#disney princess ask

[smurphyse]

Probably Belle or Rapunzel 🌹

Oooh LOVE the idea of Belle. I definitely love a Beasty man I can make into a softie o.O Also I read like 5 books a week lmao.

I don't actually know a whole lot about Rapunzel besides Tangled!

Which Disney Princess am I to you?

[secondary-colorentimy]

Drawing an actual Disney character (not counting twst or descendants) should count as a jump scare I think

BOO!!! *disney jumpscare* 👺

[artist-issues]

I’m bored and I really enjoy your opinions on Disney, so I thought you might have something interesting to say to get my brain ticking. I came across a post on Frozen and I was like, “Ah, a perfect starting place for dropping you an ask.” I’ve never really been that bothered by Frozen and I don’t know what it is that I’m just not fond about. Maybe it’s that I dislike the characters? Maybe it’s that they didn’t really have any established rules for the way magic worked in that universe and thus had anything they wanted happening? Maybe it’s the twist villain? I don’t know, it’s probably just the characters that they tried to make so cool and girlboss!

Elsa is made out to be this awesome protagonist that is never in the wrong and that grates me. She has flaws, but the film doesn’t act like they’re flaws. She runs away out of fear and shame for not being able to control her powers, but then two seconds later she’s singing “Let It Go�� and making giant ice castles and bringing snowmen to life?! And “Let It Go” is super annoying for the fact that Elsa starts off worried and upset (fair enough, she’s just ran away from her home, her kingdom, her sister whom she hasn’t seen in years, she lost control of her powers) but then immediately turns round and is like, “Actually, it’s not my fault and I’m fine as I am and I don’t need any of those responsibilities!” Which would be fine, but she also finishes the film with the same attitude!

Anna, too! Naive and optimistic and perhaps a little too trusting, she never realises that even if Han hadn’t turned out evil, Elsa had every right to be worried over their marriage. She never realises that it’s partly her fault for revealing Elsa’s powers (and she definitely doesn’t apologise). There’s a lot she doesn’t realise, and the only lesson she takes away from it all is that Christoff loves her instead of Han.

Oh my days, I’ve just realised how ridiculously long this has gotten, super sorry! Have a lovely day!

Let’s do this! For fun!

1. They don't need to establish exhaustive rules for how magic works in their world.

Red Riding Hood doesn't explain how the Big Bad Wolf can talk-it just explains that he can. Cinderella doesn't explain how Fairy Godmothers work, or why the spell should only last until midnight—it just explains that she casts one, and it does only last until midnight. Beauty & the Beast does not explain how, after The Beast has died, the "breaking of the curse" could bring him back to life. After Belle confesses her love, he should just go from dead beast to dead human, for all the explanation they give.

Beauty & the Beast also famously refuses to explain (explicitly) why all of the household were cursed, along with the castle and the Prince. But what it does explain is, "there's a curse, it was put in place because of a defect in the Prince's character, and there's a time limit on it's ability to be removed, which can only happen if the defect in his character is overcome."

The whole point of having magic in the story is just as a tool...to create a plot. You don't have to explain everything; you just have to explain what will affect the characters. So, Frozen says, very plainly in the beginning: "you can either be born with magical powers or cursed with them in this world, and trolls are the experts on how magical powers work. The way Elsa's specific magical powers work is, they're beautiful, but powerful, and they're tied to her emotions. Therefore, if her negative emotions control her, her negative emotions control those powers. Also, if you're struck with magical powers in the head, the effects can be removed with memory alteration. If you're struck with magical powers in the heart, the effects can only be removed by an act of True Love.

Also, here's an explanation of what counts as 'True Love." They actually do way more explaining than the average fairy tale. And they set you up really nicely to receive that explanation by having the opening scene be a song that describes Ice Magic as “beautiful/powerful/dangerous/cold/ice has a magic can't be controlled.” Etc.

If you were wondering what limits there are on Elsa's powers, and whether or not she can just make anything out of ice, and how it's possible for her to bring inanimate snow to life

—well, you're focusing on the wrong things for this kind of story.

It's not that important for a fairy tale like this one. In a superhero story, limitations on powers would be important. Because the point of a superhero story is, "how am I going to take selfless responsibility for what I'm able to do?" And if you don't know the boundaries on "what I'm able to do," then you can't communicate that point clearly. That's why we need to know that Superman can see through just about everything, but not lead. That's why you need to know that Elastigirl can't stretch in the cold. You can't know how to take responsibility for your abilities if you don't know what they are and are not.

But Elsa? The point of Elsa having powers is not as a metaphor for her unique skills. That's what it would be in a superhero movie.

Like, in superhero movies, Spidey's ability to stick to walls is supposed to be a reference to like, your ability to...l don't know, draw really well. How is Spidey going to use his ability to stick to walls for the good of others = how are you going to use your ability to draw for the good of others, because it's something special and unique to you, you have something to offer, are you going to use it selflessly, etc.

