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the-ninjago-historian · 3 months

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Ninjago: Into The Deep (Master Post, Summary, and Q and A!)

Hello everyone! Thanks for stopping by! If you've been on my blog, you probably know about this upcoming project. But for those of you who don't, what is Ninjago: Into The Deep? I'll tell you! Ninjago: Into The Deep is a fully fleshed out Ninjago fan season inspired by legendary fantasy works such as Narnia, Lord of The Rings, and even classic Disney films and more modern adventure stories like Avatar: The Last Air Bender. Here's the summary!

Things are looking up for the Ninja since their battle with the Crystal King! Jay and Nya have gotten married, Lloyd is now training to become a sensei, and Ninjago City hasn't had a major disaster in over a month! (A new record!) Everything seems to be going well, until the team receives a mysterious letter from Queen Vania, requesting their presence.

Once they arrive, they discover an evil plot, orchestrated by former king Vangelis, to overthrow Vania and take the throne again! And having a taste of conquest while on the Crystal Council, the disgraced monarch has his sights set on the rest of Ninjago as well! Powered by a new energy source, Vangelis is now far too powerful for the Ninja to defeat with their current abilities. They must find a new way to defeat him!

This takes the Ninja on a quest to a new world! The magical and beautiful subterranean kingdom of The Deep Lands! There, they must find the Elemental Beasts. Seven creatures created by the FSM and imbued with elemental powers, to teach the first Elemental Masters how to use their abilities. And who control the very balance of nature itself! From these magical beings, the Ninja will learn new powers and skills that are beyond their wildest dreams, and take down Vangelis once and for all! So join us, as we meet new friends, experience new powers, and journey Into The Deep.🍃🌊🔥🪨❄️🐲⚡

So that's it! I also have some cool concept art that should be finished soon!

Now here's some Q and A to answer all your questions! Some are from one of followers, and others I added in just to give general information. 😁 If you don't see a question being answered that you would like to see answered, please feel free to send it in!

(Under the cut because this is LOOOOOONG.)

First some general info.

Q: How will the episodes be released?

A: Each episode is three chapters long. Therefore, split into three parts. (Kinda like how you would have two commercial breaks in a real episode of Ninjago!) One episode will be released every week! Via a released chapter every Sunday, Wednesday, and Saturday.

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Q: How many episodes will there be?

A: 16-20. About as many a regular season of Ninjago would have!

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Q: What is this series rating?

A: G - PG! I don't do adult humor or gore. So it will be about as kid friendly as a usual Ninjago Season!

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Q: Will there be exclusive characters?

A: Yes! Several! Some including the Elemental Beasts, and even Cole's Grandfather Rocky! More will be released as the series goes on.

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Q: Will the season ever be animated?

A: If I aquire the time, resources, and skills, absolutely!

Now, let's answer some questions from one of my followers and awesome friend @dexter-the-dog!

A: Probably the only thing that makes it an Alternate Universe is that Dragons Rising isn't canon to this story. Other than that, it should fit nicely with the canon.

A: YES! The Elemental Beasts! They are so cool! I can't even put it into words! Currently, there are six Elemental Beasts. One for Fire, Water, Earth, Ice, Lightning, and Air. The Air Beast will have a very important role to play in this story! I'm also partial to Cole's Grandfather Rocky, who will also be making an appearance! He's a very interesting guy. And super powerful too! After all, he fought the Serpentine and the Time Twins! So he has quite a few tricks up his sleeve!

A: As Doc would say, #NoSpoilers! Lol! But there is a really cool scene were Nya uses her powers in a new way! It should be EPIC. So cool in fact, I just might animate it!

A: Ah! I can answer both of these! Since Into The Deep is a fan season, it will try to fit into the canon as closely as possible. That being said, the characters are exactly as you would see them in the canon show. No backgrounds or roles changed. But whether they will gain new abilities or new roles? Well that I can't say without spoiling things.

A: It's definitely the Cole x Vania story I have planned. Lol. Yeah, I ship them. I think they're cute. And they'll have plenty of cute moments in this story!

A: Into The Deep happens about a month or two after Crystalized. :)

A: I've been waiting to answer this one! The Elemental Beasts take on a mentor role for each of their appointed ninja. They will help them learn new abilities and fight their inner demons to truly become their most powerful selves. They're also are basically Nature Spirits. Each one controls a certain element in nature from their base kingdoms in the Deep Lands. Because of this, they can never leave to go up to the surface, or the balance would be offset. This factor is important, so make sure you remember it while reading.

And that's all the questions I got! That was fun!

Before I end this post, I'm gonna tag a few people I remember being interested in this thing! (@rinkunokoisuru @shatteredhope123 @miraculous-stud @nocturnal-nexu @dexter-the-dog) Hope you guys enjoy all this info! And thank you for all your love and support. It's really kept me going.😁🫶

Well, that's all for now! Keep an eye out for updates! And I'll see you around! Bye! - ✒️🐉

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pix3lplays · 11 months

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Can you do hsr boys with reader watching classic disney movie?

Yes I can! Thanks for the cute request!

Dan Heng: what you watch: the Little Mermaid Dan Heng isn’t much of a moviegoer in the first place, but you’re still shocked to hear he’s Never seen a Disney movie. That’s OBVIOUSLY gotta change. So you choose a classic, turn it on, and keep an eye on him throughout the film, making Sure he’s actually watching and paying attention. You see why he’s not much of a moviegoer. He’s just not that in to movies. He’s more interested in his phone than the film but eventually you tell him to leave it alone and watch the movie and he actually has a fun time. He liked it! But he doesn’t really…express that. He’s just: “that was fine.” and then moves on with his day. But you hear him humming a few of the songs to himself later on… Let’s just say he wouldn’t object if you want to watch another one sometime.

Gepard Landau: what you watch: Sleeping Beauty He’s watched a few of the classics as a kid, so while he’s a bit surprised you’d choose a kids movie for your movie night, he also recalls liking them so hey! Maybe it’s just as good as he remembers. You make lots of comments about how he’s like Prince Philip, and he must admit he finds it very flattering to hear you say such things. You see him as your knight in shining armor?! That…means a lot to him. He tries. He has fun watching with you, even if you’re a bit of a chatterbox during it. He’s definitely down to watch another one with you, on the condition he gets to pick the next one. (He really wants to watch Mulan.)

Jing Yuan: what you watch: The Lion King (He definitely misses his lion after this one.) He’s just happy to spend time with you, he’s never really cared what movie you pick. He’s probably gonna just talk with you the whole time anyways. But to your surprise, his eyes light up when you mention this one and he’s all: “ah yes, I remember when this one released. I am quite fond of it.” Which is great news for you because that means he’s going to Actually watch the movie with you instead of talking the whole time! He has a great time. He even surprises you by knowing a few of the songs. I don’t know, you thought he was a little…old for Disney movies, but you’re just happy he enjoys himself. You even get to learn about his old lion after the movie. He feels a little…nostalgic.

Welt Yang: what you watch: Fantasia It’s the perfect Disney movie for an animation fan like him, and oh my gosh does he have a Lot to say about animation and the process that went in to making the movie and- It’s cute to see him so passionate about something. He hopes he’s not ruining your experience by talking too much, but he’s excited to be sharing something he’s so enthusiastic about with you. He knows a lot too. It’s actually pretty interesting to hear what he has to say, it honestly makes the movie a lot more entertaining. Afterwards you thank him for sharing all his knowledge with you, and he’s already planning your next movie date. Yes he’s very impressed with Disney, but he’s even more excited to share with you what he knows about some of the less famous animation companies. Maybe you watch movies he’s worked on, too.

Sampo Koski: what you watch: Alice in Wonderland. (Imagine Sampo selling bootleg Disney movies hahahaha.) It’s hard to explain, but Alice in Wonderland just…reminds you of him. He’s the kind who has a hard time sitting still, even if it’s to relax and watch a movie with someone he loves, but he does his best for you. He…doesn’t pay attention the entire time, but meh, he’s trying. He also talks during the movie, but in a much more annoying way than the other men. He just has dumb questions because he wasn’t paying attention, or he talks about something completely unrelated. You love him but gosh is this scoundrel hard to watch movies with.

