#like a classic Disney animated musical film

[bixels]

Do you imagine the MLP 1920s AU as a musical?

Definitely, yeah.

[doyoulikethissong-poll]

Johann Sebastian Bach - Toccata and Fugue in D minor, BWV 565 1700s

The Toccata and Fugue in D minor, BWV 565, is a composition for organ by German composer Johann Sebastian Bach and is one of the most widely recognisable works in the organ repertoire. Although the date of its origin is unknown, scholars have suggested between 1704 and the 1750s. The piece opens with a toccata section followed by a fugue that ends in a coda, and is largely typical of the north German organ school of the Baroque era. Little was known about its early existence until the piece was discovered in an undated manuscript produced by Johannes Ringk. It was first published in 1833 during the early Bach Revival period through the efforts of composer Felix Mendelssohn, who also performed the piece in 1840. It was not until the 20th century that its popularity rose above that of other organ compositions by Bach, as exemplified by its inclusion in Walt Disney's 1940 animated film Fantasia that featured Leopold Stokowski's orchestral transcription from 1927.

BWV 565 was used as film music well before the sound film era, becoming a cliché to illustrate horror and villainy. Its first uses in sound film included the 1931 film Dr. Jekyll and Mr. Hyde and the 1934 film The Black Cat. The 1950 film Sunset Boulevard used BWV 565 as a joking reference to the horror genre. The 1962 film adaptation of The Phantom of the Opera used BWV 565 in the suspense and horror sense.

Recordings of BWV 565 that have appeared on popular music charts include rockband Sky's 1980 rock-inspired recording (#83 on Billboard Hot 100, #5 on UK Singles Chart) and Vanessa-Mae's 1994 violin recording (#24 on the Billboard charts). Eurodance music act 2 Unlimited's 1994 hit "The Real Thing" uses BWV 565 and, in a list published by Classic FM and PRS for Music, was revealed to be among the best-selling pop singles to incorporate classical music.

Toccata and Fugue D minor, BWV 565 received a total of 94,7% yes votes! 🎉

[cumulo-stratus]

request- hanging out with your two best buds spencer and penelope and watching lady and the tramp

or could be just with spencer

i just love seeing them together and need to hang out with both of them. and i know they are both fans of Disney movies like c’mon it just makes sense

BEST BUDS [S.R]

Penelope, spencer, and you share a nice night at penelope’s watching Disney classics with spaghetti

spencer reid x gn!reader ][ fluff drabble ][ 0.6k ][ masterlist!!

a/n- MAY ILYSM FOR THIS REQUEST!! its a drabble not a full fic but oh well lol

“Spencer pass the cheese!” Penelope's many bracelets jingling on her wrist could be heard as she reached out for Spencer to hand the cheese to her. 

When Spencer placed the bag in her hand she shook it onto her bowl of spaghetti. There was now a little pile of white parmesan cheese on top of her spaghetti. 

Penelope leaned against one end of the couch wearing her Mickey headband while you and Spencer cuddled up on the other end for best buds night as Penelope so lovingly called it. The name hadn’t changed even when you and Spencer got together a few months ago.

They usually happened whenever there was the time for one, which wasn’t often. This made them special. Special meant Penelope often got very excited at the prospect of a best buds night. 

Tonight she had decided to make spaghetti to go with their viewing of The Lady And The Tramp. Ever since you had discovered Spencer's secret love of old disney movies, both you and penelope insisted on watching his old favorites.

Penelope had heard about this from Spencer when she saw him blushing at texts, and being the guy who never normally even takes a second glance at his phone unless it's work related. Of course, Penelope being the lover of matchmaking insisted on knowing what Spencer was looking at.

Said previous events led to the three being cozied up on the couch with the light of the movie illuminating Penelope's otherwise dark apartment. The old style music and animations brought back memories from Spencer's childhood. 

“You know my mom used to play this for me a lot” Spencer spoke with a fond smile, and you could almost see the memories flickering like old film behind his eyes. You smiled up at your boyfriend from his shoulder. You placed a small kiss on his growing stubble. 

ever so often, either penelope, you, or Spencer would make a comment (though most of them were spencers). Spencer usually said something about how the animation was done, or a historical inaccuracy. “You know that architecture is quite unrealistic for supposedly the early 1900s- are you guys seeing this brickwork?” he would call out, only earning a giggle from the others. 

When Penelope made a comment it was usually along the lines of “ahhhh!!! look at these two cutie pies!!” and other phrases in the same vein. Her excitement was at its peak in the classic spaghetti sharing scene. there had been lots of penelope screams/yelps of joy. 

You preferred to stay quiet, leaving a sentence hanging in the air every once in a while. But you found more pleasure in listening to your two best friends.

The more the night wore on, the more the warm bowl of spaghetti in your stomach and the soft sound of Spencer's heartbeat lulled you into a drowsy state against his chest. His warmth radiated into your soul, allowing a blanket of peace to roll over you as the movie's credits started to play. ‘’

Spencer looked down to find you asleep on his chest, and his second thought after how adorable you were- was how was he going to bring himself to wake you up and go home for the night. 

Then again, Spencer noticed someone asleep. Penelope had her head rested against the couch and an empty bowl still in her hands. She also sported a small squishmallow of a unicorn at her side. with her eyes closed you could see the eyeshadow she hadn’t had the thought to take off yet.

And as spencer looked at his two best friends, and then back to the tv with the credits still rolling, he wondered how he got so lucky.

spare a reblog?

[arttheclown]

to my fellow fans of animation and film in general: please please please, see puss in boots: the last wish in theatres if you get the chance. i mean it. it has no right being as good as it is and i’m very sad that there’s so little talk about it here on tumblr. i enjoyed every single character; they all serve a narrative purpose and everyone’s arcs are meaningful, including the worst of the villains. the worldbuilding & how the narrative plays with classic fairytale lore is extremely fun — a loving callback to early shrek that still feels like its own thing. the character designs are excellent. the animation is spider-verse levels of insane, with several transitionary moments that had my jaw on the floor. the music is beautiful. i was shocked by how just how dark the movie was willing to get at times, too; dealing with themes like death, mortality, animal / child abuse, commitment issues, and toxic masculinity. there’s a depiction of a panic attack that hit so close to home for me i was almost in tears, especially how they chose to resolve it. it was very touching and true to real life, which isn’t something you’d expect from a fantastical cartoon.

in an industry that’s being dominated by disney, we need to support films like this now more than ever or we’re not going to have many more of them. give it a shot if you can — i promise you won’t regret it.

[racheyace]

Do you possibly have a list of the G/t movies and/or shows? I've been looking for stuff to watch and would love to know what good stuff you've come across!

Okay so I've compiled a list from my poster and from more that have popped into my head as I wrote them down, fairly sure there's even more, but these are the ones I know well, if you know of any more please comment, I'd love to add to the list, there's actually so much out there when you really think about it!