But for Elsa, that's not what it's about. Her powers are just a metaphor for how what's going on inside of her effects everyone around her, relationally. And it's still relatable. But not in a "skills" way. Just like all of us non-superpowered people: "if you let fear control you, you'll hurt everyone around you. But if you let love cast out fear, you'll love and be loved."

That's what's so good about this movie. When you look at it like that, you realize the powers aren’t the point.

Elsa isolates because she thinks that'll keep her from hurting everyone (fear controls her) but actually, by isolating, she's still hurting everyone-nobody in the kingdom gets to see their beloved ruler, and her sister is hurt, relationally, and feels unloved and shut-out, enough to trust the first scoundrel she meets-etc. See how the powers just make the story interesting, but they're not the point of the story? If Elsa's powers were replaced by "frantic outbursts of human temper" the story could be told in a lot of the same ways. But that's a post for another time.

So I don't think you disliked it because of the powers not being "established." "Whatever they wanted to have happen" did not happen, in the story. They laid out the rules that were relevant—“if fear controls you, it'll lead to great danger/but an act of true love can thaw a frozen heart."—and then they followed those rules in an interesting and consistent way.

2. The "twist" villain worked perfectly for the story.

A good villain is supposed to be the opposite of whatever your story's message is. Frozen's is, "Self-Sacrificial Love Casts Out Fear." Elsa is afraid she'll hurt everyone around her, and afraid that makes her unloveable-so she's a control freak over her circumstances. Anna is also afraid she's unloveable-simply because she's shut out and unknown-so she's always trying to control who she keeps in her life. Hans is both "unknown" and "controlling." He's "unknown" in two ways—1, nobody sees him in the shadows of his brothers in his own kingdom, and 2, nobody in Arendelle "knows" his true nature, especially not Anna. But the difference is, where our heroes don't like being unknown, Hans does, and uses it to his advantage, because he's also "controlling." But unlike our heroes, who learn that "control" is not the way to love, Hans is willing to do anything to stay in control. Which is, always, rooted in fear, too. Hans is just afraid he'll never get a throne. So. You see that he foils the two main characters perfectly.

But the main point of Hans is that he's not self-sacrificial, he's self-serving, which is the opposite of what the story claims "True Love" is.

Why's the "twist" part important? Because he uses the main characters' fears as a weapon to serve himself, and he couldn't have done that, for these two particular characters, by being anything but a liar. Anna is afraid she won't ever be loved, so he pretends to love her to get something for himself. Elsa is afraid she'll hurt everyone, so Hans pretends to be protecting everyone from her. And honestly, that's another core of the movie-love that is self-sacrificial, true love, can't be separated from truth. Anna can't really "truly love" Elsa in a way that HELPS Elsa feel loved if she doesn't know Elsa's flaws. Elsa can't "truly love" Anna if she's refusing to know Anna by always shutting her out. And Hans comes along and doesn't let himself be "truly known." Perfect.

So, the movie says "Self-Sacrificial Love Casts Out Fear" and Hans, the villain, says, "Self-Service Uses Fear As a Weapon."

So I don't think you disliked the "twist" villain. Because it wasn't just an empty "shock-jock, look how edgy we are, to make the Prince the bad guy" move. It was the right move, for this story and these characters.

3. I think your definition of "so cool" and "girlboss" might be different from what l understand those terms to mean, because none of the characters fit those descriptions.

Anna (as we understand her throughout the story) is introduced like this:

And she's constantly dropping stuff and getting into awkward social situations-and she basically makes zero correct decisions, for the entire adventure. Tries to fight wolves like a girlboss-and instead accidentally knocks her guide out of the sleigh and has to be thrown to safety while she ruins his livelihood. Tries to climb a cliff with zero experience-looks ridiculous and falls. Tries to talk her sister into lifting a curse and insists that she knows best because her sister would never hurt her-gets crippled, because her sister absolutely does hurt her, and totally fails. Tries to marry a handsome prince-really bad judgement of character, totally duped, basically would've died without help from the weakest and most mentally-confused character in the movie, Olaf. The only "girlboss" moment you could argue she had was punching Hans in the face at the end of the movie, and I would argue that that one moment, in the face of all her failures and humiliation throughout the movie, and in the face of him as a vile villain? That moment is okay.

Also, the whole way they pace that moment is still in-character for Anna. It's still like she's not doing the "dignified" thing. She delivers her little one liner, "the only frozen heart around here is you," and then turns around to walk away with her nose in the air, like she's

"above it all." Which frames the moment where she turns around and punches him like a joke. It frames that moment like it's a satisfying, but still "not decorous, not dignified," thing to do. It would've been "cool" and poorly received if Anna, the character who's always jumping into doing the emotional, awkward thing, had suddenly become the bigger person and risen above her hurt in that moment.

So instead, she punches him. And whatever. He deserved it, blah blah blah. The point is, even that moment isn’t supposed to be strictly “cool” or “girlboss.” It’s just supposed to be “in-character funny.”

