Everyone loves a good Netflix binge, but sometimes it’s nice to put down the popcorn and snuggle up with a good book. Actually, you can keep the popcorn, because it pairs just as well with these amazing reads as it does with your flatscreen.

If you can’t figure out what to read next, here’s a handy dandy guide to books you might like based on your viewing favorites:

If you like Cinderella, you should read IF THE SHOE FITS by Julie Murphy
Everyone is talking about Cinderella these days, thanks to Amazon Studios’s new adaption of this classic fairytale, starring Camila Cabelo in the title role. Whether Camila is your new fave fairytale princess or you still live for Lily James and her pretty glass butterfly shoes, you will enjoy THE SHOE FITS by Julie Murphy. Murphy, author of Dumplin’ (also a fab Netflix movie), brings us a modern, body-positive Cinderella who competes on a Bachelor-style reality show. This book is the first in a new series of adult Disney Princess romcoms from Disney Hyperion, so there’s even more fairy tale magic to come.

If you like Never Have I Ever, you should read DIAL A FOR AUNTIES by Jesse Q. Sutanto
Who isn’t completely charmed by the creative brain of Mindy Kaling? Based somewhat on Kaling’s own upbringing, this coming-of-age story of an Indian-American teenager dealing with the death of her father will make you laugh one minute and get all teary-eyed the next. One of the best things about the show is its emphasis on family. If you love this Netflix treat, DIAL A FOR AUNTIES by Jesse Q. Sutanto is the read for you. When the main character accidentally kills her blind date (oops!), her mom and an entire squad of meddlesome-but-well-meaning aunties comes to her rescue. Things only get more complicated (and more hilarious) from there.

If you like You’ve Got Mail, you should read TO SIR, WITH LOVE by Lauren Layne

You’ve Got Mail is an oldie but a goody, and since its release in 1988, this Meg Ryan and Tom Hanks treasure has inspired loads of romcom novels. One of the very best is this summer’s TO SIR WITH LOVE by Lauren Layne. It’s like You’ve Got Mail with a heaping dose of champagne. Yes, please.

If you like Ted Lasso, you should read THE BROMANCE BOOK CLUB by Lyssa Kay Adams

Ted Lasso has made kindness cool again, just when we needed it most. If you want to feel those same warm fuzzies, complete with sports team vibes (baseball instead of soccer, but still…) and men supporting one another in a healthy way while uplifting the romance literary genre at the same time, head to your nearest online bookstore and one-click THE BROMANCE BOOK CLUB by Lyssa Kay Adams immediately.

If you like Grace and Frankie, you should read MOM JEANS AND OTHER MISTAKES, by Alexa Martin

Alexa Martin’s MOM JEANS AND OTHER MISTAKES is a great read for anyone drawn to the strong female friendship storyline in Grace and Frankie. The main characters are a bit younger, but just like in the Jane Fonda and Lily Tomlin Netflix favorite, they become unexpected roommates and the supporting cast of family members provide lots of drama and laughs.

If you like The Great British Baking Show, you should read BATTLE ROYAL by Lucy Parker

Soggy bottom, anyone? If you’ve ever dreamed of whipping up a batch of cupcakes worthy of that ever-elusive Paul Hollywood handshake, BATTLE ROYAL by Lucy Parker is definitely your jam. It’s like a royal wedding meets THE GREAT BRITISH BAKING SHOW, and fair warning: you will definitely want to have some cake on hand while reading it. Trust me on this.

If you like Fleabag, you should read HOT UNDER THE COLLAR by Andie J. Christopher

Let’s be real. When I say Fleabag, I’m specifically talking about season two and the Hot Priest (which absolutely deserves to be capitalized). If you’re still longing for those episodes or even just rocking your fabulous black Fleabag jumpsuit, HOT UNDER THE COLLAR by Andie J. Christopher will fill that aching void in your heart.

If you like Emily in Paris, you should read THE PARIS CONNECTION by Lorraine Brown

Emily in Paris has left hordes of us crying into our croissants and wondering why we never moved to France and accidentally fell in love with charming chef downstairs. If you enjoyed Netflix’s romp through the City of Lights starring Lily Collins and her amazing wardrobe, you will adore THE PARIS CONNECTION by Lorraine Brown. This delightful new book has the same magical armchair tourist quality and plenty of will-they-ever-get-together angst. Fantastique!

If you like Cruella, you should read A SPOT OF TROUBLE by Teri Wilson

If Cruella has you seeing spots (the good, furry Dalmatian kind), I’ve got you covered. A SPOT OF TROUBLE was written by yours truly, and it’s a whimsical romantic comedy for anyone who loves Emma Stone in Cruella or Disney’s other 101 Dalmatians movies. Bonus: no one wants to make a coat out of the sweet dogs. I promise.

Will you be picking up Teri’s new release? Tell us in the comments below!

The post What To Read Next: Popular Movies & TV Shows Paired With Rom-Com Books appeared first on The Nerd Daily.

With recent news of a vaccine being distributed and ministered, it is—with hopeful caution and cautious hope—safe to say that there is light at the end of the darkest tunnel many of us have seen.

