#The King and I

[hootyhoowoo]

Very self indulgent ‘The King and I’ au where Shen Qingqiu is a hired, contracted teacher for Emperor Luo Binghe’s harem children— except he doesn’t expect to fall in love with every single one of them and adopt them as his own, and possibly fall for the emperor as well.

Feat….an oc?

all bc I was listening to this on repeat one Sunday

[choosetheleft]

Another of those “I was clearly aroace but I just didn’t know that was a Thing” experiences was when I realized my friends were interpreting shows/stories as romantic when to me they very clearly were not. The biggest examples are My Fair Lady and The King and I. (Setting aside discussion of problematic aspects of those shows for now because that’s not what I’m addressing right now). To me those shows were interesting BECAUSE they centered platonic relationships, and made them interesting and CENTRAL to a story despite not being a romantic and/or sexual relationship. I LOVED that about those shows. But then when I talked about that with friends and they told me that they read the relationships as romantic and I’m just like… but why? They’re not and I think it’s weird to push that on them when they really REALLY don’t have to be?? But then again there’s society doing its allonormativity thing all over again.

Anyway. Make more media about non romantic non sexual relationships that treat those relationships as just as interesting, valid, and story-worthy as romantic and/or sexual relationships… but I guess you have to beat people over the head with the aroaceness of the relationship or they will read it as romantic/sexual anyway, cue enormous eye roll.

[romancemedia]

❤️Disney/Non-Disney Couple Parallels❤️ That stupid law! This isn't fair. I love you. ⬌ Aladdin & Jasmine No one will know, til we tell them. ⬌ Chulalongkorn & Tuptim

[costumeloverz71]

Anna Leonowens (Deborah Kerr) White dress with blue/green stripes. The King And I (1956). Costume by Irene Sharaf.

[notfeelingthyaster]

there's always the right sounding version of a musical, and it's never the one easy to find in spotify

[cartoonfan21]

Underrated Animated Heroines Of The 90's.

[thehouseofwindsor]

The King and I

Chapter One: The Prince’s Fixer

The summons to Clarence House came abruptly, a terse call from Prince Charles’ private secretary instructing James Cole, a 32-year-old American PR manager and professional "fixer," to discuss the ongoing debacle surrounding Prince Andrew’s Epstein scandal. Hired to scrub the stain off Andrew’s reputation, James was used to navigating royal crises, but a direct audience with the Prince of Wales was a new level of stakes. The air in Charles’ private office was heavy with the scent of polished wood, leather, and the sharp tang of bourbon, poured neat into a crystal shot glass on the desk.

Charles, at 5’10” with thinning silver-white hair and a slim frame softened by age, sat behind the mahogany desk, his blue checkered suit impeccably tailored but his expression worn. His blue eyes, usually keen, were clouded with grief—his father’s death, Harry’s absence, and Andrew’s scandals piling like storm clouds. The wedding ring on his pinky, next to his signet ring, glinted under the lamplight, a quiet nod to Camilla. His slumped shoulders betrayed a man battered by life’s relentless kicks.

“Thank you for coming, Mr. Cole,” Charles muttered, voice low, almost lost in the room’s weighty silence. “We need to discuss Andrew’s… situation.”

He knocked back a shot, the amber liquid catching the light as he grimaced. “His indiscretions are a bloody disaster for the family.”

James, 6’1” and sculpted with muscle beneath a sleek black suit, leaned against the desk, his dark brown hair styled with a slight wave, piercing blue eyes scanning Charles. Lust crackled through James’ veins as he noted the prince’s weary handsomeness—silver fox charm that had his cock stirring already.

“Rough year, huh, Your Highness?” James said, smirking, his voice smooth and teasing. “Andrew’s mess is a shitstorm, no question. But I’ve got ideas to contain it—discreetly, of course.”

Charles nodded, pouring another shot, his fingers trembling slightly. James’ gaze flicked to the subtle bulge in Charles’ trousers, then back to his face.

“Looks like you need a distraction from all this.” He paused, letting the words linger, then threw caution to the wind. “When’s the last time someone sucked your cock, sir?”

