#Cinderella 2015 hate

[artist-issues]

Hi. I really appreciate you taking the time to analyze both the 1950 Cinderella and the 2015 Cinderella, then make points backed up by what is actually in each of the films. A lot of people don’t take the time to do those things.

As someone who also likes to do those things and is very passionate about Cinderella, I’d like to help you appreciate Cinderella (2015) more for what it is—and maybe the whole fairy tale in general. Because I think you’re completely misreading the Cinderella story, what the message of the 1950 movie was, and most importantly, what the true strengths of the character are.

Your post is such an earnest, genuine swing and near miss. You’ll forgive me for offering an alternate and maybe equally-unhinged perspective below the cut.

The main point of what I’m going to be talking about is this: OG Cinderella’s strength was never in her desire and willingness to free herself from abuse. OG Cinderella’s strength is in her ability to be kind, courageous, and selfless in the face of abuse.

That is true whether you mean “Charles Perrault’s Cinderella,” or “Walt a Disney’s Cinderella” when you say “OG Cinderella.”

Whether the story is about a girl who would be free if not for her circumstances, or exercises freedom in the way she acts in spite of circumstances, is an important distinction.

What I think a lot of people don’t understand is that Cinderella, in the original, most popular versions of the fairy tale, is the heiress to her father’s estate. Because neither he nor his new wife have sons, when she comes of age, she will have her own independence and ownership of resources.

(Disney’s adaptations are based on Charles Perrault’s version of the fairy tale: it was written in 17th-century France, for French audiences, where these laws about inheritance would have been understood without needing to be said. )

That means something. It means that she is not trapped there forever. In fact, in most versions of the fairy tale, her father isn’t even dead. It means that the character of Cinderella is choosing to be kind and to serve her stepfamily despite how unfairly they are treating her. That is a character trait. That is something that has to be displayed, regardless of the adaptation, or else it’s not “Cinderella,” it’s just a bad OC that the writers are calling “Cinderella.”

If you place all the emphasis on how she’s a little girl and she doesn’t know to stand up for herself, she’s got no friends and no chance to better her life, she’s trapped, etc., then you lose the strength of character that is only revealed by her choice to stay there and be kind.

That is what the Cinderella 2015 movie understood so well. It’s why they made the changes they made.

The main point of Cinderella 1950 was: “Have faith in your dreams and they will come true.”

The main point of Cinderella 2015 was: “Have courage and be kind and you’ll be able to see the world as it could be.”

They’re different words but the implications of what “true strength” is are the exact same—because what is faith? Faith is believing in something (BASED ON EVIDENCE) and acting on that belief, regardless of how you feel or what circumstances you’re in. Cinderella believes in the good results of kindness and love in both films. She acts on that belief, no matter how badly they treat her, and she’s not only awarded with magic and marriage, but awarded with contentment in any circumstance.

So now that you hopefully understand why I (and Cinderella 2015) are coming at this the way we’re coming at this, let me go into your other points.

hhhheeeere we go.

1. Cinderella’s Commitment to Dead Parents

I would re-phrase this point to: “Cinderella’s commitment to love.”

In Cinderella 1950, she didn’t have as much of a surface emphasis on love for her parents—that’s because this is a 1950s-era fairy tale, when nuance was still capitalized on. We’re meant to infer that she misses and greatly esteems the memory of her parents from her mother’s dress. But in a 2015-era fairy tale, audiences need more evidence than that because we don’t like nuance that much anymore.

So they build in more screen-time with the birth-parents—and kill like three birds with one stone, characterization-wise, at the same time! Because Ella’s parents teach her to care for the little folk (her “subjects) of the house and care for the servants well, too. That sets her up to be a Queen at heart—she’s constantly given little moments of scolding Gus for being greedy, removing Lucifer from bothering mice, and warning Mr. Goose to be careful of oncoming carriages.

Her parents also, of course, impress upon her the importance of having courage and being kind above all else. (Not just in the big death scene with the mom—There’s tiny moments, like where Ella’s father murmurs to the doctor, “it must have been very hard for you,” after caring for the dying mother because he’s kind no matter what terrible circumstances he is in, himself—Ella does the same exact thing later when the man comes to the door to tell her that her father has died.)

Then it’s her father who connects the house with the idea of love for Ella when he says: “I always leave a part of me behind. And your mother is here too, though you see her not. She’s the very heart of this place.” The conversation, in-context, is that he is about to be absent, but he doesn’t want her to think of the house as empty of love—he wants it to be a place where she feels safe and still, symbolically, in the loving arms of her parents.

When he dies, that is all Ella has left of that love. And where else would she go, anyway? She still has her animal friends to care for. Until the household staff is dismissed, she has them, too. She was raised to think of herself as the “queen” of that little kingdom, and to take care of everyone living there. And you’re missing another very important fact—and another one that points to the true Strength of OG Cinderella—she actually cares about the stepfamily.

In 2015’s changes this is more evident—and it should be, because as much as the original is wonderful, remember, the spotlight is supposed to be on Cinderella’s strength to choose selfless kindness, not on her status as an abused prisoner.

So instead of just saying nice things and being polite when she’s ordered around, 2015 Ella does more than the bare minimum. She gives up her room to her stepsisters. She responds graciously to their insults about her hair. She engages them in conversation about the ball and helps them get dressed. She assures them (when she doesn’t have to) that she won’t try to ruin their plans at the ball. She very clearly cares about their comfort—and pities them—and remember that her father asked her to promise to be kind to them even if they were “trying.” Compound that with Cinderella knowing that her kindness is her greatest strength.

What I’m saying is, there are more reasons than just “my dead parents used to live in this house so I’m staying even when I’m abused.” She’s staying because:

She’s keeping her promise to her father to love her stepfamily through kindness, no matter how they act. (Remember, she is the one who encouraged her father to make them part of their family if it would lead to his happiness, because she is selfless.)