Film studios certainly think so as the film slate for 2021 is bountiful and sure to make up for last year. So, without further ado, here are the, at the time of writing, projected film releases of 2021. Things, of course, are subject to change at a moment’s notice. (Remember: hopeful caution and cautious hope!)

JANUARY

One Night In Miami (dir. Regina King)

One Night in Miami is a fictional account of one incredible night where icons Muhammad Ali, Malcolm X, Sam Cooke, and Jim Brown gathered discussing their roles in the civil rights movement and cultural upheaval of the 60s.

The Little Things (dir. John Lee Hancock)

Deputy Sheriff Joe “Deke” Deacon joins forces with Sgt. Jim Baxter to search for a serial killer who’s terrorizing Los Angeles. As they track the culprit, Baxter is unaware that the investigation is dredging up echoes of Deke’s past, uncovering disturbing secrets that could threaten more than his case.

The Marksman (dir. Robert Lorenz)

A rancher on the Arizona border becomes the unlikely defender of a young Mexican boy desperately fleeing the cartel assassins who’ve pursued him into the U.S.

FEBRUARY

Cinderella (dir. Kay Cannon)

Based on the fairytale we all know and love, this musical romantic-comedy features Camila Cabello as the titular princess, Billy Porter as the Fab G (a genderless fairy godparent), and Idina Menzel the evil stepmother.

Minamata (dir. Andrew Levitas)

Based on the autobiography / photo essay of the same name by Aileen Mioko Smith and Eugene Smith, the film stars Johnny Depp as Smith, an American photojournalist who travels to Japan and documents what would become known as the first sightings of mercury poisoning in the city of Minamata.

The Mauritanian (dir. Kevin Macdonald)

This upcoming political thriller is based on the memoir Guantanamo Diary By Mohamedou Ould Salahi, which details Salahi’s unlawful and unsanctioned detention and torture at Guantanamo Bay. Tahar Rahim stars as Salahi. He is joined by Jodie Foster, Shailene Woodley, Benedict Cumberbatch, and Zachary Levi.

MARCH

Raya and the Last Dragon (dir. Paull Briggs, Dean Wellins)

Kelly Marie Tran and Awkwafina lend their voices as Raya and the last dragon (respectively) in Disney’s highly anticipated animated release that was inspired by Southeast Asian cultures.

The King’s Man (dir. Matthew Vaughn)

Vaughn returns to the Kingsman spy action-comedy universe with a prequel film that stars Ralph Fiennes, Gemma Arterton, Rhys Ifans, Matthew Goode, Tom Hollander, Harris Dickinson, Daniel Brühl, Djimon Hounsou, and Charles Dance. While plot details are scarce, the film, set in early 20th-Century, illustrates the formation of the Kingsman agency.

Morbius (dir. Daniel Espinosa)

Sony’s second film in the Sony Pictures Universe of Marvel Characters, Morbius stars Jared Leto as Michael Morbius who becomes a vampire after he fails to cure himself of a rare blood disease. This film is allegedly part of Sony’s plans for a shared universe of Spider-man characters (following Tom Hardy’s Venom), and stars Matt Smith, Adria Arjona, Jared Harris, Al Madrigal, and Tyrese Gibson in supporting roles.

Chaos Walking (dir. Doug Liman)

Based on the novel by Patrick Ness, Daisy Ridley and Tom Holland star in Chaos Walking which follows a dystopian world where there are no women and all living creatures can hear each others’ thoughts in a stream of images, words, and sounds called Noise.

APRIL

No Time to Die (dir. Cary Fukunaga)

After being delayed (twice) due to COVID-19, the twenty-fifth film in the James Bond franchise—and Daniel Craig’s final curtain call—is finally being released! In this film, Bond is pulled out of retirement to help rescue a kidnapped scientist, but the mission unearths the plot of a mysterious villain armed with dangerous technology. In addition to Craig, Ralph Fiennes, Naomie Harris, Ben Whishaw, Léa Seydoux, Christoph Waltz, and Jeffrey Wright all return, with Rami Malek, Ana de Armas, and Lashana Lynch in new roles.

BIOS (dir. Miguel Sapochnik)

Tom Hanks stars as one of the last men on Earth who builds an android (played by Caleb Landry Jones) to keep him and his dog company. Laura Harrier, Samira Wiley, and Skeet Ulrich also star.

A Quiet Place Part II (dir. John Krasinski)

The much anticipated sequel sees the return of Emily Blunt, Millicent Simmonds, and Noah Jupe as the Abbott family who must fight for survival in a world plagued by monsters with acute senses of hearing. Cillian Murphy and Djimon Hounsou play characters the Abbott family meets as they venture away from their home.

Last Night in Soho (dir. Edgar Wright)

Wright’s psychological-horror film stars Thomasin McKenzie as a young woman with a passion for fashion design, who mysteriously travels back in time to 1960s England. There, she sparks a connection with Anya Taylor-Joy’s character, but, as with all time-travel, dark consequences ensue. (Matt Smith, Diana Rigg, and Terence Stamp round out the cast.)

