn’t want to trouble you, mister—”

“It’s no trouble at all!” Lilia insists, stepping forward with a beaming smile on his face. He reaches out for the stag, feeling the beast nuzzle against the palm of his hand as he strokes it gently. Why should he return to the castle, to that unyielding, endless void of apathy and misery? Here, with the boy with eyes like the auroras and hair like the stars, Lilia feels something — the warm glow of parental affection, already growing so attached to such a young child.

“Then…” the boy mumbles, “would you come with me?”

Lilia only smiles. “Of course.”

And as he clambers onto the back of the steed, he asks, before they leave, one final question: “Pray tell, little one, what is your name?”

“My name?” the boy echoes, furrowing his brows. “I… I don’t know. I can’t remember.”

Lilia arches an eyebrow. What kind of a lonely life must this boy live, if he has not even considered his lack of a name? “Then would you mind if I gave you one?” he offers. Oh, it is such an incredibly forward move to suggest such a thing, with how important names are to his kind. But already, he is attached, his very soul bound to this child who gazes at him in wonder at the possibility of wielding his own name.

And the boy nods.

“Silver,” Lilia says, the name coming to him at once. Like the shine of the gleaming moon, the glitter of the stars, the wispy fall of the snow around them. Love blooms in his chest, the warmth cradling his very soul; Lilia curls his arms around the boy, his body so cold even through the chilling fabric of his cloak, pulling him against his chest into a hug. “That shall be your name.”

“Silver,” the boy echoes, testing it out on his tongue. He tilts his head back, a small smile gracing his rounded cheeks as he looks up at Lilia. “Thank you, mister. Could I ask what your name is?”

“It is Lilia, dear one,” he croons, relinquishing his name without a second thought. The two of them are bonded in mere moments, Lilia filled with a fulfilment he has not felt since that prick of a shard entered his eye.

There is nothing left for him here. That is what he tells himself as Silver leads them away, commanding his steed to take off into a prancing gallop, bursting from the tranquil heart of the storm into the raging blizzard, whisking them back to their home.

(Lilia fails to notice the figure that bursts through the clearing, chartreuse eyes widening in horror as a mouth parts to scream his name. He does not notice the horned boy who shivers in the cold, eyes wide as the wind whips at his long hair, watching the stag prance away, the boy who leads it ripping his guardian away from his grasp.)

[normalbrothershow]

like 10 years ago or something i watched this movie in parts on youtube called twist (2003). it was like an oliver twist retelling but about male prostitutes like my own private idaho vibes. and there was this one guy and at some point his older brother finds him and buys him dinner (i think) and they have a conversation and its like. normal and friendly and "i wanna help you/come home" sorta way. and then later the older brother finds him again but comes to him as a client and forces him to suck him off. lowkey they were writing a wincest pre-series au fanfic

[hyodyton]

Have you read retellings of Dickens' novels? (‘Havisham’ by Ronald Frame, ‘Estella’s Revenge’ by Barbara Havelocke, ‘Estella’ and ‘The scent of oranges’ by Kathy George?

I read 'Estella's Revenge' and all of the above rather superficially. As it happens, I'm quite happy with the way Dickens wrote both Nancy and Estella. And I don't need a retelling of the story from their POVs that were not written by him. It is also goes against how I myself see and perceive Estella as a person. I think Estella is understandable and can be understood if you stop paying attention to Pip in scenes where she appears or is mentioned and turn on empathy. . In the case of Nancy, I just don't know what else to say. Her life is horrible, and she's far more colourful than half of Oliver Twist's characters by definition. I generally have a very contentious relationship with books that are based on Dickens' work. Whether it's horrible transfers into a fantasy setting with werewolves and vampires or something else. I also remember there was a book inspired by Great Expectations, but instead of Estella there are two different-sex twins, instead of Havisham some dilf. And all this in America. Or into an even more modern shell in the case of Damon Copperhead. (I hate it, it's completely tasteless parasitise on him) I also read "The Escape of Uriah Heep." more of an average fanfic than a book. And there are a million of these books that honour Dickens, or criticise him. A million. And I usually read research papers by philologists and literary scholars and other essays when I want to read something like that. The only fiction that honours Dickens but doesn't parasitise him and is very indirectly related to him. It's more of a vibe. It's Mervyn Peake's Gormenghast

