#and you need serious help if you think depictions of sex are inherently wrong

[harbingerofsoup]

i actually really like when sex is in media i fully believe that it’s important and relevant to the plot and themes

especially when it’s queer

[mermaidsirennikita]

bridgerton--the good, the bad, the ugly

The short of it: Bridgerton excellently captures the tone of Regency romance novels and offers a lot of escapism and great sex scenes, but could definitely use some serious work in terms of how it depicts race and it should have made some further alterations to the dated and flawed source material.  Definitely loved a lot of it and am hotly anticipating the second season, but I want to see more work done and I HOPE that this encourages the adaptation of better (and less inherently flawed) romance novels.

Now for the longer take.

The Good

Bridgerton depicted sex and romance in a way that is totally different from anything I’ve seen in period dramas, for sure, but possibly different from anything I’ve seen on TV.  The romance of it all was woven into almost every aspect of the show. There is the handsome and seemingly severe but extravagantly wealthy and sexually adept duke sweeping into town.  The (multiple) rakes who just want to have fun while also being hot messes.  The awakening of female sexuality and the copious use of the female gaze.  (Note the pretty modest and minimal focus on female nudity, while we get plenty of lingering shots on Simon.).  People want love!  There is pretty minimal violence and perhaps the most physically violent scene involves Simon beating a man up because HE IMPEACHED DAPHNE’S HONOR~.

The sex scenes themselves focused on Daphne’s pleasure for the most part, and were probably among the best I’ve seen since Outlander in terms of chemistry, in terms of the visuals, in terms of focus on sex as an act of emotional connection and FUN. Yes, there was some Unlikely Vaginal Orgasming, but we also saw Simon tell Daphne about masturbation.  On the wedding night, he was pretty clearly touching her to help her enjoy it.  He ate her out... a good bit.  

And aside from that, we got all of the grand speeches, the stolen glances and touches, an excellent buildup of sexual tension that led to some pretty hilarious moments.  

I also really enjoyed many of the performances on this show.  Rege-Jean and Phoebe had great chemistry and excellent back and forth.  Jonathan was a GREAT Anthony.  I would argue that as lackluster as I found his relationship with Siena (more on that in a minute) it largely existed as a way to set him up for his romance with Kate.  He now has even more of a reason to be down with love, as opposed to solely relying on a kind of flimsy tragic backstory.  Additionally, his overprotectiveness of Daphne added tension to the story and made him a source of comedic relief for me?  I loved it.  Give me disaster Anthony all day; can’t wait until he falls to the enemies to lovers trope just like Simon fell to his FLAW-FREE fake dating plan.

A lot of the changes I found were really good.  Obviously, it was important that the show incorporated greater diversity (though they need way more).  Benedict was INFINITELY more fun and interesting than he was in the novels, and acted as another standout for me.  As much as I hate Portia Featherington, I think that the elevation of her to a proper villainess is probably necessary and Polly Walker excels at those types of roles, though they need to maybe have her be less like, actively racist.  I adored the addition of Queen Charlotte; she was excellent comic relief.  Lady Danbury’s expanded role and relationship to Simon was one of the best moves they made.  It touched my entire soul.

Buuuut....

The Bad

The show needs to work on casting more men that are frankly on Rege-Jean’s level.  It feels a bit awkward to see a guy that is by most people’s standards kind of stunning and then.... Colin looks twelve.  Lord Philip is like... a farm guy.  Get rid of the sideburns, we’re in romance novel territory.

In the same note, the girl who played Siena wasn’t a great actress and wasn’t super stunning, so even though I’m fine with her being a placeholder....  Eh.  Go for better casting.  The woman playing Madame Delacroix would’ve played that role so much better and I really enjoyed her dynamic with Benedict because she was just fun.

Frankly, I don’t know what the fuck they’re going to do to make me want to watch Penelope and Colin fall in love.  Their book was already a bit basic--fun, but far from revolutionary.  I don’t really get why they would receive attention similar to that of Kate and Anthony, basically.  The issue is that Colin, again, looks and sound rather young and twerpy.  It obviously wasn’t great for him to be tricked into raising another man’s child, but.... For fuck’s sake, how much would that have affected his life on a practical level.  He’d never know unless he was told, thanks to the lack of DNA tests.  He was marrying far out of his league in terms of attractiveness.  He’s a rich white guy in England with a supportive family.  

I really disliked the fact that Colin told Marina in his huffy little tantrum that he would have married her anyway--because would you have, buddy?  Really?  The thing is that Marina had no way of knowing that and her entire life (and the reputations of her cousins) was on the line.  She didn’t know if she could trust Colin to keep her secret.  They barely knew each other.  He basically came off as a whiny child and I’m fine with him staying in Greece if that’s the plan.

Penelope was just... psychotic.  And that was really disappointing, because I love Nicola and would love to have loved to see the fat girl get her sexy love story.  But first off, lol, it wouldn’t have been sexy because Colin was miscast.  Second, she basically tried to destroy Marina’s life and that of her sisters?  And herself?  Because Colin?  Because Colin, a guy who hasn’t even shown any amount of attraction to her at this point?  Her tears, her whining, it was all too much.  Penelope was dealing with a crush and Marina was dealing with the real Grown Woman issues of a child out of wedlock and as it turned out a dead lover and they were not on equal footing.

I mean, Penelope could very well make a great villainess at this point, and if done well I’d embrace it.  But I do not know how the fuck they can make me interested in her love story.  And the idea of her basically being launched into villainy because she was this chubby white girl obsessively jealous of a beautiful black woman...... not a great look.

The show definitely needs to explore diversity in terms of sexuality too--I don’t think it’s correct to read Benedict as straight because he still seems to be open to exploring.  Once he has more screentime, I think he could totally end up being bisexual, and it’s possible that the writers were trying to feel the audience out in terms of their receptiveness to taking a straight character who has a big straight love story in the books and making him LGBT+.  Eloise could also easily be a lesbian, and I’d be thrilled to see that happen.  They need to do something to expand the world, and if there are 8 Bridgerton kids, all of them being straight as an arrow seems SO unlikely.

The Ugly

Obviously, the rape scene was bad and should have been written out.  Simon could have gotten caught up in the moment and blown up at Daphne after he accidentally didn’t pull out in time.  Men.... accidentally don’t pull out in time... a lot.  That’s how babies happen.  It would’ve been believable, and due to our sympathies being with Simon largely, I don’t think he would have become irredeemable if he was more at fault than Daphne.  

As it was, I will say that the scene was somewhat better than it played in the books because Simon was conscious and totally sober, and it was a bit?  Confusing?  That he didn’t just roll Daphne over and pull out?  Because she wasn’t really clearly trying as hard as she was in the book to wrap her legs around him and hold him tight.  But it remained a rape scene.  The show also did a better job, I think, of establishing how fucked up it was that Simon took advantage of Daphne’s lack of knowledge.  Whatever he said about thinking she knew what was up--he knew she didn’t even know about masturbation.  He had to know she wouldn’t understand what pulling out meant.  He did very clearly mislead her to think that he was sterile and therefore denied Daphne her ability to give informed consent.  Did that justify what Daphne did?  Nope.  Two wrongs don’t make a right.  But both of them did a fucked up thing and I think that we honestly could’ve stopped at Simon’s misleading.

The issue too is that this leads into a bigger problem the show had.  It wanted to include diversity (yay!) but did not consider the total implications of what was happening (not yay).  Daphne and Simon’s dynamic is inevitably influenced by the fact that she’s a white woman and he’s a black man, regardless of whatever handwaves happened.  This influences the sexual assault and makes it even more messy.

Speaking of mess, I’m not sure what exactly would have fixed the “we don’t want this to be a colorblind casting” issue... but the explanation they came up with wasn’t good.  Never mind that this makes everything SUPER confusing (racism is over like..... maybe 50 years MAX after Queen Charlotte’s marriage if we assume she was a teen when she married and is in her 60s now?) but Lady Danbury’s dialogue explaining this was HORRENDOUS.  “One of them fell in love with one of us”.  The implications are awful.  I don’t know if perhaps setting back the integration of society centuries earlier would have helped?  But this wasn’t it.

Additionally, the writers and casting directors didn’t seem to get that diversity is all well and good, but what about the fact that almost every black character has a light skin tone?  Why are there so few black female characters?  Why is Marina, the most prominent woc on the show, given the “pregnant and desperately trying to trick a man into marrying her until her jealous white cousin fucks her life up and she is humiliated into settling for a loveless match” plot?  I desperately hope we see her next season, falling in love with Sir Phillip or perhaps having experienced a plot twist that gives her someone else...  And she better not die. Eloise can find someone else if Marina really ends up with Sir Philip.