MAY

Black Widow (dir. Cate Shortland)

Scarlett Johansson first appeared as Natasha Romanoff in Iron Man 2 back in 2010. Much to the chagrin of many fans, it’s only now that the (arguably) most beloved original Avenger is finally getting her own solo movie. As with every MCU project, the plot details remain a mystery, but what we do know is that the film—which incidentally kicks of Phase 4 of the Marvel Cinematic Universe—takes place between Captain America: Civil War and Avengers: Infinity War and sees Natasha returning to Russia to deal with some unfinished business. Florence Pugh, David Harbour, and Rachel Weisz also join the adventure.

Free Guy (dir. Shawn Levy)

Ryan Reynolds plays Guy, a non-playable character, in a video game called Free City. As a result of new programming, Guy realizes that he is a background character and learns that the video game is set to be turned offline indefinitely. Taking upon the role of hero, Guy races against time to save the day (and the game). Reynolds is joined by Jodie Comer and Taika Waititi.

Spiral (dir. Darren Lynn Bousman)

This is the ninth instalment of the Saw franchise, starring Chris Rock and Samuel L Jackson as a detective and police veteran (respectively) who, as they investigate a string of murders, find themselves trapped in the killer’s twisted game.

Cruella (dir. Alex Timbers and Craig Gillespie)

Set in 1970s London, this film serves as a origin story of the beloved villainess and a prequel to the live-action remakes that starred Glenn Close. This time around, Emma Stone is set to play a young Estella de Vil, a fashion designer whose obsession with dogs’ skins—particularly that of Dalmatians—turns her into the Cruella we all know and love to hate.

Infinite (dir. Antoine Fuqua)

Mark Wahlberg, Chiwetel Ejiofor, and Dylan O’Brien star in this sci-fi film about a man who discovers that his hallucinations are actually memories from his past lives.

F9 (dir. Justin Lin)

It’s a family affair within the ninth film of the Fast & Furious series: Dominic Toretto (Vin Diesel) and his family must face off against Jakob Toretto (John Cena) who teams up with Cipher (Charlize Theron). Michelle Rodriguez, Tyrese Gibson, Ludacris, Nathalie Emmanuel, and Helen Mirren all return in their respective roles.

JUNE

The Conjuring: The Devil Made Me Do It (dir. Michael Chaves)

This film serves as the sequel to The Conjuring (2013) and The Conjuring 2 (2016) and sees the return of Patrick Wilson and Vera Farmiga as paranormal investigators Ed and Lorraine Warren.

In the Heights (dir. Jon M Chu)

Based on the 2007 stage musical by Lin-Manuel Miranda and Quiara Alegría Hudes, the film adaptation stars Anthony Ramos as a charismatic bodega owner who dreams (and sings) of a better life.

Luca (dir. Enrico Casarosa)

A Disney-Pixar original, the film tells the story of a young boy on the Italian Riviera whose friendship with a newfound friend is jeopardised by the fact that he is actually a sea monster from another world that exists just beneath the water’s surface.

Venom: Let There Be Carnage (dir. Andy Serkis)

Tom Hardy returns as the titular Venom who, this time around, faces off against serial killer Carnage (Woody Harrelson). Michelle Williams and Reid Scott also return, and Naomie Harris is set to play Shriek, Carnage’s love interest.

JULY

Top Gun: Maverick (dir. Joseph Kosinski)

A sequel to the 1986 film Top Gun, Tom Cruise and Val Kilmer return as Maverick and Iceman (respectively). Plot details are scarce, but after decades of flying, Maverick finds himself training a new squad of graduates for a dangerous mission. Cruise and Kilmer are joined by Miles Teller, Jennifer Connelly, Jon Hamm, and Glen Powell.

Shang-Chi and the Legend of the Ten Rings (dir. Destin Daniel Cretton)

This is Marvel’s first film with an Asian lead, with Simu Liu playing the titular character, a skilled martial artist, who must face off against the Mandarin (played by Tony Leung), leader of the terrorist Ten Rings organisation. The film also features Awkwafina and Michelle Yeoh.

Space Jam: A New Legacy (dir. Malcolm D Lee)

A sequel to Space Jam (1996), this film stars LeBron James who finds himself trapped in a video game with young son Dom (Ceyair J Wright) by a rogue AI (played by Don Cheadle). With the help of the Looney Tunes gang, James must find a way out.

Jungle Cruise (dir. Jaume Collet-Serra)

Emily Blunt and Dwayne “The Rock” Johnson star in this adventure-fantasy film that sees Blunt’s character, Dr Lily Houghton, enlisting the help of Frank Wolff (Johnson) to take her down the Amazon in search of ancient healing tree that holds the key to changing the future of medicine.

Uncharted (dir. Ruben Fleischer)

Based on the video game of the same name, Uncharted stars Tom Holland as fortune hunter Nate Drake. Mark Wahlberg plays Sully, Nate’s mentor and father figure. The film also features Antonio Banderas in an undisclosed role.

The Green Knight (dir. David Lowery)

AUGUST

The Suicide Squad (dir. James Gunn)

Serving as a soft reboot and standalone sequel to 2016’s Suicide Squad, the film stars Margot Robbie, Idris Elba, John Cena, Joel Kinnaman, Peter Capaldi, Viola Davis, Jai Courtney, and more as imprisoned convicts who are sent to the island of Corto Maltese to destroy a Nazi-era prison and laboratory.

