'Once Upon A Time's Swan Song Looming As Emma Exits? (+ a Musical tip of the hat)

After the fan-happy musical-wedding episode this weekend, ABC's Once Upon A Time is only one episode away from the end of the season, and still no series renewal in sight. On Monday morning, fans got a bit of a blow as Jennifer Morrison, who plays the lead, Emma Swan, announced she had decided not to renew her contract with Once Upon A Time. While previous rumors indicated the cast would be whittled down by about half, if the show were to continue (including without Snow, Charming or Henry) there's a good chance Morrison's decision will have a detrimental impact on the series continuing at all.

From Jennifer Morrison's Instagram:

jenmorrisonlive As I reached the end of my 6 year contract on ONCE UPON A TIME, I was faced with a significant decision. ABC, Eddy Kitsis, and Adam Horowitz very generously invited me to continue as a series regular. After very careful consideration, I have decided that creatively and personally, it is time for me to move on. Emma Swan is one my favorite characters that I have ever played. My 6 years on ONCE UPON A TIME has changed my life in the most beautiful ways. I am absolutely blown away by the passion and commitment of the Oncer fans. I am so honored to have been a central part of such a special show.
I will be forever grateful to Adam, Eddy, and ABC for giving me the gift of playing Emma Swan.
As I move on to other creative endeavors, I will continue to attend the fan conventions whenever my professional schedule allows. I always look forward meeting the fans.
If ABC Network does in fact order a season 7, I have agreed to appear in one episode, and I will most certainly continue to watch ONCE UPON A TIME. The creativity of the show runners has always inspired me, and I cannot wait to see the ways that they continue to develop and reinvent the show.
#Onceuponatime #EmmaSwan#UglyDucklings

The show's 'ugly duckling' ('beautiful duckling'?) Emma Swan has more than played out her story line of homeless waif looking for her home, finding her family, her destiny, losing her faith and going to the dark side (being a 'Black Swan') then becoming the Savior all over again. However, it was bringing Emma Swan to Storybrooke that got the story rolling, and while we've been introduced to many interesting folk with their own intriguing stories along the way, it's safe to say the show has revolved around Emma staying and cementing her home in Storybrooke through the entire six season to date. How to keep the interest of fans overall without her character would be quite a challenge at this point.

We like the way Slashfilm's Hoai-Tran Bui put it:

Fanmade art

Once Upon a Time was once a great show that married the lighter, sweet elements of fairy tales with their darker implications — that of the boogeyman under your bed or the pervasive mommy issues that pop up throughout folklore. 

But what was once an intriguing revisionist fairy tale show became glorified Disney fan fiction, where you could see Elsa from Frozen team up with Prince Charming against warlord Bo Peep, or witness Mulan falling in love with a battle-scarred Dorothy from The Wizard of Oz. (Sadly, these all sound wackier and more fun on paper than they were on screen.) Anchoring this growing cast of Disney and public domain characters was Jennifer Morrison‘s Emma Swan, whose bounty-hunter-turned-Savior — and daughter of Snow White and Prince Charming — provided the catalyst for the story. Now after six seasons, Morrison announced that she won’t be returning to the show as a series regular, calling the show’s fate into question. Does this mean the (happy) end for Once Upon a Time?

While Emma isn't always the reason, or even the most common reason people return to the show  (#TeamRegina), she has remained central to all the main storylines, so even a(nother) reset would have issues. The other reasons fans return and have such a passion for the show, however, aren't insignificant, so the potential for continuing remains, but it's going to take some tricky negotiations of stories, along with finding that sweet spot of Disney-nostalgia-with-a-twist, to keep viewers tuning in.

But... Wasn't the Musical a Good Thing for OUAT?

Short answer: "YES".

And how did fans like the musical episode? (And what did our Fairy Tale Newsroom think?) We know ratings were down, but that seems likely due to the Princess Diana special airing the same evening, which, we're guessing would have a decent overlap in audiences, so there's that. Fans, however, have been overall very positive through to rapturously downloading the soundtrack to play on a loop, so, after the dust settles and this show joins the nostalgia show shelf, this episode will be returned to as a highlight. (You can hear/relive some of the songs HERE.)