[zinnie-zoloft]

Any piece of media I consumed during childhood, especially ones with vaguely gothic themes, will come back to haunt me one day, and it’s probably the autisms fault

Right now I’m obsessed with queer modern retellings of Oliver Twist… this was not what my teacher was expecting when she read it to a bunch of seven year olds, but she showed too much interest when I said I knew what an undertaker was and now it’s a significant childhood memory

[mermaidsirennikita]

ARC Review: Most Ardently: A Pride & Prejudice Remix by Gabe Cole Novoa

4.25/5. Releases 1/16/2024.

Vibes: Pride and Prejudice but make it queer (obviously), light humor around big issues, family warmth, that ol' Darcy Darcy-ness in a younger package

Oliver Bennet has a problem: aside from his sister Jane, his family doesn't know that he's not a girl. Trapped by societal norms and the persona he's forced to wear, he sneaks out as his true self and runs into the stiff, cool Darcy (who was actually a major dick to Oliver when he was dressed as a girl). The thing is--when Darcy is actually able to be himself, he's actually quite kind. Also? Very appealing. But no matter how much they connect, a future for Darcy and Oliver, as their true selves, seems impossible. Unless....

I don't usually read YA, but I was kind of fascinated by the concept of this series of remixed, diverse takes on old classics. And a retelling of P&P starring a trans boy was too good to resist. Also, this is my favorite cover I've seen in a LONG while.

Luckily, it lived up to my expectations beyond the cover. It's sweet and unique, while honoring the original story. And right now, I think that seeing a trans kid living out the happily ever after of one of the most enduring love stories of all time is something we need to see.

Quick Takes:

--To be clear, this is a true YA romance. The characters that need to be aged down are. I think it was totally necessary to appeal to the target audience, and it works. I mean, being a youth~ in 1812 isn't exactly like being a youth~ in today's world anyway. It's just like P&P in that it's chaste, but unlike P&P in that there is kissing. (Yay!)

--Like I said, the book stays true to the original story, but obviously it's not married to it. Oliver has a lot in common with Elizabeth, but he's not Elizabeth, and his relationship with Darcy is not Elizabeth's relationship with Darcy. It's more based on friendship and understanding--in a lot of ways, it's a friends to lovers story. Which I think adds a sense of queer found family to the romance, and I think that's necessary here.

--It would be very easy for Oliver's mindset to be quite dark. Understandably so, as most of his family is ignorantly (and it's true ignorance, they don't know) deadnaming him on the regular. He's forced to wear dysphoria-inducing clothing, to act as a girl. But I think Novoa understood that there did need to be a somewhat lighter touch here. The point is not to paint a tale of like... a historically accurate trans experience. It's to tell a love story.

And in that sense, I found that the way Novoa approached the Bennets reacting to Oliver's transness really refreshing and lovely. Like, the point here is not to make you feel down about Oliver's future, but to celebrate who he is (and maybe feel seen--as a cis woman, I can't speak to how effective that is).

I suspect that this lighter touch won't work for everyone; and that's valid. If I'm being honest, I don't super care about whether or not it works for cis people.

--There's a molly house scene! Darcy is in a molly house! I loved this. I found something about placing a romantic hero we often so associate with heterosexuality and the ideal for women in a super queer space... And making it this place where he feels comfortable and true... Really compelling. It was one of my favorite scenes in the book.

Also, it allowed for some real romantic connection between Oliver and Darcy. Their relationship is super sweet, and I found the twist on how that relationship would have developed if we did have an Oliver and a Darcy rather than an Elizabeth and a Darcy super smart. It would've been super easy for Novoa to just duplicate the original dynamic and go "but here's a boy". That would've done a disservice to both this work and the original, in my opinion. I appreciate him doing the work to make something super distinct that is AWARE of the differences here, as I do think some queer retellings of het stories occasionally do just execute a quick genderflip and call it a day.

