#Disney Package Films

[disney-is-mylife]

I 1000% expect this poll to get barely ANY votes lmao, but who knows? ¯\_(ツ)_/¯

For a little frame of reference, I'll include a list of the sequences from Make Mine Music onward, so that way those familiar with the sequences can still vote, if they wish ^^"

Make Mine Music:

The Martins and the Coys

Blue Bayou

All the Cats Join In

Without You

Casey at the Bat

Two Silhouettes

Peter and the Wolf

After You've Gone

Johnnie Fedora and Alice Bluebonnet

The Whale Who Wanted to Sing at the Met

Fun and Fancy Free:

Bongo (narrated by Dinah Shore in original; narrated by Jiminey Cricket in the VHS standalone short)

Mickey and the Beanstalk (narrated by Edgar Bergen and his puppets, Charlie McCarthy and Mortimer Snerd, in original; narrated by Professor Ludwig VonDrake in VHS standalone short)

Melody Time:

Once Upon a Wintertime

Bumble Boogie

The Legend of Johnny Appleseed

Little Toot

Trees

Blame It On the Samba

Pecos Bill

The Adventures of Ichabod and Mr. Toad

The Wind in the Willows

The Legend of Sleepy Hollow (aka, the Headless Horseman)

[punster-2319]

Today’s the 75th anniversary of The Adventures of Ichabod and Mr. Toad, so I’m going with that. 😅

These lesser-known Disney movies were produced during and just after World War II. Due to the war, the company lacked the staff and budget to make their classic full-length animated features, so instead they "packaged" several animated shorts together to form feature-length movies. These sustained the studio until they finally returned to single-story features with Cinderella in 1950.

The general public might not know their names, but some of us have just as many fond childhood memories of these movies as of Disney's best-known classics.

It can be easy to forget which shorts came from which package films, so here's a reminder list:

Saludos Amigos: "Lake Titicaca," "Pedro," "El Gaucho Goofy," "Aquarela do Brasil."

The Three Caballeros: "The Cold-Blooded Penguin," "The Flying Gauchito," "Baía," "Three Caballeros," "Las Posadas," "You Belong to My Heart," "Donald's Surreal Reverie."

Make Mine Music: "The Martins and the Coys," "Blue Bayou," "All the Cats Join In," "Without You," "Casey at the Bat," "Two Silhouettes," "Peter and the Wolf," "After You've Gone," "Johnny Fedora and Alice Bluebonnet," "The Whale Who Wanted to Sing at the Met."

Fun and Fancy Free: "Bongo" and "Mickey and the Beanstalk."

Melody Time: "Once Upon a Wintertime," "Bumble Boogie," "The Legend of Johnny Appleseed," "Little Toot," "Trees," "Blame It on the Samba," "Pecos Bill."

The Adventures of Ichabod and Mr. Toad: "The Wind in the Willows" and "The Legend of Sleepy Hollow."

[fans4wga]

"The studios thought they could handle a strike. They might end up sparking a revolution"

by Mary McNamara

"If you want to start a revolution, tell your workers you’d rather see them lose their homes than offer them fair wages. Then lecture them about how their “unrealistic” demands are “disruptive” to the industry, not to mention disturbing your revels at Versailles, er, Sun Valley.

Honestly, watching the studios turn one strike into two makes you wonder whether any of their executives have ever seen a movie or watched a television show. Scenes of rich overlords sipping Champagne and acting irritated while the crowd howls for bread rarely end well for the Champagne sippers.

This spring, it sometimes seemed like the Hollywood studios represented by the Alliance of Motion Picture and Television Producers were actively itching for a writers’ strike. Speculations about why, exactly, ran the gamut: Perhaps it would save a little money in the short run and show the Writers Guild of America (perceived as cocky after its recent ability to force agents out of the packaging business) who’s boss.

More obviously, it might secure the least costly compromise on issues like residuals payments and transparency about viewership.

But the 20,000 members of the WGA are not the only people who, having had their lives and livelihoods upended by the streaming model, want fair pay and assurances about the use of artificial intelligence, among other sticking points. The 160,000 members of the Screen Actors Guild-American Federation of Television and Radio Artists share many of the writers’ concerns. And recent unforced errors by studio executives, named and anonymous, have suddenly transformed a fight the studios were spoiling for into a public relations war they cannot win.

Even as SAG-AFTRA representatives were seeing a majority of their demands rejected despite a nearly unanimous strike vote, a Deadline story quoted unnamed executives detailing a strategy to bleed striking writers until they come crawling back.

Days later, when an actors’ strike seemed imminent, Disney Chief Executive Bob Iger took time away from the Sun Valley Conference in Idaho not to offer compromise but to lecture. He told CNBC’s David Faber that the unions’ refusal to help out the studios by taking a lesser deal is “very disturbing to me.”

“There’s a level of expectation that they have that is just not realistic,” Iger said. “And they are adding to the set of the challenges that this business is already facing that is, quite frankly, very disruptive.”

If Iger thought his attempt to exec-splain the situation would make actors think twice about walking out, he was very much mistaken. Instead, he handed SAG-AFTRA President Fran Drescher the perfect opportunity for the kind of speech usually shouted atop the barricades.

“We are the victims here,” she said Thursday, marking the start of the actors’ strike. “We are being victimized by a very greedy entity. I am shocked by the way the people that we have been in business with are treating us. I cannot believe it, quite frankly: How far apart we are on so many things. How they plead poverty, that they’re losing money left and right, when giving hundreds of millions of dollars to their CEOs. It is disgusting. Shame on them. They stand on the wrong side of history at this very moment.”

Cue the cascading strings of “Les Mis,” bolstered by images of the most famous people on the planet walking out in solidarity: the cast of “Oppenheimer” leaving the film’s London premiere; the writers and cast of “The X-Files” reuniting on the picket line.

A few days later, Barry Diller, chairman and senior executive of IAC and Expedia Group and a former Hollywood studio chief, suggested that studio executives and top-earning actors take a 25% pay cut to bring a quick end to the strikes and help prevent “the collapse of the entire industry.”

When Diller is telling executives to take a pay cut to avoid destroying their industry, it is no longer a strike, or even two strikes. It is a last-ditch attempt to prevent le déluge.