"But was it any good?" - we hear you asking. The thing is, musicals are hard. We get that. Musical episodes, in non-musical shows, are really hard. Unlike what most fans (and cast) expected, the show chose to create entirely new songs for the special episode which has about as many advantages and disadvantages as the cast singing favorite Disney songs would have. Tough choices! Our take was that the songs (almost all sung in flashbacks, which was a little odd to get used to) were better written than expected, but the staging and choreography suffered from not having as much fun as the lyricists did, and they really could have done with many more good callbacks to the Disney movies - or at the very least key early episodes from the series - to cement that 'like' factor. It helped that the cast were (largely) up to the task, and that it's expected to have a good dose of cheese (please!). In fact, for this show, a cheese-free musical effort would have flopped badly.

We saw some great sparks between this couple - reminding us - again, where it all began

While we're not quite ready to see OUAT on Broadway (what a thought!), Snow and Charming's opener 'Happy Beginnings' was a really good way to set the tone, in fact we have to wonder why we didn't hear more of Snow, in particular, singing throughout the series, and Charming could apparently match her quite easily as needed. It would have fit Snow's character extremely well (although we would have suggested more bluebirds, though perhaps not attacking them as she did in an earlier season like the pics below... although that would have been a perfect moment for a musical, if Snow wasn't her Mrs. Charming -self!).
                       
In fact, the opener worked so well, it was sort of odd to see people go back to speaking after that (and we never quite understood why speaking was allowed - minor quibble). While the back and forth between flashback song-wish/curse happening in The Enchanted Forest and the present day dramatically spoken lines of Black Fairy threatening Emma and all she loved, (emphasis on the drama) was a little clunky, the concept of 'The Song In Your Heart' was a good frame for the episode, and neatly book-ended the show's main story arcs - from the very beginning - in a satisfying way too.

Always difficult to pull off a 'song battle', it's doubly difficult in a show that has had full on dragons and demons and universes cut in two. Clearly it was a tough sequence to stage (and very much worked for some fans and not at all for others) but Emma's Theme near the end was quite a (nice) surprise in the way it was handled, especially as we already knew it was Emma's actual musical theme, present since the beginning of the series, done as a proper song, and effectively pulled it all back together in time for a wedding.

And yes, we could not help but be reminded of the Buffy musical episode... (which we heartily applaud and adore by the way). Not quite as well thought through and balanced, but admirable nonetheless.

As odd and 'expectedly inconsistent' as the episode was, with different music styles and voice strength throughout, (although, we loved Rumple's fake-out!) it was still a very worthy effort, though we do feel there were a ton of missed opportunities, especially in the wedding. If there were ever a time to revisit the beginning, or to have fun with all the Disney fairy tale wedding tropes, this would have been it, but the oddly sterile and fake location put a damper on what should have been the episode's jewel. (Considering the very-possible looming 'FIN' factor it's a little arrgh!-inducing.)

Different fans around the web have had different song favorites, as expected, but overall, the show was a bold - and smart - move that worked. Its success is well-deserved, especially considering the consistent struggle with ratings this season and last, and should be held up as a 'high note' to end on.

So Now What?

Now what indeed. Next week - the final two hour, two part episode of season six - the show runners promised a wrap up of all the loose ends of the whole series and to leave no cliff hangers in case the show is not renewed. From the very quick preview, it looked like exactly that, something that might bring home that high note that this week's musical episode was a little loose on at times. Now that Emma is leaving, and things are looking more solid than they have for a while, although we will always lament the end of fairy tales being told weekly on TV, perhaps it would be a good place to accept, and sign, ~The End~.

POSSIBLE SPOILERS FOR THE FINALE BELOW!

Here is the press release for the final double episode of the season, The final Battle Parts I & II:

THE BLACK FAIRY’S CURSE LANDS OUR HEROES IN FAIRY TALE LAND WITH LITTLE HOPE OF RETURNING HOME, AND EMMA IS IN THE FIGHT OF HER LIFE, ON THE SEASON FINALE OF ABC’S ‘ONCE UPON A TIME’

“The Final Battle Part 1 & 2” – Henry awakens to a cursed Storybrooke and discovers Emma has been in the mental hospital, and the Black Fairy is the new mayor. Henry attempts to help Emma regain her memory while Gold tries to find out what has really happened to Belle. Meanwhile, Snow, Charming, Regina, Zelena and Hook are trapped in a crumbling Fairy Tale Land and desperately try to figure out a way to be reunited with Emma and Henry, on season finale of “Once Upon a Time,” SUNDAY, MAY 14 (8:00–10:00 p.m. EDT), on The ABC Television Network. 