And I get why they do. But at the end of the day, it does remind me of the sensibility that queer love stories need to be palatable and safe for straight audiences, to appeal them and to make them seem "just like them". However, a queer romance isn't 1 to 1 with a straight romance. There often are different dynamics at play. I so liked that we got that here.

TW: transphobia (from characters, not the narrative), general queerphobia, deadnaming, dysphoria

I was super happy with this book, and I think it will definitely appeal to a ton of teens out there. Definitely going to recommend this to my teen sibling. However, it's well-written and mature enough to hold a crossover appeal towards adults. A smart and sweet take on a classic book.

Thanks to Netgalley and Feiwel & Friends for providing me with a copy of this book. All thoughts and opinions are my own.

[wondereads]

April YA Book Releases

The Reappearance of Rachel Price by Holly Jackson

YA Thriller

Author of A Good Girl's Guide to Murder

true crime, missing persons, memory loss

Fate Be Changed by Farrah Rochon

YA Fantasy

Twisted Tales series

princess, disney, curses

Your Blood, My Bones by Kelly Andrew

YA Fantasy

Author of The Whispering Dark

dark magic, gothic, lgbt

The Black Girl Survives in This One: Horror Stories by Desiree S. Evans and Saraceia J. Fennell

YA Horror

Author of Cool. Awkward. Black.

anthology, ghosts, zombies

Something Kindred by Ciera Burch

YA Contemporary

Author of Finch House

lgbt, coming of age, photography

Against the Darkness by Kendare Blake

YA Fantasy

Buffy: The Next Generation #3

vampires, witches, high school

The Final Curse of Ophelia Cray by Christine Calella

YA Historical

Debut author

pirates, identity theft, navy

Calling of Light by Lori M. Lee

YA Fantasy

Shamanborn Series #3

class differences, dark forest, sacrifice

We're Never Getting Home by Tracy Badua

YA Contemporary

Author of This Is Not a Personal Statement

aapi, religion, friendship breakup

The Kill Factor by Ben Oliver

YA Horror

Author of The Loop

dystopian, survival, social injustice

Song of the Six Realms by Judy I. Lin

YA Fantasy

Author of A Magic Steeped in Poison

aapi, royalty, music

Off With Their Heads by Zoe Hana Mikuta

YA Fantasy

Author of Gearbreakers

korean, retelling, sapphic

Harley Quinn: Redemption by Rachael Allen

YA Adventure

DC Icons Series #3

superheroes, lgbt, action

Powerful by Lauren Roberts

YA Fantasy

The Powerless Trilogy

forbidden romance, assassination, class difference

To a Darker Shore by Leanne Schwartz

YA Fantasy

Author of A Prayer for Vengeance

beauty standards, invention, monsters

Return of the Vengeful Queen by C. J. Redwine

YA Fantasy

Author of The Shadow Queen

pirates, political, revenge plot

The Notes by Catherine Con Morse

YA Contemporary

Debut author

boarding school, musical arts, aapi

The Lilies by Quinn Diacon-Furtado

YA Thriller

Debut author

detective, time loop, dark academia

[gardenfeather-book-reviews]

"Most Ardently: A Pride and Prejudice Remix" by Gabe Cole Novoa

   Oliver Bennet is the only Bennet son. Of course, only a few people know this fact. The rest of the world believed him to be the second eldest Bennet sister. Including his mother, who is pressuring him to get married. Soon a manor nearby becomes the temporary residence of a wealthy and kind man who courts Oliver's older sister, which does nothing but put more pressure on Oliver to get married. But the man has a friend. And while this man doesn’t seem to like Oliver at first, meeting the real him might change that. 

       This is a beautifully written “Pride and Prejudice” remix. With a story that people have been re-interpreting for centuries, Gabe Cole Novoa manages to find a new angle. It wonderfully explores the character of Oliver and his relationship with his family and the world in this historical setting. The book attempts to stay true to history while also letting the characters find happiness and work around the rigid laws of the time. 

