#tale of tales 2015

[perioddramapolls]

Period dramas dresses tournament: Black dresses Round 1- Group B: Queen of Longtrellis, Tale of tales (pics set) vs Queen Ravenna, Snow White and the huntsman (gifset)

[cressida-jayoungr]

Coeli's Picks: Men, part 1

(Multiple movies listed left to right)

One Dress a Day Challenge

Tale of Tales (2015) / John C. Reilly as the King of Longtrellis

Blake's 7 (s4 e1, "Rescue") / Paul Darrow as Kerr Avon

The Sting (1973) / Robert Redford as Johnny Hooker

Coming 2 America (2021) / Eddie Murphy as Prince Akeem Joffer

"I haven't seen the movie but the costumes are terrific. The lead costumer, Ruth E. Carter, did this movie after her amazing work on Black Panther and has talked about how she went about creating a different fictional African country's style in a tone more appropriate to a comedy."

The Fifth Element (1997) / Gary Oldman as Jean-Baptiste Emanuel Zorg

Doctor Strange (2016) / Chiwetel Ejiofor as Mordo

Fellini's Casanova (1976) / Donald Sutherland as Casanova

Babylon 5 (s2 e1, "Comes the Inquisitor") / Andreas Katsulas as Ambassador G'Kar

"I picked this screenshot because I could pin it to an episode, but my main thought was to represent the character, and really the series, in general. Londo and the other Centauri also have great costumes, for example. Most of the humans aren't all that exciting, though I like the station uniforms post-independence from Earth."

Flash Gordon (1980) / Max von Sydow as Ming the Merciless

"Of course, any of the many outfits worn by Max von Sydow as Ming the Merciless in Flash Gordon could/should be highlighted this month!"

[dommnics]

"Perhaps the greatest risk any of us will ever take is to be seen as we truly are."

3/3

Honestly, every department for this film really cooked. Just excellence all around.

--

Check out more of my work on other platforms!

My Instagram -- My Twitter

[allgirlsareprincesses]

Choosing the Beast: Modern Folklore Heroines Embrace the Animal Husband

“I choose the bear.” The refrain rang out across the web, with many a woman nodding in agreement or at least understanding, and certain men huffing with indignant outrage. Just a meme, really, but did it speak to a deeper truth? Is it merely age-old mistrust of patriarchy talking, or a true desire for the beastly, the wild, the untame?

I’m no sociologist, of course, but I have noticed an emerging trend in fem-gaze media that seems to reflect this view. In movies like I Am Dragon (2015) and recent shows like My Lady Jane and The Acolyte, the heroine chooses the beast, loving her animal husband in his wild form rather than requiring him to transform back into a mundane man to earn her affection. This is such a departure from the typical folktale pattern that it’s difficult to even find an historic example where this occurs.

Commonly thought to reveal the desire to tame a dangerous mate in a patriarchal society, most animal husband tales (ATU 425a) feature a hero who ultimately transforms permanently into a human. This is viewed not only as freeing him from the maddening effect of his wild form, but also saving his bride from committing the sin of bestiality. In these tales, the animal mate’s transformation is necessary for the salvation of both.

Is the modern heroine then damned by choosing her husband’s beastly form? Or does she actually free them both from the yoke of patriarchal expectations?

Bathing: Discovering the Wild Masculine

The first motif that stands out in these modern screen examples is bathing. In animal spouse tales, there is often a dynamic of the hunter and the hunted, and thus a moment when the hunter comes upon their would-be lover unawares. Perhaps they find the animal spouse sleeping, or they cast a light on them unexpectedly, see them without their animal skin or disguise, and so on. And of course, they often come upon the lover at their bath.

There is an implied eroticism in this discovery, finding one’s quarry not only undressed, but also in the most private of activities. Water of course symbolizes fertility, but bathing is also purifying, symbolically washing away all that might make a mate undesirable. And this, perhaps, is the reason that historically this motif is used almost exclusively for animal brides, not animal husbands.

For the animal husband, he either actively chooses to reveal himself to the bride (perhaps on their wedding night), or she violently strips away his disguise, often armed with “flame and steel” like Psyche and her many avatars. Animal brides on the other hand are nearly always discovered at a body of water, bathing. The hunter will then capture her either by stealing her animal skin or cloak, or by placing his own clothing on her. What does it mean, then, when it is the husband who is discovered bathing in a body of water, held as an erotic object in the feminine gaze?

