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#disney remakes
dareduffie · 4 months
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when will people learn that live-action remakes will never be good as their original animated counterparts because the glory of animation is the colour, movement, and fantasy that's just untranslateable to live-action
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ellllsia · 4 months
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Isn't it ironic how Ever after high, a show adamant on promoting the idea of creating new stories instead of retelling the same ones, was shut down by Disney, a studio that's obsessed with remakes and retelling the same stories ?
Don't mind me. Just venting for the millionth time about a cartoon that didn't get an ending and was basically murdered.🥺🥺
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jewishicequeen · 10 months
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Ever After High is a show that talks, among other things, about how instead of telling the same stories over and over again we should create new stories, and was killed by a studio insisting on telling the same stories over and over again. In this essay I will-
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hey guys i just woke up at like 3:00am with an impending sense of dread and like. i'm in the camp of people who fucking hated the 2015 cinderella even tho i know a lot of people do like it but hot fucking damn can you IMAGINE how bad it would be if disney made it now instead of 2015 it would suck soooo much
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suzannahnatters · 7 months
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A while back I realised that there's one specific fictional thing that is catnip to me, and that is vulnerability. People accuse me of liking dire things in stories, but it's not so much that I love it when fictional people are suffering. It's that I kind of crave vulnerability in my protagonists.
I would define vulnerability as the opposite of agency. At its core, it involves a denial or a willing sacrifice of agency, and while writers talk about agency a lot, I don't think we spend anywhere near enough time discussing vulnerability.
Vulnerability is incredibly powerful in building empathy with a character, but it also forces the character into dire choices that reveal their true nature, and it makes the antagonistic forces seem a lot more powerful and scary. Vulnerability is why whump is appealing. It's one of the reasons we all care so much about out good fried Jonathan Harker, utterly at Dracula's mercy. It's why the myth of the voluntarily dying god is so powerful, even if you aren't a Christian.
More recently, I've been thinking a whole lot about how important vulnerability is in constructing a believable romance. In a believable romance, the characters will be emotionally vulnerable to, and on behalf of, one another. The "if you dare touch her" trope where the love interest comes unhinged at the sight of a loved one's suffering is vulnerability. Enemies to lovers is delicious because it asks what might happen if the person to whom you're most vulnerable was also the one with the greatest interest in exploiting that vulnerability. As I've written before, romance is about trust; and the corollary is that no romance can live without that heartstopping moment when one character takes the risk of putting themselves helplessly into the power of the other.
But I think that a lot of storytellers these days are prioritising agency at the cost of vulnerability. Disney's attempts at feminism are a great example of this. While the animated MULAN is outed as a woman in a moment of vulnerability that was the most powerful thing in the movie for me, in the live action Mulan's unmasking becomes a expression of agency that in my opinion guts the story of feeling. On the other hand, in the cdrama I'm currently watching (GOODBYE, MY PRINCESS) the male lead is SO averse to letting himself be vulnerable in any way at all that I simply can't find any romance in his interactions with the heroine. I love to see stories that foreground marginalised people, but too often those stories focus on giving the protagonist agency at the cost of letting the antagonist land any hits at all. The result, imo, is a perfectly soulless story.
Of course, agency is a sine qua non of a good protagonist. But so is vulnerability, and there are so many amazing stories you can write about a vulnerable protagonist. W R Gingell's CITY BETWEEN series, for instance, is the story of a desperately vulnerable protagonist fighting to claim some agency in her own life and it's GLORIOUS. And beyond that, I would say that moments of vulnerability are indispensable even to very strong protagonists. One of the reasons FULLMETAL ALCHEMIST worked so gorgeously as a story for me, for instance, was the gutpunch moments of vulnerability that happened both at the very start and then with increasing tempo toward the end.
Vulnerability can be something a protagonist constantly struggles with, or something that unexpectedly blindsides someone who seemed to be invincible, or something a character does willingly for the sake of the people they love. It can be romantic, or not at all. But either way it's the interplay of agency and vulnerability that really MAKES a story for me. You HAVE to have both.
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callimara · 7 months
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You know, if they made the Snow White remake a cottage core cooking movie where Snow White opens a cute little tavern I would’ve been all over it
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brattylikestoeat · 11 months
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missamerican-pie · 10 months
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chaosandstardust · 23 days
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What? The cartoon to live action cash grab created to capitalize on your nostalgia is LAZY and BAD? Who could've seen that coming??? No WAY!!
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ami-igidk · 2 years
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I want to know what possessed Disney to release all of these at the same time
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bluebird167 · 2 years
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Forget the Disney Live Action Remakes. They should just record the Broadway Shows and make them available for purchase or on Disney Plus. Who’s with me?
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littletofuna · 10 months
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i figured out what the formula to a great disney princess live action remakes; the chemistry.  because i believe ella and kit are in love when i watched cinderella. i believe ariel and eric are in love when i watched the little mermaid. and the end of their movies, im so happy to know they’re together after all those hardships they went through. the actors’ chemistry are off the chart for those two movies so in the next remakes, they better find those who can act in love and actually believeable at it
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redmrmcid · 9 months
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the little mermaid (2023)
eric is so speechless when he says “written in the stars” after figuring out ariel’s name because the consolation stars he’s used to navigate through the world, have been her. navigating him straight to HER. ariel.
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sarahhillips · 9 months
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Jasmines just like bitch you better be joking
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WORST Disney Reboot Bracket!
just kidding there is no bracket, despite how much I hate all of these movies it is only down to these two
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yen-sids-tournament · 28 days
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101 Dalmatians: Animated (1961) v Live Action (1996)
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You do not have to see both to vote, but it might have been helpful.
Feel free to share opinions or explanations with comments/tags/rbs
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