#Childhood Trauma Through Disney Films

[innerslumber]

Announcement for the Release of Deadpool and Logan on Disney+ Done by The Incomparable Ryan Reynolds

#I'm dying lolololol #omg i love him so much for this lololol #this is why Ryan Reynolds is my favorite Canadian #deadpool #logan #disney plus #disney+ #ryan reynolds #Childhood Trauma Through Disney Films #Snow White #Old Yeller #The Lion King #Bambi

[purpleheartskies]

Some fans say that there's no realism in stories, or that Cobra Kai is a "silly", "fun" story and isn't the type of story that would explore serious topics, like trauma.

Taking a step back from Cobra Kai for a bit, there are a lot of stories that are "silly" and "fun" that explore serious topics. Last year, the Barbie movie was the highest grossing film in the box office. It too explores serious topics in a silly, fun plot and universe. There are a lot of people who dismissed that movie and the topics it explored, but those topics were explored regardless if people acknowledged or dismissed them.

ATLA is a great example of a silly, fun tv series that also explores serious topics. Within a completely made-up animated universe with people with elemental magic powers, the realities of war, colonization, childhood trauma, and trauma due to war are explored.

Many Pixar films are also great examples of exploring serious topics in silly, fun stories. Inside Out takes complex psychological concepts and portrays them in silly, fun ways, all while telling a story about the importance of grief and sadness in coping and healing. Up is another great example. Within its first few minutes, it shows a lifetime of memories that Carl and Ellie shared together. I remember, after one of my friends watched it in theaters, she told me that she couldn't believe that a certain moment in the beginning was in a Disney movie. You may have immediately thought of the moment I'm talking about: Ellie and Carl in the doctor's office getting the news that they can't have kids. This moment came immediately after a moment of them happily putting together a nursery. Following this opening montage, the whole movie itself deals with grief, the importance of finding new connections, and found family. These topics aren't just explored through Carl's story, but through Russell's as well. When he's first introduced, he says that he's trying to get his Assisting the Elderly badge. As the story goes on, he reveals that his dad said he'd come to the ceremony to pin his badge on his sash. The empty spot for the badge is right above Russell's heart. It's such a simple detail that shows the void in Russell's life now that his dad doesn't spend time with him anymore. Later, Russell recounts some memories with his dad, and Carl rolls his eyes at first because Russell is once again prattling on about his dad. Russell says that he and his dad used to sit on the curb outside of an ice cream shop and count different color cars. Then, Russell says in a solemn voice that he liked that curb. He pauses, and then says that it may sound boring but it's the boring stuff that he remembers the most. Carl gets it then because he remembers all the "boring stuff" that he did with Ellie. At that point, he still believes that he and Ellie had a boring life without adventure, but later on, he learns that the life they had together was their adventure. Of course, all of these heartfelt moments happen amongst Carl and Russell flying in a house carried by hundreds of colorful balloons, meeting a bunch of "talking dogs!", and finding the infamous snipe.

It's pretty sad if people really believe that there is no realism in stories and that you can't explore serious topics in silly, fun stories and film. The realism is usually what allows us to emotionally connect with the characters and the story.

When it comes to Cobra Kai, fans focus so much on the plot and the karate fights, but the characters, their traumas, and the relationships is where a huge chunk of the story has always been.

For example, Daniel's entire journey has been about his own past with Cobra Kai and how that affects him and his loved ones. When Daniel was reintroduced for the first time in over 30 years, he seemed like he was doing great. Life was going really well for him, and it seemed like all of his internal demons were dealt with and gone. But they weren't. Seeing the Cobra Kai dojo again in s1e2 triggered him. Since then, he's been dealing with the physical "demons" of Cobra Kai but hasn't fully recognized how his internal demons have been affecting his behavior, which in turn affects the people around him. His behavior is realistic, yet it's an aspect of his character that is misunderstood and dismissed by many fans. Regardless, it's there and it drives his journey.

In Kreese's case, they've added a lot of backstory, including a series of flashbacks throughout s3, that shows why he is the way he is and what drives his motivations. In s3e10, the juxtaposition of the flashbacks of Kreese's fight with his own sensei/mentor and the scenes of Kreese's fight with Johnny is no coincidence. Johnny and Robby's first and only violent confrontation was also included in this mix of generational trauma and conflicts. In s5, Kreese had a whole therapy arc, including a scene in which he imagined people from his life who he had unresolved relationships with, including his younger self. Kreese choosing war instead of redemption at the end of s5 makes sense for his character.

In a lot of his Cobra Kai interviews, Thomas Ian Griffith comments about how, in this absurd world in Cobra Kai, the writers have been able to include elements that ground the story and get you to connect (emotionally) with the characters. Although Thomas plays Silver, one of the most batshit characters in the story, Thomas himself has written for other shows (for example Grimm) and understands more than most all the elements that go into telling a story like this one.

When it comes to Johnny and Robby's relationship in s5 specifically, their characters and relationship were portrayed as they always have been throughout the series.

Johnny kept choosing Miguel and the Diazs over Robby: Johnny manipulated Robby and endangered his life to find Miguel in Mexico. Johnny later ignored Robby's request for space and forced him to have a physical fight with Miguel and accept the Diazs as family because of the baby plot device. Johnny gave fatherly advice to Miguel and not to Robby.

Before s5, some fans would describe Robby as a chameleon because he would adapt based on his circumstances. Sadly, Robby had to change completely in s5 to survive Johnny's behavior: After Johnny had lied and dragged Robby down to Mexico and tried to manipulate him to stay to help find Miguel, Johnny dumped Robby at a bus stop with some cash to get home on his own because Robby had gotten upset that Johnny had done lied to him. Robby could either help Johnny find Miguel or Robby would be on his own to get back home with only some cash from Johnny, so Robby chose to help Johnny. Later on, Johnny ignored Robby's request for space from Miguel. After Miguel said yes to Johnny for a fight with Robby, Robby had to say yes to the fight too. After the fight, when Johnny asked if they're okay now, Robby paused and then nodded yes, although Miguel never took accountability for his wrongs against Robby. Robby also had to act excited about the baby news, like Johnny said they have to. Robby later had to ask Carmen's permission if he could have dinner with his new "family". Robby also had to take back his comment about Johnny giving fatherly advice to Miguel and not him. Throughout the season, Robby had to adapt to survive Johnny and be accepted into his life now.

Johnny is a still a deadbeat alcoholic: Like in previous seasons, in s5e3 Johnny had a montage of cleaning up his apartment. But in s5e4, nothing about his portrayal indicated that he'd changed. In fact, he was portrayed as the exact opposite of Carmen's dream. (I think she even imagined him as Maverick from Top Gun, although in s4 he'd said that he's a fan of Iceman.) Carmen's dream Johnny is definitely not who he really is, and the rest of the episode was used to show that. Although Johnny gave a sincere apology to Shannon, Johnny never gave one to Robby. In s5e5, Johnny had beer cans stacked into a cactus and had used boxes with the coors banquet logo as makeshift doors to the hallway for the escape room. When Daniel came to the apartment, Johnny commented about him reeking of booze, but then he gave Daniel a beer and Daniel later thanked him for it. Funny that many fans proudly call out the first part but don't call out the latter parts. They also proudly say that Johnny "put his family first", but he actually just put himself first. He forced Robby into a physical fight for his own gain. Since most fans have always viewed Johnny's mistreatment of Robby as acceptable, it's not surprising that they were okay with how Johnny treated Robby throughout s5. In s5e6, Johnny had a beer in his hand when he and Chozen went during the day to scope out the Topanga Karate turned Cobra Kai dojo. In s5e9, Johnny got drunk as he celebrated knocking up his girlfriend and then committed a trespass and assault. He ended s5 with yet another self-centered speech, this time about what he would lose if something had happened to him. The sad thing is if you point all this out, most fans will just dismiss you and say that you just "hate" Johnny and the Diazs and don't want to accept that he's changed, instead of themselves admitting that he's still the same Johnny and they're fine with that. In a way, he's actually worse now because he's escalated to actively endangering and physically harming Robby, while also believing that he has changed for the better.

For sometime now, fans have believed that Miguel was going to help Johnny grow and become a better father to Robby. The trope is that Johnny would apply what he has learned in his relationship with Miguel to his relationship with Robby. Johnny hasn't done that though. Even in s5, Johnny was clearly shown choosing Miguel over Robby repeatedly, even endangering and abusing Robby to ensure Miguel's safety and happiness. All these people claiming that Miguel and the Diazs have had a "positive" impact in Johnny's life intentionally dismiss the aspects of the story that don't support this claim.

The baby plotline in s5 seems to have taken away any chance of the story eventually focusing Johnny becoming a real father to Robby, but this plot device was used in such a negative way in s5. It reminds me of how the medal of honor was used in s2 to negatively impact character arcs. In addition to the psychological and physical trauma Johnny subjected Robby to because the baby is coming, Johnny kept talking about the baby as a chance to make up for screwing up with Robby. So, Johnny was using the baby the same way he uses Miguel: as a do-over. Clearly, by the end of s5, Johnny hasn't grown because of the baby coming, just like how Johnny hasn't grown as a father to Robby because of having Miguel in his life.

Throughout the series, subtle verbal and visual indications have always been included to remind the audience that Robby is Johnny's son. In s5e10, this sequence of scenes stands out.

Kenny hits Robby with the Silver Bullet, and Robby starts falling to his knees. The scene cuts to Johnny falling to his knees and spitting out blood.

Silver comes and says a few things to Johnny, including that Johnny would screw up another kid. This scene ends with Silver saying, "Finish him." The scene cuts back to Robby, and Kenny and two cobras teaming up on him, essentially "finishing him". Silver had told his students earlier that day to show no mercy to Robby and his friends if they came to the dojo again.

The only line that acknowledges the reality of Johnny becoming a father again is bookended by these two editing cuts, one of the many subtle, visual reminders throughout the series that Robby is Johnny's son. The statement itself literally tells us what to expect if Johnny were to become a father again: Johnny will screw up another kid.

If the writers had rushed the story in s5 thinking that they may not get renewed, as some have claimed, the writers would have focused on properly resolving Johnny's storylines with Kreese and Robby first, which is the storyline the writers care about, and having Johnny actually grow in the process. Instead they used s5 to give Johnny a shallow "happy ending" with the Diazs with no positive character growth and included another negative plot device to worsen his behavior with Robby, essentially continuing with Johnny's failures to do right by Robby and not yet addressing the generational trauma that Johnny passes down and that will just "screw up another kid". Given the crucial loose ends for Johnny's story at the end of s5 and the writers' own statements up to the release of s5 that there's more story to tell, it's obvious that s5 ended with more story to tell especially for Johnny. It's not surprising that fans who believe that Johnny's primary story is with the Diazs are satisfied with s5 as a "real" ending. However, Johnny's story with them has never been Johnny's primary story at all. Even if people discount the importance of Johnny's story with Robby, Johnny's story with Kreese and Kreese's story with Johnny are still unresolved. At the start of s5e10, Kreese recounted Johnny's promise to wipe out his legacy. At the end of s5e10, Kreese set out on the warpath. Next season, as the story concludes, Johnny will have to face his past, and this time, he won't be able run from it like he has been doing since s3e10, the story's midpoint and the episode that emphasized 3 generations of Cobra Kai, trauma, and conflict.

This story has always been about tackling the topic of generational trauma. The writers have always said that they're exploring how Johnny's relationship and past with Kreese affects Johnny's relationship with Robby. By the end of s5, Johnny's relationships with Kreese and with Robby have yet to be resolved, especially from Johnny's side. Johnny hasn't wiped out Kreese's legacy, as Johnny promised in s5e7. Johnny also hasn't resolved anything with Robby. For example, Johnny could have apologized to Robby sincerely, like Johnny did with Shannon, and made the same or more efforts with Robby to ensure his safety and happiness, like Johnny did for Miguel. Instead, Johnny consistently focused on his unhealthy codependent relationships with the Diazs and on his own ego, like he has throughout the series, endangering and traumatizing Robby in the process. Although Johnny told Chozen in s5e9 that he'd decided to move on from the past, which Johnny did in s3e10 including leaving Robby behind with Kreese, Johnny himself kept bringing up his failures with Robby whenever he talked about the baby throughout s5. The past is still gnawing at Johnny from the inside. Johnny clearly hasn't moved on from failing Robby. After all, Johnny stated his motivations at the beginning of s5: "I'm out here trying to fix my mistakes so that I don't have to live with the regret of making them." The baby became another do over for Johnny instead of a "person" of its own because Johnny is still looking to appease his own guilt for failing Robby instead of truly redeeming himself to Robby. That's also why Johnny's finale speech was still about himself and what he would lose. Johnny is still focused on himself first and foremost, as he has been since s1.