Anyway enjoy and I hope I've listed at least some that you haven't seen before

Gt in media list:

Percey Jackson and the Lightning Theif (Literally a 3 minute scene toward the end of the movie but a great scene!)

Gulliver’s Travels (2011 Jack Black)

Gulliver’s Travels (1996 film)

Black Adam (The Atom smasher is a size shifter kinda like ant man)

Ant Man (Ant man and wasp, ant man quantomania, all three of these movies are great!)

Avengers Civil War (Airport scene)

Earths Mightiest Hero’s (Tv show featuring ant man and the wasp with great gt scenes)

Help! I shrunk my teacher (This movie is in another language however I have been able to find an English version pretty sure on YouTube)

Help! I shrunk my parents (Again in another language but should have English version on YouTube)

Help! I shrunk my friends (Now this one I haven’t been able to find with English version or English subtitles so if you find one please share, but visually even better than the other two in regards to gt!)

Tinkerbell and the great fairy rescue

Disney’s Thumbelina

Disney’s original animated Peter Pan as well as Return to Neverland (Tinkerbell gt scenes)

Ella Enchanted

The Borrowers (1973) A little old but super cute!

The Borrowers (1992) Pretty sure this is a mini series or at least 2 or 3 short films and it is great!

The Borrowers (1997) Classic movie, great visual effects, epic cast, amazing gt!

The Borrowers (2011) Another great remake of the movie, a little more modern

Alice in Wonderland – Whether it be the Disney animation or the Johnny Depp remakes, great gt scenes in this also, I personally like the live action remake

Hook – Oh my god is this movie great! Julia Roberts plays Tinkerbell and Robin Williams as an adult Peter, the chemistry and gt interactions in this are amazing!

Wiplala (Also known as Help! I shrunk the family though not from the same series of movies as the other Help! Movies I mentioned above) This is also found in a different language though English versions are available on youtube – Totally underrated movie and has amazing gt all the way through!

Barbie as Thumbelina (For a kids movie this has a super cute story and great gt enemies to friends vibes)

Jack the Giant slayer

Peter Pan (2003 live action) One of my favourites and I rewatch this a lot! Poor tink gets grabbed a lot sometimes gently and sometimes not so gently!

Honey I shrunk the kids

Honey we shrunk ourselves

Honey I blew up the kid

The Secret World of Arrietty (Another one of my all time favourites and rewatches!)

The Iron Giant (Again just amazing and one of my favourites!)

The Indian in the cupboard (So sweet with a lot of really powerful messages)

The Littles (Kids tv show and just all around great gt!)

The incredible shrinking woman (I personally didn’t enjoy this movie as much as I thought I would but still great gt scenes)

The incredible shrinking man (Again didn’t love this but it is also very old, great special effects for its time)

Fern Gully (Another all time favourite!)

Fern Gully 2 the magical rescue (Not as great as the first one but still pretty good as far as gt goes with more interactions with humans)

Epic! (one of the newer gt animations with a fantastic cast, didn’t like that the human’s move so slow but from a scientic viewpoint that does make sense)

Tom Thumb (This is fairly old and a musical, but has some excellent scenes for its time)

George shrinks (A kids tv show I grew up watching, all around amazing)

Jack and the beanstalk: The real story (Fantastic movie, though it may be a mini series, I can’t quiet remember but great gt again!)

Attack on Titan (this is an anime series, it’s also really good in the fact that one of the humans, well a few, but the main character can become a titan and helps to protect his city and his friends, now this show is not for the weak stomach, the titans are quite disturbing and there is a lot of vore and gore so fair warning)

Dinosaur (Disney movie – gt found family the tiny lemurs take in a dinosaur and raise him as their own, inspired my most recent story)

Transformers (There are many of these and can be hit and miss with regards to gt, but its there)

Sugar Apple Fairy Tale (Another anime, actually just started this and its fantastic in regards to gt)

Night at the museum (All three movies as they all include our favourite tiny cowboy and roman)

Robotech (I’ve been told this is great as it contains giant mech people and some gt scenes)

Land of the Giants (TV series, it’s fairly dated but well worth a watch)

Downsizing (Starring Matt Damon, I personally didn’t like this film, it had so much potential and just missed the mark but there is some great gt in it)

Monsters Vs Aliens! (I can’t believe I almost forgot this movie and it’s not in my gt media poster ahhhh! Amazing gt all the way through, one of my favourites!)

Dwarfina (Such a cute tv series, it is in another language but I was able to understand a fair bit, following the series on youtube can be confusing but it is so worth the effort, the story is so sweet with amazing gt and romance)

My little lover (A Japanese series, though I believe there is an english dub, I’ve heard there is a remake now out but I’ve not seen it, the original is fantastic though!)

Okay I’m gonna list a few more below, they all have the same sort of vibe, I didn’t personally enjoy them they were like on the cusp of pornography but for the sake of the gt in media list I’ll put them here:

Attack of the 50 foot cheerleader

Attack of the 50 foot woman (There is two of these, an older one and a remake)

Attack of the 60 foot centrefold

The 30 foot bride of candy rock

The Amazing colossal man

Village of the giants

[crooked-wasteland]

The rapresentation of abusers in helluva boss is something that particularly frustrates me, Stella in particular, it seems to be done just to victimaze certain characters not to show the complex dynamics of those relationships. It seems to me the writers aren't mature enough to handle these topics properly.

Abuse and Vivienne Medrano

Christmas 1962, a man renowned the western world over for his revolutionary approach to animation sat in a withering melancholy as he watched what could only be called a cinematic masterpiece based on a novel classic. Walt Disney, now in the twilight years of his life, saw the walls closing in and his legacy coming to a close. This man, who pioneered the animated feature film, saw his greatest accomplishment as his greatest obstacle. The man responsible for the tales brought to life of Cinderella, Snow White, Pinocchio, and Dumbo felt trapped in his achievement. “I wish,” Walt lamented, “I could make a picture like that.”

To Kill a Mockingbird was a piece that challenged its audience. The discussion of a white man defending a black man in southern America, years before the civil rights movement. The movement that, at the time the movie hit cinemas, was in its infancy. Released during the height of the historically revisionist counter movement taking place to combat the rising push of African Americans towards their human rights. The last film Walt Disney ever saw the production of before his death in 1966 was The Jungle Book, a movie that was the epitome of “Safe” and a message that upheld the status quo of segregation.

It wasn’t until 1972 that the media of animation became raucously adult with those political and challenging concepts Disney felt were unattainable. Fritz the Cat was an X-rated animated film composed of vignettes that were unapologetically perverse, violent, and aggressively political. Critical of politicians and the police with a sympathetic if exploitative lens towards the LGBT and racial minority communities Brooklyn-based director Ralph Bakshi grew up around. Bakshi proved that animation was not strictly a child-friendly media and that adult animation could be financially and critically successful.

