#worst adaptation ever

[bunnybonesstudio]

Uh oh guess who watched the Goldfinch again and was immediately sucked back into the void

Meeeeeeeeeeeeeee!

[aragarna]

Don't get me started on I Am Legend...

sick of adaptations and spinoffs where it seems like the creators don't understand what made the thing good in the first place and feel the need to "fix" a bunch of stuff (read: make it worse)

[buttered-milky]

Alright so u know the scene where Smaug opens an eye under the treasure and it’s all the party can see of him bc he’s sleeping under there.

This is what sand boas look like. And they burrow under the sand and are ambush predators. And they are reptiles. Like Smaug. Do you see where I am going with this

Thang. Smaug. If you even care

[thearunadragon]

Okay the big one: IC characters reacting too...The Eragon movie

This honestly needs a whole structured little react book to answer fairly. That’s why it took me so long to figure out how to answer this. But, until I get to writing that properly, here’s a little rundown 😂

ERAGON wants to know why he’s blonde

ARYA wants to know why she’s blonde/ginger and wants explanations for literally everything else also

RORAN is angry because “this isn’t how this happened at all!” referring to joining the army and the conscription scenes. Eragon agrees.

ANGELA is obscenely amused and munching on popcorn.

MURTAGH doesn’t hate his character portrayal ENTIRELY, but wants to know why the FUCK the scar is on the side of his stomach and basically just a little paper cut of a sword wound compared to what actually happened. He also wants to know why it has two curves and why he was put in a cage.

NASUADA wants to know what’s going on with the strange ceremonial headgear in one of the scenes

AJIHAD find his portrayal accpetable

ORIK wants know where the actual f**k he and Hrothgar are

The TWINS are only in the special edition I believe and are very unhappy about it

SAPHIRA wants to know why she has feathers and why she grew in a half second and why her scales are not shiny. She will half-accept her personality in the film, though she thinks they could have captured her much better.

ORRIN is just here for the drama.

[vialae]

Really enjoy the idea that as Gortash and Durge’s relationship progresses over however long, Gortash gets more and more used to Durge’s lurking and hiding in dark corners, and as a result it becomes more and more difficult to make him jump.

Like at the beginning of meeting and working together, Gortash’s head is on a swivel as he keeps wondering when that serial killer will seemingly appear out of nowhere once more.

But then like several years into it, he is strolling into his office which seems to be empty, but then he starts talking very conversationally at full volume about how they should now be moving on to the next part of the plan, knowing full well that a voice is going to respond from the darkest recesses of the room where you can see at most a pair of glowing eyes.

[writingpotathoes]

So like when they discover OD and KDJ tries to kill himself is he like... going to shoot himself with a broken piston (?) or something. And YJH is going to catch the fucking bullet with his bare hands or

[tossawary]

I saw a musical recently where the main character was a writer of these fairy-tale-esque gothic romance adventures, so there was a clear-cut Hero and a Villain and a Damsel in Distress and a Wicked Witch character and so on. Very recognizable archetypes. These imaginary characters would come onstage and act out these adventures when the main character was reading her writing aloud to others.

Unfortunately, this musical was ultimately not good for many reasons, one of which being that the stories that the main character wrote had essentially nothing to do with the rest of the story. These overdramatic and cliché adventures didn't really reflect her real life in a deep and meaningful and interesting way, not effectively, and mostly just came off as silly; they seemed to mostly represent the writer character's inexperience and immaturity more than anything else; and I personally thought that the aesthetic frankly gelled weirdly against the setting of the "real life" segments. It was like two completely separate musicals were trying to happen in alternating segments.

But one REALLY cute thing that this show did is make these imaginary fairy tale characters into the stagehands. The Hero and the Villain and the Damsel were the ones who hurried onstage to move furniture around to indicate a change of location. They would briefly test out the furniture or adjust the props to their liking or interact silently with each other in other ways, before scurrying away or shooing each other off the stage again as the "real" characters walked in. I think the Villain character even lingered once to wink at the main character's mean aunt, before getting dragged offstage by the other imaginary story characters.

It was so cute and fun and made scene changes a bright spot in between terrible music and badly paced "real life" plot. Theatre allows for thin lines between "realities", there are lots of great fourth wall interactions in theatre for example, so in-universe imaginary characters as the stagehands for some really fun meta stuff in a different play. I keep thinking of Roderick Townley's "The Great Good Thing" which was read to me back in elementary school, but anything that has in-universe stories being told like "The Princess Bride" film could work. I hope to see more creative scene changes like that in future stageplays that really work with them.

[feanorianethicsdepartment]

i mean, sure, maybe in tolkien’s moral conception of the universe deviating from the Divine Plan™ that dictates that you and your people are destined to wither away into the dark and be forgotten is an act of utmost hubris, but like, we don’t have to agree with him

[doverstar]

what idiot let greta gerwig anywhere near the chronicles of narnia and can I throw up on their couch

[baselicoc]

i know that atsv and spiderverse in general is probably not including Gabe for various reasons and therefore when Mig took his alt selfs place he wasnt actually leaving anyone behind. he said something along the lines of “i found a universe where i was happy” which kinda screams that something was fucked up with his home one, i’d like to think more than usual because the other explanation is that he just left like all his family behind. Which is extremely messed up but also on the other hand a little funny

like imagine being gabe here. Imagine your older brother fucks off to another universe because of his depression and comes back with even worse depression ranting some shit about canon events. You have to be told where he went by his AI because god knows your brother has all the communication skills of a rusty spoon. Have to be told he fucking left with no intention of coming back

[orengejoshi]

Are we going to see demenica and 505 soon

highly unlikely, I don't care for anything other than Flug. Black Hat a little bit too.