In The Acolyte, Osha follows Qimir to a pool where he slowly undresses, in full knowledge that she is watching. On the shore, she steals his lightsaber, just like the hunter who steals the animal skin, symbolically claiming him. When he emerges, Qimir dons new clothes, as if acknowledging that he is a different person than before he entered the water, almost purified in a way. Osha is forced to confront that there is more to the murderer in the mask than she realized.

Similarly, in My Lady Jane, our heroine goes looking for Guildford just before sunrise on their ill-fated wedding night, only to discover him bathing in the stables. The scene is gratuitously filmed from Jane’s (very horny) perspective, flipping the script on the countless scenes in screen history shot with the masculine gaze. Immediately after she discovers and confronts him, Guildford transforms against his will into a horse, and Jane realizes that he is an Ethian, a creature she has been taught is demonic and unnatural.

And in I Am Dragon, Mira makes several discoveries in quick succession: first, she deduces that Arman is actually the dragon. In the next moment, she slips from the island’s peak and falls, saved only when Arman transforms at the last moment and breaks her fall with his dragon form. The water begins to wash over his unconscious body, and at first Mira thinks that she will allow him to drown. But the sight of Arman in his human form after he rescued her, worried over by his animal familiar, stirs her to pity and she wraps him in a sail and drags him to safety. In this way, she clothes him, claiming him as her own.

Each of these heroines discovered a new aspect of her husband at the bath, finding him unexpectedly alluring, and ultimately choosing to begrudgingly claim him. Each animal husband tried to wash away his beastly form, to separate himself from the wild masculine. These men feel a sense of disassociation from a part of themselves, but now that their brides have discovered it, there will be no more hiding. Further, the bride now holds the power in the relationship, evidenced by how her husband needs her: Qimir needs Osha to be his apprentice, Guildford needs Jane to help him “break the curse,” and Arman needs Mira to heal him from his wounds.

Playing House: The Half-Husband

The second feature of these stories is a period of domesticity for the couple. For a brief time after the husband’s beastly nature is revealed, the lovers “play house” like children. While sexual tension is present, they typically do not consummate their union during this time, but instead cook, eat, rest, and care for one another. What’s more, they ignore or even attempt to actively destroy the husband’s animal form. They deny that this is part of him and therefore part of their relationship.

In I Am Dragon, Mira heals Arman, and wakes the next morning to find he has left food for her (dragonfruit, appropriately). Together they begin building a home out of shipwreck debris they find scattered around the island. A cheery montage shows them decorating a living space, choosing clothes, playing music, and dancing. But the specter of Arman’s monstrous form lurks on the edge of their idyllic life. Mira has nightmares, and tells Arman how much she fears “the dragon,” notably not referring to them as the same person. And eventually, it emerges that Mira has been planning to escape, rejecting Arman’s dragon form entirely.

After he sheds the helmet and robes of The Stranger, Qimir turns his attention to caring for Osha: he heals her, lets her sleep in his bed, provides clothes, and cooks for her. In turn, after some lightsaber-wielding, Osha becomes more comfortable in his home and accepts the food he offers, eventually even trying on his helmet. Later, they bicker amiably on their way to Brendok, like an old married couple on a road trip. When not facing down Jedi, Qimir leaves his menacing persona behind and transforms into an empathetic, protective, and alluring partner.

Jane Grey, meanwhile, finds herself using her honeymoon sequestered away in a private cottage to try to cure Guildford of his Ethianism. With her knowledge of medicine, she concocts various potions and magical cures, but none of them succeed. Guildford often checks in on her after these disappointments, making sure she’s getting enough sleep and taking care of herself. It’s also clear that they’ve been regularly dining together when Jane suddenly dashes off to rescue her friend. Guildford follows her and the two protect one another, followed by an almost-tryst. Even when they move into the palace, their day-to-day (or rather night-to-night) life is one of comfortable domesticity, although they continue to deny Guildford’s horse form.

In each of these cases (although less so in The Acolyte without Season 2 to continue the story), playing house can only last for so long while the husband’s animal nature is denied. There is a part of him that is suppressed, rejected, and this leads to him being incomplete, a half-husband. Each hero is unable or unwilling to accept and celebrate his whole self with his bride. Eventually, it is that denial that leads to a rift between the couple, which can only be healed not with the transformation of the husband, but with the embrace of his animal form.