(For more on Ralph Bakshi's career and animation history)

If one has ever had the opportunity to listen to a Brad Bird (director of Ratatouille and The Incredibles) interview, it is clear to see that the success of Bakshi was generally quite limited. That animation is considered a genre and not a medium of art has resulted in animated films being knee-capped in the box office. There is far more potential to animation, highlighted by Howard Ashton in his collaboration with Disney studios during the Renaissance. Responsible for resurrecting the feature-length animated movie through The Little Mermaid and credited for the monumental success of Best Picture Award winner Beauty and the Beast, Ashton once said that the potential animation was ideal for musical theatre. The limitless possibilities given the medium gave the possibility of introducing Broadway to the common folk who didn’t live in New York and otherwise couldn’t afford the theater. He was quoted saying that live action musical films were “an exercise in stupidity,” highlighting the freedom that comes with a blank page.

However, the success of animation, and media in general, comes down to the message the media wishes to send. The reason the Disney Renaissance films have enjoyed their position as cornerstones of pop culture and creativity was because it did introduce the artform of musical theater into homes and made them readily accessible to everyone with an even heightened sense of fantasy that revitalized Walt’s ethos of making films for the child in everyone.

With Bakshi, it was the loud and violently political message of a revolution taking place. This continues in adult animation with the Simpsons, a series critical of hyper-capitalist America and the fallout of Reagan’s economic disaster that the effects of which are still being felt today and a satire of toxic masculinity and abusive family dynamics.

So, ultimately, the value of a piece of media is a cross between its social artistic influence and the message the creators are intending to make. While Medrano’s influence on the field of indie animation is often mischaracterized as a “pioneer”, the fact is that indie animation and pilots have existed and been funded before Spindlehorse existed. It is simply that Medrano has had the spotlight handed to her for the myth surrounding the production and subsequent success of his indie projects. Artistically, her influence can be summarized as a double-edged sword. For some, she is the motivation for inspiring artists to connect with the community to one day, hopefully, create their own work. On the other hand, she is the cautionary tale of why investing in an indie project is a financial risk for an audience member and a risk to the community as a whole that poses a real danger of making the indie sphere financially cannibalistic, as her public persona is off-putting to “normies” and her show is simply not good.

Much like Disney, the man in 1962, and Disney the company circa 2023, the revolution of animating "because you can" loses its luster very quickly. Without something profound to say, an entire company, regardless of its social influence, can fade into irrelevance despite still being "successful". The story of Disney is a cautionary tale for Indie animation as a whole and Spindlehorse in specific.

And that is the other axis on this chart. Her narrative lacks a message worth telling, and that’s very much due to her not having anything worthwhile to say.

“I really liked when things and shows and stories allow the characters to be flawed, and allow them to grow and to change. And I think that’s something that’s, you know, the world is not black and white. And I like things that explore the gray and that and the complexity, of life and mistakes and of things like that.” - Vivienne Medrano

It is not for want of mockery that I carefully transcribe Medrano’s words in her interview. To read the words aloud tells the story just as clearly as I have set out to do here. This is someone who is highly inspired by better media, who has ideas and a belief that she has something to say. But that is where the belief ends. There is no conclusion to that thought any more than there is one in the unfocused and run-on sentences she rambles along throughout the interview. She talks of “Things” without clarity, because she herself is a fundamentally incurious individual who has never once spent the time critically analyzing herself, let alone the work of others to better grasp what about it resonated with her. She merely consumes art insatiably and without any substance. Like a diet of fruit, it has a superficial veneer of positive value. Fruit would be considered healthy as it is “natural”. However, it is the nutritional equivalent of candy, lacking vital components that are necessary to sustain basic life, it is pure sugar. Her work, similarly, lacks any value of depth that would qualify as meaning.

Which comes back to what the message is in her work.

When it comes to others in the field of indie animation, Medrano does not have many friends. In response to the Lackadaisy situation, creator Tracy explained why she returned Medrano’s donation. For one, the donation was not Medrano’s money, but money she crowd sourced from her employees. While the $5k for the producer spot of the fundraiser would have not been a dent in her personal wallet, Medrano is so uninterested in supporting fellow creators while presenting an impression of camaraderie that she instead took money from the people she is in charge of the paychecks for to get her name in the credits of another creator’s work. In regards to why Medrano was declined her support, it was due to numerous individuals who had such an awful experience working for Medrano that they did not want her involvement associated with the project to any extent. When the money was returned, she made the situation extremely public and encouraged harassment by liking tweets attacking Tracy and the Iron Circus team.

A well-known member of Medrano’s crew, Hunter B, was leaked speaking crassly of other animation projects that were still in the process of production, met with support from other members in the discord. One of these creators being Ashley Nicoles from Far-Fetched. A former friend and creative partner on the Hazbin Pilot whose podcast streams featuring Edward Bosco and Michael Kovach single-handedly maintained interest in the show until the winter of 2021, free of charge. Ashley once spoke of how Medrano would speak disparagingly of an employee to her, saying that this individual was “Too unstable to work with”. Which, regardless of whether or not that is Medrano’s honest opinion, counts as defamation by an employer. It is the exact reason why most previous employers will not give a negative, detailed review of a former employee, maintaining instead to verify facts of the employment. If Erin Frost was more experienced and less involved in social media exposed culture, they could have easily sued Medrano and Spindlehorse for damaging their reputation in their field of employment.

Which circles back to Medrano’s self-assigned message of her show:

“Abusers rely on your silence. They rely on knowing you can’t retaliate without consequence. That they can tell any lies and vague around without getting called out. But we see you, and you don’t have the power you think you do anymore. A message I put into my work. “Fuck you!” - Vivienne Medrano

Medrano, who has vague and sub tweeted individuals like Lackadaisy Tracy, The Diregentlemen, Michael Kovach, and Ashley Nicoles. Medrano who has instigated and incited harassment campaigns knowing that no one can call her out without severe and relentless backlash from her cultish fanbase that she personally encourages through positive reinforcement of liking the tweets of fans. Medrano who relies on the silence of other creators in the field due to the fear of her ire collapsing their projects before they even have a chance to begin.

Vivienne Medrano with an extensive abusive history that continues to this day, has something to say about abuse.

What Medrano has to say about abuse comes from someone who has the position of superiority in all of her relationships, but feels like she’s the outcast and bullied loser. Her self insert that is repeatedly expressed in every character at one point or another is how easily they abuse those around them just because they can, but that the narrative justifies their “acting out” because they are sad. According to the National Coalition Against Domestic Violence, “An abuser externalizes the causes of their behavior. They blame their violence on circumstances.”

