ABCs 'Once Upon A Time' Renewed But Without Most of Its Star-Regulars (+ a Limited Retrospective)

Once again, Once Upon A Time is going for an official "reset," heading into its just renewed seventh season. Unlike (yet) another curse, everyone ending up in opposite land, everyone losing their memory again or some other variation on how it all began, the big difference this time around will be that only three of the main series stars will remain.

Those are Regina, Rumpelstiltskin and Captain Hook.

Those who are won't be returning are:

• Emma Swan
• Snow White
• Prince Charming
• Henry
• Belle
• Zelena (Wicked Witch of the West)

            (details/statements of their exits at the links)

Here is the creator's official statement on each of the (secondary) actors, their characters and their exiting the show (Jennifer Morrison's exit was dealt with separately):

Words can’t do justice to what Ginny, Josh, Emilie, Rebecca and Jared brought to ONCE UPON A TIME… but we’ll try… never have we had the privilege of working with a more talented group of collaborators. Each brought unique talent, incredible intelligence, and their own individual bit of magic as they gave life to these iconic characters. 

Ginny reinvented Snow White for a modern audience – there was no way she would be stuck cleaning up after dwarfs, she created an iconic empowered heroine for the 21st century. 

Josh mined the depths of Prince Charming – a character who in myth was just a “type” but in his superlative interpretation became a complex man fighting for love and family. 

Emilie took the character of Belle to a deep and soulful place, bringing great intelligence and warmth to the character, making her fiercely independent, strong willed but also an eternal optimist who saw only the best in all those she encountered. 

Rebecca took us on a broomstick roller coaster ride as she re-invented the Wicked Witch of the West by finding the pain beneath the green. She made the character soar to incredible heights while always keeping her grounded and relatable. 

And Jared literally grew up before the eyes of millions, from a child actor with enormous innate talent to a young man whose abilities continue to astound as he created a character who truly, as we say on the show, has the heart of the truest believer.

We can’t thank them enough for the hard work, dedication, and passion they delivered day in and day out. Without them there would be no ONCE UPON A TIME. 

As ONCE continues, this group will always be the beating heart of the show. And even though we won’t be with them every week, in a show about magic and hope, we fervently believe it won’t be the last we see of them.

Jennifer Morrison has agreed for a single episode appearance to help transition out her character, who has been the lead of the show since the beginning.

A new character/actor expected to draw new viewers and keep old ones, is The Walking Dead‘s Andrew J. West, who will be appearing in the two hour season finale this Sunday.

Joining West is Jane the Virgin’s Alison Fernandez, who has been cast as “a precocious 10-year-old with a constant twinkle of mischief in her eye…[who] comes from a broken home, [with] struggles that have only made her stronger — something which will come in handy when darkness threatens everything she holds dear.” (TVLine)

As to what is meant by a "reset", or more specifically "springboard the narrative in a new direction", it has seemed very undecided right up till today's announcement (at the time of writing the post), with the President letting it slip that creators Kitsis and Horowitz were 'still finalizing their pitch'. Whatever the case, it's not even clear if the fairy tale aspect will remain intact, or if it will be in the same universe and belong to the same 'show mythology' as the rest of OUAT.

Kitsis & Horowitz: "We are going to complete some stories this year. There’s one chapter to this book that Henry has, so maybe it’s time for us to get to the end of that chapter. But that doesn’t mean there isn’t a second book and a second chapter, just like in everyone’s life.” (TVSeriesFinale) 

(ABCs Entertainment President) Dungey declined to comment whether that “next piece” would be a different incarnation of Once, a spinoff or a something else. But it’s clear that the series, which has reinvented itself a number of times, may be heading for its biggest reinvention yet as the show’s main storyline comes to an end this season. “There will be a little bit of closure in this particular narrative regardless of what happens with Season 7.” (Deadline)

With Kitsis and Horowitz, who previously created Lost, and are known for their looping and repetitive storylines (with variations), Once Upon A Time has already had more than its fair share of reboots, and the storylines for all the main characters have run a much longer course than they probably would have (should have?) on any other show, so the big fear is that a) season seven won't be anything like OUAT at all or b) that it will be the agonizing death of OUAT, as opposed to going out strongly with this last musical, wedding and two part final battle.