Yes, during the 2007-08 writers’ strike, picketers yelled noncomplimentary things at executives as they entered their respective lots. (“What you earnin’, Chernin?” was popular at Fox, where Peter Chernin was chairman and chief executive.) But that was before social media made everything more immediate, incendiary and personal. (Even if they have never seen a movie or TV show, one would think that people heading up media companies would understand how media actually work.)

Even at the most heated moments of the last writers’ strike, executives like Chernin and Iger were seen as people who could be reasoned with — in part because most of the executives were running studios, not conglomerations, but mostly because the pay gap between executives and workers, in Hollywood and across the country, had not yet widened to the reprehensible chasm it has since.

Now, the massive eight- and nine-figure salaries of studio heads alongside photos of pitiably small residual checks are paraded across legacy and social media like historical illustrations of monarchs growing fat as their people starve. Proof that, no matter how loudly the studios claim otherwise, there is plenty of money to go around.

Topping that list is Warner Bros. Discovery Chief Executive Davd Zaslav. Having re-named HBO Max just Max and made cuts to the beloved Turner Classic Movies, among other unpopular moves, Zaslav has become a symbol of the cold-hearted, highly compensated executive that the writers and actors are railing against.

The ferocious criticism of individual executives’ salaries has placed Hollywood’s labor conflict at the center of the conversation about growing wealth disparities in the U.S., which stokes, if not causes, much of this country’s political divisions. It also strengthens the solidarity among the WGA and SAG-AFTRA and with other groups, from hotel workers to UPS employees, in the midst of disputes during what’s been called a “hot labor summer.”

Unfortunately, the heightened antagonism between studio executives and union members also appears to leave little room for the kind of one-on-one negotiation that helped end the 2007-08 writers’ strike. Iger’s provocative statement, and the backlash it provoked, would seem to eliminate him as a potential elder statesman who could work with both sides to help broker a deal.

Absent Diller and his “cut your damn salaries” plan, there are few Hollywood figures with the kind of experience, reputation and relationships to fill the vacuum.

At this point, the only real solution has been offered by actor Mark Ruffalo, who recently suggested that workers seize the means of production by getting back into the indie business, which is difficult to imagine and not much help for those working in television.

It’s the AMPTP that needs to heed Iger’s admonishment. At a time when the entertainment industry is going through so much disruption, two strikes is the last thing anyone needs, especially when the solution is so simple. If the studios don’t want a full-blown revolution on their hands, they’d be smart to give members of the WGA and SAG-AFTRA contracts they can live with."

[acozysoulwrites]

✮ Dating Ken Headcanons (bc i adore him) ✮

I watched the Barbie movie and i am in love with Ryan’s Ken… sooo here we are

✮ You met Ken at one of Barbie’s parties.

✮ He was slumped over in the corner of the room, his head resting in his hand with a pouty frown.

✮ “What’s wrong?” you asked, nearing him.

✮ He had never seen you before. You were a new Barbie, you wrote poetry, Writer Barbie is what people knew you as.

✮ “Oh you know, doin what i do best” he says unenthusiastically

✮ You frowned and looked around him… he was doing… nothing?

✮ “And that is…?”

✮ This made Ken glance up at you and when he did, his face quickly turned from solemn to shocked.

✮ After that night, the two of you started hanging out way more.

─ ⋆⋅☆⋅⋆ ── ─── ⋆⋅☆⋅⋆ ── ─── ⋆⋅☆⋅⋆ ─

✮ Soon you two made it official and threw a party at your dream house to announce it to the other Barbies and Kens

✮ Dating Ken was wonderful. He was this ball of happiness and energy that kept you on your toes.

✮ He often followed you around throughout the day.

✮ When you asked him to move in with you, he cried.

✮ “No freakin way” he said through teary eyes. “This is like… so cool” he said with a glossy eyed smile.

✮ He does face masks with you, and usually gets more enjoyment out of it than you.

✮ You write poems about him, which he also cries over.

✮ He was the first to say “I love you”.

✮ This was said at the beach, while he sang a song and played his guitar for you.

✮ You go on dinner dates all the time, he takes you to the nicest places.

✮ When he is sick, he clings to you, not letting you leave his side. You don’t mind it.

✮ He cried when you two watched the notebook together.

✮ He also cries during most Disney films.

✮ (He cries a lot)

✮ He is the best at cuddling, literally like a single hug from him is enough to soothe all your worries.

✮ 100% male-wife. He lets you pick his outfits out if you want, and he cooks breakfast for you, cleans your dream house while you write, he’s really the whole package.

if you want more Ken, interact with this somehow! i am also taking requests!

[motziedapul]

HEY ANIMATION FANS

Do you want a mainstream animated movie that is EXPLICITLY QUEER and not Disney coward background queer?

Do you want a movie where queer characters literally say they're in love and kiss on screen?

Do you want a movie that's visually stylish, hilariously and charmingly animated, with a mix of modern and medieval fantasy tropes?

Do you want a movie created by a trans person that is an OVERT TRANS ALLEGORY that also deals with themes of STATE PROPAGANDA, ANARCHY, and INHERITED/GENERATIONAL PRIVILEGE as well as the OTHERING AND DEMONISATION OF MINORITIES and CLASSISM all packaged in a PG all ages film about a pink teen what turns into a shark?

Then please watch NIMONA when it comes out on Netflix on June 30! You will not regret it.

[steddieas-shegoes]

Eddie was acting weird.

Well, he was always a little weird. But this was weirder than usual.

For one thing, he kept sneaking into the bedroom as soon as he got home from work, not even acknowledging that Steve was cooking dinner in the kitchen. He always came up behind him and kissed his shoulder before going to shower. Always. But not for the last couple of weeks.

Then, Steve noticed he would be on the phone with Hopper of all people. It’s not that they didn’t get along, they’d moved well past that, but they didn’t exactly seek each other out for conversations. He waited until Steve was in the shower or already in bed, which rubbed Steve a bit wrong. Eddie never hid shit from him.

But the turning point, the moment that Steve decided he needed to say something, was when Eddie went to dinner with Robin. Alone.

Eddie and Robin were friends. Some would even say close friends. It’s hard not to be when you face what they have together. But they always hung out with Steve.

So when Steve found out they’d been out without him, he confronted Eddie.

“What the hell are you up to?”

Steve was maybe coming off as a bit of an asshole. His hands on his hips like he was ready to discipline a child, his face serious, voice stern. But he had to know what was going on.

