In my previous discussion regarding this enduring archetype of film and television, I focused most of my attention on the mythological warrior woman—she who transcended from history and myth onto the screen—and the varied attempts made to bring her to life. Today, however, I’m going to talk about pop culture and the gift of the modern Amazon that Hollywood has bestowed upon us.

It is clear that there is an ever-growing trend of powerful women onscreen. This would perhaps hint at a change in society’s attitude toward women, to begin with, if only to the untrained eye. We’ve gone from screaming victims and hapless dancers to ruthless avengers and superheroines in scanty outfits, always ‘packaged’ for maximum commercial consumption. Yet, at the same time, we’ve managed to (accidentally?) create more complex female characters for generations to come. I could hardly call it a feminist victory—in certain aspects, Western society still has a way to go, but it is best to enjoy the full half of the glass.

‘THE AVENGERS’ (1961-1969), ©ASSOCIATED BRITISH CORPORATION

The Land Before Time

During the ‘60s, there was a massive influx of testosterone-powered tales of great adventures whose heroes exhilarated their audiences by killing ferocious animals with their slick revolvers before they found themselves speechless in front of a full-breasted lady that sort of… ‘didn’t belong’. From thereon, almost accidentally, the ‘wild heroine’ evolved.

Filmmakers opted for exotic or prehistoric landscapes in which to challenge their female protagonists, usually in eras when clothing was scarce, which was fine for exposing their gorgeously chiselled curves. Almost always, the leading lady was a blonde, a ‘white goddess of the jungle’—just one example of the many racial tones that consistently plagued productions of that era, as ‘white’ was perceived as code for ‘good’ and ‘black’ was considered ‘evil’.

The most memorable prehistoric warrior queen of that time is Raquel Welch as Loana in ‘One Million Years B.C.’ (1966). While it elevated her to international sex-symbol status, the film itself was a remake of a 1940 original that starred Carole Landis and Victor Mature, and most of its box-office power stemmed from the nearly gratuitous exploitation of Welch’s stunning figure—her character sports fur bikinis, heroically rescues the male protagonist Tumak, and has heated fight scenes with equally enticing cavewomen, dancing dangerously on the edge of volcanic eroticism.

Loana inadvertently falls for Tumak and leaves her beloved tribe and known world to trek across a dangerous desert beside him not as a companion but as an equal. She faces dangers and fights dinosaurs and members of the rock tribe, yet she doesn’t alienate the male audience with her warrior nature. Fundamentally, Loana is still the nurturing and composed influence of the story, smoothly sliding into the traditional and universally accepted slot usually reserved for women in film and literature.

‘ONE MILLION YEARS B.C.’ (1966), ©HAMMER FILMS

Before Welch, former model Irish McCalla had made her share of waves as a ‘wild presence’, donning leopard skins and blowing her signature buffalo horn in ‘Sheena: Queen of the Jungle’ (1955-1957). A cause for numerous wet dreams among mid-century teens, this particular depiction bears a striking resemblance to the Venus of Laussel, a Palaeolithic deity dating back 20,000 years, as identified by David Broad in his article for ‘Studies in Popular Culture’ of 1997. Like many of her warrior counterparts in television, Sheena was a product of the comic book realm, created as a female rival to Tarzan by Will Eisner and S.M. Iger.

She, too, was abandoned and raised in the jungle. She, too, displayed the perfect, powerful physical form. She, too, had a flawless sense of right and wrong. Alas, Sheena’s popularity was doomed to eventually fade, given that period’s repressive Eisenhower-McCarthy climate when social emphasis became laser-pointed on the nuclear family. The woman needed to be pushed out of the workforce that had previously welcomed her during WWII and sent back into the ‘loyal housewife’ or ‘brainless bombshell’ moulds, instead.

But while it lasted, ‘Sheena: Queen of the Jungle’ presented an indisputable appeal through Ms McCalla, a pinup dame that reminded Hollywood brass and network viewers of the Marilyn Monroe and Jayne Mansfield type that had already blown up on the silver screen. As a character, she was notedly different: innocent yet strong-willed, a fighter, and a nurturer.

‘SHEENA: QUEEN OF THE JUNGLE’ (1955-1957), ©NASSOUR STUDIOS INC.

Other notable examples of the savage woman warrior from lost ages include ‘Jungle Girl’ (1941), a fifteen-part serial based on Edgar Rice Burroughs’ novel that follows France Gifford’s Nyoka becoming a reckoning force of wilderness; ‘Saga of the Viking Women and their Voyage to the Waters of the Great Sea Serpent’ (1957) by Roger Corman, which sees traditional roles reversed with men kept in bondage as the women pursue their rescue; and a ton of otherwise mediocre titles that include the word ‘Amazon’ solely as an excuse to use as little costume material as possible.

The Warrior Ladies of ‘Conan the Barbarian’

The ‘70s had been brewing a comeback of the warrior queen for quite a while before Robert E. Howard’s Conan hit the big screens. The three movies that ultimately secured Arnold Schwarzenegger’s career also brought forth some phenomenally badass women, heavily influenced by ‘Wonder Woman’ (1975-1979) and ‘The Bionic Woman’ (1976-1978). At the time, there was also a steady fandom growing around the French comics of ‘Metal Hurlant’ and their English sister ‘Heavy Metal’, along with the smashing success of the ‘Dungeons & Dragons’ roleplaying game. It’s what we, today, might call a perfect storm.

‘CONAN THE BARBARIAN’ (1982), ©UNIVERSAL PICTURES

Valeria of ‘Conan the Barbarian’ (1982) was the first to combine all of the above elements, epitomizing the Viking ideal of power and beauty. Portrayed by Sandahl Bergman, she was tall, blonde, gorgeous, and a worthy match for Conan on every level. She equalled him in thievery and in lovemaking, ultimately winning his eternal devotion when she sacrificed herself to save him from James Earl Jones’s villain Thulsa Doom.

‘CONAN THE DESTROYER’ (1984), ©UNIVERSAL PICTURES

In ‘Conan the Destroyer’ (1984), the female protagonists are decidedly strong-willed. Queen Tamaris, played by Sarah Douglas, is ruthless in her desire to awake the god Dagoth and rule beside him, while teen princess Jehnna, embodied by Olivia D’Abo, is spoiled but wise to follow her instincts since Conan’s judgment is still clouded by the loss of Valeria. My absolute favourite is Grace Jones’s Zula, an incarnation of the model’s performance art—gorgeous, gender-bending, primal, and fierce as a panther.

The third film of the Conan series, ‘Red Sonja’ (1985), was a painful stretch and a box-office flop. It ended further adaptations that had been originally planned for Schwarzenegger’s iconic character even though it didn’t feature him onscreen. While still based on Howard’s stories, the film brought forth Brigitte Nielsen as the dominating female protagonist and alluring fantasy warrior. Unfortunately, the lack of acting chops and irritating attempts at annoying relief tanked the whole franchise. Fortunately, there’s a reboot on the way, penned by Joey Soloway and Tasha Huo, and featuring Hannah John-Kamen of ‘Ant Man and the Wasp’ (2018) and ‘Brave New World’ (2020) fame as Red Sonja.

‘RED SONJA’ (1985), ©DINO DE LAURENTIIS COMPANY

The Honourable Shieldmaiden

Most of the high fantasy genre is still male dominated. No surprise there, considering oeuvres such as the ‘Lord of the Rings’ trilogy by J.R.R. Tolkien, whose Middle-Earth realm is fought over and controlled by the men of the species—human, elf, hobbit, and orc alike. We’ve got Aragorn, son of Arathorn and key protagonist. We’ve got Frodo, Sam, Pippin and Merry. We’ve got Legolas and Gimli. Gandalf and Saruman. We’ve got Elrond and Eomer and, well, you get the picture. Sure, let’s give Arwen a nod here, why not? After all, Peter Jackson did do a grand job of recalibrating Tolkien’s handful of female characters for a generation of viewers that are better accustomed to women in combat roles.

But the true warrior woman exception of ‘The Lord of the Rings: The Two Towers’ (2002) and ‘The Lord of the Rings: The Return of the King’ (2003) is the incomparable Eowyn, niece of King Theoden, superbly portrayed by Miranda Otto. Demonstrating her expertise with bladed weapons early on, she comes across as an aggressive fighter unfortunately still repressed by the king and by the traditional role that she’s expected to fit into—despite death itself knocking on Rohan’s battered gates. By the climax of the trilogy’s third part, however, Eowyn has slipped into a suit of armour and joined the armies of men against the evil of Sauron. She has fought valiantly and nearly died to defend humanity’s ideals. She has resisted darkness and despair, and she has held her king in his dying moments.

‘THE LORD OF THE RINGS: RETURN OF THE KING’ (2003), ©NEW LINE CINEMA

Xena and Her Conscience, Gabrielle

Originally designed as a companion to ‘Hercules: The Legendary Journeys’ (1995-1999), ‘Xena: Warrior Princess’ (1995-2001) went on to outgrow its brother and became a turning point in the history of television due to its exquisite development of the warrior woman archetype within that epoch and its sensible approach to depicting female protagonists, in general—as opposed to the usually objectified babes I mentioned earlier. What I found most extraordinary was the depth with which fans (most of them women) connected with the show. It was an intimate relationship that led to numerous discussion boards dissecting each episode, proving that Xena’s supporters weren’t just passive consumers but interactive viewers who later shaped and steered the show.

Once one begins to peel away at the many layers that made Sam Raimi’s work such a success, one can’t help but notice the beautiful dynamic between Lucy Lawless’ spicy Xena and Renee O’Connor’s more down-to-earth Gabrielle. The warrior and the maid. The sword and the shield. The fighter and the peacemaker. Through the entire series, Gabrielle becomes Xena’s focal point and recipient of all her affection and loyalty, leading to the protagonists splendidly complementing each other. The former is more ‘traditionally feminine’ and the latter’s conscience, a counterweight to Xena’s cruel instincts that once defined her violent past. In this show’s universe, the warrior queen carries herself with two equally beautiful faces: Xena and Gabrielle.

‘XENA: WARRIOR PRINCESS’ (1995-2001), ©MCA TELEVISION

The Monster Killer

For a long time in horror films, there was a recurring pattern of the woman conceptualized more as victim than as hunter, which is why the ‘90s and the ‘00s rose in rebellion with tales of modern female protagonists who turned the trope inside out and started fighting back against the terrible monsters. See Milla Jovovich in ‘Resident Evil’ (2002), for example, who reacts with instinctive power and magnificent combat techniques when zombies and mutant beasts come to kill her.

The Gothic heroines of the past are gone. In their place come enticing femme fatales who wield stakes and blades and machine guns with remarkable ease. See Kate Beckinsale in ‘Underworld’ (2003), in which she takes on the lead not only as a woman but as a vampire—a monster hunting monsters. Clearly, the warrior queen at the turn of the new century is infinitely more complex and dons a darker side.

‘UNDERWORLD’ (2003), ©LAKESHORE ENTERTAINMENT

This new action figure was skilfully defined early on through ‘Buffy the Vampire Slayer’ (1997-2003), winner of two Primetime Emmys and the favourite show of several generations. Joss Whedon’s cult classic wasn’t expected to do as well as it did, ultimately spawning a spinoff for David Boreanaz in the process. Truth be told, the series is one of the most ambitious feats of television that virtually reshaped parts of the creative process behind future similar monster-slashing projects. It did a spectacular job with character development, too.

The monsters were never the dominant aspect of ‘Buffy the Vampire Slayer’. They served as bloody and exciting décor for a story whose heroine tried to wade through life as a young adult, as a misfit, as a daughter and as a friend, struggling with the common issues that made Sarah Michelle Gellar’s character so relatable and beloved by most—love, life, death, sexual experimentation, and profound self-identity crises. At times campy and worn out, the show did bring forth a protagonist that became a celebrated milestone in TV history.

‘BUFFY THE VAMPIRE SLAYER’ (1997-2003), ©MUTANT ENEMY

Not forgetting Lori Petty’s prolific ‘Tank Girl’ (1995), Diana Rigg’s statuesque, raspy-voiced Emma Peel in ‘The Avengers’ (1961-1969), Sigourney Weaver’s Ripley in ‘Alien’ (1979), Jennifer Garner’s Sidney in ‘Alias’ (2001-2006), nor Uma Thurman’s Bride in ‘Kill Bill: Vol. 1’ (2003), among many others, when addressing the warrior queens of pop culture, it’s delightfully plain to see that the film and television industry have come a long way. Sure, there’s still just as much ahead as we struggle to forge unique and original female characters, but the warrior woman has not only become more popular in recent decades… She has become downright indispensable.

As old as our collective recorded history, the warrior woman’s archetype has found a place in almost every medium. From the ancient myths of the Greek Amazons depicted on ceramic amphoras and frescoes to the literary tales of maidens picking up swords to fight against evil, this particular brand of heroine eventually emerged onto the screens in the 20^th century.

We didn’t simply dream up the warrior queen. Around 1200BC, Fu Hao, one of the sixty wives of Wu Ding, a Shang Dynasty emperor, broke with tradition and led military campaigns, ultimately remembered as the most powerful leader of her time. East of the Caspian Sea, Tomyris ruled over a confederation of nomadic tribes and waged a vengeful war against Cyrus the Great.

‘THE LEGEND OF TOMIRIS’ (2019), ©KAZAKKHFILM STUDIOS

Herodotus wrote of Artemisia I, the Queen of Halicarnassus who fought beside the Persian king Xerxes I during his empire’s second invasion of Greece. There was the remarkable Boudicca of the Celtic Iceni tribe, and there was Triệu Thị Trinh, better known as Lady Triệu, who briefly freed her Vietnam homeland from Chinese rule in the 3^rd century. Our history is filled with fantastic women.

There is nothing sexier than a woman with a weapon in her hand and justice on her side. Hollywood was more than happy to take the warrior queen archetype and unravel it into a plethora of motifs that would later go on to inspire the ‘modern Amazon’. Today, I’ll begin my study with the mythological aspect first, since it has been a treasure trove of story ideas for screens both big and small.

PORTRAIT OF LADY TRIEU

A Patron Saint of France

Joan of Arc was the first true woman warrior to be dealt with by the cinema and the only one to be thus honoured for the first sixty years of film history or so. If you’re wondering why that was the case, the answer will strike you as deceptively simple. Joan was canonized by the Catholic Church more than five hundred years after the same Church burned her at the stake as a heretic. She was a safe bet for filmmakers of the early 20^th century.

Maria Falconetti played the sanctified heroine in ‘The Passion of Joan of Arc’ (1928), led by prestigious Danish director Carl Dreyer. She was followed by Ingrid Bergman in Victor Fleming’s ‘Joan of Arc’ (1948) and later in Roberto Rossellini’s musical version ‘Joan of Arc at the Stake’ (1954). Jean Seberg took her on in ‘Saint Joan’ (1957), directed by Otto Preminger—which was Graham Greene’s more realistic take on the eponymous theatre play penned by George Bernard Shaw.

‘The Messenger: The Story of Joan of Arc’ (1999), Luc Besson’s interpretation of the gender-bending Maid of Orléans, stood out for me. It is a modern and decidedly unconventional treatment of the fabled Joan, which sees Milla Jovovich ‘in physical dimensions and in sexual intensity far removed from any of the Joans before her’, as Dominique Mainon and James Ursini describe her in ‘Modern Amazons: Warrior Women on Screen’.

