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mesaylormoon · 4 months

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Howl's Moving Castle: 20 Years Later

Howl's Moving Castle is Hayao Miyazaki's adaptation of the novel by the same name. I have always been curious to read the book, but have just never bothered... Regardless, this is a cinematic outing more than worthy of being judged on its own merits. It is perhaps one of Studio Ghibli's most popular and visually stunning movies, and I have only ever seen one review in which the critic in question was not a big fan of the film. (If you are a subscriber of the Nostalgia Critic's, you may know who I'm referencing). In fact, I make it a point to address his thoughts on the movie, as I (unfortunately) agree with some of his observations. If it's any consolation, I would like to balance out my own review with an acknowledgement of some of the qualities that make Howl's Moving Castle a beloved piece of pop culture.

Pros:

Emily Mortimer, Christian Bale, Billy Crystal, Josh Hutcherson -- honestly, the entire cast -- submit fantastic performances in the English dub. In fact, Howl's Moving Castle may be the only Studio Ghibli picture where I prefer the dub version over the sub

This is Hayao Miyazaki's most exquisite feature to date. Literally every frame of the film offers the audience meticulously animated footage that makes this movie one of Studio Ghibli's most recognizable and celebrated releases

The romance between Howl and Sophie is absolutely precious

The chemistry between all the characters in this movie is unbelievable. Despite being figments of fiction, the performances and relationship-building between the cast are so strong it feels as if everyone on screen is a true family

The main theme of this movie is definitely one of Studio Ghibli's most iconic. I will never not think of my mom and aunt when I hear it

Hot take: I personally like Howl's Moving Castle more than some of Studio Ghibli's most popular movies (especially Spirited Away)

The closing song is absolutely beautiful

Howl is unreasonably handsome considering he is a literal drawing, and the design of his castle is creepy and creative

Cons:

Character motivations are often unclear. Even Sophie's desire to return to her youth is a plot element that doesn't serve as a driving force in the story

Most Studio Ghibli movies feature relatable protagonists whose conflicts keep the narrative focused. This is not the case in Howl's Moving Castle. Sophie is a very likable protagonist with a well-defined personality, but she is mostly depicted as a passive player in her own movie and her actions do not help the plot progress

It's clear that the visuals in this film motivate the ideas, rather than the ideas motivating the visuals. This creates a sort of stagnant viewing experience and makes it difficult to appreciate the movie as a flowing narrative

Verdict: Like Barbie, the flaws in Howl's Moving Castle are notable enough to affect the quality of the film. But in my opinion, this picture is so remarkable in every regard that I can overlook its shortcomings and appreciate the wonder it provides its fanbase. There are so many reasons this movie has left a strong impression in the anime community and, hopefully, I was able to articulate all of them in this review.

#anime #studio ghibli #hayao miyazaki #howls moving castle #20 year anniversary

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aion-rsa · 3 years

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Ranking Cinderella Adaptations

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A dream is a wish your heart makes, and if your wish is to see countless takes on the beloved fairy tale of Cinderella, then consider your dreams having come true many times over—including this year, with a new Cinderella by way of Amazon Studios. This latest adaptation seems to have combined qualities of many of its predecessors: it’s playfully anachronistic and eschews the traditional Disney or Rodgers & Hammerstein songs in favor of a tracklist of modern pop covers; it also engages with Cinderella’s career aspirations beyond fitting her foot into a glass slipper.

But this Cinderella owes everything to the other soot-stained girls, animated and otherwise, who wished with all their hearts for decades before her. How does the new adaptation compare to the modern fairy tales, animated classics, and another fairy tale riff with an outstanding Stephen Sondheim tune? Check out our ranking of Cinderella adaptations, from worst to best.

10. A Cinderella Story (2004)

This cult classic is a clever retelling, with peak early-aughts casting of Hilary Duff and Chad Michael Murray as the star-crossed, Cyrano de Bergerac-inspired lovers: Sam toils away at her late father’s Southern California diner, under the heel of a delightful Jennifer Coolidge as her vain stepmother, while Austin is the closest thing to high school royalty as the quarterback with a sensitive side. Regina King as the longtime diner employee-turned-metaphorical fairy godmother who gets Sam to the homecoming masquerade dance is the other key bit of casting, but you’d have to really be a fan of the “fairy tales in high school” subgenre to get on board. Plus, the stable of derivative direct-to-video sequels makes the sparkle wear off with each new, formulaic installment released.

