plot adaptation

tiny brain: fairy tales i.e. beauty and the beast, snow white, and cinderella are romantic

slightly bigger brain: fairy tales are sexist as fuck #WhatPrincessesTaughtMe

slightly slightly bigger brain: actually fairy tales are empowering for example cinderella is about a woman escaping her abusive home situation and beauty and the beast is about love between social outcasts

large brain: most of these stories are old as shit and reflect the gender roles of the time of their conception but whether or not they are intolerably sexist depends very much on the execution and interpretation of the critical plot points by the adaptation and you can’t paint every adaptation with the same brush

astral brain: fairy tales… but gay

anonymous asked:

So on your tumblr, theres a protective license against plagiarism. I'm just wondering, does this protect you in a legal way in that you can legally claim or sue anyone who plagiarizes your work? In lieu of all the plagiarism thats been coming up, can't you file a claim against those people? Because obviously, they're not stopping nor coming out with the truth. And if you can, maybe more tumblr authors can start protecting their works with a similar license!

I believe so. And technically, anything that you post on the internet, as long as it is your own original content that you created, is copyrighted. There was a huge post floating around Tumblr this time last year in regards to it, where essentially whatever you post online is immediately copyrighted to you if it is something that you originally created. For example, fan fiction.

The license that I have on my blog is a Creative Commons Attribution / NonCommercial / NoDerivatives 4.0 International License. It basically states that another user is allowed to share my work, as long as they follow the license terms, which balls down to the point that they can only share via reblogging. Here are the details of the license: 

Attribution | You must give appropriate credit (the name of the creator and attribution parties, a copyright notice, a license notice, a disclaimer notice, and a link to the material) provide a link to the license, and indicate if changes were made (indicate if you modified the material and retain an indication of previous modifications). You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use (if you are planning to do it, you must ask the original creator for permission first).

NonCommercial | You may not use the material for commercial purposes (A commercial use is one primarily intended for commercial advantage or monetary compensation).

NoDerivatives | If you remix, transform, or build upon the material (alternating the plot, adapting names in the story, creating your own version of the same story, continuing the story e.g. somebody going forth and writing the final parts to Sillage) you may not distribute the modified material (you cannot post it anywhere at all). It does not support remix culture.

So pretty much, it covers everything. It is a handy license to have on your blog to allow people to know what you allow with your content, and to be frank, I am not afraid to take legal action against anyone that plagiarises my work, which I can do without the license as it is, due to the fact that any of the original content I post online is immediately copyrighted at the moment of posting.

Here is where you can get the license.

a thought: it’s pretty clear that the people making Strike ship Cormoran and Robin even harder than we do… I mean, they gave us this beautiful moment after all:

I would BET MONEY that when Career of Evil airs, their little trip up to Barrow will suddenly involve if not bed sharing, then at LEAST awkward motel room sharing. Or perhaps huddling together all night for warmth in whatever vehicle this is???

it’s going to happen. I can FEEL IT.

Take Back Your Fandom Experience

There is a lot of disappointment about the questionable choices Starz has made related to show PR and how they engage (or don’t engage, or manipulate, or disrespect) Outlander fans.  Some of us roll our eyes over the lame attempts to entice us with S3 “teasers” that are merely still photos from previously-released content.  We guffaw at the ham-fisted captions that aren’t even accurate to the story line.  We side-eye yet another push of the non-existent “love triangle."  Our blood pressure goes up when a "journalist” wastes our time by asking the same stupid questions – or by saying cringe-worthy things instead of asking questions – during interviews.  And nearly all of us have become jaded by the promotion of cast-adjacent people who have absolutely nothing to do with the show yet who creep onto the sidelines full of innuendo to distract and anger us. 

But I am here to tell you that you shouldn’t let this ruin your experience.  We do not need to accept what we are being given.

We. Do. Not. Need. Starz.

We only need each other.

Think back to what brought you here in the first place.  It was the story, right?  Perhaps, like me, you were excited to find a community of people who love the books as much as you do.  Maybe you were also thrilled to see the story brought to life by a stellar cast.  You tried to predict how the plot would be adapted for television and engaged in healthy debates about what would make it to the screen and what would not.  You participated in dream casting discussions for characters coming up in future plotlines.  You posted swoon-worthy scenes from the books and sighed over the truly excellent fan fiction and art that was shared here.  You bonded with other fans, finding common points of view.