Charles froze, glass halfway to his lips, his eyes snapping to James’ with a mix of shock and unspoken hunger. His lips parted, but words failed him. James sauntered around the desk, closing the gap, and boldly perched on Charles’ lap, feeling the prince’s thighs tense beneath him. The fine wool of Charles’ suit was soft, but the growing hardness under James’ ass was undeniable.

“Er… this is highly inappropriate,” Charles stammered, his voice cracking, but his hands didn’t push James away.

James silenced him with a fierce kiss, shoving his tongue past Charles’ lips, tasting bourbon and the faint mint of his breath. Charles gasped into the kiss, his body stiff before softening slightly. James pulled back, leaving Charles flushed, his ruddy complexion deepening.

“I’m the Prince of Wales, a married man—what the hell are you thinking?” Charles rasped, but his blown pupils betrayed his desire.

“I’m thinking you’re hard as fuck under me,” James shot back, grinding his ass down, coaxing a low groan from Charles. He nuzzled the prince’s neck, inhaling the woody spice of his cologne.

“Camilla doesn’t have to know,” James whispered, arms snaking around Charles’ shoulders. “Relax, sir. Let me take care of you.” Charles shuddered, his resolve crumbling.

“It’s been years since… a man touched me like this,” he admitted, voice barely audible.

“How long?” James pressed, lips brushing Charles’ ear.

“Decades,” Charles rasped, eyes dark with need, his “sausage fingers” trembling as they gripped the chair.

“Lock the door,” Charles ordered, his voice shaky but firm.

James hopped up, bolted the heavy oak door, and dropped to his knees between Charles’ legs in one fluid motion. The prince’s lips quivered as James slid his hands up Charles’ thighs, savoring the texture of fine wool and the heat beneath. With slow precision, James popped the buttons on Charles’ suit jacket, tugged the white dress shirt free, and unzipped his fly. A glimpse of Charles’ hairy belly appeared, silver curls trailing down to where James’ fingers dipped into his briefs.

James freed Charles’ cock—7 inches, thick, cut, and stunning, the head slick with precum.

“Fucking hell, you’re hung,” James growled, his own 8-inch cock straining against his trousers. He licked a slow, deliberate stripe from base to tip, savoring the salty tang of Charles’ skin, the faint musk of royalty. Charles shivered, his fingers digging into the leather armrests. “Oh God… so good…” he murmured, voice thick with awe.

James wrapped his lips around the head, sucking hard, tongue flicking over the slit to lap up the steady drip of precum. He worked his mouth down the shaft, feeling the veins pulse against his lips as he took Charles deeper, throat stretching to accommodate him. Spit slicked the way, dripping down Charles’ shaft as James gagged softly, burying his nose in the coarse silver pubes at the base. The prince’s musk was intoxicating, a heady blend of clean skin and raw desire. James glanced up, meeting Charles’ glazed eyes, the prince’s flushed face a portrait of surrender.

“Yes—fuck, yes,” Charles moaned, hips twitching, chasing the wet heat of James’ mouth.

James bobbed faster, hollowing his cheeks, the wet slurp of his lips echoing in the quiet room. His tongue swirled under the sensitive ridge of Charles’ cockhead, teasing the slit with quick, relentless flicks. Charles’ breathing hitched, his hands clawing the chair as James slowed, dragging his lips up the shaft with agonizing precision, letting his teeth graze just enough to make Charles hiss.

Popping off with a wet sound, James stroked Charles’ slick cock slowly, kissing down the shaft to his balls. He licked them lightly, tasting the faint salt of sweat, then sucked one into his mouth, rolling it gently with his tongue while his hand kept a steady rhythm on Charles’ cock.

“You like that, sir?” James mumbled, lips brushing the delicate skin of Charles’ sack, spit and precum smearing his chin.

“Christ, don’t stop,” Charles begged, his voice raw, hips lifting off the chair.

James grinned, moving to the other ball, sucking it with a soft hum that vibrated against Charles’ skin. His free hand unzipped his own trousers, freeing his throbbing cock, and he stroked himself in time with Charles’ ragged breaths.

