As per usual, these are the things I’ve been reading and thinking about this week. It’s YA-heavy this week, but that’s kind of where my passion is, so it is what it is. Without further ado, let’s get into it.
Unplugging from John Green and Rob Thomas (Persnickety Snark)
I was so happy when Adele from Persnickety Snark started blogging again after a fairly long hiatus. I love her posts and her thoughts about books and pop culture, and I was particularly struck by a recent post in which she talks about fatigue from being deluged by a creator’s updates about their process. Because I agree.
Like Adele, I was a Veronica Mars movie Kickstarter Backer, and also like Adele, the updates from Rob Thomas got to the point where another one would appear in my inbox and I would think, “Seriously?” She gets to the heart of it here:
At this point in time, Thomas has sent out 92 updates on his highly successful Kickstarter initiative to revisit the world of Neptune High. 92 updates, a media eclipse of content, a mediocre film and nowhere to run. Even in unfollowing every cast member and creator, I was still inundated with information about the script, the casting, the production, the team working on it, the media appearances, Rob’s new VM related projects, the premiere, and now I am getting news on an unrelated Thomas driven project via the Kickstarter updates*.
I’m with her, and I’m also with her about the updates we’re now being subjected to about iZombie. I can’t tell you how much I don’t care about iZombie. Actually, I can. I don’t even know what it is, apart from the fact that Thomas is working on it. I can’t even be bothered to Google it, so irritated am I that I’m receiving updates about it.
This part of her post also stuck out to me, because it’s exactly how I feel about it:
But in a world where we are becoming increasingly interlinked, escape is becoming less probable. I want some mystery back. I love hearing about the process, and the creators’ emotional journey etc after the end result. If the process is intensely detailed as it’s happening – I need to disengage. I don’t want to be over the book/film before it has even made its way to the public. I am then robbing myself of some great storytelling with the added benefit of surprise.
Just something to think about.
Why the Eleanor and Park Movie is so Important (BookRiot)
If you follow YA news at all, you probably already heard that Rainbow Rowell’s excellent (seriously, seriously excellent) Eleanor & Park has been optioned by Dreamworks. Although it’s a long road to actually becoming a film, because of the book’s intensely vocal (and wide-ranging) fanbase, it seems pretty likely to do so. Of course, this movie news is influenced by the recent surge of other realistic YA novels being optioned for film. But this one feels particularly important in a way that other YA lit movie news doesn’t.
For one, it doesn’t include Shailene Woodley in the lead role (is she in everything, or is she in everything?) This Book Riot post gets to the heart of it pretty quickly:
But when it comes to casting, it’s not a surprise that we’re seeing the same faces over and over again…by using the same actors over and over again are telling movie audiences: “These are people whose stories are worth telling. If you look like this person, your story is worth telling. If you don’t…um… it’s like… I don’t know what to tell you, dude.”
The argument here, of course, is that this won’t work with Eleanor & Park, because Park is half-Korean and Eleanor is not a waif. This means, if the movie hews closely to the book, casting directors are going to have to go outside of their comfort zone, at least a little. Maybe?
No One Wants to Discover New Music? Ridiculous. (Salon)
Books might be my first love, but music is a pretty close second. I’m an audiophile, and I’m obsessed with discovering new music and tracking what’s being released when. Most of my music discoveries happen through music blogs, but I definitely use things like Pandora to help discover new stuff, especially when I’m hanging out with people and we want background noise.
This article appeared at Salon this week, and takes issue with another article (linked at the site and not here, because I kind of feel like the original article is troll-y click bait) that purports that streaming services like Pandora and Spotify are fighting an uphill battle that they will never win. Essentially: music listeners don’t want to discover new music, because they are comfortable with what they know they like.
Which, what? This is true of some music listeners, sure. It’s impossible to make a blanket statement one way or the other, but the original article attempts just that. And it’s super ridiculous. The article from Salon agrees:
What’s so astonishing is that, now, more than ever before, it simply doesn’t have to be that way. When I was an impressionable teenager it was logistically difficult to get exposed to new music outside of the narrow confines of Top 40. It required money and transport (or, at the very least, a good FM DJ). But today it’s the easiest thing in the world. For the last week or so, I’ve been occasionally listening to a Pandora station seeded by the Broken Bells, and I’m continually amazed at just how much creative, interesting music is out there that I’ve never heard of.
So maybe for casual music fans, there’s a certain truth to the original argument. But for people who actually love music and are interested in discovering new bands and sounds? Streaming sites like Pandora are a mecca.
The Hazards of Book to Film Adaptation: Further Thoughts on Attempted Rape in Divergent Divergent (Stacked)
I finally got around to seeing the Divergent movie last week and was surprised that there was a scene in which Four attempts to rape Tris during one of her fear simulations. I didn’t remember it from the book, but I sort of brushed it off because I read the book years ago and the details of the plot are hazy at best. But then I started reading articles on the internet, and I realized that I hadn’t forgotten the scene–it had been added.
Which is disturbing for a lot of reasons. But this piece by Kimberly Francisco at Stacked gets to a lot of what makes that decision so uncomfortable. She wonders why the filmmakers decided to fundamentally alter Tris’s fear landscape to include an attempted rape:
The kindest answer to my question may be that the filmmakers thought it would be too difficult to communicate Tris’ fear of sexual intimacy – or just affection in general – on the big screen.
So if that’s the case–and I agree with Francisco, that’s likely what propelled the decision to change the scene from one in which Tris is afraid of sex because of how scary sex is when you’re a teenager to one in which the fear is of actual rape–it sends a completely different message to viewers:
Perhaps they did not intend to explicitly tell readers and viewers that they felt Tris’ fear of sexual intimacy was equivalent to fear of rape, but by making the choice to exclude the book’s scene and create the attempted rape scene, that’s exactly what they have done.
Which is, of course, completely alarming. Francisco is not the only person who takes issue with this choice in the movie. Melissa Montovani at YA Bookshelf has some great pieces about this movie and how it fits into rape culture, and I encourage you to take a look at them.
At any rate, I’ve been thinking about this since I saw the movie, and I think I’ll be thinking about it for a good long while still.
What got you thinking this week?