reimagined classics

Riverdale Promotes Casey Cott to Series Regular for Season 2!

Get ready to see more of Kevin roaming the halls of Riverdale High next season.

Casey Cott has been promoted to series regular for Season 2 of The CW’s Riverdale, TVLine has learned exclusively. Cott plays Betty’s gay BFF Kevin Keller, who loves to add his snarky thoughts to the conversation. The son of Riverdale’s town sheriff, Kevin also had a star-crossed romance this season with Joaquin, a member of the Southside Serpents biker gang.

Riverdale, a teen-soap reimagining of the classic Archie comics, scored a Season 2 renewal back in March. Cott joins KJ Apa (Archie), Lili Reinhart (Betty), Cole Sprouse (Jughead), Camila Mendes (Veronica), Madelaine Petsch (Cheryl) and Ashleigh Murray (Josie) as series regulars among the show’s teen cast.


palestinian artist mohammed al hawajri reimagines classic paintings as scenes from palestine.

1. inspired by eugene delacroix’s liberty leading the people

2. inspired by marc chagall’s russian wedding

3. inspired by jean francois millet’s the gleaners

4. inspired by marc chagall’s over the town

5. inspired by theodore gericault’s the raft of medusa

6. inspired by jean francois millet’s buckwheat harvest

One Day at a Time - Season 2 - Ed Quinn to Recur

Ed Quinn (2 Broke Girls) is set for a recurring role on Season 2 of One Day At A Time, Netflix’s reimagining of Norman Lear’s classic. The new version is about a Cuban-American family and centers on a recently separated, former military mom (Justina Machado) who is navigating a new single life while raising her radical teenage daughter and socially adept tween son. She’s “helped” by her old school Cuban-born mom (Rita Moreno) and a friends-without-benefits building manager named Schneider.

Quinn will play an EMT who served with Penelope (Machado) in Kabul. They run into each other at the hospital, and sparks fly.

liaragaming  asked:

Your writing advice reply was really lovely and thought out, and I thought you might have some insight for me. I get frustrated easily with my original work and any motivation to work on it disappears for months before I take it out again, hate it, and throw it back in the drawer. On the flip side, I enjoy writing fanfic and am happy to revise and improve. I just hate my original stuff. I haven't been able to understand why this is such an issue.

You know what? I feel the exact same.

  • Scarlett by Alexandra Ripley
  • Rhett Butler’s People by Donald McCaig
  • Wide Sargasso Sea by Jean Rhys
  • The Holder of the World by Bharati Mukherjee
  • March by Geraldine Brooks
  • The Hours by Michael Cunningham
  • Redshirts by John Scalzi
  • The Adventures of Inspector Lestrade by M.J Trow (17 book series ffs)
  • Good Night, Mr. Holmes by Carole Nelson Douglas
  • Wicked by Gregory Maguire
  • Anything in the Canongate Myth Series…

It is amazing how, as authors, we can prefer to build our castles in someone else’s sandbox.

How much respect you get for writing fanfiction seems to be determined solely by:

  • how culturally respected your source work is and
  • if you self-published your parallel novel

What all those books above have in common is that they’re considered “parallel literature” of Gone With the Wind, Jane Eyre, The Scarlet Letter, Little Women, Mrs. Dalloway, Star Trek, Sherlock Holmes stories, The Wonderful World of Oz, and various myth stories. Some of them are ‘authorized’ and some of them are not. Some of them don’t have to worry about the copyright of the originals and some do. They’re all examples of fanfiction.

Let me pull out wikipedia’s definition of parallel literature:

The parallel novel is a piece of literature written within, derived from, or taking place during, the framework of another work of fiction by the same or another author. Parallel novels or “reimagined classics” are works of fiction that “borrow a character and fill in his story, mirror an ‘old’ plot, or blend the characters of one book with those of another”. These stories further the works of already well known novels by focusing on a minor character and making them the major character. The revised stories may have the same setting and time frame and even the same characters.

That’s :) that’s fucking fanfiction.

From above: Reimagined works. Canon playthrough rewrites. Fucking, crossover AUs.

Focusing on a minor character and making them the major character.