Indeed, the lists of abusive characteristics and traits, according to the National Coalition Against Domestic Violence, overwhelmingly encompasses the characteristics shown by characters like Loona, Blitz and Stolas that Medrano repeatedly has attempted to rationalize, justify and minimize. Which, “An abuser often denies the existence or minimizes the seriousness of the violence [including emotional and mental abuse] and its effect on the victim and other family members.”

It is not surprising, then, that the conversation of abuse in Helluva Boss is often infuriating. The narrative underplays the harm done by characters we are supposed to see as “good”. Not allowing for them to grow or change, but ignoring and minimizing the behavior, justifying it through circumstances and perpetuating the false belief that victims are not, themselves, abusers.

One of the first blog post rants I ever made about mental health and abuse was the affirmation that not all victims of abuse are survivors. I wholly stand by that. Victims of abuse perpetuate abuse. A victim and an abuser are one in the same, whereas a survivor is someone who has actually done the difficult work of being self-critical. And the one thing we all are very aware of is how much Vivienne Medrano rejects criticism.

[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.

[radio-ronpa]

Disney I want songs for each V3 character, go!

I got this a few days ago and I've been ruminating on it. I think I've finally settled on them? Plus notes on why I picked that song.

Here's the rules: Has to be from an official Disney Animated Classic (no Pixar, live action, or straight to vid sequels). Must occur within the run time of animation (no songs that only appear in the credits, ala True to Your Heart from Mulan). Only one song can be used from a particular film.

Let's fucking goooooo.

1. Angie Yonaga - Give a Little Whistle (Pinocchio)

Have you ever seen Jiminy Cricket and Atua in the same place? Think about it.

2. Gonta Gokuhara - The Bare Necessities (The Jungle Book)

Optimistic, joyous, and appreciative of all of life's moments, even if they are very small.

3. Himiko Yumeno - The Next Right Thing (Frozen 2)

If there was a DRV3 stage musical, this would be the number she does at the end of Trial 3. It's literally perfect.

4. Kaede Akamatsu - Good Company (Oliver and Company)

The scene with this song in the movie is literally a piano lesson, and it's about being friends and having faith in that. How could I not?

5. Kaito Momota - Go the Distance (Hercules)

Oh, I want to be a hero because I feel like I don't belong anywhere and I want to be strong enough to give my friends good hugs? Herc and Kaito are both beautiful himbos.

6. Kiibo - Strangers Like Me (Tarzan)

I mean, Keebs is real Pinocchio sometimes, but I started crying imagining him to this song. He's so earnest and I love that for him.

7. Kirumi Tojo - Very Good Advice (Alice in Wonderland)

Classic, underappreciated, and sad as fuck.

8. Kokichi Ouma - The World's Greatest Criminal Mind (The Great Mouse Detective)

Look, this song is just fun and chaotic and delighted by its own mischief. There's so many ways you can go with Kokichi, but I had to pick this one for sheer giggles.

9. Korekiyo Shinguji - Never Smile at a Crocodile (Peter Pan)

JUST READ THE FUCKING LYRICS.

10. Maki Harukawa - Reflection (Mulan)

It's cliche. It's also true.

11. Miu Iruma - The Wonderful Thing About Tiggers (The Many Adventures of Winnie the Pooh)

Kind of unhinged and still somehow endearing. Miu Iruma is bounchy flouncy fun fun fun fun fun.

12. Rantaro Amami - Thomas O'Malley Cat (The Aristocats)

The fucking swagger. The worldliness. The feet that can't stop moving. (Of course Rantaro is my favorite character. I adored that cat.)

13. Ryoma Hoshi - Not in Nottingham (Robin Hood)

For the love of god, somebody hug that man.

14. Shuichi Saihara - This Wish (Wish)

If The Next Right Thing is Trial 3 of the DRV3 Disney musical, This Wish is the end of Trial 6. This is Shuichi standing up and telling the villain that they're not going to give in to despair, honoring Kaede's wish with his own. Plus, it's a princess song. I gotta give the main protag the princess song.

15. Tenko Chabashira - Surface Pressure (Encanto)

Tenko doesn't have a complex about being strong and defending people, what gave you that idea?

16. Tsumugi Shirogane - Mad Madam Mim (The Sword in the Stone)

Using your powers of shapeshifting to delight in causing despair and gloom? Can't relate.

This was a wild three hours of research and spreadsheets, and it was delightful fun to do.

Thanks, anon.

[mimicmockingbirds]

OK, but hear me out

Say Ride the Cyclone were to be adapted into a film; imagine how much fun it would be to see it animated.

Because for the main plot, like the intro song and the mostly dialogue scenes in limbo, you could easily do a stylistic, but still grounded in realism style that a lot of modern animated projects are doing right now (think Arcane or Into the Spider Verse). But once each of the kids go into their respective songs/fantasies for what their life could have been? What if those were done in completely different styles?? Imagine the additional, visual storytelling that would tell about who they are as characters?

Like say, for Ocean's number, WTWN, everything became more simplified, and the characters (especially Ocean herself) turned into a more rounded, chibi-like style to enhance just how cutesy and likeable she's trying to portray herself throughout that number.

Or for Noel's Lament, everything goes black and white, and the characters become even more 2D stylized, and the film scales down to a smaller millimeter frame, more reminiscent of cartoons from the early 20's, when animation was just starting out, to enhance his idealization of "the olden days" (as Ocean puts it).

Mischa's song, This Song is Awesome could be animated with a more choppy frame rate, and the character designs turn a little more jagged around the edges, kind of like animated music videos (I'm thinking a Gorillaz band vibe). But as he transitions into singing about Talia, the colors start to bleed out over their lineart, and become more paint-like and Talia herself moves like a rotoscoped character (think Loving, Vincent that came out a few years ago) to enhance the sense that she's somewhere between a real person and a fantasy Mischa's built in his mind.

Ricky's song would, of course, be stylized after those sci-fi cartoons from the 90's, like X-Men or Captain Planet.

For the Ballad of Jane Doe, I would love to see something like what Wolfwalkers did back in 2020, where most of the characters (in this case, the other kids) are for the most part, animated like traditional, 2D characters with very clean lines and neat movements, whereas Jane herself stands out for having messier, sketchy line art, and looks more and more unfinished in her animation as the song goes on, because she can feel more and more of her own identity being lost.

Constance's Sugar Cloud I could see done in the classic 2D Disney style (i.e., the Renaissance era of Disney, like the Lion King or Little Mermaid days) because not only is it really smooth and colorful and just all around nice to look at, but it reminds the average moviegoer of their childhood growing up with those movies (among others, obviously), which ties in nicely with Constance's preceding monologue about remembering her own life, and the good that came with the bad.