Eddie raised an eyebrow, not used to being at this end of Steve’s mom pose. He usually stood behind him with a smirk, arms crossed in front of his chest to emphasize his disappointment and amusement at whatever child had earned it.

“What do you mean?”

Steve rolled his eyes.

“You know what I mean.”

“Do I?”

“Dinner with Robin? Without me?”

“Am I not allowed to be her friend without you?”

Eddie’s voice had turned guarded in a way that it hadn’t been with Steve in years.

Steve paused. Something was wrong. Eddie wouldn’t be acting like this if it wasn’t something big.

But what could he possibly be talking with Robin and Hopper about secretly? Was he in trouble? Were they trying to charge him with something from years ago? Why would he go to Robin about that and not Steve? Why would he have to sneak into the bedroom every evening?

The math wasn’t adding up, but Steve nearly failed math two years in a row so maybe he shouldn’t try to make the calculations.

“Are you in trouble? I can help. We can go somewhere. Hopper doesn’t have to know. Is he helping you? He should, he knows you’re innocent. They can’t even charge you for anything anymore right? There’s like, a statue of limits or something?”

Eddie was staring blankly at him.

It must be worse.

Maybe he was going into Witness Protection and Steve couldn’t come so he was trying to plan how to tell Steve. Oh God, Steve couldn’t let him go with no idea where he would end up or what his name would even be.

“Eds, please. You can’t go. They may not give you a choice, but you could maybe write to me so I can follow you? I’ll change my name too.” Steve felt tears in his eyes, and he hated it. He hated that his reaction to this was panic and crying as if he was the one in trouble and on the run. “Do they know we’re a package deal? And Robin. Robin will have to come. Is that what you talked about at dinner?”

Eddie was still just staring at him.

“Eddie please. Talk to me.”

Eddie shook himself out of his stupor, looking down at the floor and mumbling something Steve couldn’t quite hear.

“What? I can’t hear you.”

“I’m taking you to Disney World.”

That was not a sentence Steve ever thought he would hear. Especially not from Eddie fucking Munson.

His first reaction was to laugh, but when he saw the way Eddie’s face fell, he stopped.

“Um. Okay. You’re serious,” Steve let his thoughts wander as he watched Eddie’s whole body tense the way it did when he was working himself up.

Steve thought about how they had watched the Macy’s Thanksgiving Day Parade last year and saw a float from a new Disney film, he couldn’t remember which one now, but he remembered turning to Eddie and saying, “you know my parents never took me to Disney World? All that money and they spent it all on their exotic vacations and cruises and left me at home.” Eddie had looked at him like he broke his heart before he said “Wayne could never afford it so I never really bothered to ask.”

And it wasn’t that a lot of their friends had been. Growing up, more kids spent time at beach resorts or the lake for summer vacations. Disney was still so new to people, it seemed like a pipe dream for anyone who didn’t have at least a middle class income.

But Steve saw the commercials. He watched the movies. He secretly loved the idea of a whole park dedicated to the childhood happiness and magic he felt when he watched them.

But he never asked his parents, and by the time he thought he could try to go, he was “too old.”

He’d given up on the thought.

Eddie was playing with his rings nervously, still avoiding eye contact with Steve.

“You’re taking me to Disney World?” Steve felt his voice break as the realization washed over him.

Eddie was somehow finding the money to take him to a place he’d secretly wanted to go since he was a kid, even though it was a place he probably didn’t want to go, and he’d wanted to take him so badly he somehow involved Robin and Hopper in the planning process.

God, he loved him so much.

Steve stepped closer to Eddie, hesitantly reaching out to pull his hands apart and lace their fingers together.

Eddie finally looked up at him and Steve couldn’t help leaning in to kiss him softly.

“You’re taking me to Disney World.”

Eddie nodded, a smile slowly spreading across his face.

“How? When? Why does Robin know? Why does Hopper know?”

Eddie chuckled before he placed a kiss on Steve’s forehead.

“Robin knows because she’s been arranging everything. I couldn’t really do it here and work’s been busy so I couldn’t do it there. She offered to help. We’ve been planning it since last Christmas.”

Steve felt himself fall even more in love. Somehow, the love of his life and his platonic soulmate have been planning this incredible trip for him for six months and had only recently given anything away.

“Hopper knows because I did have to make sure I could leave the state. I know my name was cleared, but I just wanted to be certain. Then, he got involved with the planning because he wants to take El and Will this year.”

Steve was gonna start crying, probably any second. He could feel the lump in his throat getting thicker.

“I’ve been saving up anything extra for months. The kids all put in some money to buy your ticket. Mrs. Wheeler let me use Mr. Wheeler’s airline miles to book the flight so it was only about half the cost. Mrs. Henderson gave me her work bonus to put towards the hotel at Dustin’s insistence. Apparently she usually uses it to send him to camp, but he didn’t want to go this year. So. Yeah. Surprise?”

Steve was crying.

Everyone had played a part in this happening, and Eddie was the man behind it all.

Steve threw his arms around Eddie’s neck and jumped to wrap his legs around his waist. He did this all the time, so Eddie only stumbled a little before settling with his hands under Steve’s thighs to hold him up.

“I love you so fucking much,” Steve said against Eddie’s shoulder, tears staining his shirt. “Thank you.”

“I love you, too, sweetheart.”

Eddie placed a kiss on Steve's temple, letting his lips linger for a minute before pulling away.

“So we leave this weekend.”

Steve dropped his legs, immediately panicking about the trip.

“What? What about work? I have so much to do. How long will we be gone? I’m supposed to bring Dustin and Will to a show Sunday. Oh no. I don’t even have a bathing suit. There’s a pool at the hotel right?”

Eddie kissed him, effectively shutting him up, though not quite quelling his panic.

“I’ve already arranged all that. Mike got his license and got permission to drive them. Robin got you off the schedule. There’s a bathing suit in the bag I’ve been packing slowly for weeks.”

“Oh my God, that’s what you’ve been doing. I’ve been standing here waiting for my hello kiss while you secretly pack things for a surprise trip to Disney World. I’m so stupid.”

“Hey. None of that.”

Steve nodded once distractedly. Yeah, yeah, no talking negatively about his own intelligence or whatever they all made him agree to.

“When were you gonna tell me? When we were on the plane?”