Eventually many of us were drawn in by PR and got spun up about the back story.  You probably rolled your eyes at Starz’s lack of promotion of their lead actress, even misspelling her name when they did finally acknowledge an award nomination.  You became frustrated by the inconsistent messages that were being sent.  You might even have been taunted by non-fans and bedeviled by the adjacent players.  You likely know someone who was bullied.

Sadly, all of this now overshadows the reason we came together and the community we’ve found.  I have been privileged to meet many of you in person and I always came away amazed at how intelligent, perceptive, and kind you all are.  We likely would not have met except for this forum, but we realize that we have things in common besides Outlander.  We celebrate life events together, provide encouragement to one another, and have each other’s back.  That’s pretty cool.

It pains me that we have already lost several members who could not get past the side show.  But I truly believe that we can go back.  Let’s not let Starz ruin our community.  We don’t need them in order to talk about the story.  We can discuss how *we* would end the series and what we want to see in Book 9.  Let’s revisit favorite passages and characters.  Debate whether the author should continue writing all the damn side quest novellas or just focus on the main story.  (I think you can guess my vote…)  Keep letting your creativity flow through fan fiction, artwork, gifs, and videos.  Continue talking about the stellar production values on the show and how amazingly the actors inhabit their roles.  Squee over seeing favorite scenes brought to life.  Dream about travels in Scotland.  (But don’t touch any standing stones, just in case.)

We have the power to choose how we engage with each other and we don’t have to let what is presented to us dictate our experience.  This doesn’t mean that we have to love everything without critique or excuse rude behavior – and we can still snark – but we don’t have to let the bad overshadow the good.  How powerful would it be to ignore the ineptitude and the side show antics and instead focus on the books, the show, and each other… like we used to?

Let’s take back our fandom.

Lin-Manuel Miranda, Playwright Quiara Alegria Hudes Want to Pull 'In the Heights' From Weinstein Co.

Amid the growing Harvey Weinstein scandal, Lin-Manuel-Miranda and playwright Quiara Alegria Hudes are calling on The Weinstein Co. to let them take the film adaptation of their Tony Award-winning musical In the Heights elsewhere.

“In the Heights is part of my heart and soul. I created it with respect, community and solidarity. I hope The Weinstein Co. has enough grace, in the wake of these revelations, to respect my stand as a woman, and to allow us to extricate In the Heights from them. In the Heights deserves a fresh start in a studio where I’ll feel safe (as will my actors and collaborators),” Hudes said Thursday on Twitter. Jon M. Chu is directing the film, which is currently in development.

Not long after, Miranda weighed in on his Twitter feed, writing, “As usual, Quiara does the prose best. She speaks for us both.”

“As a woman, I can no longer do business with The Weinstein Company. To those women who suffered directly at Harvey’s hands, I extend my sincerest compassion and support,” Hudes wrote. “Harvey Weinstein’s sexual predation is despicable enough, but combined with his staggering power, it’s insidious, even devilish. Decades. He thrived on this. He built an empire on this. It’s been hard for me to sleep at night. My stomach is in knots.”

She continued, “Harvey did not act alone. He had powerful enablers in his community and at the top tier of the criminal justice system. I hope there is an ethical investigation into Manhattan District Attorney Cyrus Vance’s role in enabling Harvey Weinstein’s [alleged] illegal behavior.”

In regards to Cyrus Vance Jr., Hudes is referring to a 2015 case in which Italian model and aspiring actress Ambra Battilana Gutierrez went to the police after an encounter with Weinstein. The D.A.’s office ultimately declined to bring charges. According to a recent report in the International Business Times, David Boies, a longtime Weinstein confidante, later donated $10,000 to Vance, an elected official.

Hudes wrote the book [for] Miranda’s acclaimed musical In the Heights. She and Miranda have long been plotting a film adaptation, with TWC picking up the project in May 2016.

Earlier in the week, Miranda joined the chorus of talent speaking out against Weinstein. “I’m as appalled and repulsed by the Weinstein news as anyone with a beating heart,” the Hamilton creator tweeted Tuesday. “And forever in awe of the bravery of those who spoke out.”