I'm even tempted to envision the first half of the finale song in a different style, when the stage production would show a quick projection of Jane/Penny's life after she returned to the world of the living. Imagine watching this animated film, and for that segment alone, it becomes that really hyper-realistic, almost uncanny valley CGI animation style, to show that she really has joined the world of the living, i.e. our world, among us, the living breathing movie goers watching this, and watching the other kids still in limbo fade back to that main art style for the final number.

I don't know; it just feels like something that would be so engaging to see from an already compelling storyline and characters. Especially with more experimental animation projects on the rise right now

[princesssarisa]

The Most Common Types of Fairy Godmother in "Cinderella" Adaptations

Since @ariel-seagull-wings and I have already posted about the different portrayals of Cinderella and her prince, I thought it might be nice to look at the different portrayals of the other characters too.

Each portrayal of the Fairy Godmother is unique, but patterns do emerge across the different adaptations. I've found that the different portrayals of the character can be divided into five categories, with some portrayals combining two of them together.

The Regal, Ethereal Lady

This beautiful, elegant creature is emphatically a fairy godmother, not a godmother who happens to be a fairy. She wears a gorgeous flowing gown, not of any earthly fashion, and though her age is indeterminate, she seems youthful yet wise. Her demeanor is kind and gentle, yet serious and stately, though she might have a slight playful streak. She takes on the role of the story’s moral authority as well, usually emphasizing that she comes to reward Cinderella for her goodness. Often, she first appears disguised as an old beggar woman to test the respective virtue of Cinderella and her stepfamily, and Cinderella earns her good will by giving her bread while the stepfamily scorns her. Sometimes she has attendant fairies or other magic-users to assist her as well: she might even be portrayed as the Fairy Queen, who lives in the forest like Shakespeare’s Titania and has countless fairies, elves, and sprites as her command. Fairy Godmothers of this type are most often seen in earlier adaptations: they include “La Fée” in Massenet’s opera Cendrillon, the Fairy Godmother in Prokofiev’s ballet, Inez Marcel in the 1914 silent film, Varvara Myasnikova in the 1947 Russian film, Celeste Holm in the 1965 version of Rodgers and Hammerstein’s musical, and the animated Fairy Godmothers both in the 1935 Betty Boop cartoon Poor Cinderella and in the 1979 Russian animated short.

The Grandmother Figure

This Fairy Godmother is a little old woman, and she’s very human as fairies go. She might not be regal, or beautiful, but she radiates a sense of warmth and comfort like all the best grandmothers do. Her sweetness, gentleness, and maternal affection are just what Cinderella needs in her despair, and sometimes she can be adorably absentminded – forgetting where she put her wand, almost sending Cinderella off to the ball in her rags, etc. – which adds gentle comic relief to the story. Yet she also conveys the wisdom that comes with age, and her magic is just as powerful as that of any younger, more glittering fairy. The quintessential Fairy Godmother of this type is the one voiced by Verna Felton in Disney’s classic 1950 animated film. Several other animated versions aimed at children feature grandmotherly Godmothers too, like the versions from Jetlag Productions and Burbank Animation Studios. In the 1995 musical A Tale of Cinderella, “La Stella” is Cinderella’s actual grandmother, whose magic sadly couldn’t save her daughter’s life, but can save her granddaughter’s future. Jean Stapleton’s Fairy Godmother in the 1985 Faerie Tale Theatre adaptation is also very grandmotherly, although she has additional glamour and a sense of humor that bring her closer to the next type of Fairy Godmother on the list (see below).

The Sassy Glamour Queen

She’s beautiful, she’s elegant, she’s as smart as a whip, and she knows it! This is a more modern, lighthearted twist on the Regal, Ethereal Lady. The sparkle of the gorgeous gown she wears is matched only by the sparkle of her playful wit, and her confidence in herself is surpassed only by her confidence in Cinderella. Her sense of humor lifts Cinderella’s spirit, while her intelligence, poise, and indefatigable spirit make her a strong role model for the girl. Yet though kind and caring, this Godmother tends to be a bit more standoffish than others – though not in a bad way. She urges Cinderella to solve her own problems, not just rely on her, and to have courage and faith in herself against all odds. The most famous Godmother of this type is probably Whitney Houston in the 1997 version of Rodgers and Hammerstein’s musical. But Edie Adams’ elegant and mischievous Godmother in the original 1957 Rodgers and Hammerstein telecast is a good example too: although since she spends most of the story masquerading as a human, she combines this portrayal with another type (see the bottom of the list). Meanwhile, Jean Stapleton’s Faerie Tale Theatre Godmother has the elegance and humor of this type, but as an elderly woman, she combines it with the Grandmother Figure. Last, but not least, is Billy Porter’s nonbinary “Fab G.” in the 2021 Sony/Amazon musical.

The Eccentric Mage

This funny and kooky Godmother is one of those beings who combine magic with just a little insanity. Her mind is like her powers: not entirely of this earth. Like the Regal, Ethereal Lady, she tends to disguise herself as a poor, ragged old woman to test Cinderella’s virtue and befriend her before the ball – but she takes it a step further and masquerades as a crazy homeless woman, who spouts odd remarks and whom anyone less kind than Cinderella might try to avoid. Yet even when not in disguise, she’s a bit of a ditzy oddball, who sometimes fumbles her spells once or twice before she gets them right: e.g. dressing Cinderella in the wrong type of clothing at first, or turning the pumpkin into the wrong item, or accidentally making it grow to a gigantic, greenhouse-shattering size before it becomes a coach. Fairy Godmothers of this type include Helena Bonham Carter in Disney’s 2015 live action film, “Crazy Marie” in the 2013 Broadway version of Rodgers and Hammerstein’s musical, Joyce Gordon in the Muppets’ Hey, Cinderella! and Estelle Winwood as Mrs. Toquet in The Glass Slipper. Although since Mrs. Toquet never takes off her “crazy poor woman” disguise, she combines this variant with another one: The Godmother Who Happens to Be a Fairy (see below).

The Godmother Who Happens to Be a Fairy

This is the most human portrayal of the Fairy Godmother: an ordinary woman who just happens to have magical powers, which she hides until they’re needed. Cinderella typically befriends her long before the ball, sometimes knowing her from childhood. She might be a household servant, or a kindly neighbor, or a traveling portrait painter, but whoever she is, you wouldn’t guess that she’s a fairy. She might even pretend not to believe in magic. She might also be Cinderella’s literal godmother – a close friend of her late mother’s, or even a relative. But no matter who she is, the friendship and the simple, human advice she gives to Cinderella (e.g. never to lose hope, or not to be afraid to love the Prince) are just as valuable as her spells. Edie Adams’ mischievous Godmother combines this characterization with the Sassy Glamour Queen in the 1957 Rodgers and Hammerstein musical, Estelle Winwood’s Mrs. Toquet in The Glass Slipper combines it with the Eccentric Mage, and Annette Crosbie’s sensible and ladylike yet quirky Godmother in The Slipper and the Rose combines it slightly with the Eccentric Mage too. Other examples are the artist Paulette in the anime series Cinderella Monogatari, the cook Mandy in the original novel of Ella Enchanted (who is also the Grandmother Figure), and the pasta-stirring grandmother La Stella in the musical A Tale of Cinderella (ditto).