I know there are posts going around that emphasize that many great works are fanfiction, that one where Dante’s Inferno is fanfiction of the Bible, etc. But literal fanfiction is, yesterday today and tomorrow, getting published by authors who are taking and telling transformative stories about another author’s works or their own culture’s mythos (Dendera, Summerlong, any Pern book written by Todd McCaffrey, any book published set in the Star Wars universe, like Ahsoka or Aftermath. “But some of those are canon!” Well, but the act of creating them is still transformative of the context of the source material. The authors were fans of the setting and they wrote fiction. It’s fanfiction.) Brave New World is derivative of We by Yevgeny Zamyatin.

What seems to happen is that we amateur writers sit down to write our original work, our Great Novel and… it’s boring. We try to create our original work in a pristine, pure, influence-less vacuum to distinguish it from our fanfiction: our “lower art.”

When Patrick Weekes created Solas, he’s upfront that he started with the 10th Doctor. He found that character compelling. He found a character with a clear sense of motivation, a tragic mien, and a mission, and then added in bits of other characters. Asked questions like, “What makes him fit into this world?” and “How does this aspect being added to his past change who he is, as Solas rather than as 10?” (My assumptions, by the way, these are not direct quotes.)

Is Garion from Pawn of Prophecy really all that distinct from Frodo? And science fiction writers tend to have amassed forgotten short stories in pulp mags that use wholly unoriginal themes and tropes before they become known for their award-winning groundbreaking works filled with imaginative leaps.

All of this and yes, I feel the same damn way. I sit down to write my Great Novel, my original work, and I find that the work is frustrating, lifeless, and that the richness of the world I am playing in pales in comparison to the breathing kaleidoscopes of human experience realized in Octavia E. Butler’s Patternist series, or Jennifer Roberson’s Tiger and Del series, or the Dragon Age setting. AtLA. Harry Potter. A huge number of TV shows. All those places we go to, to write fanfiction.

When we write without influence, we are attempting to generate, whole hog, a human person and all their context onto the page. If you don’t fall in love with that person you made, you’re not going to care about whatever trials you put them through. You’re not going to care about their relationships, and how they hurt and heal the people around them. It might be useful to look at your original work and ask these questions:

  1. Who is this person?
  2. What motivates them?
  3. How can I not give them what they want?
  4. Is that interesting to me?

If you are not interested in whatever trial is involved in not giving your character what they want, you can’t write that character. You can’t write their angst when they don’t have what they want, you can’t write their triumph when they finally reach their goal, you can’t write their tragedy if you decide to never fulfill their desires.

When you write a transformative, additive work based on an already-existing character, you already know to ask those four questions. You answered them instinctively before you even thought about starting your first fic. I saw Solas and wanted to figure out that puzzle right away: who is he? Why is he doing what he’s doing? If I wrote him, what complicates his story? Do I want to spend my time on this? Insert your favorite character. You might have answered all these questions in five minutes, or five months. When we are presented with a fully-realized character, the writer brain takes off and has a really good time with whatever part of the human experience some other writer has given us the keys to.

So when you write your original fic, what part of the human experience are you trying to explore? Are you doing that already in your fanfic? What’s different between your fanfic and your original writing? What characters, stories, and plots are influencing your fanfic vs your original writing?

Are you trying to make your original writing “pure?” To somehow live up to an idea that it must be wholly “original?”

Try dropping Jane Eyre on a spaceship instead.

If you look at your original work and you don’t have any characters to explore, that’s another issue. ^.^ I’m also familiar with that old struggle: creating a continent, a “grand story arc/hero’s journey,” listing every trope I want to avoid or lampshade, and then sitting down to write… and feeling immediately lost. Stories are about people. This is why DA:O introduces its world through six different people and their unique experiences in this world. AtLA’s world is introduced through three kids on a bison. If you’re struggling to write your original work, just start small. Then smaller. ‘Zoom in’ on one character. Get super close to their perspective. Start with people. 

It doesn’t have to be original.

So, as anyone might expect, based on my url, I have a wide array of very intense Feelings about Romeo and Juliet. Like, memorize-the-entire-balcony-scene-for-fun kind of intense Feelings. It’s my favorite Shakespeare play and I could literally go on for days if not weeks about it. SO. That being said, I obviously was going to have a lot of feelings about Shonda’s new show, Still Star-Crossed. 