‘THE MESSENGER: THE STORY OF JOAN OF ARC’ (1999), ©COLUMBIA PICTURES/GAUMONT

The Ancient Greek Amazons

For a long time, the Amazons were believed to be purely fictional, though recent archaeological discoveries place them in the northern and eastern regions of the Mediterranean. They were, in fact, identified as Scythians, and they fought, rode horses, and used bows and arrows just like the men. The Amazons were described as the archenemies of the Greeks. In fact, all Greek champions and heroes of legend, from Theseus to Achilles and Hercules, had to prove themselves by fighting powerful warrior queens—Hippolyta, Antiope, and Thessalia being listed among them.

DC Comics took the Amazon out of the myth and into their printed pages when they created Wonder Woman, one of their most popular characters and an inspiration to little girls and young women everywhere. Diana Prince made her way onto the small screen first in the ‘Wonder Woman’ (1975-1979) TV series, starring Lynda Carter and Lyle Waggoner. Much later, the heroine was brought back by Patty Jenkins with ‘Wonder Woman’ (2017) and ‘Wonder Woman 1984’ (2020), which saw Gal Gadot take over as the revered female warrior and Chris Pine as her beloved, Steve Trevor.

‘WONDER WOMAN’ (2017), ©WARNER BROS.

Boudicca and Guinevere

In English folklore, fiction and history often intertwined, giving us remarkable ladies such as Boudicca. Alas, the Iceni queen never really found a home on the silver screen, though some have tried to bring her story to life. Don Chaffey’s ‘The Viking Queen’ (1967) was a tepid adaptation, at best, and Bill Anderson’s ‘Warrior Queen’ (2003) failed to take off. Despite the honourable intentions, the fierce Boudicca will have to wait a bit longer for a filmmaker to come along and inscribe her name onto the gilded walls of pop culture.

In the meantime, Guinevere of King Arthur fame was transformed into a fierce warrior for ‘King Arthur’ (2004), Antoine Fuqua’s bold take on the English legend. Unlike previous works of literature, Keira Knightley’s Guinevere picks up a bow and arrow and fights the Romans as fiercely as every other man.

‘WARRIOR QUEEN’ (2003), ©MEDIA PRO PICTURES

The Rise of Hua Mulan

Fu Hao wasn’t the only warrior woman to stand out in China, but Hua Mulan was the more popular one worldwide. The Ballad of Mulan, a folk song dating from the Han dynasty, is among the better-known written records of the fabled heroine who took her father’s place in the army in order to serve her country and bring honour to her family. Walt Disney Animation Studios picked her up in the animated ‘Mulan’ (1998) as part of an effort to revamp their princess model and move away from the damsel-in-distress tropes that had begun to alienate audiences of those years. Jingle Ma and Wei Dong tried their hand at a live action version with ‘Mulan: Rise of a Warrior’ (2009), later followed by Disney’s own ‘Mulan’ (2020) with Niki Caro as director.

Much like Boudicca, however, it seems like this story has yet to meet a filmmaker whose creative vision might do her justice. I, for one, have found a better variant of the Chinese warrior woman archetype in epic martial arts films such as Ang Lee’s ‘Hidden Dragon, Crouching Tiger’ (2000) and Zhang Yimou’s ‘House of Flying Daggers’ (2004).

‘MULAN’ (1998), ©WALT DISNEY ANIMATION STUDIOS

Italian Folklore’s Warrior Maiden

Fantaghirò found surprising success in the ‘90s thanks to Lamberto Bava and Gianni Romoli, who drew inspiration from Italo Calvino’s ‘Italian Folktales’ as they brought forth a series of television films dedicated to the brave princess-turned-warrior.

Going against the traditions and customs of her era, Fantaghirò was literate, adventurous, and rebellious, eventually picking up a sword to save her father’s kingdom. Starring Alessandra Martines, Kim Rossi Stuart, and Brigitte Nielsen, and featuring a music score composed by Amedeo Minghi, ‘Fantaghirò’ (1991-1996) drew inspiration from other cult darlings of the high fantasy genre such as ‘Legend’ (1985) by Ridley Scott, ‘Ladyhawke’ (1985) by Richard Donner, and ‘Willow’ (1988) by Ron Howard.

‘FANTAGHIRO’ (1991), ©RETEITALIA/RAI

The Viking Valkyrie

In the Norse tradition, the shieldmaiden Brunhilde is better known as a Valkyrie, present in the Völsunga saga and the Poetic Edda. Most notably, she is central to ‘The Song of the Nibelungs’, one of the first written poems drawn from Germanic oral traditions. Instrumental in the death of the hero Siegfried after he deceived her into marrying Gunnar the Burgundian King, Brunhilde exercised tremendous power and influence, in the end transcending literature and inspiring Richard Wagner as he composed his ‘Der Ring des Nibelungen’ epic music dramas.

Hollywood has had a hard time adapting her story for the screen, however. Uli Edel’s ‘Sword of Xanten’ (2004) featuring Kristanna Loken and Alicia Witt was a flop, mainly because it was marketed as ‘the Nordic legend that inspired J.R.R. Tolkien to write the Lord of the Rings trilogy’ without even a quarter of Peter Jackson’s budget—not to mention storytelling talent.

But Brunhilde has found a different path through Marvel Studios, more recently, in Taika Waititi’s ‘Thor: Ragnarok’ (2017) and the Russo Brothers’ ‘Avengers: Endgame’ (2019). Portrayed by the monumentally talented Tessa Thompson, the character known as Valkyrie serves as a warrior and shieldmaiden of Asgard. Unfortunately, she lacks the complexities and ambitions that once got Brunhilde her own Wagner operas. Much like with Mulan and Boudicca before her, I cling to the hope that someday, someone will give Brunhilde the story she deserves.

‘THOR: RAGNAROK’ (2017), ©WALT DISNEY PICTURES/MARVEL STUDIOS

The Girl and the Dragon

In Romanian folklore, there are stories of Ileana Simziana—the youngest daughter of a king who picked up a sword and went to fight in another king’s army so she might do her sonless father proud. In one version of the myth, Ileana is said to have gone against a mighty dragon. And that’s about all I’ve got.

Honestly, I just needed a mostly unrelated lady-and-dragon segue to squeeze Emilia Clarke’s Daenerys of House Targaryen, First of Her Name and so on into the conversation. In the HBO series, while she doesn’t pick up a sword until the last season and only against the army of the dead, the Mother of Dragons still fits the mould of a warrior queen by conquering enslaved cities to liberate them and by leading her armies across the east before she turns west to take the Iron Throne.

Following closely along the broad strokes of this archetype, Daenerys has a mission, a creed that propels her forward and against ancient adversities. She fights against injustice with a focus on breaking the chains of those enslaved by the wealthy and the cruel. While she starts out as a naïve and innocent girl, Daenerys experiences tremendous suffering before she rises with her dragons and reshapes parts of Essos, proudly donning the Khal’s victory braids as she takes her Unsullied and Dothraki across the Narrow Sea.

‘GAME OF THRONES’ (2011-2018), ©HBO/HOME BOX OFFICE

‘Game of Thrones’ (2011-2019) features more warrior women beside the silver-haired dragon queen—worth praising are Brienne of Tarth, stupendously portrayed by Gwendoline Christie, and fan-favourite Arya Stark, played by Maisie Williams. The former was loosely inspired by Joan of Arc, though George R.R. Martin has mentioned Eleanor of Aquitaine and Xena the Warrior Princess as building blocks for the phenomenal Brienne.

The latter drew on the sexual revolution and on the basis of feminism itself. In an interview with Rolling Stone, Mr Martin explained that he originally envisioned the Stark sisters as two opposing forces, with Sansa as the ‘romantic medieval ideal who dreamed of […] being the mistress of a castle and perhaps a princess and a queen’, and Arya as the counter force, chafing at the roles she was pushed into and favouring sword fights over sewing and singing.

‘GAME OF THRONES’ (2011-2019), ©HBO/HOME BOX OFFICE

Ultimately, the warrior queen quintessence as painted by Hollywood follows a simple but effective recipe which uses two or more of the following: the heroine fights aggressively when she has to; she is never merely a sidekick to any man; she usually belongs to an organization or a culture of other similarly minded women; there is some display of kinship and sisterhood with her own gender, as well, and she uses the classic warrior weapons and tools; she is independent and doesn’t need a man to save her, and in several instances, she lives in a or comes from a ‘lost civilization’.

In a commercially driven society that is inclined to sexualize and objectify female protagonists to absurd levels that degrade the story’s intended realism, the warrior woman has managed to tread a fine line that pleases and intrigues almost every audience. Yes, she is beautiful and downright hypnotizing to most, but her true appeal stems from her ability to purvey justified violence.

It is time to look at my favourite genre, science fiction, and its equally popular but lesser understood cousin, science fantasy—or space fantasy, as I’ve recently taken to calling it. We are reaching a certain point in our cinematic development where a distinction is sorely needed, mainly because newer productions have upped the stakes in terms of storytelling and scientific accuracy. If Isaac Asimov were still alive, he would probably be tearing up right about now.

The thing is… when I ask people what sort of science fiction they like, they often bring up the ‘Star Wars’ and ‘Star Trek’ franchises. But here’s the problem. Only one of the two qualifies as literal science fiction, and to better understand where I’m going with this, I need to take you back to the origin of the term itself: science fiction is ‘fiction based on imagined future scientific or technological advances and major social or environmental changes, frequently portraying space or time travel and life on other planets.’

‘LOST IN SPACE’ (2018), ©LEGENDARY TELEVISION/NETFLIX

Therefore, of the two above, only ‘Star Trek’ undoubtedly qualifies as sci-fi, since it imagines a possible future that might actually happen someday in terms of technological advancement. The science is also an integral part of the story, while Star Wars happened ‘a long time ago’ and ‘in a galaxy far away’—thus qualifying as a space fantasy, which doesn’t rely on an imagined future nor does it stay loyal to science as it imagines incredible worlds.

Space Fantasy: More Dream Than Theory

Breath-taking sights, cool-looking gizmos, fiery lasers, and eye-popping visual effects; giant spaceships, slender fighters, and extraordinary alien creatures; and an overarching sense that we, humans, are but a speck in the eye of the universe—tiny beings, yet always at the centre of a heroic adventure. That’s what space fantasy somehow always ends up being about.

‘Star Wars’ (1977, and still going)

George Lucas’s single most ambitious project didn’t just birth this terrific subgenre, it also revolutionized the special effects industry in cinema and brought the magic of space back into the national conversation. It began with the eponymous 1977 film, later retitled ‘Episode IV: A New Hope’—as the name suggests, the fourth in a series that Mr Lucas had been trying to make and consistently struggling with budget and special effects requirements. The story was simply ahead of its time.

It was followed by ‘Episode V: The Empire Strikes Back’ (1980) and ‘Episode VI: Return of the Jedi’ (1983), with Luke Skywalker’s overarching quest largely shaped by the director’s fondness of mythological theories proposed by Joseph Campbell—most of them were encompassed in ‘The Hero with a Thousand Faces’. To this day, ‘Star Wars’ is among the finest examples for the revered mythologist’s study of the hero’s journey and the stages one must go through in order to ascend and return, stronger than before and able to vanquish his foes.

‘STAR WARS: EPISODE IV – A NEW HOPE’ (1977), ©LUCASFILM/20TH CENTURY FOX

The films were so popular that more productions, both live action and animated, followed. About a decade later, Lucas was able to produce the first three features in his original collection: ‘Episode I: The Phantom Menace’ (1999), ‘Episode II: Attack of the Clones’ (2002), and ‘Episode III: Revenge of the Sith’ (2005), which ultimately reveals Darth Vader’s complicated origins.

By securing merchandizing rights at a time when studios weren’t yet embracing such potential, George Lucas found a way to monetize and further popularize his Star Wars brand and beloved characters, granting silver screen immortality to actors like Harrison Ford, Carrie Fischer, and Mark Hamill. Sequels followed after Lucas sold his rights to Disney, bringing out talents such as John Boyega, Adam Driver, and Daisy Ridley centre-stage. From there, the franchise kept growing with spinoffs and prequels—worth mentioning here are ‘Solo: A Star Wars Story’ (2018) and ‘Rogue One: A Star Wars Story’ (2016).

‘The Mandalorian’ (2019) is a Disney+ darling, and there are at least three more series currently in development, of which one is entirely dedicated to Rosario Dawson’s Ahsoka Tano. I’ll be honest. As long as Jon Favreau and J.J. Abrams continue to be involved in one form or another, I reckon there will be plenty more to be milked from this intergalactic cow.

‘THE MANDALORIAN’ (2019), ©LUCASFILM/WALT DISNEY STUDIOS

‘The Fifth Element’ (1997)

Luc Besson created a timeless work of cinema with this futuristic epic starring Bruce Willis, Milla Jovovich, and Gary Oldman. It made history with its daring production design and bold costume and makeup choices. It even featured opera music by Plavalaguna, the enchanting alien diva voiced by renowned Albanian soprano Inva Mula, along with natural and fantasy motifs—the four elements with Leeloo as the enigmatic fifth, imagined alien species, and ‘magical science’ solutions represent the backbone of ‘The Fifth Element’.

‘THE FIFTH ELEMENT’ (1997), ©COLUMBIA PICTURES/GAUMONT

‘Valerian and the City of a Thousand Planets’ (2017)

Luc Besson’s second foray into the futuristic realm didn’t exactly smash box office expectations, but it dreamed big and it went there. Based on the comic books by Pierre Christin and Jean-Claude Mézières, ‘Valerian and the City of a Thousand Planets’ follows Major Valerian and Sergeant Laureline as they fight to save Alpha, a space station of the 28^th century where beings from different planets live together in a constant exchange of culture and knowledge. Liberal use of visual effects, fantastical alien creatures, and ‘magical science’ via fancy-looking gadgets and multiple ecosystems crammed into a single space-floating station are central to the story.

‘VALERIAN AND THE CITY OF A THOUSAND PLANETS’ (2017), ©EUROPACORP

‘John Carter’ (2012)

Disney’s lesser loved attempt at space was based on a story by Edgar Rice Burroughs, titled ‘A Princess of Mars’. Much like ‘Valerian and the City of a Thousand Planets’, ‘John Carter’ didn’t exactly knock most viewers’ socks off, though it did develop a kind fandom over the years. Academy Award recipient Andrew Stanton delivers a charming hero’s quest here with a Civil War vet protagonist who ends up on Mars, where he faces fascinating foes and saves a gorgeous princess. It is pretty much the silicone mould of space fantasy.

‘JOHN CARTER’ (2012), ©WALT DISNEY STUDIOS

‘Avatar’ (2009)

By imagining an alien species inhabiting the moon Pandora, James Cameron’s visual masterpiece goes farther in detail than others before it. The special effects are visually arresting, and the manic attention to detail within production and character design—not to mention world-building—left me, personally, speechless. The film does tread closer to the ‘magical’ side of cinema, but its Academy Awards for Cinematography, Visual Effects, and Art Direction were absolutely well-deserved. Viewers are soon to be treated to a sequel, too, after years of working to develop new technology for filming performance capture scenes underwater, which were necessary to bring Cameron’s story to life.

‘AVATAR’ (2009), ©20TH CENTURY FOX

Science Fiction: The Soft and Hard Kind

Unlike its pretty-looking cousin, a possible future is always at the centre of the story with science fiction. Yes, we bounce from one planet to another, and yes, we meet new alien species along the way, but all works of sci-fi draw more from Arthur C. Clarke than from Ursula K. LeGuin, in a world-building sense. The science used can be soft, mellow, or hard—the latter being a unicorn of this genre, truth be told, but regardless of accuracy, it is always central to the story and its world architecture.

