#me rewatching anastasia and like

[cariiad]

sometimes i consider just how much of an impact prince cornelius from thumbelina and dimitri from anastasia had on the collective consciousness of women born in the 90s

[pant--eater]

I used to be hardcore hyperfixated in Greek mythology when I was like 10 (very much thanks to Disney's Hercules LOL), and lately I've been both listening to Epic the Musical and bingewatching the Hercules Animated Series, which reignited my interest

wanted to just for funsies to design a Hercules universe version for Eos, the goddess of dawn!! She's a cheerful ditzy lady with "that overbearing but well meaning next door auntie" energy, who is VERY VERY forgetful at times (remember that myth about her asking Zeus to grant eternal life to her mortal husband, but forgetting to ask eternal youth for him as well, causing said husband to wither away into a grasshopper. Whoops)

Also she is cheerful and smiley, but she's sorta putting a "customer service face" on 24/7 and repressing her anger and negative feelings because she's expected to be the gentle, motherly dawn goddess all the time. Deep down, she wants to go feral and rip things into pieces FDKJFDJKFJ

During dusk, she is called Hespera and her color palette becomes darker in a cozy way :>

[elephantlovemedleys]

thinking about the certain pattern i have with pairings i've been obsessed with over the more recent years

[nartml]

i miss my little brother

[bluemew-theturtle]

i am so sorry but Anastasia is Just Fine. It's Alright.

[wyvernquill]

I'm rewatching Anastasia and this convo would really fit in your AU

Hob: look, Murphy, I'm just trying to help Murphy: do you really think I'm an Endless, Hob?

Hob: you know I do.

Murphy: then stop bossing me around

I'm sorry, this ask is already over a year old, but I finally got around to writing a scene based on it! (Plus some Murphy&Gil bits I wanted to put in somewhere, anyway.) Hope you enjoy!

[Mild warning for contemplation of one's potential death, and having once lost the will to life - I wouldn't call it suicidal ideation, it doesn't quite go there, but I figured I'd better be safe than sorry.]

Link to Anastasia AU Masterpost!

(Tag list, let me know if you want to be added or taken off: @10moonymhrivertam @martybaker @globglobglobglobob @anonymoustitans @sunshines-fabulous-legs @dreamsofapiratelife @malice-royaume @kcsandmanfan @acedragontype @okilokiwithpurpose @tharkuun @silver-dream89 @i-write-stories-not-sins-bitch)

“Hob.” Murphy interrupts, eyes flashing with frustration.

(Today’s how-to-be-a-Dream-Lord lessons are not going well - not that any of them have, but this one is a particular catastrophe. Gil has already given up on their contrary charge for the evening, and with the way Murphy’s shoulders are up and tension bristles between them, Hob is unlikely to make much more headway tonight.)

“Tell me. Do you truly believe I am him? The Prince of Stories? The Dream King?”

“Yes,” Hob lies, easily, unflinchingly, and with a smile on his face. A good lie has to be treated like the truth, and maybe, one day, it’ll actually turn into one. They’ve been trying so very hard to teach Murphy this, he should know it by now. “Of course.”

“Then, perhaps,” Murphy spits, and despite his feral arrogance, despite the way he holds his head high and squares his slender shoulders, it’s not the regal indignation of a King, but the helpless tantrum of an angry child who’s failing in class. “You ought to finally treat me with the fucking deference an Endless is owed, Hob Gadling!”

(There are tears in his pale-blueish eyes, Hob can see them, can hear the crack in Murphy’s hoarse voice.

Nobody has treated this man with respect in all the years he remembers, that much is obvious. Nobody but his birds. And he knows, they all know, that he’s no prince, that his blood runs red, not blue - runs at all, come to think of it. Endless don’t bleed.

But he wants to be. He wishes he was. Murphy is not Dream of the Endless, but he is ravenous for the spoils of such a role. Desperate to be respected, to be worshipped and revered, desperate to be owed the sort of treatment he has never received.

Hob ought to be ashamed of himself for taking advantage of that helpless hunger for kindness and decency… and he will be. For the rest of his immortal life, he’ll live with the shame of what he did to cheat Death, and still not regret it.)

Hob plasters a smile over his impatience and opens his mouth, gentle, calming words already on the tip of his tongue. Murphy is lonely and frightened and frustrated, that much is obvious. Fine. Hob knew it wouldn’t be easy, to teach their false Dream all he needs to know, and this is not an insurmountable roadblock. If Hob can only reassure him, earn his trust, be his friend, even, it will make everything much easier. Poor thing, lashing out like an injured animal. But Hob can surely coax him into-

Murphy recoils. Flinches back from the admittedly-half-faked warmth, his face, his entire bearing collapsing into itself like a heavy portcullis rattling shut.

“Don’t you dare,” he growls, pointing one of his stick-thin fingers at Hob’s face, “don’t you DARE! I have no need for your false pity, and I want no part of it! I want-” the white of his eyes is bloodshot, and in his terror, in his fury, in his desperation, awash in unshed tears “-I want out. This deal is off. Find some other poor sucker to teach how to play Endless, I won’t do it! I’ve had enough!”

And before Hob can say as much as a single word, Murphy has snatched up his coat and slipped out onto the rainy street, Matthew following - but not after awarding Hob with a colder glare than he would’ve thought a mere raven capable of.

Murphy does not manage to flee very far.