I remember when I first heard of the project, I was pretty furious. I am sort of protective of R&J and was not keen on the idea of a sequel- much less a sequel that unraveled the deeply poetic and meaningful finale. It didn’t help that the person unraveling it would be Shonda Deathtouch Rimes. But, honestly, I should have considered the fact that Shakespeare and Shonda would have definitely been buddies (they both love torturing their protags, I mean, come on, this was a match made in hell). 

As the previews started to show up a few weeks ago, I watched them with a measure of chagrin- which slowly became replaced by curiosity, and then, finally, by excitement. 

The cast is star-studded. What I’ve always enjoyed about Shonda’s shows is that they seem to have a good comingling of old hats and newcomers. You’ve got some familiar faces like Paris, Lord Capulet, Lord Montague, and Prince Escalus- and then you’ve got some brand new bright-eyed and bushy-tailed actors and actresses whose exuberance lights up the screen just as bright as their more well-practiced counterparts.

Colorblind casting is and continues to be my favorite thing. I absolutely love seeing these familiar characters filled in with all sorts of different shapes, sizes, and colors. Not only is it refreshing, but it’s also so exciting because it finally allows for the most talented individual to get the part they deserve. You’re seeing the best possible product, unlimited by a director’s attempt to “match” its stars. You’re seeing the best Rosaline- not the best white Rosaline. You’re seeing the best Romeo- not the best white Romeo.

Honestly, it’s such a freeing and utterly delightful thing to experience as an audience member, knowing that you’re seeing the best of the best, barring no restrictions. That’s what a lot of art is, in my opinion. Expression without restrictions. And that’s exactly what SSC is.

I mean, I loved it. I loved every second of it. It took me a few minutes to adjust to the altered canon, but once I did I was 100% on board. Romeo and Juliet were adorable and brilliantly cast, even if we only got to enjoy them for a few moments of screen-time. I loved seeing Torrance Coombs in a Renaissance setting again, but this time liberated by a better storyline. I loved seeing Anthony Head as another problematic dunderheaded patriarch. 

And do we even need to talk about how much of a dynamic powerhouse Rosaline is? I mean, Rosaline in the play has always been a subject of fascination to me, and Shakespeare left many unanswered questions about her, as Shakespeare does, that Shonda was more than poised and ready to answer. The actress playing Rosaline is simply fantastic. I’m really glad we got the best Rosaline, because a story as strong as this one needs her.

I’m pretty much chill with all the changes that have been made to the canon. Princess Isabella exists? Umm, totally down with that. Paris survived? Sure, why the heck not. Someone defaced the statue Montague commissioned? Yeah, sounds realistic. Escalus being in love with a Capulet but not being able to express that love for fear of being seen as choosing a side in the family feud? Sign me up for that drama. 

The only thing I don’t love, necessarily, is the cruelty of Lady Capulet. I have a lot of headcanons, I guess you could say, about Lady Cap, and it makes me sad to see her portrayed as such a shady chick. But it’s okay! I’m very interested to see where her character arc will lead. I’m open, I’m open. 

I hope this show doesn’t get canceled, guys. It doesn’t help that it airs so late at night, so I’m already Stressed. I mean, hell, I can’t even watch it that late. I am heartened to see the slowly burgeoning fan base, though. 

This show is so important. Like, seriously? Even Shakespeare would stan this show. His entire career was practically founded on the reimagining of classic legend, lore, and history. Imagine how much he’d dig the fact that someone today is now reimagining one of his stories.

So, people, please. 

Watch this show.
'Crazy Ex-Girlfriend' Co-Creator To Publish Modern Day 'Jane Eyre' Graphic Novel
Aline Brosh McKenna, co-creator of Crazy Ex-Girlfriend and screenwriter of The Devil Wears Prada, will publish a graphic novel, Jane, that reimagines Charlotte Brontë’s classic novel Jane Eyr…

Aline Brosh McKenna, co-creator of Crazy Ex-Girlfriend and screenwriter of The Devil Wears Prada, will publish a graphic novel, Jane, that reimagines Charlotte Brontë’s classic novel Jane Eyre, EW can announce exclusively. Jane will be published by Boom! Studios.

