11 Sexed Up Fairy Tales, from Ever After to Red Riding Hood

‘Little’ Red Riding Hood No More

In Catherine Hardwicke’s revamp of the Brothers Grimm classic, in theaters March 11, Amanda Seyfried takes a turn as a femme fatale in sheep’s clothing. The doe-eyed Valerie (Seyfried), Hardwicke’s fiery-caped siren, falls for a smoldering woodcutter, Peter (Shiloh Fernandez), despite her family’s plans for her to marry Henry Lazar (Max Irons). As if the scandal doesn’t raise enough eyebrows, the town is haunted by a werewolf, which further complicates her love affair. Not seduced yet? Hardwicke told Newsweek that even the wolf is a temptation, “In the traditional story, the wolf cross-dresses and lures her into bed. That’s pretty kinky right there! The wolf is the original tranny.” Kinky, indeed!

Snow White’s Terrifying Turn

Warning: This is not your Disney fairy tale. While director Michael Cohn’s 1997 made-for-TV movie, Snow White: A Tale of Terror, stayed true to the Brothers Grimm dark aesthetic, Sigourney Weaver pumped up the sex factor as Claudia, Snow White’s evil queen of a stepmother. Weaver earned Emmy and Screen Actors Guild nominations for her performance as the vain, lusty, mirror-obsessed queen, but the maturation of the tale extends beyond the sex. Claudia is out to get Snow White, otherwise known as Lilli (Monica Keena), after the stepmother catches the girl dancing with her father, Friedrich (Sam Neill), the queen’s husband, at a ball. Enraged, Claudia gives birth to Friedrich’s stillborn baby and, in true deranged evil stepmother form, holds Lilli accountable. She hatches a plan to kill Lilli, poisoned apple and all, and in the meantime takes to seducing Friedrich to solidify her position as the fairest in the land. If the hint at father-daughter incest isn’t enough to make this Snow White unsuitable for children, when Lilli seeks solace with the dwarves, they try to rape her. Walt would roll over in his grave.

Labyrinth‘s May-December Romance

When Jareth the Goblin King (David Bowie) sings about his kidnapped “babe” whose “love had gone” in Jim Henson’s 1986 cult classic, it’s hard to know if he’s talking about the actual baby he has, in fact, kidnapped, or 15-year-old Sarah (Jennifer Connelly). Their romance isn’t explicit but is creepy nonetheless. Filled with teenage angst, Sarah has no interest in babysitting her brother, Toby, and wishes a Goblin King from the book she’s reading—called , of course—would take him away. You can’t take the Bowie out of the Goblin King, and the caked-up-with-makeup Jareth obliges with a challenge: If Sarah cannot complete his labyrinth in 13 hours, he’ll transform her baby brother Toby into a goblin. Faster than you can say “jail bait,” Sarah is lured into Jareth’s world and loses her head under the twice-her-age singer’s seduction. Is this even legal?

The Original Sexed-Up Riding Hood

Before Amanda Seyfried stirred the pot with her own red cape, The Company of Wolves reached an inspired level of campiness as a Little Red Riding Hood-meets-werewolves cautionary tale about staying away from strange men. On a trip to Granny’s (Angela Lansbury), Rosaleen (Sarah Patterson) encounters a hunter who challenges her in a race to the house. She loses, and so does Granny: The hunter is a werewolf who’s been terrorizing their village and he spares no one. When Rosaleen finally arrives at the house, he seduces her. While that’s accepted, what follows is not: Rosaleen catches a case of Stockholm Syndrome and transforms into a werewolf herself, to live with the hunter forever. This lusty 1984 version of the fairytale does pull a few gems from the text, including when Rosaleen comments on the hunter’s physique, “My, what big arms you have,” she says. “All the better to hug you with,” he responds. We’re not sure that’s the only reason.