‘Star Trek’ (1966, and also still going)

There is only one other creator within the cinematic realm that is as loved and revered as George Lucas, and that’s Gene Rodenberry, responsible for the resoundingly influential Star Trek universe. Its premise is simple. In the distant future, multi-species crews of the United Federation of Planets travel across galaxies on missions of peaceful exploration—the aim is ‘to boldly go where no man has gone before’. And so, a plethora of ‘what if’ scenarios are imagined. Most of the science used, such as the warp drive or the transporter, is soft science and purely, dreamy theoretical, yet it helps shape the entire narrative.

‘STAR TREK: THE ORIGINAL SERIES’ (1966-1969), ©PARAMOUNT TELEVISION

The Star Trek franchise stuck mostly to the small screen at first, with the original ‘Star Trek’ series running from 1966 to 1969. It was a roaring success that gifted pop culture with unforgettable characters and memorable lines, quickly growing into a massive phenomenon that spanned movies and animated series, as well. ‘Star Trek: The Next Generation’ was an even bigger hit, enjoying season after season on television from 1987 until 1994, followed by additional spinoffs such as ‘Deep Space Nine’ (1993-1999) and ‘Enterprise’ (2005).

With J.J. Abrams at the helm, Rodenberry’s cosmos was rebooted through the Kelvin timeline in 2009, bringing Leonard Nimoy’s Spock back into the past to reset and reshape the destinies of Captain Kirk and the rest of the original series’ protagonists—here played by Chris Pine, Zachary Quinto, and Zoe Saldana, John Cho, Karl Urban, Simon Pegg, and Anton Yelchin. Streamers have since picked up several series, including ‘Discovery’ (2017) and ‘Picard’ (2020).

‘STAR TREK’ (2009), ©PARAMOUNT PICTURES

‘Firefly’ (2002-2003) & ‘Serenity’ (2005)

Joss Whedon’s project brought the incomparable talents of Nathan Fillion, Gina Torres, and Alan Tudyk to the small screen while also blending the grittiness of the western genre into science fiction in a way that just… made sense. Despite its hybrid nature and undeserved cancellation, the show tried honourably to use real science—one of the few who bothered at the time, actually, and that’s part of what made it so popular.

‘Serenity’ was meant to tie up loose ends after Whedon secured funding for the feature, but ‘Firefly’ retains a loyal following to this day, and for good reason. I’ll sneak some praise here for other cult classics based in outer space: ‘Babylon 5’ (1993-1998), ‘Farscape’ (1999-2003), and ‘Battlestar Galactica’ (2004-2009), which deserve love for their boldness and often surprising character complexity.

‘FIREFLY’ (2002-2003), ©20TH CENTURY FOX TELEVISION

From ‘Alien’ (1979) to ‘Prometheus’ (2012)

No one will ever forget the alien xenomorph bursting out of John Hurt’s chest in Ridley Scott’s legendary feature film. No one. But beyond the shock value, the frighteningly beautiful character design by H.R. Giger, the Academy Award-winning visual effects, and Sigourney Weaver’s illustrious performance, ‘Alien’ and its sequels were pretty good at imagining a possible future for humanity.

Yes, there could be life out there, and yes, contact might get everyone killed. More than three decades after the first ‘Alien movie’, Mr Scott took his story deeper into the realm of ‘what if’ with ‘Prometheus’, the prequel that sought to answer a greater question regarding humanity’s own starting point: what if Earth isn’t our point of origin, after all?

‘ALIEN’ (1979), ©BRANDYWINE PRODUCTIONS/20TH CENTURY FOX

‘2001: A Space Odyssey’ (1968)

Arthur C. Clarke’s most popular novel was developed concurrently with Stanley Kubrick’s iconic film, the latter considered one of cinema’s greatest feats of science fiction—ambitious and remarkable in its execution. Some of the multiple themes explored within this epic space adventure include the perils of artificial intelligence, the dangers of nuclear warfare, and the risks of technological advancement. We are capable of incredible things as a species, said both Mr Clarke and Mr Kubrick, but we are also capable of terrible things.

‘2001: A SPACE ODYSSEY’ (1968), ©METRO-GOLDWYN-MAYER (MGM)

‘Interstellar’ (2014)

As far as space exploration movies go, Christopher Nolan’s oeuvre is at the top of my list for science fiction cinema. It’s a work of art and science somehow finding common ground to propose a possible future, where man must travel through a wormhole in order to secure humanity’s survival. An ambitious tale to tell through breath-taking performances from Matthew McConaughey and Anne Hathaway, ‘Interstellar’ puts the theory of black holes acting as wormholes to the test.

The result is mind-boggling, particularly through its simulation of a Gargantua, which rendered even esteemed astrophysicist Kip Thorne (whose mathematics made the simulation possible to begin with) speechless! While there is so much we still don’t know about our universe, one thing is clear: our minds are able to transcend it, already.

‘INTERSTELLAR’ (2014), ©PARAMOUNT PICTURES/WARNER BROS.

‘The Expanse’ (2015)

Since Amazon’s exceptional science fiction series based on James S.A. Corey’s novels first streamed, HBO and Netflix have taken their own cracks at tackling the genre in an episodic structure—worth noting ‘Altered Carbon’ (2018), ‘Nightflyers’ (2019), and ‘Raised by Wolves’ (2020), mainly for their ambition of blending possible futures into fantastic, science-based (mostly!) storytelling. Alas, none reach the astounding levels ‘The Expanse’, and I’m confident in this statement for two reasons:

First, it’s the science. For obvious reasons, the protomolecule, while essential to the plot, is pure fantasy. So are the juice injections that help the human body withstand multiple-G speeds and the Epstein drive which allows for interplanetary travel—while neither is necessarily impossible, even theories fail to explain them.

‘THE EXPANSE’ (2015), ©AMAZON PRIME VIDEO/SYFY

Yet almost everything in the series is dedicated to scientific realism, and it offers an incredible foundation to build on. Space is a cruel mistress, and its varied living conditions, from the void’s lack thereof to Earth’s thriving atmosphere, show viewers the different ways in which humans might be able to survive in the future beyond our planet.

Second, creators Mark Fergus, Hawk Osby, Daniel Abraham, and Ty Franck manage to weave these scientifically-accurate realities into what I shall gladly describe as a ‘Game of Thrones in Space’, thus expanding on this possible future by studying mankind’s societal and political evolution over the span of four centuries, without skimping on the violence and intrigue. Our nature is both exploratory and destructive, and ‘The Expanse’ holds a mirror up to us in a genuinely startling fashion.

‘THE EXPANSE’ (2015), ©AMAZON PRIME VIDEO/SYFY

Of all the titles listed above, ‘The Expanse’ and ‘Interstellar’ represent a pivotal point in science fiction through their ability to convey an astoundingly coherent and potential hereafter for our species. I can only dare hope that upcoming film and TV productions will pay similar attention to the hard science upon which our very existence is built. While I will always love an epic space fantasy done right, it is truly an unforgettable experience to look at a movie or a TV series and realize that we might someday actually get that far. That our world can be bigger. Much bigger.

Since I’m not a fan of lists but can’t seem to stop myself from enumerating the best that cinema and television often have to offer, I’ll try a more scholarly approach today mostly because I’m eager to make a distinction between ‘fantasy’ and ‘epic fantasy’ on the small screen. In a previous article, I discussed some of the greatest film franchises to come out of works penned by J.R. Tolkien and Frank L. Baum, to name but two luminaries of the literary genre we know as ‘epic fantasy’.

For the silver screen, the challenge of adapting such works was gleefully accepted and—on several occasions—stupendously met by talented and insanely brave directors. But as audiences worldwide evolve, so does our appetite for the consumption of ‘epic fantasy’ in larger formats. We want more, even if we get it in an episode-per-week ratio. Give us ten seasons of this marvellously detailed worldbuilding sprinkled with gasp-inducing intrigue, and we’re yours forever. Naturally, the demand for televised ‘epic fantasy’ has grown, forcing screenwriters and showrunners to adapt.

‘THE LORD OF THE RINGS: THE TWO TOWERS’ (2002), ©NEW LINE CINEMA

Personally, I don’t think it’s a bad thing, but I do believe we’re coming up short on the ‘epic fantasy’ genre on TV. There are plenty of ‘fantasy’ series to binge on—‘Charmed’ (1998-2006) and ‘Buffy the Vampire Slayer’ (1997-2003) certainly qualify as decent chunks of a starter kit. If you’re deeper into the scary side of things, the ‘American Horror Story’ (2011) anthology will deliver plenty of genuine goose-bumps and squeals. For anime fans, ‘Avatar: The Last Airbender’ (2005-2008) is one of the best that the genre has to offer, and let’s not forget Bryan Fuller’s earlier masterpieces, ‘Dead Like Me’ (2003-2004) and ‘Pushing Daisies’ (2007-2009), both brilliant and equally ahead of their time. Yet we haven’t gotten to the aforementioned ‘epics’!

What does make a story epic, after all? Is it the worldbuilding? For that, I’m inclined to consider ‘Xena: Warrior Princess’ (1995-2001), the infinitely more successful spinoff of ‘Hercules: The Legendary Journeys’ (1995-1999), as a worthy candidate. Lucy Lawless and Greek mythology combined was a good early recipe. Is it the willingness to cross boundaries and try something bold and modern? ‘True Blood’ (2008-2014) comes to mind—and no, I don’t think we’re ready for a remake yet. Then what is it? The fandom, perhaps, that raises a tale to such high-sounding standards? I would be willing to consider ‘Once Upon A Time’ (2011-2018) for task, then, or better yet, the cult darling ‘Supernatural’ (2005-2020), which boasts a spectacular fifteen-year run.

But no. We’re going elsewhere with this. We’re going farther than we have ever gone before, because the market of ‘televised epic fantasy’ has only just begun to blossom, and it’s mostly due to the sheer size of the oeuvres that are being adapted and repackaged for a broader and more patient audience. Developing such projects demands gargantuan sacrifices of time, money, and human resources—settling anywhere below will inadvertently lead to underwhelming, vapid fluff.

‘XENA: WARRIOR PRINCESS’ (1995-2001), ©MCA TELEVISION

‘The Magicians’ (2015-2020): Surprisingly Epic

Learning plenty from her work with Eric Kripke on ‘Supernatural’, Sera Gamble teamed up with John McNamara to bring Lev Grossman’s novels to the small screen. When SyFy decided to invest in this show, they were probably aware of the risks—the raunchy magic tale works differently on the page than it does onscreen, yet even so, ‘The Magicians’ stands apart from the rest of the crowd. Sure, there are things I might have done differently with some of the narrative threads, but still…

Story-wise, it is daring enough to be awarded a tiny ‘epic fantasy’ badge. It’s basically ‘Harry Potter’ but with drugs, booze, ancient gods, and potty mouths. Its worldbuilding is complex and imaginative enough, borrowing elements of Greek mythology and quantum physics along the way. It also has a considerable fanbase to work with. Unlike ‘The Shannara Chronicles’ (2016-2017), which was bland and deservedly short-lived, ‘The Magicians’ survived for five seasons as it pushed its young protagonists into difficult situations that required tremendous sacrifices. In some cases, their choices came at a horrific price.

‘THE MAGICIANS’ (2015-2020), ©NBC UNIVERSAL TELEVISION

‘American Gods’ (2017): Neil Gaiman Done Right

I’m equal parts doubtful and eager whenever a Gaiman project is announced for television. It’s probably because of the emotional investment that I have in his work. Nevertheless, most of his adaptations have not disappointed, least of all ‘American Gods’, which is based on my favourite book. When it comes to ‘epic fantasy’, this story has every box ticked, albeit with one particularly worrying asterisk.

My only issue with the Starz-produced series is the studio’s inability to retain showrunners—thus losing important actors along the way. The first season, helmed by the brilliant Bryan Fuller and Michael Green, did a wicked job of transforming ‘American Gods’ into high-quality television art. But after budget-related conflicts, Fuller and Green were pushed out of the project, which led to Gillian Anderson and Kristin Chenoweth’s subsequent departure. Jesse Alexander of ‘Heroes’ (2006-2010) fame sort-of took over, though it’s still unclear as to the depth of his involvement—which didn’t last longer than the second season, anyway.

After another hiatus, ‘American Gods’ has finally returned under Charles ‘Chic’ Eglee, better known for ‘Moonlighting’ (1986-1989) and ‘The Shield’ (2004-2008), but even that isn’t without a harrowing loss. According to an expletive-laced video posted on Twitter, Orlando Jones (Mr Nancy) stated that he was fired from the series because the showrunner doesn’t understand his character. According to the actor, Eglee ‘thinks that Mr Nancy’s angry, get s—t done [attitude] is the wrong message for Black America’. Yet when I’m nervous about a Neil Gaiman adaptation, they tell me I’m overthinking…

‘AMERICAN GODS’ (2017), ©FREMANTLE/STARZ!

‘His Dark Materials’ (2019): Now That’s What I Call Epic!

Philip Pullman’s trilogy is one of the best works of fantasy I read whilst coming of age. It’s an ambitious story that follows two gifted children as they wander through a series of parallel universes and fight for freedom and survival against exceptionally dark forces. An especially appealing element is the daemon, a manifestation of the inner-self as an animal being.

Pullman once named John Milton’s ‘Paradise Lost’ among the influences for ‘His Dark Materials’, abruptly rejecting any comparison to C.S. Lewis’s ‘The Chronicles of Narnia’, which he characterised as ‘blatantly racist’ and ‘monumentally disparaging of women’. Needless to say, ‘His Dark Materials’ ascends among the better works of ‘epic fantasy’, and given the author’s direct involvement, HBO’s adaptation does a better job than its feature-length and stale-cotton-candy predecessor, ‘The Golden Compass’ (2007).

‘HIS DARK MATERIALS’ (2019), ©HOME BOX OFFICE (HBO)

‘Carnival Row’ (2019): An Absolute Original

As mentioned earlier, the majority of ‘epic fantasies’ come from literature: the story was first told in print, and there were plenty of pages in which to build an imaginary world with extraordinary creatures inspired by myth and folklore. Yet Travis Beacham and René Echevarria pulled off quite the number with ‘Carnival Row’, which blends the tenebrous murder mystery with a Victorian fantasy realm in a way that just… works without a source material.

Of course, the show wouldn’t have the same appeal without Orlando Bloom and Cara Delevingne—the latter having grown visibly as a thespian since ‘Anna Karenina’ (2012). Nominated for three Primetime Emmys, the first season has garnered a hefty round of applause, and I dare hope to see the second season exceed those accolades swiftly.

‘CARNIVAL ROW’ (2019), ©AMAZON STUDIOS

‘Game of Thrones’ (2011-2019): The Undisputed Champion

Regardless of what anyone thought about the final season, David Benioff and D.B. Weiss’ adaptation of George R.R. Martin’s extraordinary ‘A Song of Ice and Fire’ novel series is a masterpiece of both television and ‘epic fantasy’. It set a stellar standard to which few, if any others, might ever rise to meet. With such an ambitious source material and HBO’s deep pockets, part of what made the show work was the fearless casting—with the exception of several titular roles, most of the actors were young and fresh-faced when production started, with barely a credit or two to their names. The Stark kids had zero, for that matter.

The first five seasons brought the incredible story of Westeros and the seven kingdoms to life with exceptional detail and an overwhelming love of the cinematic craft—from filming locations to costume and set design, ‘Game of Thrones’ excelled and then some. Given the complex story and multiple main character arcs, the mere fact that D&D pulled it off with barely a hitch was an incredible accomplishment. The first five seasons, however, had the published books to rely on.