Enforcing Patriarchy: The Rival

Each of these relationships exists in direct opposition to the dominant culture in the story: Arman as the Dragon is the literal enemy of Mira’s people, Qimir as Sith is the enemy of Osha’s Jedi masters, and in My Lady Jane, intermarriage between humans and Ethians is punishable by death. By choosing to stay with their animal husbands, even for a brief time, our heroines are openly defying the patriarchal norms of their societies. But no oppressive society is about to take that transgression lying down. In each story, a rival emerges to enforce the patriarchal order, kill the beastly husband, and retrieve the bride.

In I Am Dragon, Mira’s betrothed and descendent of the dragon-slayer, Igor, journeys to rescue her from the dragon. Over the course of the story, it becomes clear that Igor cares nothing for Mira herself, and merely feels entitled to her as his bride. Dragon-slaying is his heritage, so he must find her, kill the dragon, and take his place as the hero of his people. Even the marriage ceremony illustrates his ownership of her: he takes hold of a rope tied to her boat and reels her in, thus binding her to the patriarchal order. Contrast that to Arman, who offers her the power of flight, a symbol for freedom.

In Osha’s case, Qimir’s rival for her loyalty is clearly Master Sol, who wants to keep his former pupil dependent on him and the Jedi. Sol takes patronizing fatherliness to an extreme, constantly rescuing Osha rather than letting her stand for herself, teaching her to deny her feelings and instincts, and lying to her to “protect” her. The Jedi refuse to allow that there might be any other way to access the Force than their own, thus invading the home of the Brendok witches and ultimately orphaning the twins. Sol continues to press this dominance to the end, challenging Qimir and insisting to Osha that his own lies were justified.

In My Lady Jane, there are two rivals, both women. Lady Frances attempts throughout the show to dominate her daughters and crush their wills, forcing them into unwanted marriages, applying political pressure, and even counseling Jane to abandon Guildford to save herself. The other rival is Mary Tudor, who is determined not only to emulate her father’s violent, oppressive, and misogynistic reign, but to crush anyone she considers “unnatural” or who poses a threat to her rule. These characters stand as clear examples of how women can enforce patriarchy, too.

In each story, there is a moment when the rival briefly recaptures or “rescues” the bride from her beastly husband, bringing her to a moment of decision: will she stay within the bounds of patriarchy like a good little girl? Or will she make an act of defiance to choose her own path?

Marriage: Choosing the Beast

The bride’s choice will ultimately decide not only her fate, but that of her mate as well. As an independent character, the wild masculine is deeply wounded, separated from himself and thus from his bride. He longs to transform not into a greater, more whole person, but into a lesser, half-person. Alone, without the embrace of his anima, he cannot see the value of his beastly form. Instead of healing, he faces annihilation.

As a part of the bride’s psyche, the beastly husband represents her innermost desires, the truth of her heart, and a spirit freed from the expectations of her society. He is her animus, her missing wild masculine. If she transforms him into a man, then she will tame his wild nature, bringing him to heel under the boot of the patriarchy. Choosing the human form and rejecting the beast means rejecting her own psychological needs. It would be just another form of psychic dismemberment.

Fortunately and unusually, each of these modern brides chooses her beastly husband without demanding he transform. When Osha finally agrees to become Qimir’s apprentice, she takes his hand under the willow tree, clasping the newly-bled lightsaber between them. A few scenes later, this wedding imagery is repeated when they hold hands over the saber again, this time looking into a sunrise/set. Notably, at the moment they “marry” under the willow tree, Qimir is wearing his beastly helmet with rows of menacing, wolfish teeth. He has not come to the light side or shed his Dark Side persona, but Osha has embraced him anyway without fear. And while they might not both be healed (yet), they are more whole together than they were apart.

When her efforts to cure Guildford of his Ethianism repeatedly fail, Jane begins to suspect that his “condition” cannot be cured at all. But listening to her Ethian friends Susanna and Archer finally convinces her that the truth is Guildford doesn’t NEED to be healed - being an Ethian is who he is, and it’s nothing to fear. Unfortunately, Guildford still associates his beastly form with his mother’s death, so he is unable to accept it as Jane encourages, and flees. After a near-death experience, he uses his equine speed to return to the castle just as Jane is deposed and captured. As our heroes battle toward the end, Guildford comes to learn that there are many other proud Ethians, and that his family loves and accepts him in any form.