9. Cinderella (2021)

Kay Cannon’s (Pitch Perfect) progressive plot urging entrepreneurial dressmaker Ella (Camilla Cabello), her bitterly materialistic stepmother (Idina Menzel), and other original female characters to choose themselves over the supposed security of marriage is not quite enough to balance the cringey modern soundtrack and anachronistic witticisms. It’s too bad, because this Cinderella puts forth ambitious ideas, and any production with Billy Porter as the fairy godmother should be nothing but fabulous. Compared to most of her predecessors, this Cinderella is a distinctively fresh role model for the next generation of kids, but adults won’t find much magic in her story.

8. Ella Enchanted (2004)

This is a tough one, because the source material—that is, Gail Carson Levine’s 1997 middle grade novel—is unquestionably one of the very best Cinderella adaptations: Ella’s curse of obedience is an apt commentary on manipulating young girls into giving up their agency under the guise of people-pleasing. But the film—despite its adorable, baby-faced stars Anne Hathaway and Hugh Dancy—overcomplicates an already daring plot with a throne-stealing subplot (that Cary Elwes, as the unnecessary evil uncle, can’t save) and an unforgivably cheesy cover of Queen’s “Somebody to Love.” Hathaway’s voice is sweeter than Nicholas Galitzine’s rendition in the new Cinderella, but the giants dressed in early-aughts miniskirts strain even the most loose definitions of fantasy. Despite all that, it (mostly) sells Ella struggling against abuses of her obedience in a way that’s still more revelatory than many straight adaptations. Still, you’ve got plenty of better movie choices; forget this adaptation and just read the book.

7. Rodgers & Hammerstein’s Cinderella (1965)

Richard Rodgers and Oscar Hammerstein II originally wrote their classic musical for television broadcast instead of the stage, though it has found its way to the latter. CBS’ second TV production (following the original 1957 version starring Julie Andrews) introduced a bright-eyed Lesley Ann Warren (a.k.a. Miss Scarlet from Clue) as Cinderella, and unlike its predecessor was able to be recorded in color. Between the vivid hues, Warren’s expressive acting, and the array of sets, it all contributed to the feeling of watching a taped performance—an incredibly charming one, at that. But the effect does come off as overwrought at times, making it the lowest of the three specifically Rodgers & Hammerstein adaptations on the list.

6. Cinderella (2015)

While visually Kenneth Branagh’s live-action adaptation of the animated Disney classic hews so closely to its source material that it feels like a lost opportunity to be more original, there are some sly plot tweaks. Lily James’ Ella is not hopelessly naïve about her abusive home situation, yet manages to keep up the mantra of “have courage and be kind” through even the worst mistreatment. Streamlining the classic songs to score strengthens the plot, with Ella’s rare occasion of singing being what ultimately saves her. Fans of the blue dress and romantic vibe will have much to swoon over, even if they’re not surprised.

5. Into the Woods (2014)

Or, then, what if I am? / What a Prince would envision? / But then how can you know / Who you are til you know / What you want? Which I don’t… Anna Kendrick brings us a relatably existential Cinderella in this movie adaptation of Stephen Sondheim’s musical about various fairy tale characters who wind up with questionably happy ever afters—including Cinderella, who decides “not to decide,” then ends up with a philandering Prince. It’s not a complete Cinderella story, but it’s a more memorable performance in a handful of scenes than entire movies have attempted.

4. Rodgers & Hammerstein’s Cinderella (1957)

Despite only surviving in black-and-white form, CBS’ original TV broadcast shines thanks to its star: Julie Andrews, then performing My Fair Lady on Broadway, who makes this Cinderella both an amalgamation of her then-current and future roles and a performance all its own. You can see glimmers of her comic talents as Maria in The Sound of Music—this Cinderella also has more wit than other versions—but it’s her voice that elevates Rodgers & Hammerstein’s adaptation of Charles Perrault’s fairy tale into something timeless.