(Edited because THR doesn’t understand what the book writer of a musical does.)

Jon M Chu, who had been tapped to direct, also responded on twitter:
Road of Ruins
by momotastic, with art by whimsycatcher
By Organization for Transformative Works

Author: @momotastic27
Artist: @whimsycatcher
Pairings: Merlin/Arthur ; Gwaine/Lancelot/Leon ; other minor pairings ; a LOT of characters (check AO3 for complete list)
Rating: NC-17
Word Count: 72,377
Warnings: All of them. Violence, references to sexual abuse of children/minors/adults, suicidial thoughts (not acted on, not glorified), blood, gore (relatively mild, all things considered), racism, ableism, murder, slavery (incl. sexual slavery). For detailed info about the warnings, see the posting on AO3.

Author’s Notes: Phew. Another tiny monster for ACBB. I’ve been thinking about this story for at least a year, and writing it took more than half of one. Fusing characters from one franchise with the plot/setting of another is always a challenge, but given that this is my third (well, sort of fourth, if you count the fairy tale) time doing this, you’d think it’d be easier. It’s not XD The cast of characters just sort of kept growing, and with them the plot had to adapt, change, and grow to accommodate all of them. I could’ve used fewer characters, but then where would the fun be, right? (Note how I’m able to laugh about it now that it’s done and I’ve stopped crying and tearing my hair out…)

I have more stuff to say, including a large host of THANK YOUs in the notes on AO3, so I’ll cut it short(ish) now.

Artist’s Notes: It was beyond fantastic to work alongside Momotastic this year! I couldn’t help but want to prematch after hearing that her concept was inspired by Mad Max: Fury Road! Coincidentally, I had just purchased the concept art book for the film, so I was already inspired by the aesthetics of the setting and characters. Combine that with my Merlin obsession, and I was revving to go! I loved getting to read drafts throughout Momo’s bountiful progress, and I enjoyed the opportunity to provide some input for how the plot developed! I loved that, despite the obvious references to the film, she wrote something very unique to suit this fandom’s beloved characters… Well, early on, there was already so much material for me to get ideas from, and it was super hard to settle on just a few scenes to draw! I initially had a list of 30+ scenes, and it took some help from Momo to really cut that down, ahh… I decided on a style more realistic than I’ve done for previous Big Bangs, so I knew that would take me more time, but I still wanted to do so much! I’m pretty happy I managed 8 illustrated scenes, along with some additional graphics (divider, poster, album) though stay tuned for a couple more scenes that I had sketched out but have to save for later! All my pieces were challenging in their own ways, but I had so much fun with the gritty textures, various palettes… and skin and scruff, galore! ;) I hope everyone enjoys looking at my art as they go through this epic fic!And as always, many MANY thanks to the mods who keep our fandom alive by running this fest so wonderfully!


Emrys, he whose power is greater than any before him, shall return magic to its rightful place. At his side will fight a man born from pain, raised in blood, then cast away. With hair as bright as gold, and an arm like a forged weapon the likes of which haven’t been seen in centuries, the Mother will have a warrior to fight for her life’s blood. Together they shall bring peace and prosperity to Gaia once more.

Arthur has no doubt that he’s the Warrior from the prophecy. With the help of Uther’s prized wives, he ventures North to find Emrys, and to return magic to the land that his father killed.

so I finally caught up on Shadowhunters
but I really wish I hadnt

I was willing to let them get away with their bullshit transformation rune and even the fact that Dot replaced Catarina Loss and Tessa Gray but 

Sebastians demon form????

the whole point was that he looked human??? what the fuck??
And I mean maybe they’d could’ve even gotten away with that in a away but they should know their show looks horribly low-budget and 

I cant take this crap seriously anymore??

why is it so hard for people to just take a book and read it and make it a show or movie goddammit

Title: She can Bite, Too.
Summary: Betty is all alone at home, stressing over what on earth is happening to the people she loves. She’s starting to grow anxious, and it’s not until she hears the delicious roar of his bike that her mind settles.
A/N: Thanks to a message I got the other day, I ended up adding some stuff to the universe of Facing Snakes. I know we’re all a little bit shaken by the Serpents now, but they’re nice people in this fic, I swear. I hope you enjoy it, and please, tell me what you think!
Her house was awfully silent that night.