“As if you would have arrived at an airport without asking me ten million questions,” Eddie rolled his eyes. “I was gonna tell you tomorrow night at dinner. Will even made this card that had clues inside.”

“Shit, I ruined it.”

“Sweetheart, no. It’s okay. I won’t tell Will. You can still keep the card. It’s a really cool design. He made Disney World look like a D&D game, said you’d probably not get all of it, but thought it was cool. It is, and I think I want him to design a tattoo for me when we get back, but I may have to call the shop in Indy I go to and –”

It was Steve’s turn to cut off his rambling with a kiss.

“I can’t wait to go with you. I can’t believe you would want to.”

“I’d go anywhere with you, you know that.”

“Yeah, I guess I do.”

[thecursedprince]

Monster High Skullector The Nightmare Before Christmas Dolls

$ 90.00

Launches Oct 27, 2023 12pm PT

Inspired by Halloween Town, we’re bringing you the latest Monster High Skullector dolls – Jack Skellington and Sally from Disney Tim Burton’s The Nightmare Before Christmas. This hauntingly lovable duo features premium fabrics with signature iconic details and special Easter eggs that make them oh-so-undead. We even designed the packaging to celebrate this iconic film with fun callbacks from the film.

Disney Tim Burton's The Nightmare Before Christmas Jack Skellington and Sally Monster High® Skullector™ Dolls 

Jack is 12 inches tall and Sally is 10.5 inches tall 

Jack is wearing his iconic black pinstriped tuxedo ensemble, complete with a bat bow tie  

Sally features her iconic stitch marks, long red hair, and her iconic patchwork dress reimagined into couture  

Packaging includes movie details and a special slip-cover sleeve with hidden Easter eggs 

Certificate of Authenticity included 

Dolls cannot stand alone. Doll stands included. Colors and decorations may vary. Purchase limits subject to change at the sole discretion of Mattel.

©2023 Mattel.​ 

©Disney 

SKU#: HNF99

[insanityclause]

EXCLUSIVE: One year ago we told you that a second season of John le Carré adaptation The Night Manager was quietly being developed under the codename Steelworks.

Now, Deadline can reveal that the BBC and new co-pro partner Amazon have gone big on a supercharged two-season order of the thriller, with Tom Hiddleston returning to lead, Hugh Laurie coming back as EP and with a new director in I Hate Suzie’s Georgi Banks-Davies. A third season has also been greenlit. David Farr returns as writer and Stephen Garrett is showrunner.

The Night Manager Season 2 will begin filming later this year and will pick up with Hiddleston’s Jonathan Pine eight years after the explosive finale of Season 1, going beyond the original book, which was written by the celebrated British writer in 1993. Additional plot details are being kept under wraps and there is not yet confirmation as to whether EP Laurie’s Richard Roper, who was last seen in the back of a paddy wagon driven by arms buyers who were not best pleased with him, will return to star. Hiddleston will also EP and will discuss in more depth on tonight’s Jimmy Kimmel Live!

Produced by The Ink Factory in association with Character 7, Demarest Films and 127 Wall, and in co-production with Spanish partner Nostromo Pictures, The Night Manager Season 2 was sold to Amazon by Fifth Season. The first was co-produced with AMC.

New director Banks-Davies, a BAFTA-nominee who takes over from Susanne Bier, has credits including I Hate Suzie, Garfield and upcoming Netflix series Kaos.

The Night Manager Season 1 was a huge success, watched by millions and winning multiple BAFTAs, Emmys and Golden Globes including best actor for Hiddleston. Also starring Tom Hollander, Olivia Colman and Elizabeth Debicki, it followed Pine – who ran a luxury hotel in Cairo – as he attempted to infiltrate the inner circle of Roper’s crime syndicate after being hired by Foreign Office task force manager Angela Burr.

The first season was commissioned more than 10 years ago and the show has since been remade in India, lapping the UK version by swiftly having a Season 2 greenlit for Disney+ Hotstar in May last year.

Simon Cornwell and Stephen Cornwell, le Carré’s sons who run The Ink Factory, said Season 1 proved “a landmark moment for the golden era of television – uniting on-screen and behind-the-camera talent at the top of their game – and an audience reception which was beyond our wildest imagining.”

They added: “Revisiting the story of Pine also means going beyond the events of John le Carré’s original work: that is a decision we have not taken lightly, but his compelling characters and the vision David has for their next chapter were irresistible.”

Amazon MGM Studios Head of Television Vernon Sanders said: “We are elated to bring additional seasons of The Night Manager to our Prime Video customers. The combination of terrific source material, the wonderful team at The Ink Factory, a great writer in David Farr, an award-winning director in Georgi Banks-Davies, as well as the talented cast truly make the series the full package.”

Hiddleston said: “The first series of The Night Manager was one of the most creatively fulfilling projects I have ever worked on. The depth, range and complexity of Jonathan Pine was, and remains, a thrilling prospect.”

BBC content boss Charlotte Moore added: “After years of fervent speculation I’m incredibly excited to confirm that The Night Manager is returning to the BBC for two more series.”

The Night Manager series two is created and executive produced by Farr, based on the characters created by le Carré. Additional executive producers include Garrett for Character 7, Banks-Davies, Laurie and Hiddleston; Joe Tsai and Arthur Wang for 127 Wall; Stephen and Simon Cornwell, Michele Wolkoff, and Tessa Inkelaar for The Ink Factory; Adrián Guerra for Nostromo Pictures; William D. Johnson for Demarest Films, Nick Cornwell, Susanne Bier, Chris Rice for Fifth Season and Gaynor Holmes for the BBC.