Lovers Reunite in The Princess Bride

Rob Reiner’s 1987 adaptation of William Goldman’s book of the same title is a saucy take on the tale of reunited lovers. The hunky Westley (Cary Elwes) and stunning Buttercup (Robin Wright) are two kids in love when Westley goes out in search of a fortune so they can marry—and is supposedly killed. With Westley dead, Buttercup reluctantly agrees to marry the petulant Prince Humperdinck (Chris Sarandon) but is kidnapped just before the wedding. By a stroke of luck, she’s rescued by Westley, who’s alive and has been searching for her, clad in a bad-boy pirate disguise. With a 96 percent fresh rating on Rotten Tomatoes, the flick packs wholesome family fun, but it also has grownup undertones. Between Buttercup’s threat to commit suicide when she’s recaptured by Prince Humperdinck and Westley’s penchant for answering her masochistic commands with “As you wish,” never before has a fairy tale seen so much co-dependency.

The Original Beauty and the Beast

Singing candelabras and dancing teapots this is not. Before Disney revamped the tale of a prince transformed into a hairy beast, Belle faced a truly harrowing “bête” in Jean Cocteau’s 1946 La Belle et la Bête. While Belle and the beast get friendly in the cartoon version, Cocteau’s film is an exercise in stalking. Belle (Josette Day) is forced to live with the beast (Jean Marais) as a punishment when her father is caught stealing a rose from his garden. The beast is hairy, scary, and unrelenting in his desire to marry Belle; he proposes to her every day at dinner, despite her constant rejections. Though Belle comes to like the beast, she learns that her father is ill, and is permitted to go home on the condition that she returns. Like any good fairy tale, this one has a pair of evil sisters who throw a wrench in her plan—they’re jealous she lives in a mansion, despite conditions of house arrest with a beast. But Belle finds a way to get back, and like clockwork, her beast transforms from hideous to hot. Sure, it may sound like a trite story, but this grownup fairy tale made Roger Ebert’s list of great movies.

Cinderella Grows Up

If Dougray Scott were Prince Charming in every iteration of this tale, Cinderella’s stepsisters really would have a reason to slice off their feet to fit into her glass slipper. Roger Ebert said director Andy Tennant’s 1998 version, Ever After, ” safely launched” Drew Barrymore’s adult career, and adult it was. The story opens with an appearance from the Brothers Grimm, asking an elderly woman to verify the story of a cinder girl. She tells them about Danielle (Barrymore), whose father died shortly after marrying a gold-digging baroness (Angelica Houston) with two spoiled daughters. After his death, Danielle was forced to become a servant for the family, but thanks to a chance encounter, she begins a bevy of secret rendezvouses with Prince Henry (Scott), while dressed in disguise as her mother, a comtesse. Their nighttime getaways are steamy—Cinderella is all grown up, after all—until they come to an abrupt halt when Danielle’s identity is revealed. Naturally, she gets her happy ending with Prince Henry, and balance is restored to the world of unrealistic love stories.

Red Riding Hood, Juvenile Delinquent

To grandmother’s house she goes… with a gun and an R-rating. Of all the big-screen fairy tales, Freeway‘s adaptation—a term to be used loosely—might be the most deranged. Director Matthew Bright’s 1996 flick stars a young Reese Witherspoon as Vanessa, a wayward teen running from a social worker after her prostitute mother is arrested. When Vanessa’s car breaks down on her way to her grandmother’s, she hitches a ride with—brace yourself—a serial killer (Kiefer Sutherland) who preys on women. But Vanessa’s packing heat, and when the killer Bob Wolverton tries to put on the moves, she doesn’t hold back one bit. Despite Wolverton’s apparent violent streak, his record is clean, and Vanessa is sent to jail while he recuperates from her gunshots. In the end, the Brothers Grimm have the final say: Vanessa and Wolverton have one last showdown in—where else—her grandmother’s house. While the movie sounds far-fetched, The New York Times gave it a favorable review, writing that if the Grimms were alive, “it would be no surprise to find them in Hollywood, making films like Freeway.”