‘GAME OF THRONES’ (2011-2019), ©HOME BOX OFFICE/HBO

With extensive assistance from the author himself, the showrunners pushed through seasons six and seven mostly on their own, with an idea of how Martin saw the story evolving across the upcoming novels, ‘Winds of Winter’ and ‘A Dream of Spring’. The series didn’t fumble, managing its extensive load of characters with sufficient grace. Alas, with a fandom accustomed to nothing beneath exceptional writing, Benioff and Weiss self-sabotaged their grand conclusion by rushing toward the finish line. I wasn’t shocked by Daenerys’s psychotic twist—I paid attention since the first season when she didn’t even flinch while her brother had molten gold poured onto his head. I wasn’t disappointed by Bran becoming king, either, nor by Jon’s retreat into ‘the real North’. It sort-of made sense.

But the final season was… rushed. A few more episodes would’ve smoothed things over and tied up several important loose ends. I cried aplenty when Ramin Djawadi’s score, aptly titled ‘The Last of the Starks’, came on, and I bid the young wolves farewell, knowing their adventures wouldn’t end there. To this day, I have yet to watch anything remotely close to the production brilliance of ‘Game of Thrones’ despite its twilight flaws.

‘GAME OF THRONES’ (2011-2019), ©HOME BOX OFFICE/HBO

Of Epics to Come

Given the titanic success of ‘Game of Thrones’ and George R.R. Martin’s forays into ASOIAF-related prequels, it’s no wonder that HBO has been flirting with a couple more titles. Jane Goldman of ‘X-Men First Class’ (2011) repute was initially set to lead a successor show focused on Westeros’ descent from the bright Age of Heroes into the dreaded Long Night—there was even a pilot shot, starring Naomi Watts.

Alas, the higher powers scrapped the whole project and made way for ‘House of the Dragon’, which is due to air in 2022 and chronicles the Targaryen struggles throughout their 300-year reign since Aegon’s Conquest. So far, Matt Smith, Paddy Considine, Olivia Cooke, and Emma D’Arcy have joined the developing project—the characters they’re set to portray belong to a particular conflict in the history of Westeros, better known as ‘The Dance of Dragons’, which nearly tore the kingdoms apart and decimated the Targaryen’s dragon population. Ryan J. Condal and Miguel Sapochnik will act as writers and showrunners, working closely with George R.R. Martin.

‘House of the Dragon’ isn’t the only project in the pipeline, either, as HBO has recently greenlit a TV series adaption of ‘Tales of Dunk and Egg’, a spinoff following Dunk and Egg on their adventures throughout Westeros before they became known as Ser Duncan the Tall, Commander of the King’s Guard, and King Aegon the Fifth. Little is known about the project at this point, but I’m certainly looking forward to it. I need an ASOIAF fix, stat.

‘HOUSE OF THE DRAGON’ (2022), ©HOME BOX OFFICE/HBO

Following the cinematic success of J.R.R. Tolkien’s ‘The Lord of the Rings’ trilogy, Amazon Studios decided to try their hand at a prequel by enlisting the talents of J.D. Payne and Patrick McKay to bring the Second Age of Middle-Earth to life for the streaming giant. It’s been in the works for a couple of years now, with casting that took place around the world and extensive negotiations with the government of New Zealand. Filming began last February in Auckland, listing Robert Aramayo, Cynthia Addai-Robinson, Ian Blackburn, and Maxim Baldry among the actors involved.

Ultimately, these are exciting times… There is plenty of room for ‘epic fantasy’ in the land of TV. The stakes were set high—very high, actually, and that’s a wonderful starting point. May the upcoming series soar beyond what has already been aired and may no other showrunner ever rush and pull a D&D ever again.

Before movies, our primary source of dramatic entertainment came from radio shows and theatre. The latter, in fact, is one of the oldest performing arts, with twisty roots dating back as far as classical Athens of 6^th century BC, where the vibrant tradition of theatre first blossomed and expanded throughout the world. At first, writing for the stage and writing for the screen were mistaken as similar, though soon it became obvious that the audiences’ attention spans differed critically from one form to the other.

Aside from the physical restrictions, the stage environment is vastly organic. Theatre is a nurturing art form, with adequate rehearsal time, strong bonds between anchors, and the possibility of experimenting with the director up to days before opening night. This fluidity doesn’t survive into the editing room of a film. Therefore, theatre plays and film scripts read differently. Yet sometimes, they will meet somewhere in the middle and even cross into each other most beautifully.

And while there have been many actors who moved successfully from the stage to the silver screen—Judi Dench, Laurence Olivier, Meryl Streep, Marlon Brando, and Paul Newman, to name but a few—I find that there are few plays that have done the same.

‘HAMLET’ (1996), ©CASTLE ROCK ENTERTAINMENT

Among the directors who have tried to bring theatre into film, I must mention Kenneth Branagh as champion, since he is responsible for bringing a plethora of Shakespeare’s work to cinema. His version of ‘Hamlet’ (1996) was better than Franco Zeffirelli’s star-studded feature of 1990, for example, and his love for the drama stage has had him bouncing between the two visual art mediums for years, his theatre company productions renowned worldwide and constantly sold out.

An especially popular source material for the screen has been William Shakespeare. Almost all of his plays have found their way in front of cameras, one way or another, though easier to remember to this day is ‘Romeo & Juliet’, a darling of equally prolific directors Franco Zeffirelli and Baz Luhrmann. The English playwright’s works have been done either mot-à-mot by traditionalists, some of whom struggled with the tongue-twisting dialogues or revamped and repurposed for younger generations by Hollywood’s lesser-known underdogs.

While I am happy to cheat again with honourable mentions (read recommendations) such as ‘Steel Magnolias’ (1989), directed by Herbert Ross and based on the eponymous play by Robert Harling; ‘Casablanca’ (1942), directed by Michael Curtiz and based on the play by Murray Burnett and Joan Alison, originally titled ‘Everybody Comes to Rick’s’; ‘On Golden Pond’ (1981), directed by Mark Rydell and based on Ernest Thompson’s play; and ‘Suddenly Last Summer’ (1959), directed by Joseph L. Mankiewicz and based on one of Tennessee Williams’s plays… Sorry. That was shameless.

Allow me to tell you about my absolute favourite plays that were not only successfully adapted for the screen, but stylishly transplanted as self-contained masterpieces.

‘STEEL MAGNOLIAS’ (1989), ©TRISTAR PICTURES

‘One Night in Miami’ (2020)

Regina King’s recent directorial debut is a carefully calculated and elegantly executed work of theatre brought into film. Headlined by a ridiculously talented cast, the story revolves around one fictional account of a real night when four powerful figures of the Civil Rights Movement met at the Hampton House in Miami.

Kingsley Ben-Adir is brilliant as Malcolm X. Eli Goree delivers a Cassius Clay as real as the World’s Greatest himself. Aldis Hodge is impressive as Jim Brown, star footballer-turned-movie-star. And Leslie Odom Jr.’s rendition of the inimitable Sam Cooke is simply out of this world—with the voice of an angel, no less! Much like the original, ‘One Night in Miami’ is a profound conversation about race, social justice, and the constant struggles of Black Americans in a society that treated them as lesser citizens for too long. Most importantly, Regina King’s take on Kemp Powers’ 2013 play is an emotionally gutting one, powered not only by the performances but by the writing and Tammy Reiker’s distinguished cinematography.

‘ONE NIGHT IN MIAMI’ (2020), ©ABKCO FILMS/SNOOT ENTERTAINMENT

‘A Few Good Men’ (1992)

Much like Kemp Powers, also known for his screenwriting work on ‘Star Trek: Discovery’ (2017) and ‘Soul’ (2020), Aaron Sorkin has found himself comfortable penning plays, films, and illustrious TV series alike. ‘A Few Good Men’ was the one that made a truly lasting impression upon its adaptation, under the helm of Rob Reiner.

It was nominated for four Academy Awards, offering incredible performances from a young Tom Cruise, a ferociously talented and wide-eyed Demi Moore, and the grand master of quotable movie lines during Trivia Night, Jack Nicholson. The courtroom thriller proved itself equally enthralling regardless of transposition method, showing Reiner at the top of his game.

‘A FEW GOOD MEN’ (1992), ©COLUMBIA PICTURES

‘A Streetcar Named Desire’ (1951)

There is a reason why Tennessee Williams, one of America’s foremost playwrights alongside Eugene O’Neill and Arthur Miller, was such a hit with Hollywood. His plays have a way of digging deep into the darkest, hottest pits of human nature, of bringing out the best and the worst from his characters. He put most of his tormented life onto the stage, using theatre as a form of expressing his truest self.

The legendary Elia Kazan, director of many of Williams’ plays, for that matter, said of him: ‘Everything in his life is in his plays, and everything in his plays is in his life’. ‘A Streetcar Named Desire’ is a tempestuous work of dramatic art that brought Academy Awards to Vivien Leigh and Kim Hunter, accompanied by respectful nods to Mr Kazan’s directorial accomplishment and Marlon Brando’s spectacular acting.

‘A STREETCAR NAMED DESIRE’ (1951), ©WARNER BROS.

‘Cat on a Hot Tin Roof’ (1958)

The ‘50s and the ‘60s were a lush period for theatre-to-film experiments, demanding that screen actors push themselves further and further until they were awarded accolades and golden statuettes. One of those thespians was Elizabeth Taylor, and ‘Cat on a Hot Tin Roof’ would not be her only foray into such bold projects. Today, she is remembered for multiple theatrical-style performances, including Franco Zeffirelli’s ‘The Taming of the Shrew’ (1967) of William Shakespeare and ‘Who’s Afraid of Virginia Woolf?’ (1966) of Edward Albee.

But it was her sizzling portrayal of Maggie alongside Paul Newman’s Brick that garnered endless rounds of applause, in part thanks to Richard Brooks’ ability to transform one of Tennessee Williams’s most popular plays into a veritable crown jewel of Hollywood’s Golden Age.

‘CAT ON A HOT TIN ROOF’ (1958), ©AVON PRODUCTIONS

‘Throne of Blood’ (1957)

While I did drone on a bit back there about the many adaptations of Shakespeare’s plays and as we keep running into the guy, it would be unethical of me not to include Akira Kurosawa’s outstanding drama, which rips ‘Macbeth’ from Medieval Scotland and sews it into the troubled canvas of feudal Japan. The iconic director added significant tweaks of his own, including a modified finale and Noh drama elements—not an easy feat to accomplish, considering the overall pathos of Kurosawa’s screenplay.

Creative liberties aside, Toshirô Mifune and Isuzu Yamada’s portrayals of the Japanese Macbeth and Lady Macbeth ultimately set the film farther apart. Kurosawa adored Shakespeare’s work and had been eager to adapt it for years, but Orson Welles’s ‘Macbeth’ (1948) came out and forced him to wait before making his own version.

‘THRONE OF BLOOD’ (1957), ©TOHO COMPANY

‘Fences’ (2016)

While it isn’t Denzel Washington’s first directorial incursion, it is certainly his best, right after ‘Antwone Fisher’ (2002) and ‘The Great Debaters’ (2007). ‘Fences’ is based on the 1985 play by August Wilson, which is set in the 1950s and explores the Black American experience and examines the country’s difficult race relations. Mr Wilson earned a Pulitzer Prize for Drama in 1987 for this magnificent contribution to American theatre. Naturally, the film adaptation aimed to do the same.

It brought Viola Davis an Academy Award and a Bafta Award for her performance, and the film garnered nominations for Best Motion Picture, Best Actor, and Best Adapted Screenplay—posthumously for August Wilson. One aspect of its success is likely to stem from Mr Washington’s previous work with the source material on Broadway, which gave him significant confidence to direct.

‘FENCES’ (2016), ©BRON STUDIOS

‘Amadeus’ (1984)

Milos Forman’s classic motion picture has a lengthy theatrical history. The play on which it is based was written by Peter Shaffer and first performed in 1979, inspired from an earlier short work by Alexander Pushkin from 1830, titled ‘Mozart and Salieri’, which was also used by Nikolai Rimsky-Korsakov as the 1897 libretto for an opera of the same name.

With Shaffer adapting his work for the screen and Forman directing—not to mention F. Murray Abraham and Tom Hulce’s dazzling performances as Antonio Salieri and Wolfgang Amadeus Mozart, respectively, it’s no wonder that the film was a triumph that took home not one, not two, but eight Academy Awards.

‘AMADEUS’ (1984), ©AMLF/THE SAUL ZAENTZ COMPANY

‘Glengarry Glen Ross’ (1992)

When discussing modern and contemporary American theatre, David Mamet is deservedly part of the conversation. The Pulitzer Prize-winning playwright even did the ol’ stage-to-movie dance by adapting ‘Glengarry Glen Ross’, one of his better works, for James Foley to shoot on film. Examining the lives of four desperate Chicago real estate agents who are ready to go to extreme and even illegal lengths for money, Mamet’s oeuvre first premiered at the National Theatre in London in 1983, followed by an official Broadway opening in 1984 that closed after a whopping 378 performances.

The result is an Oscar-winking timeless drama that brings some marvellous acting chops out of Al Pacino, Jack Lemmon, Alec Baldwin, Alan Arkin, Kevin Spacey, Ed Harris, and Jonathan Price… yes, what a line-up, indeed!

‘GLENGARRY GLEN ROSS’ (1992), ©NEW LINE CINEMA

‘Dangerous Liaisons’ (1988)

Going back to 18th-century corsets and fancy wigs for a bit, I confess that the era’s decadence and penchant for malice, revenge, and seduction make for great theatre every single time. Christopher Hampton’s ‘Les Liaisons Dangereuses’ 1985 play is no exception, its plot focused on the Marquise de Merteuil and the Vicomte de Valmont, two rivals who play cruel games and use sex to humiliate and degrade.

Naturally, such a scandalous affair deserved a sparkling treatment upon transcending into the cinematic dimension. Stephen Frears of ‘The Queen’ (2006) and ‘Dirty Pretty Things’ (2002) fame directs a prodigious ensemble of esteemed actors such as Glenn Close and John Malkovich, turning ‘Dangerous Liaisons’ into one of the ‘80s’ best dramas.

‘DANGEROUS LIAISONS’ (1989), ©WARNER BROS.

‘Angels in America’ (2003)

After the titanic success of his political epic play centred on separate but connected individuals in a society struggling with the A.I.D.S. crisis in the ‘80s, Tony Kushner took his two-part Pulitzer and Tony-winning dramatic composition and transformed it into a limited series for television, with Mike Nichols directing. It earned five Golden Globes, of which four went to the cast members—Al Pacino, Meryl Streep, Jeffrey Wright, and Mary-Louise Parker, and it brought a difficult topic back in conversations across America.

While complex and mostly metaphorical in its construction, ‘Angels in America’ is a sincere and gut-wrenching take on homosexuality and AIDS, with major and minor characters designed as supernatural beings—angels and ghosts. Most importantly, the HBO series serves as a crown of glory for a play that was described by John M. Clum as ‘a turning point in the history of gay drama, the history of American drama, and of American literary culture.’

‘ANGELS IN AMERICA’ (2003), ©HBO FILMS

As you can imagine, there are plenty of other titles worth discussing within this creative niche, but the conclusion will always be the same: rare are the plays that work on screen, and even rarer are the writers and directors capable of taking a live performance and turning it into an Oscar-worthy work of cinema.

If there is one thing that truly makes us unique among Earth’s creatures, it’s our ability to tell stories, to invent people and entire universes. I’d say we would be nowhere near as ahead in our evolution without this propensity to imagine, to dream wild dreams and then put them into practice. Yes, Icarus flew too close to the sun, but eons later in 1914, Tony Jannus conducted the first commercial airline flight between St Petersburg and Tampa. We’re crazy like that. Crazy enough to make it work.

