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artist-issues · 1 year ago

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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

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nikibogwater · 4 months ago

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Actually while I'm thinking about it, I just wanna say that the more live-action remakes Disney shlups out like shoveled manure, the more amazed I am that Cinderella (2015) exists. It breaks literally every standard of Disney's LA remakes.

It's not a shot-for-shot remake of the original 1950 animated film, though it does include small references and homages to it, but only when such things can be incorporated organically into the story.

The creators understood and respected the cross-cultural significance of the Cinderella story. They didn't want to "fix" it, or add some wacky twist to it, they just wanted to make the best possible version of the Quintessential Cinderella that they could.

Everything that could be done practically was done practically. The carriage was a real, the horses pulling it were real, and all of the other animals (with the exception of the mice and lizards, since their performance was a lot more involved than the others') were real living animals, the lizard footman and goose carriage driver were wearing prosthetics instead of just having their animal features added in post, the Fairy Godmother's dress had little LED lights sewn into it so that it would actually glow for real, the ballroom set was built by hand and included real chandeliers with more than 2000 total candles that were all actually lit for the scene, and I could go on but you get the point.

There's a ton of attention paid to little details that make the world feel real and lived in. Ella's shoes are always a little scuffed and dirty. Her farm dress is faded and wrinkled. When she breaks down and runs away to the woods, she rides her horse bareback (which, once again, was a thing Lily James actually did, no stunt-double or editing in post), because not only is that something a country girl like her would know how to do, but it also makes sense that with as upset as she is, she wouldn't want to waste time with saddling the horse. When she's dancing with the prince, it's visually obvious that he is leading her and giving her cues because of course Ella wouldn't know the latest ballroom dances, and would need him to guide her through it.

Hey speaking of dancing, y'know what else this movie does that no other LA remake has been allowed to do (at least not to this extent)? ROMANCE. Land sakes alive, this is one of the most unabashedly and yet still tastefully romantic movies I've ever seen. Ella and Kit are just oozing romantic chemistry from the moment they lock eyes for the first time. It all comes down to the fact that these two characters both have the same core values of courage and kindness, which makes their admiration for each other feel grounded and believable. Richard Madden also really sells Kit's feelings for Ella with the way his eyes go all big and soft whenever he looks at her. And don't even get me started on Lily's performance as Ella. Her quiet awe that someone as powerful as the prince loves her. The timidity and fear that she's not really worthy of that. The selfless determination to protect him from her family's cruelty, even if it means she'll never see him again, I'm just-- *banging my fist against the table and screaming into a pillow*

Absolutely god-tier costume design. No notes, I think Sandy Powell's work speaks for itself. Btw, in case you were somehow still wondering, yes, Ella's ballgown is fully practical--those layers upon layers of dreamy silk skirts are real. CG was only used to brighten up the blue color to make her stand out from the crowd more.

Wicked stepmother was allowed to actually be wicked. The movie never tries to make you sympathize with Lady Tremaine, or shift the blame off to someone else. And her villainy is given an extra layer of depth with the reveal that she is a dark reflection of Ella. They've both lost people they loved, but where Ella refused to let her grief get in the way of kindness, Lady Tremaine became utterly consumed by it. She views the death of her first husband as a sort of twisted justification for pursuing all her worst impulses. She despises Ella for her ability to flourish even while enduring terrible suffering, for being everything Lady Tremaine was either unable or flat-out refused to be.

Also Cate Blanchet absolutely SLAYS in this role. Hands-down my favorite portrayal of the wicked stepmother character.

Anyways, TLDR: Cinderella (2015) is the only Disney live-action remake that can justify its own existence and that's because it actively defies everything the LA remakes are today.

#niki rambles #cinderella 2015

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unpopularly-opinionated · 2 years ago

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Today in “Problems That Aren’t Really Problems”:

Netflix is just straight up gaybaiting me with these preview cards, I swear.

