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sunshine-theseus · 7 months

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Angel In Disguise | Esme Morgan x Reader

Word count: 2k

Summary: life’s hard when all your students prefer your footballer partner over you.

Warnings: fluff, children? idk how the English school timeline works and the Australian one doesn’t match up with the story so I’m just saying school starts in like September and ends in late May??

Request for: @wlwskyy i hope this is good! it's probably not as good as I hoped but i'm still pretty happy with it

Being a primary school teacher was hard. Trying to help students who struggle with the content while also helping others progress. Being strict while also wanting to be fun. My biggest struggle though, was a very me specific one.

Esme Morgan loves to visit me or help me out at school from time to time, and just like everyone else she meets, the kids fall in love with her. From the first time they meet her, they’re begging me to bring her back.

“Ms L/n it’s so cool you’re dating a footballer! Can you bring her back tomorrow? And the day after that and the day after that one until forever?” and once they realise that she actually has her own job to do, they beg I bring her in at least once a term.

It was my first year teaching after university, the first time she’d come to work, and it had been a complete surprise.

After she broke her leg in 2021, Esme struggled to fill her time. She’d made about 27 bracelets in the first 3 days, then tried to bake a little, although it went rather poorly. She then watched all the original Disney movies in release order. I think she got to Mulan II before she decided enough was enough.

I was in the middle of teaching the times tables when there was a light knock on the door. I could see her cheeky smile through the small pane of glass and rushed to open it for her. Esme stumbles through the door, her moon boot and crutches making it difficult for her to fit through the rather narrow frame.

She pecks me on the lips and the room erupts in childish giggles. Romantic affection was something so foreign to 8 and 9 year olds.

“Es… what are you doing here?” I whisper as I pull a chair for her sit on.

“I got bored, and I miss yoouu.” She smiles up at me and I can’t help but smile back.

“Oh! And I brought gifts for the kiddos!” she holds out a paper bag and I peak inside.

My heart melts at the pile of hand-crafted bracelets, ranging in colour and design, that fill a significant proportion of the bag.

She spent the rest of the day surrounded by my class. Eventually I had to stop teaching because they were so in love with this angelic limping figure who brough them friendship bracelets. I don’t think Esme prepared for them all to assume she was every single one of their best friends.

~~~~~

It was nearly Christmas break when she first met my class for this year, and everyone knew who she was. For the first time, I didn’t have to introduce her or tell them what she does for them to get hyped.

“I WATCHED YOU IN THAT FOOTBALL THING” and other similar phrases are shouted many times when she enters the room.

When I looked at her it was hard not to smile. She was playing and talking with kids and giving them all little bracelets, just like she does every year.

As she was crouched in front of a small group who were excitedly asking her questions, Marley, a rather shy and quiet girl, walked up to Esme and lightly tapped her shoulder. She fiddles with her fingers and avoids looking at anyone as she waits.

“Excuse me Mrs Esme?” Esme is already smiling when she turns to look at Marley.

“Hey kiddo!”

“Um you’re my favourite player of all time. I watch all your games and wanna grow up and play just like you.” And Esme’s smile grew bigger, something I wasn’t sure was possible.

“That’s so cool! Can I give you a hug?” Marley nods and giggles into the embrace, and then they begin to talk about Marley’s interest in football and Esme’s work.

I’d been struggling to get her to talk for 2 months, and Es came in and got her to talk within minutes, but I can’t stop staring lovingly at the angel of a woman in front of me. There was a part of myself I saw in Marley. I’d struggled to be very open for a long time until I met Esme. She just had this gentle, caring nature that was hard to ignore.

Marley misses her the most between visits. They’d made a secret handshake and love to chat and giggle on the oval at lunch, kicking the ball around.

In between visits Esme and Marley both interchangeably would give me something to give the other; a bracelet or a packet of lollies or a flower they found randomly. It was so hard for me to not burst from how cute their friendship was.

It had changed Es as well. Obviously, she has always been welcoming and warm-hearted but she’d become more confident about her play and sometimes I would catch her bragging to her teammates.

“I’m Marley’s favourite player!” it took them a while to realise who Marley was, but they found it adorable.

We’re in our last week for the school year, just in time for Esme to make one more surprise appearance before she has leave for camp for the France Olympics. I’d told the kids she wasn’t sure if she would have time to make it between finishing up the season and preparing for the Olympics, but that didn’t stop them from begging me to bring her in.

It’s the last day, everyone already buzzing for their long holiday, and admittedly from the lollies I gave them. I always try to make the last day super fun, activities and music and a surprise guest.

By midday I’d already had to apologise that Esme couldn’t make it. 17 times and counting.

And by 1, there was a knock on the door. A knock the kids were all too familiar with, and Esme rushes into the room, kids swarming her from all angles.

“Hey kiddos!”

“Hey pretty lady” she turns to me and kisses me quickly. Gags and loud ‘ewww!’s echo out.

Marley waits patiently with a small bag in her hand, still considerably shy. Esme wastes no time in getting to the young girl, with a similar bag in hand.

“Hey Mar! I got you a little something.” Esme hands the bag over, and everyone watches carefully as she pulls out whatever lays inside.

I see the familiar light blue peak out, and recognise the jersey design I sport most weekends. The present is clear when Marley starts jumping up and down in excitement.

“It’s one of my spares so don’t tell Gareth, ok? I got all the girls to sign it.” Marley is wrapped around Esme before she can finish the sentence.

“Thank you!” she scrambles to put her bag in Esme’s hands before tugging the shirt over her head.

I nearly scream when I see Esme pull out a black and purple jersey, colours I know from all the pictures Marley shows me of her games, usually with a trophy in her hands. Her last name and the number 14 adorn the back with a tiny ‘Marley’ in black sharpie on the ‘1’.

“Oh my god Marley this is so cool! I’m going to keep this forever. In a few years time I’m going to see you playing for England and know I got the first ever Marley jersey and signature. And of course you’ll play for Manchester City yeah?” the little girl eagerly nods her head.

The day goes on and the kids go home for the last time. Esme leaves after an hour of helping me pack up the classroom, to start dinner and I don’t finish until 5:30.

By the time I pull into the driveway, I’m exhausted, but satisfied with my work for the year.

I leave most of my gear in the car to unpack another day and walk to the door. I struggle to open it for a moment but when I do, I’m hit by the smell of my favourite meal cooking and the sound of Esme singing, albeit not well.

I drag my feet into the kitchen and wrap my arms around my wife, kissing her back as I just rest against her.

“Hello my love.”

“Hey sunshine.” I pause for a moment.

“You’re so good with kids.” She hums as she turns the stove off.

“And you helped Marley so much.”

“She’s a good kid, it’s hard not to like her.” I pull away and reach up to kiss her on the cheek before looking for the small gift bag.

“What are you doing?” Esme questions as she begins to plate to the food

“Well we have to measure Marley’s shirt for a frame so we can hang it up don’t we? I want to be able to boast to the world in like 8 years time about how I taught her and how we have her first ever signature.” I poke her in the side as I grab my plate.

“Well how about we do that tomorrow? I just want to cuddle with you tonight before we have to pack and get ready for camp.” I let out a loud groan.

“I can’t believe you’re taking me to France, and we’ll barely be able to do any of that gross romantic shit together.” Esme smiles down at me, regret floating behind her eyes.

“I’m sorry.”

“Noo I’m so excited I just think they’re cruel for making players do their job or whatever.” I jokingly roll my eyes before I lean back into her on the couch, both our plates sat in our laps.

“I promise to take you to that restaurant on the top of the Eiffel Tower before we leave.” She kisses my forehead.

~~~~~

“This is light work for the defender, tapping the ball passed Courtney Nevin and chipping it passed the Australian goalkeeper! IT’S A GOAL FOR ENGLAND AND THEY FIND AN EQUALISER IN THE OLYMPIC FINALS!”

I cheer at the goal with the rest of the stadium, hugging the small girl next to me as she bounces in excitement.

“Did you see that mumma? She scored! Mar Mar scored!” Reese shouts over everyone else.

“I did! It was amazing, wasn’t it?”

When the game ends, I pick Reese up and we rush down to the pitch with the other family members, celebrating as we make our way. It takes us a few minutes to spot the players we’re looking for but when Reese points them out, I put her down and she runs toward them without a single thought.

“Congratulations!” I pull Esme into a kiss before turning to Marley. The 16-year-old smiled brightly at me before hugging me tightly.

“Your goal was fucking phenomenal Marley! They should make you a striker.”

“But then she wouldn’t be just like her favourite player” Esme buts in, our daughter falling asleep on her hip. We all laugh and continue to talk with the other girls and celebrate until we decide to head back to the hotel to put Reese to bed.

“I’m so proud of how far you’ve come you know?” I pull Marley into my side as we wait for the elevator.

“From ‘shy little 8 year old who refused to talk to her teacher’ to ‘number 14; defender and debut scorer for her country at the 2032 Olympics at 16 years old’.”

“And one of the youngest and best signings for Man City!” Esme chimes in

“Thank you for always believing in me.”

After we say goodnight to Marley and make sure Reese is definitely asleep, I climb into bed with Esme.

“You’re so amazing.” I stare at her. Sometimes I don’t understand how I was blessed with such a kind-hearted, gentle woman.

“I try.” We break out in giggles and I slap her lightly on the shoulder.

“I’m serious.”

“So am I.” we don’t say anything else.

She kisses me hard before I rest my head on her chest, her arm wrapping around me as we fall asleep. She’s my angel in disguise.

#woso x reader #woso #wwc 2023 #olympics 2024 #esme morgan #esme morgan x reader #womens soccer

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jq37 · 7 months

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Seeing you describe your opinion on Wish (the movie itself) as "def do have oh boy" just has me curious now. What is it?

OK, so I let this sit in my inbox for a while because I planned to see Wish and I figured that it would be more fair to wait until I had a full picture of what the movie was before I started talking about it and...yeahhhhhhh having seen it my opinion has not changed. It's just intensified.