See, usually a "girlboss" character knows exactly what the best thing to do is in a situation, and does it well. Or, she gets knocked down, but consistently gets back up and hits harder. Anna does not do any of those things. She keeps trying when she fails, yeah-but it's not because of an inner strength, it's because of an inner weakness. She keeps pushing because she's desperate, and insecure, not because she's awesome and never-say-die. Eventually, after Elsa strikes her and Hans betrays her, Anna does give up. She tells the snowman "we won't (come back.)" after Elsa strikes her. She tells Olaf she doesn't know what love is. It's not until she learns that lesson that anything she tries to do works—and she gives herself up to do it. And that's finally a moment of strength from her, not weakness. As for "cool"-gimme a break.

There's nothing "cool" about Anna. Anna's not good at anything except, at the very end, self-sacrificially standing in front of a sword and getting one punch in on a villain who's already disarmed, defeated and probably slightly concussed anyway. She's not supposed to be "cool" or "girlboss." She's supposed to be "Desperate to Love and Be Loved." And that's what she is, perfectly. "Desperate" is not a characteristic that fits the definition "girlboss" or "cool."

But maybe you just meant "Elsa is so cool and a girlboss." Okay, well, again, depends on what you mean by that. If you mean "having superpowers are cool" okay, well, are they? Is that what the movie is telling you? Because powers basically ruin all of Elsa's childhood and life until the last 3 minutes of the movie. You could be like "come on, she can make snow and ice monsters, glitter gowns, and an entire palace just by dancing. They totally tried to make her 'cool." That's like saying Simba's ability to eat bugs and belch and fight with Nala is "cool." She does all those things at her "Character in the WRONG" moment, in the story, just like Simba living in the Hakuna Matata jungle. Therefore the movie is not trying to tell you that Elsa is cool, it's trying to tell you that Elsa is wrong, but you can understand why she's wrong. You can understand why she feels triumphant for a moment-and then the movie shows you that triumph is misplaced.

I mean, she's taken out by her own falling chandelier. Every time she's confronted with a problem, she runs away. When she gets into "battles of wits," she says the wrong thing, or the shy, shut-down thing, not a girlboss one-liner that shuts the other person up. Elsa's not cool either. She doesn't have the answers, she doesn't save the day-she gets saved.

Both of these characters are desperate, open wounds-—they're needy and they're in the wrong, each in their own way, for the majority of the movie. They're weak, and they have to learn to find strength in love, for most of their story. There's nothing "girlboss" or "cool" about them.

I think maybe what some people make the mistake of is noticing the Frozen mania, and the fact that the two main characters are girls and one of them has superpowers and they other doesn't get with a Prince, and then they get the impression, from that, that the characters are "cool girlbosses." But like...that's like saying Dory from the first Finding Hemo movie is a girlboss. She's so totally not. She's a wreck. A funny, appealing, sometimes-relatable-human wreck. And a good character, but the hype doesn't change who she is, as a character. And who she is, like Anna and Elsa, is just a good character.

4. Elsa does not finish Let it Go with an "I'm Fine As I Am" attitude, and she doesn't finish the movie that way, either.

She finishes "Let it Go" with an "I'm fine up here, isolated from everyone," attitude. And then the movie very quickly proves her wrong by having Anna show up and reveal to her that no, actually, she is not fine up there, because the person she cares about most can still find her and be hurt by her, and the whole kingdom is still reeling from the problems she ran away from.

At the end of the movie the only thing I can guess you got the impression that she's "fine as she is" from was the fact that she's using her powers again.

But like. Elsa's whole problem was never her powers. She wasn't supposed to learn to stop using them. She was supposed to learn to stop living in fear. Instead, she was supposed to lean on love-love that sacrifices for her, flaws and dangerousness and all-and stop trying to control her image and what everyone knows about her.

Because in trying to control what everyone knows about her, she was controlling whether or not they loved her or treated her like a monster. And even running away and singing Let It Go was still an effort to control everything-by not being around people who could treat her like a monster or be hurt by her. Instead, accepting that she might hurt people because she can't always control everything, and trusting that they'll still love and forgive her, was her character arc.

She lives by faith in sacrificial love by the end, not by fear. That's the arc. She does that perfectly.

It was never, "I'm fine as I am." Because the point was never "there's* something wrong with me." It was, "I don't need to fear a lack of control, because true love covers what I can't control." That's all.

4. Anna does communicate to the audience that she's sorry and willing to understand the reasons behind Elsa's secrets.

The lesson Anna takes away from all of this is not "which guy loves me." It's "what is love?" And you know she's learned that because she demonstrates it. If Anna had died-frozen forever-or been cut down by Hans' sword, you realize that Elsa would never have been able to repay that gesture, right? But Anna still made that choice.