Yet our society is not the only aspect that progressed over millennia. Our stories have grown, too, becoming increasingly complex and marvellously compelling. Starting with the Epic of Gilgamesh and the legends of Olympus, we have crafted incredible universes of heroic adventurers, capricious gods, knights and warrior queens, immortal elves and terrifying demons, fantastic creatures from beyond our animal kingdom, designing challenges that constantly adhere to one common thread in our collective consciousness: the hero’s journey.

It only got better when we started shooting these monumental tales on film. As with many of my mini-lists, I’ve had to limit my selections. While I will forever cherish gems such as Jim Henson’s ‘Labyrinth’ (1986), Matthew Vaughn’s ‘Stardust’ (2007), Wolfgang Petersen’s ‘NeverEnding Story’ (1984), Guillermo del Toro’s ‘Pan’s Labyrinth’ (2006), or Rob Reiner’s iconic ‘The Princess Bride’ (1987), the latter a never-ending source of hilarious memes, I’ve decided to focus exclusively on the kind of epic fantasy that spawned entire franchises. I’m talking about the timeless works of cinematic art that made billions not only from the original films, but also from merchandising, spinoffs, and prequels. Movies with fandoms that span the globe and time itself.

‘THE NEVERENDING STORY’ (1984), ©CONSTANTIN FILM

The Lord of the Rings

This year marks two decades since the first part of ‘The Lord of the Rings’ trilogy came out, and we haven’t been the same since. It was epic fantasy done right. No, better yet, it was epic fantasy done almost perfectly! To this day, I am astonished by the faith that producers had in an otherwise inexperienced Peter Jackson. Many balked at the $300 million budget he was given to play with—but he didn’t just play with it. He built us a world and breathed life into it.

It all began with J.R.R. Tolkien, the celebrated fantasy author. ‘The Hobbit’, his first book, published in 1937, was an out-of-the-blue success. He had written it for his children, yet thanks to Susan Dagmall of George Allen & Unwin, it became a colossal bestseller beloved by younglings everywhere. Shortly afterwards, Mr Tolkien was asked to write a sequel. Excited by how his imaginary world of Middle Earth had been growing since he’d first penned ‘The Hobbit’, he eventually produced a complex mythological composition deemed too long and boring by the publisher. It was set aside and later revived, edited, and published by the author’s son, Christopher Tolkien, as ‘The Silmarillion’.

‘THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING’ (2001), ©NEW LINE CINEMA

Back to his writing desk, Mr Tolkien developed ‘The Lord of the Rings’ as a direct sequel for Bilbo’s adventures. It was a darker and more mature take on an otherwise magical world. It gained an adult audience, becoming a masterpiece of modern English literature. In 1997, New Zealand native and screenwriter/director Peter Jackson won the rights to film this epic fantasy. At first, he tried to work out a deal with Miramax, but their requirements of cramming everything into a single movie would have made a mockery of Mr Tolkien’s oeuvre, so Jackson signed up with New Line Cinema instead, enlisting Fran Walsh and Philippa Boyens to help write the screenplay for a proper trilogy.

‘The Fellowship of the Ring’ (2001), ‘The Two Towers’ (2002), and ‘The Return of the King’ (2003) were an incredible feat. Not only did Jackson exceed every possible expectation, he and his team revolutionized the high fantasy niche of cinema. Filmed entirely in New Zealand, the ‘Lord of the Rings’ trilogy garnered a plethora of awards, with ‘The Return of the King’ accomplishing a record of its own—it was the first feature to win all 11 Academy Awards for which it was nominated. Thus, Tolkien’s legacy was brought to life after a rather disastrous animated attempt in 1978, setting the tone for many other filmmakers later down the road.

‘THE HOBBIT: AN UNEXPECTED JOURNEY’ (2012), ©NEW LINE CINEMA

Perhaps most would’ve expected to see ‘The Hobbit’ be made into a movie first, but it came later as a prequel trilogy, with Martin Freeman starring as the young Bilbo Baggins. ‘An Unexpected Journey’ (2012), ‘The Desolation of Smaug’ (2013), and ‘The Battle of the Five Armies’ (2014) were grand commercial successes, though none were close to the glory of ‘The Lord of the Rings’. Maybe the novelty had worn off by the time Jackson assembled his team and cast to bring more of Tolkien’s world to the big screen. Or maybe the focus stayed too much on special effects than on the actual story.

‘THE LORD OF THE RINGS: THE RETURN OF THE KING’ (2003), ©NEW LINE CINEMA

Harry Potter

We all know the rags-to-riches story of how JK Rowling wrote and eventually published her beloved ‘Harry Potter’ series of magical fantasy. A struggling author and mum, she pushed and toiled and then pushed some more until after twelve rejections, her manuscript for ‘Harry Potter and the Philosopher’s Stone’ was finally published by Bloomsbury. The books were a worldwide phenomenon, stirring the imaginations of children and adults alike and causing queues to form outside bookstores in anticipation of upcoming volumes.

What’s not to love about the magic-imbued universe of Harry Potter? It’s got bits and pieces of everything tucked away inside an interdimensional pocket of sorts, a hidden reality to the Muggles’ world where wizards, house elves, unicorns and other extraordinary creatures live in relative harmony, with wizarding laws and order. There’s a ginormous academy of wizardry with a board of honoured professors equipped with the talent and knowledge required to shape the young minds of future wizards.

‘HARRY POTTER AND THE PHILOSOPHER’S STONE’ (2001), ©WARNER BROS.

The film series launched in 2001 (what a year that was, eh?), ending its exquisite box office reign with the two-part ‘Harry Potter and the Deathly Hallows’ of 2010 and 2011. Its young cast, composed of stellar talents such as Daniel Radcliffe, Emma Watson, and Tom Felton, to name but a few, grew up along with their fans and captured the affection of many more along the way. Alan Rickman would forever be remembered for his performance as Professor Snape, and production companies would line up to fund the next big hits from the Potterverse.

‘FANTASTIC BEASTS AND WHERE TO FIND THEM’ (2016), NEW LINE CINEMA

While Mike Newell, Chris Columbus, Alfonso Cuarón, and David Yates directed the film series, with scripts adapted by Steve Kloves and Michael Goldenberg, JK Rowling decided to take over as screenwriter for her next endeavour within the same fictional realm, the ‘Fantastic Beasts’ prequels featuring Eddie Redmayne as a young Newt Scamander. Of course, the everlasting charm of the Potterverse—even this version from seventy years before Harry Potter—was undeniable. Alas, Mrs Rowling’s screenwriting manifested as repeatedly insufficient and rushed, thus forcing David Yates, her director of choice, to deliver below the expected threshold.

Yes, the film scores are wonderful, the actual fantastic beasts are wickedly fun, and the flair of early 20^th century American wizards is unmistakably delicious, but the prequels have fallen short of the original ‘Harry Potter’. I’ve said this before. Few novelists make good screenwriters, and few screenwriters make good novelists. Even fewer are those who can tread the line between novel and screenplay with equal proficiency.

‘HARRY POTTER AND THE HALF-BLOOD PRINCE’ (2009), ©WARNER BROS.

Pirates of the Caribbean

Disney, now a streaming giant with ownership of the Marvel Cinematic Universe and everything Star Wars, understood the potential of epic fantasy since day one. Most of its empire is built on the work of Walt Disney, one of the forefathers of animation. The Disney Classics are an eternal presence on any kid’s watchlist, and their live action attempts weren’t half-bad, either—I’ll sneak a quick mention of ‘Peter Pan’ (2003) here, one of my personal favourites. But the studio’s greatest accomplishment of high fantasy brought to the silver screen is the ‘Pirates of the Caribbean’ film series.

Inspired by Rob Kidd’s ‘Jack Sparrow’ children’s books and based on the ‘Pirates of the Caribbean’ attraction at Disney’s theme parks, this franchise gave us Johnny Depp as the swashbuckling maniac we’ve all come to love, alongside a ravishingly bold Keira Knightley and an even more handsome Orlando Bloom, who traded his elf ears for a sharp rapier and a pirate ship. The films were a monumental success, with Gore Verbinski, Rob Marshall, Espen Sandberg, and Joachim Rønning as directors.

‘PIRATES OF THE CARIBBEAN: CURSE OF THE BLACK PEARL’ (2003), ©WALT DISNEY PICTURES

‘The Curse of the Black Pearl’ (2003), ‘Dead Man’s Chest’ (2006), and ‘At World’s End’ (2007) were box office gold. ‘On Stranger Tides’ (2011) left Ms Knightley and Mr Bloom’s characters behind, bringing Penélope Cruz centre stage as Angelica. Alas, the momentum began to wither away, and by the time Disney released ‘Salazar’s Revenge’ (2017), there wasn’t much that could keep this ship afloat, even with Knightley and Bloom’s return.

There was only so much to be drawn from the stories though. Despite not having any of the elves, orcs, goblins and other creatures that have become a staple of this genre, ‘Pirates of the Caribbean’ is remembered as one of the greats of epic fantasy. And let’s not forget Johnny Depp as Jack Sparrow. Everyone loved Johnny Depp as Jack Sparrow.

‘PIRATES OF THE CARIBBEAN: ON STRANGER TIDES’ (2011), ©WALT DISNEY PICTURES

The Dark Crystal

Eighties’ kids will remember and appreciate Jim Henson’s ample foray into epic fantasy with ‘The Dark Crystal’ (1982), a puppet-animated film which he directed alongside Frank Oz. The story takes place on a fictional planet—as one might expect, where the damaged Dark Crystal favours the onset of an age of chaos. The Gelfling Jen is our main hero, determined to restore balance to the realm of Thra and overthrow the ruling Skeksis. It is one of the few stories written directly for the screen that built itself a titanic fandom within its genre. Such an achievement is worthy of the cinematic history books.

Alas, the film wasn’t a box office darling but rather became a cult legend. It never grew into a trilogy, yet it remained insanely popular over the years, so much so that Netflix decided to gamble and invest in a prequel, ‘The Dark Crystal: Age of Resistance’ (2019). Armed with 21^st century CGI assistance, beautiful puppetry, and a genuine love of Jim Henson’s work, the series was led by Jeffrey Addiss and Will Matthews, receiving high praise from both new and familiar audiences. It may not be a giant, but it stands proudly among its peers.

‘THE DARK CRYSTAL’ (1982), ©JIM HENSON PRODUCTION

The Wizard of Oz

Unlike the above titles, L. Frank Baum’s series of high fantasy novels did not receive as much generosity from Hollywood, instead building its wonderful world gradually, one yellow brick at a time. ‘The Wizard of Oz’ (1939) made history with Judy Garland as Dorothty—‘Somewhere Over the Rainbow’ became one of the most memorable musical pieces of the silver screen. Directed by Victor Fleming, the film was a roaring success, admired not only for its fantastic complexity but also for its brilliant execution and production design, then ultimately rewarded with two Academy Awards.

Mr Baum’s ‘The Wonderful Wizard of Oz’ epic universe was so adored, in fact, that it spawned other authors to try and further develop stories from its original pages. In 1995, Gregory Maguire published ‘Wicked: The Life and Times of the Wicked Witch of the West’, a gorgeous retelling of the original of 1900 but from the witches’ perspective. Elphaba and Glinda became overnight sensations, eventually cast in the ‘Wicked’ Broadway musical which brought Kristin Chenoweth and Idina Menzel’s musical talents under the spotlight.

From there, the Land of Oz grew bigger with various film and television projects—some more memorable than others. Worth mentioning are ‘The Muppets’ Wizard of Oz’ (2005), if only to give Jim Henson another kind nod; ‘Tin Man’ (2007), a slightly more sci-fi take on Dorothy’s tale featuring Zooey Deschanel, Alan Cumming, and Richard Dreyfuss; ‘Emerald City’ (2016-2017), a fantasy drama with a dark twist starring Oliver Jackson-Cohen, Vincent D’Onofrio, and Ana Ularu; and Sam Raimi’s ‘Oz the Great and Powerful’ (2013), which saw James Franco taking over as the Wizard himself.

‘THE WIZARD OF OZ’ (1939), ©METRO-GOLDWYN-MAYER (MGM)

There are many fantastical bodies of work besides those listed, of course. George R. R. Martin’s series made it to HBO in 2009, and despite the slightly fumbled final season, it is still one of the key points of reference when discussing the entire genre. Others, though extraordinarily successful in their novel form, never really got off the ground as feature films. CS Lewis, a fellow Inkling of Tolkien’s, for example, made his literary mark with ‘The Chronicles of Narnia’—yet the adaptations weren’t anywhere near Tolkien’s work and were mere shadows compared to ‘Harry Potter’. You may have noticed an absence from my list, and no, I have not forgotten about the ‘Star Wars’ franchise. However, since it is less high fantasy but more science fantasy, it belongs elsewhere.

Truth be told, one can flop by being overly ambitious with an epic fantasy tale, and there will never be enough special effects and animation technology to make up for weak characters and shoddy storytelling. In other cases, like Mr Martin’s ‘A Song of Ice and Fire’, the stories are simply too big for cinema yet perfect for a TV series. That’s something to discuss another day.

Previously on the Cinematic Journal… I gave you some of my favourite seasonal features to match the twelve magical days of Christmas. Today, let us look at twelve Christmas specials from the TV world, instead.

Once again, I’ve whittled my list down to the dozen, though I must give some loving nods to ‘The Office (US): Christmas Party’ (Season 2, 2005) and ‘The Office (UK): Christmas Special 2’ (Season 3, 2003) episodes before anyone else, followed closely by ‘Family Guy: A Very Special Family Guy Freakin’ Christmas’ (Season 3, 2001) and ‘3^rd Rock From the Sun: Jolly Old St Dick’ (Season 2, 1996), as four of the best comedy morsels to ever come out of television specifically for this time of the year.

While I’m here, I might as well wholeheartedly recommend ‘Black Mirror: White Christmas’ (2014), ‘Cheers: Christmas Cheers’ (Season 6, 1987), and ‘Curb Your Enthusiasm: Mary, Joseph and Larry’ (Season 3, 2002), too, as tasteful runner ups. But that’s enough cheating for now, let us get back to Twelve Days of Magical Television!

‘BLACK MIRROR: WHITE CHRISTMAS’ (2014), ©ZEPPTRON/NETFLIX

I. ‘The Andy Griffith Show: A Christmas Story’ (Season 1, 1960)

The Mayberry Sheriff’s Department is best known for the wholesomeness and generosity of its characters, and the winter festivities only serve to amplify the show’s overall sense of love toward our fellow humans. ‘The Andry Griffith Show’ is a staple of television, revered as much today as it was back in the Sixties. In ‘A Christmas Story’, Sheriff Andy has no choice but to imprison moonshiner Jim in the middle of the holidays, but he also goes out of his way to make sure everyone gets to celebrate Christmas Day—he finds excuses to imprison Jim’s wife and children with him, then temporarily deputises his own family to join in on the unusual festivities.

Maybe the era depicted in the show never existed. The level of kindness portrayed feels more like a pleasant dream, but it does manage to thaw even our 21^st century hearts with its message of hope and love.

