#adaptive themes

[bkthemes]

Dark Mode: A Trend That Makes It Easier for Users to Enjoy the Web on Any Device

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[that1notetaker]

My mom cried during the mom movie.

[aroaceleovaldez]

not to complain about the show again but genuinely I think people should be WAY more pissed off that s2 cast an abled actor as a character with Down syndrome - particularly a character whose entire arc and narrative presence is focused on the fact that he has Down syndrome and how Percy has internalized ableism and how Percy unravels that (and also chewing out Annabeth for her ableism).

Like. Tyson has down syndrome. This is a very core part of his character, because like I've said before: the entirety of the first series is centered around and hinges on disabled stories and themes. If you are having an abled actor cast as Tyson you have already failed step one. Cause either you are actively erasing Tyson having Down syndrome or you are having an abled actor try to portray Down syndrome and neither of those things are okay.

[aster-aspera]

Penelope's weaving

aka I, an archeologist, am here to review the accuracy Penelope's loom in the 2024 movie 'The Return' because I want to avoid thinking about all my papers due next week. For context, I am currently writing my bachelor paper on Minoan textiles, and while I am definitely not an expert, I do know a thing or two about bronze age textile technology

So first point of pedantry: that is not at all a bronze ago loom.

I can't say exactly say what kind of loom this is, as I've only studied bronze ago looms. Whatever kind of horizontal/draw/treadle loom this is, I can confidently state that this would not have been used in Mycenaean times. I'd say that we only see these kinds of looms in Europe from the medieval period, somewhere around the 11th century.

In the bronze age, there are three types of looms in use (as far as we know). The horizontal ground loom, the two beam loom, and the warp-weighted loom. Most traditionally, we see iconography depict Penelope weaving on a warp-weighted loom, like this beautiful vase does.

We can clearly recognize this as a warp weighted loom, because we can see the weights: they're the little triangles at the ends of the vertical threads (the warp). The warp-weighted loom is also the only loom we can find archeological remains of, as the loom weights were often made of clay (sometimes pebbles), while the other types of looms were purely wooden.

Furthermore, I have genuinely no clue what she is supposed to be doing with her weaving in this short clip. There is no visible shed, which is the separation between the warp yarns, through which you pull the weft, so that you can actually weave something.

Here's a picture of the shed, as you can see, every other thread is pulled up, and the shed can then be switched around to create a woven pattern.

In the short clip we see, she seems to just be drawing some threads through the warp, which is more than a little nonsensical. If one was weaving a smaller fabric or a tapestry, one could perhaps use a pin or sword beater to pick up individual threads of the warp to pass your horizontal thread (the weft) under, and create patterns that way. That is still not what she is doing here. Additionally, she is weaving a solid red fabric, which would not make it a very interesting tapestry.

Perhaps she's undoing her weaving in this scene? It would make a little more sense if that was what she was doing, as no one would ever be actively weaving at night! It required a lot of light to be able to see what you were doing. Candle light just did not suffice. It still looks a little strange to me, as I don't actually see any woven fabric on the loom that she could be undoing. It's all just loose warp threads.

Honestly, it kind of looks like they picked up a loom from the nearest interactive history museum and plunked it into their movie without doing any research. I think it's a little sad that when adapting a work that centers weaving as much as the Odyssey does, the filmmakers did not do any research into bronze age weaving. You really don't need to be writing a paper on this stuff to find sources for this!

I'll just leave you all with this: a beautiful reconstruction of a warp-weighted loom, with the beginnings of a tapestry as Penelope would have woven it. You can see the loom weights at the bottom, and the sticks in the middle called the heddles, which were used to create the shed I discussed earlier. This is part of the Penelope project.

[hereticaldetective]

A hunk

A dish

A stud

A certified beefcake

-Sherlock Holmes, 2024

[thewavesbreak]

Burroughs' posthuman becoming of unlimited desire

from the cambridge companion to the body in literature, in the chapter "posthuman bodies," 2015

[hedwig221b]

Kinda... kinda getting really excited about writing New Moon au... heh...