Even though it meant Elsa would never repay her. And the point is — excuse me, I know this is long enough, but I feel like you're missing out on something wonderful here—

Anna could have left Elsa to be killed and ridden off into the sunset with Kristoff.

They make it very clear that that is her goal when she stumbles onto the ice, free from the room Hans trapped her in. Elsa is no longer her motivation. She isn't looking for Elsa. She's not trying to get that love she's looked for, from Elsa, in that moment. She's trying to get it from Kristoff, not just for her emotional need-but for the "breaking of the curse" that's killing her in the moment. That whole scene where she realizes he loves her-truly loves her, because he fits the description Olaf gives-is in there to communicate to the audience that he could save her. He could give her what she needs.

And the reason that's important is that it proves that this is character development: when she chooses not to go to Kristoff, and to go to Elsa instead.

Because it's her, choosing to turn away from the person who could give her something (even if it is "love") and to turn toward the person who can't give her something (Elsa.) Who has repeatedly failed to give her something, for their entire lives.

Anna at the beginning of the movie would've run to Kristoff. That was the whole point of Hans, when it comes to Anna-he represents someone who can fulfill a need in Anna. But when Anna turns away from Kristoff and runs to save Elsa instead, Anna is demonstrating what she's learned —that love isn't about her own needs. It's putting someone else's needs before yours. She stands between Hans and Elsa, with the full expectation that she's not going to get anything out of it, not even a guarantee of E/sa's love in return. And her own needs will NOT get met if she puts Elsa's first.

And that's what she does. Whereas, at the beginning of the film, Anna would not have done that. Because that's not what she thinks love is. She hasn’t realized that yet.

She thinks love means closeness. And that does come with love. But that's not love. Love is, like Olaf says, putting someone else's needs before yours. But the whole movie, Anna is not working to put Elsa's needs before her own. She's working to change Elsa's mind, now that she knows the truth, so that she and Elsa can be "close again." She's climbing that mountain and arguing with Elsa, because she thinks that all that stood in their way before was this secret that's been uncovered. And sure, Anna has always been willing to “be there for” Elsa, but you have to see that Anna wanted that to come with Elsa being there for her, in return.

Which would be nice. But it's not true love. True love is being there for someone even when they refuse to be there for you. Because that's putting their needs before yours.

Thanks for the super long ask! That was fun! I hope you enjoyed reading as much as l enjoyed writing-I think sometimes we judge Frozen by the mania that followed, not the good quality that actually caused the mania, and deserved the mania, though. Anyway 😂

Guards! Take them away! Back to the theater with you! Watch the movie again!

[marigoldwriter]

I have a mini faint every time these important profiles of the charminghearts / glassheart nation like or reblog one of my posts.

Like, @gayafsowhat NOTICED ME!

@uhhhh-em-draws-stuff liked one of my posts (like, in my head, only important people in this fandom have ideas drawn by her)

I don't think I need to say much about when @c-rose2081, @bigmilk-13 or @strugglingsapphic interact in some post!

I think I'm the only one who gets very emotional about that, but I'm so happy!

Like, I think I would tell everyone in this fandom how much they inspire me and how incredibly creative they are, and that, man, I love this place and these people so much.

I think it's one of the things I'll never get tired of. Telling people how amazing they are, and how special they are to me, even in the smallest of interactions.

Edit: I FORGOT TO PUT @that-random-outsider and @chxrmingswxrd, I FREAK OUT WHEN YOU LIKE ONE OF MY POST!

[shepscapades]

shep shepscapades I mean this in the kindest was possible but holy actual SHIT when I saw first time in forever reprise on Unglued

I thought I escaped it but it follows me wherever I go (aka I’m in a production of Frozen the musical and it the amount of times I’ve heard that song. Holy crap. It fits so well but. Holy shit. Hit me like a ton of bricks seeing it on there) It’s like seeing your long lost best friend who you thought you shot in the chest but they show up back at the front door wearing a snowman costume with hand frozen trailing behind them. Jesus Christ man

(all /silly) (the playlist honestly looks so so good)

DFJBSFGBDGHJB LISTEN THERES A REASON I START THE EXPLANATION OFF WITH “okay hear me out” LMAOOO the theatre background makes it so much funnier though, I’m so sorry for your loss slash congratulations for seeing your old dead best friend again?? ^-^

[prplocks]

✧❁ wallpaper 〴 cinderella ˗ˏˋ ´ˎ˗

reblog if you save ➳

༶•┈┈┈┈┈┈୨♡୧┈┈┈┈┈•༶

[luxmoogle]

I adore the KH characters, they are all lil princesses in my eyes and would most likely all get invited to girls night

[the-sage-libriomancer]

Rewatched Princess and the Frog today and honestly it feels more like a celebration of Disney's 100 years than Wish. A classic fairy tale respun in interesting ways while still being undeniably Disney? Check. A traditional story with modern twists and a (narratively) strong female protagonist? Check. A return to 2D animation in a time when the medium was dying out? Check. Hell, it even takes place in the same time period (1920s) that Walt Disney released the first animated feature film and started a hundred years of magic. There are multiple references to older Disney movies, from classics like Pinocchio and Sword in the Stone to (then) recent films like Aladdin and The Little Mermaid. It features the fucking wishing star! In a more narratively sound manner than Disney's actual 100th year celebration!