MAJOR SPOILERS BELOW (lol, this got past 7k words)

And, fair warning, it's pretty critical so if you don't want to read something critical about this movie then this is your exit.

tl;dr: I think the movie Wish fails at basically everything it sets out to do and it's an absolutely awful 100th Anniversary movie for Disney.

When I say it fails at everything, I mean EVERYTHING*. I'm going to break this into sections for organizational purposes.

*The one thing I'll give it a slight pass on is the art style which I don't love but also wasn't like make or break for me. I would have preferred true 2D or a better implementation of the blended 2D/3D style, but if the movie was otherwise of the quality of something like Spiderverse or Puss in Boots, the animation wouldn't have bothered me. Like, I watched S1 of The Dragon Prince with no problem. I can forgive janky animation--and it wasn't even super janky. Just odd. What I can't forgive is literally everything else about the movie.

Characters

How is this movie so full of characters and yet devoid of characters that matter? There are a million characters in this movie and basically only two of them matter: The King and Asha. But neither of them are compelling in any meaningful way.

There's a lot of to do about the last batch of Disney protags being very same-y in a quirky, all fluff and no substance way and I don't really buy into that. I don't think that Raps, Anna, Moana, and Mirabel are palate swapped carbon copies of each other. They have unique backgrounds and struggles and motivations. I feel like they're all quirky, sure. But they all also have an identity BEYOND being quirky.

I do NOT get that with Asha. I don't feel like I have a good idea of what makes her tick at all. Like, she's kind. She wants her grandpa to get his wish. She wants to be the King's apprentice so she can help people. The queen (we'll get to her) exposits to us that she cares about people. But being kind isn't in itself an entire personality. The way Mulan is kind (defying the law to spare her father the ravages of war in his old age) isn't the same way as the way Cinderella is kind (making clothes for her mouse friends and protecting them from the cat). Asha just has a generalized want to help people, which is an admirable trait, but doesn't give us much to latch onto. It's so telling to me that in a movie called "Wish" our main character's wish is just, "To have more than just this" And yes, Disney princesses wanting "more" is literally their whole thing, but it's always more specific than that. Mirabel wants to prove herself to her family. Rapunzel wants to experience life beyond her tower. Even Snow White--the Disney princess with the flimsiest story--wants to find her true love. That's a concrete motivation! Asha doesn't feel real to me as a character. It feels like the thing that drives her is that the plot needs to happen and that's it.

The other important character in the movie is King Magnifico who was supposed to be a return to form for Disney in introducing another classic villain but he just fails at that so hard. The idea that he could stand toe to toe with any of the OGs like Lady Tremaine or Scar or even the latest villains like Dr. Facillier or Mother Gothel is laughable. He just doesn't have any gravitas. And his characterization is so odd. You can tell that they were trying to give him a "reasonable man doing unreasonable things for a good reason” backstory (both because of some images in the film and some stuff in interviews I read) but then they just...don't actually give the backstory? Like, they imply that the backstory exists but I don't remember them going into it at all. Which like, he doesn't NEED a tragic backstory. He can just be doing what he's doing because he's evil. Ursula didn't need a reason to want to rule the seas. She's just a boss bitch and she wants power. I don't need to dissect that any further. BUT if you tell me there’s a reason your villain is doing something, I need to see that reason. I don't understand why they would include that in the movie, just to do nothing with it.

Beyond that, he's written in such a weird way. Like, despite the "maybe he has a point" angle they seem to want to go with, he's very obviously a self-absorbed ruler--like he'll say things like, "Yeah, I am super handsome" to his wife--which immediately dumps him into the camp villain category. But he's doing the controlling things he does in the movie of his own accord to get people to stick to the status quo he set up. Fine. That's a fine thing for a camp villain to be doing. But then, at a certain point in the movie, he just uses a forbidden magic evil book (which he has for some reason) that just fills him with evil, green magic and makes him 100% unhinged all of a sudden. And that's just...boring? Like, anything interesting you might have been able to do before that point about power and control and how sometimes you make a wrong choice with good intentions is just gone at that point. It sucks because there were a lot of right answers here. You could just make him evil because he's evil. That works. You could have him be seriously convinced that what he's doing is right and be willing to do whatever he needs to do to keep things that way. That works. You could say that he started out trying to be morally upright and then slid into enjoying the praise and control just a bit too much--and I think maybe that's what they were going for. But it does not come across that way. He just seems like a dick to the point where you're kinda questioning how he's pulling any of this off. Asha asks him one question and he flies off the handle. How does everyone not know he's an asshole if it takes so little to fluster him?

So I don't like our main hero or villain. But there are still SO MANY CHARACTERS in this movie.

You've got Asha's SEVEN FRIENDS. Yes, SEVEN. they're based off of the seven dwarves, which is cute enough but do you know what happens when you give the hero seven sidekick characters? None of them get developed at all and you have to treat them like a unit. Only two of them matter at all--Dahlia (her best friend and the one who actually does more than just make dumb jokes or, worse, nothing at all) and Simon (the one who betrays them--more on that later). There is no story reason for them to have shoved in this many sidekicks. Especially since she also has…

Her animal sidekick, Valentino. Who is a very cute goat until he gets sprinkled with stardust and boom. He can talk. Which immediately made me like him less. Flounder he aint. The whole joke with him is that he's a baby goat with a rich, deep, baritone voice. That's it. Almost every joke he makes is either about that or his butt. Boo.

Then, there's the Queen--Queen Amaya--who is such a NOTHING character. There's no effort made to build up her relationship with the king so that her flipping on him later has an emotional impact. I have no idea what she cares about or desires. When she shows up, she's basically acting like the king's secretary, which is weird. I don't think that's what a queen does. There's a moment during a later song when she joins the "revolution" and it just has zero impact because again, it's like, I don't know who you are in any significant way! She seems nice, and I would love to live somewhere ruled by someone boring and benign, but that makes for an awful movie character.

I almost wrote "lastly, there's the star" because I totally forgot about Asha's mom and grandpa. They're in this movie too but even though Asha's whole motivation at the start of the movie is getting her grandpa's wish granted, we never get a good idea of what their relationship is. They have like, one quick scene at the top which tells us nothing, then they're in a crowd scene later, then Asha has dinner with them later the same day and that's it. And, again, we get nothing significant. Compared to something like Mulan where you have a good idea of what Mulan's relationship is with every member of her family by the time the military order comes in or Encanto where between the musical number at the top and the first group scene, you get an entire picture, this is really weak. Again, so weak that I completely forgot that they were even in this movie.

And NOW lastly, there's the star. Who is like, cute enough but he really makes me annoyed because I've seen the original concepts and they would have been so much more interesting! That's the case for the queen too, so I'll talk about both of them together here.

I am sorry to inform you if you didn't already know but the queen was originally supposed to be evil too.

She was supposed to be a part of an evil power couple with Magnifico and how dope would that have been? We've never gotten that from Disney before. Imagine! Disney Villain Song Duet! A Hot couples costume for next Halloween! An actual relationship that's developed in this movie! But nope. They unflavor-blasted her into the paper thin, placeholder of a character we have in the movie.

And the Star went through a couple of concepts. One, was the spirit of her dead grandpa, taking a younger form, which isn't my fave one but it at least would give her a relationship with this person who is supposedly an important person in her life, something we don't have in the movie right now. My favorite alternate concept is that originally, the Star was supposed to be her celestial love interest. And listen, anyone who's followed me for long enough knows that I am a big advocate for platonic relationships and FRONTING platonic relationships. I don't think that a story needs a romantic relationship to be compelling and I think forcing one in almost always makes it worse. But there is NO central relationship in this movie to carry it. Asha has too many friends for any one of them to make a serious impact so it's not a friendship story. Her mom and grandpa are nothing characters, so it's not a family story. She interacts with the star a lot, but that's basically just her talking to herself because the start doesn’t talk. So nothing is really there to latch onto. If they'd decided to go with the romance angle, it would have forced them to focus on at least ONE relationship and it would have been a nice way to throwback to classic Disney movies from the past. Much better than just sticking her with SEVEN WHOLE USELESS FRIENDS. Literally, all they provide is backup vocals in the fight song. Special Dishonorable Mention to Gabo. Man I hate that dude.

So, to recap this section, Asha's personality is only sketched out in the loosest possible way, King Magnifico is entirely half-baked, and there are so many side characters that no one can form meaningful relationships with each other. And it's really a shame because (1) they very easily could have pared down the cast and (2) very recently Disney put out Encanto which handles a large cast beautifully. There are a ton of Madrigals but I can tell you what the deal of each and every one is. This could have been done well and they fumbled so hard.

Concept

OK, so next up is the general plot and concept. This story takes place in the city of Rosas which is ruled by King Magnifco. It is supposedly a paradise, but much like a YA dystopian novel, it has a twist: When you turn 18, Magnifico takes your wish away from you and puts in in his wish room with the promise that it might be granted at one of the monthly wish granting ceremonies. Once your wish is taken from you, you are "unburdened" and you're "free" from having to pursue it. You don't even remember what it was.

There's a kernel of something interesting there. A ruler making his subjects docile, placid zombies that won't challenge him by taking away their ambition? That's interesting. People willingly giving away a part of their heart to dull the pain of trying and failing? Interesting. Someone doing this with no ill intent, but rather genuinely thinking that this half-existence is better than the heartbreak of the alternative? Interesting!

But the actual implementation of this idea? Ughhhhhh.

So first off, just logistically, Magnifico grants one wish a month more or less (Asha says once a month and in his villain song, he said he granted 14 wishes "last year"). So like, realistically, most of these people have to know their wishes will never be granted, right? Because of like...how math works? Asha acts like it's a big shock when she learns that most wishes won't be granted but like girl...math.

Secondly, there are two moments that are meant to imply that having your wish taken away turns you into a shell of yourself. Asha's friend (who betrays her) Simon is said to be all sleepy and more boring since he turned 18 and had his wish taken. And then, later in the movie, we see two new residents have their wishes taken, and they look a little disturbed after it happens. But, here's the thing. NO ONE ELSE IN THE MOVIE ACTS LIKE THAT. Asha's mom and grandpa act like normal people. So do all the other characters. It’s not consistent enough to establish that this is what’s on the line. Does taking your wish away make you a robot or not?