Blade: what you watch: Beauty and the Beast He thinks you’re trying to say something to him when you insist you watch this movie in particular with him. He gets it. You’re a beauty, he’s a beast. But he eventually realizes you didn’t mean anything by it when you actually start watching with him. Turns out you just wanted to snuggle and watch a cute movie with him. He’s not really one to watch movies. He only watches with you. And you always choose something cute, like Disney. He’s becoming quite familiar with the classics, thanks to you. You’ll probably never learn if he’s actually a fan of the movies you make him watch, but at least he’s quiet and pays attention.

thank you so much for reading~

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quitealotofsodapop · 3 months

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In the Wukongverse, who are the bigger Disney fans??

(asking since I've been on a metal Disney kick)

Smokey would rock Poor Unfortunate Souls by Jonathan Young but would get so into it he needs his Macaque cuddles afterwards to right his head (self demon issues, he is a hero but he also tricked people in the past and is on his journey to change and be good)

While Cherry on the other hand would hands down have fun singing Peyton Parrish's version of I'll make a man out of you since he just started his journey and his pilgrim brothers could use the advice.

The LMK Wukongs love themselves some animation goodness! Mostly to chill after a rough day. Wrap up in a blanket, stick on a film he's seen a million times, Eat some peach chips; he's a happy monkey.

LMK Macaques get distracted by the animation!! Cus? "Peaches look! They're using layered paintings to simulate movement!!" Their faves are Fantasia ( Original and 2000) naturally cus of the high animation quality set to classical music. Dawn/Peach walk in one day and find their Dusk/Plum on the ground crying while watching the cut Dali "Destino" segment.

MK's fave is "Treasure Planet". Try not to ask why or he will change the subject and switch on "Princess and the Frog".

Dasheng doesn't really care, but he watches them anyway cus Liuer and the rest of the kids really like them. He's embarassed to admit that he can sing every line of "Beauty and the Beast" perfectly. Also good date night movies - Zhanshi's fave are the fairytale romances. <3

Smokey don't care about the cartoons, but he does get down to the villain songs. Blasting "Poor Unfortunate Souls" and "Hellfire" so hard that his LEM has to step in to calm him down. Liang is more interested in the technical side of the works, but he just beams with joy whenever the babies chirp/bark excitedly at that opening logo. Shared fave is "The Little Mermaid" naturally (though Sandy argues that it's not an accurate depiction of sea fish demons).

Ace and Joker pretend that they don't care, but you know these goobers take the kids and grandkids to Disneyland whenever they have the excuse. Lots of the classics (since they just got made in their universe) and shared infodumping. Ace will send the other SWK's classic Donald Ducks and Goofy cartoons in the group chat without context.

Cherry and Olive are equally super excited cus "Moving paintings!! Heck yeah!". Cherry's faves are the og animated "Mulan" and "Lilo and Stitch" without question. The latter caught him by surprise cus it made him remember who he's always felt like "a weird little alien" on earth, and Lilo and Nani remind him of Lin. ;_; Olive is just delighted to watch anything Cherry is super-hyped about, and they both hoot happily at the tv together.

Shihou and Mihou are kids and they love cartoons no question. Shihou likes the Milt Kahl-era ones like "Sword in the Stone" and "The Jungle Book" cus he vibes with the themes of growing up, but he finds the romantic ones boring. Mihou in contrast secretly adores the classic "princess" movies like "Sleeping Beauty" and "Cinderella" cus of the sweet stories and music. Shihou will watch Mihou's "boring" films with him without complaint cus he knows how much his opal love them.

Sugar likes the "roadtrip" movies the most; "Atlantis", "Treasure Planet" etc. He's still technically on his Journey, and he loves hearing/seeing tales of others. Spice is pretty shy to voice his opinions but... he likes "Pinocchio" the best - the concept of being created and having to adapt to the world mostly-made tickles his brain in a good way.

Starfruit don't care. Why should he? He knows the real guys! He sees Peter Pan on the regular in the Library! Lilac is the complete opposite, they hold streaming parties with associated Legends to watch their "adaptations" and critique them based on accuracy vs execution. Starfruit joins in, only because he, Goldie, and Peter get to read the movies to filth in the group chat XD

Two movies that hold a place in all their hearts are:

Hercules: Themes of obtaining godhood, heroism, an unclear purpose, goth gf, and weird horses.

Moana: Island life, wanting to explore farther, doing what you can for your people, the inherit tragedy of demi-gods, the whole Te Kā situation...

#wukongverse #sun wukong #liu er mihou #six eared macaque #lego monkie kid #lmk #monkey king hero is back #monkey king reborn #new gods nezha reborn #the monkey king 2023 #monkey king netflix #journey to the west legends of the monkey king #mei hou wang 2009 #meihouwang #smash legends #disney

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twistedtummies2 · 7 months

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Fifteen Days of Disney Magic - Number 11

Welcome to Fifteen Days of Disney Magic! In honor of the company’s 100th Anniversary, I am counting down my Top 15 Favorite Movies from Walt Disney Animation Studios! Today’s entry is truly a Tale as Old as Time. Number 11 is…Beauty and the Beast.

Of all fifteen films on this list, the four-part stretch between 11th and 8th place was the hardest bunch of movies to sort out. I knew what films made up this particular section of the countdown, but ranking them was a lot tougher. To try and work things out, I first took time to revisit all the films basically back-to-back. Then I asked myself a few questions: how much would I like to play a part in the film (such as in a stage production)? Similarly, how often have I written about or would like to write about each movie’s world? How often do I reference this movie or talk about it in general? Which world and story would I like to write most for? And finally, which picture do I have the most general nostalgia for? Unfortunately, after asking myself these questions, and revisiting the films, “Beauty and the Beast” – perhaps shockingly, to many – lost out the contest. Do not misconstrue this, however, to mean that I dislike the movie, or think it has less merits than the other three to come above it. In some ways, I think it’s the technical best of the movies in question…but again, there’s a difference between “best” and “favorite,” and if certain earlier entries have not made it clear, the latter is really what I’m talking about with this countdown, not the former. But now, let’s focus on the positives, because – needless to say – there are MANY positives. The original fairy-tale of “Beauty and the Beast” has become just as much a trope, in and of itself, as it is a classic story. Disney’s version changed several elements of the original tale, and virtually all of them were for the better. Long before “Frozen,” this film essentially acted as a subversion and deconstruction of a lot of Disney staples from years before, while still being its own great story with incredible artistry and wonderful characters and music. In a way, you can see this as the direct precursor to a lot of modern Disney movies, with a heroine and a hero who learn from each other and have complex personalities, writing that has an ironic sense of humor, and a villain who does not at first SEEM to be the villain…although Gaston, admittedly, works very differently from characters like Hans or Bellwether, but that’s another story. The film is largely regarded as one of the single best Disney movies ever made, and it’s not hard to see why. Indeed, it’s fitting I bring up “Frozen” so much, because when that film came out, the common phrase I heard everyone use to describe it was, “It’s the next Beauty and the Beast!” While I do like “Frozen,” I think I’ll always prefer this film. I love it’s sense of artistry; its visual style and the feeling of size and splendor that comes with it. I love how it’s subtle and simple with its messages and themes, being both layered and yet totally easy to get a grasp of. I love how it takes so many fantastical concepts and characters, yet makes them feel so real and so easy to empathize with. SO…why isn’t it in my Top 10? Simply put, if you look back on the criteria I named, it actually ranks the lowest on all counts. I don’t watch Beauty and the Beast that often, compared to the other three movies, and I don’t quote Beauty and the Beast that often (except for the songs). I’ve never really written for it and do not currently plan to (nor expect to), and of the four films in question, it’s the one I’d least like to play a part in…although, to clarify, I’d still love to be in it. Cogsworth and LeFou both sound like tons of fun to play…just saying. 0:) The countdown moves into my Top 10 tomorrow, with my 10th Favorite Disney Movie! HINT: It Never Gets Old.

#disney #disney 100 #disney 100 special #list #countdown #top 15 disney animated movies #fifteen days of disney magic #number 11 #beauty and the beast

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marciabrady · 1 year

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Outside of the 3 original princesses, do you have any Disney favorites? By that I mean favorite character, favorite vocal performance, favorite song, favorite movie, etc? (Apologies if you have answered these questions before.)