The bright spot for fairy tale folk is that is will still have the title Once Upon A Time - a phrase that is difficult NOT to associate with fairy tales, so some aspect of that is very likely to remain part of the new format and direction.

Although we have been critical of Once Upon A Time over its course, we do want to acknowledge just what a fantastic and creative job they've done in persisting on rewriting familiar stories and fairy tale narratives, and archetypes, in different lights. Not only that, the tally of characters introduced is HUGE (one day we will have to list them) and the series regulars, whose stories continue through multiple arcs and variations, number quite a large ensemble - not an easy feat to combine while keeping the 'mythology' intact. These characters have not only explored their traditional stories (usually Disney-based) but had them twisted, re-visioned from different points of view, often in combination with other fairy tale characters, which sheds a different light on them again, and sometimes they've explored other fairy tale plots as part of their own journey as well. Some of these have worked better than others, as is the case with any show with a huge variety of characters and storylines, but it's also been extremely creative and woken up a lot of people to the possibilities of fairy tales, including how their own lives can be reflected in them. As much as it's been difficult - as serious fairy tale students and enthusiasts - to watch from time to time, things will be very different without a series that regularly brings adults fairy tale characters regularly to the screen.

Here we should note the Once Upon A Time In Wonderland spin-off as well. Though not as successful as expected, we believe people will look back and realize there are many gems to be mined from that adventure as well. There has also been a foray into 'The Land of Untold Stories' as a main arc - again, something that felt a little awkward at the time, but looking back will prove an interesting study.

         

The show looked at storytelling, often literally, with an 'author' and a magic pen changing the tales and people's lives in the process, and the mysterious book of fairy tales first given by Snow White to Henry is an anchor and pivot point for many plots of the series. It went to the 'real' world (of New York) and back again, visited the Underworld, and other dimensions in addition to Wonderland, such as Oz, Agrabah, Neverland - even the ins and outs of Fairyland (which are different to the Enchanted Forest) - and many others, connecting them all in bizarre and creative ways. So often the show was meta, both in terms of the tales and characters used, as well as its 'parent' (Disney), but also with regard to writing and retelling tales. The production images created with liberal use of fantasy settings, elaborate costumes, use of magic items in the storylines, archetypes and CG have inspired thousands of people to create their own narratives and 'image stories' and will forever remain a part of fairy tales to come. That aspect is possibly one of the most successful outcomes of the show - it encourages and inspires people to create their own stories. One day there will be a lot to sit down, look at, and, yes, study.

Just take a look at the variety of characters and worlds OUAT has explored, just by way of the variety of promotional posters we've included here (there are many more as well). These only highlight the largest arcs and it's still an impressive array.

   

                

           

          

The oddest thing is that it's been another year since Kitsis and Horowitz let it slip that they were "running out of fairy tales heroes and villains to work with", (their words) which explains the dive into mythology and legends, as well as classic literature these past couple of years. We do find it odd that they seem to think there's no fairy tales left to work with though! There are literally thousands to choose from and out of those many (many!) that enjoy popularity in society beyond Disney - that is, they're familiar stories the show could tap into. (Hey OUAT folks - we know a bunch of people who can help with that!) 

What that means for a reboot and a 'change in narrative direction', is... not something that inspires confidence in continuing, or in a spin-off, but we do know that OUAT has charmed enough folks, even if they're not tuning in faithfully with each new episode, to be more than a little curious to see what happens next. Season six promises to wrap up the storylines playing out since the beginning and to bring 'satisfying closure' for fans in the two hour finale for which the musical/wedding episode last week was the prelude. Will hanging in there to bring the show back for another season pay off though? We'll just have to wait and see.