The Hitman’s Wife’s Bodyguard (dir. Patrick Hughes)

This action-comedy is a sequel to the 2017 film The Hitman’s Bodyguard and sees the return of Ryan Reynolds as the bodyguard, Samuel L Jackson as the hitman, and Salma Hayek as the wife (who, this time around, finds herself as the one in danger).

Candyman (dir. Nia DaCosta)

Starring Yahya Abdul-Mateen II, Teyonah Parris, Nathan Stewart-Jarrett, and Colmon Domingo, and written by Jordan Peele, Win Rosenfeld, and DaCosta herself, Candyman is a direct sequel to the 1992 film of the same name.

Respect (dir. Liesl Tommy)

Jennifer Hudson stars as Aretha Franklin in this biopic (a casting choice made by Franklin herself). Forest Whitaker, Mary J Blige, Audra McDonald, Marlon Wayans, and Titus Burgess also star.

SEPTEMBER

Death on the Nile (dir. Kenneth Branagh)

A follow-up to Murder on the Orient Express (2017), Branagh returns as the legendary Hercule Poirot to investigate a murder aboard the S.S. Karnak, featuring an all-star ensemble cast that includes Annette Bening, Russell Brand, Gal Gadot, Armie Hammer, Rose Leslie, Sophie Okonedo, Jennifer Saunders, and Letitia Wright.

The Man From Toronto (dir. Patrick Hughes)

Kevin Hart and Woody Harrelson star in this action-comedy about a screw-up who is forced to team up with an assassin after the two are mistaken for one another while staying at an Airbnb.

OCTOBER

Dune (dir. Denis Villeneuve)

Arguably one of the most anticipated films of 2021, after being pushed back (twice) from an initial 2020 release, this sci-fi film stars Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Stellan Skarsgård, Dave Bautista, and Zendaya.

Halloween Kills (dir. David Gordon Green)

Jamie Lee Curtis returns as Laurie Strode in this sequel to 2018’s Halloween and the twelfth film in the Halloween franchise. With her family and new and old allies, Strode must face off against Michael Myers (Nick Castle) who is still loose and murderous in Haddonfield.

Snake Eyes: G.I. Joe Origins (dir. Reobert Schwentke)

Henry Golding plays the titular character in this spin-off of the G.I. Joe film series alongside a cast that features Andrew Koji, Iko Uwais, Peter Mensah, Úrsula Corberó, and Samara Weaving.

The Last Duel (dir. Ridley Scott)

A historical drama-thriller set in 14th-Century France detailing the last legally sanctioned duel, this film reunites Matt Damon and Ben Affleck (both of whom co-wrote the script together along with Nicole Holofcener) and features Adam Driver and Jodie Comer in principal roles.

NOVEMBER

Eternals (dir. Chloe Zhao)

The Marvel Cinematic Universe’s third film of 2021 (and Phase 4), the story centres around an immortal alien race called the Eternals, who have lived on Earth, hiding in plain sight, for over 7000 years, and must band together to protect the world from their evil counterparts, the Deviants. Angelina Jolie leads an epic cast that includes Richard Madden, Kumail Nanjiani, Kit Harington, Salma Hayek, and Gemma Chan. (A spot of trivia: this film will also feature the MCU’s first openly gay superhero.)

Elvis (dir. Bad Luhrmann)

Austin Butler stars as the titular rockstar alongside Tom Hanks in this biopic of the legendary artist.

Mission: Impossible 7 (dir. Christopher McQuarrie)

Tom Cruise returns as the legendary Ethan Hunt in the seventh instalment of the Mission: Impossible franchise. Set to return as well are: Simon Pegg, Ving Rhames, Rebecca Ferguson, Vanessa Kirby, and Angela Bassett. Joining the cast are: Shea Whigham, Henry Czerny, Esai Morales, Pom Klementieff, and Hayley Atwell.

King Richard (dir. Reinaldo Marcus Green)

Will Smith plays Richard Williams—father and coach of tennis royalty Serena and Venus Williams—in this biopic that details how the tennis superstars came to be.

Encanto (dir. Byron Howard, Jared Bush, Charise Castro Smith)

This Disney animated film, featuring music by Lin-Manuel Miranda, tells the story of a Colombian girl named Mariana who grows up as the only non-magical person in her family.

Gucci (dir. Ridley Scott)

Based on the book The House of Gucci: A Sensational Story of Murder, Madness, Glamour, and Greed by Sara Gay Forden, the murder-dram film stars Jeremy Irons opposite Lady Gaga with a supporting cast that includes Adam Driver, Jared Leto, Al Pacino, Jack Huston, and Reeve Carney.

DECEMBER

West Side Story (dir. Steven Spielberg)

This latest film adaptation of the 1957 Broadway musical of the same name tells the love story between two teenagers, Tony and Maria (Ansel Elgort and Rachel Zegler, respectively), who belong to rival gangs in 1950s New York.

The Matrix 4 (dir. Lana Wachowski)

Keanu Reeves, Carrie-Anne Moss, Jada Pinkett Smith, Lambert Wilson, and Daniel Bernhardt all return in the fourth instalment of The Matrix franchise. Joining the cast in new roles are: Yahya Abdul-Mateen II, Jessica Henwick, Neil Patrick Harris, Jonathan Groff, Max Riemelt, Brian J Smith, and Priyanka Chopra.

