Showing posts with label Maid Without Hands. Show all posts
Showing posts with label Maid Without Hands. Show all posts

Wednesday, September 25, 2019

Cinderella's Glass Arm Is More Magical Than Her Glass Slipper! (+ Discussion On Disability In Fairy Tales)

You want magic? This is magic.

Professional costume designer and one-armed cosplayer, Mandy Pursley, has become the Cinderella so many people need.

Asked by the mother of a girl born with one arm, for some princess-costume inspiration for her daughter, Pursley went above and beyond and created something beautiful, extraordinary and very inspiring.
She said: ‘When my daughter was studying Cinderella stories at school last year, I realized that even though there were so many beautiful tales from around the world, there were still no princesses who looked like me. ‘When I was growing up with a physical difference, I never saw girls like myself represented in the media, so it took me a long time to realize that what makes us different can also be the thing that makes us strong, beautiful, and unapologetically unique." (Metro.co.uk)
She added this information when talking to Insider.com:
"I remember being enthralled watching Jim Abbott play baseball, because he was the only amputee I had ever seen on television," she told Insider in an email. "But I still never saw amputee women being portrayed as normal, beautiful, or strong, so it took me a long time to realize that being different and unique can actually be a positive trait."
"Representation is so powerful," Pursley said. "It is so much easier to believe in yourself when you are able to see people who look like you achieving the same dreams that you have. People who have differences really just want to feel included and accepted without feeling the need to hide what makes them unique."
With the request for this other little girl, who was having the same issues growing up, Pursley decided it was high time to change that. A graphic designer by trade, she created her own version of fairy tale princess. Pursley designed her costume, as well as her husband's (who plays Prince Charming in these shots), then with the assistance of artist Gilbert Lozano (and other specialists*), she commissioned this phenomenal prosthetic: a "glass" arm, for a different take on Cinderella.

When she tried on her custom-made and fitted resin arm for the first time, Mandy said she cried with happiness. "It really felt like a dream was coming true... it was so beautiful and amazing to see this be a reality.”
Initially, the cosplay was supposed to be for Comicon but Pursley ended up being ill and couldn't attend. Once she received the request from the little girl's mother, Pursley and her husband decided that, rather than wait until next year's Comicon, they would go ahead and create a photoshoot now, to post the images online. They enlisted Pursley's friend, Kelly Anderson, to take the photos which became an instant social media hit on September 19 (2019).
“I think it sends a really great message to little girls, especially,” Anderson said. “You can be creative. You can be beautiful. You can be the main character in your own story.”
Not all the images are not shown on all the sites sharing this story but Pursley and her husband did not shy away from the iconic scene of the story in which Cinderella loses her glass slipper  - in this case her glass arm - either, and we were thrilled to see it! (see he two-shot below) Possibly anticipating the inevitable trolls of the internet making horrible references to losing an arm (and all the ugly arm and hand references you can imagine), they didn't ignore or avoid this part of the story. Instead, here you have representation, without any glove or glass-glamor, of a one-armed princess, being pursued by the prince who wants her. It's the Cinderella story with a unique, personal and memorable twist.
Accompanying the lovely shots posted on her Facebook page, Pursley wrote:

This costume is dedicated to all the little girls learning to navigate the world with their "lucky fins" or other challenges. I hope you know you are beautiful, and that you are UNSTOPPABLE!!! Write your own story, and be your own kind of princess.

Mandy Pursley's whole story on Facebook can be read HERE, and we recommend you do. This wonderful act of creativity and courage is changing the landscape for the better.

Note: If you, like us, are not only enchanted but getting Cinder vibes (thanks to Marissa Meyer's wonderful sci-fi retelling of Cinderella) you're not alone. (And we do recommend picking up Meyer's retelling in which Cinder loses her cyborg leg, if you haven't read it.) You'll see some of the same issues being explored and it's an empowering read.