They do tend to say that "all reboots come with a price".
As per the show's main theme, however, we choose HOPE.

Don't forget: the two-hour season finale - which the creators have promised will wrap all the main storylines of the whole series to-date, is TOMORROW:

Sunday, May 14th 8pm ABC

(7pm Central), 2017

Disney's 2017 'Beauty and the Beast' on Blu-ray & Digital June 6

Here's the trailer for the release, giving you an idea of the special features included:

Here's a list of the special features included:

• Enchanted Table Read – Join the cast for the movie’s elaborately staged table read, complete with singing and dancing to live music, set pieces and more.
• A Beauty of a Tale – Explore the process of transforming a beloved animated film into a new live-action classic.
• The Women Behind “Beauty and the Beast” – Emma Watson introduces several of the talented women in all aspects of production who helped bring this enchanted tale to life.
• Making a Moment with Celine Dion – Celine Dion shares what it’s like to sing “How Does a Moment Last Forever” – and be a part of the legacy of “Beauty and the Beast.”
• From Song to Screen: Making the Musical Sequences – See what goes into making some of the best-known moments from “Beauty and the Beast.”
• Extended Song: “Days in the Sun” – Learn more about Beast’s childhood in an alternate version of this beautiful song, introduced by director Bill Condon. “Beauty and the Beast”
• Music Video – Award-winning artists Ariana Grande and John Legend perform a moving version of this iconic song.
• Making the Music Video – Go on set to capture the magic as it happens in Ariana Grande and John Legend’s “Beauty and the Beast” music video.
• Disney Song Selection – Jump directly to all your favorite songs and sing along with the movie.

Best Buy Exclusive is a Steelbook Blul-ray + DVD + Digital, with unique cover artwork

Target Exclusive Blu-ray + Digital + DVD Combo Package - includes a 'storybook version'

Identity Theater Examines Body Image in Linnehan's 'Sleeping Ugly' (June NYC)

You know those times you wish you were closer to New York City to visit? This is one of them. Identity Theater Company (ITC) is "a group of differently abled artists devoted to exploring and challenging issue of the human condition," and is taking a look at body image, the perception of beauty, and therefore power, status and acceptability, in a different take on Sleeping Beauty.

We want to take all the children...

Press release:

Nicholas Linnehan has reworked a age-old fairy tale to suit our modern world.
The character formerly known as Sleeping Beauty wakes up in a world where warts are in fashion ... and she has them. While she's en vogue, she can't wrap her brain around this drastic change, nor can anyone around her. "Sleeping Ugly," as she has renamed herself, flees her village and bumps into the Ugly Duckling, who, like Sleeping Beauty/Ugly, is the subject of bullying for his appearance. The two become fast friends. 

Meanwhile, the Ogress Queen, here called Malificent, is still obsessed with being the fairest of them all. She believes that Sleeping Ugly's new fashionable warts hold the key to her problem. She strikes a deal with Sleeping Ugly to take her warts. As part of the deal the Ugly Duckling will get to become a beautiful swan. Malificent casts a spell and each character gets exactly what they want, or do they? They've all gotten what they want but will they live happily ever after? Sleeping Ugly examines the concepts of beauty and body image and social presences regarding them. 

ITC strives to present works that cultivate understanding, promote tolerance, and engage its participants in meaningful discussions. 

Identity Theater presents Sleeping Ugly; written and directed by Nicholas Linnehan in a special showing on Sunday, June 11, 2017 at 7 pm at 215 East 99th Street @ The Underground Theater. Tickets: $12. RSVP to identitytheater@aol.com.

While we're on the topic, we'd like to highlight another company that's encouraging people to take another look at how we consider ourselves and others. They're called The Ugly Duckling Inc and encourage healthy body image, particularly for those struggling with self-esteem and eating disorders. The company was inspired by Jennifer Morrison's character, Emma Swan, on ABC's fairy tale series Once Upon A Time.