[coqxettee]

Coquette Summer

Bucket List: ☀️🧺🌸

Some ideas for your summer 2023 bucket list. Coquette activities, trips, days out and things you can do with friends or alone. Write these ideas in your journal and make your own bucket list if you like! <3

Go on a picnic ~ You can do this with friends or on your own! Take an aesthetic picnic blanket and basket, pack fruit, sandwiches, salad, cookies, cupcakes (whatever you like!) and have a Coquette picnic. Dress cute for the occasion and make sure to take lots of pictures <3

Host a Tea Party ~ Invite friends over and decorate your dining table with a pretty tablecloth. Grab fancy cups and saucers (you can find these in antique stores, or better yet a whole tea set complete with a tea pot!) and have a tea party. Drink rose or jasmine tea, have scones, bread & jam, miniature sandwiches, cookies/biscuits, cake. You could even do it Marie Antoinette, high-tea inspired. Dress all regency and cute and make it the fanciest, coquette, tea party ever! <3

Beach day ~ Grab your heart shaped sunnies and have a beach day! Bring a pink towel with you, a large pretty sun-hat, and make sure you pack all the pretty-girl beach essentials. Tanning lotion, a romance novel, fresh fruit, a blanket to sit on (if you don’t have a deck chair) sun cream (spf) lipgloss, a hair brush, and your camera to snap some cute beach shots! Walk down the boardwalk, listen to Lana and grab an ice cream, wear pink flip flops and a cute pink and white gingham bikini <3

Berry picking ~ Wear the most dreamy, float cottage-core, princess dress, a large sun hat and take a wicker basket with you to go berry picking. You can book a slot online and go into a local field. Take pictures and pick ripe berries to take home with you, ready to use for baking later on in the week <3

Baking day ~ Wear a cute little apron, put Lana on your record player in the kitchen and have a baking day! Bake cherry pie, heart-shaped cookies, jam cookies, chocolate-chip cookies, scones, cupcakes, an actual cake… anything and everything! Take cute photos when you bake, it can be great to make memories with friends. Once you’ve baked all your sweet treats, package them up and choose some to give to friends and family, some for later occasions (picnics & tea-parties) and most importantly… some for you! <3

Go to a market ~ If you live in the country there are loads of cute farmers markets on in summer. Keep some money back with you, wear a long, flowing style skirt and a bow in your hair and take a cute tote-bag to keep everything you buy in. Look for small Coquette trinkets on some of the handmade stalls, buy fresh fruit and lemonade for lunch and have a slow, relaxing day at the market <3

Antique shopping ~ Go antique shipping. For your room or house. You can find so many beautiful, Coquette homeware items, clothes, trinkets, jewelry and much more in antique shops. Google the best ones in your area, set aside a day, and go <3

Try out new café’s in your area - Google fancy café’s or even café’s that do afternoon tea. You could go with friends or have a solo cafe trip. Bring a book with you if you go on your own, to read. Or a sketchbook to sketch the world around you. Try something new on the menu! <3

Coquette movie day ~ Plump out your bedroom or living room with pink pillows, fairy lights, candles and lavender room spray. Put on the comfiest pair of pajamas you have Grab snacks, popcorn, anything you baked earlier in the week, fresh fruit (anything you like!) And have a whole day of watching JUST coquette movies. Disney princess films, any period drama’s, any mystical and magical movies, romance movies. Movies that are super light-hearted and make you feel like the princess you are inside. This is really fun to do with friends too! <3

Jewelry making ~ Learn how to make prettt, coquette jewelry. I always see such cute jewelry online and want to know if I can make it myself. The kits might be a bit pricy to buy, but once you’ve built up a jewelry making collection your all set! Make some summer earrings, necklaces, and bracelets <3

Learn to Crochet ~ Something I have wanted to learn for ages! There are tons of tutorials on YouTube and you can pick up pretty colored yarn from the market. If you are really good you can crochet things for the summer like tank tops, bikini sets and headbands! <3

Start a summer journal ~ Or just start journaling in general. I’m making a summer journal full of scrapbook pages I can add all of my coquette summer pictures too when summer is over. Decorate it with coquette stickers and really make it your own. Get creative <3

Have a self care day ~ It’s not sunny everyday in Summer (usually) so set aside one of the cloudier or cooler days for a movie day, or self care day! Wake up early and have an everything shower, and take care of YOU! Do a face mask, manicure, pedicure, do every step to your skincare routine, wash and remake your bed, tidy your room. By the end of the day you will feel like a new person and trust me it’S WORTH IT! <3

Have a sleepover ~ You kinda need friends for this one. I’m sure everyone knows how to have one but do really coquette activities! Paint each others nails, style each others hair, Watch coquette movies, talk about boys. All the classic things you see in the girly movies that you feel never actually get done at sleepovers… do them! Order pizza, do face masks, bake things, and stay up as late as possible for a… midnight feast! <3

-HERE ARE SOME MORE IDEAS! <3 -

Re-decorate your room for summer <3

Go on vacation <3

Go bowling <3

Cute cinema trip (watch a romantic movie) <3

Go to a fancy restaurant <3

Make a summer scrapbook <3

Plan cute summer outfits for the weeks ahead <3

Try out new summer hairstyles <3

Go to a milkshake-bar/diner <3

Go roller-skating <3

Go to the arcade

Find some pretty summer walks in your area, take pictures of wildlife you spot etc <3

Go to a farm (farmers daughter vibes iykyk) <3

Go to the theatre and watch the ballet <3

Have a signature, coquette summer scent <3

Write in your daily summer diary every night and seal it with a lipstick kiss <3

I hope you found these ideas helpful, aesthetic and fun! Have the best summer ever darling’s ~

🌸☀️🧺🍦🎀

[moonlayl]

BDS Movement on Twitter:

Many companies are complicit in Israel’s genocidal war against 2.3 million Palestinians in Gaza. All peaceful popular efforts, including boycott and divestment, to hold these entities accountable for their support of Israel’s crimes against Palestinians are justified.

BDS focuses on a specific number of the most complicit targets in order to maximize our impact. We call for boycotts & divestment against Carrefour, Siemens, PUMA & others, due to their proven complicity in Israel’s violations of Palestinian human rights.

Some companies, like Carrefour, have doubled down on their complicity by donating thousands of personal packages to the Israeli occupation army, thus directly supporting its commission of war crimes and crimes against humanity in Gaza.

Other companies, including

McDonalds

Dominos

PizzaHut and

PapaJohns

have also made generous donations to Israel’s genocidal military.

They all deserve to be boycotted and divested from, regardless of the claim that their branches in various countries are wholly or partially owned by local businesses.

The parent company is complicit for allowing its Israel branch to support an ongoing military aggression that leading scholars of genocide have described as a “textbook case of genocide.”

We encourage continued pressure on entities that support apartheid Israel and its genocidal war against our people in Gaza.

Visit our website to learn how you can help to escalate our strategic BDS campaigns.