As For Disability In Fairy Tales...
Pursley's "glass arm" also brings to mind The Maid Without Hands and the plight of many (too many!) wronged women; some having permanent scarring and some, even today, having lost hands or arms despite a changing world that no longer sees this as acceptable 'punishment'. Unlike the fairy tale, in which the girl is given silver hands for a while, and then, eventually has her natural hands magically restored (or re-grown!), such an event isn't possible in real life. Though the happy end of the tale could have occurred when the girl, now queen, was given silver hands by a king who loved her, and had a son of her own that she loved and cared for, this fairy tale isn't done until she has her original human hands back. With even such a dark tale insisting that happiness isn't complete until this happens, is it any wonder it's difficult for differently-abled people to see themselves as the heroes, princes and princesses of fairy tales?

Whether born differently physically or mentally, or changed to be different due to trauma or accident, disability has so many forms. Some are obvious by being visible. Some are not, either because they can be hidden under clothes, or they are internal/mental. All those who live with these differences, however, have the "princess problem" in common: most don't see themselves represented in a positive light. They see themselves as incomplete, and many tales we tell reinforce this. Too often in fairy tales, disabilities are things that need to be overcome or transformed to able-bodiedness, or, just as problematically, be revealed as a "superpower" to make up for having the disability in the first place, in order for the hero or heroine to have a happy ending. The state of 'princess' is not possible until she is "fixed", but that is largely because we tend to equate disability with disadvantage. People like Pursley (who designed the concept, the costumes, sewed them, collaborated on her prosthetic and cosplayed it) show us disability shouldn't be synonymous with disadvantage. If you ask people what the qualities of a 'true fairy tale princess' are, disabilities can still exist within that definition, so why are we restricting this idea of what a princess is?

This beautiful creation of a "glass arm" by Pursley is in direct contrast to another thing that happens in older, more infamous versions of the Cinderella tale - that in which the step-sisters, (attempting to secure a happy ending for themselves), cut off part of their heel or a toe, so they can cram their own foot into the delicate glass slipper. In this horrible reversal, the stepsisters (and their mother!) decide they need to mutilate their bodies to fit the princess mold. (And these are - supposedly - able-bodied women feeling the unrealistic princess-pressure!) The truth is that so many more people (girls especially) choose this route, to the point of harming themselves - from fad diets and restrictive 'make-overs' to plastic surgery - while chasing the happy ending. If able-bodied people feel this, how much more so must differently-abled people? Sadly, many assume the role of hero or princess is impossible for their personal narratives, and relegate themselves to minor or supporting roles instead of seeing that their story is just as important as anyone else's. But it shouldn't be that way. Diversity and representation matter, and we, especially those of us who tell fairy tales, need to be conscious of this and tell more inclusive stories.

In the true-life story of Mandy Pursley using her difference as an opportunity for beauty and magic, instead of harm, or trying to mask or change her disability, we see a celebration of self and happiness. Instead of being "less-than" her actions make her "more" and a role model. Here is representation, and inspiration. Just like Cinderella, who was not who she was because of the glass slipper, Pursley is not a princess because she now has a glass arm either. The glass slipper and arm, were, are, tools. The difference is that we now see Pursley for who she is, and has been all along: a fairy tale princess. 

Pursley's sentiment that you don't have to be the princess others are expecting you to be is a powerful and empowering one. Be yourself and create your own version of a princess. There is real magic in that.

*Here is the list of heartfelt thanks from Mandy to all those key people who, in addition to her photographer friend Kelly Anderson, helped make her vision a reality. We thought we'd include it to show you, you don't have to create a fairy tale all by yourself - sometimes - often - friends and partners are part of the recipe:
Many, MANY thanks to all the people who helped turned this dream into reality! My real-life Prince Charming, Ryan Pursley, who didn't think I was crazy while I kept sewing for MONTHS. Gilbert, the brilliant artist who didn't even know me but believed in my dream and is now a cherished friend. Eric Morris and Nick Ibarra at Cemrock who generously offered their equipment and assistance to create the glass arm. Jennifer Woodard at Hanger Clinic in Vista, CA for helping me figure out how to attach the prosthetic, and of course the amazing Kelly Anderson for taking such beautiful photographs!! Wig is by On The Wall Wigs. Who needs magic when you are surrounded by such talented and generous people!