A Pan, a Civil War, and a Labyrinth, Oh My

What Pan’s Labyrinth lacks in sex, it makes up for in skin-crawling creepiness. And, it’s no wonder. From the mind that conceived Hellboy and The Devil’s Backbone, Guillermo Del Toro’s 2006 film about a young woman living in fascist Spain is populated by eerie creatures and a backdrop of post-civil war violence. At the instruction of Pan, Ofelia (Ivana Baquero) must complete three tasks in an abandoned labyrinth to prove she is the reincarnation of a princess. But, with a paternalistic stepfather hunting Spain’s rebels, and a sickly pregnant mother, she struggles to complete the tasks. The film, which won Oscars for art direction, cinematography, and makeup, borrows a page from the Grimms’ tragic take on fairy tales, and Ofelia meets a bloody end. But not before she defeats the Pale Man—a child-eating monster in the labyrinth.

Alice Returns to Wonderland

Many have taken on Lewis Carroll’s story of Alice’s adventures, but between Johnny Depp as the Mad Hatter and Anne Hathaway as the White Queen, Alice never had so much eye candy in wonderland. Tim Burton’s 2010 adaptation tells the story of 19-year-old Alice’s (Mia Wasikowska) return to Wonderland to slay a mythical creature, the Jabberwocky, and dethrone the Red Queen (Helena Bonham Carter), who together terrorize the inhabitants down the rabbit hole. While Alice might fall short of other fairy tales’ sexiness— The New York Times called her “a more convincing vision of death than of sex”—this version won at the box office. Burton’s flick stormed theaters, bringing in just over $1 billion worldwide and won Oscars for art direction and costume design. She’s reunited with Wonderland and it feels so good.

Jack and the Beanstalk‘s Adult Redux

If there’s a grownup fairy tale formula, Jack the Giant Killer employs it to its fullest, but not well. With a damsel in distress, a giant, an evil magician, and a farm boy-turned-hero—not to mention a whole lot of bad claymation—the 1962 film has all the makings of campy fun, but was described as a “a gory eyeful” by The New York Times. It’s not entirely a loss: The strapping Jack (Kerwin Mathews) and Princess Elaine (Judi Meredith) at least provide romantic drama when Jack must rescue the princess from the grips of a giant created by an evil sorcerer (Torin Thatcher), then accompany her across the sea in the face of the sorcerer’s onslaught. If this version leaves something to be desired by adult viewers, a new version directed by Bryan Singer is due in theaters in 2012.

Beastly‘s Teenage Fairytale

From hot blond to ugly bomb, Alex Pettyfer takes his turn as the beast in a Beauty and the Beast for the teen set. In the flick, now in theaters, the shallow Kyle (Pettyfer) is transformed into a misbegotten creature by a witch (Mary-Kate Olsen) and will only change back when a woman falls for his—gasp—personality. Vanessa Hudgens plays Lindy, the Belle to Kyle’s beast in Daniel Barnz’s re-imagining of the “tale as old as time.” Even if E! called it “another shallow teen romance,” the movie at least promises some PG-13 action.

5 Reinvented Fairy Tales for Adult Eyes Only

Chances are you heard your share of fairy tales growing up, but it might surprise you to know just how watered down they were. According to fairy tale scholar Maria Tatar, the original stories were meant to entertain adults, and included lots of sex and violence before people like the Brothers Grimm cleaned them up. You’re not a kid anymore, so it’s time for the good stuff. Here are five decidedly adult takes on classic fairy tales.

The Bloody Chamber

ANGELA CARTER

Feminist fantasy author Angela Carter’s The Bloody Chambercontains 10 retellings of well-known fairy tales, among them “Bluebeard” and “Little Red Riding Hood”. Steeped in magical realism, and spattered in blood, this compendium is frightening and darkly erotic. If you’re a horror movie buff, you might be interested to learn that two stories from The Bloody Chamberwere the basis for Neil Jordan’s 1984 werewolf film The Company of Wolves. (Great movie, by the way — definitely worth seeking out.)

Deerskin

ROBIN MCKINLEY

Based on Charles Perrault’s fairy tale “Donkeyskin”, Deerskin is a powerful story about sexual abuse and recovery that pulls no punches. Shortly after the death of her beloved mother, the beautiful Princess Lissar flees her rapist father to seek shelter in the mountains. With only her dog as company, Lissar finds the solitude and peace that she needs to begin to heal, as well as a magical deer skin that may help her hide from her father and find a safer, better life.