       “Most Ardently” perfectly ties together what was love in the original “Pride and Prejudice” and this queer twist. It keeps the characters people know and love but gives them more life and relatability in our present day. If you love retellings, historical fiction, and positive queer representation in books, “Most Ardently” is a masterful combination of the three.

[ash-and-books]

Rating: 4/5

Book Blurb: A grumpy, rich recluse meets his match in this steamy Beauty and the Beast retelling—with a Succession twist. Fans of fairy tale adaptations, and readers of Julie Murphy and Falon Ballard, will adore Mae Bennett’s debut romance.

Bellamy Price has just been offered the job of a lifetime: lead contractor on the restoration of the mysterious and sprawling Killington Estate. If she meets the owner’s ridiculous timeline, she’ll finally make a name for herself in this male-dominated industry. But when she rolls up her sleeves, slips on her suspenders, and shows up at the crumbling mansion, Bellamy finds the estate very much occupied. 

After a traumatic car accident that left his parents dead and himself injured, Oliver Killington, heir to the Killington empire, took up residence as the grumpy caretaker of his grandfather’s mansion. None too pleased by the presence of the hammer-wielding woman who’s moved into his house, Oliver tries to block her at every turn.

But when Bellamy discovers Oliver’s facing his own ultimatum from his grandfather, the two form a cautious truce, which leads to flying sparks that are definitely not from faulty wiring. As Bellamy restores the gleam to the Killington Estate, she’ll have to decide if the walls she’s built around herself are worth knocking down to make space for someone else.

Perfect for fans of Tessa Bailey, this clever, steamy debut novel will have readers rooting for this Beauty and her Beast until the very last page.

Review:

A modern day Beauty and the Beast retelling with a touch of Succession, featuring a grumpy rich recluse and the sweet contractor who was hired to restore his estate... without his knowledge. Bellamy Price comes from a reputable contractor family and she dreams about making her place as a contractor, so when she is offered the job of a lifetime: to be the lead contractor on the restoration of the mysterious Killington Estate, she can't pass it up. If she meets the absurd timeline, she'll establish her name in the industry. Yet the moment she enters the house it is clear the owner of the estate did not expect her and was not looking forward to her staying. Oliver Killington is the heir to the Killington empire and blames himself for his parents deaths and he is now injured and living as a recluse and being a grumpy caretaker to his grandfather's mansion. Oliver wants to stop Bell yet the more time they spend together the more sparks begin to fly. Bell has had her heart broken and is afraid of staying and giving her heart to this man... but maybe this time... she's built her own true love in Killington Estate. This was a really cute modern day retelling and I had fun reading it. It's got spice but it also has sweet moments and it was a really fun way to reimagine the classic story. I would definitely recommend this for fans of fairytale retellings!

*Thanks Netgalley and Alcove Press for sending me an arc in exchange for an honest review*

[justsomerandomfanfic]

What 10 Books Can You Not Live Without?

A Deal with the Elf King by Elise Kova; Published in 2020, this is a fantasy romance story about a human girl who is married to the Elf King. I love this story and literally can not put it down! I've read it about four times now since I got it in December last year. It's also amazing since it is loosely based on the mythology of Persephone and Hades! (Even with the whole enemies-to-lovers trope!)

Beauty by Robin McKinley; Published in 1978, this is a retelling of the original story of Beauty And The Beast, with a twist! (Obviously the genre is fantasy romance as well). Basically, the daughter of a wealthy merchant, Honour, also known as Beauty, is the youngest of three daughters. It goes along with the original story of Beauty And The Beast, but with a few changes, and honestly it's the best retelling I've ever read.

The New Year's Party by R.L. Stine; Published in 1995, this book is part of the Fear Street Series of R.L. Stine's and I first read this back in 2014. Like all of Stine's books, this is a horror/thriller, with dashes of romance and murder, how lovely! Here's a bit from the back of the book: "P.J. wasn't supposed to die. It was just a practical joke, no big deal. But P.J. had a bad heart." I truly recommend this but beware, you're in for a scare.