And even beyond that, Princess and the Frog feels like it pays tribute to the magic of magic - the power of believing in stories, of having a dream, of working hard to reach your happy ending while never losing sight of what's really important. There is so much effort put into this movie and it shows: the animation is gorgeous, the story is creative and structurally sound, and behind the scenes reveals that the producers put their backs into making sure both the African American aspect and the New Orleans cultural aspect were accurately depicted. It was the first Disney movie in over a decade to return to the Broadway musical format, and they literally had to dust off the abandoned 2D art tools because the company hadn't used them since 2004.

Princess and the Frog was a labor of love through and through, a heartfelt tip of the hat to Disney's legacy while still being its own story. I don't know what could be more celebratory of Walt Disney's dream than that.

[dynasty889]

Someone should do a When Will My Life Begin crossover for Telemachus so he can be a Disney Princess. And so I can laugh.

(That’d be Telemachus wielding a sword the first time lmao)

[angelshizuka]

Do you think Stolas will end up getting his powers sometime in the future?

I'm really not sure what to expect, but when it comes to what I'm hoping for? Honestly, yes. Him permanently losing his powers just feels too much like Stella and Andrealphus won.

Plus, I've always prefered the "peasant rises up to be with royalty" trope over the "royalty descents to be with a peasant" version. Though, I get the world building in this show doesn't make that trope as easy as in like a Disney Princess movie.

[smurphyse]

For this ask game: Loki!! (surely he is considered a Disney princess?!? 🖤)

@dancingsunflowers-ocs 💚🖤💚

Ahahah I really hope this is The Arrangement Loki and not Lesser of Two Evils Loki XD because one is a giant asshole

Which Disney Princess am I to you?

[teecupangel]

Concept: Imagine if Altaïr had a habit of adopting birds of prey and stuff.

Ezio did the same thing except with cats (including a lion cub, if you know the reference to Da Vinci you'll get it)

Connor adopted canines constantly.

Desmond inherits all of these and takes in every single stray animal he finds. It doesn't matter if it's even safe to keep as a pet. He just adopts every single animal in sight.

In other words, through genetic manipulations, the Isus have created the ultimate savior of humanity:

A Disney Princess.

And it all started with Altaïr accidentally turning one of the towers in Masyaf as an aviary that only housed Birds of Prey.

No one knows how he did it.

They were pretty sure he started doing it after his father died and no one had the heart to tell a grieving child to stop adopting birds as a coping mechanism.

By the time Altaïr had been initiated, the aviary and its occupants have become just another staple in Masyaf.

Is it weird that they only listen to Altaïr?

Is it weird to hear Altaïr have a full blown conversation with them?

Very much so.

But it was Altaïr.

He was as weird as he was talented.

So people just left him be.

Time passed and Altaïr became a legend in the Brotherhood.

There were whispers that he could command any kind of birds of prey to do his bidding.

Perhaps he could.

Perhaps he could not.

No one found out the truth.

Ezio, on the other hand, was known as a hoarder of cats.

He gives food to even the dirtiest stray cats that could be found scurrying in the streets.

And they would follow him back to the Brotherhood’s hideout where some poor servant or recruit would have to bathe the cat, suffering the scratches and bites.

Only to be rewarded by the cat purring contently when it is presented to Ezio who holds it in his arms and calls it bella or bello.

And then… Ezio managed to get a hand on an illegally smuggled lion cub who grew up to be quite… large.

A very spoiled large cat who always loved it when Leonardo would come to visit because he would give the lion treats so it would let Leonardo study it.

Now, Ratonhnhaké:ton didn’t plan to adopt any animals. It just so happened that he joined a wolf pack in taking down preys once and now he was considered a… ‘kindred spirit’. They would join Ratonhnhaké:ton whenever he was off hunting and wouldn’t take his kills.

When he left the village, he saved a dog being mistreated by Red Coats and the dog just followed him to the homestead.

While he was sleeping the barn, he saw another dog, all skin and bones, rummaging the containers where the old man keeps the horses’ food for any scraps it might eat and he felt sorry for it so he would throw it a bit of the meat he would prepare for him and the first dog that kept following him.

By the time, Achilles finally agreed to train him, the wolf pack that he had hunted with near his village came to the homestead and… just followed him around.

Achilles thinks it’s a gift.

That there have been Assassins that had a close kinship with animals like Altaïr with his birds and Ezio with his cats.

The wolf pack stayed in the homestead when Ratonhnhaké:ton went with Achilles to Boston. The dog that Ratonhnhaké:ton fed also stayed because they learned that he was already quite an old dog.