She is caring for her “kingdom,” taking responsibility for the little folk she’s cared for all her life: the household staff and then the animals, and the house itself.

She is staying where she feels the love of her father and mother. She believes what her father says, that her mother is at the heart of this place and he leaves a part of himself behind. The movie takes great care to remind the audience that Ella’s family has lived in that house for generations, and that the mother decorated it. She puts the personification of her parents in everything—even her dress. Everything is orchestrated to help you remember that Ella stays and hangs on to things for love, not for herself.

That last one might seem odd, but once you accept it, you realize that that is why she is okay to leave the house at the end. Because she has new love—the Prince’s love. (Plus, side-note, you also must remember that they re-iterate—the stepfamily leaves Cinderella’s house at the end.)

On to the next point.

2. Cinderella’s Fairy Godmother Tests Her Instead of Comforting Her

This is a really big misread. I totally understand where you’re coming from, but it’s a very, very big misread and misunderstanding of the Fairy Godmother’s whole role.

Remember, the spotlight is on Ella’s strength of faith in kindness.

If the movie were about the Fairy Godmother, sure, have her comfort Ella. Devote the whole scene to a consoling conversation, where the Fairy Godmother assures Cinderella that she’s not a ragged servant girl, she doesn’t deserve to be treated this way, she’s been so brave, etc.

But the movie—the story, the original fairy tale—is not about who the Fairy Godmother is. It’s about who Cinderella is. Just like the story is not about how to seize the opportunity to escape abuse—it’s about how strong faith, goodness, and kindness can be.

The truth of the matter is, in Charles Perrault’s fairy tale, and many versions like it, the emphasis of the Fairy Godmother is not on her Fairy-ness. It’s on her Godmother status. It’s not about her role as a magical eucatastrophe saving the day. It’s about her role as a godmother—do you know what that was, back in the day of the fairy tale? A godmother is responsible for the spiritual and moral upbringing of the child.

That’s right. She’s not there to bring comfort. She’s there to prove to Cinderella that her faith in kindness and goodness was worth having all along. She’s the promised result of staying kind and good.

In the original fairy tale, the Fairy Godmother doesn’t pop in and say, “you shall go to the ball,” just out of the kindness of her heart and because Cinderella’s had a rough time of it. She says, “but be a good girl, and you shall go to the ball.” And in the 1950 film, the first thing the Fairy Godmother says—the very first thing—is “nonsense, child! If you’d lost all your faith, I couldn’t be here—and here I am!”

That means Cinderella’s goodness is a direct cause of her going to the ball. Instead of just getting a cosmic reward for being abused, Cinderella has—what’s that ladies and gentlemen?—agency in her own rescue. She chooses to be good and kind against all odds, and she’s rewarded beyond anyone’s wildest dreams for it.

That’s what makes the Fairy Godmother so great in both movies. She’s not there to pat Cinderella on the head and say “there, there.” She’s there to restore Cinderella’s faith. What could be more comforting than that, as a side bonus? It’s not just empowering, it’s comforting, and it’s a great lesson to pass on to everyone—there’s literally no way to make the story or the characters stronger than to tie the Fairy Godmother’s actions to the rewarding of Cinderella’s actions.

3. The Diminished Horror of the Dress Scene

I’m not going to spend a lot of time on this one because I know you already admitted it was nitpicky, but I understand, I get it. It’s not played with the same emphasis on fear as the 1950s one was, I agree.

But remember, the 2015 one still portrayed this scene as horrible—it just returned the emphasis more on how her stepmother is determined to re-define who Cinderella is. That’s the most horrible part. So she does that by literally trying to dismantle the thing that Ella associates with her mother—a foundational part of her motives and identity—and then caps it off with: “a ragged servant girl—because that is what you are. And that is what you will always be.”

The scene is setting up this contrast: the stepmother thinks she can choose what Cinderella is. By making her wear rags and do the work of servants and treating her like a slave, she thinks she can twist a girl who is more beautiful and good than herself or her two daughters into something ugly. But she can’t. She has no power over who Cinderella is—and she doesn’t even have any power over who she is to Cinderella, which is emphasized at the end of the movie when Ella firmly tells her, “you are not, nor will you ever be, my mother.”

4. Cinderella’s “Escape.”

I need to take a breath too. Because boy, do I understand getting passionate about this part of the story. It’s the climax. It’s the defining moment for Cinderella.

And 2015 enhances it.

Assuming you’ve read this far and read that initial part where I explained that the emphasis is all on Ella’s strength of character. You can probably guess the argument I’m going to make here.

Ella choosing to be content, and knowing that she has the superpower of being kind, courageous, and selflessly loving no matter WHAT, is so much more impactful than screaming through a keyhole at some mice.

You have to understand. You just have to, it’s too important. Why are mice in the movies at all? In either of them? In either of them?!

Don’t you understand? Cinderella 2015 understood. OG Cinderella isn’t just friends with mice because they’re all she’s got. She’s friends with mice (in 2015) before the stepfamily ever gets there because she is kind to everyone and everything.

THAT IS HER SUPERPOWER.

She is just selflessly, indiscriminately, unashamedly kind. No matter what. Doesn’t matter if she’s being kind to the humblest little dirt-crawling mice—or the nastiest, cruelest stepfamily. She’s just kind, no matter what.

And if she had not been, then the mice would not look out for her, in either movie. In either movie. Because both movies are putting emphasis on her faith in being kind and courageous no matter what. That’s what saves her—not screaming through a keyhole and coming up with escape ideas and running down the stairs fast enough.