Yes, I have many, many, many! I'll also exclude The Little Mermaid, as the original four princess movies are equally my favorite but! For more broad answers:

Favorite character: since i always talk about female characters, i'll switch it up and do a male character! hercules is my entire heart

Favorite vocal performance: again i'm going to try to say something that isn't obvious but i think 'my own home' from jungle book is captivating and kathryn beaumont is a certified genius

Favorite song: i bring you a song from bambi makes my heart smile and is the essence of romance imo

Favorite movie: hmmm i like so many like fantasia, bambi...but perhaps fun and fancy free??? ichabod toad? i really don't know, i like so many

But also, just for general appreciation:

pinocchio is a BEACON of light and so fascinating. i love the rich european setting and the original colors- especially the use of red- and the blue fairy is genuinely captivating. i love the realistic characterizations and the artistry is unsurpassed imo

fantasia's fairies might be the peak of filmmaking for me and i love the inclusion of classical music.

dumbo is so heart warming and i love the emphasis on his mother even though it makes me cry and i think pink elephants on parade is a bop and i love the way they included it in fantasmic

bambi is GENIUS, as i mentioned above i love the song so much but i really just think it's the spirit of filmmaking and is so real and authentic and i think it'll survive as a film until the end of time

fun and fancy free has really great water animation and cloud scenes in the bear segment but also mickey and the beanstalk is so much fun from start to finish

melody time has once upon a wintertime, which makes it have merit as a film, and i looove frances langford's voice

the adventures of ichabod and mr. toad gave us katrina and brom bones and FOR THAT i salute this film. i love the music and the old american town and like the halloween influence and the mansion and just. everything so much about it. it really is like feeling the crisp autumn air. i love the miniature scale homes of the animals in the toad segment- it's so comforting

alice in wonderland. just everything about it

peter pan - where do i even begin. the music is a religious experience, marc davis's work on tinker bell's walk is LEGENDARY, but also i was sooo intrigued by the mermaids and their design as a child. it's the high point of the film for me. i love love LOVE kathryn beaumont's wendy and mrs. darling is so dear

lady and the tramp is a movie that's so cozy- i absolutely love the smalltown american vibes and the moment with the spaghetti is iconic for GOOD reason

101 dalmatians deserves to exist for anita and anita alone

sword in the stone is a film i loved as a child. madam mim was fun to me and she freaks me out now, though i do love her attractive form, ngl i kinda think kay is cute, and i LOVE archimedes and merlin is a top disney character for me

the aristocats ALL the female characters <333

robin hood gave us lady kluck is one of my top ten characters of all time. she gave us everything and she has yet to receive her flowers

winnie the pooh is cute

the rescuers has such an intriguing voice in miss bianca and, again, the miniature animal homes are comforting to me. i love how underground and gritty it feels

the black cauldron is an amazing experimental film that is sooo gorgeous

beauty and the beast is worth it for me because i love mrs. potts, i love the bimbettes, i think adam is intriguing, and gaston is a fav

pocahontas has one of the best soundtracks but also can we talk about NAKOMA

hercules maybe has top 5 art but also hercules as a character is someone i love so much it makes my heart physically hurt :(

mulan- i love the connections people make with her and shang being bi is pretty much is everything

princess and the frog gave us a wonderful design for tiana

#ask #wendyliddel #there are shorts too but that's a whole other thing to get into

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ericsonclan · 2 years

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I tried looking and couldn't find it on your posting, but a question I like to ask in the TWDG universe. What are some of the older Ericson kids' favorite Disney animated films? I know in the game the outbreak happened in the summer of 2003, but some of the older kids have watched animated films before then or at least remember them. The world simply didn't end when they were growing up prior to the outbreak. You can include it as an alternate universe too to include AJ, Tenn, and Willy if you want.

Ooo! We love this ask! Okay, here we go!!

Clementine: Lilo and Stitch, she liked the story and also secretly wished she could have an older sister like Nani.

Louis: Lady and the Tramp, he was really rooting for the main couple and he thought the spaghetti scene was the height of romance. He also likes Fantasia but that was more for the classical music.

Violet: The Rescuers and Mulan. She likes The Rescuers because she relates to the little girl and her rough home life situation and she loves Mulan because she's a badass and it's an awesome movie.

Marlon: The Lion King because he has a mane just like a lion he really likes Simba and the storyline.

Mitch: Treasure Planet, all the way baby! He adored that movie and relates to Jim Hawkins and he loved the space pirate adventure. He was really glad it came out right before the outbreak happened so he could hold onto those memories.

Brody: The Little Mermaid she loved that Ariel want to venture out and explore a new place and she also had a little bit of a crush on Prince Eric.

Aasim: Atlantis, he felt like it was an underrated film and absolutely loved the plot and discovery of an ancient lost city. He also had a crush on both Kida and Milo.

Ruby: Oliver and Company, she really likes following the story of all these cute animals and it stuck with her.

Omar: Cinderella, everyone is surprised when he tells them this but he really likes Cinderella as a character and how hard-working and kind she is. He remembers the few times he had seen the movie that he would always cheer her on.

Sophie: Tarzan, she loves everything about it, the art, the music, Tarzan and Jane. To her it's cinema perfection. She also likes the art of Fantasia but it's too slow for her to give her full attention to.

Minnie: Robin hood, a noble fox who steals from the rich and gives to the poor. She really liked Robin Hood's energy and the other characters too. It also was awesome to see Prince JOhn get taken down.

James: Pinocchio, he related to a boy who doesn't quite fit in and who always wanted to fit in regardless. James was always scared by the island that turned mischievous boys into donkeys

Tenn: Fantasia, he would sit in the music room and listen to Louis play the music while Sophie recalled the art. He loved hearing about it and would try his best to draw some of the scenes told to him.

Willy: The Lion King, he remembered hearing about it and absolutely loved it. Later on he would reenact scenes for the others after dinner. He also liked Treasure Planet too since Mitch made it sound like the coolest movie ever.

AJ: He likes Lilo and Stitch because Clem does but he also thought that Treasure Planet sounded awesome.

And also some of our ocs!

Prisha: She absolutely adores Beauty and the Beast, she watched it a lot before the outbreak and can recall most of the movie by heart.

Allison: She was too young to see any of them but she loves when her boyfriend, Willy, reenacts The Lion King. She listened to the movies that her moms liked too. She never got as invested in Beauty and the Beast as Prisha but each time she heard Violet talk about Mulan she loved it more and more. She really liked how Violet retold the movie and was sad that she never got a chance to see it in person.

Renata: Emperor's New Groove, baby! She loves the humor and the main duo of the movie. She finds Kronk and Yzma hilarious and damn, she wished she could find a copy to watch again sometime.

Thanks for the ask, it was fun!

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susandsnell · 8 months

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Coco!! 💕 hope you had something good to eat today, friend. Okay we know your thoughts (and thots) on hot vampire ladies, but where do u stand on werewolves/lycanthropy in horror as a vehicle for coming of age and queer actualization narratives? Do u have a top 5 transformation sequences in film? Any themes u think are particularly compelling or underexplored in that specific flavor of body horror?

Hi lovely!!! <3 I had some really nice corn on the cob at dinner, and it's just the right time of year for it, thankfully! I'm admittedly not as well-versed in werewolf/lycanthropy lore (just a matter of taste), but I think they're a very potent metaphor/vehicle for a lot of different experiences. The body as undergoing monstrous transformation is a classic puberty allegory, and as a creature that does not conform to the laws of man or beast, unrestrained after repression and yet forever in-between, sometimes unwilling and other times relieved to be seen, is very resonant with LGBT+ actualization narratives, among a lot of other things. That the werewolves are often unjustly hunted rather than nurtured is particularly poignant for me. As with any monster-as-human narrative, I can't help but note that this is a double-edged sword; there is baggage inherent in these allegories due to the dehumanization/animalistic comparisons for various marginalized groups, particularly in terms of race or sexuality/gender identity, though I recognize the space for reclamation here as I do with vampires. As well, there's always that nebulousness that exists between allowing yourself to embrace the imperfection and the anger and the totality of yourself, and what I refer to as the "X-Men Conundrum": wherein the metaphorical bigotry has in-universe justification because the fantastical creature poses a legitimate threat, whereas real-life forms of oppression operate frequently through deeming a group of people a threat in order to justify violence against, and exploitation of them. (Case in point: Disney' Zootopia, where they thought it was somehow a good idea to equate herbivore animals being frightened of carnivores to real-world racism, or The Breed, which went so far as to have vampires - not vegetarian ones, mind you! - as a stand-in for Jewish people during WWII. Like. Guys, think it through.) A skilful enough writer with enough compassion or lived experience can navigate this with the sensitivity and nuance it requires, but it's forever a challenge in my mind when it comes to writing monsters as the Other. I don't know that I have a top 5 werewolf transformation sequences, but off the top of my head, I really like the ones in An American Werewolf in London, Ginger Snaps, Trick r Treat, The Company of Wolves, and...does Fright Night count? Sort of? It's unclear if that's what happened to poor Evil Ed, but a wolf is involved! (I'm cheating by shoving vampires back in here...and my Fright Night bias, to boot!) For this specific flavour of body horror, the more visceral the better if it's in a visual medium. I want to see teeth falling out and being replaced, I want to understand the agony of suddenly sprouting fur and having it burst through your skin in clumps, and I want to hear the bones cracking as a body twists and contorts, abjection of what your own form does to you, perverse pride in what you become. Thematically, too; I want a battle between horror and joy, and perhaps it's the Cenobites talking, but I wonder if there can ever be happiness found in the pain of the transformation because that pain is experience, and that pain is the act of becoming. If you wanted to be topical about it you could even connect it to the ideas of Beauty Is Pain and what we subject ourselves to to fit certain standards, only in the inverse here for the monstrous and the grotesque yet the true.