Miss Heed perhaps? but I don't see enough in any other characters yet.

Masterpost for request status on Flug-unrelated things

I feel like atp I barely care for the canon cartoon at all, I just have a very strong fixation on Flug. I should really mention that. I have given up trying to stay in-character and basically use him like my OC. I would LIKE to move on and not be in fandom spaces anymore but sadly my autism does not let me. my brain just refuses; kicking and screaming; to be interested in a single other thing on earth than Flug since nearly 8 years.

it's insanity.

I have no NOTP or disliked dynamic, I will consume anything. paperlizard is cute. but it's a combination of me not being interested enough and others also not being interested enough so I feel it is not worth it to make this content rn. the fandom is ultra turbo dead.

I don't want massive attention -godspeed I don't- but an artist that doesn't get any response is a demotivated one. I know no one who is interested (enough) in these characters.

I would never make fanart of those characters alone¹, I couldn't get my unmedicated ADHD to focus on smth my heart doesn't 110% want to do from pure passion. I take no commissions, I don't draw for money.

you can basically expect to see one and the same thing for a decade straight from me

if I draw them in the future it will be heavily Flug-focused. HEAVILY.

(¹one exception is if a close friend of mine suddenly wants to see one of them)

so that's basically all you need to know! I don't consider myself a member of this fandom anymore since months

[gingerswagfreckles]

Living is New York City is annoying because someone will ask you where you live and you say oh I'm from New York City and terminally online weirdos will go omgggg here the New Yorkers go again thinking they are soo cool and special. Like ok I think maybe you are just a jerk actually.

[woman-respecter]

re: dina.....this is one of the reasons i'm terrified of bioshock ever getting an adaptation. it's not the most explicit, but that game is REALLY fucking jewish if you're clued into it, a huge chunk of the main characters are, the director is (and has spoken about it in relation to the game).......and i don't know if it'd be better to be honest about that and take huge fandom rage or dejewify the game. i hate that it's such a hassle now than i don't want it at all. like i hate what's happened to dina but i get why they did it. it's like reading about early hollywood or comics again -- so many jewish creatives, all of them like "holy shit obviously all our characters are gentiles, we're trying to keep our heads down so they don't haul off and kill us all again"

yeah, out of the games that keep coming up when i look up “jewish videogame characters” with reliable evidence (wolfenstein, tlou, mgs, and bioshock) bioshock and wolfenstein seem to be the ones with the most jewish characters, so i can imagine how terrified a jewish bioshock fan would be of how much they would fuck it up. but it’s also understandable why creatives do it because we are in such a jew hating culture rn. like i bet they would have kept dina jewish if the show came out in 2022. and the worst part is when things get adapted into shows, the show interpretation becomes the most popular, so people would start treating you like a crazy person for acknowledging the jewishness that was in the og text just because it wasn’t in the show. i also suspect any de-jewified character is going to be made into a different minority, like they did with dina, so u get called bigoted for saying you wish the character was jewish.

[rosquinn]

2024 is the year of classic lit adaptations that fucking suck because why are they casting jacob elordi as heathcliff in the new hollywood wuthering heights movie

[jazbell]

s4 rant below

like im not even mad about snufmin bc i knew that was never gonna happen bc we dont live in that world. but. everything else????? the character regression????????

where did all of moomins growth go. he turned into a brat again. the comet plot was wasted on a shitty 43 minute episode rehashing old arcs again and again.

season 3 wasnt perfect but it felt like it had a heart. this one doesnt even come close.

[cantsayidont]

There have been approximately one billion stage, film, and TV adaptations of THE COUNT OF MONTE CRISTO, and most of them (save for the 1998 French TV miniseries*) fail in exactly the same ways for most of the same reasons. The new 2024 iteration, by Matthieu Delaporte and Alexandre de la Patellière, is no different, and about the only thing it has going for it is that it isn't AS actively offensive as their ghastly THREE MUSKETEERS adaptation last year.

(* The 1998 French TV version fails instead because it stars Gérard Depardieu, who was and remains a massive creep.)

I love the book, although I haven't read it often because it's a project — well over a thousand pages, full of what appear to be tangents and aren't — but nearly all the adaptations try to boil it down to a simple-minded, contrived drama about wrongful imprisonment and lost love, discarding most of the novel's sprawling melodrama and changing its narrative center of gravity, and by the end I always wonder why they bothered.

MUSKETEERS benefits most when screenwriters keep their grubby little fingers off the plot beyond whatever condensation is needed to fit the running time. To make MONTE CRISTO work as even a 2½-hour movie, I think it might need a more dramatic restructuring of the story.