James returned to Charles’ cock, engulfing it in one smooth motion, lips stretched wide as he deep-throated him. His throat constricted, gagging again, but he pushed through, nose pressed to Charles’ pubes as he swallowed around the thick length. Charles’ moans grew louder, desperate, his hands flying to James’ shoulders, gripping as if to anchor himself. James felt the prince’s cock throb, the telltale pulse of impending release. He pulled back slightly, sucking hard on the head, tongue lashing the slit as his hand pumped the base.

“Fuck—James—” Charles gasped, thrusting weakly.

With a final, deep suck, James pulled off, stroking Charles’ cock furiously. The prince came with a strangled cry, cum erupting in thick ropes across James’ face, warm and sticky, coating his cheeks and lips. James kept stroking, milking every drop, careful to keep his eyes clear as he watched Charles’ cock soften, the prince’s chest heaving like he’d run a marathon.

“Bloody hell,” Charles panted, slumping back, sweat beading on his brow.

James licked his cum-slicked lips, tasting the bitter-salt of Charles, and grinned. He gripped his own cock, jerking fast, and spilled onto the floor beneath the desk with a low groan, his release mixing with the office’s polished sheen.

“Better than Camilla?” James quipped, wiping his face with the back of his hand, his dry wit cutting through the haze.

Charles smirked, catching his breath. “Don’t push your luck.” But the glint in his eyes told another story.

From that moment, they were lovers—stealing heated moments between James’ secret trysts with Andrew and Charles’ endless royal duties, their encounters a reckless dance of power and desire, all sparked under the guise of discussing Andrew’s ruin.

DISCLAIMER: This is a work of FICTION, and it does not reflect any real events, or the true nature of the individuals involved.

[wewriteletters]

Music by Richard Rodgers, Lyrics by Oscar Hammerstein II

[madisoncounty]

congratulations to 7-time tony award loser kelli o'hara

[thenamelessdoll]

Paused at the Right Moment, part 18

1. Thumbelina (1994) 2. The King And I (1999) 3. Cinderella III (2007) 4. The Fox and the Hound (1981) 5. Enchanted (2007) 6. Turning Red (2022) 7. Pocahontas II (1998) 8. Ferngully (1992) 9. The Swan Princess (1994) 10. Thumbelina (1994)

Part 1 , 2 , 3 , 4 , 5 , 6 , 7 , 8 , 9 , 10 , 11 , 12 , 13 , 14 , 15 , 16 , 17

More Animaton Shitposts  +  Paused at the Right Moment Video

[princesssarisa]

Classic Hollywood influences in Disney's "Beauty and the Beast"

I’ve posted about this before, but I want to post about it again.

Disney's Beauty and the Beast is filled with subtle influences from classic Hollywood movies, especially musicals. More so than any other Disney animated feature that came beforehand.

Some of these you'll see cited in many places on the Internet. Others I noticed all by myself.

*Katharine Hepburn

Screenwriter Linda Woolverton has often cited Katharine Hepburn as an influence on Belle's characterization, with her intelligent, independent, strong-willed screen persona. Belle's general personality as a headstrong, free-spirited bookworm draws inspiration from Hepburn's portrayal of Jo in the 1933 version of Little Women (albeit less tomboyish), while her snappy arguments with the Beast in their early scenes were inspired by Hepburn's similar bickering with Spencer Tracy in their romantic comedies.

*Audrey Hepburn, Natalie Wood, Elizabeth Taylor, Ava Gardner, Vivian Leigh

While Katharine Hepburn influenced Belle's personality, these classic Hollywood brunette beauties influenced her appearance. Ava Gardner was reporttedly the strongest influence on early concept art of Belle, while Audrey Hepburn, Natalie Wood, Elizabeth Taylor, and Vivian Leigh influenced the way her design evolved. Photos of these actresses were allegedly displayed in the studio for the animators to literally draw inspiration from. The design of Belle's golden ballgown was also influenced by the gown Audrey Hepburn wears at the beginning of Roman Holiday, which reads as white in the black-and-white film, but which was, in fact, golden.