@ariel-seagull-wings, @thealmightyemprex, @adarkrainbow, @themousefromfantasyland, @faintingheroine, @angelixgutz, @softlytowardthesun, @amalthea9

[frie-ice]

This Disney Twisted Wonderland collage is par of a series that showcase the parallel comparisons between the original TWST characters with the classic Disney villain characters (or trademark items) that they are based on upon and inspired from. In which has those Twisted Wonderland characters be seen as the TWST counterparts of those Disney characters. I got the idea for this series after seeing Tumblr posts of the TWST Housewardens and Vice-Housewardens being featured beside the original Disney characters that they represent, and I didn't want to limit myself to the Dorm Heads and overblot victims, but also for the other TWST characters. That's why I didn't leave out Lillia Vanrouge, Sebek Zigvolt and Silver (like I did with Jack Howl and Ortho Shroud). Although it has been clear that Malleus Draconia and the Diasomnia dorm are modelled after Maleficent, who the other three are based upon is a bit of a mystery.

From what I read on Google, they say that Lilia's bat motif is a reference to dragon!Maleficent, Sebek is of Maleficent's thorn and lightning magic and Silver's tiredness is a hit to the spindle of the Spinning Wheel that put Sleeping Beauty to sleep. Spoilers from chapter 7, however, has me question these claims and I don't really trust the source that this information came from. In case I turn out to be wrong and there might be some truth to this, I featured the three in the same collage to be safe. It is also why I dubbed the collage as "Magic of Diasomnia."

If you want my opinion, I believe that Lilia might have been inspired from one of Maleficent's goons, the same with Sebek. The reason for this thought is due to face of the goblin-like goon being part of Lilia's Pop Music club wear and Lilia was a knight who served the royal Draconia family. The same with Sebek's grandfather, and there is Maleficent goon that has a crocodile-like face. Sebek is also the name of an Egyptian god with a crocodile face, unless it is only Grandpa Zigvolt alone who is based on that Sleeping Beauty character.

Another group is saying that Lilia's character could be a reference to the bat style of Maleficent's throne, or that part of his character is drawn from the Three Good Fairies. Since Silver has some Aurora-like traits, not only does be nod off and animals are drawn to him, but it is mentioned that Lilia raised him a prince. If you take a look at the later parts of chapter 7, you'll see that the story of how Lilia came to be Silver's father paradelles with the 2014 Maleficent film. There was also a reference to the Three Good Fairies in a chat between Silver and Lilia about Lilia's cooking, from how he placed candles on a cake when it was still being made and put eggs in the bowl without taking the eggs out of their shells. Along with Lilia's groovy Platinum Jacket card having him looking at a portrait of the three fairies in question.

If you don't think any of these are the case, please share your thoughts and keep them kind. I'm still new to the TWST fandom, and still learning about it.

[quitealotofsodapop]

In the Wukongverse, who are the bigger Disney fans??

(asking since I've been on a metal Disney kick)

Smokey would rock Poor Unfortunate Souls by Jonathan Young but would get so into it he needs his Macaque cuddles afterwards to right his head (self demon issues, he is a hero but he also tricked people in the past and is on his journey to change and be good)

While Cherry on the other hand would hands down have fun singing Peyton Parrish's version of I'll make a man out of you since he just started his journey and his pilgrim brothers could use the advice.

The LMK Wukongs love themselves some animation goodness! Mostly to chill after a rough day. Wrap up in a blanket, stick on a film he's seen a million times, Eat some peach chips; he's a happy monkey.

LMK Macaques get distracted by the animation!! Cus? "Peaches look! They're using layered paintings to simulate movement!!" Their faves are Fantasia ( Original and 2000) naturally cus of the high animation quality set to classical music. Dawn/Peach walk in one day and find their Dusk/Plum on the ground crying while watching the cut Dali "Destino" segment.

MK's fave is "Treasure Planet". Try not to ask why or he will change the subject and switch on "Princess and the Frog".

Dasheng doesn't really care, but he watches them anyway cus Liuer and the rest of the kids really like them. He's embarassed to admit that he can sing every line of "Beauty and the Beast" perfectly. Also good date night movies - Zhanshi's fave are the fairytale romances. <3

Smokey don't care about the cartoons, but he does get down to the villain songs. Blasting "Poor Unfortunate Souls" and "Hellfire" so hard that his LEM has to step in to calm him down. Liang is more interested in the technical side of the works, but he just beams with joy whenever the babies chirp/bark excitedly at that opening logo. Shared fave is "The Little Mermaid" naturally (though Sandy argues that it's not an accurate depiction of sea fish demons).

Ace and Joker pretend that they don't care, but you know these goobers take the kids and grandkids to Disneyland whenever they have the excuse. Lots of the classics (since they just got made in their universe) and shared infodumping. Ace will send the other SWK's classic Donald Ducks and Goofy cartoons in the group chat without context.

Cherry and Olive are equally super excited cus "Moving paintings!! Heck yeah!". Cherry's faves are the og animated "Mulan" and "Lilo and Stitch" without question. The latter caught him by surprise cus it made him remember who he's always felt like "a weird little alien" on earth, and Lilo and Nani remind him of Lin. ;_; Olive is just delighted to watch anything Cherry is super-hyped about, and they both hoot happily at the tv together.

Shihou and Mihou are kids and they love cartoons no question. Shihou likes the Milt Kahl-era ones like "Sword in the Stone" and "The Jungle Book" cus he vibes with the themes of growing up, but he finds the romantic ones boring. Mihou in contrast secretly adores the classic "princess" movies like "Sleeping Beauty" and "Cinderella" cus of the sweet stories and music. Shihou will watch Mihou's "boring" films with him without complaint cus he knows how much his opal love them.

Sugar likes the "roadtrip" movies the most; "Atlantis", "Treasure Planet" etc. He's still technically on his Journey, and he loves hearing/seeing tales of others. Spice is pretty shy to voice his opinions but... he likes "Pinocchio" the best - the concept of being created and having to adapt to the world mostly-made tickles his brain in a good way.

Starfruit don't care. Why should he? He knows the real guys! He sees Peter Pan on the regular in the Library! Lilac is the complete opposite, they hold streaming parties with associated Legends to watch their "adaptations" and critique them based on accuracy vs execution. Starfruit joins in, only because he, Goldie, and Peter get to read the movies to filth in the group chat XD

Two movies that hold a place in all their hearts are:

Hercules: Themes of obtaining godhood, heroism, an unclear purpose, goth gf, and weird horses.