All the doors were locked, most of the windows were closed and her pink bedroom was the only room fully illuminated. It was already past 9pm on that Thursday night, and Elizabeth Cooper— as every normal teenager— was laying comfortably on her bed, reviewing her homework while wearing pink, cotton pants and a matching, white shirt for pajamas. Her belly was pressed against the warm blankets, and her legs were swinging above her body, as her green eyes scanned all the equations she had already solved and had already reviewed more times than she could remember. There were papers spread around her sheets, and above them all, her cellphone was resting, with its dark screen just some inches away from her hands and driving her insane with each, passing second.

That peace was simply driving her insane. That lack of news was leaving her feeling uneasy, and at that moment, all she wanted was to grab a coat and run towards the hospital where her parents had taken Polly. Her sister was due at any moment now, and Alice Cooper decided that it would be better if they stayed close to the hospital for when the time finally came. They were all anxious about the twins, and even if Betty wanted to be there next to her sister for when her godchildren came into the world; her parents had made her stay home, for she had classes in the following morning. She tried to protest and she even used her excellent arguments, but in the end, nothing she said was able to change her mother’s final decision.

And then, she was left behind in that perfect house, with her perfect life as she remained clueless about whatever could be happening to Polly. It was frustrating and really hard to swallow, especially because she had no one by her side to keep her from overthinking. Jughead wasn’t answering her calls— worrying her even more—, Kevin was busy with his online dates and Archie was finally having a family dinner with Veronica and her parents; leaving her all alone with her loud, stubborn thoughts.

The blonde finally turned around so her eyes were now looking at the celling. She sighed, bringing Caramel close to her chest in a tight hug.

Why couldn’t she just forget about everything and go to sleep?

Why couldn’t her mind just give up on trying to make her go after the people she loves?

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anonymous asked:

What do you regard as the best and worst changes the show made?

The show will from time to time bring these shining little moments of understanding the characters to screen, which didn’t occur in the books. 

The close of episode 1.03, where Ned watches Arya train with a sword and starts remembering his own experience in war. There are several of these occasions with Stannis, of all people - say what you like about adapting his plot, but the “fewer” running gag was perfectly judged, along with his monologue about the siege of Storm’s End. (”I like dogs, loyal creatures, but we ate them.”) Lancel’s season two costume being suspiciously similar to Jaime’s season one costume. Scenes with Jaime expressing his frustration at how people perceive him, and at standing outside Robert’s door. Things like that. Little things that in a few lines get across the gist of chapters of characterisation. Especially earlier in the series’ run, that was a real strength of theirs.

The writers fall down when they make big changes. It’s extremely obvious by now that the showrunners don’t understand what GRRM was trying to do with the genre, and so they’ve trampled willy-nilly through parallels and character arcs. The two worst changes, I think, are probably Sansa and Jaime in season five, sending one to a sexist cul-de-sac and another to a sexist and racist cul-de-sac, both at critical points of their character development. But these are symptoms, not the cause. The cause is lack of understanding.

Nor have the writers done the research into history, politics, and warfare that might enable them to continue the storylines themselves in a sensible manner. They’ve clearly done a bit, but there’s no synthesis to it, no evidence of deeper understanding, no logical integration of historical principles into a fictional universe. Just copy/paste.

All the Web Series

Hey everyone!

So my lovely sister suggested that I make a masterpost of all my favourite web series, so I started off by listing all the web series I’ve ever watched………and there are a lot. So many that I think I might have an eensy bit of a problem. But moving swiftly along, here’s my own not so little list of all the webseries I’ve watched all-the-way-through and want to ramble about in alphabetical order. As always, these are my own thoughts and opinions, and you are perfectly entitled to have different ones. Because this list is so long, I’m putting it under a read-more (cause otherwise this would seriously fill your entire dash) but above the read-more I’m gonna put a list of the web series I talk about so you can see if there’s something you want to check out :)

Adult Wednesday Addams

Autobiography of Jane Eyre

Blank Verse


Classic Alice

East and West

Elinor and Marianne Take Barton

Emma Approved

Frankenstein M.D.