Hope this answered your questions, and thanks for stretching my mind like this!!! Have a lovely one. <3

#what fantastic inbox stuff!!! love you guys #horror #werewolves

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spiderdreamer-blog · 1 year

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Disney DTV Sequel Capsule Reviews: Atlantis: Milo’s Return (2003) and 101 Dalmatians: Patch’s London Adventure (2003)

The legacy of the DTV sequel/TV spinoff era for Disney’s animated films is a fascinating question. In terms of the naysayers, it was seen as diluting the brand with cheap recycling of the characters and plots of the classic movies (this is also the current argument aimed at the live action remakes). On the positive end, fans who grew up with them cite expanded worldbuilding and stories with new, compelling characters as points in their favor. I’m somewhere in the middle: I think at their worst with films like The Little Mermaid II: Return to the Sea, The Hunchback of Notre Dame II, The Jungle Book 2, or The Fox and the Hound 2, the stories are lazy and inspired with dull characters that don’t further the narratives. (FATH2 also lands in the strange “midquel” territory, which tends to present structural and dramatic issues) But at their best, those positive elements do stand out: even with some janky animation here and there, the Aladdin sequels and series created a robust action-adventure universe, The Lion King 1 1/2 is a genuinely clever spin (I also have a fondness for the Timon and Pumbaa TV show in terms of unabashed cartoon shenanigans, and Simba’s Pride has some strong drama to it), An Extremely Goofy Movie is a very solid follow-up to its predecessor, while Cinderella III: A Twist in Time arguably improves on the original in terms of the character writing. So I find myself here today having watched a couple of them I hadn’t seen before and found them interesting enough to write about. Let’s dig in, shall we?

Atlantis: Milo’s Return

So the first interesting note here is that this technically isn’t actually a sequel film. Prior to the summer 2001 release of Atlantis: The Lost Empire, a follow-up TV series called Team Atlantis was developed by Disney TV animation stalwarts like Tad Stones, Victor Cook, and Greg Weisman. It got far enough into production that three episodes were fully completed. Then the bad news came from on high: Atlantis had underperformed at the box office (though not outright bombing in the way, say, Treasure Planet did) thanks to a certain green ogre dominating all he surveyed, so the series was cancelled. This is quite a shame, in my opinion. Atlantis is one of my favorite Disney films, especially from that weird experimental era where they were attempting to experiment and get away from the strict Broadway musical formula that had dominated the Disney Renaissance of the late 80s through the 90s. We had this, Treasure Planet, Tarzan, The Emperor’s New Groove, and Lilo & Stitch in a five year span (we also had Dinosaur, Brother Bear, and Home on the Range, so not all of them were GOOD experiments, though I like Range more than most). It has great characters, some of my favorite character animation in the canon, and is gorgeously realized in terms of the various blended aesthetics and filmmaking. But someone got the bright idea in their head to compile the completed episodes and add some bridging animation to see if they could make some money off it. Incidentally, this is not the first time this has happened: Belle’s Magical World is made up of three episodes of an abandoned Beauty and the Beast spinoff series, and the first of these, The Return of Jafar, was initially created as the pilot movie for the Aladdin TV series before Michael Eisner suggested the video release.

We pick up sometime after the events of the film. Kida (Cree Summer), now Queen of Atlantis, is pondering if she should end her late father’s isolationism and return the city to the surface. Before she and Milo (James Arnold Taylor picking up for Michael J. Fox, the only original cast member not to return since he was presumably too expensive for a series budget) can make that decision, friends like Whitmore (John Mahoney, though a few lines sound like Corey Burton ADR pick-ups), Mole (Burton), Vinnie (Don Novello), Sweet (Phil Morris), and Audrey (Jacqueline Obradors) drop in for a visit. It turns out weird shit is happening on the surface that may be related to lost Atlantean artifacts, so the group goes to investigate. This gets us into our three recycled episodes: the first involves a trip to a village near Trondheim, Norway that is besieged by a Kraken and the mysterious Volgud (Clancy Brown); the next takes them to Arizona and an encounter with dust coyotes; and the third involves a former competitor of Whitmore’s, Erik Hellstrom (W. Morgan Sheppard), who had a mental breakdown and now believes himself to be Odin, wishing to bring down Ragnarok on the world.

I admit to grading on some fairly generous curves here. The animation is a notable downgrade from the film in the level of detail and fluidity, though it’s better looking than other spinoff series like The Legend of Tarzan, which cannot remotely replicate the intricate designs of that source film on a TV budget. And while Taylor is a fine actor that replicates Fox’s nerdy exuberance well, it’s distracting that he sounds “off” when every other major character outside of Cookie (Steven Barr taking over for the late Jim Varney, who died prior to the film’s release) steps right into place like they never left. But in terms of an old-fashioned episodic adventure series, it’s actually pretty entertaining once we get underway.

One major point in its favor are that the characters are all on point writing wise (Sweet is forever my favorite thanks to Morris’ cheerful motor-mouth contrasting so well with his massive size), and it’s nice to see progression on things like Milo and Kida’s romantic relationship being low-key sweet or the obvious question she would have to answer in terms of Atlantis’ status. It’s also interesting to watch the stories progressively get better. The first one has some decent action and Lovecraftian atmosphere, but Volgud is a mostly periphery threat who could’ve been emphasized more; it feels like a waste of the always great Brown, who adds a Nordic chill to his bass tones. The second has more of a fun Western vibe, with a good sneering villain in the form of Thomas F. Wilson as Ashton Carnaby, shifting his Biff vibes into sleazy con man mode, and he gets a grimly karmic fate for his transgressions. A Native American spirit named Chakashi also has some interesting beats as a character, not revealing whether he’s friend or foe until the end, and I like Floyd Red Crow Westerman’s dry, foreboding performance. The third story is unquestionably the best. Sheppard (in an ironic bit of casting since he played the genuine article Odin in an episode of Weisman’s Gargoyles) is a commanding and charismatic presence as Hellstrom, who carries the action formidably. His recasting of Milo as the trickster god Loki and Kida as his daughter Brunhilde reminded me of how Batman: The Animated Series handled the character of Maxie Zeus: his delusions are so overpowering that they barely seem to inconvenience him. You even feel a slight touch of pity as he cries out for his Asgard at the end. It also has some fun lifts from Jack Kirby in how a frost giant and presumably Surtur are visualized.

All told, I think I had this quite a bit of potential as a series even with the noted flaws. Among the planned episodes were a crossover with Gargoyles called “The Last” that would’ve featured an unnamed Demona and one of the Canmore family’s Hunters, which got as far as recording and model sheets before the plug got pulled. I don’t know that it would’ve been groundbreaking, but we still could have had plenty of adventures with this crew, and maybe more continuations like a theatrical sequel. Hell, I’d be down for a revival Disney Plus series at this point. But this is all that remains of a curious, half-formed dream.

101 Dalmatians: Patch’s London Adventure

The original 101 Dalmatians is not what I’d call a four-star classic of the Disney canon, but it’s a solid B+ with a great 60s London vibe and one of the all-time classic villains in Cruella De Vil. She’s so iconic and funny that they half considered using her in The Rescuers (which IMO would’ve been a considerable improvement) and they had to get no less then the great Glenn Close to play her in the 90s live action remake. The massive success of said remake reignited interest in the property, with a spinoff TV series that melded elements of the original film and the remake, as well as a sequel to the live action film, 102 Dalmatians (the height of creativity, as you can see), and this sequel. I’d never seen it before, but found a good recommendation for it in a YouTube ranking of all the sequels, so I decided to check it out.