And does everyone just have one wish? I know I could fill a full sheet of paper, front and back, with things that matter very dearly to me. If you took away my wish to write for TV someday, that would still leave my wishes to travel the world and get a comic book adaptation of one of my novels and a whole lot of other things! Does taking your main wish away make you lose your ability to form new wishes? Logistically, how does any of this work? And you can't just say, "It's a metaphor. Don't think too hard about it," because there's a scene where the citizens start asking these questions. Like, "What happens if we have a new wish than from when we initially made it?" As if having unnamed side characters ask the questions first will alleviate the need to answer them. It's not lamp shading at that point. You're just being lazy.

Also, this is more a me thinking about the implications too hard than an actual plot problem but if he's taking the wishes at 18 I feel like a lot of peoples' greatest desire at that stage in their life is, "I want a romantic partner." And if the central conceit of this premise is that once your wish is taken, you stop wanting to pursue it then the city of Rosas is gonna have a population Collapse problem very soon.

The characters--especially Asha--get so emotional about wishes. It's like they're giving a My Little Pony: Friendship is Magic speech every time they talk about it (except MLP has MUCH better writing). It's bizarre to see Asha's mom get her wish back and be like, "Oh my wish. My precious wish!" when she doesn't act any differently than a normal person before or after she has it back (Sidenote: She says this and she's holding the wish ball but we never see what that wish is and that's maddening. Why do I know what the dream of every patron in the Snuggly Duckling is, but they didn't show that? Ridic.) It almost is like, being in contact with a wish ball is a quasi-religious experience that drives the characters’ actions (Asha and the King are both totally enraptured while singing together in the Wish Room), but because we, the audience, are very much not in contact with the wish balls, we're not getting ANY of that.

Anyway, to recap this section: the central premise of how wishes work and how taking them affects people is not treated consistently or explained well, which makes the stakes feel very undefined and sloppy.

Pacing

This has to be its own section, because it's the thing that baffled me most when I watched this movie. So, here's the setup. Asha is going to interview for the internship with the king. She wants to help people and she has the secondary motive of wanting to try and get her 100-year-old grandpa's wish granted because he's not getting any younger.

Here is the entire sequence: Asha is led into the interview by Queen Amaya. Asha is awkward but makes a good enough first impression that Magnifico is moved to show her the wish room (for some reason). They sing a duet about the wishes where they’re both dazzled by the Wish balls. During the song, Asha finds her Grandpa's wish and after the song, she asks him to grant it. He looks at the wish and says while she has good intentions, it's too dangerous to grant--as are most wishes. She asks why not give them back then and he immediately flies off the handle and starts ranting about how HE decides which wishes get granted and what everyone deserves!

Their first meeting and him showing his true colors happens in the SAME SCENE. It's like 7-10 minutes and they just RUSH through all of that. And it's like, why? Did they really need to get to that dumbass star song (we'll get to that) faster?

I know that he isn't a twist villain so we don't need to keep the fact that he’s the bad guy under wraps. And, the way the story is structured, she needs to learn what he's doing before she can rebel against him. But it's not gonna be a big, impactful moment if you're rushing from beat to beat like this is an essay that's due in twenty minutes and you started five minutes ago.

And it really makes you wonder, if Asha can blow the whole lid off this conspiracy within ten minutes of meeting this guy, why is this not happening more often? Between how obviously smarmy the King is, how paltry the wish granting system is, and how easily Asha was able to start asking questions and get him to blow his top (something that happens again later when the citizens start asking question–it literally drives him into his villain song) I don't believe that this wouldn't have happened earlier (Sidenote: Finding out that it HAD happened earlier and that Asha is the latest in a line of failed apprentices who questioned him? More interesting premise).

So to recap: I have no idea why this movie is paced like this but it's not doing it any favors.

Humor

Humor is very subjective so you can take this with a huge grain of salt but I think this is a deeply unfunny movie.

The jokes fall into about three main categories:

(1) Quirky Humor: This is like Asha babbling and tripping over her words. The scene in the trailer where she's like, "Is my face drooping?" is a good example. It's not really a joke but it's clearly an attempt at humor that I don't think meets the mark. It's also in the songs with, for instance, the animals or the King saying slang that doesn't match how they talk or you'd expect them to talk at all and it just feels deeply incongruent, not funny.

(2) Referential Humor: This is probably what bothered me the most because it was just so so very eye-roll inducing. And listen, I love a good reference. Enchanted is my favorite movie of all time. I don’t begrudge them for putting a few references in their 100th Anniversary movie. But ugh. There is a scene after the king's gone crazy where he's destroying wish bubbles for power and he's like, looking at the wishes and making a quip before he crushes them. And for the second one he goes, "Oh you want a nanny for your kids? Definitely POPPING this one!" And he might as well have looked at the camera and said, "Get it? Get it?" and it took 6 months off my lifespan. (Sidenote: He he does a direct ref with the first two wish bubbles--Peter Pan and Mary Poppins–and then he just makes a general ref to the concept of true love with the last one and it's like, come on at least rule of threes this if you're gonna do it. Commit to your awful bit!)

(3) Kiddie Humor: This is where things get especially subjective because maybe a little kid would find this stuff really funny and they are a part of the target audience so that's valid. But it doesn't add much substance to the movie. This is like the goat being like, "I found a secret passage with my butt" or leading a chicken choir or singing the line, "So that's where all the balls of gas come from" while sticking his butt in the air--a lot of these have to do with the goat and his butt now that I think about it.

I think I only laughed at one thing in the movie that was meant to be at least partially funny--when the Queen interrupts the fight song and everyone is like "Oh shit, we're busted!" before she starts singing along.

So to recap: Sometimes a movie has a weak story but it's super funny and that makes up for it. This is not one of those movies.

Music

This is the one thing I already knew before I watched this movie: The music in this movie is bad.

Like, fullstop, no qualifications bad. Not bad for a Disney movie. Not bad for this story. Just bad.

I was a little confused by the choice to pick a pop artist instead of someone who specializes in musical theater style music for this project, but a more pop-y musical doesn't automatically mean a worse musical. Sure, maybe it's a weird choice to pay homage to the past 100 years of Disney movies, but it could be good. I love Six the Musical.

But that's the problem. The songs aren't just unfitting. They're not just un-Disney. They're fully BAD. They feel so half-baked and God, I've never been so assaulted by slant rhymes in my life. Like, this bothers me to the point where I have to go through the entire tracklist. I can't just make a blanket statement, I have to show you what I mean:

1) Welcome to Rosas: This whole song sounds like someone listened to “Where you Are” from Moana (the "consider the coconut" song), “Belle” from Beauty and the Beast, and “The Family Madrigal” from Encanto and was like, "I could do that". And then they couldn't. It's not really catchy and it's pretty repetitive. Super forgettable.

Worst Line: Honestly, this song is too boring to have a worst line.

2) At All Costs: This is the duet that Asha and Magnifico sing. Before I saw the movie, I thought it was going to be Asha singing about a wish and Magnifico singing to his wife to set up the eventual rift between them but that was before I realized that this movie doesn't believe in relationship building. Some of the movie's worst musical sins are on display here. Turns of phrases that seem like they were written by AI and bizarre syntax.

Like what does, "You pull me in, like some kind of wind" mean? That's not what wind does. Why would anyone ever say, "Felt this? No, I haven't" instead of "I haven't felt this?" That's so awkward.

Worst Line: "Leave you here, I don't wanna. I wanna [promise as one does]." My feelings about this line could be a whole other essay, but I've been writing this for 2 hours already so I have to move on.

3) This Wish: This is the big "I Want" song and it fails on several levels. It fails in comparison to all the songs it’s standing in the shadow of--like the last “I Want” song we got is, I believe, “Waiting on a Miracle” and man! How can you not feel for Mirabel after watching her go through everything she goes through at the start of the movie and it getting topped with her being excluded from the family portrait? You see all the build up (including the implied build up from before the movie started) and you see why it's all bubbled up to the point where she has no choice but to sing about it! With Asha, there isn't a whole lifetime of angst that's bubbling up to make her sing this song. Everything that's happened to her has happened over the hour of like eight hours tops. She meets the king, finds out about the king, realizes the whole system is bad, and then gets into an argument with her family who's drunk the Kool-Aid and doesn't wanna hear what she has to say (which makes no impact on us because we have no idea what their relationship is). That's it. It doesn't feel like the movie has earned the song.

And then with “Waiting for a Miracle” the music itself is plaintive and soaring. Like, I just paused writing to listen to it and I couldn't help but sing along and pour a little of my actual IRL "I Want" energy into it. It's a song that feels very real. “This Wish” isn't any of that. And it's not the actresses' fault! She's pouring her whole heart into it and she consistently does all movie. But the song is just, bland. Like I said, "I want to have more than this" is too weak a hook to hang your whole song on–especially when it’s the song that’s supposed to be the thesis of your whole movie.

Worst Line: "So I look up at the stars to guide me/And throw caution to every warning sign." That's not a thing people say and also it doesn't mean anything. If anything, it sounds like she's saying that she's being extra cautious at the warning signs! You can't just throw words together haphazardly and expect them to retain their meaning!

4) I'm a Star: This is, imo, the worst song on the whole track. A friend of mine described it as sounding like a song from a preschool science show and that's exactly it, but there's more to it than that.

First of all, a big part of the reason this song exists is to set up the fact that humans are made of stardust because that's a plot point in the climax. But there didn't need to be a song about that. That would be like if Frozen 2 had a song about how water has memory. But like, OK. If the song was a bop, it wouldn't matter that it was superfluous. Haus of Holbein in Six does NOT need to be there, but I enjoy it! I do NOT enjoy this song however.