“Once Upon a Time” stars Ginnifer Goodwin as Snow White/Mary Margaret, Jennifer Morrison as Emma Swan, Lana Parrilla as the Evil Queen/Regina, Josh Dallas as Prince Charming/David, Emilie de Ravin as Belle, Colin O’Donoghue as Hook, Jared S. Gilmore as Henry Mills, Rebecca Mader as the Wicked Witch/Zelena and Robert Carlyle as Rumplestiltskin/Mr. Gold.

Guest starring are Lee Arenberg as Leroy/Grumpy, Raphael Sbarge as Archie/Jiminy Cricket, Beverly Elliott as Granny, Deniz Akdeniz as Aladdin, Peter Marcin as Chief, Giles Matthew as Gideon, Andrew J. West as Young Man, Alison Fernandez as Little Girl, Ingrid Torrance as Severe Nurse and Jaime Murray as Black Fairy, Karen David as Jasmine, Gabe Khouth as Mr. Clark/Sneezy, Faustino Di Bauda as Walter/Sleepy, Sara Tomko as Tiger Lily and Olivia Steel Falconer as Violet.

“The Final Battle Part 1 &2” was written by Edward Kitsis and Adam Horowitz. Part 1 was directed by Steve Pearlman, and Part 2 was directed by Ralph Hemecker.

And there's also a handy (and fun) "Once Upon a Time: 12 Things to Know After the Musical Episode" article HERE from ENews if you're wanting to know a little more of both the behind-the-scenes for the musical episode, but particularly how it sets up the two part finale.

And yes, it talks about the possibilities of both the series ending and what might happen (the contingency plans the creators have) should it be renewed, along with some potential new characters (name actors) included/teased in the final episode.

Preview for The Final Battle:

There are SO many callbacks to the first episode in that promo! Let's hope this is everything they've promised.

Highly Anticipated 'American Gods' Series Debuts April 30

We have been excited about Neil Gaiman's amazing novel, American Gods, coming to the small screen in serial form (how could a movie ever explore this world thoroughly enough), and the tailer certainly has a lot of people excited.

We would be counting down the days ourselves, if it weren't for the #bucketsofblood, because, wow. There are many - gratuitously many - buckets! So take that as a heads-up for watching the trailer, by the way. Nevertheless, there will be lots of mythic and folkloric content for those willing to dive in, albeit being wrapped up very contemporary clothes and language, along with heavy doses of 'weird' (that is, in fact, one of the marketing tools for the show: 'expect 'weird sh*t!').

Here's the show's premise:

American Gods, the show follows Shadow Moon, who is thrown into a war between the gods of the old world versus the new. 

When Shadow Moon is released from prison, he meets the mysterious Mr. Wednesday and a storm begins to brew. Little does Shadow know, this storm will change the course of his entire life. Left adrift by the recent, tragic death of his wife, and suddenly hired as Mr. Wednesday’s bodyguard, Shadow finds himself in the center of a world that he struggles to understand. It’s a hidden world where magic is real, where the Old Gods fear both irrelevance and the growing power of the New Gods, like Technology and Media. Mr. Wednesday seeks to build a coalition of Old Gods to defend their existence in this new America, and reclaim some of the influence that they’ve lost. As Shadow travels across the country with Mr. Wednesday, he struggles to accept this new reality, and his place in it.

Here's the trailer (viewer discretion advised):

That should be no surprise to people familiar with the book and most people, including Gaiman himself, are super-excited. Along with perhaps turning down the 'red' on our screens a tad as we decide to put up with the #bucketsofblood for the inevitable good stuff, we will be watching closely for the public response to the series.

This featurette, including an appearance with Neil Gaiman, who Executive Produces the show, makes the series look very intriguing. If you're not up for the trailer, this is a good overview for you (no #bucketsofblood in this one):

One excellent thing to look forward to, is that Gaiman, who always intended to write more of the world than he did for his novel, is seriously looking at creating new stories specifically for the series as well, and he has a specific angle in mind - one we're keen to see explored.
           
From io9:

There’s plenty of material for more stories set in the world of American Gods. Both the book and the show contain a main, present-day story, but are also peppered with “Coming to America” shorts that explore how gods from other countries immigrated to the United States along with people. At the panel for the show at San Diego Comic-Con last year, Gaiman mentioned that he’d originally intended to do a vignette about Japanese internment during World War II in American Gods. 