(Many ppl are adding Starbucks and Disney to the list, meaning a LOT of people are boycotting them, please try to do so as well. Cancel Disney + subscriptions and don’t see any Disney/Marvel film in theatres)

[talenlee]

do you have any thoughts on how (if at all) the Toy Story films impacted how children play with their toys?

Yeah, quite a bit.

Toy Story is a 1995 animated feature film by Pixar Studios, distributed by Disney, that serves as one of those iconic examples of early 3d Animation that ‘holds up’ over time by people who haven’t gone back and looked at any of the humans in it. With the voice talents of Tom Hanks and Tim Toolman, it follows the narrative of a pull-string cowboy doll competing with a kung-fu action grip spaceman toy for the attention of their gigantically towering owner, whom they must never allow to know that they live, breath, and know his name.

For kids!

Look, classic yada yada, groundbreaking yada yada, wholesome yada yada. I actually got to see this one while inside a controlled christian media bubble, and if tomorrow I found out all copies of it had been deleted I would react like that ‘oh no, anyway,’ meme. It is not a movie for which I have an enormous amount of affection. I don’t want to talk to you about the narrative, though, not of Wilson’s Best Friend negotiating with the Last Man Standing about which of them will be more validated by an actual literal child and the ontological questions of why aren’t the parts of Mr Potato Head independently alive?

I want to talk to you about the humans of Toy Story. Specifically, about Andy, and Sid, and the weird world they live in, and the weird world they’ve created.

Andy’s a weird kid.

Andy’s a weird kid, in this specific case, because of the toys he loves.

Andy’s collection of toys features a lot of things that were, for want of better phrasing, are old. Plastic army men, Mr Potato Head, metal slinky dogs. In 1995, none of that stuff looked like the heavily branded, overmerchandised toys I was used to. Kid didn’t own any legos? No rainbow vomit coloured plastic slinky?

Sure, my collection had some old toys in it. That was because I was poor, and we got a lot of toys from the Salvation Army story or second hand from the throwouts in the church charity bins.

Thing is, as toys, Woody and Buzz aren’t really like the toys I was interested in during the 1990s. Cowboys weren’t cool. Cowboys were old. Cowboys were shown on TV in largely black and white. Cowboys were always about being sour and mad and long periods of nothing happening and nobody did a single kick flip and there weren’t any ninjas. Buzz Lightyear looked extremely embarrassing, and not like the kids’ toys of the time. He didn’t transform, he was big and chunky and not an action figure. Lords knows he wasn’t going to stand up to either GI Joe or Action Man. The scale was all fucked up, he clearly cost a lot, and we never saw signs of playsets or vehicles in the movie.

Though I say that, and you know what he did look a lot like, size wise? GI Joe. Not my GI Joe, from the 1990s, which were the size of my thumbs and cost five dollars so you could army-build. Original GI Joe, from the 1960s, which was a much taller toy, literally a foot tall. You know, like how tall Buzz Lightyear is.

My point is: Buzz Lightyear is not a 90s toy. He was a toy that looked like a boomer’s toys. Andy, a child created to fit in 1995, in a large expensive home with lots of toys, has lots of old toys. Andy has toys that speak to growing up in the sixties, with one toy that’s meant to be a toy of the 90s that’s still kinda not.

But now those toys are iconic kids’ toys, now, because Toy Story became a classic, and people who saw it as kids had kids and shared it with their kids. That is, the parents saw Toy Story and went ‘oh that’s fine for my kids,’ then those kids passed on Toy Story to their kids, and so on and now thanks to it being interdimensional meme cryptid’s extended tentacles into our reality, Woody and Buzz are now iconic kid’s toys that rely on being this sort of post-packaged boomer nostalgia.

That’s the wildest thing. The combination of Andy’s wealth and diversity of toys (why do you have a ceramic Bo Peep statue?)  creates this weird impression of Andy being somehow a child with vintage toys that represent taste thirty years older than him. If Andy was poor and isolated it’d make a ton of sense for him to have all these old toys and none of the newest, coolest toys, like Sid has.

I’ve written about Sid in the past, in part because I think he’s the only character in the entire universe I have any real fondness for.

Well okay, maybe Rex.

Anyway, Sid’s poor? Like, his house, next door to Andy’s, is grungy and grimy and there’s a question about how Andy’s house is so nice and clean and fancy and Sid’s is basically a hell dungeon, but in hindsight it’s kind of hard to look at it and not see it as classic Disney Fisher King stuff. You know, the way that when Scar ruled Pride Rock, there was a drought, and the second Scar was replaced by Simba, there was rain. In this case, Sid, being bad, has a house that’s full of Badness, and Andy, being a good kid, has a good house.

But Sid is signalled as being poor. Everything in the house is grungy and secondhand, and he’s constantly playing with toys that have been discarded or lost, and he modifies them. Sid is curious and creative and yes, destructive, and he’s destructive of things that, as far as he knows until the movie decides to massively traumatise him, are just toys.

Like, think about that. Sid damages and messes with toys but he uses that to make other toys, to make things he plays with. His play is seem as scary and traumatising, because… what? Because he violates the ‘proper’ image of the toy. The toy that is not properly preserved, the toy that is torn in pieces and put together again is seen as somehow violated because it is no longer’ right.’ The implication there unstated is that toys are ‘right’ when they are sold to you, and when you change them from that product, they are ‘wrong.’

Sid’s sin is making his own toys, and he is punished by the avatar of a multinational company that will sell you toys that are right.

There’s this fun story beat, where in Toy Story 3, you find that Sid is now a garbage collector. You can see him wearing the same shirt, and dancing happily as he collects trash. In the garbage dump in that movie, you’ll find there are also no toys, which creates the strange question of how things get that way. A story that explains this, a story I like, is that Sid, with the skills he has with toys, took the job as a garbage collector to rescue these tiny sentient creatures from humanity discarding them and is running some sort of toy game preserve in his home. After all, he is, as far as we know, the only human aware that toys are alive.

And he’s the asshole, not the seeming adults who traumatise a kid for playing with toys. Sid, after all, doesn’t play nice.

Source.