This is an initiative inspired by Jennifer Morrison of Once Upon a Time. In February, 2013, Jennifer gave her Twitter supporters the name #TheUglyDucklings, explaining: “The idea behind The Ugly Ducklings is truly about self-identity and beauty. The story shows that sometimes life gives us challenges before we discover our true selves. The Ugly Ducklings is meant to suggest beauty, love and fullness of life in the end. It’s all about the journey”.

You can read more about Ugly Duckling Inc HERE, and all the work they've done to help people become healthier in mind and body. We're not sure what the current status is though, as they have been a little quiet for the past year or so.

Beautiful Retelling 'The Crane Girl' Interweaves Haiku Through Storytelling To Reveal Characters Thoughts & Feelings

The Crane Girl illustration by Lin Wang

We have to admit, one review and a glimpse of the cover and we were sold on this book. That was quickly followed by an overwhelming number of five star reviews and even more gorgeous illustrations peeks inside, along with phrases like "the perfect folktale retelling", and then we read this:

from the darkness
an animal's sudden cry -
its fear, and mine

Yasuhiro dropped his armload of firewood to follow the sound across the sharp buckwheat stubble of the Landlord's field. He almost stepped on the crane, nearly invisible where it lay in the snow. A trap held one foot, but the crane looked unharmed. As Yasuhiro knelt, the bird closed its eyes and shuddered.

cold hard trap -
he sets me free
with warm hands

(Opening Lines from The Crane Girl by Curtis Manley)

Whoa. We're hooked.

The watercolor illustrations by artist Lin Wang, are lyrical, magical and well, stunning! Everything you want in a picture book, as far as the art goes, but there are even more wonderful layers woven into this updated retelling of the Japanese fairy tale, The Crane Wife, to bring different dimensions to the storytelling as well.

Not only is the prose the perfect storytelling tone for a classic fairy tale (and wonderful for reading aloud), but as you might have guessed from the opening excerpt above, throughout the story, haikus appear, illuminating various characters thoughts and feelings of the scene described or illustrated, as well as helping to reflect the cultural setting of the tale. It's wonderfully unique, sensitively done, and perfect for introducing children to magical retellings that incorporate beautiful and captivating storytelling, lush images and, harder to impart, snatches of poetry that express simply and succinctly the inner lives of those involved along the way.

“from the darkness / an animal’s sudden cry— / its fear, and mine …”
(Click to see full size)

We already want more stories told this way!

Writer, Curtis Manley, actually used a few variations of The Crane Wife to adapt his story and added his own variation as well.

In a closing note, the author writes: "In the West, only two versions [of this story] are known well. In The Crane Wife (Tsuru Nyobo), a young man rescues a crane and then gives shelter to a mysterious young woman. They fall in love and get married, but when she begins weaving wonderful cloth, his greed and curiosity drive her away. In the version known as The Grateful Crane (Tsuru no Ongaeshi, literally “the crane’s return of a favor”), an old, childless couple gives shelter to a young woman, but again the crane leaves when her identity is discovered." He goes on to say that, in other versions, various animals take the place of the crane. The closing author’s note also includes more information on Japanese poetic forms. (SevenImpossibleThings)

“When the bird stood up, it was as tall as Yasuhiro.
He stroked the soft feathers on its long neck with his fingertips, and the bird
gently pressed the red top of its head against Yasuhiro’s face. …”
(Click to see full size)

We found an interview at DeborahKalbBooks with the author in which he talks about what drew him to this tale in the first place, and why he adapted it the way he did:

Q: Why did you decide to adapt this Japanese folk tale, and how did you change it from the original?
A: Over the years I’ve enjoyed reading many different folktales and legends from around the world, but have been especially drawn to those from the Pacific Northwest and from Japan.
When I heard The Decemberists’ album The Crane Wife in 2006, I was reminded of how much I liked that specific Japanese folktale. It involves a man who rescues and sets free an injured crane; soon after that, a beautiful woman knocks on the door asking to stay. Eventually they marry.
When his new wife mysteriously weaves fabric that he sells for a good price in the market, the man’s greed for more causes the woman to leave forever.
My change was to have not an adult but a young boy rescue the crane, and it is a young girl who appears at the door seeking shelter. The boy’s father is the one who becomes greedy, not the boy, and so in the end the boy and girl are able to remain together.
My adaptation retains all the traditional elements of the plot, but involves main characters close to the reader’s age—and it ends on a more positive note.