While Beauty Slept

ELIZABETH BLACKWELL

Elizabeth Blackwell’s While Beauty Slept has earned comparisons to the work of Gregory Maguire. In this retelling of “Sleeping Beauty”, a great grandmother who in her youth was a close companion of Beauty tells the real story behind the familiar fairy tale. Through her eyes, readers witness the true course of events that led the princess into an ageless slumber.

Mirror Mirror

GREGORY MAGUIRE

Gregory Maguire’s Mirror Mirror recasts the fairy tale “Snow White” in treacherous Renaissance Italy, with legendary spinner of plots Lucrezia Borgia as the Evil Queen. If you’re familiar with Maguire’s Wicked Years series — a take on L. Frank Baum’s The Wizard of Oz that pictured the Wicked Witch as an aspiring do-gooder done wrong — then you know how dark his revisionist fiction can get. Like The Bloody Chamber, this is definitely not one for the kids.

Hunted

MEAGAN SPOONER

Meagan Spooner’s retelling of “Beauty and the Beast” finds Beauty tracking the mysterious creature her woodsman father was supposed to have been hunting when he disappeared. Known only as “The Beast”, it lives in a ruined castle in a cursed valley. If she can find the Beast, she might just find her father, too.

 

The Nutcracker: An Erotic Fairytale

Marie sifted through the boxes in the attic. The space felt smaller somehow. She had not been up here since she was a child. Her grandmother had passed recently and the gray clouds outside the window mimicked her feelings.

It was Christmastime and the twinkling lights from the window cast an oddly cheerful glow. Looking around the small space, she eyed a box in the corner. In search of some memory to keep forever, she picked up the worn box and examined it for any markings. One edge appeared to be chewed by rats—she shuddered, hoping they were long gone—but no labels of any sort could be deciphered.

Using her slim fingers and polished nails, she slit the faded tape and opened the top. A glimpse of red could be seen. She dug through shredded old newspapers, revealing her find.

It was a nutcracker dressed as a soldier. The wooden toy, forever clad in red with his regimental finery, was lifted free. He was a bit dusty and scraped, as if he had been in a battle. But her old friend from her childhood dreams now lay in her hands. She held him up to the light, taking in his bright blue eyes, white sculpted beard, and once-shiny medals painted on his chest. Her hand gently grasped the appendage sticking out of his back. Lifting the lever, his mouth opened wide.

She smiled, for the first time in days. She remembered when she was small and her grandmother would bake cookies and pies for the holidays. Marie had insisted on cracking the nuts for the yummy desserts. She could almost smell the cinnamon, nutmeg, and other spices that Grandmother put into her recipes. She never measured anything. It was always a dab of this and a pinch of that.

A tear stole down her cheek from the memory and landed on the soldier’s face. She thought she saw him blink and hurriedly wiped her eyes. Her tears were causing her to see things.

The windows rattled as the wind blew hard outside. The grandfather clock chimed downstairs, and she looked up. Realizing the lateness of the hour, she tucked her prize under her arm and made her way down the rickety staircase.

Marie arrived back home to her lonely apartment. She heaved the heavy suitcase on the bed and began to empty it. Unpacking the Nutcracker last, she sat him on the shelf next to her bed, in a place of honor.

Emotionally and physically drained after her long trip, she put her suitcase in the closet and dressed for bed in a comfy grey T-shirt.

Marie snuggled into the covers and drifted off to sleep. Her dreams were filled of days gone by, of the grandmother she missed so dearly. She could vividly recall the way her silver white hair curled around her face while she baked. She remembered her soft laughter as she delicately cut out the man-shaped cookies, which were scented with ginger and molasses. She would scoop them up, put them on the pan, and slide them into the oven.

Her thoughts turned darker as her sleep deepened. The warm fragrant kitchen disappeared and she was lost in a strange forest. Unsure of where she was, or where the strange dream was taking her, she walked. After a while she came upon on a stone wall with a massive wooden door. It was guarded by the old soldier, who stood erect by the entrance. He was larger than life and she had to tilt her head back to look up at him.