[thelilylav]

Snow White adaptations my beloved 🫶

[thewhizzyhead]

before I do the long feminist recontextualization ramble on lmm's warriors album, I must note that the album, despite it being lmm's grittiest work, has such a hopeful tone in it especially near the end. Perhaps the hopeful tones really shine through especially in the backdrop of among the grittiest subject matter featured in MT, but there is something so heartwarming in this being a VERY intentional choice - what with cyrus' dream and the songs that follow with cleon and the gramercy riffs. in their grief and sorrow especially they still sing of giving life meaning - breathing in and believing in the hope of unification against the bigger forces in tow (acab). And this shines especially so with this album's interpretation that the gangs are more of community protectors than deviants and ruffians - and the reason they all believed in Cyrus in the first place is because they wanted a better city for their constituents.

simply said in "somewhere in the city" and simply repeated in the album's finale, they seek a city where they all come home alive.

[bugsbenefit]

genuinely still baffled by the "they don't need to address Mike's sexuality, all that matters is that he's in love with Will" crowd. especially when people say it who claim to care about Mike's character (when you could also just say you don't really care for that part of the show, which would be fine, no one cares about all characters/arcs)

because Surely you realize how him being gay or bi would change his entire character, right. whether he's attracted to girls or not would change the way all his actions up until now are to be interpreted. not even making a statement on his sexuality here, this is generally speaking

if he was actually attracted to El you'd have to address when and why he suddenly stopped loving El since in fiction "it just happened" isn't usually a satisfying answer to breaking a multi season couple up. Why is Will it for him? he's been acting weird for ages so when did he realize? and what made it click he fell out of love with El for good? you'd have to give some explanation for why he was able to proclaim his love for El accidentally in s3 and then fail to do it in the same season while looking uncomfortable with kissing her and so on since his pov was so majorly withheld

if he's not attracted to girls his arc in s5 needs to focus more on comphet and how dating El affected him/why he felt he couldn't break up with her/homophobic attitude in his surrounding slash Hawkins. or the idea of platonic and romantic love in general. there would be no how he got from point A(El) to point B(Will), like what the focus of a bi!Mike s5 arc would have to be on to explain what happened, but a focus on how he ended up at point A in the first place and why he was stuck there/how it affected him

and even core moments of the series would have entirely different meanings depending on if he's attracted to girls. "it's not my fault you don't like girls" being a peak example. if he's gay it's easy to explain it with projection. if he IS attracted to girls though it would read as a much more intentional (even if blurted out) act of homophobia, since it would be him pointing something out that Will genuinely does (not liking being around girls) but he himself can't relate to

and that's all just the surface level differences. Mike being attracted to girls or not being attracted to girls would give his arc an entirely different focus in s5. AS WELL as make his past actions have entirely different meanings. the idea that "it doesn't matter for his character" is so insanely wrong it's wild how many people confidently peddle it

[xillionart]

What if, instead of Taimandred, the show merges Taim with Asmodean as the genius Redditor hmmm_2357 suggested (link in comment)? 🫨 Rand's two teachers, now combined in one? Mazrim Taim, a Rock n Roll star 3000 years ago? Taim playing lyre? Taim singing to Rand? Taim in an Aiel sweat tent? Finally, the redemption arc we deserve???

... Will he sing a requiem to those soldiers he must poison?

[maybe-boys-do-love]

If and when y’all see an epic THK meta about the rejection of the black and white Christian institutional morality represented by Captain Christ (Biblical Good) and Mother Lilith (Biblical Evil) through the experience of love and compassion, someone please send it my way.

[princesssarisa]

Both the early adaptations of Cinderella and the more recent adaptations have emphasized the value of kindness.

But there's a difference I've noticed between how that moral is framed in the earliest surviving adaptations from the 19th century (e.g. the operas of Isouard, Rossini, and Massenet) vs. late 20th and 21st century adaptations (e.g. the 1997 and 2013 versions of the Rodgers and Hammerstein musical, Disney's 2015 live-action remake, or the 2021 Kay Cannon musical).

Chiefly in how the contrast between Cinderella and her stepmother (or stepfather, as the case may be) is presented.