>movie name is Ibiza, a well-known gay party location >hot pseudo-gay actor on the cover How on earth was I to know it was actually some chick flick smh. Also, my god, is the writing atrocious. This makes Hallmark movies seem like award-winning movies. I’m only 18 minutes in and the contrivance is so fucking strong. I mean here’s how the two love interests meet:

The girl goes to a rave and some random guy who we’ll probably never see again comes up to her, again in the middle of a very very crowded rave, and decides to draw a dick on her face in ultraviolet ink so that when the next DJ who is the love interest comes up on stage, within seconds he immediately picks this one girl out of the entire crowd and is sort of pointing and laughing at her before gesturing for her to come backstage where he proceeds to dance around the topic for a minute while she spirals into her “omg he’s so hot” moment, and then he finally takes a picture of her, laughs at her again, and she just kinda laughs at it too, no cause for concern or embarrassment or any of that, and then they share the standard “longing look into each other’s eyes” and that’s that.

It kinda sounds like I maybe cut things out, picked and chose what to share, or maybe gave a cliff notes version of the event, but no, that’s every last detail of how it plays out. It’s just bad. I don’t know.

Anyways, give me a gay movie with Richard Madden next time, Netflix.

#random rant #Netflix #this isn't a genuine complaint btw #I mean yes the movie is bad #but I only watched 18 minutes of it before I realized I just can't watch it #I was really kinda aiming for some gay romance story of some sorts #especially one with Richard Madden in it cause like omg #but whatever #it is what it is

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darknessweavd · 2 years ago

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( tryna find a fc for andy-- )

#noah rambles. >>> 𝐎𝐔𝐓 𝐎𝐅 𝐂𝐇𝐀𝐑𝐀𝐂𝐓𝐄𝐑 #( an npc of ryan's story btw )#( & a very important person to ryan and a former spy with the saviors )#( who was murdered by negan after they tried to free the prisoners from the sanctuary )#( lookin at kit harrington & richard madden atm but there's a list on imdb that i'm picking through slowly lol )#( figured he'd be someone with dark curly hair )

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starboye · 4 months ago

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pairing: richard madden x male reader

request: Richard madden married to Twink male reader. Richard likes it when the reader workships his body and likes it when the male reader rides his big dick, while looking directly at him. He just wants to breed him, while sucking on the readers perky sensitive nipples.

warnings: smut, cursing, breeding kink

richard madden, a man known and loved by all was happily married to you, you don't know how you ever got so lucky but you weren't complaining seeing as you got to ride his dick everyday and all day but back to the story.

"so needy huh, couldn't even let daddy get his work done" richard slickly says kneading your ass with his hands "I need it" you whimper tugging at the buttons of richard's shirt "all this ass f'me" richard lowly says pulling his pants and underwear down just enough to let his dick out.

"you like this dick, same one that's about to ruin your tight hole" richard teases "mhm" you nod finally opening up richards to reveal the treasure that was his hairy and burly chest, you placed your hands firmly on richards chest feeling it up and down amazed by it.

"I love you so much" you say leaning against his chest and inhaling his scent "I love you too baby" richard smiles knowing your sweet words would soon be replaced with desperate moans and whines "look at me now" richard softly asks pulling your face up to look at him before pulling you into a sweet kiss as he lowers you down onto his dick making you moan into his mouth.

"just like that baby" richard smirks looking at your face contort as you turn away from him "ah ah keep looking at me" richard says grabbing your chin to look him in the eyes, he leans forward to suck on your nipples still holding hard eye contact with you, nipping at the sensitive buds.

he enjoys the way you whine at his moves, his thrusts into you and the sucking of your chest "richard..." you start but never finish the sentence because you get cut off by richard hitting a spot in your soft walls that you never knew was there, making you cum on the spot without thinking "so fucking cute" richard grins leaning up from your bow hickeys and bruise ridden chest.

"you want me to cum in you, breed your tight hole" richard asks and those such vulgar words keep you from just going limp in his hands as you want to be filled with his cum so badly, it was the only reason you started to grind on his leg while he was working in the first place "yes please" you say with a hiccup.