Wednesday, January 24, 2018

Acclaimed Animated Feature 'The Girl Without Hands' Comes to Blu-ray/DVD combo on Feb 20


If you're a regular reader of the blog, chances are high you saw posts on this fairy tale-based film, as it was doing the world circuit and winning awards and acclaim. (Rather than repeat most of the information you can find posts HERE and HERE, the second of which specifically discusses sharing this movie with kids.) For those unable to get to a screening/showing, it will be released in the US and Canada on February 20th, 2018. More technical details are available HERE, as well as information on the cast and crew.

It is worth noting that this is not considered an 'adult film' by the creators. In fact, it was made with the intention of having children view it. That doesn't mean audiences in the US and Canada will subscribe to this idea, but it is worth noting from a retelling perspective as well as being created through the lens of a (primarily) non-English-speaking-cultural perspective.

Bonus features include:
  • The Making of The Girl Without Hands 
  • Interview with Sébastien Laudenbach
  • Short films by Sébastien Laudenbach
  • Theatrical trailer
A captivating tale of survival, The Girl Without Hands tells the story of a young woman who is sold to the devil in return for a river of gold. She is so pure of heart that she is able to elude him, but not before losing her hands. So begins her long journey towards the light … but in spite of her resilience and the new protection of a handsome prince’s estate, the devil devises a plan of his own. (Animation World Network)
Here's some lavish praise for the film from various places:
BREATHTAKINGLY BEAUTIFUL!
A fascinating graphic dream... a work that continues to reinvent itself before our eyes!
-Telerama 
EXQUISITE!
A haunting minimalist fairytale for all ages!
-The Hollywood Reporter

MARVELOUS! BEAUTIFUL!
Condenses all of life’s cruelty and sublime grandeur into a striking hand-drawn vision!"
-Le Monde
And here's the trailer again, in case you missed it:

Monday, January 22, 2018

Facebook to Film Ten-Part Series 'Sacred Lies', Based on The Handless Maiden

Maiden Without Hands Blythe Doll by Kat Caro
Note: The Blythe Doll art photos shown throughout are by Kat Caro and the various poses show aspects of her story. We thought it was a good time to show this tragic and touching art that we've been saving to share at the right time.

Sacred Lies is partly based on The Sacred Lies of Minnow Bly, a novel by Stephanie Oakes, and partly on Grimm's 'The Handless Maiden'.
(Sacred Lies is about a) handless teen who escapes from a cult and finds herself in juvenile detention, suspected of knowing who killed her cult leader. Casting is currently underway. (Deadline)

The ten-part series, is set to start production sometime between March and May this year (2018) will be screened on the new SVOD* platform Facebook Watch, which was set up last year. Facebook is partnering with Blumhouse Productions, who are known for specializing in "converting low-budget horror stories into major international hits" (eg. the Insidious franchises, the Paranormal Activity movies and the acclaimed Get Out.)
“Sacred Lies is an inventive twist on a time honored fairytale which we believe will surprise and stir the Facebook Watch audience and we’re excited to be the studio producing this provocative series.” (Marci Wiseman and Jeremy Gold, co-presidents, Blumhouse Television) 
“This a young female protagonist we’ve never seen on screen before,” said (showrunner Raelle) Tucker**. “She’s complex, brave, funny…and sometimes dangerous. And she has no hands. But she refuses to let that, or her bizarre, brutal past define her or limit her. That’s the message of our series: no matter what life throws at you – ultimately only you have the power to decide what you believe and what you become. I’m beyond excited and honored to bring this unique, inspiring, badass character to life. “
                                  
                       
             
   
Facebook Watch will be taking quite a departure from their current fare. Facebook Watch is currently known for it's "gimmicky reality shows and clips from popular internet creators" (to quote The Verge) and will be taking quite a departure for, Sacred Lies, Facebook Watch's first scripted drama, the first of many projects the social network giant is planning on, with a projected budget of $1bn on contact (yes, billion - which is still modest compared to Hulu, Amazon and Netflix for 2018), something which has intrigued filmmakers and property holders because of the "stated intent".
                     