Achilles didn’t say anything but the grief in his eyes made it clear that the old dog’s owner had been one of the many dead Assassins that Achilles knew.

When Ratonhnhaké:ton returned from Boston…

Not only was he accompanied by the first dog he adopted, he apparently adopted 3 more dogs along the way.

Achilles has himself to blame for that one.

And so, time moves on and Desmond Miles is born.

The window to his nursery was always close because birds and squirrels would come inside an open window and surround his cradle.

His mother had been worried that those squirrels and even some of the birds might carry something that would make a baby sick.

When he grew older, his friends were the animals in the woods surrounding the Farm and the guard dogs that Farm used.

The other children thought he was weird because of his affinity to animals.

Many adults found it to be a bit disturbing but also a sign of the greatness that Desmond would achieve.

Why else would he have the same ‘skill’ as Altaïr and Ezio, after all?

Then Desmond showed… to be lacking in training.

He wasn’t bad.

He was even better than a lot of the other kids.

The problem was…

Everyone expects him to be more than that.

And Desmond couldn’t take it.

So he ran away.

And the animals ran away with him.

And Desmond finds an abandoned farm where he finally carves out a place of happiness for himself and his friends.

… Desmond has no idea where the bear came from but he became docile after Desmond scolded him for destroying the trash bin and eating spoiled food.

[artist-issues]

Idk if you still think about Wish (2023) but I feel like a huge problem with it, specifically Asha's character, was that she just fit the "adorkable" stereotype instead of being her own character.

It made sense with Rapunzel - she's never been outside before, so of course she will be a socially awkward clutz. The same goes for Anna, but this character archetype started going downhill for Disney in Moana. It might seem like it fits since she's never been off of Motunui before but it's not like she's never talked to anyone.

The "adorkable" trend became its worst with Asha. What do you mean she's socially awkward and clumsy but still has the trust of the ENTIRE KINGDOM and wants to be the King's apprentice??? How???

I feel like if they made her personality a little more like Cinderella's and Tiana's she might have been more likable and believable - being a stern, gentle, and hardworking woman who takes no crap but is still kind and caring deep down. This could contrast her with the naïve, cheerful, and bubbly Starboy (I always mourn the storyboard drawings of them together) and even make a comparison between her and King Magnifico, maybe even becoming a central conflict with how Magnifico's ambition for power turns him evil because of his lack of morals, and without Starboy Asha would've gone down the same path if it weren't for him reminding her about what really matters - being purely good and not letting anything stray you away from being a good person.

Sorry for the ramble but I just have SO many thoughts about how Wish could've turned out 😭

I don’t find Moana “adorkable.” If “adorkable” means “socially awkward” or “spazzy with her emotions,” (like Rapunzel going “I KNOW! -playing it cool- I mean…I know.” Or Anna going “It’s TRUE LOVE”) then that’s…kind of just “being young.” And I’m sure, with Rapunzel and Anna, being lonely for a long time contributed to that My-Emotions-Splash-Everywhere-Every-Time-I-Get-the-Chance thing their personalities have.

But Moana doesn’t have that. If you mean she cracks jokes, like rambling to Pua about not eating pork, or singing at Maui, those aren’t “adorkable” traits. They’re just a teenage girl’s sense of humor. Teenage girls mock their friends’ little phrases all the time. Teenage girls shriek at the top of their lungs when they’re excited. Teenage girls ramble when they’re nervous. That’s just one shade of normal teenage girl behavior. If you’re tired of seeing it, maybe you’re tired of teenagers.

And she has her own personality besides all that. Moana is intensely stubborn in a way that can be insensitive or bullheaded. She is prideful—she thinks she’s special because the Ocean choosing her validated those feelings. She also has what Asha does not—believable motivation for most of her decisions.

I mean, what do you want instead? Is it time to admit the “adorkable” thing started with Ariel and Mulan? Did you want a mature-adult-type teenager, who have “maturity,” or “patience” as character traits, like Belle or Cinderella? Or were you hoping for a Jasmine type—immaturity in the form of sharp tongue and temper? “They tried doing the whole “no jokes, this is a serious adventurer” thing with Raya, and it sucked.

What I’m saying is, giving a girl a rambling mouth—especially when she’s on a solo-adventure for a significant portion of her movie—isn’t a cardinal sin. Neither is giving her moments of dorky clumsiness (especially in Moana’s case, it’s humanizing when she runs into something or gets something wrong, because she’s otherwise phsyically pretty capable.)

As far as Asha goes, I definitely still think about Wish, and I actually agree with what I think is your main sentiment—she doesn’t have any personality so they just slap “sometimes clumsy sometimes unflatteringly goofy” onto what’s an empty husk.