3. Cinderella (1950)

Few Cinderella adaptations have achieved the same sweeping sense of sheer romance in the Disney animated classic: the painted backgrounds, the dreamy sequences reflected in soap bubbles and sparkling through the palace gardens, the surprisingly high emotional stakes that make the resolution all the sweeter. And while it’s become a common Disney trope, the requisite scene in which the stepsisters cruelly rip apart Cinderella’s dress adds a layer of wickedness not present in the Rodgers & Hammerstein adaptations, nor successfully recreated in any of the live-action versions. The same goes for the goofy mice singing “Cinderelly, Cinderelly”—every subsequent CGI mouse lacks the warmth that goes into a believable animal companion. That said, the animated movie’s legacy is somewhat marred by its direct-to-video sequels of diminishing returns, though you also have to give them props for pulling an Avengers: Endgame 12 years earlier with Cinderella 3: A Twist in Time.

2. Rodgers & Hammerstein’s Cinderella (1997)

For many of us, Disney’s animated Cinderella was a childhood classic, but The Wonderful World of Disney’s ‘90s production was the first time the story truly felt magical. Rodgers & Hammerstein’s songs were updated with contemporary beats, bridging the forty years between the first broadcast and this version: “Impossible” is one of the best songs from the show, but it hasn’t been truly sung until Whitney Houston is belting it out to a starry-eyed Brandy. The production’s effortlessly diverse casting—Whoopi Goldberg as the queen, Paolo Montalban as the prince, Bernadette Peters as the stepmother—only amplifies the universal nature of the story. Almost twenty-five years later, this adaptation still feels like the television event it was when it premiered.

1. Ever After: A Cinderella Story (1998)

A truly successful adaptation is one that doesn’t have to feel beholden to its source material. By opening with the Brothers Grimm explaining the inspiration behind their own interpretation of Cinderella, Ever After rewrites all of the familiar themes into a historical fiction—specifically, Renaissance-era France—context. Danielle’s (Drew Barrymore) misfortune as an orphan servant girl is so believable thanks to the cruelty of her stepmother’s (Anjelica Huston, a legend) abuse, but so is her determination and ingenuity to rise above her station. While Disney’s animated Cinderella is romantic, Ever After is a romance: Danielle disguises herself as a comtesse in order to spend time with Prince Henry (Dougray Scott), and they develop an actual relationship, complete with rejection once her subterfuge is revealed. Plus, Leonardo da Vinci is there for comic relief and an unintentional fairy godmother assist! If you want your Cinderella story with a compelling feminist arc but you’re also burnt out on the songs, this is your happily ever after.

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Cinderella will begin streaming on Amazon Video on September 3rd.

The post Ranking Cinderella Adaptations appeared first on Den of Geek.

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disdainanddigust · 3 years

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Slade One Pager: Where Does the Canon Land

Published in 1813, Jane Austen’s Pride and Prejudice has prevailed through the centuries as one her most beloved novels. As a result of the popularity this novel has received, it has been translated into an array of television and film adaptations, along with a number retellings in published literature. Along with professional revivals of the text there is also a large scope of fan-based material centered around Pride and Prejudice, among many other Austen works. This content is often found in a range of medias, from written text to visual reenactments of the story in era accurate costumes. In these modern interpretations of Pride and Prejudice fans will typically alter and edit the source material. In the universe of those of who consider themselves fan’s, the reference text is typically referred to as canon. Meaning the fan created media is simply based on canon Austen literature, with different aspects of the original text incorporated into the fans desired themes.

As wildly renowned interpretations of Pride and Prejudice, such as Pride and Prejudice and Zombies, have surfaced over the past several decades, the question has to be asked: What constitutes canon material? Does the extreme popularization of a work based on Pride and Prejudice deserve to be credited as canon, and if that is the case can an amateurly published fan-fiction be regarded in the same light? Does the quality of the reinvented work determine if it qualifies as a new canon source, or perhaps the relation to the original text?

In an attempt to answer these questions I found a short fan-fiction entitled: Through A Sister's Eyes. The fic sits at just over a thousand words and briefly encapsulates various scenes from Pride and Prejudice from Georgiana Darcy’s perspective. Though brief, the fan-fiction is well crafted and shows an interesting view of events that occurred throughout the source material. Though it strays from the original novel by being written strictly in first person, the story shows Georgiana’s feelings at seeing her brother fall in love with Elizabeth. The first-person point-of-view allows the reader to experience, in rather descriptive language, the emotions and thoughts of a Georgiana alone, with no interference from an outside narrator. Having determined that this fan-fiction both relates to the original text well and is also cleverly designed, I would personally deem that it should qualify as canon content.