"want this cum to get you so full, you're all mine" richard says grabbing your thighs to hold you down on his dick as he pumps his cum into you, you could feel and see your stomach fill up through your hazy vision "we should do this more often" richard chuckles leaning his head back on his chair.

taglist: @mailmango @spermeboy @ghostking4m

#richard madden #richard madden x male reader #x male reader #gay smut #x male smut #x male y/n #bottom male reader #male reader

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kingofwinter283 · 1 year ago

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i actually hate talisa maegyr. i think her whole plot with robb was so stupid. like in the books robb’s marriage with jeyne is this tragic situation that’s really a culmination of the stress and grief that robb has been going through and unable to truly process because he is a child trying to lead his people in a war. he gets injured and then learns that his former best friend has just betrayed him, captured his home, and killed both of his younger brothers which adds to growing list of loss in his life. his father got executed, his sisters are being held hostage, his best friend betrayed him, and now his brothers are dead. so while he’s injured and kind of being consumed by his grief, jeyne westerling is there to comfort him and they do the deed and this only makes things worse because of how robb was raised and instilled with his father’s honor, as well as seeing how jon was raised, robb feels compelled to marry jeyne to preserve HER honor which ends up being his downfall. but nooooo in the show robb falls in love with foreign beauty talisa maegyr and dies because he’s an idiot and couldn’t keep it in his pants. like don’t get me wrong i love robb’s scenes in the show richard madden call me i just think the story could have been so much better and been true to the tragedy that it is in the books.

#sorry for ranting #i’m very passionate about this #justice for robb stark #robb stark #talisa maegyr #jeyne westerling #game of thrones #asoiaf #richard madden #catelyn stark #ned stark #jon snow #bran stark #rickon stark #sansa stark #arya strak #house stark #oona chaplin

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apazmackpie · 3 months ago

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Happy birthday, Martin Freeman!! 🥳

53 years old, 53 characters he played.

I finished on time!! But sadly it's not as detailed as i wanted at first. :(

Anyway, if you wanna know who is who, i'll let you all the names under the cut.

From left to right and top to bottom:

Ricky, "Casualty" (1998)

Frank, "I just want to kiss you" (1998)

Jaap, "Lock, stock" (2000)

Jamie, "Men only" (2001)

Ricky-C, "Ali G indahouse" (2002)

D. S. Stringer, "Margery and Gladys" (2003)

John/Jack, "Love, actually" (2003)

Tim Canterbury, "The Office" (2001-2003)

Mike, "Hardware" (2003-2004)

Declan, "Shaun of the Dead" (2004)

Kevin, "Call register" (2004) and "Rubbish" (2007)

Vila, "Blake's Junction 7" (2005)

Arthur Dent, "Hittchiker's guide to the galaxy" (2005)

Ed Robinson, "The Robinsons" (2005)

Matt, "Confetti" (2005)

Sandy, "Breaking and Entering" (2006)

Jeremy, "Dedication" (2007

Gary Shaller, "The good night" (2007)

Sergeant, "Hot Fuzz" (2007)

Pig, "Lonely hearts" (2007)

Chris Ashworth, "The all together" (2007)

Rembrandt van Rijn, "Nightwatching" (2007)

Mr. Codlin, "The old curiosity shop" (2007)

Danny Reed, "Boy meets Girl" (2009)

Chris Curry, "Micro Men" (2009)

Paul Maddens, "Nativity!" (2009)

Hector Dixon, "Wild target" (2010)

John Watson, "Sherlock" (2010-2017)

Clive Buckle, "The girl is mime" (2010)

Alvin Finkel, "Swinging with the Finkels" (2011)

Simon Forrester, "What's your number?" (2011)

Dr. Williams, "The Voorman problem" (2011)

Pirate with a scarf/Number Two, "Pirates!" (2012)

Albert, "Animals" (2012)

Bilbo Baggins, "The Hobbit trilogy" (2012-2014)

Don, "Svengali" (Movie from 2013 and series from 2009)

Oliver Chamberlain, "The world's end" (2013)

Lester Nygaard, "Fargo" (2014)

Milton Frutchman, "The Eichmann show" (2015)

Steve Marriot, "Midnight of my life" (2015)

Iain MacKelpie, "Whiskey tango foxtrot" (2016)

Everett Ross, "Captain America: Civil War" (2016), "Black Panther" (2018), "Black Panther: Wakanda Forever" (2022), "Secret Invasion" (2023)

Phil Rask, "StartUp" (2016-2017)

Michael Priddle, "Ghost Stories" (2017)