[nikibogwater]

Why is Disney so keen to cash in on nostalgia for everything EXCEPT the Disney Fairies franchise?? They're out here shoving their studio reputation into the meat grinder that is the live-action remakes, and for what??? They've been sitting on the abandoned goldmine that is Pixie Hollow all this time. It's the one series that no one would complain about being revived. In fact, I'd lose my ever-loving mind if they announced they were bringing back Tinker Bell and her squad. I'd buy multiple theater tickets for every release, even if I ended up going alone. I would pay Disney+ premium rates just to see the fully-realized Tinker's Academy movie that never went further than some concept-art and an animatic of the opening scene. I would buy a giant cardboard cutout of Iridessa and put it in my living room window. I would trade blows with a dozen other twenty-to-thirty-somethings as we stampede into a toy store for the chance to nab a limited-edition Silvermist doll that comes packaged with an all-new feature-length film about her teaming up with mermaids to save the seas of Neverland!!!!

[cipheramnesia]

Hi, do you think you’ll watch the new Alien Romulus at some point? Is the Alien salvageable after so many films?

I'll watch it at whatever stage it is possible to watch it for free.

Whether or not Alien is salvageable as a franchise is, in my mind, not the question. It's intellectual property owned by the labyrinthine media monopoly of Disney, and sunk into the general business culture of mainstream US movies. Hollywood has always been subject to profitability but that has overtaken production in all major studios to the point that any film with a wide theatrical release will also reliably have been defanged and homogenized for maximim marketability and profitability.

Right now Alien is a profitable product, content as it were, and much like Marvel and Star Wars, a large amount would have to change both in specific terms (breaking up Disney) and general terms (de-business-ifying mainstream filmmaking in the USA) to correct that. Alien is as salvageable as anything, all it takes is some people with skill and creativity, but that kind of freedom of artisitc choice doesn't exist in current mainstream cinema.

But to me Alien doesn't need to be salvageable, no more than Marvel or Star Wars. There are enough movies about it, there's enough content and media about all that stuff. There's always a part of yourself that wants more of the good thing, especially when it comes to art, but this franchised product all packaged and commodified and audience tested and all that, it's not more of what made all that stuff exciting, even while the originals weren't free from that process either, not entirely.

Alien as a franchise is salvageable but why? Why not try new stuff and things to get outside that box and different approaches and art that isn't a managed piece of commercial real-estate with a targeted ROI for the investors. I'll want the feeling of seeing Alien the first time for the rest of my life, I'll always love it as a creature, but damn there are too many Alien movies. It shouldn't be salvaged, it should be preserved for the future to enjoy along with whatever comes next.

[disney-is-mylife]

I think most people can agree that "Hellfire" from Disney's The Hunchback of Notre Dame is the best Disney villain song, if not THE best villain song in movie history. But what about the others? 👀

Happy voting! ❤

Due to lack of slots, I did not count:

any of the Package-Era films

"The Elegant Captain Hook" from Peter Pan

"We are Siamese" from Lady and the Tramp (problematic aspects aside, the cats aren't major antagonists. They cause mischief for One Scene, and never show up again)

"The Phony King of England" from Robin Hood (as much as that song slaps, it is a roast of the villain by the main characters, not a villain's triumphant song)

"Yodel-Adle-Eedle-Idle-Oo" from Home on the Range

"Love is an Open Door" from Frozen

[curio-queries]

I think AYS definitely found its flow post-US trips. Compared to the later trips, you can tell their time in the US really was more spur of the moment, less thought out. I think that's probably why the editing and filming were better in the other places and they had product placement. I wonder if they originally had something else in mind for the content, such as making it just a bangtan bomb kind of like some of the solo adventures we got during chapter 2 (like jungkook's camping vlog), but then they decided to do more trips or pitched it to Disney or something so they put more money and effort into it.

About the behind the scenes content, I do think whatever was kept out of the main episodes was primarily for pacing reasons (despite the fact that I don't think the pacing was super great until Sapporo) and/or some content that was kept for the purpose of making money off the behind the scenes package. Weirdly I don't think bts cares at all about 4th wall breaks. I saw another blog complain about this a while ago, about being able to see staff in the background and ruining the vibe of AYS or messing up the illusion from a production standpoint, but I think bts themselves never try to put up that 4th wall. Obviously the content is supposed to stay focused on them, but the boys have never had a problem talking to their staff on the other side of the camera even during things like run episodes and even in AYS, the last night Sapporo, jikook are sitting around the table drinking and talking with their staff. Beyond what takes focus off the members or respecting that staff aren't public figures, I don't think the members ever care to create that illusion that they aren't filming something or surrounded by staff. I remember reading parts of bts' book and jungkook talks about jikook's trip to japan in 2017 and mentions how the company was worried about their safety if they went and when they arrived in japan, staff was already waiting for them. Even in a private trip that was meant just for the two of them, because of who they are staff were involved and they don't try to hide that.

Also side tangent, but their book was more interesting than I was expecting based on how I'd seen people talk about. A lot of it is summarization of events with bts' thoughts thrown in throughout, but there were some interesting tidbits I didn't know. Like jimin listening to Army sing-along of Young Forever and that's basically what made him come out of a dark place regarding the band's future and contract renewal tensions. Reminded me of Wembley when he cried and said that song had helped him a lot. Also the book and reading things as a timeline really emphasized how much jikook helped each other through that dark period from 2017-2019: the japan trip when they needed to get away from everything, then jimin showing up at a bar for jungkook and them both crying together (the crying together seems to be a theme for them LOL).

Anyway, back to AYS. For the title cards, we can see in Sapporo that they already edited most of the US trip, so the title cards were probably an idea they thought would be good when editing that, but then they didn't really fit as much in the editing of the other trips. Like the Sapporo vibes are just different from jimin's silly little title card recordings.

I really hope we get more AYS when they come out of MS. I expect group activities will be back in full swing, but since they seem to really enjoy traveling together, I think it'd be nice if we got to have future seasons. Its obviously still work, but I do think its on the more enjoyable end of work for them. I want to see them in Montana, US on a ranch riding horses, or in Venice, IT doing a romantic gondola ride, in the Australian outback where jungkook can finally fight a kangaroo.

Hi anon,

You definitely hit on many of the points we'd been discussing here through these posts so it's nice to see I'm not the only one with some of these thoughts.