She doesn’t need to be despairing—she’s not giving up—because her goal was never escape. It was always to hang on to faith. And she did that, and it saved her. Her faith was rewarded. You have to stop seeing Cinderella’s circumstances as so powerful.

The point of the story is that she is stronger than her circumstances—that strength comes from faith, and it looks like a choice to be kind and self-sacrificial, not self-freeing.

Then the reward for self-sacrifice happens to be freedom. Not just physical, situational freedom—freedom of mind, of an oppressed spirit, of negative emotions—because she’s content in her ability to love and sacrifice. It’s an ability that she prizes, and that she knows her stepfamily doesn’t have—they can’t sacrifice for others, they can’t truly love, so she pities them, not herself. That’s why she can dance and sing in an attic when every part of her circumstance is horrible—because in her darkest hour she’s still herself. She’s still got her superpower. Nothing can take away her ability to be kind, and self-sacrificing, and even forgiving. That’s why the Prince loves her. That’s her real strength.

You guys are taking all the actual power of Cinderella away by missing that, and you’re doing it all in the name of empowering her. It’s ironic, and it’s super sad.

The changes made in Cinderella 2015 are truer to the 1950 Cinderella, and the real strengths of the classical fairy tale, than any of the arguments for Cinderella’s “willingness to fight for her freedom.” You’re right—it does take away the cruelty of her situation, because no situation is more powerful than her faith.

THAT is why it is the only good Live Action Disney Remake.

(Tagging people who might appreciate this and realize they weren’t wrong for liking this version: @aeinridi , @pan-pixie, @cannedbubbles , @fluffypotatey , @rosiewitchescottage and if you don’t appreciate it or care…oh well, it’s just a tag to a long post you may disagree with, life will go on.)

UNNECESSARY AND UNHINGED RANT ABOUT CINDERELLA'S CHARACTER FROM CINDERELLA (2015) INCOMING

Lemme talk about Cinderella from Cinderella (2015) for a bit actually yeah because these changes to my girl completely baffle me

She has friends now

Goes outside on her own

Says the only reason why she's staying is because it's her parent's house- bruh.

All of this takes away (+ more reasons down the cut) from the true cruelty of OG!Cinderella's backstory and how it all connects so well to inform you of her character and the actions she takes

OG!Cinderella has been indoctrinated into accepting her life as a maid to her step family since she was a small child. She is never seen going outside of the house besides the night at the ball. The only friends she had were random animals around her she couldn't even fully converse with. She had no other human perspective on her situation or how to get out of it. It makes sense why she's just taking her stepmother's tyranny while holding everything in because this isolation and neglect is all she knows. This is the entire limited scope of her world. A sad reality to many cases of abuse in real life.

And they just. Erased all of this for some. Reason???

The night at the ball was a big deal because she literally NEVER gets to go out. This is the only time she interacts with the outside world aside from the ending. The impact of that was HUGE in the original movie. The new one just cheapened that imo by implying she goes out in town and talks to others regularly. This event was an impossible, fantastical dream come true to someone who is never treated as anything but a servant to everyone she knows.

Basically OG!Cinderella has it way worse which is what makes the ball such a huge deal in the first place.

Third point I don't think I need to explain how Cinderella staying in her abusive home bc the house is "hers to love now that her parents are dead" is not a good character change and doesn't make sense. I would understand if her dad was alive and insisting on staying, but he is GONE. It is a building you grew up in sure, but that's all it is. Not something you sacrifice your wellbeing for. So that's a shit reason they didn't need to make up to say why this character is stuck in her abusive household. The isolation and years of gaslighting were enough. (Also showing how much of a frightening presence and manipulative villain Lady Tremaine is.)

And she sure left it quick after getting hitched lol

The Fairy Godmother having the audacity to test Cinderella with that "oh I'm a poor old woman and I want some milk please" nonsense

Not very godmotherly of her in this version. 🥴 The Fairy Godmother appeared in the original to offer pure comfort to Cinderella in a time of desperate need, when this resilient and kind spirit finally reached her breaking point. The dress, slippers, pumpkin carriage, and magic were all given freely as a present to make her feel better at least for one night.

Meanwhile this goofy ass Godmother has the audacity to be like "hey is she gonna be nice or not even though she's crying in tattered, recently destroyed clothing- I need to see that or else she doesn't get the magic juice". Like why did this become a way to test her morality all of a sudden? Why did you need something from her to give up the magic goods?? It's not even a good test she just walked a couple steps and poured some milk in a bowl,,,

Idk man they made their relationship transactional for no reason which taints the original purpose of this scene imo. The original Fairy Godmother already KNEW Cinderella was kind without having to make sure by disguising herself as a rancid old lady. 😭 Weird and unnecessary addition.

Kinda nitpicky here but this film did not at all match the terror of the torn dress scene which really shows you how horrifying and humiliating it was to Cinderella

Comparison

AND THE BIGGEST OFFENDER: THE WAY SHE "ESCAPED".

I NEED TO TAKE A BREATH

BECAUSE LIKE. WHAT WAS THAT.

Original Cinderella, seeing a real chance of escape from her abuse, uses everything in her possession to do so. She's yelling for the mice to get the key, to get Bruno to chase away the cat, running down to meet the prince's attendants to make sure they get the proof of her identity from her- and that moment she oh-so-casually pulled out the second slipper??? SEEING HER STEPMOTHER'S SLACKED JAW??? GAGGED US ALL.

ICONIC

But 2015. Bitch. What is going on. She gets locked up and easily accepts her doom. She just twirls and sings in her prison like a dunce because cINDerELLa wAs aLReADy cONTenT wIth her sMaLL mOMEnts oF hAPPIneSs anD dREamS wItH thE pRinCE.

Just. Gives up.