This is something I alluded to earlier, but this soundtrack in general and this song specifically sounds like it's trying to do LMM's schtick but poorly. And I know some people don't like his whole style of music (I personally like it) but love him or hate him, his style without his skill? Awful. The presentation of fun facts in the middle of a fun song makes me think of his "Look it Up" in “Shiny” or "That's true" in “A Winter's Ball”. And there's a part where a turtle (we'll get to the talking animals) sings "See we're all just little nebulae in a nursery/From supernovas now we've grown into our history/We're taking whys right out of mystery, closure/Now we're taking in all the star exposure" And it really sounds like someone doing their best to emulate Lin's flow in things like Mirabel's aside to Mariano in “The Family Madrigal” or any number of songs I could name from Hamilton. But it just falls so flat here. It sounds so preschool and cheesy. And not preschool in a fun way. Backyardigans would never.

Also, this song is sung by a bunch of talking animals (the Star gives them the ability to talk) and I find them so obnoxious. They say stuff like, "Did we just blow your mind?" with the "boom" sound effect and I hate it. Maybe kids will like them, I dunno. I refuse to get into it further.

Worst Line: This song completely misuses the word allegory, which I hate, and it rhymes it with "excitatory" which I hate more (and I am saying this as someone who has made peace with the fact that Schwartz rhymes "nasty" with "flabbergasty" in Disenchanted) but there is only one line in this song that can be considered the true worst line because it's my least favorite line in the whole movie. A dumbass, stoner-sounding deer named Bambi (boo) sings, "Ooh, I'm a star! Watch out world, here I are"

They rhyme the word star--not a hard word to rhyme at all--with HERE I ARE.

I firmly believe someone should go to jail for that.

5) This is The Thanks I Get?!: This is the much anticipated and extremely disappointing villain song. There's just no gravitas and it's not clever enough to be very fun. It's just kinda bopping along which is eh, kind of fun at best, but like everything else in this movie, doesn't leave an impact. A musical number doesn't have to be obviously sinister like “Be Prepared” or, the holy (unholy?) grail, “Hellfire”, to be impactful. “Mother Knows Best” is bright and filled with false cheer but it still works because we can see the manipulation that Gothel is doing and she spins Raps around in mental circles to keep her docile. This is just an egotistical rant--and not even in a fun, Gaston kind of way! (Sidenote: Gaston is a good example of a villain who is preening and pompous and kind fo campy, but who you see why he’s beloved AND he can be menacing when the scene calls for it).

Also, it's so full of weird slang that Magnifico doesn't use at any other point in the movie. "Peep the name", "Ungrateful much", "Mmm, are you sure you're not the prob?" It's like he suddenly got possessed by Urban Dictionary. It's bizarre.

It also comes weirdly late in the movie, which isn't a complaint, just an observation.

Worst Line: I think "peep the name" is my least fave but, because I already said that, the opening lines of this song are, "I can't help it if mirrors love my face. It's genetics! Yeah, I got these genes from outer space" and that's such a weird thing to say. I got these genes from outer space? He wasn't even there for the star song so what the hell does he mean by that?

6) Knowing What I Know Now: I feel like this is the song that had the most potential. But for all its build, it never builds to anything. It starts and ends so abruptly (which is the case for multiple songs on this list). We don't really get to know any of the characters well except for Asha so them joining the revolution has no impact. The Queen turning on Magnifico really doesn't have much impact.

(There's a line in this song where a character sings, "I was sweet but now I'm something else" which is so funny because we literally know nothing about her except that she surprises people when she's in a room which, lmao, me too. Fully forgot you were in this movie, girl).

Worst Line: "The good in him, I've watched it melt". There's technically nothing wrong with this line but I hate it because melting with regard to emotion is never, "Oh, his goodness is melting". It just hits the ear so wrong. You can watch the good in him disappear or fade or vanish. Not melt. Hearts melt.

There's also a reprise and a credits song but I have talked about the music for too long as is so to sum up, there is not a single song on this list that I will ever purposefully listen to for enjoyment ever again and there are a few lines that I feel calls for someone being forced to go to whatever the musical version of the Hague is to explain themselves.

MISC

This is just a section for things that annoyed me that didn't fit anywhere else.

There's a moment where Asha sees Star which is a star that has fallen to earth and is shaped like a star and she's not able to put together than he's a star until she looks up at a ball of yarn that's tangled in the trees and sees that the yarn is shaped like a star...which again, Star is ALSO shaped like a star! Baffling.

Gabo at one point makes a comment to the effect of, "Wishing on a Star? Grow up Asha, this isn't a fairy tale." And it's like, dude shut up. Your king is a sorcerer. This movie isn't funny enough to pull off that kind of wink to the audience.

The actual funniest part of the movie is when a talking mouse (not a thing that usually exists in this world) runs onto the Queen's shoulder during a big speech in front of a crowd and not only does no one notice, but she has no stronger reaction than if a messenger was telling her that her dinner was ready. And not in an underreaction for the purposes of a joke way. Like, in a they forgot to write in a reaction for her way. It's so unintentionally hilarious.

They specifically set this in the real world–off the coast of the Iberan Peninsula–but I didn’t get any of that influence in any significant way here. It could have been any generic island town. Rosas sounds like a Spanish name and “Welcome to Rosas” there is some dancing that looks like traditional Spanish dancing. But on a whole, it feels pretty bland. When I think about studying abroad in Spain, one of the big things I think about are all the moments with food–patatas con bravas, pan con tomatae, paella, and so so much coffee. The only food I remember from this movie are the novelty cookies Dahlia is always baking. Which is wild to me because their last big musical was Encanto and you could feel the cultural influences in every scene and it was seamless. This wouldn’t even bother me if that hadn’t made a point to set it in a specific part of the real world and call it out.

A lot of the dialogue is super expository in a way that both makes me think the writers think we’re stupid and that they realized at certain points that they forgot to establish things but instead of fixing the script they just shoved in a line. Like, to the first point, there’s a part where Magnifico crushes a wish and it’s very clear that he’s getting a high from it. But instead of letting the moment stand he’s like, “Oh yes. Who knew crushing wishes would feel so good? I must continue to crush wishes so I keep feeling this good feeling,” and it’s like…why did you need to say all of that? Old Power Rangers episodes have their villains monologue less than that!

This movie opens on a storybook–just like Snow White–and it has a voice over of Asha narrating the history of Rosas as the pages flip. Not a bad idea–until you push into the scene and realize she’s telling all of this to…her grandpa? Who is 100 years old and lived through all of this? What? Why not have that scene be a kid flashback and the story is being told to her? Or have her be doing the little kid thing of telling a story to an adult? Either way, that would help establish their relationship which is ostensibly very important to this movie. Or, wild thought, just have her be telling this story to kids! Like Mirabel explaining all the Madrigal gifts in Encanto! Like, if you’re gonna take cues from that movie, at least go all the way so your movie makes sense.

It’s very unclear how Star’s magic works. It seems like he mostly just gives wildlife the ability to talk. I thought he was just granting wishes but he never does that to any of the humans. And I find it hard to believe that the wish of every animal (and mushroom) in this movie is just to be able to talk.

Easy Fixes

And all of this is compounded by the fact that this isn’t just any random movie or even any random Disney movie. It’s the *100th ANNIVERSARY*. You only get one of those and this is what they wasted it on. My hopes were really high here! I was expecting a lot of love and care to be put into this one, but it just fell absolutely flat. It feels so rote, so by the numbers, so lacking in care. It feels like the shell of an outline of a movie that relies on the fact that we know what a movie of this sort should be and can fill in the blanks.

And the worst part? The absolute worst part?

IT WOULD HAVE BEEN A REALLY EASY MOVIE TO FIX.

Like, I’m serious. If you watch this movie, you will be able to, off the cuff, name tons of things that would have solved problems without breaking a sweat.

For instance, just cutting her friend group down from seven to two would have helped immensely. If she, Dahlia, and Simon have a Three Musketeers relationship, then when he betrays her to the king, it actually means something now!

For a bigger but still obvious change, why not have Asha have an existing relationship with Magnifico? So then this story can be about her losing faith in this relationship she’s had for a long time after she’s seen behind the curtain and become jaded over time and not a 7 minute “Don’t Meet Your Heroes” speedrun.

And making it clear what taking a Wish from a person means–and following through with that portrayal all movie–would all be a game changer. Show that Magnifico’s magical wish granting still leaves the people hollow. Show that Asha is a vibrant, bright person amongst a sea of robotic adults. Show me some worldbuilding!

Also, just hire a musical theater person to do the music. Seriously I can’t believe I have to say this? How is there not a single good song in this movie? There are DCOMs with more bangers than this. Almost every song in High School Musical is a bop. How are you getting outshone by High School Musical?

And these are just changes that preserve the bulk of the story as is. This movie could have been even better if they’d change the direction to go with some of their scrapped ideas!

This is just a movie that absolutely baffles me. I wouldn’t think it would be possible for a movie with this high of a profile to be this bad. You would think that even accidentally they’d have to get SOMETHING right. But they really don’t. I can’t recommend this movie, even for a fun-bad watch. It’s like eating unsalted saltines while you have dry mouth. Just watch a better movie. And here are three movies I think are more in the spirit of Disney’s 100th anniversary than Wish:

(1) The Princess and the Frog does literally everything that this movie is trying to do but better. You’ve got a movie that used a 2D style in the 3D era. You have integration of cultural elements–in this case New Orleans in the 20s. You have a classic princess story with the classic trappings: romance, villain, fairy godmother. You have a rocking villain song. Hell, you even have a wishing star motif!

(2) Encanto is the latest Disney movie of the modern era to have that classic Disney magic, imo. It sidesteps a lot of the classic Disney tropes–no princess, no serious romance (Delores and Mariano end up together but it’s very much a side thing), no villain beyond generational trauma–but it still feels musical and magical and full of character and life. It shows that you can keep the big emotions that we expect from Disney even with more modern sensibilities.

(3) Enchanted is my favorite movie of all time so I’m biased, but I still firmly believe that it stands as a better movie in general and tribute to Disney specifically than Wish. THIS is how you do an homage. The whole plot is a loving roast of all the quirks of classic Disney movies, but it’s also a sincere story that stands on its own. It has references to old movies, but they’re integrated very naturally. And it’s funny enough to get away with things like a character mid-musical number being like, “What the hell is happening? Why is everybody singing?” without it feeling like lazy, “Well that just happened” humor. And the music is so good!