In the early adaptations, there's a stronger vein of social commentary. The point is that kindness and virtue matter more than title, status, wealth, clothing, or any of those superficial things that earn more respect in high society.

Cinderella's stepfamily are aristocrats, which is what makes them haughty and selfish. Though they have little money left, they have their status, family lineage, and social standing, which makes them think they're better than anyone lowlier or poorer than they are. At the same time, they fawn obsequiously over anyone wealthier or of higher status, especially the Prince. But poor, humble Cinderella, slaving away in her rags and ashes (although conveniently, she's also of high birth), proves to be better and worthier of the Prince's hand than they are, because of her kindness and purity of heart.

The more recent adaptations take a more psychological approach. Cinderella's kindness is framed less as "Even though she's a poor scullery maid in rags, her kindness makes her better than the most elegant aristocrat," and more as "Even though she faces abuse every day, she doesn't let it make her bitter, but chooses to be kind no matter what happens to her."

In these versions, the stepmother tends to be framed as more tragic. She was once an innocent young girl full of dreams like Cinderella. But the failure of her dreams, the loss of two husbands (either both died or one abandoned her and the other died), and her resulting fall into genteel poverty have left her hard and bitter. The chief reason why she hates Cinderella is because the girl reminds her too much of her younger self, and she wants to break her spirit the way her own spirit was broken. But she fails, because Cinderella resolutely maintains her kindness and optimism.

For another comparison point, just look at the scene added to so many versions, where Cinderella gives food and drink to an elderly beggar woman (or man) who turns out to be the Fairy Godmother (or her male counterpart Alidor[o]) in disguise. In the 19th century operas, and in 20th century versions like the 1914 Mary Pickford film or Prokofiev's ballet, this scene takes place well before the ball, and the stepsisters are present: they scorn the "beggar" and scold Cinderella for her charity, so the point is "These snobbish girls disdain the poor, but Cinderella is kind and giving, as she should be." Yet in the 2015 Disney film, the "beggar" arrives as Cinderella is crying after her stepfamily has torn up her dress and left for the ball, which changes the scene's meaning quite a bit. Instead of contrasting Cinderella's behavior with that of her cold-hearted "betters," the scene becomes more about Cinderella's personal psychology, showing that even in her deepest despair, she's able to see beyond her own troubles and pull herself together to help someone else.

It's an interesting change in emphasis.

@ariel-seagull-wings, @themousefromfantasyland, @adarkrainbow, @thealmightyemprex

[pilferingapples]

it's inevitable, and even desirable, that adaptations won't ever fully capture the full meaning and every nuance of an original work. Different mediums are best for different things; and , just as importantly, different aspects of a story are relevant to different audiences. But hewing as close to the original as possible can still create a powerful statement.

Which is all to say that I think it would be excellent if an adaptation of Les Mis nowadays managed to convey --indeed, to really drive home--the theme of "you need to overthrow Napoleon III" .

[fullmetal-scar-simping]

Average fma fan talking about 03 positively: Man, it's such a miracle that the 2003 anime is written even halfway decently! After all, the writers who, as we know, have never written anything in their lives before [citation needed], they had to work while locked in individual underground cells [citation needed], only fed scraps of fma lore by Arakawa herself [citation needed] while her story was actually fully formed by the first printing of her manga in Monthly Shonen Gangan [citation needed] but they were adapting the initial first volume of manga and oopsy-daisy shot past it [citation needed], so they made up every plot beat, character arc, storyboard, and lore change completely on the fly and very randomly [citation needed]. Even though they tried to 1:1 adapt her story [citation needed, contradicted by existing sources], they fumbled the job and butchered her story, characters, and lore. Arakawa sagely forgave them [citation needed]. But somehow it's a cohesive story?! Wow! Even though the story is sad, dark, scares me, makes me cry, violent, gorey, and my fave ships aren't endgame, so -50 demerits. Still, good job team! A treat! A treat for the monkeys working the typewriters at Studio Bones circa 2002-2004! #fullmetal alchemist brotherhood

[akkivee]

i, for one, am looking forward to windbreaker hypstage's delinquent wars in october lmao