Moana: Island life, wanting to explore farther, doing what you can for your people, the inherit tragedy of demi-gods, the whole Te Kā situation...

[eretzyisrael]

by Shiryn Ghermezian

Academy Award-winning Jewish American songwriter Richard M. Sherman, one of the creative geniuses behind some of Walt Disney’s most iconic and timeless songs, died on Saturday at the Cedars-Sinai Medical Center in Beverly Hills “due to age-related illness,” the Walt Disney Company announced. He was 95 years old.

The Walt Disney Company described Sherman as “one of the most prolific composer-lyricists in the history of family entertainment, and a key member of Walt Disney’s inner circle of creative talents.” The company added that it will announce at a later date its plans for celebrating Sherman’s life.

“Richard Sherman was the embodiment of what it means to be a Disney Legend, creating along with his brother Robert the beloved classics that have become a cherished part of the soundtrack of our lives,” said Bob Iger, CEO of The Walt Disney Company. “From films like Mary Poppins and The Jungle Book to attractions like ‘It’s a Small World,’ the music of the Sherman Brothers has captured the hearts of generations of audiences. We are forever grateful for the mark Richard left on the world, and we extend our deepest condolences to his family.”

Sherman and his late brother, Robert B. Sherman, made up the songwriting team known as the Sherman Brothers. Together they wrote music for the 1964 film Mary Poppins, including “Chim Chim Cher-ee,” “Supercalifragilisticexpialidocious,” “A Spoonful of Sugar,” and the lullaby “Feed the Birds.” The brothers won the Oscars for Best Score – Substantially Original and Best Original Song for “Chim Chim Cher-ee.” “Supercalifragilisticexpialidocious” made it on the Billboard Hot 100 chart in 1965 and “Feed the Birds” was one of Walt Disney’s favorite songs.

“You don’t get songs like ‘A Spoonful of Sugar’ without a genuine love of life, which Richard passed on to everyone lucky enough to be around him,” said Pete Docter, chief creative officer of Pixar Animation Studios. “Even in his 90s he had more energy and enthusiasm than anyone, and I always left renewed by Richard’s infectious joy for life.”

Born on June 12, 1928, in New York City, Richard’s family relocated to Beverly Hills in 1937. He attended Beverly Hills High School and later studied music at Bard College. He was drafted into the United States Army and served as conductor for the Army band and glee club from 1953 to 1955.

Walt Disney hired the Sherman brothers as staff songwriters for The Walt Disney Studios after the success of their song “Tall Paul,” which sold more than 700,000 singles. The brothers together ultimately wrote more than 200 songs for some 27 Disney films and 24 television productions. Their credit included The Horsemasters (1961), The Absent-Minded Professor (1961), The Parent Trap (1961), Summer Magic (1963), The Sword in the Stone (1963), That Darn Cat! (1965), Winnie the Pooh and the Honey Tree (1966), The Jungle Book (1967), The Happiest Millionaire (1967), The Aristocats (1970), Bedknobs and Broomsticks (1971), and The Tigger Movie (1998). Richard later wrote new lyrics for the live-action The Jungle Book in 2016 and two years after appeared in the film Christopher Robin, for which he also composed three new songs.

The Sherman brothers also wrote music for Disney theme park attractions around the world, including “There’s a Great Big Beautiful Tomorrow,” “The Tiki, Tiki, Tiki Room,” and “It’s a Small World.” In the early 1980s, they wrote songs for EPCOT and Tokyo Disneyland, including “One Little Spark” and “Meet the World.”

The Sherman brothers left The Walt Disney Studios in the early 1970s and went on to write music, songs, and screenplays for films such as Chitty Chitty Bang Bang (1968), Snoopy Come Home (1972), Charlotte’s Web (1973), The Adventures of Tom Sawyer (1973), Huckleberry Finn (1974), and The Slipper and the Rose (1976).

In 1972, the duo became the only Americans to ever win 1st Prize at the Moscow Film Festival for their film musical The Adventures of Tom Sawyer, for which they wrote the script and music. The brothers were inducted as Disney Legends in 1990 and into the Songwriters Hall of Fame in 2005. Three years later, the brothers were awarded the National Medal of the Arts.

In 2010, Richard and award-winning composer John Debney collaborated on the song “Make Way for Tomorrow Today” for Marvel Studios’ Iron Man 2.

Over the course of his 65-year career, Richard received nine Academy Award nominations, won three Grammys, and received 24 gold and platinum albums. Richard’s father, Al Sherman, was also a songwriter.

[kodaloveschris]

VIP Magic at Disneyland

The morning sun cast a golden glow over the entrance of Disneyland as Nick, Matt, and Chris Sturniolo eagerly awaited the start of their VIP tour. They stood near the exclusive entrance, sipping on complimentary beverages and chatting excitedly about the day ahead.

"I can't believe we're here," Matt exclaimed, his eyes scanning the park with anticipation. "VIP treatment at Disneyland? This is a dream come true."

Chris nodded, adjusting his VIP badge with a grin. "Yeah, skipping the lines is going to be epic. Which ride do you guys want to hit first?

Nick chuckled, bouncing on the balls of his feet. "Space Mountain, definitely. I heard it's even more intense when you zoom through without waiting."

Just then, Madison Beer and her brother Ryder joined them, both dressed casually but stylishly for their day of adventure. Madison flashed a bright smile at her friends. "Hey guys! Ready to explore Disneyland like VIPs?"

"You bet!" Nick replied with enthusiasm, his excitement matching Madison's. "Thanks for inviting us, Madison. This is going to be legendary."

Their VIP tour guide, a cheerful Disney cast member named Emily, greeted them warmly and led them through the park. As they passed under the iconic Disneyland Railroad bridge, Emily began sharing insider stories and trivia about the park.

"So, first stop is Space Mountain," Emily announced, leading them briskly through the crowds. "We have reserved seats waiting for us. No waiting in line for you today!"

As they entered Tomorrowland, the sight of Space Mountain towering above them sparked a fresh wave of excitement. They breezed through the entrance and boarded their rocket ships, ready for the exhilarating journey through the stars.

"That was insane!" Ryder exclaimed as they exited the ride, his hair slightly disheveled from the speed.

Madison laughed, capturing Ryder's reaction on her phone. "You look like you've seen a ghost, Ryder!"

Ryder grinned sheepishly, shaking his head. "It was wild, okay? I didn't expect it to be that fast!"

Next, they ventured into Adventureland, where they embarked on the Jungle Cruise. Emily narrated the humorous jungle adventure, pointing out the animatronic animals and entertaining them with jokes that had everyone laughing.