Still, he’s unable to transform at will, and when Mary captures him and sentences both husband and wife to death, it seems their story may end in tragedy. But as Guildford has been struggling to accept himself, Jane too has been battling with her own conscience. Does she renounce Guildford to save herself? Use her wits to kill the guard and escape? Bend to her mother’s manipulation? Jane confronts each temptation, and ultimately chooses to face death rather than betray Guildford or herself. But when her Ethian friends (the wild instinct) appear to disrupt the execution, our heroine seizes the opportunity to rescue Guildford. Unable to free him from the burning pyre, she confesses her love for him, and they kiss amid the flames.

Fire is often a herald of transformation, burning away illusions to reveal the truth. And when Jane and Guildford exchange their vows in this symbolic marriage ceremony, Guildford’s fears and illusions are finally burned away. Now that his bride has accepted his beastly form, he can accept it too, and so he at last transforms at will into a horse so that they can escape. Their story ends with them married and whole before the sunrise.

Among our modern heroines, Mira is the boldest in her embrace of the beastly husband. Offered yet again as a bride to Igor, she realizes that this is not what she wants, and casts off the tether from her boat. She declares “I love the Dragon!” using the name of her husband’s animal form rather than his human name. Then, she sings the song that will call the dragon to her, and he appears to carry her away again.

But their story is not over yet! Earlier in the story, Arman told Mira of how he loses control when in dragon form, and that dragons are compelled to reproduce by burning maidens to death and retrieving their offspring from the ashes. Returning to the island with her a second time, the dragon drops her on the altar and prepares to spew fire, but Mira lunges up and kisses him. This act of love, even when he is a monster, stuns the beastly husband. Again, Mira declares her love and kneels before him, saying she does not wish to be parted. We might expect the animal husband to transform in this moment, but instead he lays his fearsome head in her lap as a lover. Their story ends with a child and a flight in the sky, silhouetted by the sun just like the other couples.

Each bride, when confronted with the option to return to the patriarchal limits of her childhood, chose instead an act of love and acceptance for her wild masculine. This embrace helped the beastly husband to accept his whole self, and he is healed without having to cut off the wild parts of himself.

What Does It Mean?

Again, this story is so rare in world folklore that it’s difficult to even find examples. On fleeting occasions that the woman chooses an untransformed beast, it is presented as a cautionary tale. These women are framed as a danger to the community for their bestial impulses and abandonment of the social order, much like witches who were said to consort with the devil. It was certainly never presented as a happy ending, insofar as we can tell from written accounts.

So what does the emergence of this tale mean for our culture? I would argue that this is just the latest step in our ongoing reckoning with historic gender roles, as well as renegotiating with other forms of systemic oppression. People of all genders are pressured to reject a part of ourselves, cutting us off from our own truth and desires that run counter to the enforced social order. We must not challenge patriarchy, must not embrace different gender expressions, must not blur established hierarchies of power, must not find joy and power in our identities, and so on.

This enforced denial does tremendous damage to everyone caught in the system, and so through story, we dream our way to escape. We dream of embracing the dark, wild parts of ourselves, of flying free on a spaceship or a dragon or enchanted horseback, and of being totally loved for who we are.

It’s clear patriarchy is still fighting back against this emancipation of the wild feminine and wild masculine, given that both The Acolyte and My Lady Jane were canceled not long after their release. In the case of The Acolyte in particular, there was a sustained campaign from its announcement to harass and silence the creators. Demoralizing as this phenomenon may be, it’s important to remember WHO ultimately owns these stories:

“Fanfiction is a way of the culture repairing the damage done in a system where contemporary myths are owned by corporations instead of owned by the folk.

-Henry Jenkins, NYT 1997

Ah, an oldie-but-goodie. But Dr. Jenkins is right. Corporations may greenlight, film, release, and then cancel these stories, but ultimately they belong to the people. We take from these tales what speaks to us, leave what does not, and then retell them ourselves in fanfiction, in art inspired by the stories, and in lessons we pass on to our friends and families. If the embrace of the wild masculine speaks to you, let the story take root in your own life. Do you know someone who needs to be embraced, just as they are? Do you need to accept the parts of yourself that society tells you to hate? Do you want to be free, healed, and whole?

If so, then let these stories show you how, and tell more like them. Embrace the beast, and find your joy.

Sources:

Beauty and the Beast Tales From Around the World by Heidi Anne Heiner

In Search of the Swan Maiden: A Narrative on Folklore and Gender by Barbara Fass Leavy

And a relevant song for you, as a treat:

Women Who Run With the Wolves: Myths and Stories of the Wild Woman Archetype by Clarissa Pinkola Estés, Ph.D.