Now if we look at the 2016 film Pride and Prejudice and Zombies, originally published as a novel in 2009 under the criteria of quality and relating to the source, in my opinion it falls short. Incorporating action, mayhem, and zombies into the original plot of the novel, detracts from the core ideas of Pride and Prejudice. Though I understand that to be the point I personally don’t believe that the film should be considered under the canon umbrella. Despite that it was a successful film interpretation, grossing at 16.4 million dollars. More importantly, in my quest to find a fanfiction I found several that were based on of the novel itself. This is where the lines between source material and canon material begin to blur.

I believe the answer to this obstruction lies within the layers of a fan base. A reader of the above fanfiction may deem the text canon because they believe the interpretation is one that can be, essentially, superimposed onto the original text. Though others may believe that because of the legitimacy of the author it should remain a stand-alone piece of work. The solution, in both my opinion and what I have experienced within various fan-bases is that anything that can be further expanded open should be considered canon. This essentially creates an infinite number of probable interpretations based on any created material, professional or otherwise.

Linked below is the fanfiction I referenced:

https://archiveofourown.org/works/23438170

#jane austen #Pride and Predujice #Elizabeth Bennet #fanfic #darcy

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grigori77 · 4 years

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2019 In TV - My Top 10 Shows

This past year may have sucked balls in a lot of ways, but we certainly never got short-changed when it came to our TV. There was an absolute WEALTH of truly cracking TV around, both on regular networks and on the various on-demand platforms, and so here is my pick of the best, my absolute favourites of 2019.

10. WATCHMEN

Lost co-creator Damon Lindelof brings us a blinding sequel to comic book legend Alan Moore’s legendary graphic novel with a delightfully trippy, ruthlessly efficient rug-puller that seems pretty tailor-made for HBO. Old faces return in interesting ways, while there are some cracking new “masks” on offer, particularly Regina King’s Sister Night and the always-brilliant Tim Blake Nelson as morally complex antihero Looking Glass (in some ways very much the show’s own answer to Rorschach). It never goes where you expect it to go, and refuses to give easy answers to the questions it raises, effortlessly paving the way for more next year ...

9. THE BOYS

Amazon offers up its own edgy, thoroughly adult superhero property with this darkly funny antiheroic gem based on the cult Garth Ennis comic, expertly adapted by Supernatural creator Eric Kripke. Karl Urban dominates as Billy Butcher, the foul-mouthed, morally bankrupt “leader” of a makeshift crew of mercenaries, hitmen and psycho killers devoted to “taking care of” superheroes when they inevitably go bad. Season 1 ultimately serves as an origin story, showing how the team come together, laying quality groundwork for the incoming sophomore tour that promises to open the already fascinating world out significantly.

8. PREACHER (SEASON 4)

More Garth Ennis, namely this blinder of a closing season for AMC’s consistently impressive adaptation of his best known series for Vertigo comics. Surprisingly epic, deliciously subversive and constantly, darkly hilarious, this thoroughly non-PC series from showrunners Sam Catlin, Evan Goldberg and Seth Rogen (yes! I Know!) certainly went out on a high note, providing its loyal followers with perfectly-pitched bow-outs and sometimes heartbreaking goodbyes for all its players, especially its dynamite leads, Dominic Cooper, Ruth Negga and, in particular, Joe Gilgun as unapologetic bad boy vampire Cassidy. A worthy end to one of my all-time favourite TV shows.

7. THE WITCHER

While it’s clearly taken its look from the wildly successful video games, Netflix’s second most ambitious long-form offering of the year takes its lead from the fantasy book series by Polish author Andrzej Sapkowski that started it all. With its somewhat episodic set-up and decidedly twisted narrative timelines, it take a few chapters to get the hang of it, but there’s plenty to draw you in, from the exotic world-building to the frenetic action and compelling collection of richly crafted characters. Henry Cavill is the titular hero, lovably grouchy mutant monster-hunter Geralt of Rivia, but the real scene-stealer is co-star Anya Chalotra as roguishly self-serving mage Yennefer of Vengenberg.