"I think Emily's got a future as a stand-up comedian," Chris remarked, wiping tears of laughter from his eyes.

Madison nodded in agreement, filming Emily's antics. "She's definitely making this tour unforgettable."

After a morning of thrilling rides and magical experiences, they stopped for a VIP lunch at a reserved table on Main Street. They feasted on Mickey-shaped sandwiches and indulgent desserts, reminiscing about their favorite moments of the day so far.

"I still can't believe we're here," Matt said between bites of a Mickey ice cream bar. "This is like a dream come true."

Nick nodded, his expression reflecting awe. "Yeah, it's amazing. Thanks again for setting this up, Madison."

Madison smiled warmly. "I'm just glad we could all do this together. It's been so much fun."

After lunch, they continued their VIP tour with visits to Fantasyland, where they rode classic attractions like the tea cups and Peter Pan's Flight. Each ride brought new excitement and laughter, solidifying the bonds of friendship among the group.

As the sun began to set, casting a warm glow over Sleeping Beauty Castle, they gathered for a private viewing of the fireworks show. They watched in awe as fireworks burst into the night sky, synchronized to classic Disney music that stirred emotions and filled them with a sense of wonder.

"This is magical," Madison whispered, her eyes fixed on the sparkling display.

Nick nodded, feeling a deep sense of gratitude. "Thank you so much, Madison. This VIP tour has been beyond anything I imagined."

Ryder grinned, his eyes reflecting the colorful lights. "I'm so glad we could all experience this together."

Chris clapped Madison on the shoulder. "You really know how to make a day unforgettable, Madison. This has been one for the books."

As they walked back to the VIP exit, tired but happy, they reflected on the day's adventures. The VIP tour had allowed them to experience Disneyland in a way they had never imagined, creating memories that would last a lifetime.

As they bid farewell to Emily and the park, they knew that their day of VIP magic at Disneyland had been more than just rides and attractions—it had been a celebration of friendship, laughter, and the joy of experiencing the magic of Disney together.

[imagitory]

Hi all! So even if I wasn't thrilled with Wish as a final product, I was really inspired by Brittney Lee's wonderful concept art for a more human-esque "Star"...so I decided to take that idea and put my own twist on it! Because as much as I like Brittney Lee's concept, I had two main thoughts in the back of my head while drawing this --

I actually liked that Star in the film wasn't explicitly male or female, and Disney hasn't ever done a non-binary main character in one of their animated films before, so I thought a more androgynous look could be interesting.

The original concept's hair makes him look A LOT like Jack Frost from Dreamwork's Rise of the Guardians, in my opinion -- and yes, although I like Jack, I don't see Star being much like him.

So -- thinking to salute the original idea of the filmmakers to take inspiration from past Disney projects -- I took visual inspiration from several characters, most from the Golden and Silver Age of Disney Animation (except for Puck from Disney's Gargoyles TV series, but come on, he's just fun), so as to play up the mute, but still very extroverted, sweet, playful personality this character would have. Much like mute side characters from some of Disney's previous works like Dopey, Dumbo, and the Spring Sprite, you would never be in doubt about what Star is feeling (if nothing else than because like Tinker Bell, they're prone to change color like a mood ring 😂) -- but as a central character of a full feature film with a very close (possibly even romantic) bond with our heroine Asha, they would have the chance to express a wider range of feelings than their predecessors...not just through their animation, but also (I would add!) a score that captures their mercurial air and feelings as well as Fantasia blended its art seamlessly with famous classical pieces.

To close us out -- some of the instrumental pieces from previous Disney projects that served as a playlist for my image of Star while working on this! Because for me, music and Disney have always gone hand-in-hand, and honestly, a cohesive and powerful score outside of just the lyrical music numbers always makes a Disney film 150% better...and I think in Wish's case, it would've also been elevated, if its music had come together in conjunction with the instrumentals meant for each scene to create a more cohesive score.

On the Rooftop / What's a Kiss / Perturbed Pixie - Peter Pan Bundle of Joy - Inside Out The Nutcracker Suite - Fantasia To Be Free - Aladdin Magical House Cleaning / Blue or Pink - Sleeping Beauty Under the Stars - The Lion King The Crystal Chamber - Atlantis: The Lost Empire Main Title - Return to Neverland

Have a magical night, everyone! xoxo

[themousefromfantasyland]

Wicked: Part One (2024) - Review

Yesterday I watched Wicked: Part One which adapts the first act of the beloved musical and I have to say, I was blown away.

This is the best film of the year.

I need start this by saying that watching Wicked felt like watching The Little Mermaid remake last year.

This film is Universal's response to Disney's Live action remakes.

In the same way that Disney capitalized the love and nostalgia for their classics to sell their remakes, Universal capitalizes the love and nostalgia for the stage show to sell this movie.

Here in Brazil, our montage of the show is very, very beloved. So Universal saw that, used the lyrics of the Brazilian version in the dub and even put the Brazilian actresses of Elphaba and Glinda to dub their movie counterparts. Universal dubbed the movie hoping Brazilian audiences would sing along, in the same way Disney remakes keep the lyrics of the Brazilian versions of the classics.

Also, the tone is the same of a Disney live action remake. Even though Wicked has darker elements and has political subtexts, it never stops being a family fantasy musical, and Elphaba never stops being a proto-Elsa. Wicked is a fantasy family musical first and is in the same league as Frozen and Tangled.

However, Wicked is beneficed by not having a perfectly made cinematic source material that is already good on its own.

Movie and stage are different beasts, and contrary to Disney remakes which already have source materials that are pretty cinematic on their own, Wicked has to deal with a source material that is limited to what's possible in a stage show, so it has better chances to actually improve and expand the show into new ways.

If Doctor Dillamond was an animated character in the original, his movie design would be atrocious, but since the original is just a man in a goat makeup, the movie design is already a huge improvement.

The Land of Oz is fantastically created. There's CGI everywhere, but they actually took the gigantic budget to actually build the sets this time and the money is really put into what you see on screen.

The Land of Oz is vibrant and colorful, a mix between the Mediterranean and Americana with tons of Steampunk and talking animals that are integrated into the everyday life. The world feels lived in, and it's the most real Oz ever felt since ever.

And the tidbits of visual storytelling are insane.

The way that the worship of the Wizard is in every facade of the Ozian society, and how the once thriving culture of the talking animals was replaced by the Wizard and how they are being reduced to silent servants of the elites in the Emerald City.

All of this narrative you get through quick visual cues all over the film.

It was a five stars film for me, a 10/10.

Please, watch it. You'll be absolutely enchanted

@ariel-seagull-wings @thealmightyemprex @princesssarisa @tamisdava2 @the-dark-storybook-prince @the-blue-fairie @mask131 @theancientvaleofsoulmaking