Andy Rose, "Cargo" (2017)

Thomas, "The operative" (2019)

Charlie Green, "Ode to joy" (2019)

Stephen Fulcher, "A confession" (2019)

Paul Worsley, "Breeders" (2020-2023)

Harold Wallach, "Angelyne" (2022)

Chris Carson, "The responder" (2022-2024)

Jonathan Miller, "Miller's Girl" (2024)

Richard III, from the theather play with the same name. (2014)

#martin freeman #ricky c #tim canterbury #arthur dent #rembrandt #paul maddens #hector dixon #bbc john watson #bilbo baggins #oliver chamberlain #lester nygaard #iain mackelpie #everett ross #phil rask #michael priddle #paul worsley #chirs carson #jonathan miller #richard iii

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kellyvela · 2 months ago

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Here more losers and delulus obsessively trying to hype an irrelevant character, to add to your list:

SEAN BEAN:

Who would you want to see on the Iron Throne at the end of the series?

Sansa would be good, because she’s my daughter. Either her or Arya.

—Sean Bean

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KIT HARINGTON:

youtube

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MAISIE WILLIAMS:

Who do you think deserve to win the game of thrones

Sansa Stark. I think she would be an incredible ruler. And I think that she is like just so true and so honest, she has learnt so much. And I think she would be an incredible ruler of Westeros.

—Maisie Williams

---

Who do you think should end up on the Iron Throne when all is settle down?

Sansa Stark. I think Sansa is just the most incredible character. And I think she has learnt so much. And I think the world would be a better place with Sansa Stark on the Iron Throne.

—Maisie Williams

---

youtube

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ISAAC HEMPSTEAD WRIGHT:

youtube

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RICHARD MADDEN:

He does, however, have a Season 8 prediction with regard to Turner’s character, Sansa Stark. “People thought she was weak and wilty,” he says, “but she’s our mother’s daughter, you know....”

—Richard Madden

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HANNAH MURRAY:

youtube

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JOHN BRADLEY:

---

GWENDOLINE CHRISTIE:

---

PILOU ASBÆK:

---

JACOB ANDERSON:

I think Sophie and Sansa are badasses.

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EMILIA CLARKE:

And so I need to be like: ‘Can I braid your hair, Sansa?

—Emilia Clarke

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HBO:

---

BRYAN COGMAN:

BRYAN COGMAN: In the pilot, Sansa’s main function was informing members of her family and the audience that the only thing she wanted was to get out of Winterfell and go live in the big city and become queen—except a very different kind of queen than the one she ended up being. So Sansa’s storyline was always meant to have a note of triumph at the end, especially after all that she went through in the middle of the series. It was appropriate that she came full circle at the end. She was the only Stark left in Winterfell and leads the North into this new chapter. She’s the best hope for the North’s future.

—Fire Cannot Kill a Dragon: Game of Thrones and the Official Untold Story of the Epic Series by James Hibberd

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GRRM:

---

BONUS:

JESSICA CHASTAIN:

---

#anon asks #asoiaf #grrm #sansa stark #game of thrones

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medievalandfantasymelee · 4 months ago

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Candidates for the title of

🌹Queen of Love & Beauty🌹

Candidates were given priority based on the number of submissions they received (in brackets behind their names and credentials). After all candidates with multiple submissions were entered, single submission candidates were admitted in order of submission.

Guinevere [Angel Coulby], BBC’s Merlin (2008-2012) [17]

Morgana Pendragon [Katie McGrath], BBC’s Merlin (2008-2012) [11]

Lady Éowyn of Rohan [Miranda Otto], The Lord of the Rings Trilogy (2001-2003) [10]

Lady Marian Fitzwalter [Olivia de Havilland], The Adventures of Robin Hood (1938) [9]

Isabeau of Anjou [Michelle Pfeiffer], Ladyhawke (1985) [8]

Arwen Undomiel [Liv Tyler], The Lord of the Rings Trilogy (2001-2003) [7]

Galadriel of Lothlórien [Cate Blanchett], The Lord of the Rings Trilogy (2001-2003) [7]

Princess Buttercup [Robin Wright], The Princess Bride (1987) [6]

