'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

'East of the Sun, West of the Moon'-Inspired Designs Walk on Water for Fendi's 90th Anniversary

Note:

At this time of great tension, immediately prior to the 2016 US election, we've decided rather than dwell on those anxieties, that we'd focus on beauty - call it eye candy, if you will - but either way, it lifts the soul and reminds us not all the world is an ugly place right now. Our posting will likely be a little sparse or very brief, over the coming week as things unfold and, hopefully, resolve, but we believe in the power of beauty and stories to ground people and aim to make the world a better place, and we will continue to be here to note it as we can. 

For all those US citizens who can vote, please do that: vote, no matter which side you lean toward, and please choose wisely: think of the future of your/our children, and of the world. You are choosing the future for more than one country and more than one people. It's that important.

In the meantime, we assume there is no real deciding left to be done, only to wait for the polls to open, so let's think on lovely and inspiring things.

“In my wildest imagination, I never thought something like this could exist,” he mused in a pre-show conversation. “To do this on a crystal bridge over the most famous fountain in the world? If that’s not a fairy tale, I don’t know what a fairy tale is.” (CREATIVE DIRECTOR, CHANEL, FENDI - KARL LAGERFELD)

Rome's famous Trevi fountain, after a one and a half year $2.4 million rehab, recently added to its already existing fairy tale status by becoming the stage for Fendi's 90th anniversary Legends and Fairy Tales Collection debut. A crystal-like walkway was built right over the water, (out of plexi-glass) and the models, walking on the water (yes - ON), told Fendi's own spin of East of the Sun, West of the Moon, in the procession of Kay Nielsen inspired wearable art over the evening.

The collection spun its own tale: a princess journeying from day to night, the colour palette darkening as she travelled further into the woods. Consistent throughout was the subtle application of Fendi’s extraordinary craftsmanship, the way, for instance, an insect’s wings illuminated by sunlight were duplicated in a tiny clutch of feathers, or the flowers around the hem of an organza dress had petals of mink. (Business of Fashion)

"It is an extraordinary experience to see East of the Sun and West of the Moon take on a totally new life in the hands of Karl Lagerfeld at Fendi, and it's an absolute delight to see how the images so directly inspired his breathtaking 90th anniversary show," stated editor Noel Daniel. "The artistry and craftsmanship and love behind each flower, each branch, each hue of sky is unbelievable. The tales have proved yet again to be eternally inspiring." (dexigner)

The inspiration began with the recent TASCHEN release of Kay Nielsen's beautiful illustrations and developed from there.

It all started with an early 20th century edition of East of the Sun, West of the Moon, a Norwegian fairy tale with pictures by the famous children’s book illustrator Kay Nielsen, which Lagerfeld found at his friend Sandy Brant’s place. His curiosity was piqued. “This was something from the North, we were making a fur collection, and the pictures were something in between art nouveau and art deco,” he explained. (It was also, coincidentally, an era when the designer liked the way fashion used fur, as opposed to later decades when everything got much too heavy for him.) “So we asked the estate for permission to use them.” And that is how Nielsen’s illustrations came to be reproduced in a minutely-intarsia-ed mink coat, or embroidered on a flowing empire-line gown then re-appliqued with fur and organza. (Contemporary artists Katy Bailey and Charlotte Gastaut also contributed ideas.) (Business of Fashion)

Lagerfeld explained, “I called the show Legends and Fairy Tales, because it’s a collection that doesn’t relate to everybody like ready-to-wear, this is very special for people who have a special kind of life”. (hausmag)

We didn't report on this back in July during the event and, frankly, fashion is a little difficult to keep track of, as fairy tales are commonly linked with fashion, and it's almost always possible to find a connection. While that's historically been the trend, one could argue it's more so the case today, with much more emphasis on a theatrical and 'transportive' presentation of themed collections.

Today, while themed collections often tell stories through their clothes and construction, the runway shows themselves are no longer just platforms for models to parade the designs, but are expected to build an atmosphere of fantasy and of a different world. It's not uncommon, even, for these stages to be specially built to specific design specifications, just like a theater set, but to involve mechanics and moving parts, revealing either the paths to be trod or the models, acting as the 'prelude' to the show, or story, being modeled in the wearable art that follows.

We greatly recommend you look at this incredibly artful behind-the-scenes video, showing the design and construction process right through to the show. It's short but leaves us wanting much more in terms of the tales hinted at in the seams. We are seriously considering keeping this little wonder-peek for our fairy tale library and future inspiration:

Fendi Legends and Fairy Tales : Backstage from Simone Campanella - Videoblitz on Vimeo.

This video is enough to make us seriously consider a change in vocation!

We'll leave you with more lovely designs reflecting Nielsen's inspiring fairy tale illustrations. (We're guessing you won't mind the few overlaps necessary to show you the range of the collection.)

              
              
              

Su Blackwell Designs Sets For "The Snow Queen"

Poster for The Rose Theater's 2011 Production of The Snow Queen, with designs by Su Blackwell.