He is in an unfamiliar town, with no money, no valuables besides the clothes on his back that are now slightly finer than he used to be; and the winter is cold and deep and stifling. He gets no further than a handful of streets until he slows halfway across a bridge, shaking with cold more than anger, snowflakes dancing around him. It is a quiet, windless night - and it has always calmed him, to stand underneath the dark sky at night, and know that most of the city lies asleep around him.

Matthew settles on the bridge’s parapet, caws. Hops closer, cocks his head to one side. There is a clear question in his bearing, a what now? glinting in his eyes. Birds are open and honest - unlike humans. Liars and hypocrites all.

“...I do not know, Matthew.” Murphy admits quietly. He has taken the coat, but forgotten the scarf in his haste, so he tugs at his collar, to keep the cold air from trickling down his spine. “I truly don’t.”

He does not have the means to return to London on his own - and at the same time, does not have much desire to do so. He had nothing and no-one there, but for the birds. Pockets can be picked anywhere - he could make a new start in this nameless town.

…if only it weren’t winter.

Murphy shivers, feeling his bones rattle with it. The night is calm, but bitterly cold, and it will not end well for him, sitting in the snow until morning. In the dark of winter, he cannot afford a night without shelter, a day without a sure way to come by some food to keep his strengths up. In London, he would have known where to go. Here, he is helpless.

Damn Hob Gadling, and may Destruction take him! Murphy will have no other choice but to crawl back to him, and hope he’ll be kept on as Endless-impersonator. Hope, because Murphy’s made a right pig’s ear of it so far, slow and clumsy to learn, and outright refusing to play at nobility. He will always be a gutter rat, Murphy knows it. They can’t fashion him into a Dream King, and perhaps this flare of temper will prove to Hob once and for all that there is no point in trying.

There is no point in trying.

Murphy gives up on his collar, and rests his hands on the parapet. Matthew caws, and presses his head against his arm, a far better reassurance than Hob’s false smiles. It comforts Murphy, at least a little. He’s not alone, never alone - no matter how lonely he might feel.

Underneath them, a foreign river flows just fast enough to avoid the freeze. The water does not reflect any stars, but the snow dancing over the surface makes it almost look as if. His own reflection wavers and breaks across the waves.

(Some nights, he dreams of a darkened shore and a sea stretching far past the horizon, black waters that fold up into the night sky, indistinguishable from each other. Of a wooden pier, and galaxies swirling underneath.

Whenever he leans out too far, the reflected eyes he meets are not his own, and he wakes with a scream lodged in his throat.)

Murphy shivers again, and savours the last remnants of his pride, before it, too, will have to be cast into the dirt and abandoned.

“I believe you forgot this, young friend.”

Murphy’s head snaps up.

Dreams and nightmares approach without a whisper, perfectly silent at night if they choose to be. Gilbert is no exception; and if Murphy were to pay attention to anything but his heart racing like a startled hare, he would perhaps be a little distressed by the fact that there are no fresh footprints in the snow beside his own.

But it’s only Gilbert, kind-eyed and not-human, holding out Murphy’s scarf like a peace offering.

Murphy does not take it.

“Did Gadling send you?” he asks, wary.

“Robert informed me what had transpired between you two.” Gilbert admits. “But rest assured, I am here on nobody’s behalf but my own - and, well, yours. Frightfully nippy tonight, wouldn’t you say?”

Murphy does not say. He trusts Gil as little as Hob, perhaps even less. A dream attempting to betray the memory of his master seems hardly like a paragon of virtue, and is perhaps even more suspicious than a deceitful human.

(He does, however, take the scarf now. It’s too cold to be stubborn, and when he winds it around his neck, it smells of sunshine on a summer meadow, warm and comforting.)

“And if you truly wish to leave… dear boy, I won’t stop you.” Murphy does not like the way Gilbert looks at him, as if trying to see someone else beneath his skin. He does not meet Murphy’s eyes, if he can help it. “In fact I would send you off with well-earned compensation for your time, and travel fare. Unless…”

Gil steps up to the parapet beside him.

“...unless I can convince you to stay…?”

“Why would you?” Murphy mutters, instead of why would I, if you’re offering to pay me off? “It should be perfectly obvious that I’ll never pass muster.”

“Ironically,” Gilbert smiles, but only at the man he pretends to see whenever he looks at Murphy, “it is well known among the former denizens of the Dreaming that His Lordship was often prone to very similar bouts of pessimism. I have faith in you, Murphy - and so does Robert Gadling. Please, do not leave. I rather doubt we will succeed without you.”

"You…" Murphy struggles with the words, the sentiment behind them lodging uncomfortably in his throat. "You have great respect, even love, for Dream of the Endless' memory. So why do you pretend? Why try to fool his siblings that I am him?"

For a moment, Gilbert seems ready to insist, as always, that Murphy is, or at least might be - but, to his credit, he does not play Murphy for a fool, in the end. Not this time. Not like Hob always, always does.

"You are quite correct. I loved His Lordship deeply, in a way that could never be understood by anyone but a dream and their creator." Gilbert sighs, his soft meadow-green eyes gazing far into the distance of better days, lined by old grief. "He made me to be the Heart of the Dreaming, and he was the Dreaming, so I knew his heart and self better than any other. The loss, when he… you cannot imagine it, young friend. I thought I would wither away and die. I thought that would be a mercy. To live as a dream in a universe that does not contain Dream of the Endless seemed entirely unthinkable, and to be quite frank, I did not think I would survive longer than a year at most in the Waking."