We pick up after the film as Roger and Anita Darling (Tim Bentnick and Jodi Benson, the latter managing a pretty good British accent to these Yankee ears) prepare to move their pound of puppies, as well as Pongo (Samuel West) and Perdita (Kath Soucie), to a farm in the country, their “dalmatian plantation”. One pup, the titular Patch (Bobby Lockwood), increasingly feels left out and not recognized for his own qualities. Naturally, he fawns over TV hero Thunderbolt (Barry Bostwick), who’ll be in town for a get-on-the-show-as-a-guest-star contest, and Patch seizes the opportunity when he’s accidentally left behind in the move. After Patch embarrasses himself at the contest, Thunderbolt’s sidekick, Lightning (Jason Alexander), informs the star that the producers are planning to kill him off and replace him with a younger dog, in a bid to make himself the star after stewing in his shadow. Thunderbolt then determines he should commit real acts of heroism to raise his profile and recruits Patch to help him when he realizes the fan remembers more about his own show than he does. Meanwhile, a disgraced Cruella (Susanne Blakeslee) meets strange artist Lars (Martin Short, going full-bore on the pretentious French artiste cliche) and is inspired by his spot-centric art, eventually getting a wonderful, awful idea to inspire him in turn...

The first, most obvious thing about this movie is that it looks great. Disney’s then-still-in-action Japanese unit replicates the Xerography look of the original quite well, giving it a fresh digital crispness in the process. Especially good are the backgrounds, which are a lovely callback to the modern, abstract cityscapes of London. They accompany this with their typical brand of fluid, snappy character animation that suits figures like the larger-than-life Thunderbolt and the extravagant Cruella. It feels like a channeling rather than a stale imitation, which is key to these projects. The acting is also very much on point, particular highlights including Lockwood being chirpy and likeable without becoming grating, Bostwick riding a good line of an egotistical jerk that you nonetheless care about, Alexander using his smarmy asshole routine to great effect, Blakeslee adding to her repertoire of recreating old-timey villains (she’s also a great Maleficent) by chewing every last scrap of scenery available, and Short managing a good two-step with a character who is at first deliberately annoying but undergoes a pleasantly surprising change.

“Pleasantly surprising” is a good way to put it overall. Like the original, it’s not groundbreaking, but it finds purchase in pursuing solid character dynamics. A dilemma like Patch’s is quite a fertile one, and they mine it well without going too far into bathos territory; notably, once it’s discovered that he’s missing, his family IMMEDIATELY leaps into action. The bond between him and Thunderbolt is nicely organic, with the star learning that his actions do have a positive impact even if they’re just “acting” in his mind. And while they have a slightly rote “liar revealed” moment when Lightning gleefully rubs it in that Thunderbolt was using Patch for his own benefit, the pup’s hurt is well-handled, and Thunderbolt actually owns up to it rather than make excuses, which assists his ultimate redemptive moments (he’d also already been feeling guilty and tried to admit it beforehand). Cruella is used in interesting ways too; even if she reverts to her old self to a degree, it’s fascinating to see her kind of broken down and in a real relationship. There’s also a few good chuckles out of the culture clash between the thoroughly American Thunderbolt and his British surrounding, such as a gag where he chastises drivers for being on the “wrong” side of the road. The only really tired/eye-rolling moment is a drag-disguise scene with henchmen Horace and Jasper that doesn’t really add anything a less elaborate, gendered disguise couldn’t have accomplished. I get that a lot of these old-school drag bits weren’t inherently malicious, but it’s always a bit jarring to go back (compare to, say, Bugs Bunny, who gives remarkably zero fucks in ways that are more palatable to modern lenses).

My ultimate conclusion here, I suppose, is that while hard work and talent do not always make up for weak premises and starting points, as many of these sequels evidenced, the fact remains that a lot of hardworking, talented people who cared about the craft did work on these. The law of averages demands that can come through even under mercenary circumstances and with less resources. I find myself glad I dipped into these waters again, thinking more fondly of the whole enterprise.

Except you, Little Mermaid II. You still suck.

#disney #disney dtv sequels #atlantis: the lost empire #atlantis: milo's return #101 dalmatians #101 dalmatians: patch's london adventure #media analysis #reviews

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adamwatchesmovies · 2 years

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The Pebble and the Penguin (1995)

With its “Who cares?” plot, dull characters, tedious pace, and unmemorable songs, The Pebble and the Penguin is a prime example of the very worst in children’s entertainment. I wish I could say that at least the animation was good, but for every sequence whose use of color is inspired, there’s another that highlights the ugly the character designs. I doubt even little children will bother to watch this all the way through.

Hubie (voiced by Martin Short) is a shy, romantic penguin who wants nothing more than to find the perfect pebble for his beloved Marina (Annie Golden). When “the evil penguin” Drake (Tim Curry) gets wind of Hubie’s intentions, he throws him out to sea. Meeting his new best friend, a rockhopper penguin who dreams of flying named Rocko (James Belushi), the two birds begin their trip back to Antarctica.

This film is as dull as my summary makes it sound. Often, I find myself unable to tell how much longer a good film will last because it breaks conventions, or I have no idea how the hero could triumph. I had no idea when The Pebble and the Penguin would end because nothing that happens ever matters. The plot centers around two frigid birds who want to mate. Even if you could scrounge together any excitement at this concept, the lovebirds share only one scene and have zero chemistry. For their union to be official, weenie Hubie has to find a fancy rock. If he had any brains in his skull, he’d hide it in his hat, or tie it around his neck using his scarf. Instead, he fumbles with it over and over, padding the film out to an interminable length. Meanwhile, the father of all one-dimensional villains schemes in his skull-shaped castle and brags about how evil he is. As for all of the other characters, you have a better chance of remembering what you had for breakfast 34 days ago than anything about them.

After Disney’s success with Beauty and the Beast, Don Bluth and Gary Goldman (who chose to go uncredited) aimed to make a film for preschoolers and the dating crowd. I can sort of see how that idea led to this travesty. Both films are romantic musicals and feature an unconventional romantic lead while a pompous, more traditionally handsome would-be suitor pursues the female. The lady, meanwhile, questions the rules of her world. In every other way, Pebble and the Penguin is the antithesis of the Disney classic. For one, none of the songs are memorable, or even necessary. The romance is unconvincing and adds nothing to the whole, but without it, the razor-thin plot would get blown away by a gentle breeze. The female lead is so useless she might as well have been a sandwich for the males to duel over.

Children won’t care about the romance. Adults will find this film - like many of Don Bluth’s others - to be juvenile, saccharine, and toothless. It kind of makes me mad. Talented illustrators and animators wasted their time bringing this useless story to life. Even worse, I had to sit down and watch it 22 years later! If you remember it fondly and think it might be fair entertainment for your children, watch it by yourself first. Time how long it takes for you to peek at your cellphone, or if that’s out of reach, grab a straight razor. I say ten minutes, tops. (On Blu-ray, September 17, 2017)

#The Pebble and the Penguin #movies #films #movie reviews #film reviews #Don Bluth #Gary Goldman #Rachel Koretsky #Steven Whitestone #Martin Short #James Belushi #Tim Curry #Annie Golden #1995 movies #1995 films #animated movies #animated films #penguins

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thenoodlenews · 8 days

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The Sets of Barbie, and Why it Deserved Better

I will be discussing the summer blockbuster Barbie and analyzing its production design. It draws inspiration from classic old Hollywood cinema, big budget glamor, childhood imagination, and so much pink. It’s a fantastic vision in plastic. In reality, it has so many elements combating for attention in the relatively short runtime that they don’t mesh together. The acting doesn’t hold up to the costumes, and the writing doesn’t stand out among its colorful world. Even the set design, while able to be praised in a certain point of view for its outstanding detail and reference to fifties Hollywood sets and dollhouse designs, only serves to highlight the lack of camp and emphasis in the actual film.

It’s a different direction for director Greta Gerwig and a massive shift for Barbie’s production designer Sarah Greenwood. Gerwig is most known for directing the hit drama film Ladybird and Little Women. Meanwhile Greenwood is also known for designing darker, more grounded films like Atonement and Disney’s live action Beauty and the Beast. In that way, Greenwood has previous experience translating a fictional animated concept to a gritter realistic take. Like Beauty and the Beast, it was well received by mass audiences but heavily criticized from hardcore fans and film buffs alike. While scores on Rotten Tomatoes seem favorable, their credibility has been put into question as of late. The scores on Letterboxd, a self proclaimed film fan site filled with serious fanatics, are less than favorable. Barbie’s case is similar, with favorable reviews across sites like Rotten Tomatoes and IMDB, and while its rating of 3.9 on Letterboxd is still good, the bad reviews are vicious.