Ultimately, again, I really loved the show.  But it needs to work on some things.  I think that a lot of its issues can be addressed and fixed in a future season, and I HOPE they do that.

[flying-elliska]

Have you ever got that feeling that being bisexual is like having a double life? Like you can enjoy straight things and culture but you can also enjoy from the LGBTQ+ community. Sometimes I feel like a double agent and I feel privileged in the community because there is the possibility of not being judged if I decide to date someone who has a different sexual orientation than me. I feel like I’ve been too brainwashed after reading how bisexuality is being “half straight half gay”

It’s like living in a gray zone where you feel like you have to play for either team, but you don’t identify with either of them. And I was reading some discurse in radical lesbian pages that say that we only bring trouble by bringing men into the LGBTQ+ community. It really got to me and now I question what is my position there. Sorry if I bother you with these questions, but you’re the one I’ve seen that can tackle these kind of issues sensibly.

Hey, don’t worry anon you’re not bothering me, thanks for trusting me with these sort of issues.

Bisexuality is its own sexuality and it is fully valid on its own and part of the LGBTQ community on its own, no matter who your long term partner is. You don’t have to pick a side. LGBTQ culture is yours, as much as you want it to be. Bi people have been there at its onset and still are - for instance, the woman who organized the first Pride march, Brenda Howard, was a bisexual rights activist ! Of course, there is a small but vocal minority of the community that derives their clout from wanting to exclude others (be it bi, trans, ace people…) who are not up to their purity standards. To me, this vision of community as a small set of resources to be hoarded and defended from those who are not oppressed/deserving enough is extremely damaging (and ultimately plays into the hands of conservative ppl who hate us all but love seeing us tear each other apart.) Honestly I would stay away from radical feminism shit if I were you, that stuff can be extremely toxic for bi women (and plays into super crappy essentialist visions of gender). You are not ‘bringing men into the LGBT+ community’ anyway (lol there are already plenty of men there ! trans men ! bi men ! gay men !) and even if your partner is a straight dude, I think as long as he knows how to be respectful, there is nothing wrong with that. You’re not straight, your relationship isn’t straight. The mentality of ‘us vs the rest of the world’ is often, I think, born out of trauma, and there is a lot of that to go around, but some people choose to take it out on other people instead of choosing healing. Also this idea that men are necessarily horrible dangerous people ‘polluting with their presence’ is just...bad on so many levels (women can be terrible too lmao). Having women centric spaces can be helpful and great for certain things, but the LGBTQ community should be more expansive than that. I mean - if you go that way, there are trans people with opposite sex partners too, should they not bring them to Pride either ? It’s a very slippery slope there, and it goes down to a garbage chute where we start overanalyzing each other and our sexual behaviors that starts to resemble a 19th century Puritan village which is...completely nuts, for real. 

 My perspective is that the more we grow as a community, the more people realize that they might not have been as straight as they think they are, the more powerful we are. You are not taking anything away from anyone or anything, you’re not polluting or invading. Your story and earnestness in love are an asset to the community. This diversity is what makes us strong and beautiful. Of course, we might be joined by people whose same sex attraction is rare, people who earlier in human history might have been closeted, even to themselves their whole lives. But this freer society is giving them the opportunity to be honest about the full extent of their capacity to love, and I think that’s beautiful. This need to draw lines can be so toxic for questioning people, too. Human sexuality is often a fuzzy, fluid, complicated thing, for a lot more people than we are willing to admit. 

Besides, axes of oppression don’t only work along sexuality lines. It’s much more complex than that. And even if yes, things might be easier for you in certain respects if you are in a ‘straight passing’ relationship, and it is important to recognize that ; if you have to dismiss your sexuality, if you’re not able to be open and are pressured into sweeping a whole part of your identity under the rug, if you’re not taken seriously and excluded from a community that is important to you, then that can cause a lot of damage and mental health issues. Being bisexual is a specific LGBTQ experience which comports challenges of its own ; the insecurity and pressure to ‘choose’ is part of the burden. Not having the exact same experiences as a lesbian doesn’t make you ‘less valid’. One sign of that is that bi people are a lot less likely to be out and a lot more likely to have mental health issues, and I very much think those two are linked. 

Anyway, if i have to give any advice - some parts of the LGBTQ community are shitty, esp those who play the ‘you must be this oppressed to ride’ game. But there are also some that can be wonderful. If you have the opportunity, it could be a really empowering experience to get in touch with your local, specifically bi community (it was for me), read bi focused books or stories of other people ; to help you grow your own sense of confidence in your own sexuality. My hope is that in the future, as bisexuality is represented more fully in the media and more bi people are open and further generations grow without those toxic ‘either/or’ mindsets, this damaging feeling of being double agents/having to pick a side will fade. And that we have a more distinct sense of bi pride/culture etc without being continually erased or seen as gay/straight by default. 

At the same time, of course…I think it’s very much part of the human experience to navigate between social environments where the microcultures and codes are different. You don’t behave similarly with your parents and your friends, I’m sure, or at school or a party, but neither of these things are dishonest ! So there is nothing wrong with behaving a little differently when you’re surrounded by queer friends and making references to a specific culture. You’re not dishonest and you’re not in hiding, it’s just a different part of you that is coming to the front. And you can bring your own bisexual self and experiences to LGBTQ spaces, as well, to make it richer and more diverse. If you can’t…that’s a bad sign. 

And finally…living in a ‘grey zone’, a more liminal space, can be a wonderful thing in itself ! It’s sort of amazing to be able to be attracted to people no matter what their gender is, don’t you think ? Or to be attracted to different genders in different ways ? I actually think it’s really fucking cool to be bisexual. Despite the stigma and the headache it is, often, I wouldn’t change it for the world. It can be such an exhilarating experience realizing you don’t have to reproduce heteronormative patterns in your life, that you can find similar things attractive across genders, or not at all… I just find it so interesting and so freeing. Especially since as women we are given such a narrow view of what we are supposed to find attractive and how to be attractive and how to do relationships. And to me being bi just helped blow that shit up sky wide. And it allows us to stand in solidarity with other minorities who are not always given their space in LGBTQ spaces. Honestly, the few bi spaces I’ve been in were so much more open, making efforts to be accomodating to people with disabilities issues, were so much more diverse in terms of gender/class/race/culture/body type etc…I’m not saying all bi spaces are inherently superior but I feel like bi people, at least those i’ve met, are often more prone to think about those questions and it’s been absolutely delightful. Because we understand what it’s like to stand at an intersection and not feel entirely part of something, and so we want to foster spaces where people can be themselves in all their myriad identities, and that this feeling of ‘being at a crossroads’ can be so rich and beautiful. 

 I hope you can find that same sense of pride and certainty in yourself. Of course, it’s not always going to be easy, and I understand these doubts. You are definitely not alone with them. I mean, we say we don’t have to choose, but we do have to make choices in where to look for partners, for instance. I hope you can listen to your desires without crowding them out with pressure from outside, and follow your heart where it leads you. 

[upontheshelfreviews]

If there’s a reason why we’re able to recall the story of Snow White from memory, and why said princess is usually depicted with short hair, a cute bow and surrounded by woodland fauna, look no further than Disney. Their take on the Grimms’ fairy tale is the prime example of pop cultural osmosis. Even if you’ve never watched Disney’s Snow White, it’s easy to recognize when a piece of work is borrowing from it or spoofing it. And I can definitely see why – not only is it going eighty-plus years strong, but its influence on nearly every Disney feature to come after it is a profound one.

The real story of Disney’s Snow White begins in the early 1910’s when a young Walt Disney saw a silent film version of the Grimms’ fairytale starring Marguerite Clark. The movie stuck with him well into adulthood. One night, well after he had established himself as an animation giant the world over, Walt gathered his entire staff of animators and storymen and re-enacted the tale for them in a mesmerizing one-man show. They were enraptured, but what he told them next struck them dumb – they were going to take what he performed and turn it into a full-length film.

In Tony Goldmark’s epic(ally hilarious) retrospective of Epcot, he performs a quick sketch he summed up as “Walt Disney’s entire career in 55 seconds” where Walt presents his career-defining ideas to a myopic businessman capable of only saying “You fool, that’ll never work!”. Considering how animation is everywhere today, it’s easy to forget that an animated film was once seen as an impossible dream. The press hawked Snow White as “Disney’s Folly”, and Hollywood speculated that it would bankrupt the Mouse House. It very nearly did. Miraculously, a private showing of the half-finished feature to a banking firm impressed the investors enough to ensure its completion.

