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#adaptation: film
batb-source · 6 months
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edains · 4 months
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Rick Riordan constantly trashing the movies for not sticking to his books then releasing a show in which he rewrites everything and loses the spirit of the books entirely
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perplexingly · 3 months
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“Frankenstein, or the Modern Prometheus” by Mary Wollstonecraft Shelley (1818) // Frankenstein from the Royal Ballet (2016) // National Theatre Live: Frankenstein (2011) // Frankenstein: The Metal Opera (2014) // Frankenstein (TV Miniseries 2004) // Creature (TV Miniseries 2023)
Grief of the Creature across various adaptations
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wine4thewin · 2 months
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Chani, anytime she hears someone refer to Paul Atreides as Lisan al Gaib or Mahdi:
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Meanwhile, Lady Jessica & her psychic unborn baby hearing the same thing:
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artemistics · 2 months
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[Chani] was like a touch of destiny. He felt caught up on a wave, in tune with a motion that lifted all his spirits.
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topgvns · 1 year
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It's your coffin, my love. Enjoy it! Most of us... never get to know what it feels like.
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burningvelvet · 11 months
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imagine the picture of dorian gray (1891) but dorian is jude law in wilde (1997) and lord henry is hugh grant in maurice (1987)
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blacknarcissus · 4 months
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I love them so much ❄️💗
Robin Wright and André the Giant in The Princess Bride (1987)
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boltlightning · 10 months
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Anne was tenderness itself, and she had the full worth of it in Captain Wentworth’s affection. His profession was all that could ever make her friends wish that tenderness less, the dread of a future war all that could dim her sunshine. She gloried in being a sailor’s wife, but she must pay the tax of quick alarm for belonging to that profession which is, if possible, more distinguished in its domestic virtues than in its national importance.
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cowboylikebee · 4 months
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watching book adaptations and realizing you've been pronouncing something wrong this whole time is so humbling
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retellingthehobbit · 7 months
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When Winter comes, the winter wild that hill and wood shall slay; When trees shall fall and starless night devour the sunless day; When wind is in the deadly East, then in the bitter rain I'll look for thee, and call to thee; I'll come to thee again!
Together we will take the road that leads into the West, And far away will find a land where both our hearts may rest.
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batb-source · 7 months
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Léa Seydoux as Belle in La Belle et la Bête (2014), dir. Christophe Gans
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youarenotthewalrus · 7 months
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Reading The Song of Roland and y'know it's nice to read an Ancient, Respected Classic that's just. Trash. A jingoistic action movie. The 11th century equivalent of 300, a historical war depicted in a wildly inaccurate and propagandistic way as an excuse for buff macho warriors to face off against poorly-researched stereotypes of foreign enemies and then kill them in spectacularly violent and improbable ways. You want depth? Nuance? Timeless themes that still speak to the common human experience nearly a thousand years later? Fuck you. You'll take Charlemagne's nephew cutting a Saracen in half with his sword and you'll like it.
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atwellfilm · 11 months
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— Hayley Atwell is Mary Crawford in Mansfield Park
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shantechni · 2 years
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I’d like to propose a performance of Hamlet in which the audience is addressed, looked at, and treated as if they were there but ONLY by characters who have gone mad.
in Act 2, when Hamlet’s pretending to go mad, while in the presence of Polonius and others, he sort of pretends to look at the audience, but always glancing over, looking sort of in the wrong direction, putting on a show for the only eyes he thinks are watching. When he’s alone and doing his soliloquies, it’s clear that he’s talking to himself, even though we’re listening in.
And it continues this way until Act 3 Scene 4, when Hamlet runs Polonius through with the sword. For a moment after the deed is done, there’s a shocked silence on the stage. As Hamlet goes to examine the body, he falters, slightly, as he becomes aware of just how many eyes are on him. And slowly; he looks at us, and through the rest of the scene his attention is torn between the audience and his mother, until the ghost appears (perhaps in the audience as well) and he’s… sort of put back on track. But from then on, all his soliloquies, asides, he begins to talk to us, in the audience.
And we notice the change, sure, but we don’t really get what it means, not until Ophelia goes mad, and while onstage she begins to give audience members flowers, to talk to them as the others call her crazy. And at that point most of us can make the connection.
From then until the play is over, Hamlet can’t fully ignore us. Every other character will, and does (besides maybe the gravediggers if you wanted to include anyone else), but we’re ever present in his sight. As he dies, we’re the ones he refers to when he says ‘you that look pale and tremble at this chance, that are but mutes or audience to this act’
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