(A quick note on the music btw: Most of the songs in Enchanted are musical theater style songs but there’s one song near the end called “So Close” which is like a pop ballad. And it totally makes sense why they’d depart from the musical theater style in that moment in context but, even if it was jarring and totally unfitting for the movie, it’s still objectively a strong song. Out of context, it would be a great, sad, romantic song. And if the music in Wish was all like that–good but unfitting–this would confuse me less than it does.)

Anyway, I would shell out a LOT of money for a making of documentary for this movie in the style of the Frozen 2 one because as writer and a fan of a lot of Disney’s past stuff, it is completely beyond my comprehension who a team of accomplished people get together to create the 100th Anniversary project with their vast resources and produce this. It just doesn't feel like a movie with any serious care put into it. Which is separate from quality, btw. I don’t like the movie Raya very much but I think it’s obvious a lot of care went into it and I respect this. Wish feels like a movie that was made to fill some kind of contractual obligation and it makes me sad because I really wanted to like it.

#disney's wish #asks #jamiebluewind #sorry this got so long I just find this movie so fundamentally flawed #idk what the current tag etiquette is for stuff like this so I'm gonna cover my bases #disney criticism #disney critical #wish criticism #wish critical #if you liked the movie this isn't an attack and I'm glad you had a good time

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che-bur-ashka · 7 months

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who holds the mask? designing the Disguise

For the record, all of the playbooks in Beneath Pirate Flags are trans. Gay ass trans ass pirates. I mean, they don’t have to be — the magic of character creation means that you could make anyone, even (!!) a cis person, if your imagination can handle that. But they’re all more or less about being trans, or about types of trans people I know, anyway. Maybe none of them is as trans as the Disguise, though.

I don’t mean that, of course. The Disguise isn’t “more trans” than any of the others in any way that matters. What I mean is that the Disguise is maybe the most “obviously” trans, the most “typically” trans. The Disguise deals with a narrative that people see and go oh, oh, I know this—that one’s about being trans.

The Disguise is a pirate “on the run from at least two things,” inspired by tales of putting on a (you guessed it) disguise and escaping to adventure. There’s a lot of Jim from Our Flag Means Death in there, of course, as well as a good amount of Eowyn and not a small percentage of Alanna of Trebond. The Disguise is playing in a lot of tropes that make people conscious of the play of genders—which, for complicated reasons, reads as “more” trans than, say, The Hunk, The Dandy, or The Legend (even though all three of those are, to me, far more fundamentally drawn from my own trans experience).

One of the big things I wanted to do with the Disguise though, was offer more nuanced understanding of the work masks and disguises can do than we usually get in these types of stories. In the most traditional—the most recognizable—version of this narrative the Disguise is a cis woman who, frustrated not so much with her gender as with institutional sexism, takes on a mask in order to “play” as a man and trespass in the wider world (the historical erasure of transmasculine people into the cis feminist figure of “the woman in pants” looms large here). In this narrative, there comes a point where—as in Mulan, Eowyn, Alanna—she is unmasked but accepted as, to borrow a term from Tamora Pierce “a woman who rides.”

Here’s the thing: That’s a valid arrangement of what’s in the Disguise. There’s no reason the Disguise couldn’t be used to tell this kind of story—but I think there’s a more interesting version of this character out there, probably most clearly expressed (in popular media, anyway) by Jim Jimenez in Our Flag Means Death who, critically, does not return to their assigned gender after removing the “mask.” After all, there’s no reason to think that the mask must be something taken on (as opposed to, say, assigned). Rather, I like to think about the Disguise as playing across a border—dealing in multiple frames and knowledges, and trying to make space for themself between them. One day—if all goes well—they won't need the mask anymore. The playbook could equally viably tell the story of:

A cis woman under patriarchy, “playing a man” so she can run away and be a sailor (like Eowyn does).

A trans person, “playing” their assigned gender as they work to find out who they are really (like... most if not all trans people do, at one point or another).

A trans person, “playing” their true gender (or at least a new gender) as they build a new understanding of themself in a new context (this is the reading I think is closest to what happens with Jim, fwiw).

A person whose disguise has nothing to do with their gender at all—maybe they’re a prince in hiding, or they're pretending to be a prince in hiding, or there's something else.

There’s also no reason that the playbook couldn’t combine these stories—or even reach for new ones that haven’t occurred to me. The possibilities are endless. The core of the Disguise is not about secrets and falsehoods (although secrets and falsehoods certainly play their part), but rather performance and autonomy over your own presentation. The mask is a tool to control that presentation.

This brings us to the saddest part of the playbook—the ending.

Every playbook in Beneath Pirate Flags has three prewritten endings (although you’re naturally welcome to come up with your own). Each set of three has two happy endings and one sad one— sometimes bittersweet, sometimes tragic, and sometimes just bad. For the Disguise, that sorrow is all about the loss of control. The worst thing that could possibly happen—the most upsetting ending, which I want players to be aware of even if they aren’t interested in it—is not just the removal of the mask, but the removal of the mask without the Disguise’s permission or control. The world longs to control our presentations and, by doing so, control our lives. There is magic in a mask, and in the autonomy it provides—but there are people who want to rip both of those away. They want to hurt you, to control you, and to make you hurt yourself. That’s what we’re fighting against. Anyway, there you have it. Go hug a trans person—and check out Beneath Pirate Flags.

#beneath pirate flags #our flag means death #ofmd #jim jimenez #eowyn #alanna of trebond #trans #indie rpg #indie ttrpg #ttrpg design #gay pirates

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acerathia · 5 months

Text

pink camellias || Chapter 1: hyacinth

Chapter Summary:

purple hyacinth: sorrow

Wordcount: 3.2k

Read on AO3 || Masterlist

Pairing:

Bakugou Katsuki / Reader

Tags/CW:

royalty au, inspired by Mulan, war and its consequences, violence, childhood friends to strangers to companions to lovers (i am sorry), Angst, Acts of Service, Character Death (Major, and Minor), swordfights, misogyny, f!reader, kidnapping, implied torture, let me know if I missed anything lol

Note:

I got too impatient, so, I'm posting the first chapter today lol, still, i hope you enjoy reading it!

You opened the windows as soon as you woke up. As the soft sunlight warmed your skin, you watched the breeze rustle the flowers of the garden. Beyond that garden was a beautifully constructed posh house, barely blocking your view to the adjacent village. The rows of different houses gave the scenery a special kind of feel. The view was breathtaking, the bustling of all these people making you feel alive under your skin.

You stood by the window, trying to discern the lives of the common people below you in the valley. There was a small stripe of forest bordering the village and the mansion, which stood atop a hill.

“I wonder how life is down there”, you mumbled before looking back to your bed.

The softest of fabric was spread over the king-sized bed and you slowly stepped closer, your hand enjoying the feel of silk between your fingers. Then with a tiny jump you threw yourself onto the mattress, sinking deeply in its comfort and warmth.

With a sigh, you tried to imagine living in such a village. Maybe you would operate a bakery, making tasty bread and confects. You would wake up early, which you usually would never even think about, but this was only imaginary. If you were lucky, you could watch the sunrise for some time, while waiting for the dough to rise. Your hands would be kneading and caressing the dough into different, but nonetheless tasty goodies for the day, the lit oven warming your back with a gentle sigh. It would hug the soft dough and prepare it for the day.

After the bread and sweets would be ready, you would open up the shop, awaiting the first jingle of the door. You would, as usual, greet the oncoming customers, the ones you saw regularly with some deep questions, and the newer ones with some welcoming small talk. Your heart would beat in happiness every time something of yours would find its home somewhere else. And if everything got sold, you would close the shop and head to the market to replenish some of your necessities. If not, you would go around and give the bread to someone who would need it at the moment, not wanting to let anyone go hungry.

You imagined such a routine to be relaxing and enjoyable, especially connecting with so many people. The wish to go out and change something for yourself lit a spark, even if the possibility of leaving this place without guard would never happen.

Some day you would wake up with the hope of appearing in another place, like the characters in your stories. Landing inside a novel with the knowledge of every scenario, being actively a part of some grand scheme or an adventure. But no matter how long you kept your eyes closed, you stayed in your little bland life.

Sometimes you would dare to write down some ideas, with your scrawly font. And while doing so you blamed yourself for not listening to your teacher when learning how to write. But you wrote. You wrote every little idea that emerged in your little head. Huffing and puffing when the intricate dreams vanished after waking up.

With a low grumble, you stared at your ceiling. You grew weary of only imagining things and felt the urge, the desire to actually live your own adventure.

“My Lady, I’ve brought water to wash up”, the voice of your maid Hana sounded before she entered the room.

You furrowed your brows, wondering how long you had been lying there, and if you would succeed in sneaking out, if your maid wouldn’t be so punctual. But you only greeted her and rolled from the bed to walk towards a stool.

While you were washing your face, Hana brushed your hair gently and got rid of all the knots taking residence on top of your head. You looked into the mirror, feeling the soft towel on your skin.

This was your face, even if you wished you were another person. No matter what you think, the baby fat on your face would not dwindle until much later. For a moment you wondered how soon your birthday was.

“You should go to the dining room to eat some breakfast, my Lady.”, Hana told you, after helping you into a simple baby blue wrapper. Something simple for your indoor endeavors, as you did not plan on leaving this mansion any time soon.

With a nod you made your way to the dining room, greeting your father, who was leaning over some papers spread over the table.

“Good morning sweetie, did you sleep well?”, he asked while stretching his arms for a hug and a kiss on the cheek.

“Yes, thank you for asking, Father.”, you smiled with a slight crook, before turning to greet your mother the same way.

After the greetings, you took a seat and started eating your breakfast.

Despite the current silence at the table you were quite attached to your parents, as they were to you. They both were loving and warm and so doting on their only daughter. And who were you to resist getting spoiled like that? You would do anything for your parents, and even if you longed to go outside and experience new things, you were aware how your disappearance would break their hearts, and yours.