Gregor the Overlander by Suzanne Collins; This series was Published in 2003 - 2007, and is about a boy named Gregor who has to save his baby sister, Boots, after she falls down an old air duct grate in the basement of his apartment building. Similar to Alice In Wonderland, they both fall into a subterranean world called the Underland. I love this series and highly recommend it if you love fantasy, mystery, and adventure with a splash of romance.

Long Live the Pumpkin Queen by Shea Ernshaw; Published in 2022, this is the story about what happened after the events of Nightmare Before Christmas. Basically, Sally's a bit overwhelmed about her new title as Pumpkin Queen.

The School for Good and Evil by Soman Chainani; Published from 2013 to 2020, this story is a fantasy, fairytale, romance, with adventure and mystery. I haven't read the full series yet, but I've read the first two out of nine. Basically, every four years, two children are kidnapped and taken to the School for Good and Evil. Where they would be trained to be good and bad. I loved the first book because of the slight twist.

The Phantom of the Opera by Gaston Leroux; Published in English in 1911, this is the story about an Opera House that is presumed to be haunted by an Opera Ghost, also know as the Phantom of the Opera. Since the making of this book/story, there have been 33 films from 1916 - 2014. It's a wonderful story, and film, though through the years they have changed it a bit.

Cruella (Disney Live Action Novelization + Photo Insert) by Elizabeth Rudnick; This is just the novelization of the 2021 Disney live action movie, Cruella.

Deadpool: Paws: A Novel of the Marvel Universe by Stefan Petrucha; Published in 2018, in the words of Deadpool, "... This book is about puppies. Puppies that turn into big nasty monsters. And then I gotta kill 'em. Thing is, I like killing people -- the ones that deserve it, anyway -- but even I won't kill puppies. No way. So that's what we call a character dilemma..."

Assassin's Creed: Brotherhood by Oliver Bowden; This was Published in 2010, based off of the Multiplatinum Video Games from Ubisoft; Assassin's Creed. This is book 2 of 9, about the beginning of Ezio and his journey of becoming an Assassin. I've read this book twice, and finished it in the same day. That's how good it is.

Reblog with the 10 books you can't live without!

[eva-knits12]

CE Characters Favorite Disney Movies

Steve Rogers:

Snow White. It was released on December 21 1937, which would make Steve 19 years old.

Pinocchio. It was released on February 23, 1940. Steve would be 21 years old.

Dumbo. It was released on October 23, 1941, which would make Steve 23 years old, and he wouldn't be in the army at that point. Pearl Harbor occurred six weeks after that, which got the US in World War II.

Ransom Drysdale:

Oliver and Company. Released on November 18, 1988. This is a modern retelling of Oliver Twist. The characters in the film are named after the characters in the book, or the character names have a variation of one of the characters, but only go by the last name.

He relates well to Oliver. In fact, Oliver Twist is his favorite book. Oliver and Company was popular with 1980's kids. I grew up in the 1980's and 1990's and Disney was going through a huge revival during that time.

The Aristocats. Released on December 24, 1970. Ransom also relates well to this. Remember, Harlan leaves everything to Marta. In the movie, the Duchess leaves everything to her three cats. Ransom relates well to this.

Colin Shea

Camp Rock. Released on the Disney Channel on June 20, 2008. It's only fitting for Colin.

101 Dalmatians. Released on January 25, 1961. Another movie that's fitting for Colin, given that one of the characters is a song writer.

Andy Barber

Toy Story. Released on November 22, 1995. This was the first movie under Disney/Pixar. A113 is referenced throughout the movie. It's the classroom at the California Institute of the Arts that many of the animators at Pixar studied in. Andy loves this one, even though it hurts. This was Jacob's favorite movie. Yet, Andy still has a soft spot for it. Now, Joy and Penelope love, it, too.

Beauty and the Beast. Released on November 22, 1991. This is Joy's favorite movie, and Belle is Joy's favorite Disney princess.

Winnie the Pooh. Released on March 11, 1977. This is Penelope's favorite movie.

Jake Jensen:

Toy Story. Released on November 22, 1995. Jake would very much like this one, because he's a kid at heart.