*The Wizard of Oz

Besides the above-mentioned movie stars, Belle also looks a bit like a young Judy Garland, with her brown hair and soft rounded face, and her blue and white peasant dress looks similar to Dorothy's iconic blue and white gingham dress in The Wizard of Oz. Appropriately, like Dorothy, Belle is a dreamer who doesn't quite fit into the workaday rural community where she lives, longs to escape to a better place, and then, through unforeseen, uncomfortable circumstances, is whisked away to a magical place where she meets new friends and has remarkable new experiences. Lumiere, Mrs. Potts, and Cogsworth can also be seen as counterparts to the Scarecrow, the Tin Man, and the Cowardly Lion. A trio of loyal friends who provide both comic relief and invaluable help, consisting of an unofficial leader who has most of the bright ideas (the Scarecrow/Lumiere), one who's especially kind and gentle despite being made of a hard, cold substance (the Tin Man/Mrs. Potts), and a comically nervous one who eventually proves to be braver than he seems (the Cowardly Lion/Cogsworth). Last, but not least, we get a Wizard of Oz shout-out when the Beast has his fur styled for his elegant dinner with Belle: his "stupid" hairdo with curls and ribbons looks almost identical to the Cowardly Lion's curled and ribboned mane after his Emerald City makeover.

*The Sound of Music

Belle's stance on a hill with her arms outstretched as she sings "I want adventure in the great, wide somewhere..." is an obvious homage to Julie Andrews as Maria singing the title song of The Sound of Music on a similar green hill. This is fitting, because a close look at the two plots reveal many similarities. In both, the heroine is a passionate, free-spirited young woman who doesn't fit into the conservative community where she lives (as her fellow community members express in song). Then, through unforeseen circumstances, she goes to live in a wealthy new home, where the master is a stern, aloof, and unhappy man. She quickly bonds with the others in the house (the children/the servants), but clashes with the master because she dislikes his attitude and ignores his rules. But just as she's about to leave, a turning point happens (Captain von Trapp hears his children singing and his own love for music reawakens/the Beast rescues Belle from the wolves), and so she stays after all. From then on, she brings new warmth and joy into the household, the master becomes a kinder man thanks to her influence, and they gradually and secretly fall in love with each other. Their growing feelings culminate when they share an intimate, romantic dance. Immediately afterwards, however, the heroine leaves and goes back to her old home (Maria to resist her feelings for the Captain, Belle to rescue her father), seemingly never to return. But her love for the hero ultimately brings her back and they joyfully wed. (Fortunately, in Beauty and the Beast, there are no Nazis to darken Belle and the Prince's newlywed days.)

*The King and I

Whether consciously or not on the writers’ parts, the Beauty and the Beast plot structure mirrors The King and I too. (Of course, some people might argue that in The Sound of Music, Rodgers and Hammerstein rehashed a fair amount of The King and I, just in a different setting and with a different ending.) A strong-willed, intelligent young woman comes to live in the palace of a royal man who is spoiled and short-tempered, yet secretly insecure. At first, they clash, because he tries to command her, but she won’t allow it. But after almost leaving, she gives him a second chance, and before long they gain mutual understanding and respect, and become good friends. Then comes a ballroom scene, in which the heroine exchanges her usual modest clothes for a gorgeous, bare-shouldered hoopskirt gown, and she shares an intimate dance with the hero, making it clear that their unspoken feelings have grown beyond friendship. But directly after the dance, a crisis occurs (Tuptim’s capture/Maurice lost in the snow), which drives the heroine away from the hero, seemingly forever. The hero falls into despair and loses the will to live. But then the realization that the hero is near death (the King of his illness/the Beast threatened by Gaston) brings the heroine back to him, and he dies in peace with her by his side. (Though unlike the King, the Beast doesn’t stay dead.) Both iconic dance scenes also emphasize the moment when the hero places his hand on the heroine's waist. But Disney offers a slight gender flip: in The King and I, the King takes the initiative and puts his hand on the waist of the momentarily shy, uncertain Anna, while in Beauty and the Beast, the Beast is the shy, uncertain one, but Belle takes his paw and places it on her own waist. Still, I suspect that this moment in Beauty and the Beast was meant as a subtle homage.