We admit we were skeptical at first of this 'new happier ending', since in our mind, although the Crane Wife eventually leaves, and it is sad, it's also a good example of a woman's self-emancipation, that is, freedom from being dictated to and controlled by her partner and by greed, eventually causing her harm. The shift in character ages - and responsibilities - in Manley's retelling, however, make for a version children are more likely to relate to, and from what we can tell, the boy has some choices - different choices - of his own to make, giving a different spin to the usual 'animal bride' fairy tales - one that feels appropriate for a modern audience but also fits with the traditional, pre-industrial feel of the tale. The best part? Even with the 'twist' it stays true to the story of The Crane Wife!

Another excerpt from the same interview continues below:

...When I was just beginning work on The Crane Girl, I knew I wanted to include haiku along with references to certain foods, crops, and customs. Using the haiku to reveal the thoughts of the characters then came naturally—at least, that’s how I remember it now.

“The next night someone knocked on the door. Yasuhiro opened it and
found a girl standing there, pale and shivering, tears frozen on her cheeks. …”
(Click to see full size)

Q: What do you think the illustrations, by Lin Wang, add to the book?
A: Folktales, like epic poems and Shakespeare’s plays, retain their relevance and power even if retold in new settings. Nonetheless, setting The Crane Girl in pre-industrial Japan kept it closer to the roots of the original folktales—and the itinerant storytellers who performed them.
Lin’s images bring that setting to life in the specificity of detail in the house, village, and clothing—and the in the crane’s plumage and features.
But at the same time the beauty and luminosity of the illustrations also give the reader hints at the magic that underlies the story—magic that the boy and his father are mostly unaware of until the end.
The cover and interior illustrations are so gorgeous that I hope no one is let down by the words and poems of my text!

To give you a better idea of how the book is laid out and the story told, we're including some reviews below:

“The polished, full-color illustrations … complement the lyrical text. Interspersed, color-coded haiku reveal the characters’ unspoken thoughts… More from this team would be a welcome addition to folk-tale collections.” Kirkus (starred review) 

“Snatches of haiku add depth to this story based on traditional Japanese folktales. … Exquisite watercolor illustrations accompany the text. … This well-crafted tale offers [readers] an introduction to traditional Japanese culture and folklore…” School Library Journal

Fairy tale bonus of the day:

You can read an interview with the author, Curtis Manley HERE, about how he loves, writes and gives advice about poetry, as well as his process for writing The Crane Girl.

You can also read an interview with artist Lin Wang HERE and see a lot more of her amazing and beautiful watercolor illustrations.

Live Action 'Aladdin' To Be Musical (Probably) & Keen To Avoid 'Prince of Persia' Mistake

from the Broadway adaptation of Disney's Aladdin

Guy Ritchie, the film's director, has answered the 'other' question about Aladdin: Now that musicals are back in vogue, and music was such a big part of the animated feature, will the new live action movie have songs - and dancing - too?

“I think it’d be tough not to make (Aladdin) a musical. It’s too early, because I’ve really just immersed myself into that project. So I’m still looking for cast members, we still haven’t found exactly which direction we’re going in. I’m confident at some stage it will reveal itself to me. But right now it’s just a bit too premature.” (source)

Ritchie's response seems pretty clear, though he does mention it's early days, and it should be taken into account that film morph a lot in the development stage AND that Guy Ritchie is not a director who does the 'typical/standard thing' with his movies. (For reference, Ritchie's better known films are: "Snatch", "Lock, Stock and Two Smoking Barrels", the "Sherlock Holmes" movies and "The Man From U.N.C.L.E.")