Not the mice begging her to get up and save herself come on now

The mice have to do their best on their own to push open her window so the prince and his crew hear her on time.

And yeah, all she had to do was open a window.

WHAT. WHY. HOW. WAS THIS??? MORE EMPOWERING???

1950: use your brain to fight to the very end

2015: quit while you're still ahead, or don't try you just gotta dance and sing all pretty then someone will come along and save you

I'm sorry, but for a production that was so critical of the notion of "Cinderella just waited around for a prince to save her"...is that not literally what they changed the ending to?

You wanna talk about lack of agency in princess stories well here you go 😭

You know what's sad about all this in the end is this is still the best recent live action Disney remake imo LOL

Anyways hello if you've made it all the way down here I rest my case

[artist-issues]

When you remake something and make changes, you’re basically saying that you either want to say something different than what the original said because what it had to say was stupid—

—or what the original said wasn’t already said perfectly, and you could say it better.

I’ll give you an example. Donald Glover, who voiced Simba in the remake of the Lion King, openly said that the message of the new Lion King was different than the old one. And that’s easy to see. The old message was something like “Remember who you are: Don’t run from your responsibility.” The new message is “Don’t be ashamed of who you are.” They communicated that change with subtle smaller changes, because although most of that movie was a less appealing shot-for-shot remake, Simba said little things like “I’m not like you,” instead of saying, “I’m not who I used to be,” to Mufasa’s ghost. Or he replied to Scar’s bullying, “I’m nothing,” rather than the emphasis being placed on him insisting that he’s “not a murderer.”

That’s saying, “yeah the old message was great but we’re going to take the award-winning songs and characters and story and make it say something else.”

Which is like trying to use a recipe for brownies to describe your chicken salad. You might as well just make an original movie, so the characters and pacing and music all fit that message more appealingly.

Here’s a different example.

The new Live Action Little Mermaid has lots of thematic references to understanding and finding one’s own voice, which, on the surface, sound like they’re exactly what the original animated classic was saying.

But they make little changes, like having Ariel make the decision to go to the surface for the first time just before she meets Eric, or big changes, like having her be the one to kill Ursula. The problem is, both of those story elements in the first film were used to drive the main message home: “True love is understanding and sacrifice.” So when you change those elements, but claim you’re still saying the same thing, all you mean is “What you said was good, but watch me say it better.”

That would be fine, if it actually worked. But it doesn’t. The Lion King (2019) is worse than the original because it’s characters are bland and lean more toward annoying or weak than they did in the original, thanks to small changes. Now Simba doesn’t look like the irresponsible runaway who needs to remember that he’s the son of a king and has responsibility. Now he just looks like a sad boi with trauma. Now Ariel doesn’t look like a real, relatable teenager who recklessly goes for the things she’s passionate about. Now she just looks like every other near-perfect heroine who’s circumstances determine her struggles instead of her own character flaws determining her struggles.

I’m tired, but I’m appreciating the originals.

[my-bard-is-too-bardalicious]

Finished 4th rewatch of season 3 pt1, and there is no way that Tilly Arnold isn't connected to Sophie!!! She is so evil stepmother coded, and that convo she was having with her solicitor?!?! That could totally be about Sophie's father and his will or whatever (haven't read the book and don't plan on it, but I know it's the Cinderella trope).

At the very least, that scene with the solicitor is important in some way. I doubt that they would put it in for no reason (though it is possible)

Lastly, just the icing on my theory cake, I think she's trying to fall pregnant with Benedict's child and trap him into marrying her

[idiosyncraticrednebula]

Tbh, the princes in the Disney Princess LA remakes don't have a reason to be there anymore. They have been rendered useless in these stories since now there seems to be a much heavier focus on the independent and tough aspect of the princess, which is why the romance no longer has a place in them the way they used to back then. You can cut them out and these movies will still work. They are only included because they were part of the original movie, but when you take the more recent princess movies into account and what they are now about, which is along the same lines as the LA remakes, their presence is pretty damn unnecessary.

[mariniacipher]

every time someone talks abt disney’s cinderella 2015 “working” i take psychic damage

[mossterunderthebed]

Cinematographic Poem #1

watched Cinderella today. wondered about the casting of the two stepsisters who were known to be ugly inside and out. wondered who fit the role. wondered who would be told they were exactly what the casting crew was looking for. (no matter that they would be beautiful if only given the chance) wondered if it would hurt. wondered if it would be exciting and painful and prick like needles underneath the skin.

remembered the woman who said, 'they told me i was perfect for the role,' when describing a character who is abusive and cruel and looks like a toad. (what is the difference between the frumpy and the fiendish. why is one beloved and the other cast aside. why am i one and not the other.) wondered about the designation of appearances and characters.

wondered about the people who are fit to be the princess

and who can only fit the role of the wicked, ugly stepsisters

and in this who is the better off

who is to be pitied

and shown compassion

Cinderella

Or her sisters

[ophelialoveshandsomemen]

Say what you will about Van Helsing 2004; hate it, love it, be indifferent, But the All-Hallow's masquerade ball went sooooo hard and it had zero right to do so! It's a fun, campy, monster mash movie with wonderfully dated ( and expensive) cgi and non-stop action meant to be a popcorn flick one takes out to watch around spooky season. And it has this* chef's kiss* GORGEOUS 6 minute sequence plopped arbitrarily in the second act, which unexpectedly surpasses nearly every other ball in the last 30+ years of film( notable exception being the Cinderella 2015 ball) for literally no reason other than to be dramatic af.

Like feast your eyes on this Gothic masterpiece!!! Who doesn't want to immediately live in this picture?!??