After seeing the I Am Still documentary though, it's do feel more confident saying that this team's production engine likely gives very little control to their distribution partners. Again, I still need to do an album watchthrough of most of the Disney documentaries but for now, I'd wager that Hybe fully completes their product and then only sells it for distribution. Maybe there's some back-and-forth if there could possibly be any content censorship for brand cohesion but BTS content as a whole is already very low-risk on that front. I'd even go so far to say that the product placement sponsors had more of an impact on the actual end result of the content than Disney did. But that's purely supposition on my part.

Regarding the 4th wall breaks, I don't think i worded my viewpoint very well previously and I don't think i have much better to say here but I'll try. While I agree that BTS's content isn't trying to shy away from the fact that they have staff around them, I do think there are very specific methodologies behind how they've approached it in the past and likely will continue to.

Take Run BTS for example, at the beginning, they attempted to rely for more in on-screen graphics and having the members themselves deliver the necessary exposition. But...I've said this before and I'll say it again, their production actually really sucks at delivering content that needs to be informative. In my opinion, they realized they weren't doing a great job of this and it was a lot more effort to try to mask, when the episodes that they left in a disembodied staff member explaining didn't have any noticeable drop so they decided to just go with including it.

I know i haven't really talked much here about the Run Jin episodes (as I'm likely going to do review posts as well once I'm done with Run BTS) but one of the main things I've been keeping my eye on is how they're compensating for there only being one member. It's seemingly to fall into relying on guest cast and the staff to give Jin the necessary foil, sometimes successfully and other times less-so.

Anyway, back to AYS, it seems to me like they were absolutely still trying to find the line of staff inclusion. Honestly, I wonder if there was a version of the edit where them watching the first cut of episode 1 would have been only included in the bonus content. Without it though, that episode woukd have been much shorter so I think they kept it in the main release purely for time. It fits so well with the overall tone though and I'm so glad they included it.

Again, wondering about the future. I'm sure they will try to revive this show again after military service and I genuinely hope they try to stick to the format of several mini-trips compiled into one 'season'. It will take a skillful team to be sure there's cohesion though. These episodes worked because there is the overarching tjmeline of their solo projects as they prepare for their service that ties the little trips together. I still think my idea of scheduling trips while they're on tour could work but again only if the tour schedule is a little more relaxed than it has been in the past.

It's all theoretical at this point! I would love to see our guys traveling around to some of the less-dazzling destinations as well. I am from a very rural area in the western US and could not even comprehend what it woukd be like for BTS to even be aware of some of those places, let alone actually visit. That was some of the charm of the USA section. They were out in the middle of nowhere seeing just a little bit of Americana. (But I also completely agree with you and want to see a JK / Kangaroo moment as well!)

I'm remembering now another point that I'd wanted to delve into a little more with AYS, which was how they balanced luxury vs the simple life for this show. It's definitely something I noticed shifting over the episodes and I think that had more to do with those sponsorships as well as wanting to give JM and JK some comfortable experiences prior to their enlistment.

Sorry, i went on quite the tangent anon. If I didn't respond to any of the points that you'd like to further discuss, please point them out in another note. I've already rambled far too much for this one!

[adrianlikesdinos]

while it is funny to think and joke about, i think the genuine belief that Erik's wife and daughter were used for the main purpose of trying to erase Cherik is just such a truly awful take. there is no contextual evidence to even back up the claim, by the end of the movie Erik still choses Charles yet again.

so I'm here to present my succinct, evidence-based claim: Erik's wife and daughter only worked to further cement his and Charles shared narrative.

in the film, these two girls act as flat characters; very little information is given about them, no character development takes place, and they take up very little screentime. what they add to the films story however is a point emotional attachment outside the world of mutant vs. humans for Erik to settle into, heal, and escape from his previous life as a literal terrorist. unfortunately for die hard Cherik truthers, this means an emotional attachment out side the world Erik shares with Charles. this is a genuine attempt by Erik to remove himself from the cycle of fear and rage he has been a slave to since his childhood, and it really did all work out for him. he had a job, a community, and he was able to create a life perfectly for himself. despite needing to hide his powers, this was probably the best outcome he was ever going to achieve.

but, now that the franchises main antagonist has settled into a life of warmth and comfort, its time for the narrative to get moving again. you cant tell a story without its antagonist. yes, Apocalypse is the main antagonist for this specific movie as he is the source for the majority of the films tension and conflict, but this movie is a part of the over arching narrative primarily concerning Professor X, his X Men, and their arch-nemesis, Magneto. being each others narrative foils and their decades old disputes they are quite literally a package deal, there will never be a Professor X without his Magneto. So, what better way to pull our protagonist his literal other half into the mix than a good old fashioned fridging?

"women in refrigerator's" is a literary trope originally coined in 1999 by comic book fan Gail Simone. this term is used to refer to the trope in which a female loved one is killed, injured, or otherwise hurt in order to further the plot. the trope is one in which women are used as disposable. (there is so much more i could say about the sexism rooted in this fairly common trope but its fairly self explanatory and doesn't pertain to directly to the topic at hand.) once you actually learn about this you cant stop noticing it (ever seen a Disney movie?). it is particularly common in comic books as a heavily male dominated field of media. it is an easy, fast way to get emotion and anger out of a character and gives them the motive to fulfill whatever is needed for the story to continue. in this case, the rage born from Erik's grief lead him to join Apocalypse as one of his horse men. ultimately pushing him towards yet another fated conflict with Charles, the climax of almost any X Men film.

if the writers were truly conscious and concerned with fans perception of Erik and Charles questionably platonic relationship, they wouldn't have used a trope to sling shot the man directly back into his fandom assigned love interest. its incredibly unreasonable to claim a device clearly intended to send him closer to his other half was in an attempt to separate them.

and, claiming that his family was just an attempt to erase Cherik feels like completely ignoring Erik's past experiences with fridging that truly work to build the complexities and tragedy of their strictly canon relationship. this is the second time he has had his whole world ripped away from him. the second time he has turned to rage and violence to protect what little of himself he has left. this is the first time however that he realizes he has more than just a little broken piece of himself left. this is the first time he is able to realize there is another soul out there who can see past the rage he is blinded by. the first time he has had someone who continues to see the good in him.

and this is me looking at this from as unbiased a perspective as i can. this is hardly even subtext. Erik's flashback wasn't stuck in there just because they needed more screen time, everything holds significance. it was blatantly telling us that in that very moment Erik realized he still had Charles, the one person who can actually claim to know someone, the one person who genuinely knows HIM.