“It wasn’t even that it got cut,” explained Gaiman about the story. “It just never got written because I was already at 200,000 words and I was being told by my publisher that the novel couldn’t be more than 150,000 words. So now I was already cutting and the internment story was one I was looking forward to.”The show might act as an impetus for Gaiman writing not only that story, but other ones he has in his mind. 

..The show’s tackling of (Essie Tregowan's) story—which expanded it to fill much of an episode,—has inspired Gaiman to write more stories in the American Gods universe and give them to the show to reinterpret for the small screen. “So Bryan is now going we could do more of these big ones,” continued Gaiman. “And I went, well I wanted to do the internment camp one and that would have been a big story. That would have been a 20-30 page short story. And possibly a little longer, it would have been a novelette in my head. And it would have been a kitsune story and I’m happy to write that story now and I’m happy for Bryan to adapt it.”

Gaiman has a lot to say on 'America's hypocritical relationship with immigrants and diversity' and as such, the series is not only highly anticipated, but suddenly become more relevant in this social climate, than it ever has since being published. The fact that it looks like Gaiman will get to focus on this theme is one of the big draws of the show for us, making it very likely to be put on our list of Recommended Resistance Reads and Viewings. #RRR

America has a very contradictory relationship with immigration. The stories we like to tell are about people coming here with nothing but ambition and becoming important or rich. But America is also obsessed with talking about whether or not immigrants have assimilated, and saying that some groups can’t, so they shouldn’t be allowed in. It’s a specific American truth that Gaiman captured in the book and that the show has run with. 

“You have come from an old country, now stop being that thing,” is how Gaiman summed it up. “I love the fact that Canada has the concept of the mosaic. You have come to Canada from your country, we are a mosaic made up of lots of different countries... The American idea seems much more...melting pot. Become one. We are all one, we are like this. No, we’re not! No one is.”

It’s not being American that Gaiman thinks let him write the book.  

... Gaiman’s outsider perspective mirrors how genre fiction has always managed to present volatile ideas in palatable ways. “That’s what it’s for,” said Gaiman. “It’s the distorting mirror, it’s showing you something at 45 degrees, it’s showing you something that you are familiar with from an angle you have never seen it from, to make you see it for the first time.” 

We couldn't agree with this more.

The network showing the series, Starz, is a 'prime paid' network so a lot of folks aren't going to have the opportunity to jump in at the beginning for the journey, but that won't stop an internet buzz from happening, and we expect the big pop culture websites to be all over the premiere and have lots of interesting things to say.

We love how the latest interview Gaiman has given discussing American Gods finishes:

Even with the distance of talking about gods and supernatural occurrences, people connect with the stories in American Gods in very personal ways. It resonates even more now, somehow. Gaiman knows why.

“Because we’re human and we tell stories and telling our stories and telling stories we were told in our childhood is one of the most important and beautiful things we can do. We have stories, now, that are older than any city. Some of them are older than the countries they are now told in. We can trace the age of stories sometimes by landmarks, by volcanoes, by things mentioned in them. And stories last. And stories matter. And sometimes, at my maddest, I like to think that stories are merely the vehicle that stories use to propagate themselves to make sure they continue.”

What a wonderful (and slightly intimidating) way of putting it! Fairy tales are unique as a 'genre' precisely because they behave specifically like living things in the way they spread and adapt, and are one of the biggest reasons they interest us. Myths aren't quite the same but they can behave similarly, and it makes sense that Gaiman's fairy tale influence in telling and retelling myths brings out this quality.

Can you tell we love this creature?

Summary: we're looking forward to seeing what happens with American Gods, both as a series and with regard to social impact. Here's the opening title sequence to give you a taste (no #bucketsofblood in this one, we promise).

'The Handmaid's Tale' Proves More & More Relevant As Trailer Released & Air Date Approaches

The Handmaid's Tale will be premiering on Hulu this month and a lot of people are very excited for it. Or perhaps 'excited' is the wrong word. Since November 9, 2016 (and again January 20th 2017), The Handmaid's Tale has once again become a best-seller. The timing of this is perfect for the new series, though even the Atwood (who wrote the award winning book) and the Producers, aren't thrilled about the circumstances that make it so.

