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‘Winifred the Wonder Witch’ features two stories: ‘The Witch Who Lost Her Magic’ and ‘Saving the Dragons.’ In the first story, Winifred loses her magic, and she has to find a way of getting it back. In the second story, we meet the princesses who want to save the dragons; because ‘there aren’t many dragons left in the world.’ Winifred, as she does in ‘Flying Santa,’ comes to the rescue in her inimitable, dramatic and exciting style.
Here is a delightful tale that is much more than just another Halloween story. "One Wish for Winifred Witch" is a truly magical tale with a surprising twist. Each year the witches of Haunted Hollow eagerly await the arrival of Halloween. All, that is, except for little Winifred Witch. You see . . . When the sky grows dark and the moon glows bright, Little Winifred Witch is nowhere in sight. Of course, none of the witches in the Hollow know why young Winifred seems to magically disappear when nighttime comes, nor do they know about the "one" secret wish she makes every night. But with a little help from her wise Aunt Broomhilda, Winifred Witch discovers that sometimes it takes more than Magic to make a wish come true.
It is a historical phenomenon that while thousands of women were being burnt as witches in early modern Europe, the English - although there were a few celebrated trials and executions, one of which the play dramatises - were not widely infected by the witch-craze. The stage seems to have provided an outlet for anxieties about witchcraft, as well as an opportunity for public analysis. The Witch of Edmonton (1621) manifests this fundamentally reasonable attitude, with Dekker insisting on justice for the poor and oppressed, Ford providing psychological character studies, and Rowley the clowning. The village community of Edmonton feels threatened by two misfits, Old Mother Sawyer, who has turned to the devil to aid her against her unfeeling neighbours, and Frank, who refuses to marry the woman of his father's choice and ends up murdering her. This edition shows how the play generates sympathy for both and how contemporaries would have responded to its presentation of village life and witchcraft.
On 19 April 1621, a woman named Elizabeth Sawyer was hanged at Tyburn. Her story was on the bookstalls within days and within weeks was adapted for the stage as The Witch of Edmonton. The devil stalks Edmonton in the shape of a large black dog and, just as Elizabeth Sawyer makes her demonic pact, the newlywed Frank Thorney enters into his own dark bargain in the shape of a second, bigamous marriage. Torn between sympathy for Sawyer and Thorney and a clear-eyed assessment of their crimes, the play was the finest and most nuanced treatment of witchcraft that the stage would see for centuries. Lucy Munro's introduction provides students and scholars with a detailed understanding of this complex play.
"In 1993, Walt Disney Pictures released a movie that would change a generation...but it took a while. Hocus Pocus flopped upon release, and critics everywhere scoffed at this oddball comedy about three wacky witches back from the dead. But then something changed. Far from the forgotten relic it was destined to become, Hocus Pocus has taken its place alongside The Wizard of Oz, Harry Potter, and Home Alone--a bona fide classic that's sure to stay alive for generations to come."--Back cover.
A Gypsy lad named Finch arrives at Wychwood Castle to find it a tangle of muddled chivalry and magic. Though four royal children conform to rules of chivalry, Princess Elaine is a red-haired hoyden who can't faint, wants to study witchcraft rather than marrying, and whose magic spells always go wrong (and so do most others). Prince Arthur wishes that just once, people would follow the rules of chivalry-but they never do-not even Thunder, his warhorse, who loves to cheat at tournaments. Finch, fascinated, stays as stable boy and tone-deaf troubadour to join Elaine in scrapes. What with the awful Fer de Lance family, a wicked enchantress, a mad magician, two witches, three cats, a sourcerous hive of bees, a spell-casting mouse, and some temperamental horses, they manage to enchant broomsticks, palace guards, a feather duster, a footstool, troubadours and even Elaine herself. King Godobert, determined to find husbands for his daughters, holds a Quest. No one wants Elaine, so, betrothed willy nilly to a perfect stranger, she rages that she won't marry him. Finch vanishes. Elaine misses him-but when a pink magpie delivers a "save me, save me, save me" message, life promises to be interesting despite everything.
The oral history of Disney’s Hocus Pocus, one of the most beloved Halloween movies of all time. In July 1993, Disney’s Hocus Pocus, starring Bette Midler, Sarah Jessica Parker, and Kathy Najimy, did not immediately find success, with box office numbers falling far below what was envisioned. Yet somehow the Halloween movie released in the middle of the summer to little fanfare has become an enduring and widely loved classic. Nearly three decades after the film’s initial release, it’s a yearly holiday viewing tradition in households around the world, becoming a not-so-scary rite of passage for kids and their parents, many of whom grew up watching the film about the resurrected witchy trio with their own parents. Hocus Pocus is a movie that has few if any equals; it manages to span a generational divide, uniting boomers and zoomers in their nostalgic love for the boundary-pushing supernatural comedy that in some ways seemed a little too risqué for the millennial kids it was originally intended for. So how did a movie that didn’t catch an initial spark end up casting such a spell on mainstream culture? Witches Run Amok answers that question and more, using interviews from the cast and creative team behind the heartwarming Halloween staple. The book is a love letter to Hocus Pocus’s millions of devoted fans and a fascinating read for anyone who wants to understand how the Disney movie became a pop culture phenomenon.