‘THE ANDY GRIFFITH SHOW: A CHRISTMAS STORY’ (1960), ©CBS

II. ‘The Twilight Zone: The Night of the Meek’ (Season 2, 1960)

Better remembered for its creepy or sci-fi-laden morality tales, ‘The Twilight Zone’ is a titan of television and a masterwork of screenwriting—well ahead of its time and always eager to leave viewers with a real chill tumbling down their spines. Yet for this Christmas special, Rod Serling abandoned the usual formula and tapped into the more palatable aspects of humanity. ‘The Night of the Meek’ follows a down-and-out department store Santa Claus named Henry, broken and turned to drinking as a means of coping with his problems. All he wants to do is to live up to his Santa Claus role, wishing for the meek to inherit the Earth.

Henry then finds himself in possession of a magical sack that automatically bestows gifts suited for each of its recipients. Even the police can’t stop this uncanny man from fulfilling his newfound mission. The story takes Henry all the way up to the North Pole as he becomes the real Saint Nicholas figure of old. For the first time, those familiar with ‘The Twilight Zone’ will appreciate its uplifting vibes, knowing that the show never made a habit of dealing in positivity.

‘THE TWILIGHT ZONE: THE NIGHT OF THE MEEK’ (1960), ©CBS TELEVISION NETWORK

III. ‘Moonlighting: ‘Twas the Episode Before Christmas’ (Season 2, 1985)

I’m not sure how many of you remember Cybill Shepherd and Bruce Willis as Maddie and David, but if you do, I salute you! ‘Moonlighting’ made its name through its avant-garde approach and playfulness with structure and form—a revolutionary of the Eighties, one might say, crisscrossing through genres almost shamelessly as it built its own unmistakable style. But it was its first Christmas-themed episode that left me smiling, a superb mixture of warm holiday sprinkles and reflexive wit topped by a dark spin on a classic tale.

A man named Joseph is killed by the criminals he testified against, and his wife Mary (see where it’s going?) abandons her baby in Agnes’ apartment. Maddie and David have no choice but to get involved, and their journey stumbles upon several eyebrow-raising characters such as three Kings. Leave it to David to point out the obvious: ‘We’re in an allegory!’. The rapid-firing banter does slow down for this episode, as even a show like ‘Moonlighting’ takes a breath to enjoy Christmas.

‘MOONLIGHTING: ‘TWAS THE EPISODE BEFORE CHRISTMAS’ (1985), ©ABC CIRCLE FILMS

IV. ‘Tales from the Crypt: And All Through the House’ (Season 1, 1989)

One of HBO’s earliest contributions to pop culture was the horror/comedy show ‘Tales from the Crypt’, which consistently threaded a remarkably thin line between utterly terrifying and hilariously brutal—said ethos oozing out of every single minute of its Christmas special, too. In ‘And All Through the House’, a woman murders her husband for the insurance money, only to find herself targeted by a serial killer wearing a Santa Claus suit.

The episode descends from dark humour into blood-curdling dread, jumping back and forth between the two extremes with surprising agility. For those among us who like more gore with our cranberry sauce, this particularly gooey serving of ‘Tales from the Crypt’ does not disappoint.

‘TALES FROM THE CRYPT: AND ALL THROUGH THE HOUSE’ (1989), ©HBO/HOME BOX OFFICE

V. ‘The X-Files: How the Ghosts Stole Christmas’ (Season 6, 1998)

I am often fascinated by how some of the more prolific shows manage to cross into the realm of Ol’ Saint Nick so easily. In that sense, the story often proves that it doesn’t take itself too seriously, leaving room for its characters to explore themselves while also drawing us closer with a sense of seasonal familiarity. But Chris Carter’s ‘The X-Files’ managed to pull a wickedly good special by throwing ghosts into the mix—perhaps he took a page from Charles Dickens.

‘How the Ghosts Stole Christmas’ is the show’s best Christmas episode, standalone and bold in its treatment of spectres and the holiday season, as Scully and Mulder find themselves trapped in a labyrinthine and seemingly haunted house in Maryland. It’s not an easy ride, as they struggle to keep their heads clear while the world around them devolves into insanity, and they’re even turned against one another by the resident ghosts, but Scully and Mulder break through and bring this moody ship down for something great to watch whilst snuggled beneath a fluffy blanket.

‘THE X-FILES: HOW THE GHOSTS STOLE CHRISTMAS’ (1998), ©2OTH CENTURY FOX TELEVISION

VI. ‘Huff: Christmas Is Ruined’ (Season 1, 2005)

Before the dark dramedy trend really took off in this decade that is about to end, Showtime’s ‘Huff’ was a two-season marvel and elegant precursor that revolved around psychiatrist Craig Huffstodt, brilliantly portrayed by Hank Azaria, and every aspect of his defective life. The man’s complex psyche was the true star of the series, in my opinion, and Paget Brewster was a wonderful added bonus. But it’s the Christmas special that really stood out, thus sliding into this season’s viewing list, mainly because of Thania St. John’s ability to write the disparate elements of Huff’s otherwise scattered life back together.

‘Christmas Is Ruined’ has every variant of frustration possible—the terminally ill mother-in-law, the son’s girlfriend, and Russell, the addiction-addled friend. Thrown together into the same pan, they lead to especially difficult times for the protagonist, but a cheery visit from the Homeless Hungarian, a figment of Huff’s tested imagination, manages to inject a sliver of hope inside this yule log of almost-comical dysfunction.

‘HUFF: CHRISTMAS IS RUINED’ (2005), ©SONY PICTURES TELEVISION

VII. ‘The Boondocks: A Huey Freeman Christmas’ (Season 1, 2005)

Initially, I was tempted to have the ‘Family Guy’ episode up here, but upon revisiting both, I felt as though Huey’s take on the holidays made more sense in wrapping up a year like this. Hijacking the school play and shifting its traditional tones into ‘The Adventures of Black Jesus’—co-produced by Quincy Jones and featuring the thespian skills of Denzel Washington and Angela Bassett, Huey Freeman delivers one hell of a Christmas show, and then some.

This festive bonanza doesn’t run short of clever references to ‘A Charlie Brown Christmas’ (1965), either, and it stays true to the show’s overarching ruthlessness, gleefully stabbing white liberal guilt in the face. It’s funny, it’s brutally honest, and it’s one of the most memorable episodes of the entire animated series.

‘THE BOONDOCKS: A HUEY FREEMAN CHRISTMAS’ (2005), ©SONY PICTURES TELEVISION

VIII. ‘Boston Legal: The Nutcrackers’ (Season 3, 2006)

No one writes television like David E. Kelley. The man is a giant of his craft, and he has earned his place among the stars. But there is one thing that the writer of ‘Big Little Lies’ (2017-2019) and ‘The Practice’ (1997-2004) loves more than penning legal dramas, and that’s Christmas specials. Out of this cheerfully specific portfolio, my heart will forever be set on ‘The Nutcrackers’ from ‘Boston Legal’, rife with its signature witty sass.

A brilliant example of the series’ rich and zigzagging range of themes and multifaceted social issues, the Season 3 Christmas special sees Alan and Shirley involved in a case where a mother fights for custody of her daughters, both singers in a white supremacist pop band. Meanwhile, William Shatner’s unforgettable Denny Crane assists another mother as she struggles to keep custody of her anorexic daughter, and Brad and Denise work with a client who wants to sue God the almighty himself for killing her husband via a lightning strike. As expected, the entire episode packs a hefty punch and a plethora of mind-boggling moments.

‘BOSTON LEGAL: THE NUTCRACKERS’ (2006), ©20TH CENTURY FOX TELEVISION

IX. ‘Supernatural: A Very Supernatural Christmas’ (Season 3, 2007)

If there is one cult darling I will never get tired of revisiting, it’s Eric Kripke’s ‘Supernatural’ (2005-2020). It has been like a close friend for fifteen years and bidding the boys farewell took more tears than expected during the series finale. However, their special episodes have always been particularly fun, especially ‘A Very Supernatural Christmas’ which finds Sam and Dean investigating what appears to be some kind of Krampus monster killing innocent people.

The dark fantasy thread of the Winchesters’ investigation is lovingly weaved together with flashbacks of their own troubled childhood, spent mostly on the road and in cheap motels while their father went out hunting terrible creatures—among them the demon that killed their mother. It’s one of those rare instances where the show’s otherwise gruff and resilient heroes give us a glimpse of their younger, more fragile selves. Best served with a cup of marshmallows smothered in hot chocolate.

‘SUPERNATURAL: A VERY SUPERNATURAL CHRISTMAS’ (2007), ©WARNER BROS. TELEVISION

X. ‘Modern Family: Undeck the Halls’ (Season 1, 2009)

Redefining comedy for television, ‘Modern Family’ gathered Emmy awards and mountains of praise for its exquisitely dynamic pacing and heartfelt moments. The first Christmas with the Dunphys and the Pritchetts is sparkly and funny and absolutely brilliant despite its short format. It’s a hot mess, through and through, from a mysterious burn mark on the sofa that gets Christmas cancelled in the Dunphy household to Jay’s unsuccessful attempts to warm Gloria and Manny to his seasonal traditions and topping up with Cameron and Mitchell basically ruining the entire holiday for a mall Santa by complaining he’s ‘not jolly enough’… yes, it’s an absolutely delicious hot mess.

Each of these subplots is minutely designed for their characters with near-German precision and having Fred Willard Skype in as Phil’s dad is as wonderful as the first snow, building up to a splendid ensemble performance.

‘MODERN FAMILY: UNDECK THE HALLS’ (2009), ©20TH CENTURY FOX TELEVISION

XI. ‘The Mentalist: Jolly Red Elf’ (Season 3, 2010)

There are plenty of procedural dramas and whodunit-style series to shamelessly binge on these days, but few are as well and as profoundly written as ‘The Mentalist’, one of Bruno Heller’s most successful forays in television altogether. The show follows Patrick Jane, former-psychic-turned-police-consultant who uses his exceptional skills as a mentalist to help the California Bureau of Investigation solve crimes while also looking to take down the serial killer known as Red John, who is responsible for the murder of Mr Jane’s wife and daughter.

‘Jolly Red Elf’ is not one of the best episodes, but it’s definitely a stellar Christmas special of its genre, as Jane and Lisbon’s team investigate the apparent suicide of a professional Santa while also wrestling with Agent LaRoche, who suspects Mr Jane of having been involved in the recent death of a cop killer and (unbeknownst to everyone but our chief protagonist) a Red John acolyte. The storyline carries itself gracefully over the finish line, bringing its own brand of Christmas ‘magic’ to the table.

‘THE MENTALIST: JOLLY RED ELF’ (2010), ©WARNER BROS. TELEVISION

XII. ‘Community: Abed’s Uncontrollable Christmas’ (Season 2, 2010)

Dan Harmon’s comedic oeuvre ‘Community’ found its place in the halls of television masterpieces through its approach to a stunningly complex cast of characters—a band of misfits highlighted not only by the showrunner’s exquisite writing but also by the actors’ individual performances. Perhaps one of its most valuable components is Abed, the literal fourth wall between us and what was clearly never just a standard gang sitcom.

In ‘Abed’s Uncontrollable Christmas’, the series gains a whole new dimension, as Abed finds himself viewing the world in stop-motion animation while becoming determined to rediscover the meaning of Christmas. As always, ‘Community’ pushes boundaries and throws in a powerful emotional note into this holiday special, remaining astonishingly self-aware throughout. That, my friends, is true greatness and no easy feat.

‘COMMUNITY: ABED’S UNCONTROLLABLE CHRISTMAS’ (2010), ©HARMONIUS CLAPTRAP

While this may be a difficult holiday for many of our readers, may great stories adorn the year to come and may we all step into the new decade with enough force and creativity to further shape the world of film and television. There is always room for more and better, with enough inspiration to go around for everyone. Let us be strong, keep calm and carry on.

We are sliding into my favourite time of the year, despite its obvious difficulties. I see it as an opportunity for us to watch as much of the good stuff as possible, because what else can we do? That being said, our Christmas viewing experience does deserve a wee bit more wholesomeness and awesomeness than usual.

Yes, you’re free to binge all the ‘Harry Potter’ movies, of course. You can re-watch the ‘Home Alone’ franchise for the umpteenth time. You can even stick it to anyone who’s ever said that the ‘Die Hard’ flicks aren’t Christmas viewing material at all. Knock yourselves out. But what if we can kick it up a notch for 2020?

It has taken years of hits and misses and wasted hours to put together a compelling and definitive holiday guide. There are only twelve films in it, matching the twelve days of Christmas. Some of the glorious titles didn’t make it into the guide—honourable mentions here for ‘Miracle on 34^th Street’ (1947), ‘White Christmas’ (1954), and the delightfully cluttered ‘Love Actually’ (2003), to name but a few, but what follows will make even more sense.

‘LOVE ACTUALLY’ (2003), ©UNIVERSAL PICTURES

The First Day: ‘Beauty and the Beast’ (1991)

For over a decade, my Christmas tradition has been to hunker down with a bowl of popcorn and go through a proper Disney Classics marathon, starting with ‘Snow White and the Seven Dwarfs’ (1937) and going all the way up to ‘The Princess and the Frog’ (2009). My favourite is and will always be ‘Beauty and the Beast’, however, which is the perfect tale for any winter.

There is plenty of snow, and there is love budding in the most difficult circumstances between a bookish girl—mind you, not the regular Disney princess per se—and a most terrifying beast. Splendidly embellished by a cast of dancing and singing household objects and drawing its roots from Gabrielle-Suzanne de Villeneuve’s original fairy tale, ‘Beauty and the Beast’ is one of the best animated productions to ever come out of Walt Disney Studios.

‘BEAUTY AND THE BEAST’ (1991), ©WALT DISNEY PICTURES

The Second Day: ‘Elf’ (2003)

Before he delivered awe-inspiring creations such as ‘The Mandalorian’ (2019), Jon Favreau gave the world an everlasting gift with ‘Elf’, the spirited and good-natured family comedy featuring the legendary Will Ferrell as Buddy, accidentally raised at the North Pole as one of Santa’s elves. Increasingly aware that he doesn’t quite fit in among the tiny helpers, Buddy travels to New York and tries to connect with his real father.

Naturally, this results in a string of chaotic incidents and silliness, but it’s the hilarious clash of childlike innocence and contemporary adult cynicism that really turns ‘Elf’ into a precious Christmas story. I dedicate it to every grown-up who still enjoys tapping into the inner kid during the holidays. We need that cheer and sweetness, now more than ever.

‘ELF’ (2003), ©NEW LINE CINEMA

The Third Day: ‘Joyeux Noël’ (2005)

Five months into the First World War, a series of unofficial ceasefires were enacted along the Western Front for Christmas. It was a brief moment in the history of mankind when soldiers from both sides took a break and tapped into the better aspects of humanity. Christian Carion brought this true story to the silver screen with ‘Joyeux Noël’, a film which imagines said moment through the eyes of four unlikely individuals from opposing camps.

It’s a heart-crunching reminder that despite the blood soaking our battlefields, we are still capable of peace and kindness. With superb performances from Diane Kruger and Gary Lewis, ‘Joyeux Noël’ feels like a stern yet hopeful portrait of us all—an invitation to try and do better for ourselves and for the generations to follow.

‘JOYEUX NOËL’ (2005), ©NORD-OUEST PRODUCTION

The Fourth Day: ‘Little Women’ (1994)

Greta Gerwig’s 2019 remake starring Saoirse Ronan and Emma Watson is absolutely gorgeous, but I will stick to the first and slightly quainter adaptation of Louisa May Alcott’s classic novel. Gillian Armstrong’s ‘Little Women’ screenplay was penned by the illustrious Robin Swicord, whose literary sensitivity transpires through several other cinematic oeuvres—including ‘Memoirs of a Geisha’ (2005) and ‘The Curious Case of Benjamin Button’ (2008).