Snow White is touted as the very first animated movie – admittedly something of a lie on Disney’s behalf. Europe and Russia were experimenting with feature-length animation decades before Walt gave it a try. But consider this: most animated films predating Snow White’s conception are either sadly lost to us or barely count as such by just crossing the hour mark. With all the hard work poured into it showing in every scene, with each moment displaying a new breakthrough in the medium, Snow White might as well be the first completely animated movie after all. Hell, it’s the very first movie in the entire history of cinema that was created using STORYBOARDS. A tool used by virtually every single movie put out today. If that’s not groundbreaking enough, I don’t know what is.

But is Snow White really…but why does it…can it…

“You know what? No. I’m not doing this teasing question thing before the review starts proper. OF COURSE Snow White is a masterpiece. OF COURSE most of it holds up. Let’s skip the middleman so I can explain why.”

After the opening credits we get the first of what will be many Disney leather bound books opening themselves to invite us into the world of the story. We’re informed that once upon a time there was a particularly Wicked Queen (nicknamed Grimhilde in promo features and the comics) who had a serious narcissistic personality disorder. Every day she consults her Magic Mirror™ to see who’s the fairest one of all and takes pride in being repeatedly told she holds said title. In the meantime she bullies her younger, prettier stepdaughter, the princess Snow White, and gives her the standard Cinderella treatment in the hopes that endless drudgery will wipe out the competition.

One fateful morning, however, the Mirror informs the Queen that she’s been bumped down to runner-up. She susses out that it’s Snow White who’s taken her place after the Mirror describes the newcomer as having “lips red as the rose, hair black as ebony, [and] skin white as snow”, but maybe the Queen is projecting here due to her extreme jealousy. Going by those three traits the Mirror could be describing almost anyone on the planet.

Care to narrow it down a bit, buddy?

Now if you consider yourself a feminist or at the very least have progressive views regarding women, I know what you’re thinking – just another example of the patriarchy pitting shallow female stereotypes against each other, right? Well in a manner of speaking, yes. There’s plenty of evidence that the Brothers Grimm held some odious misogynistic beliefs that stemmed from a bad combination of the era they lived in, outdated religious teachings, and their own experiences with the opposite sex. It shows in their second fairy tale revisions –  the heroines are naïve bimbos in need of a man’s rescue, and the villains are evil stepmothers and witches who happen to be hideous 99% of the time – and those views have been reinforced in our society thanks to those particular iterations being passed down to today.

Here’s my way of viewing the central conflict: The Mirror’s news is a wake-up call that Snow White is coming into her own as a woman and princess. That means marriage to a prince and the end of the Wicked Queen’s rule. Snow White will have all the power and adulation while the Queen is forced to step down and become another footnote in ancient royal history. Up until now the Queen has gone out of her way put down her pretty young opponent with petty cruelty because there’s nothing stopping her; but when faced with the inevitable, she unflinchingly opts to take more drastic measures so she can keep the throne.

If it weren’t for the fact the Queen’s unofficial moniker is Grimhilde and her transformation scene reveals a head of black hair, I’d suspect her real name was Cersei Lannister.

You also have to remember that the Queen takes the term “fairest” at face value. The Queen is beautiful, sure, but it’s a glacial beauty – cold, unfeeling, and nothing beneath the surface. All she cares about is looks and power. You’d have to be a pure loving soul or Woody Allen find something worthwhile in her. Snow White is beautiful too, though it’s her kindness and fair treatment of everyone that garners her the title of “fairest one of all”, not her appearance.

Speaking of, we follow that scene with Snow White (Adriana Casselotti) dressed in rags cleaning the castle courtyard. She shows her bird friends her wishing well and sings “I’m Wishing”, where she reveals her wish for her one true love to show up.

Confession time: In childhood the title of my favorite Disney princess was neck and neck between Belle from Beauty and the Beast and Snow White. I’ve already discussed at length why I adore Belle, so I suppose I should do the same for Snow.

…turns out it’s more difficult than I thought.

For as long as I could remember, I was surrounded by Snow White paraphernalia – tapes, toys, dolls, music, games, artwork, bed sheets, I can even recall the ice show. Snow White is ingrained into my early years. It more than likely has to do with the timing of its brief return to theaters and first VHS release between 1993 and 1994, right at the peak of the Disney Renaissance, so I experienced Snow White-mania right alongside Lion King-mania, Beauty and the Beast-mania and various other Disneymanias that were rampant at that time.

Even this one, embarrassingly.

As a result, I idolized Snow White as much the other princesses of the time, right down to making her the character I dressed up as the most for Halloween. I suppose what drew me to her was inherent kindness, ability to make friends with everyone, and her voice. Yes, I admit it. I don’t find Snow White’s warbling to be as irritating as everyone says it is. Maybe I’ve listened to it so much that I’ve grown immune. Then again I am that one Disney fan who doesn’t loathe It’s A Small World with every fiber of their being so maybe I should question my own tastes more.

Now as an adult with a critical eye who can put nostalgia behind me when necessary, is there something more to the character of Snow White that’s worth appreciating as much as the more-fleshed out princesses of the Renaissance and current Revival period?

I accept that I’m in the minority on this one, but I firmly say yes.

I know what you’re thinking – all Snow White does is smile and sing while she slaves under the Queen and the dwarfs and dreams of a handsome man to come carry her away, so I should turn in my feminist card for daring to suggest she’s a good character and role model for girls, right? Consider this: like Cinderella after her, Snow White’s happy nature and songs are her ways of coping with her unpleasant situation. It keeps her spirits up and in turn she tries to spread that positivity to others who need it as well. She refuses to let the Queen’s negativity turn her as sour as she is. All the little things Snow White reveals in what she does – her patience, pride in her work, healthy emotional balance, drive to help others, and warmth towards those smaller than her (in both a figurative and literal sense) – are all signs that she is capable of being a far better and beloved ruler and all around person than the Queen is. Plus, her reason for wanting to find love is two-fold: not only is she looking for someone with whom she can share a unique emotional understanding bond – which is something most every human craves – but it’s the also best possible means for her to escape from her stepmother’s abuse. Like I said earlier, once Snow White gets the ring, she gets to rule.

And what’s wrong with having a princess who can run a practical household? One could argue that it’s an example of traditional female roles desired by an oppressive patriarchal society on full display, but you want to know why millennials are called out for being lazy? Because baby boomers have cut out classes that teach things young adults actually need outside of school like how to properly cook and do laundry and pay your taxes since those weren’t seen as “essential enough to education”. So I have to admire a princess who, while not the most “progressive” of the bunch by today’s standards, is willing and able take care of herself and others when it comes to basic everyday needs. I think TheBrutallyHonestMom summed it up best in her post defending Snow White:

When we denigrate what Snow White accomplishes at the dwarfs’ cottage, when we rename her accomplishments to make them sound more impressive, more official, more valuable—management, administration, domestic CEO, sous chef, hospitality specialist—what we are really doing is saying that we don’t value the truly valuable work that she and so many other stay-at-home individuals do. Those words are a microaggression against what have traditionally been feminine roles, an attempt to align them with a patriarchal worldview where only those with the biggest titles and fattest paychecks matter. Snow White is domestic. She is a maid. She is a mother figure. She does take on the womanliest of the womanly roles. To claim that adopting these roles (and being good at them) somehow makes her a poor role model for my daughters is not a failure of Snow White’s imagination. It is a failure of ours.

Then there’s the matter of her actress too, which I can’t stay silent about. A few years ago it was revealed that in order to preserve the illusion of Snow White as a real character (a good many years before the company applied that same logic to their character performers at the theme parks I might add), Disney forced Adriana Casselotti to forego her screen credit and never take on another acting role again, essentially robbing her of a career. She only managed to appear in It’s A Wonderful Life and The Wizard of Oz because hers were uncredited minute parts. Casselotti had no regrets about choosing Snow White over a promising show business vocation, but I still call bull on the matter. If this kind of thing happened today, people would not stand for it, character illusions or not. There’s also crazy double standards since all the actors who played the dwarfs got to keep on acting; Sneezy’s voice actor was in Fun and Fancy Free for crying out loud! I love ya Walt, but that is one dick move. So if you’re a detractor cheering that you never have to hear Casselotti’s voice beyond this movie, keep in mind that’s all because of one man silencing her for the sake of his business.