3 generations of Cobra Kai

#cobra kai is robby's story #robby keene

[mwdthroughoutdigitalmedia]

Blog Post #3 - The Child Star Fate

Think about how many child celebrities you know. Now think about how many have had “successful” careers (at least by today’s standards). How many did you count?

Bella Thorne—an ex-child star—launched her career on Disney Channel, akin to many other child stars, but these days most of her fame comes from being featured in articles headlined “List of Child Stars Turned Bad.”

During Thorne’s time at Disney, she was adored by little girls. People loved her spunky character, Cece, and loved Thorne just as much because of it. Thorne even released music with Disney and got several songs onto the Billboard Hot 100. She ended up becoming an advocate for children with dyslexia. She did it all, and people thought she was going places. People saw her potential.

When Shake It Up was canceled, Bella Thorne was coming into her late teen years and started appearing in media that was more age-appropriate. She played roles in The Duff, a teen romcom, and The Babysitter, a teen comedy. As she was growing older, her roles were too.

After some roles in films and small parts in TV shows, she had her directorial debut with PornHub, created an OnlyFans account, and began dating/hanging out with problematic celebrities like Tana Mongeau.

How many other celebrities can you think of with a similar path as Thorne? Miley Cyrus, Britney Spears, Amanda Bynes, Lindsay Lohan, and Demi Lovato just to name a few. As these child stars grew older, they began to make risque, oftentimes illegal choices, that brought them lots of attention in the media.

Of course, there is nothing wrong with Bella Thorne pursuing pornography as a career, however, this is clearly some sort of pattern where these child stars feel a need to embrace their sexuality as they grow older. Everyone goes through some sort of stage in which they embrace their sexuality, but child stars tend to do so in a very overt and often problematic way.

There are lots of reasons why this happens. One major reason can be a traumatic childhood, which Bella Thorne had as she was a victim of sexual abuse and began her acting career to help her family with money. Many other child stars have spoken about eerily similar childhoods. Trauma at a young age, obviously, impacts decision-making and human development in general. This among many other factors can lead to the “child star path,” however, I believe that the MWD is one of the greatest contributors.

When child stars are children, they are treated as Madonnas. It’s completely sick and pedophilic, but people often think of and will treat these children as untouched and therefore “pure” girls. They are innocent and are therefore clean and worthy of respect. They’re young and all potential—and therefore are treated as Madonnas. However, as these girls grow older, they may realize that they don’t want to be treated as Madonnas—which, again, is completely fine—and would rather be seen as sexy and adult. They may look up to celebrities such as Kim Kardashian who is seen by the media to be sexy and beautiful while simultaneously maintaining a level of respect in the media, despite her career having been started by a sex tape. These child stars may want to be wanted; to have people falling at their feet the way Kim Kardashian does.

To be clear, child stars, just like anyone else, don’t necessarily want to be the Wh*re in the MWD; they still want to be treated as humane and may even want to have families in the future. They just want to be simultaneously sexy, famous, and respected—respected in the same way any other human deserves.

However, they’ve maintained a certain image for a very long time—that is, the image of being the innocent, childlike Madonna. However, they are now adults and don’t want to be seen that way. This is where they begin to become overtly sexual to overcome being viewed as a Madonna. This may be because the star wishes to do so, the star’s manager’s wishes, the record label, etc., or a combination. Nevertheless, the outcome is almost always the same.

This is how we get videos such as Wrecking Ball. Not to say that Miley Cyrus created this video purely to overcome being seen as a Madonna—there are many reasons why she would make that video. However, there is little doubt in my mind that the MWD plays a large role in the purpose of the video.

By no means did the public respond positively to Wrecking Ball. It sparked immense controversy in the media due to its highly sexual nature—leading people to call Cyrus “crazy” among many other, oftentimes nastier names. Cyrus’ intention was more likely to be viewed as sexy, but the media began to treat her as a Wh*re. People wanted her to be banned from YouTube. People thought that her embracing her sexuality was disgusting. She was ostracized and lost a great level of respect—something that, in many ways, she is still trying to overcome despite her complete change in style, music, and general character. 

This happens to most, if not all, people who go down the “child star path.” They are told they’re “washed-up” and “child stars gone wrong.” These women make these choices due to the massive influence of society that leads to their desire to be perceived as sexy, yet society criticizes these women for doing so.

After that stage, these child celebrities often end up having drug and alcohol abuse issues, mental health struggles, and other problems. This will often lead to the destruction of their careers. I certainly can’t remember the last time I heard Amanda Bynes’ name in the media.

Not all child celebrities have this path, though. Zendaya is a prime example of a child celebrity who continues to have an excellent career in adulthood. However, she’s one of few and far between. Even Ariana Grande and Selena Gomez, two child celebrities now with highly successful careers, have struggled greatly with mental health issues, Ariana Grande struggling with alcohol abuse as well. 

The MWD is directly affecting the course of many people’s lives, specifically child celebrities who often fall fate to the “child star path” in life, and end up becoming “washed-up.” Society turns on these women, going from treating them with a great level of respect as Madonnas, to treating them as Wh*res, after being the ones to put pressure on these women to become sexier in the first place. If society can change this line of reasoning, then other child stars can be saved from falling to the same fate.

#digital media #feminism #radical feminism #social justice #social media #bella thorne #amanda bynes #britney spears #selena gomez #ariana grande #zendaya #miley cyrus #lindsay lohan #demi lovato #child star #child abuse

[letstalkwhump]

Let's Talk Whump

Let's Talk Whump is a series of interviews with the wonderful members of the whump community. I'm Malice and I'll be your host. Joining us today is the one and only @oddsconvert !

Welcome to Let’s Talk Whump! Do you mind sharing a little about yourself?

Hi there, I’m Shannon! I’m a 21 year old psychology and criminology graduate from the UK! My favourite colour is yellow. I basically have a zoo of pets bahaha; I have four cats, a dog, a rabbit, two rats, three fish and two tarantulas (not mine - they terrify the life out of me!)

When I’m not whumping and traumatising my fictional babies, I love to crochet, listening to/playing music (I play piano, guitar, clarinet and ukulele), and I’m currently teaching myself to draw…for whump purposes ;)

What does whump mean to you? 

For me, whump is freedom and release. Not only is it enjoyable, almost like scratching an itch? But it’s cathartic, and what I now see as a healthy coping mechanism for managing difficult feelings and a way to navigate my own trauma. Although, looking back, whump has been something that’s always been an interest of mine since early childhood, and has stuck ever since! Like rewinding disney films when the princes get tied up ahahah.

And also the comfort element of whump, I think it also helps me explore wants and desires in my own life. Writing my caretakers and their fierce protectiveness, and unconditional care over whumpees feels like it heals a part of me that maybe needed that at times. It gives you such a heartwarming feeling when you see these characters go through hell and back, and have someone to fall on at the end who will be there through thick and thin, regardless how choppy the water gets. 

And how did you find the whump community? What made you want to join? 

I used to scour pinterest for writing prompts! I only ever wrote in private, I’ve never EVER shared my work publicly before and never dreamed I would. But the more and more whumpy pins I was saving I was like “hmmm. These all come from the same site! Let’s go check that out” and then I scrolled the  #whump tag for endless hours instead of doing my university dissertation. I remember coming across @deluxewhump and @darkthingshappen first!

At first I joined as a faceless, lurking blog. I really wanted to hop in and join all the creators I was loving so far but I was terrified. I think I had a bio as something like “working up the courage to post.” And then some lovely anon sent me my first ask saying they’d love to see what I’d post! And I slowly crept out of my shell and bit by bit started building my profile and adding my name and posting my whump drabbles!

Pinterest whump prompts gang rise up! That’s exactly how I found the community too! Has your view on whump changed since you joined? 

I used to be ashamed of liking whump. Like it was some dirty little secret that made me a terrible person and I should keep it to myself. Hide it at all costs. Since joining, and interacting with this world-wide community of whump enjoyers, I realised it’s not something that should be taboo. If anything, it almost feels normal! Look how many thousands love it! And every single whump creator I’ve had the pleasure of meeting has been so kind, supportive and such genuine people! 

It really feels like coming home when you find the whump community and realise you’re not a weirdo! Would you like to share your favourite whump tropes? 

I’ve definitely discovered more about my whump taste! I used to just purely like captivity whump, usually with creepy/intimate whumpers. That was always my go to. Now? I’ve discovered SO many tropes I never even knew about and love! BBU?! Pet whump, whumper turned whumpee, bad caretaker, vampire whump, sickfics, hero/villain and so much more! 

Non-optional, you have to share a favourite piece you've written? Hype yourself up, we want to hear it!

Without a doubt, my first ever chapter of ‘Shattered’ - my bloodbag whumpee/vampire whump series. I’m usually very self-critical of my writing, but I really love how this one came out and how well it was written. I pretty much never get whumperflies off my own writing, but my poor sweet Declan - just living dead and the way Vince is forced to take care of him. 

But also honorary mention - my latest chapter of ‘Play Pretend’ . Play Pretend is my baby, and it was the first chapter of this series I had beta’d by my wonderful friend @whumpcereal and I felt like she just took it to the next level and kicked it up a notch. Josh’s fear and exhaustion came to life and I really enjoyed writing his inner monologue!

You weren’t kidding about the whumperflies in “Shattered”! Hot damn! What's your writing schedule usually look like? 

Night time for sure! Dead of night - 3am most often ahaha. I’m a night owl, through and through. I’ll try and write in the day and nothing comes and then night comes and I’m like brrrrrrrrrrrrrrrrrrr, whole chapter done! I usually have some music on in the background, sometimes I make a specific playlist for whatever vibe I’m feeling! And I mostly write when the inspiration strikes, as much as I can get out until the motivation vanishes.

And do you find that the words flow better for somethings than others?

For me, I find it really easy to write my creepy/intimate whumper scenes. For Play Pretend, writing Felix’s deranged and creepy obsession with Josh just comes so naturally (maybe I should be concerned…). The way he’s so unsettling but so adoring with how he speaks to Josh and touches him, I could write it in a heartbeat.

More recently I’ve been trying to delve into the nsfw portions of whump and writing. But I’m a newbie with it, and I really struggle with writing it or making it sound good. 

Is there anything you're working on at the moment?

My usual schedule swings around, I update my series in an order. It tends to be, A Taste of Your Own Medicine, Shattered, then Play Pretend - and I’ve just updated ATOYOM so Shattered is up next! I’m primarily working on a flashback chapter with August currently! But I dot in and out of future chapters too.

I also have planned future whump series to come whenever my current ones finish up! But that’s a little while off yet. 

Give us some writing advice. Bless us with your wisdom, oh awesome one!!!!!

I WILL SCREAM THIS FROM THE ROOFTOPS - WRITE FOR YOU!

Never ever write based on what you think people like/don’t like.  The absolute joy in writing is the freedom in putting the pen to paper, or cursor to doc , and just letting your imagination run wild. Your audience is out there. People that will love and cheer for your writing, and I think you can really tell when an author has enjoyed and had fun with what they’ve written. There’s no good in getting bogged down with what others think. 

Write for you, post for you, and if others hop along for the ride - all the better!

Is there anyone you’d like to give a shout-out to?

I love absolutely everyone in this community, I’m gonna tag so many people - my besties alongside some of my favourite blogs and creators. Ily all you talented people. 

@whumpcereal @darkthingshappen @sparrowsage @quietly-by-myself @whumpsday @for-the-love-of-angst @emmettnet @turn-the-tables-on-them @yetanotheraltwhumpblog @kira-the-whump-enthusiast @pigeonwhumps @whumpshaped @t0rture-me @ha-ha-one @not-a-space-alien @whump-queen @justsomewhumpee @livelaughwhump @writereleaserepeat and I’M PROBABLY MISSING SOME BUT YOU’RE ALL AWESOME

Finally, anything you'd like to add? 

The whump community has quickly started to feel like home to me, I have a lotta love for whumpblr and every soul I’ve met here! Thank you so much for having me and to whoever nominated me!

It’s been a pleasure! 

Happy whumping, people!

Thank you so much for joining us today, @oddsconvert! And to all you awesome folk at home, have a whump-derful day!

[uomo-accattivante]

At this point in its history, Marvel isn’t known for tinkering with its proven superhero formula. And yet “Moon Knight,” the studio’s current Disney+ series, has taken some unexpected chances.

Its debut episode introduced Steven Grant, a maladroit museum gift-shop clerk with a dodgy British accent, played by Oscar Isaac. Isaac also plays Marc Spector, a grizzled American mercenary who shares the same body with Grant — and who is also Moon Knight, the crime-fighting avatar of an ancient Egyptian deity.

As the story of “Moon Knight” has revealed, Spector has had dissociative identity disorder, or D.I.D., since childhood, and Grant is an alternate identity he created to shield himself from trauma and abuse.

“Moon Knight” was a risk for Isaac, too, even though his résumé already includes some of the biggest fantasy franchises Hollywood has produced. While he has made a whole career of projects that are many orders of magnitude smaller — performing “Hamlet” and “Romeo and Juliet” for the Public Theater and starring in intimate dramas like “The Card Counter” and “Scenes From a Marriage” — he has also been featured in film series like “Star Wars” and “X-Men.” Those blockbusters elevated Isaac to greater levels of recognition, but the grueling work they require and lack of input they typically allow made him hesitant when Marvel sought him for “Moon Knight.”

As Isaac, 43, explained in a video interview last week, the pleasure of “Moon Knight” was getting to explore the title character in a way that felt right to him, even if his approach did not always fit the Marvel mold.

Whether Moon Knight moves on to his own movie or a superteam like the Avengers “doesn’t matter so much,” Isaac said from the offices of the production company that he and his wife, the writer-director Elvira Lind, operate in Brooklyn.

“It’s a new character that we’re taking a chance on,” he said. “The nature of the story is this investigation, this slow-reveal mystery.”

“If it goes somewhere else, that’s great,” he added. “I’m glad it’s not just an advertisement for synergy.”

Ahead of the “Moon Knight” finale on Wednesday, Isaac spoke about the making of the series, of which he is also an executive producer. He also spoke about the unexpected oscillations of his career and about working for Disney while the company weathers a political firestorm. These are edited excerpts from that conversation.

Do you get two paychecks for playing two roles on “Moon Knight”?

I should, man. It’s funny because that’s what I was apprehensive about: I didn’t want it to feel like this masturbatory thing. When I started off, I was very adamant that I didn’t want to do the gimmicky, switching back and forth, Jekyll and Hyde part of it. I really segregated Marc and Steven, even asked if we could shoot them on different days. Just do it through reflections and don’t ask me to put on a different hat.

Some actors say they accept immediately when Marvel comes calling, but you didn’t. Why not?

I wasn’t, at that point, super eager to jump into a big production. I wanted to fall in love with acting again. I was a bit tired. I’ve got two young kids, and I was ready to take a step back, do smaller films that weren’t as big of a commitment. When this came, my immediate sense was, ugh, this is bad timing.

As a comics fan, did you feel like you were getting a B- or C-list character foisted on you?

Yeah, they’re pretty much down to the dregs. Although people said that for Iron Man, too — then it changes cinema forever and what an amazing performance that was. Part of the attraction was its obscurity, to be honest.

What were your inspirations for how you play Steven Grant?

It’s an homage to the things I love, like Peter Sellers and the British “Office” and “Stath Lets Flats” and Karl Pilkington. I was also watching “Love on the Spectrum” — these people are going on these dates, who are autistic, who are feeling all the same things that we all would feel, but they haven’t developed these masks to hide it all. It’s all out there in the open. There was something I found so moving about that. I started doing the character at home, and my kids were asking me to do him all the time

You spoke of feeling burned out on big-budget projects. When did you start experiencing that?

Toward the middle to end of the run on “Star Wars.” The commitment of time was such a long one, and the windows of availability were very specific. I started to get hungry for those character studies and working with those great directors.

You had worked professionally as an actor for several years and had some prominent theater roles. But did you find that big-budget films gave you some breakthrough opportunities?

There were a few supporting performances that gave me the opportunity to do really different characters on these big stages, like “Robin Hood” and “Sucker Punch.” What was fun was that nobody had any idea who I was. I played the King of England in “Robin Hood,” and nobody had a problem with that. Now that I’m more known, suddenly it’s like, can he play English? Should he play English? In this age, we know everything about everybody, and of course people have a problem with suspension of disbelief.

So as a Juilliard alumnus and a veteran Shakespeare performer, you didn’t think these types of films were somehow beneath you?

No, I didn’t feel like that. I wanted to make a living as an actor. I didn’t have the luxury of ethics; I didn’t have the luxury of integrity. [Laughs.] I felt like I could bring my point of view to whatever came my way. Early on, I was like, “If I had the one shot, I could prove …” And then I would get a chance, it would come and it would go, and I would realize, Oh! I guess I need another shot now. After a while, it was clear the only thing you can control is your craft and staying curious, and exercising that craft in whatever comes your way that you think is good.

Did starring in “Inside Llewyn Davis” feel like one of those opportunities for you?

That was completely life-altering in every single way. That was my first lead role. It was a Coen brothers movie. I played music. I still can’t believe that happened. I wanted it so badly and just worked my ass off beforehand. It was the serendipity of the moment that I did what I intended to do and the Coens took the risk on someone relatively unknown.

Was it strange that it led to even more fantasy franchise roles? Like, this is what they think of me?

I’ve been doing it long enough to know that there’s no “they” — it’s just people trying to make movies, whether they’re on a huge scale or a small scale. J.J. [Abrams] wanted to meet me [for “The Force Awakens”] while I was still shooting “A Most Violent Year.” I remember because Albert Brooks [his co-star on “A Most Violent Year”] left me a really funny message pretending to be J.J. before I went to go meet J.J. You take a leap of faith. And sure, had I not done that, perhaps I would have been available for some other thing that would have come my way. But no one ever knows.

You got an earlier shot at comic-book adaptations with “X-Men: Apocalypse.” It wasn’t well received, though I think it gets a bad rap. Is that a role you’ve disowned?

No, I don’t disown it. I know exactly what I went in there wanting to do and the reasons why. There were these amazing actors involved that I really wanted to work with, [James] McAvoy and [Michael] Fassbender and Jennifer Lawrence. I collected X-Men growing up, and I loved Apocalypse, I just found him such a freaky, weird character. And then you get there and you’re like, Oh my God, I’ve got all these prosthetics on. I’ve got a suit on. I can’t move. I can’t see anybody. All these actors I wanted to work with — I can’t even see who they are. I still think back to that time with fondness. I wish it would have been a better film and that they would have taken care of the character a little better, but those are the risks.

Would you count your time making “Dune” with Denis Villeneuve as one of your typical franchise film experiences?

Denis was the reason to do that. When he came to me, he actually didn’t have a role in mind for me yet. He was like, “I’m doing ‘Dune,’ are you interested? What role is interesting to you?” We decided it was Leto. It was challenging to be a very specific sound in a big symphony.

And you knew, going in, that it’s a character with a limited life span?

Yes, that was part of the attraction.

Was “Star Wars” your closest frame of reference when Marvel sought you for “Moon Knight”? Was that what made you wary?

They are such big, huge films. As fun as they can be, you’re outputting a lot of energy and then you leave and you’re just exhausted. That was part of the fear. I didn’t anticipate how much creative flexibility there was going to be — how much energy it gave me back.

How so?

Once Mohamed [Diab, a director on “Moon Knight”] and I started talking about what it could be if we could put our lens on it, we were like, it’s way more important that we’re true to D.I.D. than to some kind of comic-book back story. When you do the research on what causes D.I.D., it’s not like one thing. It’s not, you watched something horrible happen and suddenly you break out into all these different personalities. It’s from sustained trauma and abuse over time. This is a survival mechanism that clicks into place for someone who’s experiencing that. That they’re able to fracture their mind to survive it is kind of astounding.

For much of the series, Marc and Steven would interact in discreet ways, like talking to each other in a mirror’s reflection. How did you handle the sequences we saw in last week’s episode, where the two were often standing side-by-side?

I had my brother, Michael [the actor Michael Benjamin Hernandez], who is a great actor and shares my DNA, stand in as my alter. Other times, it was a huge challenge technically as sometimes, especially in the wide shots, I’d have to act with no one and remember the blocking I had done as the other character and respond to the lines being fed to me in an earpiece I wore.

Was D.I.D. a subject you knew about before making “Moon Knight”?

I didn’t. I had just done “The Card Counter,” which was all about trauma and living with P.T.S.D. I had been doing some research into that, and there was something that felt organic about seeing what’s on the other end of the spectrum.

Does “Moon Knight” speak to why stories about alternate identities and multiverses are becoming increasingly popular?

We live in a post-reality world. Things used to feel a lot clearer, and now they’re not. Nothing can be true or authentic anymore, and I think that’s being reflected in a lot of our popular culture.

You’re a prominent ambassador of Disney’s brand at a time when the company is experiencing conservative backlash and political retribution for its opposition to Florida’s “Parental Rights in Education” law, which its critics call “Don’t Say Gay.” Is this something you feel a personal investment in, and does that backlash affect you individually?

No, I’m not experiencing that. I’m not on social media, so luckily, if that is coming my way, I’m ignorant of it. But everything has a political undercurrent at the moment. Disney was forced to take a stand, and I’m glad that they took the right stand there. Sometimes silence or neutrality is just not going to work. It’s astounding to watch a vindictive politician try to own the libs. I grew up in Florida, and I recognize how dysfunctional the state is. But it’s an interesting time where everything is parsed, and if Disney is going to own so much of the entertainment industry, they’ve got to expect to come up against some tough decisions.

Are these the kinds of considerations you’re going to have to make now whenever you work for a major studio?

I’d rather not. [Laughs.] That’s going to require me to do a whole lot of research beforehand that I’d rather not do. I’d rather spend that time figuring out a good character.

There has to be some conscientiousness about it, but at the same time, you’re also trying to make a living and you’re trying to live in the world. I just want to make good stuff and hopefully try to do it in a responsible way.

###

#oscar isaac #moon knight #marvel #mohamed diab #disney #star wars #dune #inside llewyn davis #x men: apocalypse #michael hernandez #mike hernandez #the card counter #a most violent year #robin hood #new york times

[onigiri-dorkk]

Top 10 Films!

(Thanks for the tag SO long ago @a-slut-for-smut! I actually had this entire post written in my drafts right after you had tagged me but never got around to post it for some reason LOL)

I don’t watch many films anymore these days (shows/series have taken place of it) so it took awhile to recall all of my favorites. It’s actually nice to remember though, because it means all of these really lasted with me over my life.

The Perks of Being a Wallflower (2012): A perfect coming-of-age film and story, discovered in my junior year of highschool. First of all I was in love with Logan Lerman looool and Emma Watson. But there are lines of this book/movie that stuck with me through my life, and the movie executed it perfectly. A story of finding belonging, first love, overcoming trauma alongside loved ones, growing up. The soundtrack is phenomenal, even the music score album (I listen to that often while writing).

Eternal Sunshine of the Spotless Mind (2004): The cinematography and shots in this are just so gorgeous and creative. It’s a quirky and angsty film circling around two imperfect lovers who choose to love, who deal with the heartbreak in a terrible way, and who fall in love again, saying yes to the struggle. And, come on! The idea of having your memories erased, then during the process realizing you want to keep the painful memories after all? And navigating through memories trying to hold onto the good and the bad? Just a beautiful concept. Lots of fantastic lines and scenes. I took a lot of inspo from one scene in particular of this movie into some of the latest chapters of my longfic.

The Fault in Our Stars (2013): First of all, TFIOS is one of my all time favorite books. John Green is my favorite author, and is the only (published) author I’ve EVER gone out of my way to read multiple works from. TFIOS was the first book that brought me to *literal* tears. It rocked my world, this ill-fated story of star crossed lovers. The movie did a fantastic job adapting it; as soon as the production was announced I followed it loyally and the execution of the film made it so worth the journey. Hazel and Augustus’ actors’ chemistry was just SO good. The film STILL makes me bawl like a baby. Pls watch.

Anastasia (1997): A favorite since childhood! Romanov Princess gone missing, forced to pretend she’s the princess but she doesn’t know she’s the princess, until she finds out the conman she’s working with was the child who saved her long ago in her lost past? And they fall in love? So the conman lets go of all his con ways??? BEAUTIFUL. Love the music, love the animation, loved the idea of finding the missing princess and the love story of an unrecognized reunion of two childhood friends. I’ve always wanted to write a Rivamika/Anastasia AU 🥰 Someday.

Tangled (2010): I think as a teen I just really resonated with the “lost princess, aching for more in her life, feeling stuck in a tower, fall in love with conman” trope 🤣 But also, this was one of the first movies that made me just feel overwhelmed with heart-squeezing emotion. (I freaking loved Rapunzel; related to her in many ways) The lantern scene took my breath away and I had never really felt that in a movie theater before. Love the soundtrack and movie scores (did a music analysis presentation on the score back in highschool), animation was and still is beautiful even if it was one of Disney’s pioneering 3D animation movies.

Les Miserables (2012): I’m a sucker for musicals but this is one that I hold special in my heart. Aside from the fact that I played violin for Les Mis productions for two years, so I am attached to the music deeply... the story! The cinematography! The acting! The live singing! The instrumentals! Just a perfect cinematic experience. Eponine’s friend-zone story still breaks my heart, and I watched this movie at a time when I was going through her situation. I fell in love w the storytelling; how it took the journeys of multiple protagonists and perfectly interweaved each arc into each other’s so seamlessly. Also another movie that makes me bawl. Now that I stop to think of it, Fantine reminds me of Kuchel ;-;

Titanic (1997): I just rewatched this recently, after many many many years since childhood where I wasn't allowed to watch the kiss scenes (lol!) and holy wow it is a fantastic movie from start to end. It also helps now that I totally see Jack/young Leo as Levi. Beautiful timeless love story set in history. You know everything that happens and yet you still get so immersed into it.

August Rush (2007): I haven’t watched this in YEARS but 100% this deserves to be on my faves. August, an orphan who is looking for his parents, is discovered for his musical talents on an inspiring journey. Beautiful story about how someone’s passion for music/art (anything, really) can change their life; his parent’s story even becomes a reunion love story. This def had moments that took my breath away, too. (When August Rush gets up on that stage with the orchestra, ahhhh)

The Pianist (2002): (And honorable mention: Schindler’s List) Painfully beautiful movies. Terrible history of our world, depicted with care and pointing to the glimmers of hope in a heart wrenching way that deeply affects you. I think of both of these movies often. In The Pianist, Brody’s character is discovered to be a pianist by a German officer who helps him hide. Schindler’s List is about how a German man risks it all to save many Jews. The directing in both is phenomenal; the music—agh, that violin in Schindler’s List—too. I tear up thinking of this.

The Prince of Egypt (1998): Lastly, The Prince of Egypt. This movie rocked my world to see an ancient story, which I grew up with and was important to me and my faith when I was young, illustrated and animated with such beautiful art, music, etc. Moses leading a slave nation out of Egypt despite the odds. The burning bush scene and this one will always be iconic cinema scenes in my heart. Phew. Pls watch to those scenes with the music!!!

Thanks for tagging me @a-slut-for-smut! This was so fun to put together. I’ve been wanting to rewatch old classics to case-study the story writing and learn from my faves, so a movie marathon after the busy season will be a fun learning experience 😍

I tag: @chaosisbeauty23 @nuri148 @rivaille-13 @bryhaven @levi4mikasa @lady-purpleblue @warbarbie @your-lavender-dreams @nina-bean @onwriting-hrarby @randomposterofstuff @guliplum1 and anyone else in the community that wants to participate!!!

#personal

[popentertainment-moviereviews]

HAUNTED MANSION (2023)

Starring LaKeith Stanfield, Tiffany Haddish, Owen Wilson, Danny DeVito, Rosario Dawson, Chase W. Dillon, Dan Levy, Jamie Lee Curtis, Jared Leto, Creek Wilson, Hasan Minhaj, Charity Jordan, Steve Zissis, J.R. Adduci, Lindsay Lamb, Fedor Steel, Terence Rosemore, Mike Benitez, Erika Coleman            , Christopher Winchester, Jo Koy, Marilu Henner and Winona Ryder.

Screenplay by Katie Dippold.

Directed by Justin Simien.

Distributed by Walt Disney Studios Motion Pictures. 123 minutes. Rated PG-13.

If the goal of this film was to top Eddie Murphy’s admirable trainwreck version of the Haunted Mansion from 2003, well then, mission accomplished. 

That is not to say this version isn’t without its own shortcomings and issues, but for the first time in a long while with Disney, I went into this movie genuinely excited. This excitement could be possibly attributed to the fact that the Haunted Mansion has been my favorite, and most visited ride at the Disney Parks for almost 20 years now. Or it could be the early childhood nostalgia I had from repeated viewings of the 2003 version on DVD and being the most scared kindergartner you could find in the state of Pennsylvania whenever I would sit down to watch it. Call it whatever you will, but I was excited, nonetheless. 

This film is the next big budget Disney film in a long line of commercial flops, and I’m sure the House of Mouse is hoping that this film will break the streak with its loaded cast (LaKeith Stanfield, Owen Wilson, Jared Leto, Tiffany Haddish, Jamie Lee Curtis, Danny DeVito, Rosario Dawson) and screenplay written Katie Dippold (The Heat, Ghostbusters 2016). Unfortunately, for all 999 happy haunts, this movie is sandwiched in between two of the most talked about summer blockbuster films in recent memory, Barbie and Oppenheimer, or what is now known as Barbenheimer. 

Walking into the theatre through the nearly 300 people all dressed in pink going to Barbie, we got to our seats and there was a really fun and excited vibe going through the audience, people actually cheered when the movie started (first time I’ve seen that since Avengers Endgame 2019). And overall the movie went over well with the crowd. The jokes for the most part landed when they needed to, and I felt the impact of a good amount of the emotional beats in the film.

Especially LaKeith Stanfield, who delivered a beautifully eloquent and emotionally powerful tearjerker of a monologue describing the things he loved about his deceased wife (much in contrast to Eddie Murphy’s painfully stiff and hard to watch line said to his abruptly killed wife “Sarah, I love you so much.”)

Another standout performance was Chase Dillon, who played Travis, the socially awkward young son of Gabbie (Rosario Dawson). You really felt for the kid throughout the movie, the loss of his father, not fitting in and, obviously, the fact that his house is extremely haunted. Of course, you get the usual on-brand performances from Wilson, DeVito and Haddish, although it’s nice to see that what they bring to the film is relegated to their supporting lead comic relief moments and doesn’t take away from the emotional moments and overall story. 

This version of the Haunted Mansion is also filled to the brim with Easter eggs relating to the lore of the actual rides in the Disney Parks. It’s also great to see the hitchhiking ghosts make an appearance as they have been a personal favorite for the longest time. On that note, the spirits in this version have taken a massive leap in quality compared to their ‘03 counterparts as now some of them have genuinely scary moments (but let’s not forget the childhood trauma-inducing crypt scene that still sends shivers down my back just thinking about it.)

This version’s main antagonist is also a reference to Disney Park lore. The Hatbox Ghost (Jared Leto) was an animatronic placed in the attic scene that debuted alongside the ride itself but was removed in 1969 and wouldn’t be seen again until 2015. Leto himself in the role delivered some truly imposing moments of terror. Always as this black figure looming somewhere in the shadows until his big reveal. The scares in this film are also done fairly well as the film uses very modern horror techniques in its first scene with the mansion itself, which is very reminiscent of the 2017 adaptation of Stephen King’s It.

But here are the downsides. The film for the first two-thirds feels decently paced, thorough, and exciting, but jeez, if they didn’t lose themselves, and the plot in the last third. It felt like the movie had taken a complete turn and I felt as if I was watching a different movie.

Secondly, as much as I love Jamie Lee Curtis, I have to say Jennifer Tilly was significantly better as Madame Liotta, and throughout a majority of the film I just kept wishing she were back in the role, especially when Mrs. Curtis attempted whatever unspecified accent she was going for there.

And, as weird as this will sound, and I already know it will, I miss Terrence Stamp, General Zod himself, as the main antagonist. Ridiculous, over the top vibrato and all. He felt like such an imposing figure, and most importantly for me, he wasn’t CGI. Don’t get me wrong the Hatbox Ghost design is great, but I miss just a spooky old British guy popping up behind you and just being an intimidating presence on screen. 

Again, is it better than the ‘03 version? Yes. Does it have flaws? Absolutely. But this film is the kind you can bring the family to when there’s nothing else to do and everyone will have a fun time based on the spectacle alone.

Early box office results for this film have it significantly below Barbenheimer and looking like another project where Disney is coming in below where they would like to be financially. Unfortunate, but not unexpected. But hey, if you’re a fan of Disney’s best ride (this is a non-arguable point, it’s been backed by science, just don’t ask which scientists) or you’re looking for an easy watching experience, this wouldn’t be a bad option whatsoever. 

George Seth Wagner

Copyright ©2023 PopEntertainment.com. All rights reserved. Posted: July 28, 2023.

#Haunted Mansion #2023 #Movie Review #LaKeith Stanfield #George Seth Wagner #Youtube

[cartoonfangirl1218]

A Twisted Tale Anathology Review

This anathology of sixteen short stories take new twists on tales already done in the series and new ones from the Pixar and Disney animal catalogue. In the limited space, the authors manage to pack in heartfelt and fun adventures that may make you see the story in a new way.

It's always hard to do an anathology review so I'll do my best to summarize each story and what I enjoyed from it.

Cast Out: What if Snow White learned magic? Blackthorne's Twisted Tale debut has Snow White incidentally taking charge of her fate. During her cleaning of the castle, she finds the magic mirror and her stepmother's evil magic lair. Once she realizes the danger (and the potential excitment to her dreary scullary maid life), she starts reading her spellbooks and is able to change her fate. I enjoyed this twist in how Blackthorne ably retains Snow White's sweet personality and love for animals with a stronger intention in her actions as she takes up spells to protect herself and her animal friends.

A First Mission: What if Mulan became the Emperor's advisor? After returning home, Mulan decides to accept the Emperor's offer to become his advisor so she can serve her country and become a role model to the women of China. Let's face it, after defeating the Huns going back to chores or marriage question wasn't her style. Unfortunately, the other advisors aren't thrilled a woman is among them especially Chi Fu. He schemes to get her kicked out by pointing out her lack of experience. Mulan knows what he is trying to do but she also knows he's right that she doesn't having the training or education so she accepts his challenge to save China's imperial silkworms. This was like a classic Disney short film with Mulan saving the day and making Chi Fu see her in a new light. Just very light and filled with warm-hearted characterization that epitomizes the kind of woman Mulan is. She may not be traditional, but her compassion and ability to see what's really important make her shine. Also I enjoyed Lim's MulanxShang dynamic.

Et Voila: What if Remy had met Colette first? Braswell did a great job on this Pixar classic! Colette's struggles as the only woman in a male-dominated chef industry was steller as she balances Colette's exhaustion of the daily grind, how dishartened she is that she has no more passion for her work yet her technical expertise can't make up for the fact she doesn't have the creativity of master chef. That is until she meets Remy. He has the vision, she has the human hands for knives and together, they make their own pop-up resturaunt in an alleyway. I loved the humorous realism of Colette doubting her sanity as she bonds with the rat and the quiet friendship that springs up between them. Remy finds someone who understands him and Colette loves cooking again. One of my favorites in the anathology.

The Envelope: What if Anastasia had a change of heart? Calonita finally gets to do a story with her favorite Disney tale, and I think it's clear she's a Cinderella fan as this slightly copies Cinderella 2 and 3 by depicting Anastasia's redemption. Yes, Anastasia realizes she did Cinderella wrong, yes, she's treated harshly by her mother and Drizella for her idealism, yes, she gets a cute love interest. But unlike other tales, her redemption is primarily her own and inspired by her late father's belongings that make her realize she has gone far from who he would have wanted her to be. It's a nice tale, but skippable if you're already familiar with other Cinderella movies.

A New Dawn: What if Mufasa gave up his throne? Rochon saves all of us from childhood trauma by having Mufasa live through his fall off the cliff. Permenantly handicapped, he is forced to step down from leadership and Simba becomes king. Rochon creates an interesting conflict as Simba struggles to lead with his father undermining his commands to the pride. He can effectively protect them if Mufasa is sending him one way and the elders don't respect him. The hashing out between father and son is only heightened by Mufasa's choice to blindly ignore Scar's betrayal and believe his lies, plunging them to more danger from internal divisions. Rochon does an excellent job in showing a layered father-son bond as Simba shows that he's ready to lead on his own and Mufasa acknowledge his own resentments while strengthening there is much for them to still learn from each other. Plus the lion fight scenes were truly raw and primal.

Rattle the Stars: What if Jim Hawkins joined the pirates? It's everyone's favorite cult classic! I was so excited for this and England didn't disappoint as they have Jim overhear Silver's betrayal and decide to join the pirate side. She does a good job illustrating Jim's insecurity and hurt over Silver's words and his constant questioning of his sincerity afterwards. Even though he doubts Silver's genuineness, his 'rattle the stars" speech still inspires Jim to take up the pirate mutiny so he'll be able to get the treasure to his mother faster. England makes it clear that this decision will leave Jim with moral ambiguity for the rest of his journey, disappointing Captain Amelia and Dobbler and following in the footsteps of his dead-beat father. But it also feels right for him at this moment, and perhaps he'll be able to finally feel free without the baggage of other's disappoints. It made me want to see more of the story and how Jim the pirate would go, if he'd find his way back home or if he'll further cross all his moral lines.

A Royal Game of Chess: What if history wasn't quite right about the legend of Robin Hood? Braswell takes on the classic trope of what if Robin Hood was a girl. In this case, what if Robin Hood was actually Maid Marian and Red was just her carefree boyfriend and image so King John wouldn't know of the infiltraitor under his roof? Braswell clearly has a lot of fun highlighting the characters' animal characteristics and descriptors and does a nice job of showing Marian's frustration that she is better serving the people inside King John's castle rather than spending it full time in Robin Hood gear as she desires. Even if it means letting Red take all the credit. It was fine, a bit bland as I've seen the trope before though.

The Secret Exchange: What if Eric met Ariel after she rescued him? Here, we get full view of Ariel and Eric's relationship where both can speak their minds and share each other's worlds. Every day, Eric rows out and explains the things about the human world that Ariel always longed to know and Ariel tells him all about under the sea. It's adorable and I love how Lim shows how alike they are in their curisoity and love of adventure and bashfulness of their true feelings. Still, there's plenty of action as Ursula conspires to use their attraction to each other to sow discord in the sea and steal Triton's crown. I really enjoyed this take on the story that has Ariel and Eric teaming up to work together against Ursula and expands the idea of Ariel and Eric being the bridge between sky and sea.

Dust to Dust: What if Tinkerbell was working for Captain Hook? Tinkerbell goes the way of Vidia when she irresponsibly uses her dust to finish her work and gets kicked out of Pixie Hollow. Her magic is tainted and she's soon lured by Hook's worldview that the other fairies are too snooty and judgy, that he gets her and that he needs her help to save Neverland from the dastardly Peter Pan. Ostow perfectly depicts Hook's pompous ego and Tinkerbell's mercurial feelings as they team up to take down Pan by Tinerkbell falls for him instead until that Wendy creature comes along. This time she's not completely motivated by jealousy but also by a fear of abandonment yet the rescue is a wonderful scene of imagination and magical awesomenesss. I just wished there had been more Hook and Tink interactions that was promised from the title.

Gonna Take You There: What if Naveen had to get home to Maldonia? It's road trip time! Tiana quits her job in a huff but before she can go beg for it back, she sees Naveen helpless on the dock after his valet quit on him. She can't leave a man in need and the fact that he's willing to pay her anything to help him get to the docks seals the deal. With Lottie in tow, they had to Alabama and Rochon illustrates the sweetest road trip fluttering crush feelings in a matter of hours. Maybe it's unrealistic but I found it sweet how Tiana talked Naveen into realizing what his future profession could be so he wouldn't have to be a professional moocher and Naveen was able to make Tiana able to appreciate the present and enjoy life. It shows even without the magical circumstances and forced frog bonding, Naveen and Tiana have a chance after all, they just fit.

Fates, Three: What if the triplets visited the witch? The triplets of Dun Broch are fifteen years old and still incorrigable rascals. Well, Hamish is. His other brothers have been preoccupied with their own interest and loves and he's beginning to feel left behind. When he ropes them into another prank that goes disasterously wrong, they secretly sneak out to the witch to change their fates even though Merida would have their hides if they found out. Calonita always has the right touch when depicting familial relationships and it's no different here as she has the brothers reaffirm their bond and communicate their insecurities all while annoying the heck out of the witch.

A Dragon in the Snow: What if Madam Mim and Merlin went to school together? Who doesn't love a good school AU and Perez delivers a bittersweet tale of romance and insecurity. Mim has always been an outcast, her lavender hair a bright sign that she's infected with shadow magic. She's been building herself up to become a royal mage, so to prove to everyone she is good and no one can dismiss her again. In fact, Merlin is one of the few who always treats her with respect and soon their friendship turns to a romance. But when the trial comes down to the two of them, Mim loses and lashes out at Merlin for all his privileges and his romance which broke her concentration. Perez kept Mim's bitterness ever present so even though it's sad when Mim realizes it doesn't matter how hard she works, political connections and lineage rule the day, it also feels inevitable that she'd turn evil. A tragic tale that adds extra depth to the movie if you choose to believe they did have a romance.

The Journey Home: What if Belle had to take her father's place at the fair? Once again, Rochon takes a realistic approch to this Disney tale by bypassing the original story entirely. Belle never goes to the castle or meets the Beast or anything. Instead she ventures to the snow, excited to finally get an adventure only to get stuck in a snowstorm. The only person who could help her transport her father's invention-Gaston. Rochon hilariously writes Belle's disgust with Gaston and her painful choice to ask for his help. Her Gaston is perfectly, smugly in character too, I could hear his voice. But Belle ultimately rescues herself using her own ineguinty, showing that Belle is amazing all by herself with an epilogue that gives her the happy ending she never knew she wanted.

Call it a Hunch: What if Hercules' first day as a god didn't go as planned? Calonita did such a great job in Go the Distance so this story also becomes my immediate fav. Her characterization of Hercules and Meg is amazing from Hercules' sweetness and readiness to start helping others (even though he's unsure how) and Meg trying to start her detective agency. The dialogue is snappy, the dynamic is wonderful, and I enjoyed the inclusion of the gods. It made me smile the whole time. Of course, I'm biased. I just wished there had been more from Hercules' POV but it is inevitable Meg steals the show so I can't really blame Calonita.

The Reluctant Prince: What if Bambi didn't want to be the next Great Prince of the Forest? Braswell's nature imagery instantly brought to mind this soothing film though Bambi's troubles were less so as his father informs him he'll be Prince next season. Bambi is unsure of the responsibilities, he doesn't want to be the aloof leader his father is. He wants to be with his kids that will be born soon, he wants enjoy spring with his friends. The trio of Bambi, Thumper and Flower was nicely done, showing their steadfast friendship, best part of the story. But Bambi's talk with Faline does show human-depth to the character as she makes him see that he's confusing the role of the Great Prince with his resentment of his father and that he doesn't have to follow his footsteps. It was cool that one of the underrated films had one of the most interesting food for thought in giving Bambi more characterization. Although, this may have been based on Bambi 2, it's been awhile but I think the plot/conflict was similar.

The Rose and the Thorns: What if Aurora knew the truth about her curse? Lim closes out the novel by having Aurora take charge of her story too. Knowing about the curse, she has grown up in the castle with her fairy godmothers preparing her with magic and fencing to defend herself against Maleficent's arrival on the chance she doesn't prick her finger. The effect has made her wish for a quiet life in the woods so she doesn't have to deal with the anticipation/overprotectiveness/countdown of the curse controlling everything around her. Luckily, she has Prince Phillip, her best friend and her crush though she's unsure how to convey her feelings with the whole "True love's kiss" thing hanging over them. Lim does good job in keeping them in character and expanding their relationship while presenting a new tale where Aurora and Phillip ambush Maleficent first so they could put the curse to rest once and for all.

This was a fun anathology that any Disney fan would love! I'd recommend reading it all the way through though I'm sure others would skip around to their favorites. Mine were A First Mission, Et Voila, A New Dawn, Rattle the Stars, Gonna Take You There, Fates Three, Call It a Hunch and The Reluctant Prince.

#twisted tales #a twisted tale anathology #liz braswell #elizabeth lim #farrah rochon #jen calonita #micol ostow #m.k. england #livia blackburne #kristina perez #my reviews

[marciabrady]

So I read your thoughts on TLM II and I was just wondering if there was a princess or couple you’d like to see have a child/children - maybe not for a full feature length film but for maybe a 10 - 20 minute short film.

I’m very wishy-washy when it comes to children. Sometimes I love it when media gives a fictional couple I like children but sometimes it puts me off. Sometimes I’m split in the middle.

For example, I love the idea of Simba being a dad in TLK II and I really liked his character and how the movie showed how the PTSD from the childhood trauma Scar inflicted on him still affects him even though he appears to be this strong and powerful king and how even as an adult he still looks up to his dad. Unfortunately, whilst Kiara isn’t a bad character, I hated all of the next generation stuff. Like you said for TLK 2, it’s obvious that the sequel is much more cartoony and targeted for like seven and under compared to the wider demographic that the original film has. I can watch Lion King today and still love and enjoy every second. The same can’t be said for the sequel. Like how you came for Ariel and got too much Melody, I came to a movie called SIMBA’S pride and felt like he had to give up the spotlight to his daughter (and yes his personality was also reduced to ‘protect my daughter’).

This is an interesting question! I know they wanted to bring back the nine old men at one point in the late 90s and have them animate the princesses (up until Jasmine iirc) with children! I love the idea, but purely because I would've wanted to see Marc Davis return to Cinderella and Aurora, Glen Keane to Ariel, etc, but I don't really love the premise of any of them having children. Like I mentioned, I don't love having to divide the time we spend with a character with an OC. Most media doesn't do a good job of keeping the character intact after having a child either, it literally just becomes all about the kid and keeping the kid safe and who the original character was kind of gets lost and eroded in that entire thing, too. I also hate aged down content and "next generation" throughlines.

Out of the princesses I care about, I think Cinderella would be the most fitting to have children? Again, this is supposing the original creative team was involved (which is impossible since they've all passed on). But we've seen hints of what Cinderella would be like as a mother, through her relationship to the mice and I think she'd probably struggle with infertility due to how mistreated she was and neglected growing up, as well as the extreme manual labor she was forced to enact and how much of a toll that took on her body. Just like the dress enacted a plot device for Cinderella to connect with her mother, thinking of the type of parent she'd be during a pregnancy would probably recall so much of her own parents to her. It would also remind her of what not to do and of so many scars that her stepfamily inflicted. All of the things she had to repress to continue living with those monsters would then be brought back up to the surface. I think it'd also create engaging conversation with how the Prince was brought up and his own past and see where they agree and where they might conflict in ideologies pertaining to rearing a child. I don't think Aurora would have a child, since she's so defined by being a daughter to her parents and the three fairies. I don't know about Snow White- I'm sure she'd want them, but she's a perpetual girl in the best way possible to me. And, honestly, I think Ariel needs more time to discover who she is now that she isn't under Triton's repressive grasp so her having a kid would not be good lol of the princesses I don't care about as much, I don't know who I'd want to have a kid because a lot of the later Disney couples feel more like brother/sister to me than romantic (like Aladdin and Jasmine, for instance). I don't like Naveen, but I think Tiana having children would be really cute and would soften her up because the writers made her so career oriented in the film. I would love to see Mulan as a single mother teach her child the values of respecting your elders while also staying true to yourself and her validating her kid would be so cute. I don't trust literally any of the other later princesses to be moms though lol

#ask #anonymous

[jamesisasimp]

Aka the Actor AU

It's a strange thing, being a survivor of childhood trauma, and it's even stranger when strangers on the internet are applauding you for it.

It's been three years. Three years since he left. Three years since people haven't been able to stop talking about it. It was hard to expect it fly under the radar when Sirius, being who he is, was photographed corralling his little brother with a bleeding nose and blood dripping off of his chin away from their childhood home. That's the media's favorite, they use it in just about every article about the ordeal, of which there is a plethora.

Sirius hates it just as much as he does.

But it paints a nice picture, doesn't it? Regulus is the weak, helpless little brother that needs saving, and Sirius is the protective older brother that saves him. It's honestly not that far from the truth.

After the court case, some pictures of the two of them walking out of the courthouse with their lawyer team and Remus came in very close second, but those faded out in time. The buzz about the whole thing faded out in time, the whole second year it wasn't mentioned at all aside from a few anniversary articles and interviews that Regulus has since blocked out of his memory. If he really wants to remember, he can just type his own name into YouTube and find the video.

But the third year. This year. Today.

It's bad.

And he knew it would be. It has been bad ever since The Lyre came out.

Regulus came out with five movies in three years, one of which hasn't even premiered yet. Not that it needs to. Most of it was thanks to Sirius who, using his hard earned connections that Regulus did nothing to deserve, got him right into his first movie just a few weeks after everything had settled down. He doesn't deserve to be when he did next to nothing to earn them, but Regulus is proud of all of them, even the ones that no one really liked or saw.

The Lyre was the only one he auditioned for on his own. And he regrets it and he doesn't.

It was the best filming experience of his life. The story was powerful, Patroculus was an amazing character to play, a role that Regulus fit right into the moment he put on the costume. He's thankful every single day that he had the honor of being a part of it. But it was that role that put him into the public eye, the one that made him famous, as many people online have not been afraid to blatantly point out.

He went from Sirius's Black's little brother to Regulus Arcturus Black in about a month's time.

And it was only natural, then, that all the people that were obsessed with him without even knowing him now would try to figure out all they could about him. There were Tumblr blogs and Facebook groups dedicated to supporting him and his "journey to finding himself after he was robbed of his childhood" - at least that's how Buzzfeed likes to encapsulate the entirety of his trauma into a headline.

And now it's the anniversary again. The day that picture was taken, the day it was posted, the day Regulus got out. The day everyone else found out.

Today.

He shouldn't have even looked at his phone, he knows better. But he was hungry and didn't want to get up and figured he'd just order something from delivery.

He should've just starved.

It's not fair. They don't know anything.

The less obnoxious fans simply post their support, and that's not great either but it's fine. What they don't seem to understand is that it's been three years and he's gone through - is still going through - extensive therapy. He doesn't need them to tell him that what Walburga and Orion Black did to him and his brother was wrong, he knows. He knew a long time ago, and the reminder still fucking stings.

Especially when everyone and their mom has an opinion on it that they feel the need to post in one form or another.

So that, Sirius, is why he's not getting up, you fucking twat. He's staying in bed and starving and watching one of the only Disney movies that doesn't have shit to do with a family dynamic while his phone has been punted to the other side of his bedroom.

Thank you very fucking much.

Regulus would've been very content with spending his day that way too, but there was one fatal flaw in his plan to plummet into self-pitying misery. He forgot he gave Sirius a key.

More accurately, he gave Remus a key, because he was the only one of the two of them that Regulus trusted not to lose it. But that was for emergencies, and this hardly counts as an emergency, Remus. Regulus is just in day old sweats, sprawled out in the middle of a bed with only one pillow left on it after he threw the others and all the covers off in a fit of frustrated rage because they wouldn't get off and it was just so fucking hot, playing tug-a-war between his teeth and fist with a possibly expired gummy worm from the pack in his bedside table.

Perfectly fucking fine.

Sirius opens the door and takes one step into the bedroom and seems to come to a very different conclusion.

None of that bothers him though, it's the tv he's squinting at. And then his shoulders sink. "A Hundred and One Dalmatians. Oh, Reg..."

"Fuck off."

Sirius does not, in fact, fuck off. Instead he crosses the room and decides to do the worse possible thing and throw open the curtains. Regulus makes a strangled noise, akin to one a cat might make if its tail just got stepped on.

It's too bright and Regulus is a vampire so he just covers his face with his only remaining pillow.

"I hate you so fucking much, you fucking bitch!" he tells him, feeling the mattress dip toward one side and immediately kicking at where Sirius must be sitting. Sirius kicks back. "Where's Remus? I want Remus, not your sunshine and daisies ass."

"He's in the- ow!" Sirius somehow manages to wrestle Regulus's legs against the mattress, which, as Regulus can see once he yanks the pillow away from him too, he has done by simply laying on them. "He's in the kitchen making you breakfast, bitch. Or technically lunch now, since it's almost one."

Regulus just rolls his eyes and tries to squirm until Sirius frees his legs again. "Would've been one in the morning before I got up if you two hadn't come waltzing in and ruined my day. Shouldn't you be rubbing your dicks together or something?"

Sirius's expression changes and he looked so darn sad at Regulus that it's almost comical. "Oh, baby, is that what you think good gay sex is like?"

This time Regulus kicks him directly in the chest and nearly knocks him out of the bed. Shame, he was hoping he'd go flying into those stupid fucking windows he felt the need to open.

Sirius, as he does everything, handles it with grace and just brushes himself off before throwing one of the discarded pillows at him. Regulus catches it with every intention of throwing it right back at his stupid face, and then-

"Were you really not gonna eat today?"

He decides to hug that pillow against his chest instead.

And he doesn't want to answer, so he doesn't. He doesn't need to because Sirius knows. He just shift his gaze back to the tv screen.

"Those puppies are so lucky. Look at how hard their parents are trying to get back to them. Wonder what that's like..."

"Reg-"

"No." He doesn't mean to snap as much as he does, but he can't help it. "I'm so fucking tired of everyone trying to tell me how I should feel and how I'm better off without them and all that shit. I just- I wanna feel how I feel about it."

"Okay-"

"And I feel like I wish our parents were good parents! That loved and cared about us and gave a fuck- and would cover themselves in fireplace soot to come save us." Regulus would take Pongo and Purdy over Orion and Walbruga any day, and they were fucking cartoon dogs. "Instead of just wishing they were dead."

Sirius is sighing again, and this time when he crawls into Regulus's bed again he wraps his arms around him and holds on. And Regulus protests for a while, but eventually he stops, just like Sirius knew he would. And they stay like like for a while as Cruella careens herself off the side of a cliff.

"Emma Stone did it better," Regulus murmurs and, though Sirius's doesn't verbally respond, he can hear soft chuckles coming from the space between his shoulder blades were Sirius's face is pressed.

It takes a little while longer before Sirius says, "I'll be your Dalmatian dad." It's quiet, but Regulus hears him. "Well, actually, maybe I'd make a better Purdy and Remus could be your Dalmatian dad-"

"I didn't need to know which one of you was the dom in the relationship, brother."

"Come on, you already knew."

"You're disgusting."

"And you smell like cheese."

Against his best attempts not to, that one does make Regulus snort into laughter. "That would be three cups of easy mac I fed myself last night," he smiles, and Sirius makes a wounded sound.

"Do you ever even use the stove?" he asks, as if he's not a man that could burn water trying to make pasta.

"No," Regulus hums. "I just bought it so Remus could show off when he comes over."

"Hey, that's my trophy husband," Sirius reminds him and begins to brush out his hair with his fingers. And normally Regulus would tell him to fuck right off, but today is... today. And it feels nice. So. "Not yours, you can get your own."

"But I want that one."

"Yeah," Sirius hums, "well you can't have him."

Not that Regulus would ever do anything to come between the two of them. Not when they're so good together. Not when they've helped him so much. He never says it and hardly acts like it, which he regrets, but... he doesn't think he'd ever have gotten through this without them.

And, despite his current state, he really is in a better place now. He really does love his job and his life and his fans, today is just... too much. Too fucking much.

But it's going to be today for at least a few more hours, and Regulus is feeling like being a little bitch about it. So he just twists and turns in Sirius's arms so their noses nearly touch, and the breathes his artificial cheese and gummy worm breath directly into his brother's face. The way Sirius immediately jumps back and scrambles away, like he's been burned, make Regulus burst into laughter.

And that feels so much better than crying. Contrary to what the movies portray, him crying is an awful ordeal of a pressure headache and his face so scrunched up it hurts, random bodily jolting sobs, and very little actual tears. All in all, not a fun experience.

He is very much prefers to laugh.

"Holy fuck!" his brother is squawking, now standing on the side of the bed looking severely scornful. Regulus stretches out his limbs like a starfish now that he has his bed back. "When was the last time you brushed your teeth, you god damn animal?"

Regulus pretends to think about it. "I don't really remember, actually..."

Sirius gags. "Okay, get your pasty ass up and slosh some mouthwash at least. Then you're eating and taking a shower and putting on some clothes and we're going out," he lists.

"The fuck I am," Regulus wrinkles his nose. "Have you fallen on your head, recently dear brother? Because we can't go outside today without being swarmed by cameras." And not even Sirius is dense enough to believe that isn't a huge problem.

"Believe it or not, I am aware," Sirius hums, disappearing through the open door to the attached bathroom. He comes back with the bottle of mouthwash and a cup.

Regulus fucking hates mouthwash.

Sirius does not care and unscrews the bottle anyway. "We're not going out anywhere public, I actually wanted to take you to meet a friend. Remember James?"

"The guy you fawned over for weeks when you were doing Galway Girl?"

"That's the one. He actually just got his screenplay approved for production, and... I think you'll really like it, Reg," Sirius tells him. And he knows that Regulus hates it when he gets jobs for him so he quickly adds, "You don't have to take it, of course. I can't even be sure you'll be offered it. But... it might be nice to take your mind off all this shit for a bit today."

Regulus is still glaring at the bottle of mouthwash. He honestly doesn't think he has the energy, or that anything could take his mind off the memories. But... sure. Whatever. His other plans weren't all that pressing.

Sirius always spoke so highly of James too. Regulus has never met him, even though Sirius meets up with him on a pretty regular basis to go out for lunch and bowling when he's in town. He's seen pictures of the two of them together and they follow each other on social media, but Regulus has never actually interacted with James.

He was a junior writer on the writing team for Sirius's first movie, Galway Girl. Barely anyone saw it, at least not until Sirius hit it big and then suddenly everyone was watching his old films to suck up as much of his content as they could. It was a decent enough film about brotherhood, two guys that started a band and broke up because of a girl that ended up just using them for their money anyway. There's a happy ending, Regulus just doesn't remember what it is.

Anyways, they were both new to the industry at the time, it was both of their first big film, so of course they bonded over being the youngest two on set.

Last Regulus heard, James wrote a book, is working on it's sequel, co-wrote some episodes of a Netflix original last year, and now he's got his own feature.

He's been busy.

"Will there be food?" is what Regulus asks.

Sirius rolls his eyes, but at this point, Regulus can tell, he's not even surprised. "Sure. As long as there's not any cheese, you're cut off."

And then he tries to offer him the cup of mouthwash he poured and Regulus just springs out of bed and runs to the other side of the room.

Remus walks in carrying a grilled bacon, sausage, egg and cheese sandwich (that smells devine) and a glass of pomegranate juice, which he nearly spills in Sirius's efforts to chase Regulus around the four corners of his bedroom with the mouthwash cup. Regulus has just leaped on top of his bed to escape, and that's how he gets such a clear view of the utterly unimpressed, deadpan of Remus Lupin-Black's face. His mouth and eyebrows are just parallel lines, and it makes Regulus laugh so much he falls forward into a giggly ball on his bed.

Remus find it significantly less funny.

"I'm starting to think the spoils of being a sugar baby aren't worth it," he sighs. "Good morning, Regulus."

"Thought it was afternoon?"

"It is. I was just trying to make you feel like a slightly less terrible human being," Remus replies and sets the plate and glass down on the bedside table, the only surface seemingly undisturbed in the whole room. "Now do I even want to know what all of this is about?"

"Regulus's breath reeks and he won't take any mouthwash!" Sirius accuses. And yes, it's true, but Regulus still rolls his eyes like it's the most ridiculous claim in the world.

"It tastes like cold fucking feet, I don't want it!" he complains.

Remus, who appears to be deeply reconsidering his life choices, just let's out the heaviest, most I'm-fucking-done-with-this-shit sigh.

"Regulus," he says. "Slosh the fucking mouthwash."

Regulus pouts at him. "You're just being a bitch without even asking what I wanted today?"

"Fine," Remus crosses his arms. "Would you like to be coddled or would you like for me to be a bitch?"

"I would like to be coddled, thank you."

"Too fucking bad, I'm a bitch by nature. Now take your mouth wash and eat that delicious food I worked so hard to make you before I shove it down your throat."

Remus Lupin-Black, everybody.

"Wow," Regulus whistles but reaches to take the cup nonetheless. "Careful talking to me like that, you're gonna make Siri jealous."

#writing this was a fever dream basked in the haze i've been in since i saw timothee chalamet's bone's and all outfit #so here you go #he's an actor #james is a screenwriter #sirius is doing his best #and remus is just tired #same remus saaaaame #jegulus #starchaser #actor au #famous au #marauders #james potter #regulus black #sirius black #remus lupin #tw: eating issues #tw: family problems

[bindi-the-skunk]

Movies and Tv shows for the actors and writers strike pause I am very glad that both writers and actors are taking a stand against being replaced with AI and other cheaper alternatives, and I have a list of older shows and films to recommend till everyone gets what they deserve.

Dinosaurs: Is an American family sitcom television series that aired on ABC for four seasons from April 26, 1991, through July 20, 1994,

Dinosaurs is a show I loved as a kid and still love now, and have all the episodes, it was a show that liked to insult everyone, brought up some good points and taught lessons, and of course had moments of pure hilarity for both kids and adults.

Iron Giant: is a 1999 American animated science fiction film produced by Warner Bros. Feature Animation and directed by Brad Bird in his directorial debut. It is based on the 1968 novel The Iron Man by Ted Hughes (which was published in the United States as The Iron Giant)

This movie is severely underrated, it has heart, charm, can be very funny, and even has very emotional moments at times (if the giants final line in the film does not make you cry, you are not a human being!)

The Prince of Egypt: is a 1998 American animated musical drama film produced by DreamWorks Animation and released by DreamWorks Pictures. The first feature film from DreamWorks to be traditionally animated and their second overall, it is an adaptation of the first fourteen chapters of the Book of Exodus and follows the life of Moses from being a prince of Egypt to a prophet of the Lord, chosen by God to carry out his ultimate destiny of leading the Hebrews out of Egypt.

Another gem that is FAR too underrated for how epic it is, does it get every biblical fact right? No, but it is an almost perfect film despite that, and even if you do not consider yourself religious, give it a watch and watch as miracles come to life.

Spirit: Stallion of the Cimarron (also known as Spirit) is a 2002 American animated western film produced by DreamWorks Animation and distributed by DreamWorks Pictures. The film was directed by Kelly Asbury and Lorna Cook (in their feature directorial debuts) from a screenplay by John Fusco, based on an idea by Jeffrey Katzenberg, who produced the film alongside Mireille Soria.[4] Set in the Old West in the late 19th century, the film follows Spirit, a Kiger mustang stallion (voiced by Matt Damon as a narrator), who is captured during the American Indian Wars by the United States Cavalry; he is eventually freed by a Lakota man named Little Creek with whom he bonds, as well as a mare named Rain. In contrast to the anthropomorphic style of animal characters in other animated features, Spirit and his fellow horses communicate with each other through non-linguistic sounds and body language (albeit with many human facial expressions and reactions).

This movie was also a big part of my childhood, I loved horses (as most little girls are prone to ) and still love them, and it was nice seeing a positive native American portrayal in little creek and the fact that the animals do not talk in it, but it still puts through so much despite so little being spoken.

Rudyard Kipling's The Jungle Book, also known as The Jungle Book, is a 1994 American adventure film co-written and directed by Stephen Sommers, produced by Edward S. Feldman and Raju Patel, from a story by Ronald Yanover and Mark Geldman. It is a live-action adaptation of the Mowgli stories from The Jungle Book (1894) and The Second Jungle Book (1895) by Rudyard Kipling, alongside Walt Disney's animated feature film of the same name from 1967;[5] unlike its counterparts, the animal characters in this film do not talk.

Hellooooo childhood trauma! But all joking aside, no one ever talks about this film and I think it is an interesting change from all the spit-up Jungle book adaptions (having Mowgli as an adult for one) which tell the same story over and over and over and over and over and over and over and OVER! And in the age of so many live-action disney remakes, how about one that is actually GOOD?

Beyond Belief: Fact or Fiction is an American television anthology series created by Lynn Lehmann, presented by Dick Clark Productions, and produced and aired by the Fox network from 1997 to 2002.[2] Starting in 2021, a fifth season was produced for the German market, where new episodes are released each Halloween. Each episode featured stories, all of which appeared to defy logic, and some of which were allegedly based on actual events. The viewer was offered the challenge of determining which are true and which are false. At the end of the show, it was revealed to the viewer whether the tales were true or works of fiction.

The series was hosted by James Brolin in season one and by Jonathan Frakes in seasons two, three and four.

Whooo boy was this show FUN, if you love mysteries, heartwarming stories and a good scare once and a while, give this show a go.

Gargoyles (also known as Gargoyles: The Goliath Chronicles for season 3) is an animated television series produced by Walt Disney Television Animation, in collaboration with Jade Animation and Tama Productions for its first two seasons and Nelvana for its final, and originally aired from October 24, 1994 to February 15, 1997. The series features a species of nocturnal creatures known as gargoyles that turn to stone during the day.[5] After spending a thousand years in an enchanted petrified state, the gargoyles (who have been transported from medieval Scotland) are reawakened in modern-day New York City, and take on roles as the city's secret night-time protectors.

I openly admit to staying up till way past when little-me should have been in bed to record the episodes of this show on VHS (remember those?) I loved it so much and the colorful characters it offered.

Elementary is an American procedural drama television series that presented a contemporary update of Sir Arthur Conan Doyle's character Sherlock Holmes. It was created by Robert Doherty and starred Jonny Lee Miller as Sherlock Holmes and Lucy Liu as Dr. Joan Watson. The series premiered on CBS on September 27, 2012. It was set and filmed primarily in New York City.

I openly admit to liking this series more than I liked Sherlock Its a fun twist on the classical tales of Sherlock Holmes, and even people who know the books back to front might be surprised at some of the twists.

The League of Extraordinary Gentlemen, also promoted as LXG, is a 2003 steampunk[4]/dieselpunksuperhero film loosely based on the first volume of the comic book series of the same name by Alan Moore and Kevin O'Neill. Distributed by 20th Century Fox, it was released on 11 July 2003 in the United States, and 17 October in the United Kingdom.

This movie is just epic fun, with some interesting ideas sprinkled in, not a perfect film, but it does not have to be, pop some popcorn, get your favorite pillows and enjoy the ride.

Van Helsing is a 2004 action horror film written and directed by Stephen Sommers. It stars Hugh Jackman as Dutch monster hunter Van Helsing and Kate Beckinsale as Anna Valerious. Van Helsing is both an homage and tribute to the Universal Horror Monster films from the 1930s and 1940s (also produced by Universal Pictures which were in turn partially based on novels by Bram Stoker and Mary Shelley), of which Sommers is a fan.

Again, like with LXG, this movie is just plain FUN

And along with these I can recommend the old universal horror films, from the Mummy to the Wolf Man

Francis the Talking Mule was a mule character who gained popularity during the 1950s as the star of seven popular Universal-International film comedies

These movies are just good clean fun

Tales from the Crypt, sometimes titled HBO's Tales from the Crypt, is an American horror anthology television series that ran from June 10, 1989, to July 19, 1996, on the premium cable channel HBO for seven seasons with a total of 93 episodes

Again, if you want some great fun with a few scares mixed in, give this show a watch, the crypt keeper is most welcoming! MWAHHAHAHAH!!!!

It's a Miracle is a television show that aired on PAX TV between September 6, 1998 and August 12, 2006. Initially hosted by Billy Dean and Nia Peeples and then Richard Thomas, and later by Roma Downey, it explored case studies of people who experienced miracles during their lifetime. This included stories of a pet that saved lives of family members, and the success of someone who was born drug addicted and abandoned. The show also covered the near death of a surfer who was in high water wells when they were knocked unconscious by their surf board.

This show was another that I would stay up past my bedtime to watch (personal favorites of mine are the one with the blind dog and the one with baby Sarah)

Unsolved Mysteries is an American mystery documentary television show, created by John Cosgrove and Terry Dunn Meurer. Documenting cold cases and paranormal phenomena, it began as a series of seven specials, presented by Raymond Burr, Karl Malden, and Robert Stack, beginning on NBC on January 20, 1987, becoming a full-fledged series on October 5, 1988, hosted by Stack. After nine seasons on NBC, the series moved to CBS for its 10th season on November 13, 1997

What can I say? I'm a sucker for mystery shows that also can be heartwarming.

I think that should be enough for now! Next time I hope to suggest some books to read too.

#film #recommendations #lxg #the league of extraordinary gentlemen #its a miracle #tales from the crypt #unsolved mysteries #jungle book #spirit #prince of egypt #iron giant

[mikoriin]

What's your favorite movie, if you have any?

I HAVE SO MANY FAVORITES IS THIS AN EXCUSE TO RAMBLE???

so this is a long list of movies i have curated love for over the years so its under a readmore lmao not so much reviews but lots of gushing

now i cant choose an all time favorite. its just not possible im so passionate about so many different movies. but some of my fav fav fav movies ever are

Studio Ghibli's 'Laputa: Castle in the Sky' (1986)

ghibli's first full length film and hayao miyazaki's second full length film (as far as im aware, ive seen nausicaa too) and it is honestly a masterpiece, like damn what a way to start off your animation studio. this movie is both wholesome and very bittersweet. it has amazing characters, both villain, anti-hero, and hero. plus the romance between pazu and sheetah is so innocent and passionate. theres really such a fantastical element about this entire film its so inspiring to me and i hold it near and dear to my heart, i cry every time.

Jim Hensons 'The Labyrinth' (1986)

this was a childhood favorite of mine. my family LOVES jim hensons dark fantasy, and my brother and i grew up with this movie and the dark crystal (yes i watched the netflix series. yes i am forever bitter netflix cancelled it because it was truly so stunning) and the labyrinth was always my preference over the two even tho i do love both a lot. but this movie was just...so mesmerizing. my favorite scene is actually the ballroom fever dream scene. idk what most peoples' opinions on that scene is but it was soooo stunning to me i adored every bit of it. her whole LOOK THO!!!!!

Studio Chizu's 'Wolf Children: Ame and Yuki' (2012)

STUNNING MOVIE I CRY EVERY TIME!!!! not only does this woman win mother of the goddamn decade but this is such a strong coming of age story for not one protagonist, but THREE. its a coming of age for everyone in that family and how to find your own path and acceptance with growth and change. plus the animation is sooo stunning studio chizu has been slappin since the girl who leapt through time and such before then, but i was just soooo stunned by this movie's ability to mix the fluidity of their 2D and 3D. 3D animes can be rly hit or miss but they did this so well. beautiful stunning amazing movie 12/10 very recommend

Satoshi Kon's 'Perfect Blue' (1997)

this movie fucked me up and when i tell you ive seen it like 10 times LMAO its a psychological thriller and man the content warnings on this one.....its a bit of a traumatizing experience if youre a sexual abuse victim, but its Such a good watch. its got a rly good twist that i personally cant say is very good or not, its probably a bitttt dated. but its not focused on that one thing. this movie follows the trauma of mima and how she was treated by her higher ups and crew into doing things she was not nearly ready for or even wanted to do...but to make it to the top, what else can you do?

Disney's 'Atlantis: The Lost Empire' (2001)

MY FAV FAV FAV DISNEY MOVIE EVER!!!!! say what u want about this movie but its one of disney's BEST!!!! the scene where kida is taken into the crystal light above the pool of water and becomes apart of the crystal? dude that scene Changed Me. so good i love it chefs kiss muah amazing fun movie

Disney's 'The Hunchback of Notre Dame' (1996)

probably disney's darkest movie idk there are some classics from the 60s to 80s that i havent rly seen, but this movie gives me chills every time. the soundtrack? slaps. animation? slaps (thank u james baxter) characters? slap. this movie is SO GOOD and hypnotizing!!! and its so bold.

disney 2020s doesnt have the balls

Disney's 'Tangled' (2010)

FAV DISNEY PRINCESS FAV DISNEY PRINCESS MOVIE!!! i watched this shortly after it's dvd release because my mom bought it cause we always been a disney household and i fell in love with this one. yes i did watch the series. yes i did cry a couple times. tangled has my heart <3

Warner Bros' 'Cats Don't Dance' (1997)

FURRY MOVIE FURRY MOVIE!!! this movie got me into furries realistically. i love everything about this movie its so fun and charming and it has a very nice message of following your dreams while still being authentic to yourself. also lowkey about racism and prejudice in hollywood in the 1920s/1930s cough cough

Studio Ghibli's 'Spirited Away' (2001)

HOW CAN I ALMOST FORGET THIS CLASSIC??? my first ghibli movie!!! and it was such an introduction to miyazaki movies. it is such a fantastical take on japanese folklore. i for one am fascinated by japanese folklore, mythology, and culture in general so this movie is always such a treat and i can never get enough of it. one of my all time favorite movies, such a masterpiece.

Makoto Shinaki's 'Children Who Chase Lost Voices' (2011)

now this is one of shinaki's lesser known movies, but its my absolute favorite of his. this animation is still so stunning for 2011, and i can only imagine how impressive it was then considering how his stuff looks now lol but this is a high fantasy movie with miyu irino (♥♥♥♥) voicing the hero. dont ask me the rest of the cast i just hyperfixate on miyu irino specifically because he voices syaoran in the tsubasa series

ANYWAY!!! thats enough of that i could honestly go on and on but i figure i wont make this post any longer than it has to be hahaha thank you so much for the question!!!

#notice how theres only one live action but it still has artistic elements lMAO #i do not watch live action movies i shit u not its so rare for me #like i just #i sleep #yknow?

[theliterateape]

I Like to Watch | What Scares You

by Don Smith

"What scares me is what scares you. We're all afraid of the same things. That's why horror is such a powerful genre."

That quotation is attributed to one of the undisputed "Masters of Horror," John Carpenter. Carpenter's bonafides are indelibly etched into cinematic history; seriously, just google the guy - you've seen at least one of his celluloid masterpieces. But as I get older, the things that scare me have become a lot more tangible than a silent, suburban psycho in a white mask or a recently defrosted Antarctic alien parasite.

It was October 1981. My dad's sister/my godmother, Aunt Debbie, was babysitting me in the apartment my parents had above the funeral home they operated (dad was a funeral director/embalmer, mom did the hair & makeup of the dearly departed). Auntie DD put me to bed, but she had a couple friends come over for pizza and a movie and at some point, probably playing-up the creepy atmosphere of the setting.

There must have been something in the autumn air because I couldn't sleep; at some point I was lured into the frontchroom (that's what some of us from Chicago call the "living room") by the soft blue glow of the boob tube and two repetitive notes of what would turn out to be Carpenter's haunting synth score for the 1978 version of Halloween. The original distribution company, Compass International Pictures, had sold the broadcast rights to NBC to the tune of 3 million bucks in 1980, and that deal changed my life.

As I huddled in a slim doorway just out of DD & Co.'s view, my tiny eyes grew 10x as I was confronted with the body of Annie Bracket laying supine in bed, the headstone of Judith Myers acting as a morbid headboard. Laurie Strode (one of the first, and truly THE undisputed "Scream Queen") had just discovered one of her best friends, DEAD; murdered and posed by some unseen entity. That image is forever burned into my brain and birthed an undying fascination with the genre.

Unlike a lot of things from my pseudo-latchkey childhood, I never outgrew my love of HORROR: movies, novels, comic books, The Haunted Mansion at Disney, Hollywood Horror Nights at Universal... I still look forward to and consume all of it!

That said, I've noticed that what used to really get under my skin, what used to scare the shit out of me has shifted.

As an actor (and novice filmmaker/screenwriter) the literal curtain was pulled back about 20 years ago. Now, when I revisit the films/stories I love, I can't help but notice all of the machinations. What I wasn't expecting when I got into "the business of show," and I'm not sure anyone can really prepare you for (in or out of the business), were all the REAL fears that come with getting older.

While I still thrill at the tension of watching a group of young, "hot" people running through the woods to escape some masked murderer, or experiencing supernatural specters haunt a defenseless family, I've noticed in the last 10 years that what really terrifies me now can be summed up in one word: ADULTING.

A mortgage, the bills, keeping my family fed and feeling loved, almost losing my wife during childbirth, doing what we can to make sure our daughter has a trauma-free childhood and instill in her a sense of love and safety amidst an ever-growing drive by the GOP to control her body, hustling to keep alive the dream career I've been developing for decades... Losing friends and family to cancer, heart attacks, old age, suicide... Credit card fraud, identity theft, friends just not wanting to be friends any longer, etc. etc. These things are terrifying, folks. And there are no easy resolutions to any of them.

For every scare that a new fright flick offers I can't help but be even more freaked out by films like The Big Short (Adam McKay's 2015 film about the 2007 financial meltdown), or McKay's 2018 film Cheney, about the pasty, power-hungry ghouls in G.W. Bush's White House. Don't even get me started on the horrifying documentaries about the U.S. healthcare system (Michael Moore's Sicko 2007), drug addiction (Dope Sick Love 2005), mental health (There's Something Wrong with Aunt Diane 2011), homelessness (Dark Days 2000), the evils of social media (The Great Hack 2019). The list could go on.

By their nature, documentaries (and docudramas) are meant to inform and are, in some cases (nay most), a call to action. Of the other major film genres, we can (and hope to) experience drama, comedy, romance; even action, and dare I say musicals in our day to day lives. Hopefully most of us will get our tragedy and thrillers parsed out over a lifetime.

Horror is the only genre that NO ONE wants to experience in real life. And while the genre doesn't necessarily prepare you for the real-world "monsters" out there, it is the only genre that allows you to safely observe terror without having your life irreparably altered by physically experiencing it. In other words, it affords resolution. Not always a tied up in a pretty bow, but a resolution, nonetheless.

Unlike the thousands of ghouls, ghosts, goblins and masked murderers stalking cinema, horror movies themselves will never die.

Maybe not today. Maybe not tomorrow, but eventually..."What scares me is what scares you."

#Halloween

[oficmag]

Contributor Spotlight: Taylor

Now that Issue #1 is live, we at OFIC Mag are excited to shine a light on some of the amazing contributors from our inaugural issue. We hope you all love them as much as we do!

Today’s spotlight is on Taylor | @grilledcowheart, who wrote “the sea monster stays in bed all day listening to Long Division” for Issue #1.

Tell us a bit about yourself!

I've been trying to think of how to answer this question for days; my mind completely blanks every time I open up my laptop to stare at it. So I suppose I'll default by just telling you that while putting the finishing touches on my other answers, I was also on Discord encouraging a friend to draw a Pixar character with two penises like a shark. 

How did you find fandom?

I first found fandom through the site fanpop.com and the various Powerpuff Girls “fanclubs” that existed there—the site hosted multiple types of fanworks, including fics, and from there I found fanfiction.net, deviantART, and so on. I'd actually been writing fanfic since elementary school—largely crossover fics of the various shows I'd watch on Boomerang (Cartoon Network's "oldies" channel) late at night when I should've been sleeping—but PPG is where I actually developed an awareness of and connection to fandom communities. 

What fandom are you in now and what brought you here?

Right now, I'm mostly involved with the fandom for Pixar's Luca. There's a lot I could say about the film and its reception by the queer community, especially in light of everything that's been going on with Disney's support of homophobic politicians and Pixar itself stating that Disney has censored same-sex affection in their films, but we'd honestly be here all day. 

Aside from all that, as much as I love the film (and its little sequel short, "Ciao Alberto"), it's yet another story about childhood angst and trauma that leaves just enough room for someone like me to step into and want to push further. Trauma is so abundant in children's media, but obviously there's only so far you can go into it while still being appropriate for children to consume, so fanfiction allows for a more in-depth discussion of these things. There's a good quote by the Biblical scholar David Janzen about trauma theory, wherein he says that the struggle faced by trauma survivors trying to describe their experiences is "situating the trauma within an explanatory narrative so that they can make truth claims about it and explain and make sense of it," and that trauma is "really a gap in narrative rather than narrative itself." I think a lot of my writing—fanfic and ofic—is about trying to reconcile the discrepancy between the narratives I've been given and how I've actually experienced the world. 

Also Luca/Alberto is a very cute and gives me serotonin.

What’s your favorite book of all time and what do you love about it?

Naturally, I get asked this and forget every book I've ever read in my life. I think Stephen Mitchell's translation of The Epic of Gilgamesh is definitely up there, though—Gilgamesh is such a fascinating and emotionally resonant story even all these thousands of years later, and Mitchell's poetry helps smooth over some of the inherent awkwardness that comes from translation. Further, because Gilgamesh is obviously situated within a larger mythological context, there are tons of new discoveries, translation nuances, and spin-offs to find, such as the tablets that strongly imply Enkidu and the monster Humbaba knew each other before Gilgamesh went to kill the latter (when I say "daddy," you say "issues!"). One of my earliest attempts at submitting my ofic writing was actually a modern Gilgamesh AU focusing on that connection, which I'd love to come back to and make into a full book one day.

What projects are you working on right now?

Right now, I'm working on revising a fanfic novella, alongside a few other Luca/Alberto short stories and an article on applying creative writing strategies to academic writing. I mostly write short stories, so I tend to cycle through projects very quickly, with a few longer CNF/hybrid projects that gestate in the back of my mind for 1-3 years at a time. 

What are your aspirations as a writer, big picture or small?

I had a nearly 400-word response to this typed up initially about how my aspirations for fanfic and ofic differ, how I try to take the crazy things I see going on in the literary fiction and nonfiction spheres and take them back to the Land of Fandom to show others all the cool ways we could be telling our stories—darker, wilder, more “cringe.” A creative writing professor I had in undergrad once said that he assigns dark and experimental fiction because many writers need to see someone else do it first before they can give themselves permission to start letting their fears of “acceptability” go. 

Still, it felt like I was gaslighting myself, pretending my work could ever matter. 

It reminded me, too, of David Shields’ How Literature Saved My Life, which I read largely while volunteering at a homeless shelter as part of one of my undergrad classes. The most notable memory of that whole experience is watching several white teenagers eagerly discuss the merits (or lack thereof) of the then-recent film adaptation of The Hate U Give while I sat eating with two of the shelter’s clients—a black mother and her child. They never looked in our direction, not even once. 

Near the end of the book, Shields cites an interview David Foster Wallace gave shortly after the release of Infinite Jest, wherein he states that “We’re existentially alone on the planet. I can’t know what you’re thinking and feeling and you can’t know what I’m thinking and feeling. And the very best [writing] construct a bridge across that abyss of human loneliness.” 

Later, Shields himself says: “Illusion, baby, illusion—whatever the cost.”

If you could give one piece of advice to beginning writers, what would you tell them?

Never let yourself be confined by how a story in your genre is "supposed" to be written. Read outside of your genre! My writing became so much more alive and vibrant after I found creative nonfiction through Amy Fusselman's short but powerful memoir, The Pharmacist's Mate, which is told largely through fragments. Borrow from other genres and forms (mature poets steal, after all). Sure, you might alienate your hypothetical audience, but they might not have liked the more "normal" version, either. The only thing you can guarantee in art-making is that you've honored yourself and the story you want to be telling. 

THANK YOU FOR BEING A PART OF THE OFIC FAMILY, TAYLOR! WE’RE SO THRILLED TO SHARE YOUR WORK WITH THE WORLD.

#writeblr #bookblr #issue 1 #spotlight

[magickedteacup]

In the waiting period for my last batch of agent queries, I’ve occasionally been going in and doing a little editing here and there for the novel. Mostly it’s just where I’m rethinking character interactions, logistics of things to make sure events are plausible, and fleshing out little bits where I start to allude to something, but didn’t go deep before.

Which is especially true for a few of the harder-hitting moments in the novel. I just hope it’s not disappointing or off-putting to people how sad the novel can get. It just gets relentlessly so, in a lot of ways, through stretches of the novel, before we finally do get to our joyful ending, which has been earned with blood, sweat, and tears by these characters… One of the interesting things about the early history of the Disney animation studio is that in the early days of publication of materials on the topic, historians would paint a golden picture of the place, and then there was a period where Disney got absolutely vilified, and nowadays you’ve got these two extremes… (and to clarify, I’m not talking about the company post 1960s or so, what the company became especially after Walt Disney’s death is a whole other topic).

In the last few months, I came across this article about Walt Disney’s childhood, and honestly, it was brutal in its frank, straight-forward details of what happened. It makes me think a lot about patterns of family trauma that I see in people like my dad, and my dad was an immigrant from Vietnam. Everyone likes to paint some kind of caricature of Walt Disney these days, throwing around the usual punitive phrases, and I’m sure that in a lot of ways the man would have infuriated me as a boss, (I know I’d be the kind of employee who goes around talking sarcastically about “The Boss” when annoyed with that Boss) but he was also a complex, interesting person, who was genuinely invested in his studio’s creative projects, and also pretty much everything about him makes sense if you look at how he grew up and the patterns of relationship behaviors he developed, interrelated with some of his inherent personality tendencies.

My point is, I barely touch on the topic of Walt Disney as a person in my novel, never mind that I try to make it clear that everything in here is a fictional analogue anyway, but a lot of the novel is this idea of writing about complex people who live in a complicated world filled with both a lot of joy and a lot of suffering. Even when I fully didn’t get the nuances of it, at 17 when I first came up with the idea for this novel, I’m sure that’s part of what drew me to the idea and the topic. I always said, I became interested in writing this novel when I saw that “I almost find the people behind these films more interesting than the films themselves.”

[empyrangel]

In my opinion, Encanto was a good film. Solid 7/10. Sure, there were a handful of glaring problems, but overall I enjoyed it. But that’s a topic for another post, because what I really want to talk about is the fanbase.

Good lord. Never in my life have I ever encountered such a generally unpleasant fanbase (and that’s saying a lot cause I’m in the crk fandom). I want to clarify that in no way am I speaking about everyone in the fandom, just an unfortunately large number of people who overshadow them. Please don’t take offense to this if it doesn’t apply to you.

In short, the ableism and queerphobia in the community is through the roof. I’ve seen people get harassed for their headcanons about the film or characters. I’ve seen people get lectured or targeted in “callout posts” for their headcanons being “racist.” The reason? Because they didn’t have anything to do with race. I think it’s great that there’s a beloved film with Latino representation, but there’s so many people in the fandom that will chew you out if you make a post or headcanons that don’t mention and/or praise the characters race. I’ve seen people accused of trying to “derail the important theme of generational trauma” or “censor the characters race” for just not making their content focused around those things.

The actual ableism and queerphobia part comes from the glaring fact that the majority of these headcanons and commentaries that are targeted are focused on queer and/or neurodivergent themes. Someone headcanons Luisa as trans? Stereotyping, now you’re transphobic. Someone headcanons Camilo as genderfluid? Racist, stop trying to take attention away from what matters. Someone, headcanons Abuela as homophobic? You can’t do that because it’s not true did you even watch the film in this essay I will… The sad part is that many of these comments come from other queer people. The infighting never ceases.

A quick little lesson by yours truly on headcanons. They don’t matter, so there’s no reason to get upset over them. Literally, they don’t affect you, they don’t affect your experience with the media, and they definitely don’t affect the canon material. All they do is make the people who create them happy. See, now y’all are just hating on something with no downsides. It doesn’t affect you, it doesn’t affect the movie. Shut up and let people have their fun. If you think the headcanons mean they didn’t experience and understand the movie in the way you think they should’ve… well that takes me to the next point.

A lot of neurodivergent people, myself included, related heavily to the pressure put on the family members with gifts from being labeled gifted kids during childhood. But apparently that’s illegal and you’re only aloud to view the film through the lenses of family problems and generational trauma, and anything else means that you don’t care about the issues portrayed in the movie and spit in the face of the people that have them. I’ve witnessed so many neurodivergent people verbally slapped in the face by fans causing them of derailing the themes of the movie and trying to make it all about them. Slurs have been thrown around.

Lesson #2 the basic concept of art for dummies: the entire beauty of art, in any form, is that everyone can interpret it in their own way, and no one is obligated to experience art the way you do, or the way the created intended. Again, other people’s interpretations do not affect you. Let people see themselves in the characters. At this point I’m convinced y’all just want something to be mad about.

Anyway, Turning Red was a movie I really enjoyed! Much better than Encanto in my opinion. But it’s Disney and Pixar, was there ever any competition? Most importantly, the fanbase is chill. I hope it stays that way.

#traveler from another world ✨ #queerphobia #abelism #tw queerphobia #tw abelism #disney #pixar #disney encanto #encanto #pixar turning red #turning red #commentary #movies #queer #neurodivergent #neurodiversity #actually queer #actually neurodiverse #long post #rant