During the recent convention SXSW (South By South West) in Austin, Texas, dozens of 'handmaidens' walking around the city in costume made for very effective series promotion, perhaps with even more impact than was originally intended. Some called it 'effective street theater'. Some call it an eerie glimpse into an 'all-too-possible future'. (Even the 1990 film adaptation didn't have the same impact this series is already having, due to the current political and social climate in the US.) See some pics below:

The Handmaid's Tale deals with a lot of issues, the most obvious of which are the contemporary possibilities and parallels with real life current affairs and political news. But this is not a new thing and, this being a fairy tale blog, you may have been clued into the fact that it's firmly connected to fairy tales as well. The Handmaid's Tale is today's Red Riding Hood and Rapunzel, albeit in a form most wouldn't recognize, though Atwood inserts some lines in her narrative to make it clear the parallel is intentional. (The red clothing probably gave you the biggest clue.)

• In chapter 2 Offred sees herself as ‘some fairytale figure in a red cloak, descending towards a moment of carelessness that is the same as danger.'
• In chapter 17 she imagines herself as a figure, ‘In the wood at midnight,' seeking, ‘a magic flower'. (Garden tales and legends are regularly referenced.)
• In chapter 8 Offred comments on the barren wife she's assigned to as, ‘She's like my own reflection, in a mirror from which I am moving away.' (The fairy tale doppelganger.)
• And the red and blue comparison between the fertile and barren women, have always reminded us of Bluebeard, which doesn't feel like too much of a stretch!

What this means,of course, is that this (essential situation) is not a new problem. We will be telling our newer variations of these fairy tales now, even as we try to find our way through to surviving these old ones.

Here's the official new trailer. Be warned, although it's not explicit, it certainly hits close to home. Previous trailers have shown the barren versus fertile women and the form of control. With the emphasis in the new trailer on the changing state of the world (pre to mid tale) we have to wonder if it was created specifically to reflect the possibilities of the western world in 2017. It's certainly effective. Take a look:

The series not only has Atwood's seal of approval as the originator (and yes, she is also Consulting Producer) but her enthusiasm and praise, something you don't often hear, whether they hold a credit or not.

In a Reddit AMA*, Atwood had high praise for the first three episodes of the TV adaptation, the only ones she’s seen so far. “Based on what I’ve seen it’s a 10. My criteria: puddle of goo on the floor [by the] end of Episode 3. Gasp. Shriek. It goes farther than I did in the book…” (FTNH Edit: YIKES!) Personally, this has me even more excited for the premiere. 

Atwood herself will have a cameo in the show, as she revealed in a piece for The New York Times. In that same piece, she also reflected on all the historical events she drew inspiration from, her mindset when writing the book, and the way Offred’s narration work as a “literature of witness.” 

“Having been born in 1939 and come to consciousness during World War II, I knew that established orders could vanish overnight,” wrote Atwood, reflecting on the novel’s inception. “Change could also be as fast as lightning. ‘It can’t happen here’ could not be depended on: Anything could happen anywhere, given the circumstances.” (TheMarySue) *AMA is Ask Me Anything

One of the 'redeeming factors' of this show - that is, considering the current circumstances in which watching such possibilities brought to life are not only deeply disturbing but have the danger of pushing folks to real despair - is that the show's overall emphasis isn't on losing hope but about keeping it, despite what may come.

"It's unquestionably a dark world, says executive producer Bruce Miller, "but it's not a dark show. The show is about perspective and not losing the hope of getting your life back."

The show is, as The Mary Sue reminds us "an example of how powerful art has served as not only comfort but as a manual for resistance. In a new featurette, the team and cast of the Hulu adaptation talk about how the show is ultimately one that wants to foster hope." Take a look behind the scenes to see how the cast and crew are viewing the show, and how they see this as an effort to remind us we are never without choices.

The Handmaid’s Tale premieres on Hulu on April 26, 2017.

For those feeling the need for a morale boost, here's an excellent article on how not to lose hope, and how to resist when you feel it's hopeless and you're exhausted. How, even if you're small and quiet, you can still effectively resist. Click HERE.

#RRR

'Tangled' The Series Revisits Mother Gothel

Nice to see the series dealing with the (some of) the reality that you can't wish away your previous life and bad care givers (understatement!). We know it's been a huge wish of folks who've identified with Rapunzel, to see that her experience of being raised by Gothel, wouldn't get conveniently swept under the rug. Getting you 'happily ever after' doesn't erase the trauma of a horrible upbringing and at some point, it has to be dealt with - more than likely continuously over a lifetime.