“Ah, we’re supposed to return to the palace today, did you prepare your luggage, or did you forget again?”, your mother started speaking with an amused smile after finishing the meal.

“Mother! Of course, I prepared everything! But, I’m still going to ensure that everything has its place.”, you hurriedly responded and jumped from your seat. Soft chuckle followed you out of the room.

How could you forget the return to the palace? Your father was the marquess and your mother attended to the queen herself. And despite your current young age, you wanted to make a good impression on the people living there, even if they may have already formed one around your person. But nothing speaks against working to better those impressions.

With the help of your maid, you threw everything you may need in that visit into a tiny case, fitting for your tiny stuff. And when Hana suggested you take your stuffed cat with you, you vehemently refused. Because what if someone saw it and thought of you as inferior? Especially little kids your age, they were usually the most vicious and you refused to be the victim of their bullying.

After making sure everything was in order, you let your maid help you into some outdoor gown with the same blue color as the other one. With a fitting pair of gloves and a bonnet, you were ready to leave your home for your stay at the palace.

Clutching Hana’s hand you made your way outside to the awaiting carriage. The coachman already heaving their luggage into its respective space. But you didn’t need his help to get into the carriage, not even Hana’s help. You grabbed some of the fabric of your dress and took the large step with one stride. The next step let you tumble into the insides of the carriage, where you immediately acted like everything went as planned.

Hana took the seat in front of you and the car slowly left the property. You knew that your parents were in the carriage in front of yours, so you did not fret and simply enjoyed the passing sights of the marquisate.

After a couple of minutes, someone slightly shook you and you blearily opened your eyes. You didn’t remember closing them in the first place. Did you already arrive at your destination? That was weird, you thought the way would take some hours. But beggars shouldn’t be choosers and you didn’t mind that very convenient time skip of sleep. Even if you now felt tired and grumpy.

With half-closed lids you let Hana lead you to the inside of the palace, where you already occupy a room. This wasn’t the first time your character visited the palace, but every time felt like it was. And no matter how much you wanted to look around, you felt drained and wanted nothing more than to continue your nap in peace.

The moment you stepped into the room, you threw yourself onto the bed, without care of your bonnet falling off your head. But for some reason you could not fall asleep again, making you whine into the soft pillows, before sitting up.

And before you could even plan anything for the afternoon, someone started knocking on your door.

“Hello! We were wondering if you wanted to play knights with us?”, a boy your age with bright green eyes, Izuchan, asked you with a smile, the moment you opened the door. Another was lingering with crossed arms and a slight scowl.

You turned to look at Hana, who just nodded with a sigh before you also nodded to the boys in front of you. “Yes! I’d love to participate in a game!”

With that, you followed them outside, where the sun shone upon your heads and warmed you slightly.

They immediately started clashing their wooden swords and began screaming something about ‘villains’ and ‘crime’. You wondered when it would be your turn, but you didn’t hold a wooden sword in your hands.

For some reason you felt the need to fix it, so you started wandering to the training camp of the real knights, looking for some kind of sword you might be able to use.

The only thing you discovered were of course actual knights in training. Their movements and the swing of the sword in their hands were mesmerizing and you could not help yourself but stare. Their flow seemed like a hidden dance, its steps only obtained by the truly worthy.

You felt trapped in watching the blades clash, eliciting bursts of tiny stars. A desire to wield this magic grew in you and a grin formed itself across your face. Now you fully understood the reason everyone admired knights. And you desired to be one.

You barely managed to rip your gaze from their dangerous dance only to see the object you were seeking only minutes ago. Without a second thought, you grabbed the wooden sword to return to the fighting boys. Only to see them running towards the training grounds, their gaze focused on something behind you.

And what were you supposed to do but follow them? So you ran with them towards a group of people converging around a massive person.

“Allmight!”, Izuchan gasped and started talking about the best knight in this whole kingdom and you couldn’t do anything but listen with rapt attention and interest.

Kacchan tried to get to the overrun knight, but before he had the possibility of reaching him, Allmight found the right timing to detach himself from the crowd and thus was missed when the boy finally broke through.

The blond started raging, concealing his disappointment in a fit of anger and screams. The other boy tried to calm him down, yelling ‘Kacchan’ to get his attention.

Undeterred by his outburst you gripped the wooden sword tighter in your hand and declared something to him, maybe you hoped to calm him down or to distract him from his missing hero.

“I am going to be a knight! One better than you!”, you declared war on these two young boys, who were supposed to be your friends, but your ambitions seemed to destroy any semblance of kinship.

“Hah? A girl can’t be a knight, are you stupid?”, Kacchan immediately replied, his anger only simmering, but directed at you nonetheless.

“You’re stupid!”

While you could have replied with a better comeback, annoyance made your brain empty, only the desire to show him filling you to the brim.

Without waiting for the next words of this brash boy, you turned and ran towards the toy dummy, which has been abandoned offside the actual training grounds. You didn’t care if your dress stained, the seams filling with mud, as you hit the dummy repeatedly, acting as if you were already a seasoned knight.

The two boys joined you soon after. And while the blond and you could not do anything but push each other into anger, you still played with your wooden swords, even if any of you would have dared to say that it has been a fight for life and death.

And if your maid clicked her tongue and reprimanded you for ruining your dress, you only responded with your dreams and hopes of becoming a knight. Out of necessity, your maid had, soon after that conversation full of sighs and aspirations, sewn you some proper clothing resembling the ones of a knight.

With your pants and shirt, you continued to fight your friends at every possibility, even if it meant getting stained in blue blood underneath your skin and ripped hair between your fingernails.

***

The seasons have passed and you still lived at the palace with your mother. You spent your daily life studying everything this place had to offer and everything your duty obliged you. But the moment you managed to free yourself some time, the people found you in a pair of pants, swinging that old wooden sword with your friends.

Finally, you had finished your reading for the day, getting some free time for your extracurricular activities. But before the teacher could properly dismiss you, your maid knocked and entered the room, a grave expression marring her face.

“Miss, I’m afraid, your mother is at death's door…”, she started speaking, but you jumped from your chair, grabbing the fabric of your dress to allow you to run as fast as you managed.

Your mother, your dear, loving mother, laid there, unmoving in her too-big bed. Her pale frame almost sunk into the soft fabric of the bedding and you were afraid. You were so afraid to step too close and to hurt her.

Still, you carefully sat at the end of the bed, taking her hand in yours, as soft as your rough hands cared to achieve. You only had eyes for her, everyone around you nothing but a blur. Nonetheless, you caught some pieces of information from the people hurrying around you in a senseless frenzy. The white plague. Your mother has been suffering under the act of consumption for longer than any of the people around her anticipated. Her paleness mistaken for lack of sun and worry. Her feverishly red cheeks and lips simply for a mistake in the chosen shade.

You wondered how long she had been plagued by this illness. How long had she been suffering without anyone taking notice? Had she already known prior to this?

Suddenly her lack of presence in your life in the last couple of months started to make sense. She knew you would have noticed her lack of energy immediately. How could you not? Your mother used to be the sun in any dark room. Her presence soothing and warm, even if bright. This woman in front of you was nothing but a pale, sick shadow of her old self. And it hurt you.

It hurt to see the most important person in your life suffer and on the brink of death. Oh, how you would do anything to soothe her aches and take her pains away.

Something cold dripped onto your hands, but you were not able to find the source of those tiny drops. Not until you took a shuddering gasp and a sob broke free, your lungs yearning to scream and cry.

Even if you grew weary and bored of your life, you cared for this woman, it drove you crazy. How were you supposed to move on after this?

People grabbed your sobbing shoulders, but you refused to let go of her frail hand. Someone was whispering empty words into you and you didn’t react with anything but a heartbreaking wail, lowering your head against her hand, pressing her cold skin against your cheeks.

Despite your vehement protest, someone managed to loosen your grip around your dead mother, leading you into your room. After getting pushed onto your own bed, everything became a blur.

You barely noticed getting moved around or getting into a carriage. The only thing you numbly remember was the regret of not telling your friends about your hasty departure. Even if you yourself had not known about it until you arrived back at the mansion you used to live at. You supposed this was your actual home, even if the palace felt more like it.

After your arrival at the mansion, you refused to eat and did not leave your room under any circumstance. At some point, your father's worry grew and he started trying to lure you with different things. Most of them got no reaction from you at all.

“Hello dear. How have you been?”, he asked with a soft voice, taking a seat at the end of the bed. You gave him a tired smile as an answer, your voice itching and scratching.

“Good, good.”, he nodded, taking your hand in his. “I know I have said it multiple times already, but you need to get out a bit… I know, I know. But she would not want you to suffer in such a dark room.” He tried to persuade you, already knowing your answer, even just with your nonverbal facial expressions.

“How about this: You still want to be a knight, don’t you? Well, then we shall get you some proper sword master to teach you. Can’t have you swing a wooden sword without instructions forever.”, and his suggestion made you perk up.

You still wanted to master swordsmanship, but your father had never supported that particular endeavor of yours. Until to this day, it appeared. Even if the circumstances should have been better, your mother should have been there to celebrate that milestone with you. Still, you knew she would have wanted you to run towards your dreams, even if she wasn’t there. You decided to dedicate this work of life to her before you agreed to your father's suggestion with a slight nod and a hesitant smile.

And your agreement seemed to spark some happiness in the eyes of your old man, as his smile gained that special depth. Without further words, because you simply didn’t need to, he pecked your forehead, before standing up. And if he pulled the curtains open and let you bask in the warmth of the estranged sun before he left your room, then so be it. Because this time, the sun didn’t symbolize another day without her, but a new opportunity dedicated to her, in remembrance of her. Starting with that day, you promised yourself to think of her every time you held a sword. Your dear beloved memories with her would lend you whatever strength you would have needed in any possible situation.

Your gaze wanders out of your window, into the beautiful garden. And you were mesmerized by the whipping flowers, almost like it was your first time seeing them. With this breathtaking, familiar view you held your promise close to your heart and planned on never letting go.