From Mansfield With Love

Green Gables Fables

The Goreys


I Didn’t Write This

In Earnest


Jules and Monty

Kissing in the Rain

The Lizzie Bennet Diaries

The Misselthwaite Archives

The New Adventures of Peter and Wendy

Nothing Much to Do

School of Thrones


Submissions Only

A Tell-Tale Vlog

Welcome to Sanditon

Wish It Inc

Writing Majors

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anonymous asked:

I have question if you don't mind. Who are devil forge masters and why do people want them in the show? New here btw

The devil forgemasters are Dracula’s generals, whose story (as told in the game Curse of Darkness and its accompanying manga) takes place around the same time as Castlevania III’s (which is the game that the Netflix show is adapting).

Short version of their backstory:

Before Lisa’s death, Dracula allowed his castle to be used as something of a safe haven for creatures who were shunned by the rest of society. This included two human children, Isaac and Hector, who had nowhere else to go. Dracula had them trained in the arts of both combat and dark magic, and they grew up to become his most powerful assets.

There were two problems: First off, Dracula made no secret of the fact that Hector was his favorite, which didn’t sit well with Isaac. Secondly, Dracula made the two of them lead his genocide on humanity after Lisa’s death, which didn’t sit well with Hector. Just as Trevor and co. were heading to Dracula’s castle to take him down, Hector defected from Dracula’s army and booked it into the surrounding countryside. Dracula couldn’t stand the thought of losing Hector, so he sent Isaac to retrieve him…leaving the castle unprotected, and making it easy for Trevor and his companions to kill Dracula.

Then a whole lot more plot happens, but you can see how the forgemasters tie into the plot that’s being adapted in the show. If the next season were to add more characters, it makes sense for Hector and Isaac to be potential candidates. After Grant, of course.

gizasousa  asked:

Hey, Sian. I just debated about TV Michonne and Comic Andrea with some guy on YT (I really need to stop doing this to myself). He said they are "nearly identical" and send me a link to TWD page from where he took the statement. IMO, TV Michonne had very unique experiences that changed her into someone that is not Comic Andrea or Comic Michonne, even though the storyline since Alexandria is similar. In your opinion, what are the main similarities and differences between them?

Hi @gizasousa. So sorry I didn’t get to this sooner. I agree 100% with you and you put it so well.

My issue with people (like this guy) saying that Michonne is taking Andrea’s story line from the comic books, or that Michonne is the ‘New Andrea’ is that it takes away from who Michonne is as a character in her own right. It detracts from her TV story, background and who she is.

I’ve heard people say Andrea’s scenes with Rick from the books were played out by Richonne on screen. No. That’s a simplistic way of looking at it, and quite frankly, disrespectful to Michonne and her background as well as her development. For example, the ‘We’re the ones who live’ speech. That was not a ‘We don’t die’ remix. That was Michonne being KEY in getting Rick to see that they needed to fight. That scene worked because of WHO MICHONNE IS to Rick and their journey as best friends to lovers. NOT because Andrea said something to Rick about not dying so they did the same for TV Richonne. Also, Michonne’s language was more positive and the more I analyse the scene, the more I see how it was specifically catered to Michonne and not a remix. That scene was important to Richonne and worked so well because of who they are, what they went through, and what they mean to each other.

TV Michonne does not need to take any other comic book character’s story. The way she relates to others is because of her journey. I don’t see similarities between her and Andrea the same way others claim there are. Honestly,  there is also not a lot in Michonne’s arc now that even reflects her comic book counterpart (with the exception of being close to Rick).

TV Michonne has been afforded the opportunity to heal, love, and be loved; something that was kept from her in the books. She is in a healthy, stable relationship with Rick that developed from their close friendship (something that RK did not do in the books, regardless of how much sense it would have made).

The only similarities between TV Michonne and comic book Andrea is that their significant other is Rick. TV Michonne is a far better character than the others, in my honest opinion. Comic book Michonne still had more build-up in her friendship with Rick than Andrea had, yet Andrea ended up being his romantic partner. TV Michonne had comic book Michonne’s arc with being Rick’s best friend. The difference is that Scotty G had the good sense to build on their closeness as friends and pair TV Richonne romantically, where RK did not.