Translation - filmmakers: time to pitch your series and movie ideas! This is a great time for fairy tales. People are finding expression, solace, hope, a new perspective - as well as escape - in old tales and in retelling old tales in new (and needed) ways rat present, and, wonderfully, lesser known ones are coming back into popular circulation. 'The Handless Maiden' is one example of this. 'Baba Yaga', in her various complex iterations, along with 'Vasilisa', is another, as well as 'Snow White and Rose Red', and it's worth also mentioning that Krampus is once again a known figure among pop culture geeks and beyond.

As a side note, it's nice to see fairy tale protagonists who deal with disability as well. It's representation that's been lacking, apart from various mermaid explorations, but mermaids are more seen to represent previously marginalized groups such as LGBT folk. Acknowledged physical disability, whether by birth, accident or other, could use some hero representation and hopeful fairy tale retellings.


* Streaming Video On Demand
** Raellee Tucker was formerly Executive Producer on the popular HBO series, True Blood

Sources: KFTV, Deadline.com, The Verge


Kat Caro's Blythe Doll art was created for and shown in the Fairies & Folklore Once Upon A Blyth International Doll Exhibition in 2015

About her art doll, Kat Caro says: "The Maiden without Hands - My submission for the Fairies and Folklore show at Auguste Clown Gallery in Melbourne, Australia in 2015. She was inspired by Grimm's fairy tale, The Maiden without Hands, which I have always been fascinated by. She specifically reenacts the moment she is told to flee the kingdom with the newborn prince to escape the devil's false message that she be executed. She has removable sterling silver hands, as given to her by the king, but she still carries her chopped off hands on her back and the prince in a sling."

Friday, July 28, 2017

Animator/director of 'The Girl Without Hands' on Why *This* Fairy Tale & Showing It To Kids

There is a really interesting interview at MovieMaker.com with the animator/director,
Sébastien Laudenbach, of The Girl Without Hands; the animated indie film making heads turn as it began it's limited theatrical release in the US last week.

In case you missed the latest news and overview of this film, go check out our post HERE, which includes trailers and art, to catch you up to date.

Specifically, Laudenbach responds very interestingly to three pertinent fairy tale questions, which we're extracting for you below.

Carlos Aguilar, MovieMaker Magazine (MM): What about this specific fairy tale did you find compelling?Sébastien Laudenbach (SL): When I read it, I immediately found it modern. I liked the path of the girl who has to leave a man’s world: her father first, then her prince. She has to be alone growing up. She needs time to be herself, to be whole. And when she is ready, she can come back to the world. This was very important for me. I think it was the first time I read a fairy tale that told such a story, a fairytale where being a princess was not the happy ending, where it was better to be a woman than a princess. It seemed universal to me. And it made me think about some parts of my youth. This is a story of a woman, but also the story of a man, the prince, who has to go away to fight in faraway wars, and come back. Also for him, it is better to be a man than a prince. This man is not a superman, not a superhero. He is a man, with his weaknesses. But as a simple man, he can be loved. 
MM: The stories in your shorts and in the one in this feature are similarly adult-oriented. Do you feel there is a lack of animated work that focuses on darker subjects, rather than being aimed at children? SL: I think you can tell everything you want with animation techniques. I am focused on adult topics, but I also like children-targeted movies. Children are a very good audience: They can understand a lot of things in a movie, even more than adults, sometimes. In France we released the film for an audience 8 years old and up. It was not easy, but it was very interesting. Their reaction was amazing. They understood the essence of the story: its violence and cruelty, but also its happy ending. Obviously they can’t understand some parts, but it doesn’t matter. The job of a child is to understand the world. So I like keeping some mystery, some dark parts. It is life! A lot of adult movies can be shown to children.  
MM: The Grimms’ ideas about greed, about vanity, about simplicity over opulence, and about persevering even in the worst of situations are expressed in the film with gorgeous visual poetry. Why do you think these concepts are still relevant today? SL: The most important theme for me is time. Everyone has to have time to be himself, to be whole and fulfilled. For someone it might take only a few years. For someone else it might take a lifetime. A lot of people, including myself when I was younger, take shelter in the wrong people. For me the tale is not about greed. The father is just troubled by his daughter’s body, which is changing. And he knows that she is ready to leave home, though he doesn’t want that. So between incest and the urge to keep his daughter at the house, the role of the father is mainly to cut off the possibility of the girl leaving and forcing her to be dependent on him. The more he does that, the more she wants to leave. Greed is just a medium to tell this. The concept of greed is always present in life, don’t you think?
For those fairy tale folk very interested in this tale, you may find Laudenbach's comments on how to portray her doing tasks/surviving without hands interesting too.