Alcott’s story follows the March sisters as they grow and come of age in post-Civil War America. With dazzling performances from Winona Rider, Claire Danes, Kirsten Dunst, and Susan Sarandon, ‘Little Women’ is a timeless tale that will never cease to tug at one’s soul. It’s an essential Christmas treat.

‘LITTLE WOMEN’ (1994), ©COLUMBIA PICTURES

The Fifth Day: ‘The Nightmare Before Christmas’ (1993)

To be fair, I was tempted to go with ‘Edward Scissorhands’ (1990) as a Tim Burtonesque entry for this special guide, but it’s the stop-motion animation masterpiece that truly deserves the Christmas Classic label, in the end. It’s a stunning work of art, a visual spectacle that pushes the very boundaries of creativity while also cementing Mr Burton’s reputation as a weird genius of cinema.

‘The Nightmare Before Christmas’ tells the marvellously creepy tale of Jack Skellington, the pumpkin king of Halloweentown, who is bored with the usual spooky routine and ends up kidnapping Santa Claus in order to bring Christmas to his world of dead things. As expected, his entire plan goes awry, resulting in a strange but utterly charming film that is an absolute seasonal darling.

‘THE NIGHTMARE BEFORE CHRISTMAS’ (1993), ©TOUCHSTONE PICTURES

The Sixth Day: ‘Meet Me in St Louis’ (1944)

Judy Garland’s musical talent is undeniable, but she certainly takes it to a whole new level alongside Margaret O’Brien in this enchantingly precious musical directed by Hollywood heavyweight Vincente Minnelli. Hailing from the golden age of MGM studios, ‘Meet Me in St Louis’ follows four sisters just as the 1904 St Louis World’s Fair is about to begin. Focusing primarily on the girls’ education as they step into adulthood, the film delivers generously in matters of life and love through the stereotypical but ever-pleasant boy-next-door.

Filled with musical dance numbers and adorned with artful period costumes—courtesy of a truly superior production design, ‘Meet Me in St Louis’ not only further establishes Judy Garland as a shining star of the silver screen, it makes for a warm and sparkling Christmas viewing. Marshmallows dipping in hot chocolate are optional but recommended on the side.

‘MEET ME IN ST LOUIS’ (1944), ©METRO-GOLDWYN-MAYER (MGM)

The Seventh Day: ‘The Best Man Holiday’ (2013)

Winter festivities from all cultures are mostly about family and love. A time when we come together—brothers and sisters, children and parents, grandparents and aunts, lovers and spouses and everything else in-between, as friends and as human beings. Naturally, such celebrations wouldn’t be complete without a heart-warming, Black-powered drama like ‘The Best Man Holiday’. Designed with broad strokes of humor and romantic sparks, the film brings old friends together for Christmas in a formula that cannot and will never disappoint.

Fifteen years after their last gathering, a group of college friends finally meet once more for the holidays. While their lives have changed substantially over the years, they quickly come to realize just how easy dead rivalries and old passions can come ablaze. Directed by Malcolm D. Lee and enriched with vibrant performances by Terrence Howard, Taye Diggs, Regina Hall, and Harold Perrineau, ‘The Best Man Holiday’ is one of those relatively light but essential seasonal delicacies.

‘THE BEST MAN HOLIDAY’ (2013), ©UNIVERSAL PICTURES

The Eighth Day: ‘The Bishop’s Wife’ (1948)

Let’s go back to the ‘olden days’ for a bit. Cary Grant, Loretta Young, and David Niven lead this Henry Koster Christmas tale of supernatural intervention and human character. There has been one remake of ‘The Bishop’s Wife’, titled ‘The Preacher’s Wife’ (1996)—directed by Penny Marshall and featuring Denzel Washington and Whitney Houston; while I like that version almost as much, I can’t help but stay loyal to Mr Koster’s original for the purpose of this guide.

‘The Bishop’s Wife’ sees Niven’s Bishop Henry Brougham struggling to raise money to build a cathedral and praying to heaven for assistance. Shockingly, he is immediately graced with the presence of Grant’s Dudley, who claims to be an angel. The bishop is sceptical at first, then irritated as the so-called angel starts drawing the attention and affection of his wife, Young’s Julia Brougham. As expected, conflict unravels, and the bishop decides to challenge heaven. Given Christmas’s close ties to Christianity, some angelic mischief is mandatory.

‘THE BISHOP’S WIFE’ (1947), ©THE SAMUEL GOLDWYN COMPANY

The Ninth Day: ‘While You Were Sleeping’ (1995)

This is my guilty pleasure, and I shall never apologize nor stop recommending it as part of winter’s movie playlist. Rom-coms were never the elite of the silver screen, but there are a few that withstand the quality test of time. ‘While You Were Sleeping’ happens to be one of them, and it’s mostly because of Sandra Bullock’s brilliant comedic performance.

The formula is further improved with Bill Pullman as her love interest and with Jon Turtletaub directing this frosted gem in which lonely transit worker Lucy pulls her crush Peter from the path of an oncoming train. Things get complicated quickly at the hospital, where doctors report that he is comatose, and Peter’s family is accidentally led to assume that Lucy is his fiancée. The story further twists as our adorably awkward heroine finds herself falling for Peter’s slightly more aloof brother, Jack.

‘WHILE YOU WERE SLEEPING’ (1995), ©HOLLYWOOD PICTURES

The Tenth Day: ‘Bad Santa’ (2003)

While most would suggest one of the Grinch’s big screen renditions for our holiday guide, I’ll rather set my sights on Billy Bob Thornton’s gleefully offensive take on Santa, instead. Directed by Terry Zwigoff, this Christmas cult classic isn’t for everyone, and it certainly doesn’t qualify as clean family fun, but it is nonetheless an enticing story, and its lead’s performance alone deserves a rowdy round of applause.

The dark comedy follows Willie T. Stokes as he reunites with his partner, Marcus (Tony Cox) for a proper Christmas con where they pose as a mall Santa and his elf. Their chemistry is riotous, and the string of incidents that follows along with Willie’s depression and alcoholism simply builds up until a little boy comes along and brings out the kinder side of our otherwise ‘Bad Santa’. And to think this almost didn’t get made!

‘BAD SANTA’ (2003), ©COLUMBIA PICTURES

The Eleventh Day: ‘Un Conte de Noël’ (2008)

‘A Christmas Tale’ is a French jewel of contemporary cinema, an exceptionally sharp black comedy built around a messy family gathering which brings forth radiant performances from the stupendous Catherine Deneuve. Don’t even get me started on the rest of the cast, as I’m an eternal fan of Mathieu Amalric and ‘Black Spot’ headliner Laurent Capelluto. Arnaud Desplechin’s chaotic family tale has everything you need to get through pretty much any kind of Christmas.

Deneuve’s matriarch Junon is stricken with a leukaemia diagnosis, so she asks her children and grandchildren during their holiday dinner gathering to see if any of them are eligible bone marrow donors. This unexpected turn of events draws out the worst from everyone, putting everything on the table: animosities, sibling friction, and grief. It’s truly a brilliant cocktail of drama and comedy with that typical French sting that one can never get enough of.

‘UN CONTE DE NOËL’ (2008), ©WHY NOT PRODUCTIONS

The Twelfth Day: ‘Rare Exports: A Christmas Tale’ (2010)

I was actually torn between this Finnish chunk of goodness and ‘Tokyo Godfathers’ (2003), which you might as well consider an added bonus for our holiday guide. But ‘Rare Exports: A Christmas Tale’ is a surprisingly smooth mix of straight-faced comedy and Christmas-themed horror. That is a dangerous combination, and less than frequently successful, yet director Jalmari Helander pulls it off with sheer proficiency.

In this twisted tale, we root for Pietari and Juuso, two boys who suspect that a secret mountain drilling project near their home in northern Finland has somehow uncovered the ancient tomb of the real Santa Claus. Mind you, this version of the ol’ St Nick isn’t cheerful nor jolly, but monstrous and evil. Throw in a feral old man, missing children, and Pietari’s baffled father, and we’ve got ourselves one hell of a reindeer murder mystery. It’s weird and original, therefore deserving of the twelfth spot.

‘RARE EXPORTS: A CHRISTMAS TALE’ (2010), ©CINET/POMOR FILM

There are plenty of other titles worth perusing every year around Christmas, sure, but few are as unique and as splendidly put together as the above. While I don’t mind revisiting delectable classics like ‘It’s a Wonderful Life’ (1946) or ‘Rudolph the Red-Nosed Reindeer’ (1964), consider this the ultimate Christmas experience. We’ve earned it.

Leaving the vintage vampire behind, I thought I’d start this piece with a trigger warning: the Nineties and the Naughties are equal parts wonderful and terrible for the bloodsuckers. In certain regions, they’re even… sparkly. Nevertheless, I shall swallow my ‘puritanical’ pride and continue enriching this compendium with other fangers brought forth by film and TV over the past three decades as we pick up where we left off.

In fact, consider this second volume to be a bittersweetly fragranced potpourri of the good, the bad, and the highly marketable but terrible vampires—yes, I’m looking at you, Edward. All harmless jabs aside, however, a current can be easily observed beginning with the Nineties, and it’s mostly due to Warner’s intelligent move to dramatize Anne Rice’s ‘Interview with the Vampire’ bestselling gothic fantasy novel.

It was a turning point for the onscreen vampire as it morphed into the disarming yet deadly seducer that glamours our pants off. The sexy leather-and-white-ruffle-clad brooding romantic whose sadness is meant to discourage us from dreaming of immortality—yet we only end up wanting it more.

‘VAMPIRE IN BROOKLYN’ (1995), ©PARAMOUNT PICTURES

Tom Cruise Like You’ll Never See Him Again

First and foremost, all hail to the queen of vampires, Anne Rice. It’s only fitting that the coming decade be crowned with an upcoming series based on her ‘The Vampire Chronicles’ novel series. She spruced up the 1990s, after all. She might as well save the 2020s.

If there is one form of the vampire that most may agree on as a classical, it is definitely ‘Interview with a Vampire: The Vampire Chronicles’, adapted for the screen by Ms Rice herself and directed by Neil Jordan. Other films based on her writings have fallen short of the source materials, but this one not only endures, it has become a precious page of vampire lore. And how could it not, when it shamelessly indulges in the talents of ridiculously young and thirsty Tom Cruise and Brad Pitt?

The story of Louis and Lestat, joined here by the eternal child Claudia (Kirsten Dunst) and the notorious Armand (Antonio Banderas), will never cease to cause wonder and melancholy, as it is ripe with weirdness and dark romance, with guilt and longing, with heart-breaking solitude and bone-crushing rage. Nothing tramples through the emotional spectrum harder than a Vampire Chronicles protagonist.

‘INTERVIEW WITH THE VAMPIRE: THE VAMPIRE CHRONICLES’ (1994), ©WARNER BROS.

Robert Rodriguez Does Vamps

You might remember that Robert Rodriguez underwent voluntary drug testing sessions to fund his first movie, ‘El Mariachi’ (1992). Just four years later, the visionary director added his own version of vampires to this marvellous compendium with ‘From Dusk Till Dawn’, starring George Clooney and Quentin Tarantino.

It’s the two-movies-in-one-gritty-experience that ‘Grindhouse’ (2007) could have been, as the first half follows two brothers and bank robbers on a spree headed south of the border, and the second half brings them to the Titty Twister, which turns out to be a vampire coven—anyone alive that is caught in this place must fight until dawn if they wish to survive.

Harvey Keitel’s ministerial presence and Juliette Lewis’s virginal innocence form a robust contrast with the Gecko brothers’ murderous tendencies and the club’s lethal seductress portrayed by Salma Hayek. ‘From Dusk Till Dawn’ glorifies the violence of night demons and humans alike, but not without a pinch of guilt—just enough to remind the Gecko brothers (alongside the viewers, of course), that for all its appeal, immortality is not without a price. Based on a story by Robert Kurtzman and written by Quentin Tarantino, the film was later made into a series by Rodriguez, which spanned three seasons.

‘FROM DUSK TILL DAWN’ (1996), ©DIMENSION FILMS

The Blade That Changed Everything

Before the CGI-riddled superhero sagas from Marvel and DC, Hollywood made room on its roster for David S. Goyer’s take on the comic antihero known as Blade. With Stephen Norrington directing and Wesley Snipes as the iconic half-vampire-half-human vigilante, ‘Blade’ (1998) broke a lot of boundaries and pushed the bloodsuckers’ genre into previously uncharted territory.

The screenplay established the ‘gritty but realistic’ allure that later delivered ‘The Dark Knight’ trilogy and ‘Man of Steel’ (2013), and it offered vampires as bloodthirsty fiends that simply asked for a proper beheading. Blade himself was an interesting take, since his human side allowed him to walk in the daylight.

Defined by athletic spectacle and a festival of hacking, slashing and slicing, ‘Blade’ recorded a tremendous commercial success that later grew into a trilogy—the third installment helped Ryan Reynolds and Jessica Biel grow out of their ‘Van Wilder: Party Liaison’ (2002) and ‘7^th Heaven’ (1996-2006) childlike ruts, respectively. Blade was the first of his kind, and none have been able to replace him.

‘BLADE’ (1998), ©MARVEL ENTERPRISES

Vampire Children and Glittering Bloodsuckers

The year 2008 was a complicated one for the purposes of this compendium, which is why I find more value in cramming two films in a single, wholehearted breath. ‘Let the Right One In’, Tomas Alfredson’s Swedish bloody fantasy changed the way we looked at vampire. Written by John Ajvide Lindqvist, this particularly unsettling story focuses on the friendship between Oskar, a shy and bullied 12-year-old, and Eli, his pale and mysterious new neighbour.

Bonded by their darker sides, Oskar and Eli form a friendship as they reveal their true natures to one another. Despite its ‘bloody Valentine’ vibe, ‘Let the Right One In’ carries itself with a warm conclusion and just a pinch of infantile sweetness.

‘LET THE RIGHT ONE IN’ (2008), © EFTI/FILMPOOL NORD

But nothing was more impactful on vampire culture than ‘Twilight’, of all silver screen creations. Oh, ‘Twilight’. While I hate the franchise with the fire of a thousand suns, credit must be given where it’s due. Regardless of its underwhelming vampiric representation and gothic-bubblegum aesthetic, Catherine Hardwicke’s cinematic take on the Stephenie Meyer novels rightfully earned its place in this collection devoted to fanged dazzlers.

Kristen Stewart and Robert Pattinson were too young and their characters too superficially written to make an individual lasting impact. The storyline itself was predictable, at best, and clotted with clichés. But ‘Twilight’ gave the world a new kind of vampire—the kind that conquered a new generation and brought young people back to reading fantasy. Obviously, there were better tales deserving of such attention, but ‘Twilight’ changed the market altogether, becoming a starting point as readers and viewers alike grew and moved on to greater titles.

‘TWILIGHT’ (2008), ©SUMMIT ENTERTAINMENT

Korean-Style Fangers

Having been accustomed to the unpredictable yet poetic violence of Park Chan-wook’s ‘Oldboy’ (2003) and ‘Sympathy for Mr Vengeance’ (2002), I wasn’t exactly shocked by the concept of ‘Thirst’ (2009). I was, however, blown away by the stylistic execution and flawless character design. Inspired by Émile Zola’s ‘Thérèse Raquin’, Mr Park’s horror fantasy follows a priest who is afflicted by vampirism and forced to remove himself from his ascetic ways while developing a sexual affair with the woman he feeds on.