Illustrated by Eisner Award winner Ramón K. Pérez, Jane transposes our heroine to the modern era, where she’s an art student who has finally left her small fishing town for the bright lights of New York City. Soon, she realizes that the city and her talented peers are more intimidating than she expected, so Jane gets a nannying job to earn extra money. But the comfort that job provided grows thin when she starts falling for her young charge’s father, Rochester — a wealthy man with a dark secret.

Peak TV Treasure: One Day at a Time

NETWORK | Netflix
CREATED BY | Norman Lear; adapted by Mike Royce and Gloria C. Kellett
NUMBER OF EPISODES | 13 episodes (in Season 1) 

PREMISE | This reimagining of the Lear classic puts the focus on Penelope Alvarez (Six Feet Under‘s Justina Machado), an Afghanistan war vet now working as nurse. Recently separated, she is raising her two kids — teenagers Elena (Matador‘s Isabella Gomez) and Alex (newcomer Marcel Ruiz) — with the help of traditional Cuban mother Lydia (EGOT winner Rita Moreno) and friendly building manager Schneider (Grace and Frankie‘s Todd Grinnell). Also in the mix is Dr. Berkowitz (Silicon Valley‘s Stephen Tobolowsky), Penelope’s boss who eventually takes a liking to Lydia.

WORTH YOUR TIME IF YOU ENJOY… | Traditional family sitcoms — not that there’s anything wrong with that. Despite the recent popularity of single-camera comedies, an old-school, four-camera comedy still has the potential to be great. Just ask Lear, who spent most of the 1970s churning out some of the very best multi-cam fare ever on television (see All in the Family, The Jeffersons, Maude). The 94-year-old auteur might not have a writing credit on any of the new episodes, but his signature brand of forward-thinking comedy is not lost here; it’s specifically what makes this reboot shine, and adaptors Royce and Kellet (who hail from Everybody Loves Raymond and How I Met Your Mother, respectively) deserve kudos for honoring both the original One Day and its creator in that regard. And if nothing else, you’re bound to enjoy Moreno’s performance. The woman is a national treasure.

YOU SHOULD PROBABLY ALSO KNOW… | As alluded to above, this show delves into heavier topics than most of the traditional multi-camera fare on network television today. Over the course of just 13 episodes, the show deals with gender inequality, healthcare and veterans’ benefits, depression, religion, alcoholism and PTSD, among other subjects. The series also does a terrific job with the coming out story of one of Penelope’s children.

IS IT COMING BACK? | Yes. Netflix announced back in March that it has renewed the comedy for a 13-episode Season 2. (Premiere date TBA.)
WHERE CAN I WATCH IT? | The complete first season is streaming on Netflix.


Riverdale Promotes Casey Cott to Series Regular for Season 2 By Dave Nemetz

Get ready to see more of Kevin roaming the halls of Riverdale High next season.

Casey Cott has been promoted to series regular for Season 2 of The CW’s Riverdale, TVLine has learned exclusively. Cott plays Betty’s gay BFF Kevin Keller, who loves to add his snarky thoughts to the conversation. The son of Riverdale’s town sheriff, Kevin also had a star-crossed romance this season with Joaquin, a member of the Southside Serpents biker gang.

Riverdale, a teen-soap reimagining of the classic Archie comics, scored a Season 2 renewal back in March. Cott joins KJ Apa (Archie), Lili Reinhart (Betty), Cole Sprouse (Jughead), Camila Mendes (Veronica), Madelaine Petsch (Cheryl) and Ashleigh Murray (Josie) as series regulars among the show’s teen cast.

Mark Consuelos (Pitch) will be joining Riverdale‘s cast in Season 2 as Veronica’s father Hiram Lodge. And another new face will be coming to Riverdale High, too: The role of Reggie, played by Ross Butler in Season 1, will be recast.


Max Richter In Concert: Reimagining Vivaldi

Max Richter Biography (Wikipedia)

Max Richter (born 22 March 1966) is a West German-born British composer who has been an influential voice in post-minimalist composition and in the meeting of contemporary classical and alternative popular musical styles since the early 2000s. Richter is classically trained, having graduated in composition from the Royal Academy of Music and studied with Luciano Berio in Italy.