For my two cents, I think the execution does not hold up to its potential. It disappoints me more than Margot Robbie’s incredibly average performance. The production design is the biggest perpetrator of this. The beginning of the film primarily holds us in Barbie’s world. It’s camp, colorful, high concept, and full of personality. But the further we go into the film, this personality feels emptier and shallower. The colorful world that serves as a character in its own right is revealed to be empty and lacking heart. We don’t even know where the Kens go. Details are forgotten in the name of dance parties and drama. Glittery outfits and the same feminist spiel we get from a first level women’s studies class. Some of this can be said to be done in the name of the film’s feminist message, with the lack of thought towards the Kens emphasizing their reduced positions and low importance in this world. The lack of detail in the Barbie's inner lives serves to emphasize the shallow flawed ideals they live by. The sets reflect these ideas perfectly, using the usage or nonusage of certain elements of typical set design to convey this. But that’s just one reading of the film. A less generous take would call it laziness.

Every home is pink, glittery, and missing walls and doors. They contain many false elements, like stickered backgrounds and plastic food. In an article on FastCompany by Nate Berg, we are told, “Greenwood and Spencer scaled down all the rooms by 23%”. As someone who owned Barbies myself, the dolls always felt too big for the rooms. The production design in Barbieland, more than anything, reflects the real toys used with the dolls, unless we are forgetting the film is also a big advertisement. The perfection and lack of wear on anything at all, from the furniture to the cars and clothing, reminds us they are somewhat fictional plastic people that we are seeing. They are self-proclaimed stereotypes of people and careers. They aren’t supposed to have flaws. Even the lack of detail in the backgrounds and the somewhat simple outer elements of the land reference backgrounds like Mount Rushmore in historic film North by Northwest, a staple of Hollywood in the forties and fifties.

When the film finally transitions into the real world, all of the magic is lost. Some of this is intentional, with the clear divide in the style of set and general design serving as a harsh cutoff between the two worlds. This is best shown in the transition between them: a montage of dollhouse-like sets, combined with cheesy Hollywood B-flick style props that perfectly expresses the campiness of Barbieland and the inspirations the film takes. This scene is everything the film touted itself to be, and if the whole movie was like this, I would have liked it much more. It was a mastery of set design dripping with talent and imagination. However this moment is quickly over as Barbie and Ken make it to the real city of Los Angeles.

There is nothing special about the urban cityscape or general design of the backgrounds for this section of the film, which actually comes rather quickly. We get to the meat of the central conflict very quickly, which in a movie filled with so many plot points, is a smart move. We have the most fun with set design in the real world when we get to the Mattel building, rightly so being the home of Barbie. Every office and boardroom is delightfully over-designed and filled with props and furniture that emphasizes the coldness of the running of Mattel, compared to its central message. The main boardroom with the heads of Mattel is central to this section of the film, with its grand design and enormous table making Barbie look small and all the other men in it besides Will Ferrell’s character look small and unified. They are meant to look like part of a group; an unknown mass of lackey’s that do what they’re told. This is expertly carried over when they continue to move as a group for the rest of the film. When Barbie rejects the choice they made for her, the ensuing chase takes us through the rest of the building. We pass an array of rooms that expertly reflect the cliche of sterile, lifeless, and uniform corporate offices. Rows and rows of identical cubicles, colder lighting, minimal props, and similarly dressed workers are seen. This allows the film to play more with things like movement, and they use this to their advantage to mimic classic musical choreography. The use of lines and symmetry in the cubicles and hallways makes Barbie stand out greatly in comparison to the uniform sets.

We are given another complete shift in production design when we enter the kitchen of a woman revealed to be Ruth Handler, the creator of Barbie herself in 1959. This is where the heart of the film lies, and it shows in the attention to detail and love given to Handler’s kitchen. As the effective ‘mother’ of Barbie, her home is made to look warm and inviting. It’s what you picture when you think of an elderly grandmother’s house, bathed in nostalgic golden light and anachronistic props. Every cup and dish rag was thought of, and while not an exact replica of Handler’s real home, accurately reflects what homes would have looked like. Although Handler wouldn’t have been that age in the fifties, the time period the kitchen is set in. This still works to show the otherworldly of the set, and tells us its a place removed from time and created from memories. With her table littered in fabric and designs, we are shown she is a creator, someone important before we know her true identity. Despite the lack of knowledge of her true name, we know that she is wise, who understands Barbie and holds power as a woman. She helps Barbie on her way, and we are left with a sense of a fading memory, a home we don’t know anymore.

When Barbie returns to Barbieland, it has been taken over by the Kens. The physical dollhouses the Barbies lived in have not changed, but the details have been reversed to reflect the false machismo that the Kens are trying to emulate. This is where the film gets incredibly divisive, relying on intense stereotypes and caricatures of what makes a mostly American man. Most of this is done in service of the idea of the inherent toxicity in America’s perception of manhood. Trucks, beer, eagles, sports, and mansplaining abound. However in the eyes of many, including myself, it was insensitively handled. It has a good heart, with an honest core message that is greatly misunderstood, largely because of its lack of tact in delivering that message. This is reflected in the set, with the Barbies' homes simply having their sequined pillows switched out for leather ones, their pink corvettes swapped for big trucks, and their fifties decor swapped for flatscreens and mini coolers; Everything one would expect from a frat house or typical man cave. It’s cliche and delivers the message too hard, so many came from the film thinking of it as anti men and toxically feminist. These views are best summarized in an article on The Los Angeles Times by Matt Pearce called ‘Commentary: Barbie Haters Misunderstand What It Takes to Be Kenough’. We are told that the film is too anti-men by many people, like alt-right commentators Ben Shapiro, film critic Kyle Smith, and conservative talking head Candance Owens. “All men suck” is what rings most loud and clear to those unaccustomed to modern feminist theory.

Despite this, that simply isn’t true. It never was. The movie is critical, harsh and unafraid to be mocking to make its point. The production design of the Kens world highlights the ridiculous nature of the characters they are embodying. Their clothes, their cars, and their homes look stupid because the idea of a man they are trying to be is stupid. In the end, the Kens find acceptance in themselves and revert to their classic colors and styles. However, for my part, they didn’t go far enough with the design. In a sense, the set design was lacking, so that it wasn’t obvious enough it was a joke. Because of that, the truth of the film's core message is swept away in favor of a typical girl power moment and matching jumpsuits.

After this, we see Handler again, and Barbie makes the final choice to become human. We get no significant production design moments, except the lack thereof in the moment that Barbie comes to life, the white void shows us she is in a world between worlds. The lack of set, with only glowing lights for company, pulls the focus entirely to our characters, and this final choice: Barbie has her moment, and the last set we see is a fancy-looking gynecologist's office.

My biggest gripe with Barbie in the end is that it didn’t do enough. It wasn’t feminist enough, spoon feeding us basics for the sake of mass audiences. It wasn’t campy, fun or exciting enough. The production design worked so well in several parts of the film, largely doing the heavy lifting for the film's tone and energy level. However there is so much potential that could have gone to more scenes like the expertly done ‘I’m Just Ken’ sequence. Eventually Barbieland gets old and the real world is mostly uninteresting. After the set's initial showing, the wow factor wears off and it becomes monotonous and unnoticeable. The expert work of Greenwood and everyone involved in production design deserved more of a chance to experiment and play in such a unique world with all its high concept ideas and exciting potential. The film as a whole disappointed me in its lack of oomph. The masses may adore it, but all I see is a movie that fell just that short of its massive potential.

#sofi writes #film criticizing

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saudisports · 2 months

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. Magic Mirrors in Literature and Popular Culture

Title: Magic Mirrors in Literature and Popular Culture

Introduction: Magic mirrors have enchanted readers and audiences for generations, appearing in various forms of literature and popular culture. From ancient myths and legends to modern novels and films, these mystical objects have captured the imagination and inspired countless stories. This article explores the diverse representations of magic mirrors in literature and popular culture.

Ancient Myths and Folklore: Magic mirrors have roots in ancient myths and folklore, where they are often depicted as powerful artifacts with supernatural abilities. In Greek mythology, the story of Narcissus revolves around a pool of water that reflects his own image, leading to his tragic demise. Similarly, in Norse mythology, the goddess Freyja possesses a magical mirror that reveals the true nature of things. These ancient tales laid the groundwork for the enduring fascination with magic mirrors in literature and popular culture.