You can read the full replies and the whole interview HERE.

Thursday, July 20, 2017

'The Girl Without Hands' Multi-Award Winning Animated Film (Limited US Theatrical Release Begins July 21)

We've been meaning to bring this to readers attention for a while and are very glad to see this French animated, full length feature, drawing the attention of mainstream media such as The New York Times, this week as it becomes available to see in the US in selected indie theaters.

Note: the alternate posters shown throughout this post were created by Paul Jeffrey of Passage Design, all of which can be seen HERE.
Created by one man (!), the film, being hailed a masterpiece and 'guaranteed to be an animation classic', is based on the Grimm's version of the tale, and cleverly and sensitively uses a very expressive-impressionist style to convey both characters and emotion throughout.

Take a look:

As a fairy tale reader, you're probably aware of how dark and harsh this story is - and therefore how much it means to so many people - and will be glad to know that although the style is gentle and colorful, it doesn't shy away from the dark themes.

For those a little rusty on the synopsis here's a summary, courtesy of GKids:
In hard times, a miller sells his daughter to the Devil. Protected by her purity, she escapes from the Devil who, in revenge, deprives her of her hands. So begins her long journey towards the light… but in spite of her resilience and the new protection of a handsome prince’s estate, the Devil devises a plan of his own.
From the New York Times review:
Perhaps more striking than the adaptation of the harsh narrative is the movie’s animation style. Mr. Laudenbach’s drawing eschews clean ink lines for a minimalist and impressionist aesthetic. He allows the water color swatches that stand in for characters and landscapes to create a dreamlike world that appears poetically endless. When lines do appear, they are thick and textured, like those of a sumi-e painting from Asia.
The result is a dazzlingly imaginative movie about survival. Left on her own, the woman in the story proves capable of taking care of herself, and later her child, once the constraints of comfort and gender roles are cast off.
Indie Wire has an exclusive 1min13second clip of the sequence HERE where the father is tricked by the Devil. It's definitely worth watching! (We are not embedding out of respect for this clip just surfacing)

Distribution has been picked up by GKids, with the film having a limited US theatrical release, starting in New York at the IFC tomorrow (July 21st). More dates and locations are being added to the official page on the GKids website HERE, so check it out and see if you're lucky enough to have this appear locally for you. With GKids - who are doing an amazing job of bringing world class animation from all over the globe to larger audiences - as the distributor, hopefully the full length feature will be available to add to our fairy tale film libraries on DVD and/or Blu-ray soon.


Please note: with the subject matter and the film being distributed by GKids, it may be a little confusing as to whom is the best audience for the film. By all reports, it can be considered accessible to some children and has a dreamlike quality about it, as well as a very female empowering message. There is no doubt it tells the same story as the Brothers Grimm, however, so due to this and the representation of some very dark concepts, the style is probably best suited for teens and above. Please use discretion (and perhaps a pre-viewing) if you intend to share this with children.
To help in deciding, there's a good description of style and some of the story aspects and approaches to storytelling in the Variety review HERE.

There is also a French book that's been released, using the drawings created for the film, which is advertised as being from ages 7-77. We can't find any notice of an English version of this book in the works so if you're keen, we suggest hunting down a French copy. You can read about it HERE.
                             
The whole Fairy Tale News Room are all very much looking forward to seeing this film, and in many ways it feels as if the release of this film in the US this year, is rather fortuitous. We're very grateful to GKids for making the best animated storytelling from around the world available for us to see.

Sunday, March 26, 2017

'Pupa', An Irish Pinocchio Inspired Tale with a Relevant Difference

We didn't get to promote this in time for its run, which ended on Saturday March 25th, but wanted to quickly highlight it anyway to put it on your radar for the future.