So, Snow White. She cooks, cleans, delegates, teaches, loves, domestically kicks ass, and her behind the scenes story makes a strong case for the Time’s Up movement. Any questions?

“Yes. You’re over 2000 words in and we haven’t even gotten to the dwarfs yet. Plan on getting off that soapbox sometime this decade?”

Snow’s singing attracts the attention of a handsome Prince (Harry Stockwell) passing by on his horse. But his forwardness startles the shy girl and sends her sprinting up to her room. He charms her out to her balcony by singing his one song in the feature…”One Song”. You gotta love it when the title matches the tune perfectly.

“Wherefore art thou Prince? Deny thy father and refuse thy name!”

“Sure I’ll gladly refuse my name – if I had one, that is.”

All joking aside, I have a soft spot for this scene. Stockwell’s voice has this old-time Broadway/operetta quality I’ve always liked, the lyrics are unironic purple prose that still feel genuine, Snow’s little excited gestures are adorable, and it’s framed beautifully. This is what got it into my heard early on that the most romantic gesture anyone can make is serenading someone from beneath their balcony.

“Too bad you’re technically in a long distance relationship.”

“I know. Propping up a phone beneath your window just doesn’t have the same effect.”

Snow returns his affections with a kiss delivered via a dove and departs the scene with one hell of a pair of bedroom eyes, especially for a Disney character.

Daaaaaamn, girl! You already got him hooked, no need to gild the lily!

Unbeknownst to either of them, the Queen is watching overhead; Snow catching the eye of Prince Charming is what finally pushes her to take further action. She summons her Huntsman –

– to bring Snow White out into the forest and do away with her. Brief as this scene may be, there are two things I really like about it. First, the gravity. The Huntsman reacts with horror on being told what he must do, foreshadowing his eventual turnaround, yet with an icy hiss of “Silence!” and a short reminder of the price of failure, the Queen goads him back into line. We don’t know what the penalty for insubordination is, but it’s implied to be pretty nasty if she’s able to convince him otherwise with just a few words. Second, the Queen’s other demand. In the original fairytale, the Queen requested Snow White’s liver, lungs and heart so she could eat them and inherit her stepdaughter’s comely attributes.

But here in the film, she only wants the heart, and not for lunch. The Queen wants to keep it as a trophy. She even has a disturbingly appropriate box for it at the ready.

Proof that she really puts the ‘grim’ in ‘Grimhilde’.

Snow White, now dressed in her iconic yellow and blue dress, goes out flower picking with the Huntsman waiting not far behind. She spies a lost baby bird, and the moment she turns her back to help it, the Huntsman moves in for the kill. It’s framed like the murderer creeping up to their next victim in a scary movie, slowly building up to the moment he confronts her, with tension you could cut with a – well, you know.

Ultimately the Huntsman is moved by the princess’ humanity and can’t go through with the deed. Instead he reveals the Queen’s plot and pleads her to run, run away, Snow, and never return. Terrified, Snow White flees into the forest where her fears magnify her surroundings. Brambles become gnarled outstretched hands, logs are hungry snapping crocodiles, and there are eyes everywhere, always watching, boring into her every place she turns.

I should note that while developing Snow White, the Disney studio became something of an art college with fine arts and film study classes offered to the staff in order to hone their craft. Some of the movies they studied were horror flicks from the pre-Hays Code era, classics directed by the likes of James Whale and F.W. Murnau. The results speak for themselves. Scenes like this and the Queen’s transformation are why I consider Snow White my very first horror movie. The frightening imagery and darker themes all hide beneath a veneer of Disney childhood innocence. Like a proto-Pan’s Labyrinth, the terror as much psychological as it is fantastical.

A young Sam Raimi watched this and vowed one day he’d make those trees even more terrifying and bad-touchy.

This scene is also the source of one of the most famous stories to come out of the film’s creation. During the planning of the part where Snow falls backwards through an open-mouthed cavern into a lake, one of the animators cried out in terror “Won’t that kill her??” And the whole room fell silent. They reached the point where they no longer thought of Snow White as a cartoon but as an actual person, something that had never happened before. That was the moment where they were officially, as Ben Vereen once put it, on the right track.

Overwhelmed, Snow White collapses in tears. She’s brought back to her senses by the usual cuddly forest inhabitants inexplicably drawn to female royalty in need of assistance. Of course, being the ever-thoughtful soul that she is, Snow apologizes for startling them and making a fuss over how afraid she was, once more putting others before herself. She bonds with the animals through the uplifting “With a Smile and a Song”. Then she spends several minutes talking to them and making plans for the future all in rhyme. I confess it’s one of the weaker moments of the movie, showing that the studio’s transition from the Silly Symphonies to full-fledged filmmaking hasn’t completely been made yet.

The critters lead Snow to a quaint cottage in need of a good cleaning service. Assuming the miniature-sized furniture means the inhabitants are orphaned children, she decides to surprise them by sprucing up the joint, hoping her act of kindness will make them forget her breaking and entering and they’ll let her stay. Said cleanup time is underscored by one of the more upbeat tunes in Disney’s songbook, “Whistle While You Work”. Like Mary Poppin’s “A Spoonful of Sugar” it’s all about finding joy in the little things that make the work go by quicker.

“Here’s the last of the underwear, Bambi. And try not leave any ticks in the laundry this time!”

But as we all know, the cottage belongs not to seven children, but seven little people who work as jewel miners, all the while singing that famous mining song –

“No, the one sung by dwarves.”

“Seriously?!”

All joking aside, Heigh-Ho is the best song in the movie, no contest. Easily the catchiest tune here if not the entire Disney canon. If it can keep a theater full of gremlins occupied, it’s doing something right.

Sure, they whistle while they work for now. But once they find the Arkenstone it’s all downhill from here.

And let’s not kid ourselves, the dwarfs are the real reason why we keep returning to Snow White. Their quirk-matching names and designs make each one memorable, they’re endlessly entertaining, and they’re the characters that come the closest to having some form of arc. The group is a prime example of the illusion of life that is animation, exaggerated to a degree that they’re still believable in their movements and mannerisms. Dopey especially works well in this regard, a wonder considering much of his character was developed by happy accident. When an actor suitable enough couldn’t be found, they made the decision to simply mute him. Like much of Disney’s favorite animal sidekicks, they based his personality around that of a lovable dog, though I’d be lying if I didn’t see some Harpo Marx in there as well. As a result, his childlike playfulness and comic timing is up there with Chaplin’s Little Tramp. His hitch step was also an unexpected boon; after animator Frank Thomas put it in one of his scenes, Walt liked it so much that he insisted all previously animated footage of Dopey be redone to include that step. Incidentally, Frank’s popularity among the animation staff reached all-time lows after that announcement.

Snow White flops down for a quick nap on the beds upstairs just as the dwarfs return home. What follows is them sneaking about their now suspiciously squeaky-clean cottage and further establishing their personas through a series of finely-tuned gags (Walt paid five dollars for every good joke his guys could come up with, and this was when five dollars could take you out to dinner and a show). Dopey is elected to check the bedroom and he comes to the conclusion that Snow’s sleeping form is a monster. The dwarfs work up their courage to go kill the beast themselves only to realize in the nick of time that it’s just a harmless girl. But Grumpy, the clear-cut misogynist in the group, isn’t keen on having a “wicked-wiled” female refugee in their abode and shamelessly yells “Let ‘er wake up, she don’t belong here no-how!”

Snow wakes up and instantly charms over everyone except Grumpy as they introduce each other. The dwarfs are shocked and terrified to learn the Queen has put a hit out on her. Grumpy in particular declares the Queen is a powerful witch skilled in the black arts, which is true, and it raises a potent question. Is her magic common knowledge throughout the kingdom, or is it mere speculation? If it’s the former, how did that come to be? What happened to Snow White’s father the king anyhow? All this could make for a very interesting –

“You know what, never mind, forget I said it -“

“Too late! Jenkins, write that down! Bob’s gonna love it!”

“Very good, sir. Shall I pre-heat your crack pipe in preparation for the first draft writing session?”

“Does the Academy loathe streaming services? Hop to it, my man!”

“Hey, I thought you left that jerk to go work for Don Bluth.”

“Shh! I jumped ship after A Troll in Central Park and came back under a new identity. I couldn’t pass up the bankroll Disney’s been on since 2009.”

“Mum’s the word.”