"I understand," says Murphy, quietly, and he does. He is no stranger to the feeling of being so untethered, only floating along with the end looming over him, death - not Death, no longer, the Endless have been cast from their domains - only biding its time.

(In the first year he can remember, Murphy did not think he would see another, either.)

"And yet, the year passed. And I lived." Gilbert smiles, faintly, taking off his glasses to polish them. "I suspect it was humanity which saved me, for all that they robbed me of my home and Lord, as well. I found… such joy, in this world. In my human form, wandering among them. Calling a few select individuals friends, even. Young Robert's companionship was a particular blessing, and I owe him more than he can ever know."

He sets the glasses back on his nose.

"Lord Morpheus is dead." Says Gilbert. Says it like fact, like something too absolute for the sort of dream-creature born of hypotheticals he is, like an unshakeable truth he has resigned himself to. His voice only barely breaks over the words. "And I shall grieve him for all the rest of my days… but I must live to mourn him. Life goes on, young friend, and we must all move along with it. And, well. I cannot speak for Robert's motivations, but the true reason why I have agreed to this mad scheme…"

Gilbert takes Murphy's freezing hands in his own. His fingertips are not lined quite right, they would not leave prints that look even remotely like those of a human - but aside from that, his grip is warm, avuncular, firm, reassuring.

"I fear that his siblings will not be able to live on without him." Gilbert confesses, quietly. "They are not made to accept change and move on from a loss as monumental as what humanity has wrought upon them. To have you… not him, not entirely, but perhaps enough… it is my most solemn hope that it might give them some form of closure at long last."

"So that's what it is?" Murphy laughs, bitterly. "Charitable concern for the well-being of personifications of abstract concepts!?"

"No." Gilbert corrects mildly. "Love. For my creator's family."

Murphy scoffs. His chest aches with it.

"What you, hmm. What you must understand, about Lord Morpheus…" Gilbert seems to be choosing his words very carefully. "...is that, for all that he was often harsh and commanding, he was so very loving, always. My Lord loved with all his self, even if he would attempt to turn a cold shoulder to the world - and I think you are much like him in temperament, young Murphy.”

Murphy does not acknowledge that. He doesn't think he can.

“He loved his family, and he loved the Dreaming, and all the beings in it. I was his heart, or near as, you must recall, I knew the truth at the core of him.

Memories or not, love as he did, and you will be a credit to his name, and a comfort to all who knew him."

(Murphy does not have it in himself to love like Dream of the Endless did. He already struggles to love at all.

But perhaps, for the sake of the entity whose memory he will dishonour, he can try.)

“So. Will you come back and resume your lessons?” Gil asks, very gently. “You may leave, now or any other time, of course you may. But it would be to your benefit, as well as to that of many others, if you did not.”

“I’ll stay,” Murphy forces out. He could blame the way his hands shake on the cold. “For now.”

“Thank you, dear child. Thank you.” This time, when Gilbert smiles, it very nearly feels like it is directed at him, after all. “Now, let’s get you out of this cold, hm? And Matthew as well.”

Murphy lets Gilbert herd him back to their inn, sits through Hob Gadling’s apology and wonders if it was sincere - he can never tell, with this infuriating man - and continues to learn as much as possible about the life of Dream of the Endless.

But he’s slowly realising, if anything will convince the Endless siblings, then it certainly won’t be the trivia. He’ll have to learn to love like the Lord of Stories, for their deception to have a snowflake’s chance in hell.

(Oh, wonderful. As if this wasn’t difficult enough already…)

[beastlycheese]

Does Robert Carlyle, now 62, get his kit off in the new TV series of The Full Monty? ‘Nobody wants to see that,’ he says with a grin. 

Photograph: Alana Paterson/The Observer

Interview

By Rebecca Nicholson, printed in Guardian/Observer

Robert Carlyle’s life has been defined by two remarkable characters: the explosively violent Begbie, and Gaz in The Full Monty. Here, he talks about his Glasgow childhood, Britpop hedonism – and playing the PM…

It was 1997, and Robert Carlyle was in his mid-30s, when he first played the stripping Sheffield steelworker Gaz in The Full Monty. Last year, to get ready to play him again – this time for an eight-part TV series – he sat himself down to watch the film. He seems slightly embarrassed to admit it – he’s not the kind of actor who likes to watch himself. “And I’m not about trawling back through something from 20-odd years ago,” he says. But The Full Monty was calling him to South Yorkshire, so trawl back he did. He decided that he would watch a few minutes, then he would move on. “And I sat there and watched the whole thing.” He was surprised to find that it still worked, even after 25 years. “I don’t know if I can say this, but I really enjoyed it. It really stands up.”

The original Full Monty told the story of six unemployed men from Sheffield who put on a DIY strip show at the working men’s club. It was an indie film, shot on a very small budget, and it almost went straight to video; a last-minute re-edit saved it from obscurity and it went on to be a staggering global success, making £200m at the box office. Carlyle’s Gaz is the ringleader, a schemer and a dreamer trying to keep enough money in his pocket to put the heating on when his son comes to stay.

I had misremembered it as a film about men getting their kit off, a bawdy hen night of British comedy. But rewatching it I was struck by how political it seems now. Three decades later, in the new series, people are still broke and Gaz is still scheming, but the working men’s club has shut down, the school is crumbling and children are going hungry.