Lucrezia Borgia [Holliday Grainger], The Borgias (2011-2013) [6]

Princess Isabella Maria Lucia Elizabetta of Valencia [Karen David], Galavant (2015-2016) [5]

Lagertha [Katheryn Winnick], Vikings (2013-2020) [5]

Sorsha [Joanne Whalley], Willow (1988) [5]

Lady Æthelflæd of Mercia [Millie Brady], The Last Kingdom (2015-2022) [4]

Princess Gwendolyn [Angela Lansbury], The Court Jester (1955) [4]

Maid Jean [Glynis Johns], The Court Jester (1955) [4]

Lady Marion of Leaford [Judi Trott], Robin of Sherwood (1984-1986) [4]

Rebecca of York [Olivia Hussey], Ivanhoe (1982) [4]

Alicent Hightower [Olivia Cooke], House of the Dragon (2022-) [3]

Aliena [Hayley Atwell], The Pillars of the Earth (2010) [3]

Queen Cersei Lannister [Lena Headey], Game of Thrones (2011-2019) [3]

Princess Daenerys Targaryen [Emilia Clarke], Game of Thrones (2011-2019) [3]

Danielle de Barbarac [Drew Barrymore], Ever After: A Cinderella Story (1998) [3]

Devasena [Anushka Shetty], Baahubali (2017) [3]

Elizabeth de Burgh [Florence Pugh], Outlaw King (2018) [3]

Queen Guinevere [Vanessa Redgrave], Camelot (1967) [3]

Hürrem Sultan [Meryem Uzleri], Magnificent Century {Muhteşem Yüzyıl} (2011-2014) [3]

Lady Jocelyn [Shannyn Sossamon], A Knight’s Tale (2001) [3]

Princess Lili [Mia Sara], Legend (1985) [3]

Lady Margaery Tyrell [Natalie Dormer], Game of Thrones (2011-2019) [3]

Marian of Knighton [Lucy Griffiths], BBC’s Robin Hood (2006-2009) [3]

Lady Sansa Stark [Sophie Turner], Game of Thrones (2011-2019) [3]

Sheng Minglan [Zhang Liying], The Story of Minglan (2018) [3]

Queen Susan the Gentle [Sophie Winkleman], The Chronicles of Narnia (2005-2010) [3]

Lady Anne Neville [Claire Bloom], Richard III (1955) [2]

Lady Anne Neville [Phoebe Fox], The Hollow Crown (2012-2016) [2]

Brienne of Tarth [Gwendoline Christie], Game of Thrones (2011-2019) [2]

Bronwyn [Nazanin Bonialdi], The Rings of Power (2022-) [2]

Queen Catherine of Aragon [Maria Doyle Kennedy], The Tudors (2007-2010) [2]

Contessina de Bardi [Annabel Scholey], Medici (2016-2019) [2]

Egwene Al’Vere [Madeleine Madden], The Wheel of Time (2021-) [2]

Queen Eleanore of Aquitane [Katharine Hepburn], The Lion in Winter (1968) [2]

Queen Elizabeth Woodville [Rebecca Ferguson], The White Queen (2013) [2]

Donna Giulia Farnese [Lotte Verbeek], The Borgias (2011-2013) [2]

Queen Guinevere [Cheri Lunghi], Excalibur (1981) [2]

Jadis, the White Witch [Tilda Swinton], The Chronicles of Narnia (2005-2010) [2]

Jeanne d’Arc [Renee Falconetti], The Passion of Joan of Arc {La Passion de Jeanne d’Arc} (1928) [2]

Joan of Arc [Milla Jovovich], The Messenger: The Story of Joan of Arc (1999) [2]

Kate [Laura Fraser], A Knight’s Tale (2001) [2]

Lady Kate Percy [Michelle Dockery], The Hollow Crown (2012-2016) [2]

Queen Lucy the Valiant [Rachael Henley] [2]

Queen Madelena [Mallory Jansen], Galavant (2015-2016) [2]

Queen Margaret of Anjou [Sophie Okonedo], The Hollow Crown (2012-2016) [2]

Lady Mary Boleyn [Charity Wakefield], Wolf Hall (2015-2024) [2]