Richter is known for his prolific output: composing and recording his own music; writing for stage, opera, ballet and screen; producing and collaborating on the records of others; and collaborating with performance, installation and media artists. He has recorded seven solo albums and his music is widely used in cinema.

Michael After Midnight: Oz the Great and Powerful

The Wizard of Oz is a timeless classic, a movie that captures the hearts and minds of generation after generation of viewers with its unspeakable charm and captivating villain. Return to Oz is a perennial cult classic, a dark 80s fantasy sequel that manages to be an incredible work in its own right. And then we have Oz the Great and Powerful.

There have been a lot of reimaginings and interpretations of Oz throughout the years through a lot of different mediums, and this is one of the most strange ones. It’s legally a prequel to the books, but considering some elements such as the Wicked Witch’s green skin, which is a movie-only thing, yeah, you’re supposed to take this as a prequel to the original movie. This movie came at a time where darker and edgier reimaginings of classic tales were in vogue, with crap like Tim Burton’s Alice in Wonderland and the awesome RDJ-lead Sherlock Holmes, so it’s not too much of a s hock this film was made. Hell, it’s not even too much of a shock this was directed by Sam Raimi (I see you Bruce Campbell, no amount of crazy Oz costuming can hide that enormous chin). What WOULD be a shock is if I told you, “Hey, this movie’s pretty good!” because by all accounts it seems like it should suck… so does it?

Well, let me tell you a story all about how Oscar Diggs life got flip-turned upside down. Back in Kansas he was just a stage musician, who had to flee from the circus because he’s a womanizer. He gets caught in a storm and ends up in Oz (as you do). There he meets the naive witch Theodora and decides to head to the Emerald City. Turns out everyone seems to think Oscar is a mighty wizard who will have wealth and glory, and Oscar is so there for that shit. He’s gotta kill a wicked witch first, though, so stumbling block right there. Can Oscar finesse his way through this with some good old fashioned wizarding bullshit, or is he screwed?

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Classics Reimagined

There’s nothing better than a brilliant new take on a classic song. Artists today have the ability to look back at songs that are decades old and infuse their own modern perspective into covers of classics. Some artists choose to add their own personality or unique vocals while others change the entire deliverance and structure of the song. Either way, the results are excellent.

  1. All Shook Up (Elvis Presley)- Avila. This slowed down and sultry version of the Presley original is almost unrecognizable.
  2.  I walk the line (Johnny Cash)- Halsey. This electronic version is an unexpected take on the country classic.
  3. Build me up Buttercup (The Foundations)- Frank Turner. A stripped down version of a 50s classic that truly captures the frustration of the song’s lyrics.
  4. California Dreamin’ (The Mamas and The Papas)- Sia. You probably heard this song in the trailers for the movie San Andreas, the movie was a bust but this cover definitely isn’t.
  5. Your Song (Elton John)- Ellie Goulding. A different Brit, but a similarly beautiful delivery of this classic love song
  6. I can’t make you love me (Bonnie Rait)- Bon Iver. Honestly sounds like all Bon Iver songs, but that’s definitely not a bad thing.
  7. Feeling Good (Nina Simone) – Muse. You can definitely tell this is a Muse cover by Matt Bellamy’s hypnotic voice and astounding vocal range.
  8. Bang Bang (Cher) - 2Cellos (feat. Sky Ferreira).  Still maintains that cool 60s vibe.
  9. A Case of You (Joni Mitchell)- James Blake. Blake’s haunting vocals makes this cover better in my opinion than the original.
  10. Baby I’m Yours (Barbara Lewis)- Arctic Monkeys. This adorable song was a perfect choice for the up-and-coming Arctic Monkeys to showcase a softer side of their music.

anonymous asked:

what's the difference between Generations, Legends and Masterpiece?

Generations is the US toyline dedicated to reimagining classic Transformers characters, current taking the form of “Titans Return,” while Legends is the Japanese equivalent of it, releasing most of the same toys, in slightly different ways (different paintjobs, different accessories, etc). 

Masterpiece is an entirely separate thing, a Japanese-led line of pricey, high-end, collector-targeted toys that are intended to be “perfect” representations of G1 characters (with a few BW guys joining the line recently).