Wreck-It Ralph. Released on November 2, 2012. With Jake being a video game nerd, he would very much love this. He's an old-school video game nerd.

Ralph Breaks the Internet. Released on November 21, 2018. Jake works in Comm and Tech when he's with the Losers. When he's NOT with the Losers, he's an IT. So, Jake liking Ralph Breaks the Internet makes sense.

Johnny Storm

The Incredibles. Released on October 24, 2004. Johnny and his sister, Susan, are also superheroes, so this makes sense. Jake loves it, too.

The Incredibles 2. Released on June 15, 2018. Johnny and Jake would very much like this. You like it, too. As stated above, with Johnny and his sister being superheroes, it makes sense that he would love a movie and it's sequel that's about a family of superheroes.

[stampstamp]

I'm watching Oliver & Company for the first time in over 25 years so it's my first time watching it on anything other than subtitle-less VHS. I'm not sure who this was written for because most of the dialogue was way above my level when I got the tape for my sixth birthday. Phrases like 'our partnership is herewith dissolved', NY place names, and 'Street savoir-faire' totally baffled me - no wonder I didn't realise it was a retelling of Oliver Twist until I was much older; I didn't have a clue what was going on most of the time.

I'm still not a fan of the art style and it's full of my least favourite parts of the 80s aesthetic but I think I'm enjoying it more than I used to. The music still holds up (I think all the budget went into getting famous names on the soundtrack).

[pridepages]

eARC Review: Most Ardently

A HUGE thank you to Netgalley and MacMillan/Feiwel & Friends for providing me an eARC in exchange for an honest review!

RATING: ⭐⭐⭐.5

GOODREADS SYNOPSIS:  

 trans boy searches for a future―and a romance―in which he can live and love openly as himself in this heartrending young-adult reimagining of Jane Austen's Pride and Prejudice, part of the Remixed Classics series.

London, 1812. Oliver Bennet feels trapped. The world, and the vast majority of his family and friends, think Oliver is a girl named Elizabeth. He is therefore expected to mingle at balls wearing a pretty dress, entertain suitors regardless of his interest in them, and ultimately become someone's wife. Oliver can't bear the thought of such a fate. He finds solace in the few times he can sneak out of his family's home and explore the city rightfully dressed as a young gentleman.

Oliver becomes acquainted with Darcy, a sulky young man who had been rude to "Elizabeth" at a recent social function. But in the comfort of being out of the public eye, Oliver comes to find that Darcy is actually a sweet, intelligent boy with a warm heart, not to mention attractive.

As Oliver spends more time as his true self, often with Darcy, part of him dares to hope that his dream of love and life as a man can be possible. But suitors are growing bolder―and even threatening―and his mother is growing more desperate to see him settled into an engagement. Oliver will have to choose: settle for safety, security, and a life of pretending to be something he's not, or risk it all for a slim chance at freedom, love, and a life that can be truly his own.

RELEASE DATE: January 16, 2024

See my full review under the cut!

It is a truth universally acknowledged that no one does Austen like Jane.

This is the problem I had with Written in the Stars as well. Much as part of me longs for a queer retelling of her novels, no contemporary author has yet matched her in my eyes. Unfortunately, the same holds true for Gabe Cole Novoa's Most Ardently.

To be clear: I enjoyed this book! If nothing else, it's a fascinating twist on the original. As one of the Remixed Classics series, it does its job: recasting and reimagining the original. The goal of the project was to have different authors approach a western "classic" with a twenty-first-century lens and reinvigorate the texts to make them, frankly, less white and cisheterosexual.

The idea of transforming Austen's 'Elizabeth' Bennet by teasing out her less than conventionally feminine traits and creating 'Oliver' Bennet certainly speaks to the social issues of both Austen's day (male supremacy and primogeniture) and ours (rising extreme conservativism/homophobia/transphobia).

So where did this one miss the mark? It doesn't speak as directly to the themes of the original book.