[atomic-chronoscaph]

Anya Taylor-Joy - The VVitch (2015)

[skvwalker]

Tale of Tales (2015) dir. Matteo Garrone

[fanofspooky]

Scream Queen - Sherilyn Fenn

[divorcedfiddleford]

woke up this morning and chose inner peace (blocked 20 people)

[artist-issues]

I just need to rant about this post https://www.tumblr.com/thememedaddy/757194456784076800 because it’s really not that bad but it annoyed me because it was the second bad Cinderella take I’d seen that day and for some reason they keep cropping up on my dash. People really don’t understand the plot at all. Anyways I thought you might find it interesting and be able to work your analysis magic

Aw, this is just somebody trying to be funny. It’s not worth picking at.

But for fun, and because I love to talk about Cinderella, and for you:

Cinderella didn’t settle for the Prince. She already had a “happy life with her animal friends” because she was so kind to everyone. If you asked Cinderella if she had a happy life before the ball, it would not have been out-of-character for her to say “it’s not so bad, I have my animal friends!”

Even in the original (that word has some nuance when it comes to fairy tales, but this one is the most universally well-known) Charles Perrault fairy tale, Cinderella leaves the Prince during the ball to go sit by her sisters and share her oranges with them. Because she’s loving, and gives love, regardless of the worthiness or response of the creatures or people around her. She’s happy to be gracious and give love.

That’s the whole point; she’s always good, she’s always gracious, and she won’t let a silly little thing like “dire circumstances” get in the way of that. So this idea that she was looking for “happy life” outside of the one she already had? That just gives too much power to her circumstances.

No, she wanted to go to the ball because it was supposed to be beautiful and fun, and because her sisters were going, and being left behind on top of everything else would be too much, even for her amazing strength of faith. So. She was never looking for “a better life” out of the ball. She was just looking to share one beautiful occasion with the family she had left.

So let’s get that squared away. Secondly, this joke’s whole “he needed to make her try on a shoe because she had no makeup on so he couldn’t recognize her” is silly for three reasons.

In just about every major version of this fairy tale, The Prince is not personally trying the slipper on the mystery-girl. He’s sending out his staff, who don’t know what the mystery-girl looks like. So the slipper is their clue. If he’d been looking for her personally, a look at her face would certainly have been enough, because all versions of the tale consistently state that Cinderella is just as beautiful in rags as she is in her ball clothes. But that’s not how the story works.

The slipper is supposed to be symbolic. In the earliest version of Cinderella, it’s made of gold. The idea is that when Cinderella is in those hard, unique, sometimes delicate shoes, she’s in her true form. Not just anybody can dance in glass gracefully. So the Prince is not an idiot. It’s not just “can they fit the slipper in size.” It’s “can the fit the slipper in grace.”

Cinderella’s outer beauty is symbolic for inner strength of character. Her graciousness is the defining trait of the character. So the idea that the Prince knew nothing about her except her surface-level beauty, and that’s all he was basing his decision to marry her on, would totally hamstring the point that the rest of the story—kindness to low creatures, graciousness to low sisters, the fairy godmother—works so hard to make.

[vintagegirl01]

Lizards and Pumpkins

AU Young Leto Atreides x fem reader

Summary: A ball is being held in the hopes that Leto Atreides will find an eligible maiden to marry as he is expected to become the next Duke of Caladan.

*This storyline will be similar to Disney’s Live Action Cinderella (2015). There the dress you will be wearing is like that one.

Author's note: This is my first fanfic ever. Therefore, please be kind about any feedback you all may have. Other than that, enjoy and let’s see where it goes from here.

When you get to the bottom of the steps, you notice the man from the forest you met a while back walking towards you. However, you had know idea he was the Leto Atreides of Caladan. You had been told that he was an apprentice in training but you had no idea you were speaking to the next Duke in line.

At this moment, you two are face to face with each other.

“It's you, isn't it?” Leto asks.

“Just so. Your grace…”, you respond and curtsy to him.

“If I may... that is... it would give me the greatest pleasure, if you would do me the honor of letting me lead you through this... the first…”, Leto struggles to say what’s on his mind due to being in a daze by your beauty.

“Dance?” You ask, smiling sweetly at him.

“Yes, dance. That's it.” He finally gets out.

While you and Leto start dancing, you notice the people surrounding you both.

You whisper to him, “They're all looking at you.”

At that statement, Leto smiles and says, “Believe me, they're all looking at you.”

——————————————————————

Leto pushes you gently on the swing in the secluded garden he shows you as you both carry on having meaningful chats.