#bakugo x reader #katsuki bakugo x reader #bakugou x reader #katsuki bakugou x reader #bakugou katuski x reader #bakugou x you

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tybaltsjuliet · 2 years

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If you have the time, I'd love to hear more of your opinions about how Belle's aesthetic should be Gothic Heroine™ instead of Smart™. Can you elaborate on what that means?

for sure!

so, first off, this is all rooted in how i feel that intelligence is vastly overhyped and overstated as belle's Defining Trait. it's quite lazy, to my mind, that she has been deemed The Smart Princess because She Reads Books. ariel displays far more intellectual curiosity about the human world than belle does about anything. tiana is a successful businesswoman and mulan is a full-on war strategist by the time their stories conclude! i would sooner call them The Smart Princesses, whereas i think belle is far more defined by her passionate heart, her willingness to throw herself into danger, and her yearning for adventure. of course, those aren't terribly descriptively snappy, so i like to say belle is The Gothic Heroine Princess, as shorthand, because of the atmosphere of beauty and the beast and because she is a Capital R Romantic.

take the things we meet her reading, for one:

“i just finished the most wonderful story about a a beanstalk and an ogre and...”

“far-off places, daring swordfights, magic spells, a prince in disguise!”

“here's where she meets prince charming, but she won't discover that it's him till chapter three!”

this isn't to say that people who enjoy fairy tales and fantasy aren't intelligent, or that they aren't intellectually stimulating genres (consider villeneuve's full, literary “beauty and the beast” - if you want a fairy tale to rotate around your brain for months, that's it!) but intellectual stimulation is not what belle is focusing on. she delights in reading for the escapism - the adventure, the magic, and the romance that she craves.

and, speaking of which, for all the jokes people make her about her Daily Mean Song (and i do think that tweet is extremely funny), she's not even intellectually snobbish! the most derision in that vein she ever gives is in response to gaston - “well, some people use their imaginations.”/”you are positively primeval.” - who fully deserved it in the moment, because he was disrespecting her, her book, and generally behaving like a boor!

yeah, she remarks on the poor, provincial town and its little people, but what is her chief complaint? “every day like the one before.” “every morning just the same since the morning that we came.” yeah, she remarks that there’s no one in the town she can really talk to - but it’s clear from the opening number that it’s not that it’s because she thinks she’s better than them, but because they think she is the strange one!

leaving those thoughts aside, it’s also worth noting that throughout, belle acts far more from her heart than her head, relying on her emotions. racing off alone into the woods to try to find her father is not smart. sacrificing herself to become the prisoner of the beast is not smart. going into the west wing, after being expressly forbidden to do so by the beast, is not smart. for all she knows, the beast could have killed her for that. and defying gaston publicly, in front of his mob of angry villagers - decidedly not smart! and belle does not give a fuck, because she is The Gothic Heroine Princess, and she knows instinctively that her Capital R Romanticism will save the day. her good judgment of character - distrusting gaston, for instance - is often cited as another example of her intelligence, and it is - but that is something else that’s rooted in emotional intelligence versus intellectual intelligence. her emotional strength - her compassion and her passion, her sense of adventure and her sense of what is right, no matter what the rest of the world tells her to do and feel and think - is what gets her through her ordeals in the village that ostracizes and rejects her, as well as the enchanted castle with danger and mystery around every corner. (indeed, the line between “enchanted castle” and “haunted castle” is but a gossamer thread, and she makes that castle her home.)

and, of course, there is absolutely nothing more gothic heroine than falling in love with disney’s very first byronic hero.

#;ask me your questions and get some answers.#;dream factory.#;ever just as sure as the sun will rise.

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aspoonofsugar · 8 months

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A Quick Nora Thought...

Nora's first appearance in the series sets up her arc in two ways:

Nora: I can't believe we've been at Beacon for a full twenty-four hours! Not that I thought we'd get kicked out or anything, I mean, you're the perfect student and I'm… well, I'm me! But it's just crazy, you know? We've been friends for soooooooo long! What are the odds we'd still be together? Well, not "together-together…" Not that I'm not saying that you're not handsome; you are handsome, but that'd just be weird, right?

Let's focus on 2 lines:

Not "together-togheter"...

I'm... well, I'm me!

Not together-together

Nora is initially co-dependent from Ren. She is saved by him and spends the majority of her life by his side. As a result, she struggles to find a new balance, when her feelings become romantic. They are together platonically, but not romantically. At the same time, Nora's idea of getting together-together as things are is unhealthy.

I'm... well, I'm me!

Let's consider these 2 scenes:

We've got a world-renowned fighter on our team, what's basically a ninja, I can bench five of me… Jaune… We've trained all year, our weapons are awesome, Glynda barely yells at us anymore and… Uhh… Jaune!

Nora: Yeah, they’ll be fine. Jaune’s a great leader, Oscar’s grown a ton, and Yang is more than capable of protecting them all in a fight. Oh, and of course Ren is- um…

Whenever Nora can't properly say who someone is, she would define them by their name. In volume 3, Jaune is still unsure of his identity, so he is no-one, but Jaune. In volume 8, Ren is going through a similar identity crisis, so Ren is someone Nora doesn't know anymore. This speech pattern highlights that the character mentioned has a frail sense of self. Well, what does it say about Nora, then? The very first thing she says is that she is unsure of who she is. Ren is someone, for example a handsome perfect student. But Nora? Who is she?

Ren + Nora = Renora

Nora's arc is built around 2 ideas, which seem opposites. On the one hand her story focuses on her relationship with Ren, as he is her objective since early on. On the other hand she must figure out who she is as an individual. So, how can she be together-together with Ren and be just Nora at the same time?

Nora: I don’t know what he is. Every time I think the two of us are making progress, he… (sighs) We’ve been together our whole lives but I feel like I understand him less now than ever. And I don’t know if that’s his fault or mine. Blake: When you’ve been at someone’s side for so long, after a while they become a part of you. But that’s just it, they’re only a part of you. Don’t forget about the rest. Nora: I don’t actually know who I am… without Ren. Pretty sad, huh? Weiss: Well, maybe take this opportunity to find out? Do something only Nora can do.

The two thematic threads come together in volume 8. Nora doesn't know who Ren is and since she has built her self-image around him, she is suddenly unsure of herself as well. It turns out that to go from Ren + Nora to Renora, our girl needs to figure herself out:

Nora: When my mom ran from the Grimm and left me behind, you found me. We became Ren and Nora. But I realized on this mission apart, I don’t know who “Just Nora” is. And if I’m ever going to find out, then I have to do it alone. Because I’ve always loved you, Lie Ren, and that pretty head on your shoulders seems like it’s doing a lot better. But I still got to get mine sorted out before I can be the partner you need. Is that…okay?

Only in this way, she can be by Ren's side (together), but not in aa codependent way (together-together).

As for who Nora is... the episode Risk makes it pretty clear.

The most beautiful flower of all

What beautiful blossoms we have this year, but look... This one's late...But I'll bet that when it blooms it will be the most beautiful of all. (Mulan, 1998)

The Renora's confession scene ends with Nora being not ready for a relationship with Ren. And yet, the moment looks at Nora he sees the air full of petals ready to bloom. Considering Ren's Mulan's allusion and the importance flowers have in Renora's arcs, I think the reference is pretty clear.

Nora (a pink flower) has yet to bloom. She is late in a sense. However, the flower which blooms late is the most beautiful of all. That is Nora. Our girl will definately bloom into herself, no matter the adversity she meets:

The flower that blooms in adversity is the most rare and beautiful of all (Mulan, 1998)

#rwby #nora valkyrie #renora #lie ren #rwby meta #my meta

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storiesofsung · 19 days

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Yuu OC - Mulan ⚔️

Pt1 An interesting concept

I’ve always been curious about the direction that TWST could go in regards to MC being a girl.

One of my favorite examples of this being this fic by DuckInSuits on Ao3

Now this inspired me to watch Mulan because it is one of the most famous “girl disguised as boy” story (other than OHSHC) that I know of.

Since literally almost everyone is twisted off someone (idk who Jack is tho) +the Disney references that make me cringe sometimes just because I know the existence of Disney, why not make the MC also twisted off something?

(lol Grim as Mushu tho imagine)

I just feel like the in canon MC does seem like the type of person to kind of work hard with what ingenuity they have since they live in a worn down building and pass classes they have zero prior knowledge on.

And they do kinda use their brains to figure out shit, especially with the overblots !!

Idk i just think it would be an interesting dynamic to work through

None of that liar arc tho, that usually stretches on too long but like… yk

I really enjoyed the fic because it made us connect with Cater (and I believe Ruggie?) in ways the normal canon didn’t explore. It made me empathize with them and actually be invested in their relationship with the MC. And I like how it shows just slice of life stuff like MC making pancakes in Ramshackle dorm/needing feminine pads.

Moments like these really give us a moment to stop and breathe to notice the story’s surroundings while making it believable and lived in. It balances out action and pure dipshitness.

Pt2 “Also I really like Mulans songs”

Honor to us all + Reflection

in regards to this while listening to Honor to us All, it actually made me think of a believable motivation for my said OC, she ran away because she didn’t want to get married, and didn’t want to pretend to be someone else just for her parents (and by extension society) to accept her

Now I know this motivation is more selfish than not wanting your elderly father to fight in a war but remember TWST characters ≠ their twisted counterparts. (Ex. Rollo is less pure evil than Frollo). And I think this could be an interesting motivation since her journey going to TWST could make the MC realize her actions and make her decide whether she did was right or wrong (=character development)

A Girl Worth Fighting For

You cannot make me believe every single man in an all boys school is 100% feminism core.

