The Hunger Games: The Ballad of Songbirds and Snakes (2023) has awoken The Hunger Games fandom this winter. A spin-off prequel to the successful film franchise, TBOSAS succeeds in delivering for its fervent fanbase, offering a captivating POV thanks to the author (Suzanne Collins), and an expansion on the lore of the Capitol that audiences have only glimpsed from afar up until now.
★★★★✰
It’s no surprise TBOSAS has been met with appreciation for how a spin-off ought to be done, although that isn’t to say there haven’t been critics; after all, not everything is in every movie’s favour. TBOSAS uses its source material and the benefits of a strong visual medium (compelling performances, set design, and costume) to demonstrate how a spin-off can continue the greatness of its predecessor. By offering a refreshing take with President Snow’s (Tom Blyth) perspective driving the narrative, there’s new insight into the hidden sects of the Capitol, whilst Lucy Gray (Rachel Zegler) is able to strike a balance as the female protagonist, drawing familiarity and distinction to that of Katniss Everdeen (Jennifer Lawrence). Though critics may ponder the uncompelling nature of watching a young adult assume a villainous role, Snow’s arc proves that prequels are not wasted time in cinema. Meanwhile, knowing the final destination of the character fails to eliminate all of the mystery. From The Scorpion King (2002) of The Mummy franchise to Fantastic Beasts (2016), there will always be spin-offs that feel forced and perhaps unnecessary add-ons to the world, but TBOSAS ensures that every step of the way, it isn’t one of them.
TBOSAS takes on Snow’s perspective during the 10th Hunger Games, prior to his presidency in the originals. As a top student vying for a spot at university, he takes on a mentor role for the next Hunger Games along with his other over-achieving academic peers, each hoping for prestigious awards and fame. In steps Snow’s mentee Lucy Gray as the District 12 female tribute whose biggest talents lie in performing. Their forced partnership introduces us to a whole new Capitol and Games arena of the likes we have never seen before.
Unlike other post-apocalyptic prequel films, which often simply strive to offer explanations for the dire circumstances that inflict their fictional worlds, such as The Thing (2011) and Resident Evil: Racoon City (2021), TBOSAS tackles how such circumstances might spur on specific events lost to their history. In TBOSAS, this entails exposition surrounding the stirrings of a more vicious series of Games post-war, and the shaping of a young adult into the formidable President Snow.
First and foremost, TBOSAS opens up a whole new perspective on the Games, with an immersion into Capitol life ten years after a war that ravaged their landscape. Fantastic Beasts and The Hobbit series are examples of spin-offs undertaking a new narrative that remain connected with the settings and characters that we know and love from the originals, but TBOSAS takes on a different task. Rather than following a lead such as the likeable Newt Scamander or Bilbo Baggins, TBOSAS distinguishes itself right from the off through the lens of the soon-to-be formidable President Snow, the main villain of The Hunger Games. Though this perspective also greatly enhances our view of Panem, the audience also gets to view the Games through the eyes of a mentor, whilst in the scenes with District 12 we adopt the perspective of a Peacekeeper. With insight into the hidden lore of Panem, an underlying anxiety grips the viewer as to how each new ruling for the 10th Games will shape the world we came to know in the original The Hunger Games.
However, it’s clear the new perspective in the narrative isn’t the only draw: it’s also visually-captivating, as well as being a sound story. TBOSAS maximises on grand symmetrical expanses. In particular, there’s a shot of Snow walking to the Academy, across a huge roundabout centred by a skyscraper-tall statue. The grand road and structure juxtaposed with apartment buildings that have clearly seen better days adds to the sense that every shot is exposition for the story of Snow, as well as the Capitol itself. Indeed, overt macabre tones undergird the entire narrative. This allows the film to explore numerous aspects: from how the Capitol came to be; to the invention of the muts; to how certain characters (particularly Dr. Gaul played by Viola Davis) propelled the inception of the grotesque Games. TBOSAS successfully connects the dots in our existing knowledge of The Hunger Games universe with visual exposition, transforming a novel into a cinematic delight.
Unlike other, more basic post-apocalyptic films or dystopian dramas, TBOSAS uses costume to its advantage. TBOSAS weaponizes this visual power to reflect the timeline in the wider series, ensuring that class divides are clearer, and that the Capitol’s consistent bid for formality and grandeur is maximised at every turn. Within the Capitol, they’ve yet to form the extravagance of Effie Trinket’s costume-adorning in the originals, though Tigris (Hunter Schafer) offers a snippet of the excessiveness that would come to consume the Capitol (in particular, her iconic pastel pink court dress). Even the Academy uniform is a level above the norm, with formal pops of ruby red and a gender-neutral take on school uniform. Unlike other films like Promoetheus (2012) and Mad Max: Fury Road (2015) where costume feels more consistent between the prequel and the rest of the franchise, the distinct differences in clothing here make the timeline more realistic. Meanwhile, the costume follows up the performance just as much as the act—Lucy Gray’s rainbow dress an apt example.
The casting is another core strength of the film. Tom Blyth brings a more youthful version of President Snow to life—perfectly emulating the familiarity and mannerisms of Sutherland’s older version. From his self-serving nature and predator-like focus in the Academy classroom, to delving head-first into a romance with Lucy Gray, Blyth enthrals as Snow’s younger yet equally-tenacious self. Meanwhile, Rachel Zegler offers authentic performances both on and off the stage as Lucy Gray. By performing each of her songs herself, the audience gets a realistic edge to her scenes. Though a tribute of District 12, she’s different to who we’ve encountered before—a performer at heart. The pair are calculated, multi-layered, and give little away—potentially to the fault of their chemistry as a duo. Nevertheless, whilst Snow was the lesser-desired POV when compared to fans’ pleas to see Haymitch’s POV for his Games for example, the pair’s incredibly nuanced performances reinvigorate a desire to see this perspective, offering a level of interest that a simple hero arc could not.
The Verdict
TBOSAS is a shining example of how to do a spin-off right. Not only does it work as an effective prequel for the original The Hunger Games series, but it also works just as well as a standalone. The film succeeds in expanding on the concepts that we had only briefly skimmed across in the originals: from the infra-politics of the Capitol, to the events and experiences that underpin Snow’s character. With exceptional performances from Tom Blyth, Rachel Zegler, and Viola Davis, TBOSAS stands-out for showcasing incredibly imperfect characters. Coupled with the musicality of the film and its visually-impressive sets, TBOSAS impresses on multiple fronts, proving that spin-offs do not always necessarily benefit from focusing on the hero’s journey only. Sometimes, villainy is the way to go.
Words by Annabel Smith
Support The Indiependent
We’re trying to raise £200 a month to help cover our operational costs. This includes our ‘Writer of the Month’ awards, where we recognise the amazing work produced by our contributor team. If you’ve enjoyed reading our site, we’d really appreciate it if you could donate to The Indiependent. Whether you can give £1 or £10, you’d be making a huge difference to our small team.