While we don't know how this is ultimately handled, or if this is an issue that will recur/be touched on over time, we're glad to see there is an attempt at addressing this enormous issue in the first place.

See the official clip, with proper resolution on YouTube HERE.

We particularly like how there's indication of a headache and mental strain, that is, turmoil from inside Rapunzel (as opposed to her getting zapped from the outside, as if your bad-parent is only an external problem), not to mention the physically manifest messy aftermath of this encounter. We know there are more than a few folks who will appreciate the not-so-subtle symbolism and will feel validated that even though that problem-person is (possibly) in the past, it doesn't mean you've completely escaped your internal prisons.

The episode aired last week (March 24th we believe) so there's a good chance it will repeat again this week for those wanting to catch up.

Kudos to the Tangled: The Series team for addressing this important issue!

Note: For some reason, the embedding function has been disabled on the original clip, which is unusual so the one above is (obviously) someone's at-home recording of the sequence. If you can't see the one embedded above, you can watch the official clip on YouTube HERE.

It's Almost Time to Bid Farewell to NBC's 'Grimm'

We knew it had to happen eventually but feel it's worth mentioning and yes, celebrating, as it goes into its final couple of episodes this week and next.

This dark fantasy procedural was a landmark show in bringing fairy tales and folklore back to the mainstream public and has been doing so for six seasons* (though props should also go to Supernatural, who have been maintaining their following and are currently in their twelfth season, albeit it to a less mainstream audience).

Original poster for season 1

NBC's Grimm began the dark fairy tale-meets-procedural with a 'monster of the week' type approach, in October of 2011. There was effort right from the pilot to show fairy tales in a different light and use the tropes in different ways, with a lot of folklore mixed in. That eventually evolved into its own show, hastily evolving past the teething troubles where it had a tendency to have damsels in distress to being more empowering for everyone, surprising more than a few executives and critics, earning it the title of 'the little show that could'.

One of the most fun aspects for folklore and fairy tale folk has been the use of quotes from tales and classic texts which, when followed (and the source figured out), provide huge clues as to the themes and underlying details included in that week's episode. More than a few lesser known tales were mined for quotes as well as some quite obscure ones, which was wonderfully refreshing to see too.

Some episodes have been more successful than others but when the show began to truly build its own mythology, and 'Scooby gang', working in tales and folklore along the way, that the series built a strong and loyal following. (Click HERE for a list of characters, including Wesen types, that have been introduced throughout the series to date - scroll down for the creature list and their episodes.) The show is currently in it's sixth, and last, season and though it can be recognized as being the same show, the season arcs have changed the feel of the show quite substantially so episodic stories aren't used as often, so much as exploring how a piece of folklore (or creature) might be at home in this universe where people are often more than they seem.

Humans live and work alongside 'Wesen', or people who are part human and part creature (often from myth or tales). The lead character, Nick Burkhardt, is both a police detective and, as he discovers in the first few episodes, a 'Grimm', a human of supernatural abilities who are traditionally 'reapers of Wesen' (read, hunters and exterminators). Our Grimm, however, seeks to find common ground between Wesen and humans and the series follows his journey as he does this (and investigates weird, and largely Wesen crimes), with varying amounts of success. His 'Scooby gang' expands along the way with at least half of them being Wesen and the viewer, along with Nick, discovers the history, traditions and 'real' folklore along the way. The more the seasons went on, the bigger and more involved this world got, along with ambitions, conspiracies and much more, all having a lot of fun with history, urban legends, fairy tales and lore along the way. More creatures are discovered with cultural traditions and rituals (all with interesting names that drive etymologists crazy in their inaccurate use of German and Latin!) showing the viewers how similar to humans all of them are.

The show's themes and statements on inclusivity, as well as the need for cultural understanding and respect have been timely throughout the years, addressing equality (and the current remaining lack of it in surprising places), no matter the nationality or socio-economic status, as well asking the same for interracial marriages, their offspring, orientation and preferences. It's been one of the aspects that's endeared fans to the show, with the unwavering stance on acceptance and the need to build bridges when we have the power to do so, even if it's personally difficult.

Not at all coincidentally, many of these same things are what attract us to fairy tales: in reading a wide variety of tales from around the world you begin to see they show both the sameness of humans across the world, while at the same time celebrating their unique cultural identities. It's not difficult to see why fairy tales fit with these themes so well.