‘I love it when I dive into a job. You’ve got a little family unit, you love each other to bits and you think you’re going to be friends forever’

“It’s easy to forget that the film is quite heavily political,” says Carlyle. “It makes a point. And I think the same applies to the TV show. These people have lived through what seems like 25 years of austerity.” He credits the writers, Simon Beaufoy and Alice Nutter, with its gallows humour. “But you see that the older people’s lives have been pretty tough for the past 25 years, and then there’s 20 years of what Simon calls the Young Montys, the younger characters, heading for the same shit. So it’s good that this has been made. It shows what people go through to survive the day to day.” Not just men getting their kit off, then. Does he strip this time? “Nobody wants to see that,” he says, with a grin.

Carlyle is a great talker, open and funny and relaxed. He admits he was not always this way, particularly when it came to the press, though he did have his reasons. He’s calmed down a lot since his wilder days, in part because he is, as he says, “125 years old” (he’s just turned 62, though he looks younger) and also because he now lives in Vancouver, on the west coast of Canada. “There’s a laid-back attitude and quality here I enjoy,” he says. He moved there to film a TV series, Once Upon a Time, in 2011, with his wife, Anastasia Shirley, and three children, and found that he liked the city, though he has kept a home in Glasgow, where he grew up, and the family splits its time between the two. His kids are 21, 19 and 17.

Do they have Canadian accents? “Aye, they do,” he laughs. “My eldest son’s got this strange – hang on, let me see if I can do it – this half-American thing with a bit of Scottish thrown in, you know?”

Carlyle is at his happiest when he’s at home. “I’m a homebody, there’s no doubt about that,” he says. “I’ve got loads of friends, particularly in London, and I enjoy it when I get to meet up with them. It’s brilliant. But I’ve always been a bit of a loner to be honest.” Carlyle was brought up by his father; his mother walked out when he was a child. He has spoken before about moving around a lot, living in communes. “I always think about it as darkness and light, my life, because the first part of it was pretty dark. My mother had left when I was a wee boy. I was brought up by my dad alone in Glasgow in the 60s, and the single- parent family, there was not a lot of that around, especially a single-parent family with a father. That made me instantly different from the rest of the people who were around me.” He seems surprised by his own candour. “Genuinely, I’ve never really spoken about this before. But I guess that’s probably where it started.”

I still love Begbie. It was such an explosion. An absolute avalanche

Did he feel like an outsider at school? “When I was very young, yeah, definitely. It’s the little things.” He has a teacher friend and he says he is pleased to hear that things are very different now. “But back in the day, if you had to get permission for something, the teachers would say, bring a note in from your mum. Stuff like that. Of course, when you don’t have that, that really hits home, even when you’re a wee boy.”

Carlyle left school at 16, became a painter and decorator, and worked with his dad. At 21, he came across a copy of Arthur Miller’s The Crucible, and it lit something up inside him. He went on to the Royal Scottish Academy of Music and Drama, and set up his own theatre company. For a loner, he has picked a very sociable job.

“Yeah, but I’ve been doing it for so long that I’ve become very good at separating those things. I love it when I dive into a job, whether theatre, film, TV, whatever. You’ve got a little family unit, you love each other to bits and you think you’re going to be friends for ever. Then two months later you never see them again,” he laughs. Family means a lot to him. “I’d always wanted to have a good family unit, to be able to connect with each other and be pals with each other,” he says, talking about his three children. “Thankfully, we’re great friends.”

In 1991, he was cast as the lead in Ken Loach’s Riff-Raff, and worked steadily through the 90s, playing a serial killer in Cracker, which set the tone for more villainous roles to come. But nothing prepared him for the double whammy of playing the sadistic maniac Begbie in Trainspotting at the end of 1995 and Gaz in The Full Monty, 18 months later. “From that point on, they were massive shadows that then followed me around for the rest of my life, the rest of my career,” he says. “So it was something that I had to get used to, the whole fame thing. Because I am, as I’ve been saying, quite a homely guy, a family man, it took me a long time to get used to that.”

To say the films were hits is an understatement. Both were phenomena that travelled around the world. One of the strangest things about watching The Full Monty again, he says, is that it took him right back to that time. “It’s looking at yourself in another life, and all the things that were happening in my life back then. I mean, we can all look back in photographs, but I’ve got this living, breathing thing in front of me.”

What was happening in his life back then?

“Ha!” It was the height of the Britpop era, and because of those films, Carlyle was right at the heart of it. Back in the day, as he puts it, he was invited to everything and went to most of it. “I met all the personalities of the day, the Oasis lads, Damon Albarn, who’s still a great friend. I was right in the middle of that whole thing, enjoying that life.”

Was it as hedonistic as it seemed? He doesn’t pause for breath. “One thousand per cent,” he grins. “It was incredibly hedonistic, but it was exciting. If you think about it politically, we’d just come out of Tory rule. Blair was there, everything seemed to be on the up. And I can remember that feeling.” He appeared in an Oasis video, for the song Little By Little.

Was it easy to be friends with Blur and Oasis, given their famous rivalry? “Hahaha. To be honest with you, I was really good at not getting involved. But I remember when I did Little By Little, Damon was like, ‘Why the fuck did you do that? Come and do one for me!’ I said, ‘But you never asked,’ which was true! And that was the end of the conversation.”

“It doesn’t sound like you were a homebody in those days,” I say. He laughs again. “No,” he says. “There wasn’t so much homebody then. I certainly wasn’t shy in getting out the door.”

But there was a darker side to that era. His fame made him a person of interest to the tabloids. He says it’s nothing compared to what some people experienced, but still it sounds unpleasant.