They used those candles with oil in them so that they would have real candles, real string orchestra( I believe), probably around 100 real life extras( something which is tragically absent in modern film), said extras are all in beautiful fully decked-out costumes( which are in luxuriously dark colours, but nearly no fully black, another thing you cannot say for much modern cinema), REAL CIRQUE DU SOLEIL PERFORMERS for all the acrobatics!!!! Hell, instead of filming in a sound stage, where they could control the reverb and the acoustics and the size of the set and the bloody lighting ( they apparently had a heck of a time emulating the firelight for this sequence) and the temperature( it's very cold in stone churches!) better, they filmed in a Baroque church in Prague! As I said, peak dramatic splendour, jfc...

Think about that a second...They filmed a vampire masquerade in a Baroque Catholic Church( St. Nicholas' in Lesser Town, if you were curious) with amazing over-the-top acoustics and marble statues and real, tiled floors and marble pillars and a choir loft which they very much utilized, covered the pipe organ and the altar with a grand brocade curtain so it wouldn't be so obviously a, you know, a church! And there's a gold gilt elevated and canopied pulpit into which they put two vampire kiddies for, again, the sake of being dramatic.

And the costumes! They remind me of the 25th anniversary Phantom of the Opera Masquerade costumes. Same quality, like they're old, well-cared-for costumes pulled out of a warehouse, instead of fast industry churn-outs. With lots of trim and colour and masks and lace and feathers and..just...ugh.. they are all perfect! Just look at all the head pieces on the ladies and the hats on all the gentleman ( save Dracula of course) and the powdered wigs on the musicians. ANNNNDD! The dresses are historically correct!!!!!! It's the 80's bustle era! Nobody does the 80's bustle era in film anymore and it's a bummer. Oh and one other thing! Anna's ( and other women's) hair, at least here in the ball, is also historically accurate because it's all pinned up! None of those fucken modern beachwaves at a ball! Everybody's got updo's!

Gah, I swear, Dracula in his gold cloak really does things to me in this scene!

By the way, the acrobatics are bonkers in here for just background stuff!! Especially the random guys on unicycles and the dude playing the violin whilst standing on a ball...Like....WHAT?

Anyways, all this to say, that this masquerade ball feels sooo real and tangible and because of that it blows every other film out of the water, and no, I will not change my mind!!!!!

Here's a few more gifs, bcuz, why the hell not, this scene is sexy as fuu*ck?

Alright I need to go to bed now.

[femmeprincessjulia]

Ranking Cinderella Adaptations Based On How Much I Want The Dress

(In my own personal opinion, these are just the ones I like the best.)

10. Cinderella (2021) : Everyone's hated on this movie enough, so I'm just going to focus on the dress. In theory, I could see what they were going for. If it was just a fitted bustier, a hip-hugging skirt and a bustle, then I think it would have succeeded. But it's just underwhelming. That's all it is. Underwhelming. 3/10

9. Into The Woods (2014) : There's not much to talk about with this dress. I love the color choice, and I think the way it moves is pretty. But it just feels too simple. I know it's a dress that isn't crucial to the plot or anything, but it's still just a little too underwhelming. But I do think the sleeves are cute. 4/10

8. Once Upon A Time (2011-2018) : I think my issues with this dress are similar to my issues with Into The Woods. It just doesn't have the "wow" factor I'm searching for. It's a beautiful dress, and I would certainly wear it. But it just feels like the most generic Cinderella dress. Blue, sparkly, princess-y. Still cute though. 4/10

7. Another Cinderella Story (2008) : I'm a sucker for a red dress, and I truly adore this one. The neckline isn't my favorite, but I love the layering and the ruffles. It's such a daring take for a Cinderella dress, but it's something I would definitely wear. It looks like it would be fun to dance in. 6/10

6. Cinderella (1950) : Yes, it's a classic. It's simplistic, but so magical. The scene where her dress changes is one of my absolute favorites of all time. In this case, I love the simplicity. It really makes her stand out. I dreamed of this dress so much as a kid. 7/10

5. Ever After (1998) : Maybe I'm biased, because this is one of my favorite Cinderella adaptations, but I do adore this dress. While the time period is not my favorite in terms of silhouette, this dress still feels magical and dreamy. Empire waists and a slender fit aren't my type, but I would wear it simply to feel ethereal. I mean, the EMBROIDERY? The WINGS? All gorgeous and stunning. 8/10

4. A Cinderella Story (2004) : Yeah, it's a very simple dress. But it's absolutely breathtaking. I want to get married in this dress. Something about it is just so angelic. I feel like it should be paired with wings too. The femininity in this dress is something I truly adore. 8/10

3. Rodgers and Hammerstein's Cinderella (1997) : Is it costume-y? Yes. Is it made of two clashing materials? Yes. Would I sell my soul to the devil for the chance to wear this dress? Also yes. I don't care how cliché it is. The sweetheart neckline, the opera gloves, the little bustle in the back, it's all so cute and just feels like a little girl's princess dream. Plus, I love the shade of light blue. 9/10

2. The Slipper and the Rose (1976) : Shockingly, I haven't seen this film. But I truly should, because the costume design is absolutely gorgeous. It all takes inspiration from the rococo period. My bias takes hold again, it seems. Sure, it's a lot of frills and pink, but that's exactly what I look for in a dress. If I was going to a rococo ball, this is what I'd be wearing. 9/10

1. Cinderella (2015) : The almighty. The most beautiful dress to ever be created. The dress that lingers in my dreams. Nothing can surpass this dress. Words can't even describe how wonderful it is. I do believe this dress is the most magical of all. It is absolute perfection from head to toe. Scratch what I said earlier about getting married in Hillary Duff's dress. I'm getting married in Lily James' dress. 1000000/10