Grumpy’s certain that they’ll be in the Queen’s crosshairs once she learns they’ve been harboring Snow White and demands they kick her out at once. But Snow White stands up for herself and says she can take care of the house for them if they let her stay. Just like Belle offering herself in her father’s place, no one corners Snow into the position of housekeeper. She’s the one who puts herself out there, listing all her best qualities like she’s on an interview. It’s only when she does so (and also mentions she can bake a mean gooseberry pie) that the dwarfs overrule Grumpy and declare she’s welcome in their home.

Yet even when all is said and done, Snow makes it clear that if she’s the one doing the work, then the dwarfs must play by her rules. Immediately following their acceptance, she goes into full Team Mom mode, insisting they improve their manners and wash themselves before dinner’s ready. Doc attempts to get around it by saying they cleaned up “recently”, but despite her sweet nature, Snow won’t let them walk all over her. She does a cleanliness inspection that makes the dwarfs almost as bashful as Bashful himself, and even gets a good bit of sarcasm in (“Why Doc, I’m surprised.”) The dwarfs washing themselves is another one of those Silly Symphony-esque filler scenes, but at least it gives us more time for their fun shenanigans; though I have to wonder if dog piling Grumpy and half-drowning him takes it too far.

“Where’s the money, Legrumpski? Where’s the fucking money??” “It’s down there somewhere, lemme take another look.”

Back at the castle, the Queen is showing off her newly acquired bodily organ to the Magic Mirror while demanding he validate her preconceptions of who’s fair and who’s not. Alas, the Mirror tattles on Snow White’s location and reveals that heart belonged to a pig, which I’ve got to say I’m glad they didn’t show how the Huntsman got ahold of.

Infuriated, the Queen storms down to her secret lab (and no, there’s no wrong lever scene. I’m disappointed too). She brews up a potion made up of ingredients like scream of fright, a thunderbolt and partially hydrogenated dimethylpolysiloxane which will completely transform her into a disguise nobody could suspect her in, an aged peddler woman.

Was I afraid of this scene way back when? Of course, but it was one of those rare moments where I didn’t want to look away either. Here we have a woman dangerously obsessed with beauty becoming the very thing she loathes in order to sate her implacable desires. Not only that but in this disguise she’s able to set loose the insanity buried deep beneath her frigid calculating exterior, grinning and cackling like the witch that she is. The Queen never smiles once when she’s in her true form. But once she’s the old Hag and it’s all cackling and gap-toothed smiles, it’s extremely unnerving.

Case in point.

“Anyone else miss the creepy fade to black where the villain’s eyes remain for a few seconds? Disney needs to bring that back.”

Major props to Lucille LaVerne, who gives a bone chilling and utterly unrecognizable performance as BOTH the Queen and the Hag. She made the switch from one role to the next by removing her false teeth between recording sessions. In doing so she gave us one of the great Disney villain performances.

The part where she preps the infamous poisoned apple does undercut some of her menace, however. The Hag is supposed to be sharing her scheming with a cowardly raven, but due to how much she stares directly into the camera while monologuing, it comes off as directly addressing the audience, like we’re watching her in a play. It’s not just the Silly Symphony style of storytelling creeping in, it’s melodramatic semi-vaudevillian theatrics that early Hollywood was moving well away from at this point. And again, what’s with the sudden speaking in rhyme?

At the last moment the Hag looks up a possible antidote to the poison and learns that it’s Love’s First Kiss. However she scoffs at the notion that Snow White can be saved because she’s counting on the dwarfs believing the princess is dead and burying her alive.

“For those of you who claim Disney waters down fairy tales into saccharine pap, I point you to Snow White.”

And it doesn’t end there. As the Hag leaves the dungeons, she passes a cell where a skeleton is sprawled out between the bars, reaching for a water pitcher. It’s bad enough to imagine this poor soul dying of thirst, spending their last moments with salvation just out of their grasp, but the Hag openly mocks the skeleton and kicks the pitcher aside. If that’s not a deciding irredeemably evil factor moment, it comes pretty darn close.

This would have also tied into an important but ultimately scrapped sequence where the Queen kidnaps the Prince, locks him in the dungeon to keep him from saving Snow White and torments him by detailing her elaborate scheme.

This sounds vaguely familiar…

Depending on which pitch you’re reading, the Prince refuses the Queen’s offer of marriage, and she enchants the chained-up skeletons of other scorned suitors to dance in an extremely misguided attempt keep him entertained while she’s out, or floods the dungeon to drown him. He makes a daring escape and rides to the rescue on horseback.

Again, vaguely familiar…

Unfortunately we had to wait twenty-plus years for this to happen because the animators weren’t confident in their abilities to create a believable male character. This is why the Prince appears only in the beginning and the end of the movie (and by extension why the Cinderella’s Prince is barely in that feature as well). When it came to making Snow White look realistic, they subtly incorporated some rotoscoping in a few places (I’d call it cheating but it’s difficult to tell where it begins or ends because she looks that good eighty years later). But I guess it just wasn’t worth the effort to do the same for her love interest, who doesn’t even get the dignity of an official name (fans go back and forth between Florian and Ferdinand). He’s reduced to a deus ex machina – which to be fair is exactly how he was treated in the fairytale. The movie has the slight advantage over that, however, by setting him up before he arrives for that wake-up kiss.

“And now it’s time for Silly Songs With Happy, the part of the review where Happy comes out and sings a silly song. Today’s interlude, appropriately titled “The Silly Song”, features choreography which has gone on to inspire many other Disney musical sequences dating as far ahead as the 70’s.”

“Hold it!! It’s just the exact same movements with the Robin Hood cast grafted over them!”

“Is there a problem with that?”

“Well…no…it’s just a bit distracting when you finally notice it. I mean I love Disney’s Robin Hood, but boy did they take the main character’s attitude towards stealing to heart when it came to the animation.”

And yes, “The Silly Song” itself is fun too. It’s one of the less remembered Disney tunes, though I have fond memories of it due to its inclusion in the Sing-Along video lineup. The decision to have it follow the Hag’s unsettling introduction makes perfect sense; I could imagine audiences experiencing it for the first time needed a bit of a breather after that.

I guess I should mention the musical number we could have had instead of this one, though. “Music in Your Soup” was a similarly lighthearted song that was fully recorded and animated before it was ultimately cut. It was expertly animated, featured more dwarf-Snow White interactions, and it also closed up a plot hole involving a bar of soap Dopey swallowed earlier. Still, it didn’t add much to the story overall and it disrupted the flow, and keeping both that and “The Silly Song” would have been superfluous; so as much as I like “Music In Your Soup” I think they made the right call in sticking with “The Silly Song”.

After the dancing, Snow regales the dwarfs with a love story, though they quickly figure out she’s talking about herself and her prince. She dispenses with the self-insert fanfiction and sings the movie’s eleven o’clock number “Someday My Prince Will Come”. Bawl all you want about setting women’s rights back a decade, it doesn’t change the fact that it’s still a lovely song, even without Casselotti’s vocals. In fact, much of the movie’s soundtrack has been a go-to for jazz artists through the decades ranging from Miles Davis to Dave Brubeck. The pure simplicity of Larry Morey’s lyrics and Frank Churchill’s melodies are ripe for riffing on. Virtually every cover I’ve found succeeds in the impossible task of measuring up to the original in some capacity. The action in the song itself is subtle and restrained, mainly focusing on the dwarfs’ reactions. It’s not only good storytelling, but a clever way to get around showing more of Snow White than the animators could handle; she was already tough enough to animate even with rotoscoping.

Snow realizes how late it’s getting and ushers the dwarfs to bed; however Doc and the others try to behave like gentlemen and allow her to sleep upstairs while they take up whatever space they can fill on the lower floor. It goes to show how much her kindness and politeness has had an influence on them, at least while she’s around. Them taking up whatever sleeping space they can find on the ground floor is an excuse to squeeze more gags in, but I’m fond of how it lets us wind down and take in this cozy atmosphere.

The next morning before they head out the dwarfs warn Snow White to beware of strangers. Even Grumpy can’t help but show concern in his own gruff tsundere way. It’s little touches like this that reveal Snow White’s unwavering compassion is chipping away at his chauvinist attitude and he really does care about her after all –

Hang on, they couldn’t spare ONE dwarf to stick around and keep an eye out in case the Queen does drop by? They’re really think the Queen isn’t going to make another murder attempt as soon as possible? They sadly must, because no sooner do the dwarfs heigh-ho off to work than the Hag creeps up like a meth user turned Jehovah’s Witness.