She called out to him to get his attention, but found she could not speak. She took a step forward and his large, knobby head swiveled in her direction.

His blue eyes were intense as he tried to figure out if she was friend or foe. Marie heard a noise coming from behind her in the trees. The soldier stiffened and bellowed, “Beware!”

 

She turned in time to see a giant rat with a sword running toward her. She screamed a silent scream as she awoke with a start.

She was OK. It was just a dream, she thought to herself. As she looked around her room, the dawn was beginning to break and a sliver of light shone through her window. She turned to look at her shelf and expected to see the soldier. But he was gone. She leaned over the bed to look at the floor in case he had fallen, but he was not there.

Her gaze traveled around her room and then she saw him, just like in her dreams, standing next to her door—guarding it, protecting it, protecting her.

She noticed a new slash on his arm. The paint was scraped away, leaving a deep cut in the wood. He was hurt. Worried, she got out of bed and went to him. She reached out and laid her hand on his arm, tracing the cut with her finger.

“Are you OK?” she whispered, her voice once again working.

His neck creaked as he nodded slowly. Her hand traveled from his arm and slid against his broad chest.

“Thank you for saving me.”

His massive jaw opened as he tried to communicate. But he could not speak in her world, as she could not speak in his. Understanding, she stepped forward and wrapped her arms around him as tightly as possible. Laying her head on his chest, she wept.

She found herself being lifted by his arms and carried to her bed. His knee creaked and the bed sagged as he knelt on the bed to settle her gently down. She reached up and grabbed his arm.

“Don’t leave me. Everyone leaves me.”

The bed sagged more as he climbed on and lay next to her. His presence comforted her, but she needed more. She maneuvered his arm around her and laid her head on his barrel-like chest.

She let her hands wander about his body and felt an addition she did not remember from childhood.

She looked up at his face and was slightly amused to see the red blush spreading across his cheeks.

Her hand moved down to explore her new find. His other arm moved to stop her. She looked up at him and he sadly shook his head no.

She moved her hand up to cup his cheek, with its painted white beard.

“I know we are different, I know this is odd, but somehow we have a connection that nobody else has. I don’t know why, but I want you, I need you, and I think we need each other.”

And with that she placed one small kiss on his lips as her other moved down to grasp his wooden sword. She felt him move and was surprised when he lifted her and settled her over him. She smiled and kissed him again. She then moved to straddle him as she pushed herself up, aligning his rolling pin-like appendage to the entrance of her core. Her eyes locked with his as she let gravity help her accomplish this monumental feat. She let out a small hiss as he filled her like a cream puff. Taking in as much as she could, she began moving slowly, finding her own rhythm.

Thoughts danced through her head: This is wrong. This can’t be real. Will I get splinters? She pushed them away as an electric tingle began inside of her. She felt him grab her waist to help guide her along their journey. She cried out softly as they shuddered together. With him still inside of her, she collapsed on top of his chest. She lay gasping for breath as he hugged her and kissed the top of her head.

 

Christmas is magical!

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Why Do We Have To Practice Proper Latex Usage?

In order to facilitate your choice of acquisition of your next bedding, we have drawn the points of comparison between clothes made of synthetic latex and clothes 100% natural latex (See more of these at laidtex.com). At Come, concerned about the ecological issue, we decided to design healthy clothes based on 100% natural latex providing high quality comfort. It is obviously possible to sleep properly on other technologies such as foam, springs or synthetic latex. Here are the major differences between latex and 100% natural latex:

Composition and origin of materials

The 100% natural latex extracted in liquid form comes from a tree: the rubber tree. To obtain the name 100% natural, the latex must be composed of 85% natural latex. At Come, our latex contains more than 95% pure rubber tree milk. From plant origin, our 100% natural latex has 7 comfort zones, one for each part of your body to keep your spine straight. Ecological, the 100% natural latex comes directly from the rubber tree. The quality of the 100% natural latex is measured by its percentage of pure rubber tree milk, its density and its comfort zones. At Come, our latex contains more than 95% pure rubber milk and offers a density of 75-85 kg / m² depending on the parts of your body to maintain. For the Difference between natural and synthetic latex this is important.

