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#Mother Gothel
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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regulusblqck123 · 4 days
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Regulus: why do I love mother gothel even tho she reminds me of my own mother?
James: maybe she’s a better person?
Regulus: she really isn’t.
James: idk why then.
Sirius: gothel actually loves her child unlike our mother.
Regulus: THATS WHY.
James: from now on me and Remus are your parents.
Remus: I didn’t sign up for this!
James: becoming friends with us you’ve been signed up to this since day one.
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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 · 15 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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elya-doodles · 10 days
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Flower gleam and glow… 🌸
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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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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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disco-tea · 8 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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capturingdisney · 6 months
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by Paul Felix
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atalienart · 17 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 · 10 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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kvtnisseverdeen · 9 months
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visjules · 5 months
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Mother knows best
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