“Hello, my name is Elder Grim. Would you care to learn more about our lord and savior Chernabog?”

After the animals fail to communicate the obvious danger, they fetch the dwarfs for help. Meanwhile the Hag has convinced Snow White to let her into the cottage and show off her “magic wishing apple”.

Already I can hear the slapping of a thousand facepalms through my screen. I get why, but there’s something about the situation that feels strangely relatable. The Queen is fully aware of Snow White’s gentle, trusting nature and knows how to take full advantage of the girl. Snow isn’t all smiles and open arms though. There’s a split second of regret the moment she divulges she’s by herself, and as the Hag literally corners her into tasting the poison apple her body language gives away how uncomfortable she is. Even the cottage itself grows darker and claustrophobic, mirroring her trapped state. Snow White knows there’s definitely something off about this stranger, but there’s the downside of her kind personality. She can’t bring herself to kick the old lady out no matter how wrong this scenario inherently feels.

“Just keep smiling and slowly reach for the mace.”

Ultimately the Hag coaxes her into tasting the apple. Every breath leading up to it is dramatically intercut with the dwarfs led by Grumpy (further proof Snow White really has gotten through to the old softie) racing back to the cottage.

Do you want to know why the original Texas Chainsaw Massacre is considered one of the scariest movies of all time? Because for all its promise of a gory spectacular, the violence is deliberately kept offscreen. Our imaginations fill in the blanks and come up with even worse terrors than they could possibly show. Snow White’s poisoning works on that logic. All we hear is her gasping and groaning as the Hag gleefully looks on, ending with the most cinematic shot of the film.

If you’re still convinced Snow’s a dunce for biting the big apple, trust me, it’s a vast improvement over the original. The Queen showed up in disguise three times to kill Snow White with varying methods: strangulation by laces, a poisoned comb, and of course the apple. This was cut down to the last one for obvious reasons – not only would the story be repetitive and extremely padded if they remained, but it makes Snow White look like an idiot for falling for the same trap thrice in a row. The only time I’ve ever seen the inclusion of all three murder attempts work is in the anime The Legend of Snow White (which despite the laughably bad English dub is worth checking out). By the time the Queen comes around with the apple in that instance, Snow White is well aware of who she’s dealing with. But she plays along because the Queen has turned the kingdom to stone, and the only way to break the curse is by taking the bait and destroying her staff while she thinks she’s down, thus turning what was once an act of naivete into a heroic sacrifice.

The Hag exits the cottage feeling confident in who’s the fairest now just in time for the dwarfs to show up. They chase her through a thunderstorm up a cliff side. Literally trapped between a rock and a hard place, she attempts to dislodge a boulder and crush her pursuers. But Zeus is having none of that and a lightning bolt strikes the cliff, plummeting the Hag to her doom.

To quote Linkara, “Thus the origin for ‘Rocks fall, everybody dies’.”

And in case you’re still thinking she could have survived that drop, even with that boulder tilting over after her, the vultures that have been tailing her since she left the castle begin circling lower and lower over the place where she now lies. A chilling, subtle way to show they’re getting a meal after all.

We fade to a wake the dwarfs are holding for Snow White, complete with organ music and weeping – LOTS of sad, silent, motionless weeping. Poor Grumpy gets the worst of it. One can only imagine the tsunami of emotion he must have felt coming home to see that she was making a pie just for him. Like “Someday My Prince Will Come” it shows how restraint can be an asset in acting for animation. Considering how it’s very much like a real-life wake and just how much everyone believes Snow White is truly dead, this was a tough scene to get through.

The seasons pass and we’re told through title cards that the dwarfs couldn’t find it in themselves to bury Snow White, so they built a glass coffin and kept constant vigil along with the depressed forest animals.

“Clearly the idea of watching her slowly decompose over time never crossed their little minds.”

The funeral on top of the wake keeps piling on the sadness. We’re used to animated features moving us to tears, but you have to remember for audiences back then this was an entirely new experience because no animation dared to get this heavy. Think about it: Shirley Temple, Charlie Chaplin, the best and the brightest of Hollywood who poo-pooed Walt for his ridiculous idea – all moved to tears over Snow White. I can only imagine the satisfaction Walt must have felt hearing their sobbing at the premiere. Again, going back to that animator who felt genuine fear for her safety, the audience developed an emotional bond with the character just as they would for a real human on screen.

The Prince FINALLY shows up again still singing his One Song. Believing the love he has long searched for to be lost to him forever, he says his final farewell by bestowing her with Love’s First Kiss.

“Ah – “

“If you make ONE necrophilia joke, I swear I’ll take all the Adam Sandler movies off the Shelf.”

“Please, no!! I’ll have nothing to fully snark at!!”

The kiss does its work and Snow White awakens none the worse for wear. And since what doesn’t kill you makes you stronger, she’s immune to all poison ingested via deciduous fruit now. That’ll make ruling the kingdom she’s inherited from her stepmother and disappeared father much easier. And for those of you complaining how a magical kiss is a cop out, trust me, it’s better than how the original fairytale resolved it.

“Somewhere my love lies sleeping, and here she is! I’ll pay you dwarfs anything to let me take her back to my castle and keep her there as a memento of our tragic love.”

“This had better be worth it, she weighs a freaking ton!” “OHH, there goes my hernia!” *BANG*

*HACKHACKCOUGHHACK* “Thanks for the Heimlich, guys, damn apple’s been stuck in my throat for a year!”

“Seriously, I’m not making that up. Plus, they invite the Queen to the wedding and force her to dance to death in red-hot iron shoes.”

Everyone rejoices, Snow White says goodbye to the dwarfs, and the Prince leads her on his horse to his shining palace in the clouds. They all live happily ever after, the end.

And that’s Snow White and the Seven Dwarfs, the very first animated Disney movie. Do I believe the American Film Institute’s claims that it’s the best animated film of all time? Well, to be honest, no. The main characters aren’t as developed compared to future Disney protagonists, the animation goes noticeably off model at times, and it’s got one foot stuck in the style of the Silly Symphonies shorts that came before.

Is it the most influential animated film, however? Of course! Without it animation wouldn’t be as mainstream as it is today. While the formula has been updated and subverted through the decades, most animated features follow a similar blueprint – a dastardly villain, fun side characters, memorable music, distinct visual flair, fighting, torture, true love, miracles, you get the picture. We wouldn’t have any of that without Snow White. Once upon a time, this movie was the Star Wars of its era; a groundbreaking, audience-thrilling blockbuster that changed the way people looked at movies. Part of that is because Snow White taps into an emotional simplicity in a manner few films are able to. It relies more on providing an emotional catharsis than logic, inviting us to experience the story as we once did through the eyes of a child, and in doing so captures the essence of a classic fairy tale.

In fact, looking at the ripple effect of how movies can influence one another across the years, Snow White ranks among one of the most influential movies made in general. Apart from Disney you can see its echoes in The Wizard of Oz, Gulliver’s Travels, Citizen Kane, and yes, the original Star Wars. Even Sergei Eisenstein, the man who revolutionized filmmaking with freaking Battleship Potemkin, declared Snow White to be the greatest film ever made.

…So why did Walt Disney come to hate it later on in life?

Every movie that’s met with acclaim and accolades is bound to hit some backlash for one reason or another. Maybe it’s been overhyped, or time hasn’t been that kind to it. For Walt, Snow White leaned into the latter as his artistic prowess grew. No creator likes looking at their past work because it’s easier to notice the flaws when viewing it through a more experienced eye (believe me, I know). That, and no matter what he did, it seemed impossible to escape from Snow White’s shadow. For decades everything he created was inevitably compared to it.

Hmm, the animation and music are an improvement, but what it’s really missing are some dwarfs.

Hmm, the creativity leaps off the charts, but if only the score had lyrics that rhyme with the words “shmeigh shmo”.

Hmm, it’s breathtaking and magical, but it’d be perfect if you could just sit and watch it for eighty minutes without interacting with any of it at all.

Hmm, it’s practically perfect in every way, but…um…uh…more dwarfs, dammit!!

Thankfully Walt’s displeasure mellowed after some time. As for Snow White, she’s still rightfully hailed as the one that started it all. The art is iconic, the characters are unforgettable, and virtually all the songs are Disney gold standards for a reason. Well before Rodgers and Hammerstein changed the face of musical theater by having the score and the book go hand in hand, Snow White did it first in the cinemas. In fact this was the first movie to ever have a commercially released soundtrack, another confounded idea Hollywood wouldn’t understand for quite a while. Though time may temper with modern expectations, Snow White is as much a classic now as it was destined to be eighty years ago, and nothing can touch it. It still is the fairest one of all.