With Will Smith on the official IMDB page (but a qualifying 'rumored' recently added next to his name, since no contract has yet been signed) and Ritchie's direction, the potential for a new dimension of the Aladdin story is obviously there, though it's going to be difficult to ever get past the lack of Williams as the Genie.

This will be an interesting film to follow the development of, whichever way it goes, however. Disney is keen to avoid the embarrassing white washing present in Prince of Persia but the questions is how authentic will they/can they go without getting tangled (pun intended!), especially with the songs from the original?

There was even an unsuccessful petition to pressure Disney to produce the remake based on the original story - and by original, they mean with Aladdin being Chinese, not of Middle-Eastern origin. We're thinking it's almost certain that direction isn't being considered. Instead, we think how Disney handled the relatively recent Broadway adaptation probably has some clues... BUT, it's early days...

Here's a handy Disney versus original comparison of the story of Aladdin. While it would make for fascinating viewing in today's push 'n' pull on inclusivity and equality in Hollywood, we're not sure Disney would be happy to take on all the cans of worms this potentially would contain.

Oh, and officially announced yesterday, Guy Ritchie Wants You To Audition For (the lead/title role in) Aladdin. Ritchie apparently is looking for 'new' actors (ie. not necessarily inexperienced, but unknowns, not stars) for the roles of Aladdin and Jasmine, and singing, at least, has to be part of the package. Good luck folks!

Art Film: A Post-Truth Pinocchio In Venice

That title. We can't decide if it's ironic or tautological, nevertheless, Pinocchio - known the world over for his lies and the biggest tell on the planet - is having a revival, of sorts.

While Pinocchio has been associated with (almost) every President in the US (in fact, someone could probably create a book of Pinocchio POTUS', there have been so many images made with the telling long nose), our current era is more concerned in associating Pinocchio with fake news, specifically, fake news originating from the office of the Presidency (whether POTUS himself or his staff and entourage). With all the 'alternative facts' and 'post-truths' still constantly barraging the news and media, Pinocchio is fast becoming the poster boy for US politics (no matter which 'side' you take) and he, President of Fake News Pinocchio is cropping up more and more in writing, cartoons and contemporary works of art and film.

One of the most recent appearances is in a festival film, titled "Spite Your Face: A Dark Venetian Fairytale", by artist and filmmaker Rachel Maclean, where alt-Pinocchio is essentially displayed in a de-consecrated church in Venice, for the 57th Venice Biennale, a unique contest, "like the Eurovision song contest for art. People represent their countries." 

Fittingly, the film was created in a large, portrait format -something unusual, even for art films, and the constant impression that you're looking at a portrait, reinforces the sense of Pinocchio's importance - to himself and to those watching.

We've assembled a partial synopsis by combining two sources (both cited after their extracts):

Spite Your Face, transforms the 19th century Italian tale of a wooden puppet who wants to be a real boy into a dark and disturbing satire of the era of celebrity, fake news and reality television... and Maclean plays all the characters herself, (aided by) costumes elaborate costumes and the help of prosthetic designer Kristyan Mallett, who has worked on the Harry Potter movie franchise.

The film tells the rags to riches story of an urchin called Pic. His life is transformed when he is catapulted into "The World Above", a consumer heaven where money equals power. (BBC News)

Pic (full name Pinocchio Gepetto) is a street kid in a grey, hopeless world. He makes a wish on an iPad in the Other World Offerings temple – a digital recreation of the Chiesa di Santa Caterina – and finds himself transported by the blessing of a fairy godmother / Virgin Mary figure to a golden heaven where (through the application of a perfume named Truth) he is able to become a gilded hero punting rubbish perfume (named Untruth) to the masses. 