Created by Limerick puppeteer Emma Fisher, who also writes and designs, as well as performs with the puppets, this show is definitely a more adult inclined take on Pinocchio, which sounds like it has parallels with The Girl Without Hands as well. (Emma's previous show, 'Spun', considered 'notable' and 'impressive', was kid and family friendly.) Shown at the Lime Tree Theater, by Beyond the Bark, in Ireland this past week., we hope there will be future opportunities for folks to catch this one.

From the press kit:
Pupa 
The freakish metamorphic tale of us. 
A puppet girl struggling with her disabled part splits herself in two, casts off her disabled part and banishes it to the room of forgotten limbs. A puppet boy falls from normality, breaking and reforming. They both go on separate quests to find a sense of wholeness. As they navigate a dark world they encounter many characters on their way- a wise bug, fragmented and broken bodies, singing mouths in jars, and silence. 
Pupa is inspired by the fairy-tale Pinocchio. Transforming and metamorphosing from abled to disabled, such as when he burns his legs of at the fire, along the way Pinocchio is helped by many characters who share their stories with him and make him who he is. 
Pupa derives from the Latin for puppet meaning girl or doll, and is also used to describe the middle stage of an insect’s metamorphosis before it re-emergens as a new creature. This is a metaphor for the transition from able to disabled within the play. 
By mixing puppetry, mask, ceramics, song and film, we will tell the freakish metamorphic tale of us. Audiences will be lead through a multi-sensory, interactive, Kafkaesque, telling of Pinocchio as never seen before.
In a land where we are all different, we question what normal even means, looking at how people with disabilities think society sees them. We are telling stories of coming out/identifying as disabled and navigating the grey area between disabled and abled.
A cool tie-in to note, Beyond the Bark hosted a special puppet-making workshop during the preparation for this show with world renowned puppet and prosthetic hand maker, Ivan Owen, along with creator and Artistic Director Emma Fisher.
A little more about the names behind the creation of the puppets for the show:
IVAN OWEN:Makerspace Lab Manager at the University of Washington, Bothell & an interdisciplinary artist exploring a wide range of topics. Co-inventor of the first open-source 3D printable hand prosthesis & a volunteer for the e-NABLE open prosthetics community. His past work has included musical composition, metal casting, jewelry, recreations of medieval armor and costume and prop making for stage and screen including Modern Family and Outrageous Acts of Science. His most recent project has been working with Emma Fischer to create a functional, wearable mechanical artistic creation & with her exploring ways in which digital fabrication can be utilized in puppetry.
Examples of some of his past & current work can be seen here: EMMA FISHER:Artistic director of Beyond the Bark inclusive puppet and installation theatre, puppeteer/puppet maker, writer and set designer. She is an Irish Times theatre award nominated designer. She has taught puppetry at The London School of Puppetry, Mary Immaculate College and schools, hospitals and community centers across Ireland and the UK. She is constantly pursuing new techniques in puppetry and is delighted to be working with and learning from Ivan Owens on a Travel and Training funded by the Arts Council. www.beyondthebark.ie and http://emmacfisher.wixsite.com/emmafisherdesign
Keep an eye out for these folks and their work! We have a feeling we'll see more adapted fairy tales in the future from these people.

Sunday, October 9, 2016

Hulu Adapting Atwood's 'The Handmaid's Tale'

Anna and Elena Balbusso for the Folio Society
If you're familiar with Margaret Atwood, you're also familiar with her use of fairy tales in her work. The Handmaid's Tale, while more obviously referencing Red Riding Hood in key phrases in the book, the often used motif of the isolated woman, or Rapunzel syndrome, is also part of the it too. There are other subtle fairy tale references throughout, such as to Cinderella, The Red Shoes and The Girl Without Hands, a constant, underlying presence in Atwood's work. There are nursery rhyme references too, (eg. The Spider and the Fly), all of which blend together, seemingly naturally, in Atwood's hands.