Anna-Marie Mclemore's Self-Made Boys is another of the Remixed Classics: a take on Fitzgerald's The Great Gatsby. In this version, no one is straight (except Tom Buchanan, but fuck him), some are not white, and both Nick and Gatsby are transboys in love. What made it work better as a 'remix' is that Mclemore did a brilliant job putting their version in direct dialogue with the themes of the original. Gatsby is all about the American Dream: race, class, social mobility, greed, ambition, and identity. In the original, very white cisheterosexual notions of class privilege and social values are presented. McLemore took a chance to shine a light on what it meant for everyone else to be outsiders at this time. Even the title and the idea of making the two leads transmen put a fresh, subversive spin on the concept of being a 'self-made boy.'

Novoa had an opportunity here and failed to take it. Elizabeth Bennet is a deceptive character: she's charming and fun, but she's written in a way that makes the reader fall into her prejudgments and prejudices without realizing that she's misjudged everyone until the big reveal.

On the other hand, Oliver Bennet is basically right about everyone the whole time. To be clear, his story is one that--unfortunately--most trans people experience: the constant misgendering and dysphoria, the fear of coming out, the fear that even if they do they won't be accepted, and the fear of being outed against their will. But the crux of Pride and Prejudice is that both Elizabeth and Darcy are a little bit wrong and a little bit right. They both need to grow up as much as they need to learn how to value each other.

Even Novoa's Darcy lacks the same spark. Darcy of the original is stifled, socially awkward, and arrogant. His pride comes out as hostility, which he fails to recognize is a character flaw until Elizabeth Bennet comes along to show him just how much he needs to shape up!

No matter how many times Oliver tries to tell me that Darcy is awful...I just don't see it. (Maybe once during the meet-ugly at the ballroom?) Probably because Oliver meets Darcy several times as his true self and they get along swimmingly every time. So their story becomes one of mistaken identity...less P&P and more Cinderella.

So what would I have wanted to see? Basically, I would have wanted Oliver Bennet to be a more likable Neil Kearney from Mason Deaver's The Feeling of Falling in Love. Give me a flawed yet still endearing Oliver who is so caught up in expecting and fearing homophobia/transphobia that he lashes out at Darcy, instantly writing him off as a butch straight guy. Give me scenes where Darcy is closeted and terrified, which comes out as hostility. Give me a journey where both of them have to gradually learn to see the other as they are and to admit where they each can do better. Show me that same level of, well...pride and prejudice getting confronted and improved.

In the end, Most Ardently feels less like a Pride and Prejudice remix and more like a gay trans regency romance. And that's great! We all deserve to see ourselves in every genre. But if you're looking for a true homage to Austen...

Tell me if you find one. I've yet to find anyone who can do it like Jane!

[frodothefair]

Fragrance's Christmas Dissociate into the TV List

I'm quite fond of Christmas movies, and Christmas in general, and I am currently rewatching a few favorites.

Dickensian - a BBC 10-episode miniseries that intertwines the stories of Dickens characters from multiple books, including A Christmas Carol, Bleak House, Great Expectations, Oliver Twist, and The Old Curiosity Shop. It turns Mr. Marley's demise in A Christmas Carol into a murder mystery and Inspector Bucket from Bleak House is on the case. It's basically fanfiction of the most wonderful kind. And it's the BBC. They can basically do no wrong.

The Man Who Invented Christmas - a movie about Charles Dickens writing A Christmas Carol. The situation that led to it, what inspired him, how he worked down to the wire... Based on true events, it features Dickens interacting with various characters from A Christmas Carol. They appear in his mind's eye and sit with him in his study, have full-on conversations with him, and even follow him around and call to him from outside his windows! I'm sure many a writer has often felt the same way. I, for one, very often have at least three hobbits following me around. Frodo and Marigold, for instance, are often in the back seat of my car doing very untoward things, and Sam's often bringing me tea and conversing with me about gardening, his adventures, and his relationship with Mr. Frodo.

A Christmas Carol 2009, with Jim Carrey - a standard retelling of the classic tale, but with a lot of flying over 19th century London. For some reason, it's my favorite of the many cinematic versions of the story.