Better known for his storytelling formula that blends brutality and controversy with light-hearted humour, the South Korean director pushed his method into a whole new realm through ‘Thirst’, a thought-provoking take on the colossal yet versatile vampire. Playing with gender roles and subversive editing, this particular bloodsucker’s tale is as ravishing as it is satyrical. Double points for Mr Park!

‘THIRST’ (2009), ©FOCUS FEATURES INTERNATIONAL

The Impoverished Vampire

Fast-forward to 2012, when Neil Jordan returned to the vampiric realm with ‘Byzantium’, starring the inimitable Saoirse Ronan and the severely underrated Gemma Arterton. Unlike most vampire stories, this visually astonishing yet coolly detached film does offer a polite nod to the director’s first foray with ‘Interview with the Vampire’. Unlike its more romantic predecessor, ‘Byzantium’ presents vampires not as elite charmers of the night, but as the necessitous or even downright beggarly creatures of a lower class.

Ronan’s protagonist feeds only on the blood of those that are already dying, while her mother, Arterton’s Clara, is an equal parts tragic and inspiring being—the former because she still makes a living as a prostitute, and the latter because she chose to become a vampire in a time when such a transition was reserved exclusively for men. What makes ‘Byzantium’ truly stand out is Mr Jordan’s treatment of blood in each and every scene where it is featured. The elaborate displays of scarlet are impossible to look away from, and the tinge of feminism neatly tucked within the story cannot be ignored, either.

‘BYZANTIUM’ (2012), ©DEMAREST FILMS

The Bloody Double Whammy

Another great year for vampires was 2013. Jim Jarmusch made an artful comeback with ‘Only Lovers Left Alive’ in a time when the blood drinkers were already expanding their reputation throughout the television medium, as well. The American director’s treatment is superb, to say the least, as Tilda Swinton and Tom Hiddleston emerge after centuries of bohemian living—two splendiferous though rather different sides of a coin.

Hiddleston’s vampire is tired and despondent. Swinton’s vampire is hopeful and warm, eager to bring him out of the darkness of their neverending existence and into the light of… well, their neverending existence.

There is a flow of ideas happening in Mr Jarmusch’s movie. A love of life and an appreciation of mystery that doesn’t dwindle after hundreds of years of living. It’s an optimistic angle, sure, but it’s a most welcome setup. Among all the vampire productions included in this collection, I’d venture to say that ‘Only Lovers Left Alive’ is the most human, aiming to inspire and thrive, to encourage viewers to step into new realms and experience adventure. To never stop breathing and wondering and living.

‘ONLY LOVERS LEFT ALIVE’ (2013), ©RECORDED PICTURE COMPANY (RPC)

And while on one hand we have this honey-like drizzle of vampirical romanticism, Jermaine Clement and Taika Waititi’s ‘What We Do in the Shadows’ (2014) comes as a most welcome dollop of humour—something we’ve not seen much of since Udo Kier’s Warholian vampire. In this 86-minute comedy, Clement and Waititi are joined by Jonathan Brugh and Ben Fransham as four fangers who were turned during different time periods. That leads to some hilarious conflicts of culture and personality, while the misery of eternal living persists somewhere in the background, much like an uncomfortable wart.

Deadpan mockumentary humour aside, ‘What We Do in the Shadows’ is a brilliant take on the vampire as it’s dragged out of its gothic pizzazz and thrust into the real world today, where dishes have to be washed and bouncers can refuse one’s entry into a nightclub. Perhaps too short in its feature form, the film did go on to evolve into an eponymous series helmed by Mr Clement. Can’t say I mind it. Not even a bit.

‘WHAT WE DO IN THE SHADOWS’ (2014), ©UNISON FILMS

The Vampire On TV

On the small screen, vampires have been wreaking havoc and building gargantuan fan bases on a weekly basis and across different age groups. From HBO’s ‘True Blood’ (2008-2014), based on Charlaine Harris’s ‘The Southern Vampire Mysteries’, which made everyone—absolutely everyone—fall head over heels with Alexander Skarsgård, to ‘The Vampire Diaries’ (2009-2017), which appealed to the young adult audience but then lost its vampire theme somehow between seasons 3 and 4, TV does not fall short in this uniquely diverse fantasy category.

‘True Blood’ was better because of its stellar cast—I shall never forget Nelsan Ellis as Lafayette, nor Rutina Wesley’s intensely broken Tara. ‘The Vampire Diaries’ made Ian Somerhalder into a household name, and I can unrepentantly state that those piercing blue eyes of his are pretty much the show’s only redeeming quality.

But before these vampires we had Spike and his weird-eyed cohorts in ‘Buffy the Vampire Slayer’ (1997-2003), and David Boreanaz’s iconic Angel that got his own spin-off with a darker and more mature treatment. We had the phenomenal Famke Janssen and Bill Skarsgård’s upirs in ‘Hemlock Grove’ (2013-2015), too, part of Netflix’s plunge into the vampire trend that dominated this sundowning decade. And ‘Being Human’ in both its UK and US versions struck a particular chord with fans on both sides of the Atlantic Ocean by making ghosts and vampires and werewolves live together under the same roof.

‘TRUE BLOOD’ (2008-2014), ©HBO/HOME BOX OFFICE

While most vampires follow the usual ‘sexy predator’ trope, there are some who stand out as multifaceted and intensely human, and a few who are truly unforgettable, savagely fun and interesting.

Ultimately, there is one change from the ancient vampers to the present-day fangers that stands out and is key to a show or a feature film’s success: they no longer take themselves too seriously. Yes, they are fierce and lethal and gory, able to tear one’s throat open for a mere sip, yet at the same time they manage to appear vulnerable, in some cases even silly, but always riding that wave of immortality better than their predecessors ever could. I, for one, appreciate the modern vampire more because it lives past the otherwise unavoidable tragedy of death and the end of things.

It lives past everything, and it asks the most daring question of all: what does forever look like?

For as long as people have told stories, there have been vampires in our folklore: in orally transmitted tales, in novels, and more recently, in film and television. They go out of fashion once in a while, but then they come back with a vengeance and a hunger for the macabre. The vampire is a timeless element of fantasy. It’s time to dig into its history.

Mythology with Fangs

Supernatural beings who drank the blood of innocent humans have popped up in almost every culture across the globe, from Antiquity and well into the Middle Ages. From the Indian vetālas and the Babylonian Lilitu (synonymous to the Hebrew Lilith) to the Ancient Greek Lamia and the Brazilian Jaracaca, and from the Eastern European versions including the Romanian strigoi, the African Asasabonsam, the Old Norse draugr, and the old-fashioned English revenant, our storybooks are loaded with blood-drinking fiends of the night.

Our fascination with these mythical creatures even devolved into a terrible frenzy during the 18^th century, which saw corpses staked and graves dug open to identify and destroy potential revenants. In that age, the immortality that bound one’s body to the night was a work attributed to the Devil himself. The only eternity that a soul could wish for came after death and with a proper burial for those so-called true Christians. Vampires were frightful creatures, capable of terrible things, a dark mirror image of ourselves, in the end, so of course, they thrived!

ILLUSTRATION BY DAVID HENRY FRISTON FOR ‘CAMILLA’ BY SHERIDAN LE FANU

A Silver Screen for Nosferatu

When the 20^th century came around, people had a new medium to tell vampire stories through. German director F.W. Murnau brought forth ‘Nosferatu: A Symphony of Horror’ in 1922, which introduced Max Schreck as Count Orlok. It was an unauthorized adaptation of Bram Stoker’s ‘Dracula’ novel of 1897—the first slightly more romantic take on the infamous bloodsucker.

In Murnau’s version, the charmingly terrifying vampire has an interest in a new residence and in his estate agent’s wife, portrayed by Greta Schröder. Today, ‘Nosferatu’ is a jewel of early cinema, even though Stoker’s heirs sued over copyright infringement. A court ruling ordered all copies of the film to be destroyed, but several prints survived. In 1929, seven years after its German premiere, ‘Nosferatu’ was released in the United States, later becoming one of the most influential masterpieces of the silver screen. So influential, in fact, that Werner Herzog revisited it through a breath-taking homage titled ‘Nosferatu, the Vampyre’ (1979).

‘NOSFERATU: A SYMPHONY OF HORROR’ (1922)

Stoker’s Dracula Revisited

After Murnau’s foray into the vampire fantasy, Tod Browning took on the challenge of an authorized adaptation of Bram Stoker’s novel—by proxy, since the film is actually based on the 1924 stage play written by Hamilton Deane and John L. Balderston, which, in turn, is based on the novel. Yes, this is quite the copyrighted pretzel! Garrett Fort penned the screenplay, and legendary actor Bela Lugosi played the part of Dracula in what quickly became a veritable oeuvre of its genre and generation.

It had an enormous commercial and critical success upon its release, and Lugosi’s version of Dracula quickly became a cultural icon, recognizable anywhere. He also served as the central framework for future vampire characters which would later blossom in the minds of writers like Anne Rice and Stephen King, to name but a few. The classy and deadly type. Eventually, ‘Dracula’ (1931) was selected by the United States Library of Congress for preservation in its National Film Registry, which deemed the film as ‘culturally, historically, or aesthetically significant’.

‘DRACULA’ (1931), ©UNIVERSAL PICTURES

The Politically Infuriated Vampire

Over the decades following Browning’s ‘Dracula’, the vampire myth didn’t find much appeal within the film world. There was the occasional European dip such as ‘Daughters of Darkness’ (1971), but nothing truly notable until Bill Gunn arose and slapped America with ‘Ganja & Hess’ (1973), a racially tinted and remarkably audacious vampire tale. It chronicles a short-lived but mesmerizing affair between a wealthy widow named Ganja and Hess, a vampiric anthropologist with an impressive hold on his powers.

Hess is turned by Ganja’s husband, portrayed by the director himself, with the aid of a Myrthian dagger inherited from an ancient tribe of African blood drinkers. The film’s dominating conclusion is that even with his complex knowledge of the history of his people, Duane Jones’s Hess has not yet truly felt the anger of the tragedy that befell the African people—not until the dagger. It’s an interesting transformation to observe, dabbling through painful history and societal issues that are still hard to take off the table. Worth mentioning here is that years later, Spike Lee did a remake of ‘Ganja & Hess’ titled ‘Da Sweet Blood of Jesus’ (2014).

‘GANJA & HESS’ (1973), ©KELLY/JORDAN ENTERPRISES

A Parody of Bloodsuckers

Once upon a time, the vampire was still a relatively young creature in the pages of cinema, so certain directors (Paul Morrissey) and certain producers (Andy Warhol, of all people) decided that it would be a fabulous idea to create a farcically impotent version of Dracula, brought to life by Udo Kier in ‘Blood for Dracula’ (1974). This particular bloodsucker’s problem is that his body is getting weaker due to the dwindling number of virgins for him to feast on. His quest for ‘pure blood’ takes him to Italy, where eye-candy Joe Dallesandro bangs his way through the countryside with a thick Brooklyn accent in order to literally starve Dracula out.

With no virgins left, the night-lord will eventually wither and perish, giving a whole new meaning to the concept of ‘morning wood’. On one hand, viewers would find it easy to laugh at an impotent vampire, but Kier’s portrayal also represents the slow death of classicism in the face of a sexual revolution.

‘BLOOD FOR DRACULA’ (1974), ©ANDY WARHOL PRESENTATION

Mr Romero’s Take

George Romero was no stranger to the horrors of supernatural. The vampire, in fact, was one of the primary influences for the filmmaker from a young age. Most might remember the master’s legacy through works like ‘Night of the Living Dead’ (1968), but it’s ‘Martin’ (1977) that made it into our vampiric compendium. It is a surprisingly inventive gem of its genre, uplifting the vampire mythos through its titular teenager. The kid gets his blood through syringes, and he’s one hell of a seducer. Mr Lugosi wouldn’t hold a candle to the strangely dazzling Martin.

There have been numerous imitators who have tried to claim Romero’s crown for ‘Martin’, though few filmmakers were ever able to deliver such psychological malaise by challenging the viewers’ imaginations. This young vampire holds his ground as a splendiferous anomaly and as an homage to the blood drinkers’ trope.

‘MARTIN’ (1977), ©LAUREL PRODUCTIONS

The Vampire Next Door

It’s safe to say that this trend started in 1985 with Tom Holland’s ‘Fright Night’, starring Chris Sarandon as the deviously seductive vampire who taunts his teenage neighbours by bringing a new girl home to victimize every night. There is a hilarious twist here, as the unexpected teen heroes enlist the services of an actor who kills vampires on TV to destroy the debonair bloodsucker. It’s an interesting collision between the voyeuristic cinema that Brian De Palma was better known for in the early ‘80s—works like ‘Body Double’ (1984) and ‘Dressed to Kill’ (1980), among them, and the teen comedy style that frequently pitted the unpopular boys and girls against the star athletes and mean bubble-gum cheerleaders.

It was the first time that the vampire was connected to adolescent angst, and it created an interesting effect over the following decades, as both the big and the small screen gradually noticed the nocturnal fiend’s appeal to younger audiences. By then, Anne Rice’s ‘Interview with the Vampire’ novel was already sparking raucous fires among readers with its romanticized immortals, though it would take another nine years for Lestat to reach the silver screen. ‘Fright Night’ was remade in 2011 by Craig Gillespie and featured intense performances from Colin Farrell, David Tennant, and the late Anton Yelchin.

‘FRIGHT NIGHT’ (1985), ©COLUMBIA PICTURES

Of Mullets and Biters

Ever the adaptable and chameleonic creature, the vampire found yet another formula to work with, this time through ‘The Lost Boys’ (1987), a cult darling directed by Joel Schumacher and featuring the memorable Kiefer Sutherland with a bleached mullet and a dreamy-looking Jason Patric. The story follows two brothers who move to a new town, only to discover that it’s swarming with badass vampires.

This time, it’s easy to see who the villain is. The vampire’s role is rendered simple, defined by bloodthirst and violence. While the film didn’t do much in terms of box office immediately after its release, ‘The Lost Boys’ gathered a loyal following across generations, made timeless by its delightful melange of spunk, gore, and everything else that was so ‘80s and worth immortalizing on cellulose acetate.

‘THE LOST BOYS’ (1987), ©WARNER BROS.

Coming Full Circle

Back to ‘Bram Stoker’s Dracula’ (1992), directed by the luminary Francis Ford Coppola. I find it sad that too many people judge him solely based on the ‘Godfather’ trilogy—yes, we all know that ‘The Godfather: Part 3’ (1990) was bad, but from there to calling his take on the Dracula lore as no more than ‘campy’ was a painful stretch. Alas, that was what many critics said when the film was released. Never mind the stellar cast, featuring exquisite performances by Gary Oldman, Winona Ryder, and even an ingenue Keanu Reeves. It was branded and set aside to rot in the shadows of greater works like ‘Apocalypse Now’ (1979).

Yet the American director’s vision of the vampire went beyond the increasingly mainstream sexual interpretation. His Dracula was an expression of immortality and an unstoppable lust that transcended the physical, desperately treading through the marshes of a surreal hunger. His Dracula carried himself with a sharp sense of danger, a predator on the prowl that instilled a sense of dark madness.

‘BRAM STOKER’S DRACULA’ (1992), ©COLUMBIA PICTURES

After all, what is the vampire nowadays, after centuries’ worth of fabled evolution? A damned creature, a destroyer of hearts, a thief of bodies, and mankind’s guilty pleasure. Immortality is usually out of our reach, but we live eternally and vicariously through the vampire, at every turn reminded that a price must be paid if one wishes to never die. A deal with the devil, in a way, and a choice that many openly contemplate, otherwise vampires would never be so popular.