Now that Hulu is working on a 10 episode series, we're curious to see if any of those references and allusions are included. With Atwood as consulting producer and reportedly very happy with how the script and production are developing, we are optimistic there will be:
"I am thrilled that MGM and Hulu are developing The Handmaid's Tale as a series, and extra thrilled that the very talented Elisabeth Moss will be playing the central character.  The Handmaid's Tale is more relevant now than when it was written, and I am sure the series will be watched with great interest.  I have read the first two scripts and they are excellent; I can hardly wait to see the finished episodes,” said Atwood. (source)
Here's Hulu's press description of the production from a few months ago:
Adapted from Margaret Atwood’s influential and acclaimed novel, THE HANDMAID’S TALE is the story of life in the dystopia of Gilead, a totalitarian society in what was formerly part of the United States. Facing environmental disasters and a plunging birthrate, Gilead is ruled by a twisted religious fundamentalism that treats women as property of the state. As one of the few remaining fertile women, Offred is a Handmaid in the Commander’s household, one of the caste of women forced into sexual servitude as a last desperate attempt to repopulate a devastated world. In this terrifying society where one wrong word could end her life, Offred navigates between Commanders, their cruel Wives, domestic Marthas, and her fellow Handmaids – where anyone could be a spy for Gilead — all with one goal: to survive and find the daughter that was taken from her.
Golden Globe winner, Elisabeth Moss (Mad Men) will play the lead and title role of Offred, the 'handmaid', and in August, Joseph Fiennes (Shakespeare in Love) was confirmed to play the role of Commander Fred Waterford.
Fiennes will play Commander Fred Waterford, a founding father of the totalitarian society of Gilead. A powerful, high-ranking official, Commander Waterford rules the household where Offred (Moss) is a handmaid. This marks a returned to scripted television following his role in the second season of “American Horror Story” in 2013. 
... Reed Morano will direct and executive produce the first three episodes. The cast also includes “Orange Is the New Black” alumna Samira Wiley; “The Leftovers” star Ann Dowd; “The Mindy Project’s” Max Minghella and “Hemlock Grove’s” Madeline Brewer. 
The series is scheduled to begin production in Toronto this fall for a 10-episode order, slated to premiere in 2017. (source)
While on the subject of Atwood, we wanted to highlight this book which sounds intriguing as it combines all creative aspects of Atwood's expressions - from art to writing. We haven't yet had the chance to read it, and it has mixed reviews, are curious all the same. The title is Margaret Atwood's Fairy Tale Sexual Politics by Sharon Rose Wilson.

Here's the description:
An intriguing investigation of fairy-tale images in Margaret Atwood's haunting fiction, poetry, and artwork 
Sharon Rose Wilson's analysis of Margaret Atwood's sexual politics through a study of fairy-tale patterns offers a new reading of Atwood and a fresh appreciation of the traditional fairy tale's ability to illuminate modern literature. 
Not only is this the first study to explore systematically Atwood's fiction and poetry through fairy-tale images, but also it occasions the first time Atwood has allowed examples of her artwork to be published in a book. 

In relating Atwood's fragile, mysterious paintings, collages, linocuts, drawings, and cartoons to her writing, this study shows how such fairy-tale images-along with myths, the Bible, history, film, art, and popular literature-reveal archetypes in her work. The engaging writing and the eerie visual art of Margaret Atwood braid together fairy-tale themes from Grimm and Andersen with the feminist concerns for which this internationally acclaimed Canadian author is well known.  
In The Handmaid's Tale, for example, she presents her version of Little Red Riding Hood facing patriarchy's wolf. In almost all her novels she explores the "Rapunzel Syndrome," in which women experience internalized isolation. In joining Atwood's literature and her artwork, Wilson challenges feminist assumptions that fairy tales limit gender roles. To the contrary, fairy-tale motifs in Atwood's works are a liberating force. Indeed, Wilson discloses how the genius of this fascinating writer perceives the fairy tale to be a means of transforming the constricting images that tradition has placed upon sexual identity. 
Sharon Rose Wilson is a professor of English and women's studies at the University of Northern Colorado.



You can get a really good preview via Google Books HERE and the book is available for purchase HERE and HERE.