[thyme-in-a-bubble]

a list of some spring movies/series 🌷

spring is here!! and so is your friendly neighbourhood little organisation freak of a goblin to give you a list of some spring movies and series. as always, just close your eyes and point somewhere on this little list, or even put the numbers in a generator and go with whatever the result is ♡

summer | autumn | winter

🐝 ‧₊˚ ⋅ movies ⋅˚₊‧

mary poppins (1964)

the sound of music (1965)

aristocats (1970)

alla vi barn i bullerbyn (1986)

my neighbour totoro (1988)

kiki's delivery service (1989)

a league of their own (1992)

the secret garden (1993)

pride and prejudice (1995/2005)

whisper of the heart (1995)

clueless (1995)

my best friend’s wedding (1997)

parent trap (1998)

10 things i hate about you (1999)

notting hill (1999)

she's all that (1999)

but i’m a cheerleader (1999)

bring it on (2000)

miss congeniality (2000)

spiritied away (2001)

the wedding planner (2001)

legally blonde (2001)

princess diaries (2001 + 2004)

spy kids (2001-2003)

maid in manhatten (2002)

bend it like beckham (2002)

tuck everlasting (2002)

school of rock (2003)

how to lose a guy in 10 days (2003)

something’s gotta give (2003)

13 going on 30 (2004)

finding neverland (2004)

howl’s moving castle (2004)

saving face (2004)

the notebook (2004)

imagine me and you (2005)

nanny mcphee (2005)

penelope (2006)

miss potter (2006)

step up (2006)

she’s the man (2006)

bridge to terabithia (2007)

enchanted (2007)

atonement (2007)

stardust (2007)

ps i love you (2007)

wild child (2008)

made of honour (2008)

ondine (2009)

bride wars (2009)

valentine’s day (2010)

leap year (2010)

easy a (2010)

from up on poppy hill (2011)

jane eyre (2011)

crazy, stupid, love (2011)

what to expect when you’re expecting (2012)

remember sunday (2013)

saving mr banks (2013)

about time (2013)

now you see me (2013 + 2016)

love, rosie (2014)

testament of youth (2014)

kingsman (2014-)

paddington (2014 + 2017)

far from the madding crowd (2015)

burnt (2015)

brooklyn (2015)

cinderella (2015)

the man from u.n.c.l.e. (2015)

lady chatterley's lover (2015/2022)

creed franchise (2015-2023)

me before you (2016)

mother’s day (2016)

this beautiful fantastic (2016)

the light between oceans (2016)

paterson (2016)

how to be single (2016)

hidden figures (2016)

gifted (2017)

dunkirk (2017)

ocean’s eight (2018)

life itself (2018)

peter rabbit (2018)

christopher robin (2018)

tomb raider (2018)

set it up (2018)

crazy rich asians (2018)

spider-verse movies (2018-)

1917 (2019)

the art of racing in the rain (2019)

can you keep a secret? (2019)

booksmart (2019)

someone great (2019)

endings, beginnings (2019)

emma (2020)

enola holms (2020-)

the last letter from your lover (2021)

the world to come (2021)

we live in time (2024)

🌼 ‧₊˚ ⋅ series ⋅˚₊‧

little house on the prairie (1974-1983)

moomin valley (1990-1992)

greys anatomy (2005-)

gossip girl (2007-2012)

skins (2007-2013)

the great british bake off (2010-)

new girl (2011-2018)

brooklyn nine-nine (2013-2021)

the fosters (2013-2018)

the 100 (2014-2020)

jane the virgin (2014-2019)

outlander (2014-)

grace and frankie (2015-2022)

poldark (2015-2019)

critical role (2015-)

howards end (2017)

girlboss (2017)

she's gotta have it (2017-2019)

the bold type (2017-2021)

mr. sunshine (2018)

queer eye (2018-)

crash landing into you (2019)

the witcher (2019-)

dickinson (2019-2021)

sex education (2019-2023)

bridgerton (2020-)

ted lasso (2020-2023)

nevertheless (2021)

abbott elementary (2021-)

flatshare (2022)

[sharkiethrts]

yk i love yan sunday but yk what else i love?? dumb influenced sunday LMAO!! i loved ur sunday goes to the club fic

“it’s so…vulgar” “sing with me :((“ “🙂‍↕️ one song”

OMG AN APPRECIATIVE INBOX ASK?.? so happy!

YES! I LOVE AWKWARD SUNDAY WHO FITS IN SO WELL IN GILDED BALLS BUT LOOKS LIKE A RAT CAUGHT IN THE SUN WHEN HES IN NORMAL SOCIAL SITUATIONS!

When your best friend tries to make a mainstream joke when they first met him, he could only entertain them with an uncomfortably timed chuckle. When you got home, you saw him sitting on the couch with having a long winded chat with his sister on the phone, asking her just what the abomination does ‘its giving prince charming from the cinderella 2015 movie’.

Your best friend texted you later asking you whether your boyfriend ‘hates them now’

[whencartoonsruletheworld]

hey guys i just woke up at like 3:00am with an impending sense of dread and like. i'm in the camp of people who fucking hated the 2015 cinderella even tho i know a lot of people do like it but hot fucking damn can you IMAGINE how bad it would be if disney made it now instead of 2015 it would suck soooo much

[sidsinning]

no bc i refuse to be gaslit by people who think this scene is good for cinderella's character its literally cindy going "head empty no thoughts"

[artist-issues]

I will never shut up about how Cinderella (2015) is the only Disney Live Action Remake to ever be good. Or successful in any true sense. You know why? It’s the only one to not only remind everyone of what was beloved about the original, but it enhanced the original without twisting its meaning.

[princesssarisa]

Some people say that Cinderella has been adapted too many times, but personally, I'm glad that so many different versions exist.

