By David Poland poland@moviecitynews.com

Who’s Who in Wonderland?

ALICE is a 19-year-old woman contemplating her future.  An independent soul, she feels trapped in the narrow-minded views of women in aristocratic Victorian London and uncertain how to balance her dreams with other people’s expectations.  Following the death of her beloved father, she attends a garden party with her mother and sister, although, unbeknownst to her, it’s been planned as her engagement party. Just as the arrogant and dull Hamish Ascot proposes to her, Alice spots a White Rabbit wearing a waistcoat and pocket watch scurrying across the grounds.  She rushes off after the furry fellow, tumbling down a rabbit hole and into Underland, a place she first visited as a child (and called Wonderland)—though she has no memory of it or its inhabitants.  Alice nevertheless reunites with her childhood friends, including Absolem the caterpillar, the Cheshire Cat, Tweedledee and Tweedledum, and of course, the Mad Hatter—and seeks her true destiny.

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UNDERLAND is a part of the earth.  “But it lies somewhere far beneath our world. The only way to get there is to fall down a rabbit hole.”  It is the same fantastical land that Alice visited as a child, but she misheard the word “Underland” and thought they said “Wonderland.”  Time has passed.  The Red Queen rules the whole land. It’s under her thumb. And the people of Underland need Alice.  Underland has come upon hard times since the malevolent Red Queen took over the throne.  It is, however, a truly wonderful land, which might explain why the girl who mistook it for Wonderland has been called upon to help return it to its glory.  But,  Underland has always been Underland since the Beginning, no matter who sits on the throne. It will remain Underland until the End.

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THE MAD HATTER doesn’t just wear his heart on his sleeve—his ever-changing moods are quite literally reflected in his face and his attire.  He’s been anxiously awaiting Alice’s return and is, arguably, her one true friend, believing in her when nobody else does. He is fearless, going to great lengths to protect her at his own risk. Once the proud hat maker for the White Queen, the Hatter has been affected by mercury poisoning, an unfortunate side effect of the hat-making process, and isn’t altogether well.

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IRACEBETH, THE RED QUEEN is the tyrannical monarch of Underland. With her oversized head, fiery temper and propensity to scream for people’s heads to be chopped off, she rules her subjects through fear. “She’s got emotional problems,” says Bonham Carter. “It takes nothing, practically, for her to lose her temper. Her tantrums are that of a two-year-old.” Her younger sibling, the White Queen, has designs on the throne and crown that Iracebeth once stole from her.

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MIRANA, THE WHITE QUEEN is the younger sister of the Red Queen, and while she appears to be all sweetness and light, beneath the surface there’s a hint of darkness to her character. “She comes from the same gene pool as the Red Queen,” says Hathaway. “She really likes the dark side, but she’s so scared of going too far into it that she’s made everything appear very light and happy. But she’s living in that place out of fear that she won’t be able to control herself.” When Alice returns to Underland, the White Queen takes her under her wing, offering her protection, although her motives aren’t completely altruistic.

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TMCTWISP, THE WHITE RABBIT is always late, always in a hurry, always rushing about. Charged with finding Alice and bringing her back to Underland so that she can fulfill her destiny, he shows up at her garden party in an effort to lure her back down the rabbit hole.  He’s a warm character but, at the same time, he can be quite fussy and quite strict with Alice as well. He has an edge to him, a nervous energy, always feeling like he’s behind time.  Time is very important to him, but he’s quite brave when called upon.

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ILOSOVIC STAYNE, THE KNAVE OF HEARTS is the head of the Red Queen’s Army. Seven feet, six-inches tall, with a scarred face and a heart-shaped patch covering his left eye, Stayne is an arrogant, tricky character who follows the Red Queen’s every order. He’s the only one capable of pacifying her and calming her dramatic mood swings. The Red Queen has a fair amount of short-tempered reactions to things that people do, and so the Kave has to be quite diplomatic.  His darker side emerges in the shadows of the castle hallways.

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TWEEDLEDEE and TWEEDLEDUM are rotund twin brothers who constantly disagree with each other and whose confusing chatter makes little sense to anyone but them. When Alice arrives in Underland, she looks to the Tweedles for guidance. Innocent and infantile, adorable and sweet, they mean well but are of little real help since they speak in weird rhythms and riddles.

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ABSOLEM, THE CATERPILLAR is the all-knowing and absolute guardian of the Oraculum, an ancient document that depicts every major event, past, present and future, in Underland’s history. Alice is taken by the White Rabbit and the Tweedles to meet Absolem, so that he can ascertain whether she is, in fact, the real Alice who first visited Underland as a child, the Alice who is destined to help them. They find the bulbous blue caterpillar atop a mushroom in a mushroom forest surrounded by misty smoke. Several times Absolem challenges Alice to come to a better understanding of herself, forcing her to face the difficult question: “Who are you?”

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CHESSUR, THE CHESHIRE CAT is a dapper tabby with the ability to appear and disappear. He is all calm, casual sensuality with a seductive grin that masks his cowardice. It’s the cat’s disembodied head that first appears to Alice in Tulgey Wood after she’s been attacked by the vicious Bandersnatch. He offers to purify the gashes on her arm by licking them. Alice declines, although she allows him to lead her to the Hatter’s Tea Party where the Hatter blames him for deserting them on the day the Red Queen seized control of Underland. Using his skills and the Hatter’s coveted top hat, Chessur later finds a way to redeem himself.

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THE MARCH HARE hosts the Mad Hatter’s Tea Parties at his Hare House.  Paranoid, anxious and slightly insane, he constantly wrings his paws and ears and has a thing for tossing teapots and other items.  He has a penchant for cooking and is one of the few Underland inhabitants to escape the Red Queen’s clutches all together.

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BAYARD THE BLOODHOUND is an unwilling accomplice to the Red Queen’s forces, fearful that his imprisoned wife and pups will be injured if he doesn’t do Stayne’s bidding. He proves to be secretively loyal to the Underland Underground resistance, becoming both Alice’s ally and a rather convenient transportation system.

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THE DODO is one of the first residents of Underland Alice sees upon entering the fantastical world.  One of the oldest Underland inhabitants, the Dodo wears eye-glasses and carries a walking stick.  Both quiet and wise, he stops his friends bickering over Alice’s true identity by suggesting they bring her to the even wiser Absolem.

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THE BANDERSNATCH is a disgusting, drooling, foul-smelling creature with a big filthy body and the squashed, teeth-baring face of a rabid bulldog.  A swipe of his long claws leaves Alice with a rather painful reminder of the Red Queen’s horrible reign.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon