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#mother gothel
disco-tea · 2 days
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Not but I don’t think I’ll ever be over the way they wrote Mother Gothel’s manipulation . The way it’s woven into everything she does. The way you can tell by watching her with Repunzel that this is years and years and layers and layers of manipulation. This is a whole little world Gothel had built around her and Repunzel with nobody to stop her. The way it’s apparent from the first scene. The way she insults repunzel and puts her down and tries to work on her self esteem but hides its behind “oh I’m just teasing. Don’t be so sensitive.” The way Mother Knows Best is a masterclass in narcissistic manipulation. The way she gaslights Repunzel by calling the floating lights “stars” even though Repunzel is smart enough to figure out that’s not what they are. The way Gothel has to have all the power, even in small ways like her having a door and Repunzel having a curtain. The way even their little game of “I love you” is a narcissistic play for power because Gothel’s line is always “I love you most” because she’s SUCH a good mother, you see. She’s sacrificed SO MUCH. She’s basically a martyr. She takes SUCH good care of Repunzel. Nobody could EVER love as much as her.
The way Gothel and Repunzel have an ‘argument’ which is actually just Repunzel having a reasonable request and Gothel giving a whole big manipulative spiel followed by a harsh rebuff. Then she immediately leaves, which is also another play for power. She controls when she and Repunzel can have a conversation and they’re not having it right now. She comes back a tries to pretend it never happened, except it did and they both know it, so Gothel is like “oh I’m making your favorite soup! Isn’t it wonderful? Doesn’t it make up for the fact I’ve ruined your whole life and I told you you can NEVER EVER have a life outside the toxic bubble I’ve created for us? Why would you ever want to leave??” Which is exactly how abusive relationships work, the way they offer the bare minimum and act like its might as well be a gift from God. And the worst part is, many people who are abused take it and DO feel like it really is a special thing because they’re not used to getting even the bare minimum. Another really good detail too is the after Gothel’s blow up (“now I’M the bad guy. Oh poor me”) Repunzel DOES want to drop the subject so she tells Gothel she just wants paint instead and calls the floating lights “stars,” thus making a subtle concession and making Gothel feel like she’s won, which I’m sure exactly how all their ‘aruguments’ in the past have ended: with Repunzel having yield and Gothel making sure she’s knows she’s the one in control. Overall it’s just so well written and one of the best representations of real manipulations that I’ve seen
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tangledbea · 1 day
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This has always kinda bothered me. In the movie, when Gothel chains Eugene in the tower before Rapunzel goes to heal him, "in case he thinks about following them," even if Rapunzel succeeded in healing Eugene and got taken away, wouldn't Eugene have eventually died of starvation if he was chained there long enough? Was that part of Gothels plan?
Yes.
However, she knows Eugene is a thief, and a good enough one that the Crown wants him dead or alive. She probably figures that, fully-healed, he may eventually find a way to escape the cuffs. (There's no indication that she searched his pockets for lockpicks, after all.) If he did manage to escape, she and Rapunzel would have a head start, and he'd never be able to catch up to them before they were long gone.
But she also literally doesn't care if he dies trying. In fact, she'd prefer it that way. A woman willing to stab a man for daring to free her kidnap victim is also willing to let him starve to death.
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tadpole-art · 2 months
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Au where Rapunzel cuts her hair as a child ✂️
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scurviesdisneyblog · 1 year
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Model and expression sheets for Tangled (2010) by Jin Kim
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hampop · 1 year
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Currently pirating Disney movies
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frozenwolftemplar · 7 months
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Seeing how 'Wish' is supposed to be a celebration of a century of Disney that's chock full of homages and nods to their past films, no matter what happens in the film, there's really only one suitable end for King Magnifico:
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(source Buzzfeed)
I'm just saying....
It's a tradition!
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artist-issues · 8 days
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I remember during the making of Tangled, the filmmakers said they had to work hard to design Rapunzel’s tower to be beautiful and seem like a cozy, fun environment, while also making Mother Gothel seem sweet and loveable, if manipulative.
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Because, they said, if the environment is too much like a prison, and Gothel is too much like a villainess, the audience wouldn’t believe in Rapunzel as a character. They’d think she was either stupid or cowardly, to stay in such a nasty situation without trying to escape sooner. But if her circumstances seem just livable enough, just sweet enough, that you can see some of the appeal, then you wouldn’t blame her for waiting so long to leave.
Why didn’t they do that with Wish?
Why didn’t they think that relatability through?
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Nobody is really feeling compelled to root for the everyday Rosas citizens during the movie. You don’t feel like rooting for Asha’s cause, or even Queen Amaya’s. Because you think to yourself, “why did it take the townspeople so long to ask the question ‘why can’t we just have our wishes back?’”
Asha comes up with those culture-breaking questions, inexplicably, in the first twenty minutes of the movie. It takes the rest of the townspeople about 24 hours to suddenly start asking that, too.
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So why don’t you root for them?
Because when something bad happens to them, part of your brain goes, “why didn’t they see that coming, though? Why didn’t they ask questions? That one’s a little bit on them.”
And you don’t really feel that feeling you got with Mother Gothel, where you were like, “Oh yeah, I can see why the main character trusted this villain; the villain really seems to care about the hero, if you didn’t know what she was after.” You don’t;t get that same feeling with Magnifico. Because the whole idea of what he does—by erasing people’s memories and yelling at them and having no moments with regular folk where he’s warm and personal and building trust—is so malicious that we don’t believe the other characters couldn’t see it.
We COULD HAVE believed it. If they’d added in good writing and character moments to make it believable.
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When Magnifico interacts with the people who trust him and are duped by him, he’s up on a stage, flashing superpowers they don’t have and then disappearing back into his tower after only granting one wish. He’s not on the welcome tour with Asha. He doesn’t know his own palace staff by name. He’s done nothing to build the trust all the side-characters unquestioningly give him. So even at the end, when everyone’s like, “aw, we wanted to believe in Magnifico,” we don’t feel it. Because didja? Why? Everyone could see that coming.
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Meanwhile Mother Gothel tells Rapunzel she loves her most every time she leaves. She laughs with her. She reinforces every conversation they have with the idea that she’s desperate to protect Rapunzel. She brings her her favorite soup as a surprise and remembers the ingredients. She goes to get white paint on a very long trip so Rapunzel can paint. She compliments her strength and beauty—even if it’s backhanded. She calls her “dear,” and “darling.” She knocks thugs out with sticks, returning even after she argued with and supposedly ‘gave up’ on Rapunzel, all to supposedly’ protect’ her. So when Rapunzel realizes it was all an act, and she’s wrathful and furious and grabs Gothel’s hand, we DO feel it. Because we believed that Rapunzel really didn’t see this coming, so the shock stings worse. We don’t blame Rapunzel, and we do blame Gothel.
Just another example of what #NotMyDisney forgot about themselves.
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whatmikamakes · 2 years
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I see a morally ambiguous middle-aged woman who's a menace to society and suddenly my knees just give in
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capturingdisney · 6 months
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by Paul Felix
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atalienart · 10 days
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berrysprouts · 9 months
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some of sundrop's forest ✧・゚: *✧・゚:*
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names-hard · 9 months
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I've had this idea in my head for months and finally made it a reality.
So I present to you the Gaslight, Gatekeep, Girlboss venn diagram!
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tangledbea · 7 months
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Once Upon a Studio final shot, with a zoom in on the Tangled crew!
Images courtesy of @motionpic-by-alterpetrus
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kvtnisseverdeen · 8 months
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visjules · 5 months
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Mother knows best
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synergysilhouette · 4 months
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Everyone keeps talking about "traditional villains," but in retrospect, I wish Disney had gone in a different direction for the Revival Era. Hear me out...
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King Magnifico's failed characterization and poor writing in "Wish" really bummed me out. I was looking forward to a complex villain who was kinda right. I was hoping it could usher in a new age of Disney villains who were more grey than black and white, who made the characer grow as a person because they challenged their perspective. But then I realized that the opportunity existed in earlier revival-era villains:
Dr. Facilier is a villain first and foremost, though thinking back on it, I do think he is kinda proto-Magnifico, granting people's wishes, only for them to find that what they wanted isn't what they expected. I do wish he tied a bit of truth in with his scams, mentioning (similar to Magnifico) how people's dreams are very difficult to achieve--especially in the post-WWI American South, particularly POC. Naveen is generally assumed to be a POC himself, so he could juxtapose this viewpoint as someone who's never really had to experience such hardships. Dr. Facilier could still be 100% villainous, but further emphasis on dreams, wishes, and hard work would be part of his character. However, this is the reverse of "Wish"; Tiana has already worked hard, but she's lost a lot of her innocence and light-heartedness trying to achieve it, thus causing her to reevaluate how important love is and how she may not have realized it, being more practical about her dreams. It all starts with a wish.
Mother Gothel was already right; the world can be dark and cruel, and will destroy any light it finds. However, similar to Magnifico, since she's completely evil, the protagonist she goes against doesn't really change to understand what she's saying. Rapunzel doesn't see the world as dark or dangerous anymore; it's the opposite, thanks to her experiences. Because of this, I do wish Rapunzel did have a bit more negative experiences independent of Gothel to prove Gothel's point rather than it being "hey, she's just saying that because she's the villain." Maybe Rapunzel tries healing someone and people start lusting after her hair.
Hans is DEFINITELY a missed opportunity. He was the anti-Anna; isolated and alone, and he became bitter and cruel because of it. It's mentioned that the deleted song "More than Just the Spare" was removed because it made Anna too much like Hans. I don't think that, and if anything, it furthers my point: Hans gave up on his brothers, who he felt overlooked by and pestered by (he doesn't even mention his parents). Maybe give Hans less brothers and feature them a little in the movie so we can see how they interact with Hans and how it's a "what could be" for Anna and Elsa. His evil character is exactly what Anna is trying to avoid, but she understands how he became this way rather than it simply being for shock value.
Yokai was a great villain to me, but the reveal happened too late. I'd have loved seeing a more thorough exploration of his character and parallels to Hiro (which were done great in the film; I just wish it was expanded on). Highlight how people quickly forget about the dead and don't always learn from history, how there's this cycle of loss and hatred that you have to break.
Bellweather was on a power trip, but I do wish she had a storyline similar to Judy and Nick, since--in an interesting twist--they come off as more interesting and complex than the villain. She doesn't really say what made her act like this, and comments that "fear always works." I wish we got more of that, especially to play the two sides card; Zootopia is mainly predator-phobic, and challenges to this, ie predators playing down predator-related crimes in order to get people to look past their identity (and the fact that many predators are in positions of power) may have caused Bellweather's abuse by predators to be overlooked, causing her to want them all gone.
Te Ka is interesting. Despite "Moana" being a great film, I do feel like Te Ka and Maui's storyline was underutilized. It's revealed Maui stole Te Ka's heart for humans, but from what we see, Moana lives in this ideal community where their heritage, culture, and nature is loved and respected. Maybe embrace the fact that Tala is the only one who tells the story of the ancestors and how being they became "comfortable" since they were no longer voyagers, being used to the hierarchy and their stagnant society. Highlighting some humans' selfish natures would've been nice rather than Maui just telling us about it, with Te Ka being a metaphor for the destruction and disregard for nature and love.
Namaari is such a missed opportunity. Despite caring about her community, she comes off as more villainous than an antihero since she doesn't show any sympathy or care for Raya--in fact, she seems rather smug about hurting her. By making her a villain burdened by expectations and love for Fang while slowly being redeemed would've been better to me, shifting her POV slowly, making Raya angry with Namaari but understanding her motives. Having some regret about her choices--even if she believed they were the right ones--would've gone a long way for Namaari's characterization.
Magnifico...well, you already know he could've been one of Disney's most complex villains. Horrifying backstory and powers that are the result of hardwork left him with a jaded view on wish granting. He wants to help others, but has MANY reservations about it.
This is just my POV, of course; some of you may disagree (or feel like the aforementioned villains already achieved what I ask for), but I do hope future Disney villains have that "they're kinda right, even if they're wrong" characterization. It'd be a nice new era as the successor to traditional villains and twist villains--though just like twist villains, this trope requires VERY good writing.
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