“At the time, going through that was horrible, to be honest with you, because I didn’t understand it. I was suddenly in this world and I was very open. Probably too open, at times.” The papers responded by reporting on his private life and his family. “They got in touch with my mother and pulled her out the dark, and that was really upsetting. So I slammed the door shut for a long time, because I just hated it.” He was tight-lipped in interviews and wouldn’t do chatshows, though he will say he still regrets saying no to Michael Parkinson. “I think that was probably quite clever, because then you do keep a little bit of yourself. I mean, you see people on these chatshows and everything comes out and you go, ‘My God, I don’t know how you can live your life like that.’”

He does them these days, however. “Because I’m 125, I’m more used to it,” he jokes. “I can do it better now. Time and age is a great thing.”

Is it just time? Has he mellowed with age?

“It’s family, children. My children came in the 2000s, so all the stuff in the 90s, there were no kids then, but once children arrive in your life, everything changes overnight. So that becomes more important. That becomes your focus. And you begin to think, ‘Oh, the other stuff’s not actually worth bothering about.’”

Carlyle has had the chance to go back to two of his most iconic characters. He revisited Begbie for T2, the Trainspotting sequel, in 2017. A sequel was always planned, and Carlyle says he and Jonny Lee Miller, who plays Sickboy, wanted it to be sooner. “But Danny Boyle [the director] always said, we’ll do it, but when you’re older. He was obviously right, because it’s in the face. You can see that life has been lived.”

Even more so than Gaz, the terrifying Begbie is the character who has followed him around the longest. “The terrifying Begbie!” he laughs. “I love Begbie. I mean, who knew? Who knew what was going to happen with that character? It was such an explosion, Trainspotting. An absolute avalanche.” At the time, he knew that the film was going to be something special. “I thought this character is gonna be around for a while. But I thought, maybe a few years.” Yesterday, he says, he went to the butcher’s near his house, and the man in the shop, in his 20s, from Bilbao, recognised him and said he loved him in Trainspotting. “He said, ‘I’ve got a T-shirt of you, of Begbie with the glass.’ This thing I thought was going to last a few years, is still there, in people’s minds, 27 years later.” Wherever he goes now, people still recognise him as Begbie. “That mad character!” He’s not exactly a teddy bear, is he? “I mean, this is a line from the film – he’s a psycho, but he’s a mate, so what can you do? I do love him. And Gaz. Both these characters have given me a tremendous career and a tremendous life, and you’ve got to love him for that.”

Besides, Begbie’s not dead yet. There is a six-part TV series, The Blade Artist, in the planning, about Begbie’s post-prison life as an acclaimed artist in California. Carlyle is working on it with Irvine Welsh and Hex author Jenni Fagan.

“It’s been brilliant, this one. I mean, let’s face it, Begbie is me. So to be right in at the beginning of that and be able to go, well, actually, maybe change this, change that… that’s where we are at the moment.” He thinks they’ll start shooting in the next year or two.

For now, he’s off work, relaxing in Vancouver, travelling with his wife, spending time with his family. “Back in the day, it was all about the next job, next job, next job and I don’t think so much like that any more.”

Recently, he’s been playing the British prime minster, Robert Sutherland, in the political thriller Cobra. “Who would have thought? Begbie, Gaz, the prime minister…” he says. In the original Full Monty, Gaz explains that he can’t go shoplifting because “I’ve got serial killer written on my forehead.” Carlyle nods. “That’s right. That’s probably my issue with parts. Certainly with Sutherland, when he gets angry, I’ve got to really pull it down. Don’t get Begbie-angry,” he says. “Begbie as the prime minister!” I wouldn’t put it past him.

The Full Monty will be streaming on Disney+ from 14 June

[bestanimatedmovie]

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What fans say:

Anastasia:

Beautiful story and good songs.

Anya/Dmitri are the best animated love story. Ever.

The colors, the architecture, the character design, the clothing!!! The Once Upon a December scene in the old palace where people come out if the paintings on the wall??? the transition for Anya's old dirty clothes to her beautiful golden ballroom gown??? The character expressions and dialogue feel so real. Rasputin's song with all the bugs and the green glowing lamp. iwhzjam it's just so magical. There's a reason people always mistake Anastasia for a Disney film, it's because it's so beautifully animated and the songs are amazing. The plot is great even if it is historically inaccurate. Also Dimitri is hot af.

Wreck-it-Ralph:

It's been my favorite movie for about 10 years now. I love how rewatchable it is. There's a lot of detail, and it makes for a good, "Oh hey, I just noticed that!" when you rewatch it. The plot is enjoyable even if you know the plot twists! It's fun when it needs to be, and emotional when the right time calls for it.

It's been my favourite movie since I was 6 years old, it's super funny, well written and emotional, the design of the environments and characters are all so creative and a joy to look at. The climax is so powerful emotionally, the relationship between Ralph and Penelope is so wholesome and sweet. I could honestly go on for hours about this movie.

The way they use 3D animation to give a videogamey feel is fantastic. I love the details like the lower frame rate for the nicelanders and just how many cameos are in it. The story always gets me and the character designs are fantastic. I love the arcade animations for all the characters as well, they look authentic and very cute.

[super-fensy]

Y,know I've been rewatching Don Bluth's Anastasia and something occurred to me. Or,rather,a person stuck out to me this time.

Her

Sophie.

And I was wondering why.Why am I focused oh her?

Then I realized. Sophie is a plus size woman. Usually when you have plus size characters there tends to be a few fat jokes around. You know how many fat jokes are in Anastasia?