Yesterday, fantastical paper-and-more artist Su Blackwell posted her designs for a theatrical production of "The Snow Queen" and, as you might expect, her magical touch with paper cutouts rules the set.

In an interview Ms. Blackwell talked about her approach to set design, something which she hasn't tackled before. Here are some excerpts:

"It starts off with an industrial, Victorian, brick town in Denmark, which is quite bleak and then as Girder travels through the seasons, it becomes a magical, fantasy world," says Blackwell. "My favourite scene is Mrs D's garden, which is quite surreal and topsy-turvy. I had fun playing with the scale of props for that and planning explosions of colour for the stage."

...When it came to the set designs, each one was made by hand, on a small scale out of paper first before being turned over to the production team to recreate, scaled-up in canvas. "It was quite a restrictive way of working because the Rose is a circular theatre, so everything is on view and you haven't got the advantage of hiding part of the set away," she says.

You can read the whole article HERE.

And here's a very important piece of fairy tale news from the same article:

She's also illustrating a book of fairytales that will be out next autumn.

I'm putting that on my fairy tale wish list right now! :)

You can read a full review of the production by The Guardian HERE, which, as you might also suspect, has some lovely things to say about Ms. Blackwell's design.

A nice theatrical addition to this production is The Snow Queen Christmas Trail. From the Rose Theater website:

The Rose Theatre presents a selection of free performances of Hans Christian Andersen fairy tales on the streets of Kingston to celebrate our adaptation of his most loved work, The Snow Queen. (Dates indicated here) ...The Snow Queen Trail project is supported by the Mayor of London's Outer London Fund which aims to strengthen the vibrancy and growth of London's High Streets.

The Rose Theater has been posting some images from the traveling players on the "Trail" on their Twitter account too. For instance:

 The Snow Queen went out into Kingston last night

to find a child to fix her broken mirror.

 

 Our travelling players get to work in Kingston...

The Trail runs from December 7th through to the 23rd and look like a wonderful way to build interest in the production, the story and help people enter the fairy tale world. I wish I could see it in person.

Blue Giant Leaves Footprints In Scotland

I have had this story in my to-blog list for ages and unfortunately have now missed the window when this amazing event was taking place (so sorry about that!) but feel I must still report on it - for you never know when he will return, and he WILL return...The 10th of November was the last day people would see a blue eight metre (twenty-six and a quarter feet) high giant walking the streets and villages of Scotland - at least for a while.

Here's where the story, the Myth of the Giant, began*:

“Many thousands of years ago when Scotland was a rough country of boulders, vast forests and wild beasts , people lived in fear of everything, even the shadows.

“Then one day the warmth of the sun was blotted out and they looked up to see two huge birds fighting in the sky. Like giant eagles they tumbled, wheeled and spun in the air until one of the creatures broke away and tumbled towards them. As it grew closer to the ground they saw it was not a bird but a giant man with great wings strapped to his back. When he hit the ground the earth trembled, his wings smashed to pieces, and the populace fled and hid in terror.

“Then, driven by curiosity, they ventured out to look at this Big Man. They saw he needed their help and they looked after him, gave him water and food.

“In return for their hospitality he helped clear the land of the giant boulders, throwing them into the sea to create islands. He carved out inlets with his bare hands so they could shelter their fishing boats and he chased the nightmare beasts from the forests.

“Gradually he recovered his strength and walked the land recovering the scattered pieces of his shattered wings to rebuild them.

“Finally he was ready, he tied his pinions to his back and with a great beat of air flew into the sky and was gone.

“At first people were sad and missed him, but when they looked around and saw their fields cleared of boulders, the forests safe to hunt in and sheltered havens for their fishing boats. They realised that this was now a land in which they could live and thrive.

“The wisest of them even suggested that the Big Man would return to see the country he had helped create. They promised that when he came back he would be welcomed with great celebrations. They wanted the communities to gather together to show him what had been achieved in his absence. These storytellers became The Guild of Watchers, who now await his return.”

The spectacular Big Man Walking street event and village tour was created by The Puppet Lab (along with Puppet Animation Scotland) thanks to support given by The National Lottery through the Scottish Arts Council's Inspire Fund.

As you can see from the photos, this was an awesome feat for the designers/creators and experience for spectators. The event included parades of different kinds, large projections of people onto buildings and on windows, dancing, live music, special puppet performances (of a smaller size), gift giving and much more - each town having their own variations in greeting their giant blue visitor. The Guild of Watchers who are the 'storykeepers' and have watched for the giant's return, showed the way by guiding the big man safely from shore to forest and beyond with their lanterns and then onto the paths to various villages. I love the fact the event was based on some Scottish myths and so brought ancient local tales to life.Here are some videos of the giant in action:

The 'elevator pitch' for the event:


Greeting some school children:


This one is a little jerky but it still gives a good idea of the big man's reception:


There are booklets on the myth as well as photos and a lot more HERE at the official website. If I find out when he's due to walk again I'll let you know.* Source for the Big Man myth is the official website.