Now, there are some instances where the plot has been adapted from the books to suit what is happening on-screen. that is because the show is still an adaptation. But I don’t believe Michonne is anyone other than who she was meant to be. Rick and Michonne got the best friend narrative on TV and it progressed naturally to where it should have been i.e. them being canonically romantic and in love.

While the narrative is at points similar, because it is based on the source material, Michonne is not the ‘New Andrea’ just because they are both Rick’s lovers. Their stories are most definitely not ‘nearly identical’. Richonne on TV is what Richonne in the comic books should have been. Michonne is a leader in her own right. She is her own person with her own story arc, but certain fans out there just cannot help themselves and try to take that away from her.


Supernatural 08x01 and Prolonged Purgatory

Part of Falling Deeper in Love with Supernatural, Episode by Episode

Before I get into an intertextual analysis of “We Need to Talk About Kevin” and the book/film the episode’s title references, there are two pieces of miscellanea about this episode that I cannot ignore.

1. Kevin Tran is officially the best ever in this episode. The manner in which he uses his wiles to outsmart Crowley on multiple occasions will never cease to put a smile on my face. Nor will the way in which Osric Chau perfectly delivers one of my favourite lines in the entire series.

What’s going on?

There’s a demon in you, and you’re going to your safety school.

2. Season eight is well-loved in certain circles for being perhaps the queerest season ever. Season twelve competed for that distinguished honour but - holy hell - this episode is one of those ones I want to thrust in the face of folks who deny that there is any LGBTQ subtext in Supernatural. Because this episode - it’s a treasure trove of Ho Yay! Moments.

(all gifs from @deanfightswithmonsters)

Including Spanky the Demon, the one who uses too much teeth.

Now that I’ve gotten that out of my system, onto the relationship between 08x01 and its titular material. There are those occasions in Supernatural where the references are clear: “Jus in Belo” is an homage to Assault on Precinct 13, “Stuck in the Middle (With You)” is a love letter to Tarantino, “Appointment in Samarra” directly connects to the Talmudic tale and its many retellings. Songs not only work within the show’s soundtrack to shape its mood and tone, but often find their way into episode titles. These gestures are not meaningless.

But that is not to say that every allusion is equal - some are gestures rather than directives. “We Need to Talk About Kevin” falls in this category, in my opinion. There’s of course a superficial reference there - Kevin Tran’s importance continuing to assert itself over the course of Season 8. Sam’s neglect and abandonment of Kevin is indeed something a resurrected Dean forces him to confront.

But there are many ways to say Kevin will play a central role in this season’s arc that do not reference another work of art. The book the episode is named after was published in 2003; the film adaptation in 2011 (a year before this season). It is wholly possible that the writers did not intend to engage with this source material at all, but that will not stop my little meta brain from insisting otherwise.

I admit - I have not read Shriver’s book, but I have watched (and loved) Lynne Ramsay’s adaptation. The plot centers around Eva Khatchadourian and her struggles to cope with horrific violence perpetrated by her teenage son, Kevin. It is a story of trauma, guilt, loss, pain that unfolds in fragments - Eva’s memories of the past haunt her in the present. It is a tragedy about a fractured family - about psychological damage - about keeping secrets - about avoiding unpleasant and frightening truths. Its title insists it is necessary to confront a problem of which we’d rather not speak.

Intentional or not, 08x01 shares all of these elements. Both center around protagonists enduring a sort of prolonged Purgatory - one where the past hangs heavy over their heads, where a state of suffering persists through the endurance of painful memories of trauma and loss. Like the film, much of its narrative is told in flashbacks - a device that would be employed in nearly every episode of the first half of Season 8. In fact, Season 8 almost contains more flashbacks than the previous seven seasons combined.

The question is: why?

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so I was talking with @thoughtsformtheuniverse about adapting books to screen, and mentioned Beanstalk as an example of something that would be really hard to adapt well, because so much of it is in the characters’ internal stuff (main and side) and in the side chapters and in the poetic writing. So then naturally we started think about how we’d actually do it (caveat: neither of us actually now anything about tv design stuff, and this is all wildly impractical. but just imagine.) 

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