A clink is heard, and you realize your slipper is off your foot. Upon noticing this, Leto stops pressing you, gets on her knees, and places the slipper on your foot.

With awe, he asks, "It's made of glass?"

"Why not?" you ask him, grinning.

Then, as though he wants to kiss you, he leans in close. "Will you please tell me your true identity?"

After giving it some thought, you say, "If I do, I think everything might be different."

Leto says, "I don't understand," with a perplexed expression. “At least, could you tell me your name?”

Just as you prepare to inform Leto, the clock chimes 11:59. That's when you recall what the fairy godmother said. You say as you turn to face Leto. "I must go now. It is difficult to describe. Pumpkins, lizards, and other things. You tell him you'll never forget it and thank him again for a fantastic night.

Leto murmurs, "Lizards and Pumpkins," as he watches you dash out of the garden. With a smile, he chooses to follow you.

One of your glass slippers slips on the palace steps as you walk to your carriage. Even if at first you want to pick up, you change your mind as you notice Leto approach you and climb inside the carriage.

When the carriage pulls out of the palace, you see Leto stoop to retrieve your slipper. You grin as you recall the amazing evening you spent with Leto. Despite your feeling that this is the final time you will ever see him.

You have no idea that Leto is planning to locate you. In one kind or another.

[perioddramapolls]

Period dramas dresses tournament: Black dresses Round 2- Group B: Elizabeth I, Elizabeth R (pics set) vs Queen of Longtrellis, Tale of tales (pics set)

[rambleonwithrosie]

I genuinely believe the live action Cinderella is not only the best live action Disney has made but also it's one of the best films of the last 20 years period!

Gif credit: @omniavincitamor

Now there's many reasons for this but on my latest rewatch I was struck by how perfectly it balances between being a children's movie for little girls to watch at their pajama parties with friends and being the kind of movie like Pride and Prejudice that grown women sit together and drink wine while they watch and swoon over the hero and the dresses and cry at the emotional parts.

It is simultaneously a film any adult can appreciate while still capturing all of that wholesome childhood joy and Innocence. And Ella perfectly captured those two things too. She keeps her child's heart that believes in goodness and magic but also she's growing up. Lily played the part perfectly, all those little moments where she's kinda astonished by her proximity to the prince and what that's making her feel. She calls herself "just a girl" but she's also feeling woman feelings and her portrayal of growing up is really beautiful because it doesn't make it seem like a bad thing. So much media makes the end of childhood seem sad but Ella brings the best of childhood with her into her unfolding adulthood as we watch her grow up.

Also the foley artists/sound editing also did a MAGNIFICENT job with the sound effects. Because while they could have just had the sweeping score for the waltz with none of the ambient sound, instead you get all those swishes of the skirt and caught breaths which adds so much texture and intimacy to the dance. Like the sexual tension between Ella and Kit is at 11 in all the scenes at the ball and afterwards (Richard's blue eyes doing 80% of the work there) but it's still innocent. This isn't a children's film trying to "get away" with mature themes. It's the kind of film you could use to explain adult feelings to children coming up on puberty in a way that wouldn't make them feel shameful or dirty. It's Wholesome Sexual Tension. Which is something there is far too little of in modern cinema.

It's both a film for grown ups and a film for children and it didn't cut corners to accomplish both. It's equally both and they didn't kiddie-ify the adult parts like the abuse or the grown-up feelings Ella and Kit have for each other but nor did they try to make it an adult themed film. It is still a princess movie but it's one for grown ups as much or more than it is for little girls and that's beautiful. I for one find it deeply healing for my inner child and my adult self and I feel I'm not the only one.

Also the costuming is immaculate even on background characters with no speaking roles. Literally could not get better costumes. I could talk about this movie forever but I'll stop now and probably make more posts about it in future

[nyxsealia]

Cinderella moodboard!

[dommnics]

"Where there is kindness, there is goodness. And where there is goodness, there is magic."

1/3

I really adore and appreciate this movie so much, and yet I've never actually uploaded any fanart of it on here. That changes now!

--

Check out more of my work on other platforms!

My Instagram -- My Twitter

[ladywatereton]

26 years of Ever After: A Cinderella Story🐁🪁🖼️🥿

🎥 Ever After: A Cinderella Story (1998).

🎶 Brooklyn Baby, Lana Del Rey.

[my-lady-galadriel]

No offence, but at the present moment Disney isn't capable of telling love stories like these 👇