Fairy Tales and Folklore: Magic mirrors are a common motif in fairy tales and folklore, where they often serve as plot devices or symbols of enchantment. In the classic tale of "Snow White," the wicked queen consults a magic mirror to affirm her status as the fairest in the land. The mirror's response sets off a chain of events that drive the narrative forward. Similarly, in "Beauty and the Beast," the enchanted rose serves as a magical mirror that reflects the Beast's true humanity.

Literary Works: Magic mirrors also feature prominently in various works of literature, from classic novels to contemporary fiction. In Lewis Carroll's "Through the Looking-Glass," Alice steps through a magic mirror into a fantastical world where logic and reality are inverted. The mirror serves as a portal to an alternate reality, inviting readers on a journey of imagination and discovery. Similarly, in Neil Gaiman's "Coraline," the titular character discovers a secret door in her house that leads to a parallel world controlled by a sinister Other Mother. The mirror becomes a symbol of duality and deception, reflecting the protagonist's inner fears and desires.

Popular Culture: Magic mirrors continue to captivate audiences in popular culture, appearing in films, television shows, and video games. In Disney's animated classic "Snow White and the Seven Dwarfs," the magic mirror is brought to life as a mysterious, disembodied voice that delivers the queen's fateful question. In the Harry Potter series, the Mirror of Erised shows individuals their deepest desires, serving as a mirror of truth and temptation.

Conclusion: Magic mirrors hold a special place in literature and popular culture, serving as symbols of mystery, enchantment, and self-reflection. Whether they appear in ancient myths, fairy tales, classic novels, or modern media, magic mirrors continue to fascinate and inspire audiences with their timeless allure and supernatural allure.

source:

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qu-film-history-to-1968 · 8 months

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The reputation of Disney's Hercules (Franco Morgante)

When it comes to the question of which film is the best out of the entire Walt Disney catalog. One film that rarely comes up is 1997’s Hercules. While it is widely considered to be a good film amongst moviegoers, it isn’t seen as anything revolutionary and at most people will say it is underrated. However, it's always been a personal favorite Disney film of mine, and after rewatching it there were a lot of small elements of it that I appreciated more as an adult. For one I liked how that the animation style felt distinct from the other Disney films at the time. I feel like the expressions of all the characters are wackier and more off model than the typical Disney film. The tone of the film is more lighthearted and comedic than say The Lion King. Which allows for some truly funny reactions from the characters. Also, with my greater understanding of Greek mythology I was able to pick up on the subtler jokes, like when Hercules references seeing a play about Oedipus. It made me smile seeing that this film was still able to make me laugh even after all these years.

But despite my great enjoyment of this film, the critical reception of this film was less enthusiastic. For example, Reelviews said, “Walt Disney Pictures' 35th animated feature makes for good family entertainment. Good, not great. While this film is capable of providing a ninety minute diversion for both kids and adults, it's a far cry from such recent classics as The Little Mermaid, Beauty and the Beast, and Aladdin.” (Berardinelli). Another review from the Miami Herald said, “Unlike The Lion King or Beauty and the Beast, Hercules never feels like more than what it is: A zippy, energetic cartoon” (Rodriguez). These two reviews show what the general reaction to this film was at the time. While the film is good, it is just another Disney film. I think this lack of enthusiasm comes from two reasons. The first is that around this time the quality of Disney’s films were becoming more inconsistent. Pocahontas released to a mostly negative reception and while The Hunchback of Notre Dame was received more positively it didn’t come close to reaching the popularity of say The Lion King. People started becoming tired of Disney, so Hercules suffered as a result. Another reason could be the rise of CGI animated films. Two years prior to Hercules’s release, Toy Story took the film industry by storm by being the first computer generated animated films. Suddenly there was big interest in this new kind of film making. Thus, leading to a general lack of interest in traditional animated films at the time.

I wasn’t born in the 90’s so I didn’t get to see Hercules when it came out. So, when I watched it, I was removed from the context of the time. I thought it was one of the most enjoyable Disney films, but at the time people didn’t think much of it. This shows how understanding the context of the time can affect the legacy of a film. After doing some research I can understand why this film has its reputation. Even after rewatching Hercules recently I do realize that objectively this film isn’t anything spectacular, but it still remains a favorite of mine.

Sources:

Berardinelli, James. “Hercules.” Reelviews Movie Reviews, 20 June 1997, www.reelviews.net/reelviews/hercules.

Lacey, Liam. “Hercules.” The Globe and Mail, 27 June 1997, www.metacritic.com/movie/hercules-1997/critic-reviews.

#submission

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xcarveoutmyheart · 10 months

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What's your favorite movie? -🧁Anon

Difficult question! I have quite a few across a lot of genres, mainly animated films, horror, romance, among others, but I think I’ll focus on specifically Disney movies to at least keep this concise and sort of together hehe. I love a LOT of Disney movies, especially the classics, so this is gonna be a bit of a difficult question to answer.

The Hunchback of Notredame, The Little Mermaid, Beauty and the Beast, Hercules, Sleeping Beauty, Tangled, and The Lion King take the cake for most rewatched on my end. I just love them so much??? I relate with a lot of Disney protagonists, but especially the protagonists in at the very least MOST of these. Especially Quasi, Ariel, Belle, Rapunzel, and Herc! We have… similar experiences? Motives? Difficult to really explain in detail hehe. Aurora is also someone I identify with but for different reasons in comparison to the previous four (mainly sleeping habits honestly, but to the extreme.)

The Lion King was my first favorite though, and is one I hold close to my heart, so I think I can say that one is my favorite movie?

They also have like, the best villains by the way. Another thing I’m honestly so in love with when it comes to these movies. Scar is my favorite in this regard, if you’re curious. Also??? The music??? Hello??? Bangers, all of the songs are bangers.

Special mentions: Cinderella (but specifically Cinderella III, but the other two are okay also), Alice in Wonderland, The Jungle Book, Aladdin, and 101 Dalmatians.

Some non-Disney movies in the tag ig~ What movies do you like? :)

#I just love Disney movies #But unfortunately the big mouse has been disappointing me recently with a lot of these remakes #only Cinderella with Aladdin and The Little Mermaid really slap #also the Jungle Book #I love these movies #more movies besides these?#Sinister and the Scream Franchise for Horror #But specifically Scream 1-3 only they lost me on the 4th one #I love JO but the recent movies are so predictable #Sinister’s a classic though but only the first movie #For romance I grew up a John Green girlie so The Fault In Our Stars #I still cry when I watch that movie #I also like a lot of local romance films that I might talk about at a later date hehe #Also… dystopia #unfortunately #Hunger Games my beloved #I watch all the movies religiously #I’ve read the trilogy #I love them your honor #Maze Runner also took over my life and so did Divergent #Most weren’t really faithful to the books #but it’s okay I can forgive these ones #also ghibli!! and also anime films #but again I said I was gonna keep this concise hehe #also I’m so sorry I just end up talking??? a lot when it comes to stuff I like #but thank you for the ask!! hope it wasn’t too much of a long read #🧁 anon~#~xox

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ramshackledtrickster · 3 years

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Oh you have opened quite the can of worms my friend! 😈 I have approximately 450667 questions for you! 1. Does Sal become more or less of a hopeless romantic after his mutation? 2. How would he react if his s/o came upon him after the transformation? And lastly, 3. Thoughts on Beauty and the Beast before and after? (I have a hyperfixation and it's the worst)

Oo ok let’s get cracking!!

Long text post under the cut!

1. Yes he does- but not just hopelessly longing for romance either. He starts missing and romanticizing just… everything. Wishing he could walk around in daylight like anyone else in the street, to be greeted by people, to go buy things and bring them home- all of it feels so much more foreign to him. Romance, while being a notable thing he longs for, is probably just one among many ‘normals’ he sees in his movies he wishes he could do. And all the while, mutated Moreau doesn’t even remember where this yearning had stemmed from either (pre-cadou Moreau’s want to mesh better socially with other people but feeling unable to do so and isolating himself until he feels ‘ready’ enough). In the end, he was never ready and probably never would have been ready, so he’s just hopelessly fantasizing whatever he watches on his TV, romance or not.