I've just been reading some of Tumblr's debates (mainly centered around Disney's 2015 film) about whether it's right or wrong for Cinderella to forgive her stepfamily in the end. Predictably, it's a controversial subject. This is one of the main reasons why I'm glad there are many adaptations of Cinderella. Each has its own unique tone and emphasizes different themes, which lead to different outcomes for the stepfamily in the end. So there's no single way that the story of Cinderella encourages real-world abuse victims to relate to their former abusers. From a wide array of different valid interpretations of the tale, we can choose the ones that we personally find the most resonant.

Here are just a few of the best examples:

Disney's 2015 live action Cinderella centers on Ella's resolve to "have courage and be kind," despite all the hardships she goes through. It's about staying true to your values against all odds. Lady Tremaine's own past suffering has made her bitter, selfish, and spiteful, and she would love to see Ella change in the same way, but Ella refuses. Hence her forgiveness of Lady Tremaine in the end serves as an empowering act; it's the ultimate loyalty to her value of kindness, and the ultimate proof that she'll never be like her stepmother.

Rossini's 1817 opera La Cenerentola likewise revolves around "the triumph of goodness," although the emphasis is less on Angelina's choice to stay kind against all odds, and more on social commentary: i.e. that kindness and virtue matter more than social status, wealth, or power. So again, it's important that even after she rises to royalty and has the power to punish her stepfamily, Angelina stays true to her compassionate nature, forgives them, and saves them from the financial ruin they've brought on themselves.

Disney's 1950 animated classic, on the other hand, is less about staying true to your values than about hope in the face of adversity. While Cinderella's kindness is still important, the bigger emphasis is on her persistent faith in her dreams of happiness, and despite all of Lady Tremaine's efforts to crush it, her optimism wins. In a story that's first and foremost about faith and hope, it doesn't matter whether the villains are forgiven or punished. Hence the stepfamily is simply absent from the happy ending.

The 1997 remake of the Rodgers and Hammerstein musical, on the other hand, has its Cinderella learn to do more than just dream of a better life, and learn that she deserves to be loved and has no obligation to her abusers just because they're her "family." Hence the climax where she finally resolves to run away, which leads to the Prince discovering her outside just in time, and the ending where the castle gates are slammed in the stepfamily's faces.

The original 1957 version of Rodgers and Hammerstein's musical has a similar arc for Cinderella, culminating in her running away. But the script's tone is more playful and satirical as a whole. So in the end, the stepfamily is allowed to attend the wedding, fawning obsequiously over Cinderella now that she's a princess, and it seems that they'll always be a part of the royal family's lives as annoying yet harmless in-laws, much like Jane Austen antagonists.

1955's The Glass Slipper, which averts the traditional gentle and kind Cinderella and instead lets Ella be an angry, unsociable rebel, isn't about any of the above themes. Instead it's the tale of an emotionally scarred, self-hating outcast who finally finds love and acceptance and who learns to open her heart to it. The stepfamily's role in this version is understated, so seeing them reluctantly curtsey to Ella near the end is all the closure we need for them.

1998's Ever After has its heroine come into her own as a strong, clever, idealistic woman who will be an excellent future queen, and teach her prince to be a better future king too. Hence her settling her stepfamily's fate in a way that combines regal diplomacy and mercy with justice: reducing their sentence from deportation to the tit-for-tat punishment of being reduced to servants. The fact that Baroness Rodmilla not only abused her, but sold her into slavery to a lascivious man, makes it all the more appropriate that Danielle doesn't forgive her: an act like that crosses a certain line.

All of these different twists are valid. Each adaptation's different themes suit the story well, and each different ending for the stepfamily fits the tone and themes of the adaptation. None should be taken as the ultimate message of how to deal with abusers. But I'm glad that they all exist and offer different perspectives to explore and choose from.

[scotianostra]

Happy Birthday Scottish actor Richard Madden born June 18th 1986 in Elderslie.

Richard was raised by his mother, Pat, a classroom assistant and his father, Richard, who worked for the fire service. He also has two sisters, Cara and Lauren.

His parents were “hippies”, he says, and their house was pretty open, with friends always piling in for big vegetarian meals. Madden spent a lot of time outside, in the woods behind their house. He has several injuries: he shows me where he shot his dad’s old air pistol and blew off part of his finger, then managed to wreck the same finger when he nailed a wooden plank to his skateboard, then crashed it, so apart from the Hippie parents it was much like most of our own days as bairns.

Despite growing up wanting to be an actor, Richard was very shy during his childhood. To overcome this, at age 11, he joined Paisley Arts Centre’s youth theatre program. In 1999 he was given the lead role as Sebastian Simpkins in BBC1’s children’s TV comedy series Barmy Aunt Boomerang, that’s him aged 12 in the first pic with co-star Toyah Wilcox.. By 2000, he’d made his feature film debut in the Iain Banks adaptation, Complicity.

After high school he was accepted to the Royal Scottish Academy of Music and Drama in Glasgow, Scotland and in 2007, he graduated.

Less than two years later, Richard had a recurring role as Dean McKenzie on the 2009 BBC series Hope Springs. Soon after, he landed the role of Ripley in the 2010 movie Chatroom, a film about a group of teenagers who encourage each other’s bad behaviours after meeting online. In the same year, Richard played punk band Theatre of Hate singer Kirk Brandon in Worried About the Boy, a TV film about the life of British singer-songwriter Boy George.

In 2011 Richard landed his breakthrough role as Robb Stark in the HBO fantasy-drama series Game of Thrones. Also in 2011, he played gay paramedic Ashley Greenwick on the short-lived British comedy-drama Sirens. During hiatus from filming Game of Thrones in 2013, Richard was cast to star as Prince Charming in the 2015 Disney film Cinderella.