Sherlock Holmes 3 (dir. Dexter Fletcher)

Robert Downey Jr returns as the titular Holmes, alongside Jude Law as Watson and Rachel McAdams as Irene Adler, in this sequel to 2011’s Sherlock Holmes: A Game of Shadows.

Babylon (dir. Damian Chazelle)

Chazelle’s directorial follow-up to La La Land (2016) stars Margot Robbie opposite Brad Pitt in a film that is set in old Hollywood when the industry transitioned from silent films to talkies.

What 2021 release are you looking forward to seeing or at least hoping to see this year? Tell us in the comments below!

The post The Most Anticipated Movie Releases of 2021 appeared first on The Nerd Daily.

Year after year there always seems to be some kind of new fairy tale live-action remake. Reminding many of us of our childhoods, remakes tend to draw in viewers by promising a dose of nostalgic euphoria for those happier, more carefree days. While newer and shinier versions of beloved stories are promised, it is easier to overlook the gems of years past.

The 1990’s were a decade of live-action fairy tales that were either theatrically campy or just simply revitalised a tired genre with a fresh style and atmosphere. Blowing newer remakes out of the water, these five are worth watching again and again, whether it be your first time or your hundredth.

Cinderella (1997)

Also known as Roger & Hammerstein’s Cinderella, this musical film has got to be THE best modern adaptation of a fairy tale with THE best cast. With an incredibly diverse group of actors, the film is full of acting legends as well as singing powerhouses like Whitney Houston as the Fairy Godmother, Brandy as Cinderella, and Bernadette Peters as the Stepmother. This movie thrives off of its catchy songs, vibrant costumes, and picturesque sets making it a visual feast and unlike any other Cinderella film. While the movie has the same premise as the Disney animated version of Cinderella, the experience is remarkably different as it embodies an excessive theatricality consisting of funny dialogue, exaggerated acting, and a sweet romance. The portrayal of the magic is a little cheesy due to the graphics, but hey, it was the ’90s! Those cartoonish graphics are part of the decade’s charm. Remarkably unique, it’s possible that watching Cinderella will prove to be a dazzling fun time!

Alice in Wonderland (1999)

Clocking in at a solid two hours and thirty minutes long, the 1999 version of Alice in Wonderland feels like an absolute journey. Combining elements from both of Lewis Carroll’s books, Alice’s Adventures in Wonderland and Through the Looking-Glass, the film will make you feel like you’ve spent an entire day traversing through Wonderland. Encapsulating feelings of being nonsensical and contemplative, this version is an incredibly comforting option for anyone looking to relieve stress.

Alice in Wonderland consists of an absolutely amazing cast, it features Whoopi Goldberg as the Cheshire Cat, Sir Ben Kingsley as Major Caterpillar, Martin Short as the Mad Hatter, and Gene Wilder as the Mock Turtle. The movie begins with a garden party at Alice’s estate, and at this party Alice is expected to sing a song for the guests. Nervous about her performance, Alice runs into the woods and sees a mysterious White Rabbit. She evidently follows him down the rabbit hole and the rest of the movie follows suit. While in Wonderland, Alice meets and interacts with interesting and memorable characters that give her little bits of advice. The cast and characters of this film are what make it such an enticing watch. So, if you want to get lost for the next few hours in a blanket of comforting familiarity and oddball silliness then this is the perfect movie.

Snow White: A Tale of Terror (1997)

Though “Snow White” has always had a reputation for being on the frightening side, this adaptation is classified as the horror version of the tale, and while the movie is not exactly too scary, it is a darker retelling. Snow White: A Tale of Terror is about Snow White, or in this case she is named Lilli Hoffman, and the series of events caused by jealousy that she evoked from her stepmother Lady Claudia, played by Sigourney Weaver. Lilli and Lady Claudia’s relationship has certainly been damaged throughout the years as they have continuously provoked the other. Though it is when Lady Claudia officially recognises that Lilli is no longer a child, but a beautiful young woman, that she really takes action on her anger. All the elements in this movie are more sinister, Lady Claudia is teeming with dark magic as she also has a magical mirror with a mind of its own and her brother, Gustav, who does her bidding for her.

Keep in mind that since this is a darker version of the story, there are bloodier and more graphic scenes. If that was not enough, the seven dwarfs, or in this movie, the seven rugged miners, are initially presented as a morally gray and frightening bunch. The fact that it is a bleaker adult version of the story is not the only reason you should watch this movie, but you are also sure to fall in love with this movie’s beautifully moody atmosphere, the romance, and the spookily delightful performance by Weaver as the evil stepmother.

Hook (1991)

Hook is a reimagining and sequel to J.M. Barrie’s classic story of Peter Pan. The Steven Spielberg film takes a look at Peter Pan all grown up as a lawyer named Peter Banning, played by the incomparable Robin Williams. Peter Banning is a no-fuss and all business short of guy, and the fun part is that he has no idea who he really is. Having a strained relationship with his wife and two kids, they all take a trip to London to visit his wife’s grandmother, Wendy. Yes, it is THAT Wendy. Too bad Peter’s old foe, Captain Hook, still holds a grudge against him because, once the family is in London, Captain Hook kidnaps Peter’s kids. Peter is thus forced to go on an adventure to Neverland.