2. This is tricky since throughout his transformation, his mind and memory deteriorates as well. So while he is still ‘himself’, he probably would be too ashamed and shut himself away from any prying eyes, the significant other’s included. But if we’re adhering to your specific question, Moreau probably would be startled and back away and hide himself because he doesn’t want ANYONE seeing him, especially if it’s what he deems to be a stranger. So yeah- he wouldn’t even recognize or remember his s/o at all. Just be ashamed that anyone has to look at Mother Miranda’s Abomination.

3. (Totally valid!! I used to hyperfixate on that movie too!!) Pre-cadou Moreau is more partial to Jean Cocteau’s 1946 classic adaptation, La Belle et La Bete (he likes his movies more,, classical). He loves the romanticism and the gothic atmosphere, and in general it’s just great fantasy drama. But if push comes to shove and he watches the Disney adaptation (I’m imagining the hand drawn one in particular), I think there’s a lot he can pick that he enjoys from this adaptation. He’s not really into animated media (if he is, he’d probably lean more towards stop motion anyways), but he can really respect and admire the artistry behind making everyone feel so real. He loves the tense, dramatic scenes most- and the score is probably his favorite aspect of the film. His least favorites would probably bc the talking inanimate objects, but he’s willing to bear through those to get to the parts he enjoys (plus it’s entertaining at least). But y know, for him its more of a rare rewatch when he already has such a perfect version with the 1946 one. Now, post mutated Moreau? Still probably prefers the 1946 adaptation honestly (still a classics man), but he’s more charitable towards the animated version and enjoys it more. Now though, he’s more drawn to the animation for its appeal and escapism, through the clear expressions and gestures, and the changes of color throughout the movie that matches the atmospheres to a tee. Everything is clear, and there are no muddled messages conveyed, both through the writing and visually. He needs a little bit of a tidy-bow in his messy life. He likes the comedic and levity moments a lot more now too, probably because he’s already so god damn miserable. He’ll take anything that can lessen his woes a little bit. Plus the castle itself reminds him of Alcina’s place, and he probably wishes he can go there to examine it better without getting kicked out by Alcina or her daughters.

I hope that answered your questions!!

#salvatore moreau #human salvatore moreau #resident evil village #resident evil 8 #resident evil #headcanons #text post

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disneylanddilettante · 3 years

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The Disney Renaissance Killed the Disneyland Star

This post has been brewing and stewing in my brain for some time.

We here in the Disney theme park fandom are prone to lament the modern attraction design philosophy that says everything must be based on a movie. Aside from spectacularly clueless comments about “a random mountain in India or whatever” and misuse of the term “barrier to entry,” the reason behind it seems to boil down to: That’s what guests want. On the one hand, this is very clearly an excuse to do what Marketing wants (because film IPs are proprietary in a way that broad concepts are not, and can be merchandised accordingly), but on the other hand…it seems to be…kind of…true? The vast majority of the public, in my experience, does think of Disneyland (which I am going to use as synecdoche for all Disney parks, because it’s the one I grew up with, it’s easy to say, and because I can) as a place where you see Disney characters walking around as if they were real, and go on rides based on Disney movies, and anything else there is just to, idk, fill space until they can think of a cool movie makeover for it.

I have spoken to people online who quite enjoy Disneyland, but also think the Enchanted Tiki Room should become a Moana attraction, Tom Sawyer Island should be something to do with The Princess and the Frog, and the Matterhorn should be turned into Frozen. When I challenged them as to why, they didn’t seem to understand the question—what did I mean, “why?” Isn’t it self-evident? A couple years ago, one of the Super Carlin Brothers (I don’t remember which one; anyway I couldn’t tell them apart if you put a gun to my head) made a video expressing bafflement over the use of Figment as a mascot in Epcot because “He’s not from anything.” As if a ride in that very parkwere nothing.

So there is something to the assertion that film IP tie-ins are what regular guests expect and want. But the question remains as to why they want that—after all, it didn’t used to be that way. Costumed characters and rides based on movies have always been part of Disneyland, of course, but in past decades, the most elaborate and promoted attractions were the ones based on unique concepts that had nothing to do with the movies. The reasons to love Disneyland were things like the Haunted Mansion and the Mark Twain and Space Mountain…not so much the chance to meet Mickey Mouse. So what gave the public the idea that it was all about movies and characters? I’m sure there are several reasons, but I’m going to focus on one that I don’t see brought up that often.

I’m going to blame the Disney Renaissance.

Let me give you some personal background. I’m a young Gen-Xer, born in 1977. I was a child of the 80s…and in the 80s, Disney wasn’t doing so hot. Feature Animation had dropped to a cinematic release about once every four years, the live-action division was even less productive, and the corporate raiders were pawing at the door. In those days, when I saw a Disney movie in theaters, probably four times out of five it was a re-release of an older classic. (Anyone else remember when that was a thing?) There wasn’t much new at Disneyland either. The biggest thing to happen in the first half of the decade was the remodel of Fantasyland, which added one new ride—based on Pinocchio, a 43-year-old film—and otherwise just rearranged and refined what had always been there. On the other hand, the big Imagineering projects of the 60s and 70s were mostly still going strong.

The upshot is that if you were a Disney fan in those days (there weren’t many of us, even in my age cohort), you were a fan of the older movies and/or the parks. And for all its genuine quality, that stuff was showing its age. It was made in decades past, and there was a corniness and a quaintness to much of it. Most of the kids my age considered Disney “baby stuff” and were eager to put it behind them. It seems to have been a widespread phenomenon, because I don’t remember the park being very crowded when I was a young kid. Queues for even the roller coasters tended to top out around 45 minutes and it was very rare that we didn’t have time to do everything we wanted on a given visit.

And then, the year I turned 12—the year my age bracket hit puberty and could definitively be said to have outgrown cartoons altogether (except for the weirdos like me)—The Little Mermaid hit theaters.

Two years later, we got Beauty and the Beast.

And the hits kept coming. Suddenly, Disney was the hottest thing in entertainment again. Not just kids—by this time the generation that would come to be known as Millennials—but their parents watched these movies and went wow, this is really good. Disney is better than I thought. Maybe we should rent some of those older movies that I remember from when I was a kid. Maybe we should go to Disneyland… Unlike in the past, when families went to Disneyland because it was advertised and known as a family destination, families went to Disneyland because the kids were going gaga over the new Disney movies and the parents wanted to make them happy.

So a whole new generation of fans flocked to the parks, most probably never having been before, or not recently. They didn’t know what to expect. They just knew they loved these new movies with their endearing lead characters (so much more full of personality than Snow White or Alice or Pinocchio) and their big bombastic Broadway-style musical numbers (so much more in line with current musical tastes than the Tin Pan Alley ditties from Cinderella or Peter Pan or The Jungle Book). That’s what they wanted from Disney, whether they were paying six bucks a head plus popcorn, or fifty bucks a head plus lodging.

And that would have been fine but for the fact that endearing characters and big bombastic musical numbers are really hard to build traditional dark rides around. What you can do, though, for people who want to meet their favorite characters, is build dedicated character meet-and-greet spots. What you can do for people who want to sing along with Academy Award-winning songs is create huge colorful parades and stage shows that feature those songs. Best of all, if you are certain people who shall go unnamed, these sorts of things are much cheaper to create and operate than rides. Corporate was more than happy to meet, rather than try to exceed, the expectations of this new wave of fans.

The newer guests got used to seeing more-or-less verbatim (condensed) film content in the form of these shows and parades. The classic dark rides began to look decidedly odd to them—why are the movie events out of order? Why doesn’t the main character show up more? Why don’t we get to hear all the songs? And no one was there to explain it to them, because the older generations of fans had largely drifted away and the internet wasn’t quite a household staple yet. Rides that weren’t even based on a movie seemed even odder—what does a Wild West roller coaster have to do with Disney? What does a submarine ride have to do with Disney? I thought this park was supposed to be for kids, but my kids don’t recognize this stuff! They should build a Lion King ride! They should build a Toy Story ride! That Snow White ride isn’t suitable for kids; they should do something about that! I didn’t pay all this money to stand in line for an hour and a half and go on a ride that my kids don’t get!

The pattern was set. IP tie-ins were what the people wanted, and they closer they hewed to their source material, the more guest approval they got, simply because people didn’t know any different. And it has snowballed from there. The Disney Renaissance was amazing for the art of animation, but I think it was a net negative for the art of theme parks.

Tl;dr The Disney Renaissance changed guest expectations for Disney entertainment products in ways that were incompatible with classic Imagineering principles.

#disneyland #disney theme parks #walt disney world #disney #disney renaissance #theme parks

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