6. CARNIVAL ROW

One of the year’s two big sleeper hit TV surprises for me was this inventively offbeat allegorical Amazon fantasy series from The 4400 creator René Echevarria and screenwriter Travis Beacham. Orlando Bloom and Cara Delevigne are the star-crossed lovers at the heart of this intriguingly dark and dirty murder mystery thriller set in Victorian London-esque city-state the Burgue, in which humans struggle to co-exist alongside a struggling disenfranchised underclass of fae (fairies, fawns, centaurs and the like). The racial turmoil undertones are writ large throughout, but this is far more well-written and lavishly appointed than you might expect on first glance, and almost ridiculously addictive viewing.

5. LOVE, DEATH + ROBOTS

My other big TV surprise was this wonderfully bizarre sci-fi anthology series of animated shorts from Netflix, mostly adapted from an eclectic selection of short stories from a wide range of top-notch literary talent including Peter F. Hamilton, John Scalzi, Marko Kloos and Alastair Reynolds (a particular favourite of mine). As you’d expect from the brainchild of Deadpool director Tim Miller and producer David Fincher, this is edgy, leftfield stuff, frequently ultra-violent and decidedly adult, and the wildly varied nature of the material on offer makes for a decidedly uneven tone, but there are some absolute gems on offer here, my favourite being Suits, an enjoyably simple tale of salt-of-the-earth farmers on an alien world utilising clunky mech suits to protect their settlement from rampaging giant xeno-bugs.

4. THE DARK CRYSTAL: AGE OF RESISTANCE

The show with the biggest cinematic wow factor in 2019 had to be this long-awaited prequel series to Jim Henson’s classic fantasy movie masterpiece, created for Netflix by, of all people, Louis Leterrier (yes, the director of The Transporter, Now You See Me and Clash of the Titans, if you can believe it). The technology may have evolved in leaps and bounds, but there’s a wonderfully old school vibe in the delightfully physical puppet effects used to bring the fantastical world of Thra and its denizens to life, so that it truly does feel like it’s based in the same world as the film. This was EASILY the most visually arresting show of 2019, packed with exquisite character, creature and set design that perfectly complements the awesome work done by Henson and Brian Froud on the original, while the writers have created a darkly rich narrative tapestry that makes Thra seem a more dangerous place than ever.

3. THE UMBRELLA ACADEMY

I was a HUGE fan of My Chemical Romance frontman Gerard Way’s magnificently oddball alternative superhero comic, so when I learned that Netflix were adapting it I was a little wary because I knew how spectacularly hard it would be for ANY showrunners to get right. Thankfully Steve Blackman (Fargo season 2) and Jeremy Slater (The Exorcist TV series) were the right choice, because this perfectly captured the outsider nature of the characters and their endearingly dysfunctional family dynamic. Ellen Page, Tom Hopper (Black Sails, Merlin), David Castañeda and Emmy Raver-Lampman are all excellent as the more “functional” Hargreeves siblings, but the show is roundly stolen by Misfits star Robert Sheehan and Nicky, Ricky, Dicky & Dawn’s Aidan Gallagher as nihilistic clairvoyant Klaus and the old-man-in-a-child’s-body sociopath known only as Number Five. Consistently surprising and brilliantly bonkers, this was definitely the year’s most wonderfully WEIRD show.

2. STRANGER THINGS (SEASON 3)

Writer-director duo the Duffer Brothers’ ultra-nostalgic 80s-set coming-of-age sci-fi horror series remains the undisputed jewel in Netflix’s long-form crown with this consistently top-drawer third season expertly maintaining the blockbuster-level standards we’ve come to expect. This year the cross-dimensional shenanigans have largely been jettisoned, replaced by a gleefully nasty through-line of icky body horror that would make major influences like David Cronenberg and Stuart Gordon proud, as perennial teenage bad boy Billy Hargrove (the fantastically menacing Dacre Montgomery) becomes the leader of an army of psychic slaves under the control of the Upside Down’s monstrous Mind Flayer. The kids are all brilliant as always, Winona Ryder and David Harbour really get to build on their strong-yet-spiky chemistry, and the show is almost effortlessly stolen by Joe Keery as one-time golden boy Steve Harrington and series-newcomer Maya Hawke as his nerdy new foil Robin Buckley, who were very nearly the cutest couple on TV in 2019. Another gold standard season for a true gold standard show.