Richard won his first Screen Actors Guild award in 2014 for the Discovery Channel mini-series, Klondike. He played Bill Haskell, one of two adventurers who travel to Yukon, Canada during the Klondike Gold Rush in the 1890s. He further enhanced his reputation as a good actor when he appeared in the BBC drama Bodyguard in 2018, the following year he played Lieutenant Joseph Blake in the film 2017 and was Elton John’s manager/lover in the biop of the star Rocketman.

In January 2019 Madden won a prestigious Golden Globe for his role as war veteran David Budd in the BBC show Bodyguard. He also appeared in the 2019 war movie 1917.

We last saw Richard in the movie, Eternals, which was okay, but nothing great, he is one of several actors being touted as the next James Bond,

Last year Richard starred in the Amazon Prime series Citadel, I've watcheit and was not really impressed with it,I think he does pull of the American accent well, but I noticed there have been people saying he doesnt, Madden revealed he spoke in the accent for two years straight to prepare for the series. The show has been earmarked for a second series. Richard is set to appear in the feature film Killer Heat next, it is in post production.

In July 2019, Madden received an honorary doctorate from his alma mater, the Royal Conservatoire of Scotland. When asked about his personal life during a New York Times interview following speculation about his relationships and sexuality, Madden stated: “I just keep my personal life personal.”

Madden was recently named one of ‘Scotland’s Sexiest Men' following a new study that identifies the most attractive features for men, he has competition though, also in the running are Bathgate’s David Tennant and Glasgow’s James McAvoy,

Richard, quizzed on what he would like to do next he sad “I’d like to do something in comedy. It’s nice to not… I mean we go to work every day and we’re like, ‘You’re gonna die today,’” he said, adding that he wanted to “do something fun for a minute.”

[soshiharin]

chiara de luca

born: 15 october 1989

phone contact: chiara de luca/stella

chiara and harin went to the same middle school (2000) in brescia. they sat next to each other in most of their classes and they quickly became very good friends. they lived relatively close to each other and would hang out after school or do their homework together

harin began to like chiara by the time they were in their second year of middle school (october 2002). chiara had also begun to like harin around the same time. they started dating in march 2003 and didn’t tell anyone but their families. they broke up when harin told chiara that she was going to korea to be a trainee, both deciding it would be too hard to maintain their relationship long-distance

they’re still friends and see each other whenever harin is in brescia. they have maintained a close friendship and are thankful for their relationship and what it taught them

chris pine

they met when working on into the woods together. chris was very interested in harin in the beginning just because he didn’t really know much about her. their characters (cinderella and cinderella’s prince) were love interests, so they naturally spent a lot of time together to develop the necessary chemistry

and they developed that chemistry soooo well! there was an attraction between the two of them and they began a fling over the course of filming. their relationship was kind of a situationship in the sense that both of them knew that their fling was just that — a fling; they weren’t in it for the long haul. they ended things a week before filming ended and are pretty friendly now. if they see each other at industry events, they greet each other warmly

lee jungshin – hashin

harin hosted the 2013 korean drama awards and when she was backstage, she noticed that jungshin was trying to pull a ‘push’ door and told him why he was failing in opening the door

they talked for a while before harin was called away and jungshin had to go wherever it was he was going. at the end of the night, harin’s manager gave jungshin a slip of paper that had her phone number on it. they started talking often and hung out a few times amongst their busy schedules. they began dating in july of 2014 after jungshin kissed harin.

as a couple, they were very very chill. they obviously didn’t want the media to know they were dating so they only told their group members and managers. they would have dates as often as possible

on the seventh of october that year, dispatch released an article exposing their relationship. they said they were told about it by an inside source. that obvi sucked for the both of them, but what could they do?

after their relationship became public, they both faced a lot of scrutiny (mostly harin bcs shes a woman) and it took a toll on them. they began to fight over eveey little thing and decided to break up in early november, being unable to endure the hate any longer. there’s no bad blood between them so if they see each other in public, they don’t treat each other coldly

lee dongwook – dongrin

phone contact: lee dongwook/harin-ah

they technically met on strong heart bcs dongwook was the host and harin would sometimes appear on the show, but they don’t really count it as their first time meeting each other. they officially met when sunny and dongwook were on roommate together. harin went to fetch sunny to take her to a schedule

dongwook later asked for harin’s number and they started talking. it was giving very much boy falls first and harder bcs harin was dongwook’s bias in soshi. he knew she was in a relationship, though, so he was very respectful about it and didn’t try to make a move on her or anything

they kept talking and getting to know each other. harin felt herself fall head first in love with dongwook — their connection was incredibly strong and their chemistry and romantic tension and literally just everything. dongwook confessed his feelings for harin in october of 2015 and they began dating

they broke up in july of 2017, prompted by dongwook. they did not break up on good terms and harin felt hurt and resentment towards dongwook. they didn’t see or talk to each other until november 2018 when they were both cast alongside each other in touch your heart

harin ended up having to drop out of the role because of scheduling conflicts, so they didn’t have to see each other. touch your heart was filmed near where she lived so they’d end up seeing each other a lot at coffee shops, restaurants, malls etc. since they kept seeing each other often, dongwook slowly tried to get harin to forgive him until they were on cordial terms by the time the last episode was filmed. on the day touch your heart’s first episode premiered, dongwook went to harin’s house and confessed that he was still in love with her and asked for another chance, which she granted

as a couple, they are absolutely smitten with each other but super super chill about their relationship. in public, they just act like friends/colleagues, but in private, they are very lovey, lovey, lovey, dovey, dovey, dovey. all of their friends and families are glad they got back together bcs they are truly soulmates or whatever (harin’s friends and family needed more time to be accepting of their relationship)

in march of 2022, dongwook proposed to harin after she proposed to him. they began planning for their wedding that took place on the 18th of november and moved in together in september

©️ jang harin