Standing atop a golden plinth, Pic rants and raves to an adoring crowd. "Smell that? This place used to smell great. Now it stinks. The facts aren't known because the media don't report them." (TheSkinny - we recommend reading their whole article)

As the face of a perfume brand called Untruth, Pic becomes a rich and famous media personality, and a political demagogue, at the expense of his ethics and happiness. 

... "I was interested in how lies had played out in the Brexit campaign and the Trump campaign. Journalism exposed the lies but that didn't affect the outcome. I was interested in how democracy works. We are less rational than we like to think we are and driven by belief systems." (said Maclean - BBC News again) 

Venice is a city that still exudes luxury. Things glint and glitter, look expensive, of high status, and that adds to the setting of Pic, aka, alt-Pinocchio's journey. Perhaps the fact that it was written 'in situ' helped capture that.

The Herald (Scotland) got a preview of the film, and additional comments by Maclean are so very relevant, we had to include an excerpt to give readers a better idea of why this film has caught so many people's attention:

The Herald had a preview of the film - which also features song, satire, special effects and parody - and afterwards Ms Maclean said of the disturbing assault scene: "I've been disturbed and troubled by the recent rise and confidence in misogyny, the rise in anti-feminism, and reactionary attitudes to feminism, and that coupled with a feeling that we are immune, as a culture, to violence against women in images and the exploitation of women, images of women's bodies used to sell perfume or cars, and it is so ingrained we are not shocked by it anymore. I wanted the film to feel jarring, to make it uncomfortable and difficult to watch, and didn't want it so sit at that level of immunity." 

The film does not directly make reference to either Trump or Brexit, but the artist said: "I was processing a lot of the sense of how these lazy lies that were used through the Brexit campaign and the Trump campaign, and that didn't effect the result. 

"I got interested in how difficult it is to penetrate a narrative that has gained political currency, and how easy it is to use lies to substantiate ideas that already have currency. 

"The rags-to-riches tale is so much in our culture, you see it in things such as Britain's Got Talent...I was inspired by how compassion-less those [rags to riches] narratives are, and generate a lack of compassion for other people's suffering."

And so Pinocchio meets Cinderella - and neither look good because of it.

We became even more interested in how this film came to be, knowing it had its genesis well before Trump campaigned or before Brexit rose its head. We found that fairy tales were always a part of her exploration but things evolved quite differently when finishing writing it at the end of 2017.

From TheArtNewspaper:

...Maclean anticipated (the film) might be an extension of her earlier films and photographs exploring fantastical, fairy-tale and clichéd images of Scottish identity, The Lion and the Unicorn and I ♥ Scotland. Presciently, the latter, made in 2013, included a Donald Trump-like figure. Back then he was merely symbolic of corporate greed—a golf-club wielding, saltire-faced, frightwig-sporting ogre, enacted, like all the figures in her work, by Maclean herself.  

But in early December, Maclean visited Venice and her ideas shifted: Spite Your Face (2017), her film for the Biennale, has a wider political target. “Because I went to Venice for about a week or so to write a script for it, and it was shortly after Brexit and shortly after the American election, I was quite interested in this political landscape and the rise of nationalism and the ‘alt-right’ and something that was larger than specifically Scottish nationalism,” she says.  

...Does her Trump-like character reappear? “It’s more allusive,” she replies. “You can pick up on certain things or certain tropes in political characters, but I didn’t want there to be somebody who, for example, directly referenced Trump or directly referenced a recognisable political figure. I wanted the characters to feel a little bit more like an amalgam of different characters and different ideas.

And so they do. But they can't help but mirror the most obvious public examples either, and the images - both the public one of Trump and, in the film, Pic, are such strong ones, it takes a while to see the other characters woven in, characters like Cinderella, Jack and the Ugly Duckling and perhaps a Midas who has yet to learn his lesson.

The show will be on display in Venice from 13 May-26 November then will be shown at Talbot Rice Gallery at the University of Edinburgh from March 2018 and at Chapter, Cardiff from Oct 2018.

#RRR