Williams expertly portrays the fish out of water scenario in an enticing way, creating a funny and cute family-friendly film. While the movie can be enjoyed by all ages, it will have you back in love with the adventurous locale of Neverland, but this time through the, maybe somewhat relatable, perspective of an adult Peter. This rendition is also special because it feels like an elaborate stage production, full of entertaining and overtly theatrical pirates. Another interesting feature is the surprising and unexpected cast of actors, from Dustin Hoffman playing Captain Hook, Maggie Smith as Aunt Wendy, and even Julia Roberts as Tinkerbell! With just a hint of pixie dust, this movie will have you feeling like a kid again.

Ever After (1998)

The other “Cinderella” story on this list, Ever After takes a more historical approach to the classic tale except it has little basis in actual history. Set in France during the Renaissance, the film stars Drew Barrymore as Danielle, a lowly housemaid living with her abusive stepmother and indifferent stepsisters. One day, Danielle finds herself impersonating a noblewoman and attracts the attention of the prince. Along with Barrymore, the film’s all-star cast consists of Anjelica Huston as the stepmother and Patrick Godfrey as Leonardo da Vinci. Yeah, that’s right, there is even a Leonardo da Vinci in this retelling.

Playing with the time period through the incorporation of historical references, the film takes on a more realistic style. Instead of magic, it is science, philosophical thought, and self-determination that ultimately takes precedence in saving the downtrodden Danielle. There is a lot to enjoy about this adaptation, ranging from the divine costuming, the smart and headstrong Cinderella, the fact that the story is incredibly romantic, and that this film will make you believe, even if for a second, that it’s based on a true story. Filled with charming characters and a lovable prince, this film is an instant favourite and will leave you feeling happily ever after.

Do you have any other recommendations? Tell us in the comments below!

The post Five ’90s Live-Action Fairy Tale Movies To Marathon appeared first on The Nerd Daily.

The origins of Cinderella are often disputed. In Western literature, the earliest written version is Cenerentola, written by Giambattista Basile in 1634. The version which is closest to the one we know today is, Cendrillon by Charles Perroult in 1697. The Brothers Grimm also wrote a version in 1812, Aschenputtel. This version has a wishing tree instead of a fairy godmother, and it is in this version that the step sisters have their eyes pecked out by birds as retribution for their cruelty.

However, there are also claims of Cinderella-esque stories existing in Chinese, Japanese, and Vietnamese legends. Arguments have also been made about Cinderella-esque stories existing within One Thousand and One Nights.

Despite its various iterations, the more brutal of which see the stepsisters’ eyes pecked out by birds at the story’s end, the story is more or less the same.

In this excellent video, Kurt Vonnegut breaks down various story shapes, and succinctly outlines the trajectory of the Cinderella storyline. So we can broadly break the formula down as follows:

Step One: Girl and boy find one another and in finding one another, make each other happier. Sometimes we may see difficulty in how they get together, which makes it all the more rewarding when indeed they do first kiss.

Step Two: Something happens to drive them apart; a misunderstanding, a betrayal—perceived or otherwise, the personal hangups of one or both of the characters; basically any plot device in the shape of a wedge between our happy couple.

Step Three: Reconciliation, which is generally facilitated by a grand romantic gesture.

Modern rom-coms generally lubricate the transition between steps two and three through some kind of introspection, or realisation of a personal foible which is preventing them achieving true happiness. Arguably, the parallel is the prince’s quest throughout the land to find the woman to whom the lost slipper—glass or otherwise—belongs. Nevertheless, a significant number of rom-coms (as the most prominent example) follow this structure with reasonable consistency.

Consider: To All The Boys I’ve Loved Before, Silver Linings Playbook, Trainwreck (which inverts the gender roles of much of the traditional narrative but nevertheless follows the formula quite religiously), Friends With Benefits, Pretty Woman, and Ten Things I Hate About You (which possesses an artful ‘b’ storyline in the form of Cameron and Bianca that actually defies this formula, but I feel we can thank Shakespeare for this nice twisting of the traditional narrative progression).

But while we love the up-down-up element of the narrative, it’s arguably more than simply the manner in which the storyline progresses that makes it so beloved. We can attribute this to some of the key elements within the story.

Let’s look first at the rags-to-riches aspect. This narrative contains a fantasy that it would be hard to argue isn’t daydreamed about by many. The idea that someone middle class (like most of us) can be abruptly swept up and transplanted into a world of luxury and opulence. Really, who wouldn’t want to suddenly be dropped in a glittering world where their every whim is met. When it’s not a question of ‘if’, not even ‘how’, but ‘how long’.

The runaway success of the Fifty Shades trilogy can’t be dismissed, no matter how hard many would like it to be. One could easily argue that the Cinderella element to it is what made it such a deeply enthralling read to so many: a young, relatively unremarkable woman is plucked out of her humdrum life, lavishes luxurious gifts upon her, and eventually transports her to the modern-day equivalent of a castle: the penthouse of a luxury apartment.