NONE

There's one joke where Vlad is describing her

“She is a tender little morsel. A cup of hot chocolate after a long walk in snow. She’s a decadent pastry filled with whipped cream and laughter!” But this is him just gushing over her and(to me at least)sounds like he's describing her personality rather than her appearance.

Not to mention Vlad is a plus size man too,and there are no jokes about his body. There's an instance in the movie where he falls,but the reason is he falls because they're in a perilous situation and they're on A MOVING TRAIN THAT'S ABOUT TO DERAIL.

Plus these two can sing AND dance

[dreamsinhoneymoon]

one of my fav movies: anastasia<3

hii!! sooo I love movies and ofc I have my comfort ones: 10 things I hate about you, little miss sunshine, school of rock, set it up, and there's more..one of them is anastasia, the animated movie made by fox animated studios.

there's a lot of things that I love about this movie, so I'm going to share those with you<3

1. anastasia: she's literally an icon: smart, charismatic, funny, pretty, strong but sweet and a dreamer for sure. she's also a redhead so it's more iconic.

she knows her values, her dream and doesn't let anybody put her down. she steals all her scenes and never makes a dumb choice.

also, her wardrobe>> I love all of her outfits, they're so cute and beautiful!

2. dimitri and his relationship with anastasia: he's as iconic as she is: funny, intelligent, charismatic, and pretty attractive if you ask me. he's like a patrick verona from 10tihay: same attitude and kind of the same development as a character. also has voice of john cusack, so it's even better.

he's very respectful too yk; when he knew anya didn't want anything between them, he left and let her live.

literally they are couple goals: the enemies to lovers trope, the princess girl x kitchen boy (impossible love) trope, their chemistry, their humor; all of that is just the perfect combo.

3. songs: omg the songs of this movie are chef's kiss, obviously someone was going to make a musical about it! “journey to the past” is very underrated if you ask me, I love “once upon a december”, but “journey to the past” just gets me.

“learn to do it" it's kind of a bop, and the paris number>> I love how it's sounds like a broadway song!

4. the little details: the movie has a lot of little and cute details that are nice to see when you rewatch it; maybe it's in the dialogues or something in the plot, like the rose, (who is pretty important for the plot between anya and dimitri), or just short shots, like the one who is up on this point, (like it's so cute!!).

5. history: I know that even if it's “based” on a true story, it's pure fiction, but yk, it kinda feels like a little cute tribute to the romanov family, (obviously mostly to anastasia); I'm not into politics or anything alike, but I think what happened to her and her family was cruel and unfair, so it's kind of nice that they told a story about her that has a happy ending.

besides, the plot is very good: they have, like I mentioned before, very well used tropes, a charismatic villain and a protagonist who is strong and can protect herself by her own.

so that's it! thanks for reading all of that stuff!!

I hope you like it<33

(dividers by @dollywons )

[altblock-tm]

People I’d like to get to know better

Thanks to @hellionil for tagging me in this ^^

Last song: The Mind Electric by Chonny Jash,,

Favorite color: The day that purple stops being my favorite color is a day where a beautiful part of me has died.

Last book: Siddhartha. I’m deep in the trenches of analyzing it because I have to write a paper on it

Last movie: Wicked (Part 1). It was a lot better than I was expecting…

Last TV show: Uhh. I’m gonna be honest I haven’t watched any actual shows in a while. I don’t remember. My guess is a couple episodes of Black Clover that I rewatched on a whim a couple months ago but I really don’t know

Sweet/Savory/Spicy: I have an enormous sweet tooth and I’m not sorry about it. Yet.

Relationship status: Single 👍 yippee

Last thing I searched: “fgo Anastasia Interlude”

Current obsession: Still the fate series in general but as of yesterday Diarmuid was roughly forced to the forefront of my mind again. I do not control the hyperfixation

Looking forward to: Winter break (said as if I am not currently on Thanksgiving break)

Favorite drink: I’m a hot chocolate truther and that might just make me god’s strongest soldier

Song playing in your head on loop 24/7: Muse by Derivakat and Down to Hell by Man on the Internet have been tag teaming me

Current favorite character: As mentioned, Diarmuid. But if you’d asked this literally two days earlier I probably would’ve said Dantès or (NOOT DON’T LOOK FGO SPOILERS) Salieri

Fun activity you would like to get into: I haven’t been on hikes in a long time… I yearn for the outdoors

Last video game: (sighs, looks guilty) Fate Grand Order

Last comic/graphic novel/manga: A few weeks ago I finally read the last installment of the Amulet series by Kazu Kibuishi and I might just need to reread the entire series to remember out if it truly wasn’t written well or if I’d misremembered some things

welp! That’s it with me ^^ I don’t wanna tag anyone, but any of my mutuals are free to fill this out on their own

[marciabrady]

Sorry if you've already answered something like this before but I'd like your thoughts on cinderella 3? As a huge cinderella fan I can see the appeal it has to the wider audience but idk I've never gelled with it?

No worries! I'm in the same boat as you, for a multitude of reasons. I still remember, when I saw the third movie for the first time, thinking it was okay but then never wanting to watch it again. Something about it didn't ring true, but it just wasn't on my mind much and I never felt compelled to revisit it (as opposed to the original which I rewatched on a daily basis at a certain point of my life). Then, later, as an editor, I returned to it to continue engaging with the Cinderella fandom by giffing things that hadn't been made before. I tried to admire it for a while, because that film brought many people to Cinderella that otherwise didn't like her but...the more I sit with it, the more I realize how much it isn't for me. Now, it isn't that it's bad. That's a subjective thing, obviously, and it has a comparatively higher production value for a film of its kind. However, I think the way the film presents itself as blending with canon is extremely flawed and I think it's led the fandom to a lot of conclusions that I'm downright uncomfortable with. It's fine as its own thing, but I'm growing increasingly uneasy with it being considered a canonical part of the fandom.