1. GOOD OMENS

Sadly, legendary author Terry Pratchett died before he could see the adaptation of one of his most beloved novels (and one of my all-time literary favourites too) see the light of day, but at least his co-author Neil Gaiman was around to bring it to fruition with the aid of seasoned TV director David Mckinnon (Jekyll, Doctor Who, Sherlock), and the end result sure did him proud, perfectly capturing the deeply satirical voice and winningly anarchic, gleefully offbeat and gently subversive humour of the original novel. David Tennant and Michael Sheen could both have been born to play Crowley and Aziraphale, the angel and demon nominally charged with watching over the young Antichrist in preparation for his role in the End Times, even though they would both much rather the world just went on quite happily the way it is, thanks very much. This is about as perfect an adaptation as you can get, the six hour-long episodes giving the surprisingly complex story time to breathe and grow organically, and the result is the most fun I spent in front of my TV this year.

#best TV 2019 #watchmen #the boys #preacher #the witcher #carnival row #love death + robots #love death & robots #the dark crystal age of resistance #The Umbrella Academy #stranger things 3 #good omens

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aion-rsa · 4 years

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Dune Trailer Breakdown and Analysis

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This article contains spoilers for the Dune book and probably the movie. You’ve been warned.

The first trailer for Denis Villeneueve’s Dune is here and it certainly doesn’t disappoint. Showcasing a spectacular all star cast, truly epic visuals, and a surprising Pink Floyd song choice, this looks like a faithful adaptation of Frank Herbert’s legendary sci-fi novel.

Well…half of it, at least. Y’see, Warner Bros. and Villeneueve have (wisely) opted to split the book into two films. So everything you see in this trailer is roughly from the first half (or less) of the story.

If you haven’t seen it yet, here it is…

Pretty spectacular, right? Now, let’s dive in…but before I start, a note about spoilers.

Look, if it’s in the marketing material, it isn’t a spoiler. And it’s tough to truly spoil a book that is almost 60 years old, especially when David Lynch adapted this back in 1984, in a version that has been widely seen and is inexplicably beloved. Nevertheless, I’m keeping this spoiler light, and trying not to allude to stuff in the latter half of the book, although you can draw some pretty strong conclusions from what’s shown in the trailer.

My own analysis here is mixed in with quotes from the cast, taken from a Q&A that was moderated by Stephen Colbert.

Paul Atreides

That’s Timothee Chalamet as Paul Atreides, the protagonist, if not the actual “hero” of Dune, inasmuch as this story has any actual heroes. He’s only 15 years old, leaving his comfortable existence on his home planet, because his family has just won the contract to mine the most valuable commodity in the galaxy, the spice Melange, on the planet Arrakis.

And yes, as you expect, there is more to him than there might seem to be at first. We wrote more about Paul here.

Chani

Zendaya is Chani, a Fremen of the planet Arrakis. Some of Paul’s narration in this trailer seems to be based around prophetic dreams he has had of eventually meeting Chani on Arrakis.

“I think upon their first meeting, she doesn’t … She’s tough,” Zendaya said in a cast Q&A. “She’s a warrior. She’s native to this planet. This is all she knows. And so, this kind of other kid coming in, she’s not really feeling it. And that’s to the Fremen culture, that they have strong culture and bond within and amongst each other…she obviously doesn’t know about these visions and things. And he knows her, she doesn’t know him. And there’s these moments that … don’t want to give anything away, but these moments where she sees something in him that is obviously an indicator of what is to come.”

We have more on Zendaya’s role in the film here.

Speaking of dreaming, here’s Paul in his bedroom back on his home planet of Caladan in the Atreides ancestral home, Castle Caladan. Based on the book, this scene takes place shortly before the Atreides family departs for Arrakis.

For an even more fun detail from the book, the headboard of Paul’s bed is exactly as it’s described in Herbert’s novel.

Reverend Mother Gaius Helen Mohiam

This is the Bene Gesserit Reverend Mother Gaius Helen Mohiam (played by Charlotte Rampling). She reports directly to the Emperor, but was also the teacher of Paul’s mother, the Lady Jessica.

Fans of David Lynch’s film may remember the key role she played in determining that young Paul had an extraordinary destiny, and that scene plays out throughout this trailer.

Notably…

“What’s in the box?”

“Pain.”