Similarly, Crazy Rich Asians, 2018’s big rom-com film which is based on the book by Kevin Kwan. Rachel, our run of the mill college professor who worries about her weekly budget and only owns something like three dresses, finds out that her boyfriend is actually the heir to one of the most wealthy families in the Asian region.

Upon their arrival in Singapore, she is treated to every luxury imaginable, pampered, clothed, and fed like a princess. The sheer opulence with which she finds herself surrounded makes the story engaging and fascinating—especially as many of us can literally only dream of experiencing such things.

I mean, it we wanted to get really deep (always dangerous territory), it could be argued that this functions as an analogue for the American Dream. How? Well, significant upward social mobility within a very short space of time, the idea that anyone can be a princess, can go from literally scrubbing floors to being the person who requests that those floors be scrubbed, the promise that all of us are special enough to be picked from the crowd by a prince, all we need is a little bit of a makeover. Surely one must consider that the nerd-to-hottie transformation trope finds its inspiration in Cinderella, too.

And it’s the point about being singled out by an eligible, interesting (hopefully), wealthy individual of means and status from a sea of anonymous faces that we turn to next. The element of the love story is a fascinating, and enthralling, one. Given that we as a society do, despite our protests to the contrary, really buy into the premise that love at first sight does in fact exist. It’s the idea that Prince Charming (so charming we don’t even really need to know his name) can gaze out onto a sea of women and be captivated by Cinderella. Twilight which served as inspiration for Fifty Shades provides us with this exact story: Bella sees herself as nondescript, not really blessed with any overly impressive attributes, yet Edward— handsome, rich, intriguing Edward—finds her captivating. And this is a conceit that has been adored in stories for a long, long time. Some people consider the original Cinderella story is the Ancient Greek story of Rodopis. You can read a version of the story here and a less romantic analysis of it here. While the slipper element is present too, so is the key theme of someone relatively ordinary being plucked from anonymity by a figure of high status.

And that’s not all. Even Sarah J Maas’ book Throne of Glass has elements of the Cinderella story in it. While Maas claims she found inspiration from the series in the scene in Disney’s Cinderella when she flees the ball as midnight chimes, and its accompanying score, the story itself contains several elements of the Cinderella tale. It contains magic, the translocation of a character who is found at the story’s beginning in abject poverty and misery to somewhere full of opulence and luxury, a love story featuring an actual prince (for the first book, at least)… Even though as the series progresses and it moves sharply away from this, the original book’s use of those parts of the story cannot be denied.

I suppose if I had to remove my customary cloak of cynicism, perhaps I would also suggest that what captivates us about the Cinderella story is the promise that it gets better. Cinderella begins just about as low as it can get—her mother is dead, her father is either dead or so busy trying to provide for his family that he can’t see the abuse Cinderella endures from her stepmother and stepsisters. She is forced to be a servant in her own home where she is treated less well than a servant because, well, she doesn’t actually get paid.

She is alone, she is named for the cinders that she must sweep out from the fireplaces, and she has no obvious way to get out of this situation; a young girl escaping would probably fall prey to all manner of unpleasant travellers. Yet she does manage to escape, and she is given a home, the adulation she was forced to forfeit for so long, with interest no less, as she has an entire country beneath her feet now, she’s comfortable, and she has a prince who loves her. It offers a message to people that things may seem bad now, but they will improve, and you will be compensated for your suffering. And that’s a pretty powerful message.

What’s your favourite version of a Cinderella story? Tell us in the comments below!

The post What’s Our Fascination With The ‘Cinderella’ Story? appeared first on The Nerd Daily.

So let’s start with perhaps the biggest example of the divergence between books and films being so significant that we might be better to simply view them as distinct entities: Disney. Almost all Disney movies are remakes of classic stories, many of which are very different to the original versions.

While the fairy tales themselves have several versions—sometimes even the same author would rewrite them multiple times. This was the case with the Brothers Grimm who rewrote their stories in order to incorporate elements which were in keeping with fashions of the times. But the versions that were immortalised by Disney are very different to their initial incarnation.

A version of the Sleeping Beauty folk tale, published by Charles Perrault, then collected by the Brothers Grimm, sees the prince stumbling across the princess. He finds her so entrancing that he has sex with her while she is still asleep (given when this was written, instead of being rapey, it’s considered romantic) and she subsequently bears him twins. Clearly then, the version of Sleeping Beauty where the Prince and Aurora dance in the clouds singing to each other is a significant deviation from the original story, as is the fact that Maleficent transforms into a dragon and is valiantly defeated by the Prince. In one version she is an ogre who demands the twins be served to her by a cook who substitutes the children with lamb and goat…sound familiar, Disney’s Snow White?

Hans Christian Andersen’s version of The Little Mermaid sees her feel as though she’s walking on knives in order to actually get her legs and the prince views her as a pet rather than a person. Then, the Prince doesn’t actually choose her, he marries someone else and the condition of her becoming a human aside from the agony of walking is that she must be married of she will die, she must kill the Prince.