Cinderella herself. No adaption of Cinderella ever gets Cinderella right (the live action is the worst offender) but I think, in some ways, it's more glaringly obvious here because it's supposed to be a direct continuation of the one media that did get Cinderella right? No one could ever live up to Ilene Woods' Cinderella, and I know that's an impossible assignment, due in no small part to how natural she was in the role and how it overlapped with certain areas of her personal life. Jennifer Hale is fine enough but her performance doesn't ever feel distinctly Cinderella and seems more suited for the video game performances that she's amassed a ton of critical and commercial success with. While she's given interesting responses regarding her view of Cinderella, I don't think I'd trust her with carrying the mantle (again, she's said intelligent things but she downplays Cinderella by insinuating she was limited in the first movie and how her own portrayal is more of a 'warrior' and how Cinderella is everyone's favorite princess until they grow up and 'rightfully' start to like more action oriented princesses). The film itself doesn't even understand Cinderella and just gives her a Belle and Ariel redesign, along with a soaring Broadway song where they completely change her singing style. It also changes her entire motivation to be fighting for love (a step back and not how she was in the original, I also think it lends credence to criticisms saying she's silly for only falling in love after one dance unfortunately whereas the original, in my opinion, didn't fall into that trap) and there's so many instances where they frustratingly make her slow ("Lift the spell- make him remember!! Bi- ahh!!"). I also think she's relegated to a side character in her own film and Anastasia is treated infinitively better, which is an issue to me. I also hate how they robbed her of her greatest victory. Cinderella producing the slipper and being her own savior might be my favorite scene in film history. Taking that away from her and making her openly stumble in front of Lady Tremaine, someone who just locked her in the attic and abused her her entire life, was...a choice. Just like her almost handling her *glass* slipper to Lady Tremaine, only for it to be broken, was. It just made her look dense and the entire thing came across as un-cohesive with what was previously established. Like, I'm sorry but...

This Cinderella was so raw, so layered, gritty, real. She grew up in an abusive household with no resources, skillfully masterminding her own exit. She understood the nuances of her captor, and always kept one trick up her sleeve. When she descended upon the staircase, she made her way through her stepfamily actively discouraging her- an orphan with no one else in the world- to the visiting nobility. They called her ridiculous, impossible, out of her mind, just a scullery maid from the kitchen- an imaginative child. She made her way past them, knowing that- if the grand duke believed them or left or if any detail of her plan fell through- she'd forever be stuck with these three women that would practically kill her once the door shut. But she persisted, and even when Lady Tremaine thought she was the one with the trick up her sleeve, smashing the glass slipper, Cinderella pulled a reverse uno and produced something no one else thought possible- the slipper's mate. Compare that to...

The third movie where Cinderella has to run down the stairs, escaping from her attic entrapment, and waves around her glass slipper in front of her stepmother, explaining to her in full detail that transpired the night previously at the ball, putting herself in a position that 4 seconds later allowed Lady Tremaine to crash that slipper and gaslight her into forgetting. Like...why??? I have so many issues with the way Cinderella is depicted in the film, but we'll leave it here (not even going to get into why people only like her in this version more because she displays more masculine strength by "fighting" and being physically combative which...again, there's more than one way to be strong and the fact that they tried to make her just like any other modern Princess is disappointing to me).

The Anastasia problem. This is something that only continues to upset me more and more as time goes by. In the original film, it's established that Anastasia actively abused Cinderella for the better part of her life. She taunted her, lead to Cinderella being punished multiple times, and blocked off Cinderella's escape or pursuit of a healthy life so many times. The way she's enabled the cycle of abuse to continue and actively, not only participated it but, spearheaded it on a few occasions, explains to us why she's the antagonist. I think it's dangerous that she appears in such a sympathetic light, especially without ever once offering a substantial apology to Cinderella. All of Anastasia's actions in this film, too, are completely self-motivated and I just think it lead to this trend where a lot of people see Anastasia as the protagonist (because she has the most screentime in this movie) and I just think it's poor form to sympathize with an abuser and, frankly, a dangerous moral to espouse. Like, even in the finale where they show Cinderella trying to reason with Anastasia is so toxic. Someone who's been on the receiving end of an irrational abuser's whims their entire life should never try to reason because "they know a good person is there, deep down." And I've seen a lot of people call them "sisters" and talk about how Anastasia had it worse than Cinderella because she's considered conventionally unattractive...which. I could write essays about this and how it's projection, but physical beauty doesn't go that far in this universe. Walt even had an animator redrew Anastasia's smile to be more attractive because he wanted all the characters to be somewhat sympathetic in favor of realism, as opposed to 'all good' and 'all bad.' Again, in this universe, the Prince sees an endless line of beautiful women in amazing clothing so that isn't what attracts him to Cinderella. However, I do think it's worth noting that Cinderella ceases to exist in her society when she doesn't appear 'eligible' by having markers of wealth. She's symbolically stripped of her dignity and hidden away, all of her opportunities taken from her. You know who never suffers that lived experience? Anastasia and Drizella. They're slovenly, over-privileged, and completely self-motivated and this sudden rewrite that they're poor victims because, in our world, they wouldn't be seen as beautiful and that qualifies them for a more traumatic upbringing than an orphan they helped abuse is ridiculous to me.