The thing is, her main motivation isn’t relatable. It’s not very human. She spends three seconds in the presence of the leader of her whole known world, worldview, and culture, and instantly knows exactly what’s wrong with that worldview, world, and culture. No confusion, no hesitation, perfect right answer instantly. She wants her grandfather to have his wish—but he was fine without it, and nobody ever clearly defines what a wish even is in this movie in a way that’s relatable, so we can’t relate.

It would be like if you took Mulan’s desire to save her father from physical injury, mixed with a desire to prove herself—and then you replaced that with “Mulan desires to speak with the tongues of dragons.” Mmmkay that sounds neat but what the heck does it mean and why should I care, or remember it when I leave this theater?

Everyone who defends this movie likes to say, “Asha’s selfless, she just cares too much about everyone else’s wishes, she wants them all to be happy!” But you know what, that’s not relatable. Because it’s flawless.

Belle is selfless. Belle gives up all her dreams and goes into her worst nightmare—living with a selfish, conceited monster—to fave her father.

But did you catch that? She has dreams. She doesn’t know exactly what she wants, but she wants to have a big, important life. That;s not necessarily selfless, and it’s part of her personality. Guess what else? Her worst nightmare is living with a selfish, conceited monster. So she actually has something to develop.—being able to be kind and loving, anyway, and give conceited monsters a chance.

Asha has nothing like that. From the first moment conflict is introduced, she knows what the right thing to do is. She has no self-focused desires, allegedly. She’s just a told virtue with no showing, no real person inside.

I mean jeez, even Aurora, whose whole character is supposed to BE a “Symbol of Virtue, Personified” still lays her head down and cries when she can’t have the man she loves. Even Cinderella gets annoyed with Lucifer.

And what’s the deal with that recently? Where’d all the annoyance go? Why is it Moana doesn’t get into any serious, believable arguments with anyone on her crew in Moana 2? Loto starts chopping up the BOAT THEIR LIVES DEPEND ON and Moana’s just like, “heyyy budddyyy could you maybe nooot?” All passive-aggressive and smiley, she’s not even a little irritated. Neither is Loto. And no matter how grumpy the old man is, nobody is ever fed up with him. What’s the deal with that?

Why is it Asha is never fed up with or loses her temper at Valentino? Nobody hurts each other’s feelings in these movies anymore. (Sabino yelling at Asha doesn’t count because it came out of nowhere and again, the THING he’s yelling about isn’t believable, it’s nonsensical.) Why doesn’t she talk back or argue with Sabino at the table like Mulan does? Why is she fine to argue with Magnifico, though, the villain? What happened to all that self-righteousness? Oh, we can’t use it. Not when it’s a character that is a good guy. Because our good guys can never do anything slightly unlikable to fellow good guys.

What’s the deal with that in these movies nowadays? The relationships have no flaws or teeth. What’s with that? Am I the only one noticing that?

Anyway

[stealingpotatoes]

If Cal and Ezra had their way, they'd make Phineas' lightsaber from the Phineas and Ferb Star Wars special.

having flashbacks to when i thought it was actually cool that disney'd bought star wars

[theellastrator]

Question for all- What are your favourite Disney Princesses?

[raven-at-the-writing-desk]

Rook, Ortho: Princess Power

BRUH 💀 Go figure, giving the guy obsessed with beauty two of the least flattering screenshots in his background frames… But hey, his groovy is very different from everyone else’s so far! ^^ Very relaxed and peaceful.

Cbjssbjsjskendb new tidbits about pre-Pomefiore Rook?? He used to cut his own hair with a knife and focused on keeping his bangs out of his line of sight… and he wasn’t as confident about his style (mood). It’s also interesting to know that he started doing ballet on Vil’s recommendation, and that has helped a lot with his posture, working out muscles he doesn’t normally use, and appreciating the art of performances. We love Pomefiore out here breaking gender norms 👊

A Tale as Old as Time.

Rook drew out a longing sigh, gently easing into the quiet of the museum. The soft sound lingered, coiling around his fingers like thread from a spool. It, too, did not wish to part ways with the stunning beauty laid out bare before it.

A fair maiden was framed in shining platinum. Hair black as ebony, lips as red as the rose, and skin as white as snow... Truly, she was the fairest in all the land.

Her graceful frame was folded, kneeling on the forest floor to greet the woodland creatures that had gathered. The pale yellow skirt of her gown spilled out, blue bodice and puff sleeves fitted well by her figure. Her face round and gentle, in spite of the high collar encircling it, crowed by a petite red bow.

Here was pure innocence, a young girl reveling in nature.

“Beauté,” he marveled—to no one in particular, but such beauty warranted verbal acknowledgement.

“It seems that this painting has captured your interest, Rook Hunt-san!” a voice chirped. A neon blue light emanated from the darkness, accompanied by the silver flash of metal.

“Bonjour!” Rook greeted Ortho. "I must confess, I have been enchanted by this particular work of art! The brush strokes, masterful! The composition, immaculate!! The subject—oh, how it makes my heart quiver with nostalgia!! I am a man close to being moved to tears!!”

