Doing it it short bits and starts this morning. Zzzz.
"Too much english"? Really, Schmendrick?
We get a small hint of magic as its own force, with its own will and almost mind. Of course, this is coming from a half-drunken, newly-captured Schmendrick, at least at first...
At least we're let to know what to expect from the outlaw band right off the bat, with the password scene. Talk about Robin Hood gone horribly horribly wrong... I guess it's little wonder then that they've ended up paying off the village, rather than the other way around.
Tacos? Really? I'd forgotten that... Looks like the mythology's not the only thing getting all mixed together.
This actually prompted me to look up the Child collection, and they were apparently ballads collected in the late nineteenth century, according to the ubiquitous Wiki Pete. This leaves me wondering when this is supposed to be taking place, or even if Beagle has a specific time in mind, or just mixes them all together like he does with his other elements. Especially with the mention of being field-recorded. I suppose that's one way of making a timeless tale...
And of course then a passing mention of John Henry, which mixes even more areas into the mix.
We also have our first mention of Haggard's son Lir, which I'll go ahead and say, I always see in my mind even now as "Lear" since that's how I first imagined it after the movie, and it always puts me in mind of King Lear, although I'm not sure if that connection is even intentional.
I like how suddenly Schmendrick's "claiming" to be Child, even though he said he's not. There's those darn seeing-what-you-want-to-see things again! And, I'll add, the whole bit about self-deception, and not always deceiving yourself deep down at the heart, which we see now with Cully as well as the magician.
Speaking of which though, that was a nice turn of magic! Too bad it knocked Schmendrick silly! (Well, sillier than usual.)
A reminder of the schedule