“HA! Try to remake/sequelize THAT, Disney!”

“Excuse me, is it too late to join this review?”

“I’m sorry, who are you?”

“Oh, where are my manners? I’m Snow White’s sister, Rose Red.”

“…You sure you’re not just a color-swapped OC clone from Deviantart?”

“Of course I’m not, silly! I’m in the fairytale and everything! Well, not THE fairytale per se, but there is one titled ‘Snow White and Rose Red’ where we’re siblings.”

“Checks out. They’re technically related.”

“Okay, but what are you doing here?”

“I was just wondering when you were going to discuss my upcoming movie!”

“Your…movie?”

“Oh yes! It’s going to be Disney’s Snow White all over again but from MY point of view! Isn’t that exciting?”

“But…but you weren’t even in Snow White and the Seven Dwarfs.”

“I know! I was off to the side doing…well, you’ll have to wait and see! The lady who wrote that Gone Girl knockoff that takes place on a train and the Indecent Proposal remake is doing the screenplay and she is just delightful!”

“…Excuse me for one moment.”

“Oh dear. Have I said something wrong?”

“It’s ok. This is just the part of the review where Shelf goes berserk.”

Thank you for reading! If you enjoyed this review, please consider supporting me on Patreon. Special thanks to Amelia Jones and Gordhan Ranaj for their contributions.

You can vote for what movie you want me to look at next by leaving it in the comments or emailing me at upontheshelfshow@gmail.com. Remember, you can only vote once a month. The list of movies available to vote for are under “What’s On the Shelf”.

Also, Patreon supporters get extra votes among other perks. If I reach the goal of $100, I can get back to reviewing animated series! I’m at the halfway mark right now, so please consider supporting me if you’re able.

Artwork by Charles Moss.

Most screencaps courtesy of animationscreencaps.com.

February Review: Snow White and the Seven Dwarfs (1937) If there's a reason why we're able to recall the story of Snow White from memory, and why said princess is usually depicted with short hair, a cute bow and surrounded by woodland fauna, look no further than Disney.

[the-nev]

So there’s something I’ve been seeing around the fandom neighborhood that has me worried. I’m not going to be expressing a particularly popular opinion, but I hope you’ll at least hear me out.

As kpop fans, we all really love the bands we follow. We make gifs, write fic, draw art, buy albums, learn the songs by heart, know the members so well we could identify them by their pinkie – we’re passionate in our love for our baes. But, sometimes I think we forget that idols are actual, living, breathing human beings. I mean, sasaeng fans literally would not exist if everyone treated idols like people.

When we forget that idols are people, we (as fans) can sometimes cross lines of propriety and respect – often without realizing what we’re doing. There are a lot of ways this can happen, from following bands to their hotels to tweeting inappropriate things an idol. But, there is one issue in particular I want to talk about: NSFW art. In particular, I want to talk about NSFW ask blogs. (And just as a heads up, I will be talking about sex work, abuse, rape, and other sensitive subjects as part of this conversation.)

Recently, there’s been something of a boom in 18+ ask blogs, particularly in some of the bigger fandoms like BTS. These blogs, with their camperson/prostitute/slave themes, often take the likeness of a particular idol (or even multiple idols) and present that likeness in graphically sexual situations. The artists behind these blogs say it is “art” or that it’s only a blog so it cannot do any harm. Some will even dismiss it as “sin,” as though somehow labeling it as such makes it less harmful.

But here’s the thing. NSFW artwork of idols is harmful. By taking the likeness of a real person and drawing them in sexual situations, you are dehumanizing them and objectifying them. More than that, though, AUs that depict campersons or prostitutes often dehumanize sex workers and perpetuate negative stereotypes. So, the harm is doubly present. Let me explain what I mean.

One of the most important things we talk about with sex is the need for consent. If someone does not give clear and coherent consent, having sex with that person is considered rape. If a person is under the influence of drugs or alcohol, they are not able to give consent either. Having sex with a person who is under the influence and thus unable to knowingly give consent is considered rape. The same goes for having sex with someone who is unconscious or someone who withdraws consent during the sex act – they’re all considered rape. And I shouldn’t have to say it, but I will just for the sake of clarity: Rape is not sensual nor desirable, it is wrong. Recovering from rape or sexual assault of any kind can take years, and you never really fully lose the scars from it – at least, not in my experience.

So what does this all have to do with NSFW ask blogs and art? Well, when you have a job as a sex worker, you generally function under the dictates of a contract. This contract determines how much you earn, what you are willing to do for a client, how much money your company receives (if you are working under one), and other important legal matters. A contract not only makes it clear what your job is, but it also affords you protections should one of your boundaries be transgressed. An important part of these contracts, however informal they are, is the sex worker’s right to consent to participating in the sexual activities the client is paying for. A sex worker of any kind should have the right to say no to any act that makes them feel uncomfortable or goes beyond the limits of their job; it’s the same as a normal person having the right to withdraw consent at any point in a sexual engagement with another person. (Money of course complicates the withdrawal of consent in sex work, but the right to no longer consent still exists even when money is involved.) Furthermore, sex workers have the right to fair compensation for the work that they do; anything less is abusive. There are many intricacies to sex work – realities of the job – that most people don’t bother to research before rushing in to depict prostitution or campersons in their creative works. Without this necessary research, there is no way you can really represent what their lives are like, and you are basically saying that they are nothing more than a trite stereotype. And y’all, you shouldn’t be dealing with serious matters without doing your research. @j-ungah recently wrote a really nice little blurb about how the lack of research in creative works can perpetuate harm; I suggest you take a glance at it. Tangent, I know, but still relevant.

Back on track: Everyone has the right to give consent.

When a sex worker is depicted in art, it is important to have that person’s consent. Their likeness is something that cannot be changed about them and is actually part of their intellectual property, particularly since depicting sexual acts can reasonably fall under “private or semi-private acts.” If you do not have that person’s consent to depict them engaging in a sexual act, you are sexually exploiting them. This is doubly true if you stand to gain anything from this art, be it notoriety or money. (Yes, notoriety and a bevy of followers counts as gaining something from the exploitation of someone else’s likeness.)

But wait, idols are famous! They consent, by being in the public, to have artwork of them rendered. Idols happily receive fanart – some even using it on their social media. That means this whole need for consent doesn’t apply, right?

Wrong.

Idols do give consent, by being public figures, to have certain things become public property. Drawing fanart and engaging in fanfic writing can be well within the boundaries of copyright, because it is engaging in social commentary. I would even argue that skinship culture and the teasing of ships by the companies does in fact permit the depiction of idols as queer figures, particularly with their bandmates. But, this consent is not all encompassing. Recently a number of idols have expressed concern and even fear about fan behavior when it crosses the line between public to private matters. T.O.P from BigBang, for instance, asked fans to stop ringing his doorbell night and day. EXO’s Lay had fans try to break into his hotel room. I.O.I had photos taken of them in a bathroom posted online. SuJu’s Heechul had fans surprise him in a urinal, just to steal a look at his body. Zico even said that, “Invading my privacy is no different than abusing me. This is never what you call fan love.” And you know what, he’s right. Idols deserve to have privacy and the opportunity to be treated (and respected!) like actual human beings.

Drawing pornographic art of an idol crosses the boundary into the realms of what should be private. Idols give a lot of things to their fans. They share their talents, they go on horrific diets, work out so they look nice, undergo plastic surgery, and go out of their way to make fans feel special. However, just because they share those things with us does not mean they belong to us. You do not own an idol’s body just because they go topless or just because you “saranghae” them. Unless an idol produces and mass releases a porno, you do not have the right to depict them in sexual situations. Why? Because they have not given consent to their likeness being used in that highly private context in a public forum. Without an idol’s direct consent, depicting them in these ways is sexual exploitation not love.

This lack of consent is particularly true with the camperson/prostitute/slave ask blogs. You might remember I mentioned the need for contracts and consent in sex work. Right? (If not, go back and read the first half again. I can wait.) Right. An important part of any sexual relationship is the establishment of clear boundaries – kink negotiations, if that helps you conceptualize of it better. However, ask blogs are inherently unable to establish consent. They take the likeness of a person and essentially masquerade as that person. Yes, we all know they are not the actual Min Yoongi or the actual Park Chanyeol. But, that person’s name, likeness, and personality are all being used in order to create an ask blog. There are ways in which to do this that are harmless, such as blogs that promote the band or fall within the established consent of being a public figure. NSFW blogs, however, trespass into the realms where consent has not been given. Furthermore, the idol has no say in what they are depicted doing, which often leads to fetishizing and misrepresentation among many other things.