Synthetic latex contains only a tiny part of 100% natural latex (about 20%). Appellations are sometimes misleading: “100% latex” or “natural latex”. Indeed, the clothes with these names are made of synthetic latex, so it is important to look at the percentage of natural latex and certifications. A natural or organic clothes is certified by the name “100% natural latex” Latex that is not certified 100% natural contain between 0 and 25% of pure rubber tree milk, the rest is made of chemicals whose polyurethane, directly derived from oil. A manufacture therefore, mainly chemical, allowing to vary the quality of one latex to another and thus reduce the costs. Finally, the lower the percentage of natural latex, the less comfortable, elastic, airy and resistant your clothes will be.

Come latex is certified 100% natural

Only 30% of the synthetic latex is of natural origin. Beware of deceptive calls.

Heat regulation

The 100% natural latex is made up of millions of micro bubbles of air allowing the clothes to breathe continuously. In addition, it has hundreds of cells distributed over its entire surface to regulate the temperature in the entire cloth.

100% natural latex is the ideal solution for heat sensitive sleepers. Thanks to its natural composition, your clothes breathe from the inside and allowevacuating all surplus moisture to guarantee a dry bed all year long.

Synthetic latex does not have the same heat regulation capabilities because it consists of less than 20% pure rubber tree milk. Indeed, the remaining 80% or more are chemicals such as polyurethane found in the foam. Thus, the synthetic latex has the same disadvantages as the foam. Its composition does not allow your clothes to breathe, on the contrary, moisture will remain stored inside your bed does not evacuate excess sweat. In addition, opt for synthetic latex can therefore release bad odors.

  • The heat is perfectly regulated with natural latex
  • Heat is less well managed with synthetic latex

Lifetime

100% natural latex is the technology that achieves the best longevity results. Indeed, it loses only 5% of its elasticity after 10 years of daily use. It is for this reason that at Come, we guarantee the completeness of our natural clothes during 10 years. Indeed, the life of 100% natural latex clothes is about 15 years.

The synthetic latex is composed of less than 20% pure rubber tree milk and therefore has disadvantages similar to those of the foam (chemicals, longevity). Indeed, the 80% or more of chemicals to design the synthetic latex offer excellent comfort during the first years but very quickly, after 5 or 7 years, the chemicals are no longer effective and your clothes collapses. As for the foam, it is difficult to give a generality for the life of synthetic latex clothes but many customer reviews show this longevity dissatisfaction.

  • Natural latex can be kept almost 15 years
  • The life of the synthetic latex is limited

Resilience

The 100% natural latex has excellent elastic capacities. Indeed, when you lie on clothes100% natural latex, it will take the shape of your body while maintaining your body and your spine ideally. Once raised, your clothes will return to its original shape, it is the resilience of the cloth. After 10 years, the 100% natural latex is able to take back 95% of its initial form, so you will never feel a bowl effect under your body.

Synthetic latex also has a very good resilience. Indeed, its tiny part of 100% natural latex combined with chemicals allows the clothes to return to its original shape after each use. The only difference will lie in the duration. A clothes synthetic latex can resume its original shape for 5 years on average (against 10 to 15 for a latex clothes 100% natural), and then its ability resilience will degrade over time.

The term “latex” applies only to the “soul” of the cloth, that is to say the layer covering the suspension system.

To be called “100% latex”:

  • The soul of the cloth must be made of latex only.
  • It must be at least 10 cm thick, made entirely of latex.
  • The soul must represent at least 60% of the total thickness.

For a cloth and bedding at the top, follow the guide:

  • Choosing a good cloth is good, keeping it in good condition is better! All the steps to properly maintain your cloth on our dedicated practice sheet.
  • You are still unsure about the type of suspension of your future cloth: springs, foam, latex, etc.? Find our comparative suspension of cloth to help you choose.

 Your bedding needs a facelift but you cannot change it? Start by removing all stains from the cloth with our tip!