This box literally causes pain, but with no physical damage. What’s happening here is the Reverend Mother has summoned Paul to see if he has some of the Bene Gesserit physical/mental control powers. When Paul’s hand is placed in the box, nerves are stimulated causing pain.

In the book the level of pain is described as if the flesh is being seared from his bones, although no actual damage is done.

The Gom Jabbar

Ah, but what’s a test without consequences, right? To make sure that Paul takes this little test seriously, the Reverend Mother holds this nasty little device to his neck.

It’s called a gom jabbar, described in the book’s “Terminology of the Imperium” appendix as “the high-handed enemy; that specific poison needle tipped with meta-cyanide used by Bene Gesserit proctors in the death-alternative test of human awareness.

In other words, if Paul pulls his hand out of the box of pain (please, no Grateful Dead jokes), he’ll be pricked with this extremely poisonous needle and die an agonizing actual death.

Shields

So you know how in Star Wars and Star Trek ships have shields and deflector screens? In the world of Dune, you get personal energy shields!

According to the “Terminology of the Imperium” these defensive shields “will permit entry only to objects moving at slow speeds (depending on setting, this speed ranges from six to nine centimetres per second).”

In other words, no guns or projectile weapons work with someone wearing a shield, making the art of personal combat that much more important in this universe…

…hence Paul training with blades here. And his instructor?

Gurney Halleck

That would be Gurney Halleck (Josh Brolin), who is responsible for teaching Paul how to use weapons and defend himself. And kick his ass when necessary.

“Gurney is the war-master,” Josh Brolin said. “He’s also kind of a parent of sorts, where Duke Leto is obviously busy, extremely busy, in what he’s doing. And he’s taken a real liking to this kid, and I think he has a real soft spot. So Gurney Halleck is like a great dichotomist character, because he’s this great kind of brave-heart warrior, but at the same time, has a love of poetry and kind of heart, and there’s a softness to him…It was fun to play.”

Duke Leto Atreides

Paul’s father, Duke Leto Atreides (Oscar Isaac) appears to be taking one last look at his home planet of Caladan before departing for Arrakis.

“He’s a father, and he’s got all the qualities of, I think, what the epitome of what a father should be,” Isaac told Colbert. “He’s noble … and under incredible pressure to save his family, save his house, but to adapt to this new existential threat situation, which is moving to this strange planet, and being forced to, and being able to see that there could be a trap, that it could be … there’s a lot of things at work, and yet, trying to live up to those bigger ideals, which is sensitivity and empathy and love and order, and trying to give that and show that to his son, knowing that he’s not going to be there forever, in the hopes that they can use this dark, strange situation to their advantage.”

The Planet Caladan

This is the surface of planet Caladan, the lush, watery planet that the Atreides family leaves for um…dryer pastures on Arrakis.

Lady Jessica (Rebecca Ferguson)

This is the Lady Jessica (Rebecca Ferguson), the Duke’s concubine and the mother of Paul Atreides. Don’t mistake her for a passive observer, though. She’s a Bene Gesserit, which makes her something like a combination of a psychic badass and a superspy. She’s absolutely central to the story.

“She’s [Leto’s] dearest partner in greatness, but she has her own weird, Bene Gesserit, prophet, spy thing going on,” Isaac said. “And I think he kind of doesn’t really get too much into what that’s all about. He understands she has this specific role to play. And then he’s got a son that might be the messiah, so there’s a lot going on there.”

“She’s the engine of the family,” he continued. “She’s the engine of the events that happen, and it’s a long game that’s being played, over millennia, and she’s part of that…she’s in a very interesting place too, because she understands that there’s a much greater mission to accomplish, and yet, she also loves her family and wants to protect them in any way she can. So it is. They’re a family in an insane amount of pressure and a lot of conflict. But I think at the core of that, it’s an intense love that they have for each other.”

Timothee Chalamet also sings the praises of both the character and the actress.

“There is no Dune without Lady Jessica,” Chalamet said. “And without giving anything away, although the book has been out for decades, anybody can read it, they … Lady Jessica ignores the order of the Bene Gesserit. She’s supposed to have a girl, and she has a boy instead. And that’s one of the triggering events of Dune.”

The Planet Arrakis

Arrakis, the titular Dune of the film, is quite a change from Caladan, isn’t it? It’s a planet of great strategic importance, with an incredibly valuable natural resource, that powerful factions are willing to go to war over.

So, you know, nothing political about this at all.

Thufir Hawat

I’m pretty sure that’s Stephen McKinley Henderson as Atreides family Mentat (and Master of Assassins) Thufir Hawat visible between Paul and Gurney here.

Duncan Idaho

Meet Duncan Idaho (Jason Momoa), swordmaster of the Atreides and one of the most trusted lieutenants of Duke Leto. Duncan was sent ahead to Arrakis which is why he’s so pleased to see everyone here.

Momoa described his character with his typical aplomb as “basically the greatest fighter in the fucking world,” before adding, “he just would do anything to protect Paul…and looks up to all these guys.”

The “these guys” in question are the Fremen, the fierce natives of Arrakis who the charming Idaho is trying to make into allies for the Atreides.

Stilgar

Stilgar (Javier Bardem) is a powerful Fremen leader and potential ally of the Atreides as they acclimate to Arrakis.

“Stilgar is the head chief of the people that live deep in the desert of planet Arrakis, which is also known as Dune,” Bardem said. “He’s a leader, and he’s a fighter. He has a lot of ethics and morals, and he’s taken by the message that the messiah, Paul Atreides, is bringing with him…They are kind of protecting their environment and their planet…So there’s a lot of ethics and morality and also environmental thinking in their ways, which I think is brilliant in the book and in the movie.”

The Harkonnen Homeworld

I’m not completely certain, but I’m pretty sure this is Giedi Prime, the homeworld of House Harkonnen.

Beast Rabban

That’s Dave Bautista as “Beast” Glossu Rabban, the nephew of the film’s nasty villain, the Baron Vladimir Harkonnen. He doesn’t look particularly healthy, does he?

“I grew up a massive WWE fan, and I’d never met Bautista… let alone Bautista, the real human,” Timothee Chalamet said. “And his excitement being there, having already worked with Denis [on Blade Runner 2049]. And when you see an actor that’s already worked with a director and is more humbled than ever and is more excited to be there than ever…just kind of set the bar on these kind of movies.”

Anyway, speaking of the Harkonnens…

Baron Harkonnen

This might be a completely unrecognizable (and disgusting) Stellan Skarsgård as Baron Vladimir Harkonnen.

“I will say that my secret weapon for that was Stellan Skarsgård, because you put Stellan with the way we designed the Baron and we shoot him,” Villeneuve said. “People will understand right away what his position regarding the Atreides and what is the difference of moral values between the Atreides and the Harkonnens.”

If the above shot is any indication, he ain’t kidding.

I’m not totally sure what we’re looking at here, but the most likely explanation is Harkonnen soldiers.

Liet Kynes

Sharon Duncan-Brewster is Liet Kynes, an ecologist studying Arrakis. In the book and Lynch film, Kynes was a male character, but that has been swapped here.

“Denis was adamant that we just concentrate on what Kynes represents and thematically, the sense of … he’s an integral role,’ Duncan-Brewster said. “He connects all the dots. He connects the Harkonnens, he connects House of Atreides, he connects the Fremen, planet Arrakis, the sand-worms. This is somebody who understands … and moves in between each and every one, seemingly with one agenda. But however, as things go, we start to understand that there is more gameplay-ing or survival or preservation for the good of certain people or individuals or beings.”

Dr. Yueh

This is Dr. Wellington Yueh (Chang Chen), a doctor who works for the Atreides. The black diamond tattoo on his forehead identifies him as a member of the Suk School, the greatest doctors in the known universe.

Spice Harvester

There’s a great scene in the book (and in the Lynch film) where a spice harvester gets swallowed by a sandworm and, well…here it is.

Ornithopters

These weird dragonfly like vehicles you’re seeing here are Ornithopters. They’re man made aircraft that flap their wings like birds.

Sandworms

And there it is, Shai-Halud, the notorious and iconic sandworm of Arrakis. These things can be 400 meters long, are essentially immortal, and unless another sandworm kills them or they drown in water (which isn’t exactly in great supply on Arrakis), they aren’t going anywhere.

The “Terminology of the Imperium” gives an ominous indicator of how powerful these are, with “most of the sand on Arrakis is credited to sandworm action.”

Dune is currently scheduled to open on Dec. 18.

Did you spot anything we missed? Let us know in the comments!

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