Though faithful fans have been running campaigns to get the show picked up on another network or by Netflix or Amazon to give it a new and longer life, the writers, knowing the show would be finishing, wrote this final season with a view to finish the stories. Interestingly, the episodes, rather than focusing on an apocalyptic scenario (though that potential is there), the emphasis seems to have been more on the 'intimate' aspects of the show for most of the season; the characters relationships to each other, to the town and to Wesen integration as part of normal society. The writing has been solid and satisfying, while not too flashy, making it look more stable than ever, as ratings would attest to. While you want a show to finish on solid ground and go out looking good, it's also bittersweet. Fairy tales aren't as obviously an inspiration in this last season (though they're in there if you know where to look), but specific folklore from around the world most definitely is. The stories, however, are told in a way that make them more about Portland and its citizens, as well as the personal journeys of the beloved Scoobies, and, in a move that's created a sophisticated departure from the original, and sometimes dismissible, 'monster-of-the-week' shows, it's only making viewers love Grimm more.

               

Some pretty neat fan art... 

... created in the style of Ivan Bilibin
by alex_jd_black

Many of this season's episodes can actually be seen to be a metaphor for the show itself as it finishes, which will make for interesting re-viewings once the whole story has been told, while the tag line for these last couple of weeks is that the show is "going back to the beginning". It was at the beginning that the use of fairy tales was the most obvious (some would say heavy handed), so we're interested to see how they bookend Grimm with its developed mythology and popular characters. We presume that 'end' aspect will become more evident in the second last episode (airing this evening), as all cast and crew have confirmed that the finale of this series is clearly an 'end', and one they're reportedly happy with.



Grimm certainly isn't for everyone. The horror/gore aspect is sometimes a challenge for sensitive folk and there is very little of the fairytale-typical fantasy and happily-ever-after vibe, that keeps viewers watching other shows, but there is humor, wonderful characters (especially in the Scooby circle - shout outs to #monrosalee, #drewwu, #hexenschade, #dianahoneybadger and #meisner), fun locations (the trailer, the spice shop, monroe's house, the cabin in the woods, the Portland forests) romance, tons of fairy tale 'Easter eggs', wonderful one-liners, mystery and overall a lot of fun playing with tropes, history and folklore, not to mention every now and then it hits you with something very important. We're going to miss checking in to see what's been developing in the Grimm universe and we'll make it a point to be watching as it says goodnight.

PS Here's some adorably-wonderful advice to baby Kelly, (Nick and Adalind's half-Grimm-half-Wesen son) on the need to step up as the show closes.

Recommended reading - we wrote a detailed review HERE

* For comparison, Buffy the Vampire Slayer ran seven season, with a break after the sixth when it finished, then was renewed on another network, giving it one unexpected last season to wrap the multiple story lines. ABC's Once Upon A Time, which began around the same time as Grimm, and is also in its sixth season, has rumors about this being the last one as well, though that is unconfirmed.

Whoa. We Are Definitely NOT In Kansas Anymore.

Just watch the trailer.

Got our attention!

Yes - this is the 'un-cancelled' series we posted on back in April 2015! Shades of GOT*? Maybe. More on this later. For now just... digest.

Official Synopsis NBC:

In the blink of a tornado's eye, 20-year-old Dorothy Gale and a K9 police dog are swept into a world far removed from our own - a mystical land of competing realms, lethal warriors, dark magic and a bloody battle for supremacy. Starring Vincent D'Onofrio (Daredevil, Jurassic World) as the guileful Wizard and directed by the visionary Tarsem Singh across three European countries, this is Oz completely reimagined - a place where familiar characters show up in fresh, unexpected ways, and where an unsuspecting young woman holds the fate of kingdoms in her hands. And as Dorothy navigates this dangerous world and uncovers her true destiny, we'll see there's no place like... Oz.

*Game Of Thrones 

Hulu Adapting Atwood's 'The Handmaid's Tale'

Anna and Elena Balbusso for the Folio Society

If you're familiar with Margaret Atwood, you're also familiar with her use of fairy tales in her work. The Handmaid's Tale, while more obviously referencing Red Riding Hood in key phrases in the book, the often used motif of the isolated woman, or Rapunzel syndrome, is also part of the it too. There are other subtle fairy tale references throughout, such as to Cinderella, The Red Shoes and The Girl Without Hands, a constant, underlying presence in Atwood's work. There are nursery rhyme references too, (eg. The Spider and the Fly), all of which blend together, seemingly naturally, in Atwood's hands.