You might say, “But it’s just art.” If that were the case, why would someone say something like this:

The intent to reproduce the exact likeness of someone in a pornographic situation is beyond the limits of art. It is dehumanizing and objectifying that person, so much so that their consent doesn’t matter in the face of your own desires. Furthermore, just because something is art doesn’t mean that it’s okay. 

Again, let’s make it a little more personal. Let’s say I decide to start an ask blog where I am posting as you. Yeah, you. And I go to your blog, find all of your selfies, and use your likeness in order to draw you in pornographic situations. Better yet, I open it to my followers, letting them dictate what sexual acts you perform in my artwork. Would you honestly feel like that was acceptable? Or let’s say I do it to one of your friends or your little sister or your favorite teacher. Regardless of who is depicted, if I did not have their consent and drew them in pornographic situations, it would still be wrong. This would be particularly true if my subject were underage or were being viewed by people who were underage; child pornography laws are no joke, and I don’t think y’all take them nearly seriously enough.

Idols are people. They are actual, living and breathing human beings who deserve our respect. If we actually love them, we should respect their right to privacy and not objectify them. If you really want an ask blog focused on a camperson or prostitute, do your research. Talk to people in the field. Read books about personal experiences doing that sort of work. Then, create an original character. An original character might not come with a built in fanbase, but if you’re really dedicated to art and progressing as an artist that shouldn’t be your goal anyway. Don’t perpetuate harm for the sake of getting followers.

[shianhygge-imagines]

REQUEST: FFVII Dating Headcanons [Sephiroth]

Okay, so school starts in like two days, and I’m in the process of moving back to my school dorm, which has the shittiest wifi in the world. And I’m kind of stuck with half written requests right now. But anyways, since this was a headcanon, this comes out first.

|Masterlist Link|

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~ So, going off from my Genesis Headcanons… Since my high school days, I've always imagined Sephiroth to be the serial dater/heartbreaker of the SOLDIER First Class trio. The reason for this, is that I think of Sephiroth being inherently humble, but slightly arrogant as well. And he's honestly really lonely.

~ I don't mean to make him seem like a lonely baby. No. He's fine with the solitude, but he wants more. Someone who can love him no matter what, but not as a friend.

~ So he's constantly going out to meet new people. Taking them home and sleeping with them, because he was taught that only sex made a relationship (you can thank Hojo for his twisted way of thinking). But after spending a night with someone, he doesn't feel anything… So he starts suspecting that maybe it's something wrong with him. But it's not. And there's maybe this constant doubt as he watches the people around him find lovers. And if you had never dropped into his life, Sephiroth might never realize that it wasn't anything wrong with who he was.

~ But you do drop into his life. And you give him a run for his money.

~ You drop into his life, not through Shinra, but as a friend of someone who Sephiroth decided to pursue one day. You were just the really supportive best friend of the person, and you’d come across the two while they were on a date or something. The friend introduced you to “THE General Sephiroth.” And honestly, you’re not really that impressed, and you tell it to his face.

~ Your friend is apologetic towards Sephiroth for your disinterest, but Sephiroth kind of finds it amusing when someone isn’t all that impressed with his accomplishments. Of course you wouldn’t be impressed. You often worked with people of higher regard. People who helped others through charity everyday and didn’t require payment. Those were the people you were impressed by, so a SOLDIER First Class was not so impressive.

~ Anyways, Sephiroth didn’t catch your eye, but you caught his. And pretty soon, you see him nearly everywhere (using that high influence of his to low key stalk you). It’s funny at first, but then you get pretty ticked off with it. Because wasn’t he supposed to be off saving the world or some shit?

~ Eventually, you get fed up enough, catching him watching you, and you stomp over to the silver haired man with a fury, demanding to know why he’s following you around.

~ Poor little Sephiroth isn’t that great with words, and just plain bursts out that he finds you amusing. And at first you just blink at the man in confusion because what the hell does “I find you quite amusing.” mean??? So your only reply is, “Elaborate.”

~ He’s never met anyone that was ‘much weaker’ than him who spoke to him like he was on equal level. And his interest in you increases causing descriptions to flow freely from his lips.

~ He admits that he finds you interesting because you don’t worship the very ground he walks on. And initially it was simply that. But then he observed you more and found how kind yet serious you were. There was a sophistication about you that lured him in. And when you smiled or laughed, Sephiroth found himself holding his breath and unable to look away. Simply put, he admitted, Sephiroth was unfamiliar with the feelings and sensations. The pleasure and pain that plagued his body without physical stimulation. But it all happened whenever he saw you or thought about you.

~ You look at him at first, like he was a pre-pubescent boy, before your expression morphed into one of amusement. Because the great General Sephiroth couldn’t comprehend feelings of affection. And then, all of a sudden, you turn serious, something like pity settling within you. He’s stated when you first met, that all he ever knew was the life within Shinra’s walls. It was a wonder he was able to socialize at all.

~ So you ask the question, “Why do you follow me and observe from the shadows?” You knew the answer. Anyone with decent experience in human interaction knew the answer. But you wanted to hear it from his mouth.

~ There’s a frown on the man’s unearthly handsome features, the slightest downward turn of his lips, the crease in his brow. “It seemed childish,” Sephiroth began, his green eyes catching your own, “But I wanted to know more about you. However... observing from a distance is starting to become insufficient.”

~ “Then why don’t we go get some coffee?” You’d offered the idea more out of a need to educate Sephiroth of human affection. 

~ You’d felt nothing but amiable towards the silver haired man. But as each day passed, and Sephiroth continued to ask you out, you found that perhaps Sephiroth was more than what the media depicted. He was dutiful but slightly carefree, powerful yet vulnerable, inexperienced but weary of life, but above all, instead of the cold SOLDIER First Class that everyone was expecting, he was fiercely loyal and dependent on those who treated him as a friend. It was a surprising innocence within Sephiroth that you found yourself falling for.

~ And then, almost suddenly, the both of you start to crave more. One night of drinking led to a night full of unbound desires and passions where two bodies met in the passions of bliss. 

~ When you wake up the following morning you’re cradled within strong arms, your face resting over his heart and your arms clutching to him. And you feel his hand running through your hair as well. You don’t know how to address this. You don’t know if you’ve just taken advantage of the man’s innocence.

~ As if sensing your thoughts, Sephiroth is quick to reassure you. What had happens the night before, was something that he’d been patiently waiting for since you two started hanging out. And when he finishes with those words, you can’t help but to throw yourself at him, pressing kisses to his lips.

~ “I love you, Y/N.”

~ Living with Sephiroth as your boyfriend, you would have to deal with nearly the whole of the Turks looking after you in the shadows. Luckily though, they are mostly there to protect you. Protect you from who? Why the Silver Elite, of course. Granted, a majority of Sephiroth’s fans aren’t neurotic, so there’s not that many glares directed at you... Except maybe his ex-flings... whooo boy.

~ Sephiroth made a point of letting you watch as he deleted each of his previous flings’s numbers from his phone contact. He wants to assure you that his feelings are genuine. 

~ Sephiroth is the type to give his trust to someone until they do something undeserving of it. So he expects that you would never betray him. And likewise, he would never betray you. (So don’t cheat on him.... please don’t hurt the precious baby)

~ He’s away on missions for Shinra quite frequently, but when he’s back, he’ll spend every minute with you. And he often sets out to bring you back gifts. And due to his position, he has the power to withdraw and deny any mission. Sephiroth often asks you if you feel lonely. And if you do, that he could take leave from his duties to be with you.

~ Sephiroth loves to cook. His apartment’s bookshelves are full of cookbooks, history books, and various sheet music.

~ He picked up playing the violin and piano in his spare time, and has a grand piano in his apartment. If you’re particularly weak for music, he’ll guarantee try to seduce you with his musical skills.

~ Among all his talents however, Sephiroth can’t draw for shit. Even a stick figure is barely manageable for him.

~ Oh yeah... and his hair... while it is silky and beautiful, and you can smell the scent of it as he walks next to you or near you... it’s an absolute pain in the ass to care fore. So he uses and entire bottle of shampoo and conditioner everytime he washes his hair, yes... but it also takes more than ten minutes for him to complete just the act of shampooing...

~ But that just means you get to help him shower... ;P

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Sephiroth is my favorite... no surprise there.

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