Since that Hindutva post has been circulating, I think this is a good time to remind people not to give your opinion on the politics of a country you know nothing about in order to give your two cents.
I am not educated on the history of India or its current political climate. I am aware that Modi and his party, the BJP, are far right-wing nationalists—something I obviously do not support—but I simply do not know enough about the actual policies he put in place, nor how it affects day-to-day life in India, and I am not going to give my two cents on a topic I know nothing about. I care about my friends who experience Hinduphobia, and I care about my friends who experience Islamophobia; I will always listen to and validate their lived experiences. But I cannot and will not side with anyone on specific policies or political ideologies that I’m not educated on—especially about a country I’ve never been to. I don’t know enough, and I think we’d all be a lot better off if we just let people admit when that’s the case.
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Possible spoilers if you haven’t already listened or read the book. Also, spoilers for The Horror of Dracula, 1958 and Bram Stoker’s Dracula, 1992.
One of my favorite things about @re-dracula is seeing the reactions of people whose main exposure to the story is through the many film adaptations. The differences in how the characters relate to one another are way too many to list from film to film. Even aside from the bizarre choices (Lucy as Mina’s sister-in-law - the Horror of Dracula, 1958, or Mina as the reincarnation of Dracula’s lost love - Bram Stoker’s Dracula, 1992) the most important difference between those adaptations and re - dracula is that these are fully rounded characters who clearly care about one another.
Jonathan adores Mina, Mina loves him, and loves Lucy. The suitor squad and Van Helsing genuinely cherish Lucy and it causes everyone palpable pain when they see her slipping away. When the group finally gets together in one place, they all acknowledge and respect the various strengths they each bring, and they hold one another up as needed.
None of the characters seem cast aside, as often happens in film adaptations. Even the 1992 film, which includes all three suitors, doesn’t manage to make them all seem like full personalities. They appear more as aspects of an individual, or as tropes. Lucy herself in the ‘92 movie is the complete opposite of her characterization in the novel. Her behavior in the film is anachronistic at best, and offensive at the least. It is a perfect illustration of the stupid and misogynistic attitude in horror that “wanton” women are punished.
Not only that, but it also completely changes the story and the dreadful implications of it. Lucy isn’t targeted because she’s “done something wrong” (quotes because I don’t believe expressing/exploring one’s sexuality is wrong, no matter what my favorite genre keeps telling me), she is targeted because she is convenient. Dracula wasn’t musing in between leaving his castle and reaching England that by golly, he couldn’t wait to terrorize Lucy Westenra! He saw an opportunity, like any other predator, and he took it.
Of course, we’ve seen that he is very willing to play with his food once he feels in control. He was very pleased to be able to torment Jonathan, yet another character who is often treated poorly in adaptations - in the 1958 version he’s so smug and patronizing toward what appears to be a terrified woman, that I was actively hoping for his death.
In contrast, the novel/Dracula Daily/re-dracula show us a sweet, earnest man, one who is gentle and loving. He, like Lucy, is a convenient victim, and like Lucy, is innocent.
The true horror is that terrible things can happen to anyone, and no amount of wealth, education, or simple good-heartedness, will act as a shield. There are no preventatives, and no one “deserves” the terrible things that happen. The real strength of the story isn’t in deciding which characters(usually women) are worthy of saving, an overly simplistic approach that many film adaptations take, some more subtly than others. The story resonates because in spite of the randomness of the horror, the people involved decide to do something about it.
These people are not always perfect or even heroic. Dr. Seward (who I really enjoy, and who is also often portrayed badly in adaptation) is not a safe person for his patients to be around. He is ableist, arrogant, patronizing, and definitely not handling his own mental health well. He is also loving, practical, loyal, and in many ways exceptionally tender-hearted. All of the cast is achingly good in their portrayals, but Johnny Sims’ interpretation of Seward has been revelatory. The man is flawed, but gosh darnit, he’s absolutely human. His pain is visceral, his awkwardness is utterly relatable, and his attempts to make things make sense is so hard to hear, because we want the awful things to be a puzzle with a logical solution, but we also know that there is no motivation for what is happening, it is all chance.
Mina herself questions why they need worry about Dracula, once he is gone from England. By this time she’s had a horrific experience with the count and understandably wants to be done with the whole thing. Earlier, however, she begins her work of compiling all the information available about Dracula, because she understands that something may need to be done, for the good of all.
She is afraid of losing her husband, she is afraid of what other horrors may wait, but she also is able to put that aside to continue to pursue stopping Dracula, so that there won’t be another victim, and so that Dracula himself might be saved from the horrific reality he’s experienced for so long.
I have been telling people ad nauseum that re-dracula is hands down the best adaptation of the novel I’ve ever encountered. It is because it is treated as a story about people, real people, with real connections to those around them, real flaws and strengths, who grow to share a bond. They swear to stop Dracula, not out of vengeance, as Jonathan can be forgiven for wanting, but out of love for those they have lost and those they may save.
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