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selenak: (Porthos by Chatona)
So, some years ago, I was very entertained by Dickensian, a tv miniseries that smashes various Charles Dickens canons into each other on a general prequel basis, i.e. lets their backstories take place simultanously and in connection to each other, with the death of Jacob Marley (which is a murder to be solved) as the narrative read thread holding the different stories together, by and large.

I was wondering whether this was possible with a 19th century French novelist as well, but got immediately sidetracked by thinking not of a fusion of canons from the same novelist but two of the best known novels of the two romantic titans, to wit: a Les Miserables/Count of Monte Christo crossover. I mean, Javert's bound to have done some police work in the time jump between Valjean and Cosette entering the nunnery and leaving it again, or even after but pre ending that's unrelated to Valjean and/or the 1832 uprising, and there are the various murders among the Villefort family to be solved, to pick the most obvious possible intersection. Valjean would disapprove of the Count's grand revenge scheme even before there's lethal collateral damage, of course, but otoh they could relate about lengthy prison sentences and kindly clergymen who change your life. Edmond/the Count would not understand why Valjean doesn't solve his Javert and Thenadier problems by a complicated scheme during which one is set against the other. Albert de Morcerf and Franz d'Epinay could hang out with Marius and compete in well meaning cluelessness. And maybe what Eponine needs to distract her from unrequited love to Marius is a flirt with Eugenie Danglars when the later catches her stealing?
selenak: (Ray and Shaz by Kathyh)
The Christmas special of Call the Midwife was lovely. Spoilers ensue. )

In Yuletide news, I got some lovely comments on both stories by now; more on the official assignment than on the treat, but that was to be expected because of the fandoms in question. Also, I spotted the assignment story recced on the journal of someone who is a complete stranger, which is extra thrilling. For all the fretting, that's the charm of the anonymous period before the reveal: getting comments, and perhaps being recced, solely on the basis of the story itself.

I haven't had the chance to watch the film version of Les Miserables yet for the simple reason it hasn't been released in Bamberg (but I'm off to Munich again next week, which is when I'll also go watch The Hobbit for a second time in the undubbed version). However, being familiar with both the novel and the musical meant I've been leisurely reading through reviews. Some comments about Marius reminded me that Hugo is a good example of reader/viewer training clashing with authorial intent, and not in the usual way. Because I don't think Marius is meant to be the young romantic hero of the tale (and failing at it). Hugo, writing from exile on his channel island because of his anti-Napoleon-III. pamphlet Napoleon Le Petit, isn't exactly charitable towards Marius ; spoilers for Les Mis ensue ) And yet Marius is still the most sympathetic variation of a certain type that shows up in The Hunchback of Notre Dame and Le Roi s'amuse, the drama which forms the basis of Verdi's opera Rigoletto (Verdi had to transport the whole plot to Mantua and make the king a duke in order to get around the censor), always in conjunction with an amazing woman in unrequited love with him. Spoilers for Notre Dame and Rigoletto ensue, along with ramblings on a favourite Hugo trope. )

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