*Gigi (1958)

Yet another classic Hollywood brunette whom Belle looks a bit like is Leslie Caron, and both Gigi and Beauty and the Beast take place in France and feature a handsome, arrogant playboy named Gaston (the Louis Jourdan character in Gigi), who takes an interest in the heroine. But Gigi refuses to be her Gaston's mistress, while Belle refuses to be her Gaston's wife. Of course, the similarities end there, as the one Gaston ultimately redeems himself and marries Gigi, while the other Gaston becomes a murderous villain and dies. Lumiere’s voice and mannerisms are also clearly based on Maurice Chevalier, who plays the supporting role of Gaston’s uncle in Gigi.

*Frankenstein (1931)

The mob led by Gaston that storms the castle to kill the Beast at the climax recalls the mob that pursues the Monster at the climax of Universal’s classic Frankenstein. Particularly because both the Monster and the Beast are sympathetic, misunderstood creatures, and no mob ever tries to kill the Beast in the original fairy tale.

*West Side Story (1961)

As the Beast lies dying in Belle's arms, the camera angles are almost identical to those of Tony's death in Maria's arms in the original film version of West Side Story. The fact that Belle's appearance was partly based on Natalie Wood must have brought this scene to mind for the animators.

*Camille (1936)

The Beast's death scene also seems to draw inspiration from the famous death of Greta Garbo's Marguerite in the arms of Robert Taylor's Armand at the end of Camille. Even though the characters' genders are reversed, the emotional beats are similar: both Marguerite and the Beast are resigned to their fate because death will free them from their life as a social outcast, while both Armand and Belle insist that everything will be fine. The Beast's "Maybe it's better this way" mirrors Marguerite's "Perhaps it's better if I live in your heart, where the world can't see me," while Belle's "Don't talk like that" mirrors Armand's "Don't think such things." Then the moment of death is conveyed by Marguerite and the Beast's eyes, as they roll upward and then close. Then both Armand and Belle plead "No, no!" and "Don't leave me!" and both bury their faces in their beloved's chest in anguish. The 2017 remake adds yet another shout-out by having Belle plead "Come back!" just as Armand does.

All these homages and influences show that with Beauty and the Beast, the filmmakers weren't just trying to create another fairy tale movie for children, but a romantic musical in the spirit of the Golden Age of Hollywood, which adults could enjoy too. This classic Hollywood spirit was probably a key reason why the film became the first animated feature ever nominated at the Oscars for Best Picture.

@ariel-seagull-wings, @themousefromfantasyland, @thealmightyemprex

[emaratygirl]

This kind of love ✨❤️🫶🏻. @romancemedia @awyeahswanprincess @theswanprincessofficial @thedisneyprincess @thenamelessdoll @jazzymarie1006 @ran94 @ran94creas @maidmarians @meril-tospen @megahra @marciabrady @mickeyandcompany @disneyyandmore-blog @fgadfanpage @nessa007 @pixiedustcaps @queentianas @queenmercurys @petitetiaras @summoneryuna @quasiimodos @amazinglyanimated @thumbelina-rose-blog @60sgroove @chiffonz @cartoon2d @capturing-kawaii @chaotictoon @fairytalegrimm @ninetiesfairydust @thorinsbeard @trreasureplanet @whippedcloudsofcream @enjollras @gingermalarkey @francissinatra @lavidadedaniela @theanimatedwonders @princessas @princessnostalgia @swan-princess-spell-blog @swan-princess-odette-blog-blog @swan-lake-princess-blog @fyeahthumbelina-blog @nondisneylove-blog @wltdisneys @kpfun @disney-gifs @disneyismyescape

[poppingmary]

Deborah Kerr as “Anna” in “The King and I” - 1956

Looking exquisite in Irene Sharaff’s beautiful gown

[romancemedia]

Cartoon Romances + Disapproving Parents

[goldberry-edition]

Oldies but goodies! Can you name all of them?

[citizenscreen]

Rodgers and Hammerstein's “The King and I" premiered at the St. James Theatre on Broadway on March 29, 1951. Gertrude Lawrence played Anna Leonowens and Yul Brynner was the King of Siam.