Moreover, the happy ending in which the princess is not only alive, but gets her man and her throne is a total deviation from the manner in which these stories originally ended. I suppose in Cinderella she does indeed get the Prince, but the eyes of her stepsisters are gruesomely pecked out by birds, which to me at least ruins the wholesomeness of the ending. As such, while the films themselves indisputably draw heavy inspiration from the original folk tales, it is compelling to suggest we should view them as distinct products and stories rather than a simple translation of a story.

Equally, Howl’s Moving Castle is a great example of a film which takes many of the original story’s elements but is not constrained by them. Arguably, there are sufficient differences that the book and film take on lives of their own. Miyakazi’s introduction of the war plot, and the different treatment of the Witch of the Waste are significant deviations from the book, but they contribute to the story that Miyazaki tells—one in which kindness and a gentle heart are the attributes which ultimately resolve the significant problems of the plot.

Indeed, this article discusses the arguably significant deviation between the two versions in noting “One difference is in its attitudes to evil. Miyazaki doesn’t do incorrigible villainy, and Howl the movie lifts that burden from the shoulders of Jones’s Witch of the Waste, sharing it out among a number of warmongers and miscreants.” In the words of Jones herself: “My philosophy would say that they would go to the bad for some other reason, if they didn’t have that one. I really do believe there are some people who are just irredeemable. But yes, Miyazaki is much more genial about the human race than I am.”

This therefore suggests that the divergences between the two creative forces of each version are grounded in fundamental differences of outlook and philosophy, leading to the creation of two very different stories. As a result, the film and book may be better viewed as two separate stories which happen to have several elements in common.

Less severe could be The Hunger Games films. The first film was reasonably faithful to the story barring the included scenes between President Snow and the Gamesmaster where the nature of power and control is teased out, giving us the audience greater insight into the kind of calculated control that President Snow extends across Panem. Is this sufficient to say that the book and film are two separate entities? Probably not, but the medium of the film enabled these scenes to take place whereas the first-person narration of the book limits its capacity to cut away to the Capital in such a fashion. It’s a great example of how films can move beyond the limitations of books in a way that augments the story.

Of course, there are then example of films that are clear in the adherence to the book, but deviate slightly in the telling. Baz Luhrmann’s version of The Great Gatsby offers a specific vision of the film that is both faithful to the book and moves away from it. The soundtrack is a really great example of this. It features rap, hip hop, and RnB songs, none of which existed in the roaring ‘20s. Luhrmann in an interview noted that he wanted to pay homage to the fact that F. Scott Fitzgerald was a modernist, as he was “in the moment, and the music of the moment was African-American street music called Jazz, and when he put Jazz music in Gatsby, everyone was like ‘What are you crazy? It’s a fad.”

As such, the movie Luhrmann created could be considered distinct from the original piece due to its inclusion of elements which simply did not exist when Fitzgerald wrote the book. Yet he was building upon and within the framework Fitzgerald’s legacy within the parameters of his own distinct style.

This article beautifully surmises: “Using technology, music, and the sheer emptiness of raw spectacle, he translates the exuberant spirit of the Jazz Age for an audience raised on Jay Z [who was the executive producer of the soundtrack], and wedges a wide enough rift between style and substance for Gatsby himself to fit comfortably inside.”

It goes on to note some of Lurhmann’s other works, and mentions his adaptation of Romeo and Juliet where; “he thread Shakespearean iambic pentameter through an explicitly 90s milieu, combining the feisty tribalism of Verona with the florid style of Venice Beach in order restore the present tense to a tragedy that feels like it predates all of civilisation”.

Interestingly, this leads into a quick discussion on adaptations. Ten Things I Hate About You may just be the greatest 90s teen film of all time (fight me if you disagree). It is a fabulous retelling of The Taming of the Shrew, updating the gossipy, jock-esque behaviour that Shakespeare captures so perfectly within his society by transposing it into a high school. Similar comments can be made about Bridget Jones’ Diary as both a book and film as a retelling of Pride and Prejudice, and Clueless as an adaptation that I would argue is better than the book of Emma.

Now of course, these are adaptations and very clearly re-interpretations, not faithful translations, but they themselves offer us the question of where the line exists between a retelling of the same story but in a different medium, and a distinct and new story, exists. There is also a somewhat compelling argument that The Lion King is based on Hamlet. If you happen to be well acquainted with the play, you too can sit glass of wine in hand and obnoxiously comment on the departures from the play throughout this children’s movie while also militantly skipping Mufasa’s death scene because you were too traumatised by it when you were four… or you could just read this article.

Ultimately, when books are made into movies, things are going to be different. If you imagined Dumbledore to be really tall and really thin, Michael Gambon was going to disappoint you. Sometimes the changes movies make are small deviations, or simply retellings of the story within the context of the modern world (like Gatsby). Sometimes the movies simply change things that happen, or place such a significant emphasis on certain parts of the plot, that the original message and original story has become transfigured. When this happens, perhaps it is best not to use the reductive phrase “the book was better than the film”, but instead to view them as distinct stories that happen to have similar elements.

But sometimes interpretations of books and the need to alter the specifics of the story in translating from page to screen can go awry. I ask you to look no further than the below evidence, which obviously arises from a distinct vision, but has perplexed some of the best minds of our generation:

What do you have to say about book to film adaptations? Tell us in the comments below!

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