Ortho curiously glanced at the girl and her animal friends. No strong emotions arose within up from him. Perhaps he did not feel as much, or perhaps Rook felt too much. “Is there a sentimental experience or memory you have related to this painting…?”

“Oui! It is a tale as old as time.” Rook gestured to the snow white young lady. “They say that this maiden was a princess forced to flee from her home country, as a hostile presence threatened her life. She retreated into the woods and found comfort in a humble life there. Her tenacity is most admirable!!”

“Tenacity… That’s the value that Pomefiore was founded on!” Ortho, floating overhead, beamed at Rook. “I understand why you would like that story. It has a good moral that sticks with you.”

“That is the beauty of telling tales! They inspire those who hear of it, ensuring that the spirit of the story is never truly extinguished.” The huntsman’s eyes held a keep glint to them. “Tell me, Ortho-kun. What do you believe makes a princess?”

The boy blinked. A split second, and he had already input the term into an internal search engine, the formal definition loaded up to recite.

“Prin-cess, noun. The daughter of a monarch or wife to a prince. A woman having sovereign power.”

“An efficient, succinct answer!” Rook applauded, his cheer never faltering. “However, my desire is to know your interpretation. In Ortho-kun’s own words, what makes a princess?”

“My own…?” The words stretched, unsure, on his tongue. Ortho hesitated—seeking, processing, and analyzing. Rook’s heartbeat sounded where there was the space for the boy to think.

Then, finally, Ortho spoke.

“From what I’ve observed in movies and books, the princess is a pop culture icon. She’s usually presented as a role model for little girls. Someone who is beautiful, dainty, and composed, wearing a pretty dress and a glittering crown."

A pause. Ortho assessed Rook’s hard-to-read, bright expression.

“… Is that closer to the response you were looking for, Rook Hunt-san?” he asked.

To this, the third year’s lips quirked. “There is no correct or incorrect answer! I was curious to see your perspective. Everyone holds one that differs, lenses of all designs and colors with which to see the world through! You have my most heartfelt thanks for sharing your view with me.”

"Oh, I see! You're collecting data from a variety of sources to compare to a standard." The android (literally) lit up from within. "Let me ask the same back! Rook Hunt-san, what do you think makes a princess?"

"Mon dieu! You've set my own trap upon me," Rook teased.

The Beautiful Queen, the Fair Maiden, Vil, his peers... So many fragments of beauty in his collection. Plucked, collected, hoarded.

He ran a finger along his chin, contemplating. The thoughts assembled like a collage. Ideas taken, cut up, and pasted together into a new, glorious artwork.

"A princess can be many things," Rook declared with certainty. "They are a princess to their very core, even when their power is stripped from them or they are dressed in only ashes and rags. What defines them is not royal heritage or political influence, but the strength of their character, their values and virtues. They are not bound by a singular trait, but are aspirations to all in their own ways."

Ortho's eyes swelled. "Eh...? That's so broad! By your definition, anyone could be a princess—even you or I!”

The huntsman threw his head back and laughed. "Broad it may be, but I am of the opinion that we all have it in us to live up to the title~”

He indicated the woman in the platinum frame. Ortho’s gaze obediently followed. "Even without a kingdom to call her own, she remained kind-hearted rather than turn to cruelty. That is why she was, and always will be, a noble soul. A princess who puts out good into the world.”

“Rook Hunt-san…”

“Ortho-kun!” Rook dramatically extended an arm to him. He was practically sparkling in the dim room. “I, too, endeavor to put out as much beauty as what is gifted to me! That is my one true calling as the Hunter of Love: to not only seek out beauty, but to cultivate and to contribute to it!”

Ortho silently stared. Nii-san did warn me that Rook Hunt-san could be eccentric, but… maybe there’s some meaning to be found in it.

Cutting through the numbers and the formulas that governed him was a fuzzy warmth. Not the familiar jolt of electricity that powered his circuits. It was too wild, too unpredictable.

Something undeniably human.

Ortho let out a giggle. "Hehe. Then you must be a princess too!"

Rook's mouth formed a small "o". Unsubtle surprise—or perhaps purposefully exaggerated. "Me? Whatever makes you think that?"

"Strength of character!" Ortho parroted mischievously. "I've never met someone as uplifting as you are. Rook Hunt-san is the type of person that sees a princess in everyone."

The boy lowered himself to a few centimeters off of the ground, pretending to dip into a curtsey. "Your majesty!"

"Fufufu. You're quite charming yourself, Princess Ortho-kun!" Rook bent into a deep bow. "Most clever in all the land, computing complex problems in the blink of an eye!”

Upon straightening, the third year laid both hands over his heart. He lifted his head toward the painting of the fair maiden in the forest. A serene smile at his lips.

It was as if he was pledging his allegiance, making a vow. A worshipper at the altar to pray.

“May we all live happily ever after,” Rook whispered raptly, “like the princesses of old.”

Forever and ever.