Moiraine Damodred [Rosamund Pike], The Wheel of Time (2021-) [2]

Morgana Pendragon [Eva Green], Camelot (2011) [2]

Queen Rhaenyra Targaryen [Emma D’Arcy], House of the Dragon (2022-) [2]

Queen Sibylla of Jerusalem [Eva Green], Kingdom of Heaven (2005) [2]

Eliška Pomořanská [Jana Brejchová], A Night at Karlstein {Noc na Karlštejně} (1973) [1]

Lady Marian [Audrey Hepburn], Robin & Marian (1976) [1]

Ophelia [Jean Simmons], Hamlet (1948) [1]

Aykız Hatun [Hande Subaşı], Diriliş: Ertuğrul (2014-2019) [1]

Roberta Steingas [Clare Foster], Galavant (2015-2016) [1]

Tamina [Gemma Arterton], Prince of Persia (2010) [1]

Princess Isabelle [Sophie Marceau], Braveheart (1995) [1]

Alexandra [Geraldine Viswanathan], Miracle Workers: The Dark Ages (2020) [1]

Isabella of Valois [Emma Hamilton], RSC’s Richard II (2013) [1]

Jade Claymore [Erin Kellyman], Willow (2022) [1]

Anne Boleyn [Genevieve Bujold], Anne of the Thousand Days (1969) [1]

Mu Nihuang [Liu Tao], Nirvana in Fire (2015-2018) [1]

Padmavati [Deepika Padukone], Padmaavat (2018) [1]

Queen Isabella [Tilda Swinton], Edward II (1991) [1]

Djaq [Anjali Jay], BBC’s Robin Hood (2006-2009) [1]

Below is a list of Honorable Mentions...

Anne Boleyn [Natalie Portman], The Other Boleyn Girl (2008)

Aslaug [Alyssa Sutherland], Vikings (2013-2020)

Aviendha [Ayoola Smart], The Wheel of Time (2021-)

Catherine of Aragon [Charlotte Hope], The Spanish Princess (2019-2020)

Cecilia Algotsdotter [Sofia Helin], Arn: The Knight Templar (2007)

Doric [Sophia Lillis], Dungeons & Dragons: Honour Among Thieves (2023)

Queen Elizabeth of York [Jodie Comer], The White Princess (2017)

Jiang Yanli [Xuan Lu], The Untamed (2019)

Guinevere [Julia Ormond], First Knight (1995)

Hafsa Sultan [Nebahat Çehre], Magnificent Century {Muhteşem Yüzyıl} (2011-2014)

Hatice Sultan [Selma Ergeç], Magnificent Century {Muhteşem Yüzyıl} (2011-2014)

Queen Isabella of Castile [Michelle Jenner], Isabel (2011-2014)

Isolde [Sophia Myles], Tristan + Isolde (2006)

Joan of Arc [Ingrid Bergman], Joan of Arc (1948)

Kira [Lisa Maxwell, Kathryn Mullen], The Dark Crystal (1982)

Queen Mab [Miranda Richardson], Merlin (1998)

Maleficent [Angelina Jolie], Maleficent (2014)

Lady Margaret Tudor [Georgie Henley], The Spanish Princess (2019-2020)

Marian Dubois [Mary Elizabeth Mastrantonio], Robin Hood: Prince of Thieves (1991)

Lady Mary Tudor [Sai Bennett], The Spanish Princess (2019-2020)

Empress Maude [Alison Pill], The Pillars of the Earth (2010)

Morgaine [Julianna Marguiles], The Mists of Avalon (2001)

Queen Ravenna [Charlize Theron], Snow White and the Huntsman (2012)

Rebecca of York [Elizabeth Taylor], Ivanhoe (1952)

Rosie Cotton [Sarah MacLeod], The Lord of the Rings Trilogy (2001-2003)

Sharako Lohar [Abigail Thorn], House of the Dragon (2022-)

Tár-Miriel [Cynthia Addai-Robinson], The Rings of Power (2022-)

Ygritte [Rose Leslie], Game of Thrones (2011-2019)

Yara Greyjoy [Gemma Whelan], Game of Thrones (2011-2019)

#queen of love and beauty #queen of the tournament

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