Now that Hulu is working on a 10 episode series, we're curious to see if any of those references and allusions are included. With Atwood as consulting producer and reportedly very happy with how the script and production are developing, we are optimistic there will be:

"I am thrilled that MGM and Hulu are developing The Handmaid's Tale as a series, and extra thrilled that the very talented Elisabeth Moss will be playing the central character.  The Handmaid's Tale is more relevant now than when it was written, and I am sure the series will be watched with great interest.  I have read the first two scripts and they are excellent; I can hardly wait to see the finished episodes,” said Atwood. (source)

Here's Hulu's press description of the production from a few months ago:

Adapted from Margaret Atwood’s influential and acclaimed novel, THE HANDMAID’S TALE is the story of life in the dystopia of Gilead, a totalitarian society in what was formerly part of the United States. Facing environmental disasters and a plunging birthrate, Gilead is ruled by a twisted religious fundamentalism that treats women as property of the state. As one of the few remaining fertile women, Offred is a Handmaid in the Commander’s household, one of the caste of women forced into sexual servitude as a last desperate attempt to repopulate a devastated world. In this terrifying society where one wrong word could end her life, Offred navigates between Commanders, their cruel Wives, domestic Marthas, and her fellow Handmaids – where anyone could be a spy for Gilead — all with one goal: to survive and find the daughter that was taken from her.

Golden Globe winner, Elisabeth Moss (Mad Men) will play the lead and title role of Offred, the 'handmaid', and in August, Joseph Fiennes (Shakespeare in Love) was confirmed to play the role of Commander Fred Waterford.

Fiennes will play Commander Fred Waterford, a founding father of the totalitarian society of Gilead. A powerful, high-ranking official, Commander Waterford rules the household where Offred (Moss) is a handmaid. This marks a returned to scripted television following his role in the second season of “American Horror Story” in 2013. 

... Reed Morano will direct and executive produce the first three episodes. The cast also includes “Orange Is the New Black” alumna Samira Wiley; “The Leftovers” star Ann Dowd; “The Mindy Project’s” Max Minghella and “Hemlock Grove’s” Madeline Brewer. 

The series is scheduled to begin production in Toronto this fall for a 10-episode order, slated to premiere in 2017. (source)

While on the subject of Atwood, we wanted to highlight this book which sounds intriguing as it combines all creative aspects of Atwood's expressions - from art to writing. We haven't yet had the chance to read it, and it has mixed reviews, are curious all the same. The title is Margaret Atwood's Fairy Tale Sexual Politics by Sharon Rose Wilson.

Here's the description:

An intriguing investigation of fairy-tale images in Margaret Atwood's haunting fiction, poetry, and artwork 

Sharon Rose Wilson's analysis of Margaret Atwood's sexual politics through a study of fairy-tale patterns offers a new reading of Atwood and a fresh appreciation of the traditional fairy tale's ability to illuminate modern literature. 

Not only is this the first study to explore systematically Atwood's fiction and poetry through fairy-tale images, but also it occasions the first time Atwood has allowed examples of her artwork to be published in a book. 

In relating Atwood's fragile, mysterious paintings, collages, linocuts, drawings, and cartoons to her writing, this study shows how such fairy-tale images-along with myths, the Bible, history, film, art, and popular literature-reveal archetypes in her work. The engaging writing and the eerie visual art of Margaret Atwood braid together fairy-tale themes from Grimm and Andersen with the feminist concerns for which this internationally acclaimed Canadian author is well known.  

In The Handmaid's Tale, for example, she presents her version of Little Red Riding Hood facing patriarchy's wolf. In almost all her novels she explores the "Rapunzel Syndrome," in which women experience internalized isolation. In joining Atwood's literature and her artwork, Wilson challenges feminist assumptions that fairy tales limit gender roles. To the contrary, fairy-tale motifs in Atwood's works are a liberating force. Indeed, Wilson discloses how the genius of this fascinating writer perceives the fairy tale to be a means of transforming the constricting images that tradition has placed upon sexual identity. 

Sharon Rose Wilson is a professor of English and women's studies at the University of Northern Colorado.

You can get a really good preview via Google Books HERE and the book is available for purchase HERE and HERE.