The disregard for the original characterizations. There are so many things here that just don't make sense. In the original, the King was hellbent on getting grandchildren and even displays a delightful meta commentary multiple times (when it's touched on how ridiculous it is that the Prince would marry any girl that fits the slipper, since that's been a critic of the original story, the King shrugs off that his son said it in a lovesick stammer and sees this as an opportunity to get those grandchildren "that's his problem; he's given his word, we'll just hold him to it). All of a sudden, this King is telling his son it's ridiculous to marry a girl who wears a size 4 1/2 and that's no reason to choose a bride??? And is showing Anastasia his late wife and trusting the clumsiest person I've ever seen with a delicate seashell? OKAY. Not only that, but just so many things that made the original characters unique are eroded so they can be like every other Renaissance character. Like, Lady Tremaine was such a great villain because of her presence and charisma and her cunning virtue. To omit all of that and how her waving around a magic wand and yell Bibbidi-Bobbidi-Boo was unnecessary.

Too much mice. I know many feel that way about the first film, but I think they were skillfully intertwined. It was way too much here and there was no place for them.

The art design and color palette is more gaudy and unappealing to me. I could keep going but lol

[thelaurenshippen]

favourite film? mine is Flatliners (1990, not the 2017 one), you?

oh GREAT question, love that flatliners is yours!!!!

so, not to over-answer your question (though, have you met me?) but there's a few different answers for me depending on the nature of the question. there's the favorite film as in the best film and then there's the favorite film as in the comfort film. for me, both of these have to be movies that I'll rewatch any time - I've seen lots of movies I thought were excellent and that you could not pay me to watch a second time

my knee-jerk reaction to this question is always, always Children of Men. it is a perfect movie. I've seen it one hundred million times. it brings me no comfort but I love the shit out of it. so that's up there. the other one that is perfect to me, but that I DO get a certain comfort from (I love movies with explosions) is Mad Max: Fury Road. I saw it, like, four times in theaters lol.

speaking of movies I saw a lot in the theater (tbf it was the halcyon moviepass days): The Greatest Showman. love that flick. other comfort favorites: 2005 P&P, Clue, The Philadelphia Story, Some Like it Hot, The Proposal, and anything with Meg Ryan (including Anastasia).

but yeah, if I had to pick one it would be Children of Men.

[inkshine]

Every once in a while a little voice in my head tells me to rewatch Anastasia (1997) or listen to the soundtrack again, and like, what am I supposed to do? Say no?

[artist-issues]

Hello! What is your opinion and analysis of the animated film Anastasia (1997)?

Hello! I hate to disappoint you: I never liked Anastasia. But! To be intensely fair, the last time I watched it was before the Lord got my wheels turning on “critical analysis,” and before my Formal Education.

I remember that the music was enchanting, but the animation left something to be desired. I don’t mean technically—technically the animation is flawless, because it’s Don Bluth. I mean, it was missing a good deal of appeal.

I never feel like Anastasia is actually looking at me. That’s the most visceral way I can put it. I think what I mean is, she’s so technically well animated (and so is her grandmother, and Dimitri) that moments where her facial expression could benefit from extremes or exaggeration to make me connect with her get completely lost. There’s moments like THIS:

Where I should feel the emotion coming through, she’s doing something so girlish and fun and wondrous…I should like her, and feel like I could be standing in her shoes, feeling the same emotion of looking for the magic in her surroundings because it echoes in her memories, etc…. But I don’t feel that way. I know logically that that’s what the filmmakers want me to feel—partly because the music is so good, and partly because of the context—but I don’t feel it.

And I think it’s because Anastasia is standing there with her head tilted back, her chin dawn in perfect perspective, her movements so in-proportion, that that part of my brain that animation is supposed to tap so beautifully into is just…bored. Disconnected. I can’t see her face, I can’t see her emotion, and it doesn’t linger artfully enough for me to connect with it. I mean, contrast it with this moment:

I can see Ariel’s whole face, particularly those windows-to-the-soul we call EYES, and the facial expression, though dramatic, lingers, holds it, draws it out, so that I have time to not only register the emotion but almost savor it?? Feel it myself. If that makes sense. Not to get too dramatic about it. I don’t know if I’m describing it accurately, but that’s my main problem.

I’d have to go back and watch it again to analyze it further, or even more fairly, because like I said, I haven’t seen it since the ol’ brain got quickened. How about this, I promise I’ll rewatch it with an open mind and make a post later!

[atu433b]

people I'd like to know tag

tagged by @descensos

last song: evanecense's thoughtless cover

favorite color: black

last book: iykyk

last movie: anastasia (1997). trying not to give into the temptation of watching manchester by the sea because it will make me cry probably

last TV show: hannibal (rewatching for the first time in years and i had a stupid dream about being married to dr. lecter)

sweet/spicy/savory: spicy!

relationship status: :-( but i love all of my friends. who needs a husband when you have a priest and surrogate grandparents

last thing I googled: evanecense discography

current obsession: making shitty food and maintaining eye contact with people for as long as i can t. extreme introvert

looking forward to: arranging flowers at church tomorrow morning and seeing my close online frens someday (it will happen whether they want it or not)

tagging: @religious-extremist @stellaluna33 @edinburgh-by-the-sea @thatscarletflycatcher @cuppatealove @edwardsvirtue only if you feel like it