I think that’s where a girl worth fighting for could come in. (Deuce not included he is a feminist) but the 1st year friend group being a lil (while unknowingly) sexist in regards to how they see a female romantic interest, then later drinking respect women juice after realizing the strongest (they fought 6 overblots stfu yes they are) one in their fg is in fact a woman (and later apologizing to her lol)

Make a Man out of You

It’s self explanatory based on what I said earlier but I’m not sure who could be Shang in this song 😭😭. Personality based it’s either Vil or Riddle, Physically it’s Leona (he would not give a shit other wise), unless it’s for spelldrive)

Summary: Overall this is more of a Yuu not based on having a love interest, but as a character based on an icon (✨).

This has just been on my mind for a bit about an AU that I do not have the skills to write about l…but it’s for all you girlies who prefer pants over skirts and generally dont like to be categorized as feminine 🔥

#twst #twisted wonderland #disney twst #twst fandom #twst rambles #twst oc #twst yuu oc #twst yuu #twst hc #twst fanfic

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courtofterrasen · 2 months

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I’m just about done with finals, so I decided to gather up a quick list of over 50+ different POC women characters with actual good stories and character development as well as what they’re in, since you guys seem to be complacent in accepting mediocrity🥰

I know there are A LOT more REALLY GOOD characters out there, like Firebird from Marvel for example, but these are all characters from media that I either have personally consumed or know a lot about that I can think about off the top of my head. So if anyone wants to keep the list going in the comments, please feel free to add on

Charlotte- Queen Charlotte: A Bridgerton Story

Shuri- Black Panther (MY LOVE😭❤️)

Okoye- Black Panther

Nakia- Black Panther

Queen Ramonda- Black Panther

Katara- ATLA

Korra- LoK

Toph- ATLA

Azula- ATLA

Beauregard- Critical Role: Campaign 2

Fy’ra Rai- Critical Role: Exandria Unlimited

Opal- Critical Role: Exandria Unlimited

Deni$e- Critical Role: Campaign 3

Deanna- Critical Role: Campaign 3

Lady Kima: Critical Role: Campaign 1/ Legends of Vox Machina

Laerryn: Critical Role: Exandria Unlimited: Calamity

Veth Brenatto- Critical Role: Campaign 2

Mirko- My Hero Academia

Ahsoka (people refer to her as a POC character even though she’s a Togruta)

Moana

Mulan

Tiana- Princess and the Frog

Esmeralda- The Hunchback of Notre Dame

Nani- Lilo and Stitch

Raya- Raya and the Last Dragon

Mel- Arcane

Ambessa Medara- Arcane

Sevika- Arcane

(Special shout out to Ekko from Arcane because he’s SUCH A GOOD CHARACTER)

Storm- Marvel comics

Wonder Woman- DC comics (she is Mediterranean, which is located in the North Africa/ Europe/ West Asia region, for the incels who are going to try to fight me on that. Just because your skin has less melanin than people “think you should have” does not invalidate you being a POC)

Nubia- DC comics

Special shoutout to General Nanisca in The Woman King. I have not watched it yet, but I’ve heard a lot of great things

Valkyrie- Thor Ragnarok

Gamora: Guardians of the Galaxy (though, she’s not human, she’s a Zen-Whoberis, but her actress is Dominican and Puerto Rican)

Ava Silva- Warrior Nun

Sister Beatrice- Warrior Nun

Sister Lilith- Warrior Nun

Deyha- Genshin Impact

Candace- Genshin Impact

Xinyan- Genshin Impact

Janai- The Dragon Prince

Ursula- Once Upon A Time

Mulan- Once Upon a Time

Lucyna “Lucy” Kushinada- Cyberpunk: Edgerunners

Mermista- She-Ra and the Princesses of Power

Catra- She-Ra and the Princesses of Power

Lonnie- She-Ra and the Princesses of Power

Netossa- She-Ra and the Princesses of Power

Entrapta- She-Ra and the Princesses of Power

Perfuma- She-Ra and the Princesses of Power

Mara- She-Ra and the Princesses of Power

Frosta- She-Ra and the Princesses of Power

(All of whom are Etherian’s, not Terran’s, which would equivalate people from earth)

Mazikeen- Lucifer

Wednesday Addams- The Addam’s Family/ Wednesday

Calliope “Cal” Burns- First Kill

Talia Burns- First Kill

Yennefer- The Witcher (actress is of Indian descent.)

Triss- The Witcher (some debate can be had about this due to her character in the games being white and her actress in the show having South African heritage. I enjoy them both equally)

I would add Pocahontas to this list, but the Disney recreation of her story is an extremely incorrect and awful retelling, so I implore you to go and look up the story of Amonute/ Matoaka, which is the true name of Pocahontas. It’s not an easy story to hear, but I feel as though people need to know her true story instead of Disney’s romanticized one.

Also, if you guys REALLY want a good female POC pirate story, check out the story of the most successful pirate in the world named Ching Shih, aka Cheng I Sao. She was a woman born in Guangdong, China in the late 18th century and worked as a prostitute until she caught the eye of Cheng I, the notorious Commander of the Red Flag Fleet. After buying and marrying her, he noticed her intelligence, leadership skills, and determination, so he began to teach her about life in the high seas. She quickly adapted and helped him lead his fleet, and when he died she assumed full control over his fleet and amassed 1,800 ships and 80,000 pirates under her control and became the most feared pirate leader of her time. It’s a VERY cool story

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doberbutts · 5 months

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So after seeing your post about BES I finally started watching it and damn. DAMN. People saw Mizu and can’t understand why transmascs gravitate to this story???????? I’m pretty sure “using bandages to bind chest” is like one of THE TOP symbolic moves that transmascs gravitate to when it comes to our (admittedly lackluster) representation in media.

Also, I feel like a lot of people get really weird about the idea that a story about empowering women and a story that’s relatable to transmascs aren’t mutually exclusive. I won’t speak for everyone but personally I like stories like this that don’t shy away from representing people whose AGAB doesn’t align with their outward actions.

And! Personally! As a man who is East Asian living in the US and has a higher voice even after 5 years on T, characters like Mizu rekindle my hope that one day I’ll be able to pass as flawlessly as him lol. Characters like Mizu, Mulan, Haruhi (from ouran high school host club) always seem to spark that little bit of hope in me… that maybe one day I won’t have to try so hard to be accepted and people will just see me and assume I’m a boy without me having to correct them… or at the very least, that they’d refrain from using any gendered language towards me until they ask and find out what I want to be referred as.

Oh for sure. It's like the Mulan thing. Like I'm sorry but you put "when will my reflection show who I am inside" and "who is that girl" and "why is my reflection a stranger" and you're mad that trans guys went "wow where'd you get that picture of me" like??? In a deleted scene, Mizu tries to play with her feminity in the mirror at the brothel and ultimately scowls and doesn't like what she sees- and you're trying to tell me that it's *not* supposed to be relateable to trans mascs trying to be feminine women and hating what they see reflected back at them?

Like you said, it's not that I'm mad that this is a story about empowering women and featuring a highly GNC woman as its main character. It's just annoying, and more importantly highly concerning, that people seem to think that because it's about empowering masculine women that trans mascs can't or shouldn't see any of themselves in it. I'm an entire grownass binary trans man and throughout my entire life I have felt more seen and more fellowship with masculine women both fictional and real than I have with anyone else except specific gay cis men who were very gender themselves.

And yeah. As your existence proves, it's not like East Asian trans mascs aren't real??? Like I'm sure there's nuance there that I'm missing because despite being biracial I'm not Asian and *definitely* not Japanese. But acting like characters like Haruhi, or Mizu, or Mulan [Chinese] *can't* be trans mascs because that'a inherently disrespectful to East Asian women is just plain erasing the fact that, um, Japanese and Korean and Chinese and Thai and Vietnamese and more trans mascs absolutely do exist and have existed as long as gender has existed.

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imagitory · 2 months

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Hey all! So recently Wish was added to Disney+, and I thought it might be a good opportunity for me to watch it again for the first time since I saw it in theaters. I asked you all what I should write about after watching it, and in the end, the top answers were an analysis of the criticism surrounding Wish and something focusing more on the positive aspects of the movie, rather than just the usual mindless bashing.

So that's what I intend to write! A look back at some of the common criticisms I've heard about the film, and how much weight they actually have.

Now, before we begin, I should put in a disclaimer -- I don't particularly like Wish as a film. I think it had ridiculous amounts of potential that were likely hampered by corporate decisions, but I personally find it to be one of Disney's weaker animated films. That being said, as promised, I will make any critiques I do include as balanced as I can, and I will try to include praise where I can too.

So let's start!

"Asha is a badly written character because she has no character arc."

This is a critique I actually found on a list also discussing valid criticism of Wish, and I knew I had to include it, because even BEFORE I rewatched the movie, I thought it was a bit unfair. Because here's the thing: there are plenty of good films, Disney or otherwise, where the main character doesn't have/need a character arc. All of Walt's original three princesses, Snow White, Cinderella, and Aurora, don't have character arcs. Ariel doesn't have an arc either -- instead her father Triton is the one who goes through a change of heart. Neither does Pongo, or Basil of Baker Street, or Robin Hood. Indiana Jones doesn't go through any real character development in Raiders of the Lost Ark, yet he was interesting enough to inspire a whole movie series! with mixed results. The important part is that even if a main character doesn't develop personality-wise, we should still be able to root for them and want them to achieve their goal. We don't want Cinderella to be abused by her stepfamily -- we want her to find someone who loves her and will take care of her the way she takes care of others. Although it can be more interesting to give your characters an arc while they pursue their goals, it isn't necessary to tell a good story or write a compelling character. Sometimes a story can be more focused on how their life circumstances or environment changes around them.

Another criticism this leads into is the idea that Asha is just another "quirky female lead" a la Rapunzel, except without any background that justifies it. And well...plenty of people griped that Anna was too much like Rapunzel, when Frozen came out. I saw people compare Moana to both Rapunzel and Mulan, when her film came out. Mirabel was also compared to past Disney heroines like Anna and Rapunzel. Even before Wish came out, people tried to argue that Asha looked just like Isabela Madrigal, which was just ridiculous. There's plenty of bad-faith criticism out there that'll shallowly associate one character or story element with one trope exclusively without looking at any nuance or detail. And I think most people would agree that truthfully, none of these female characters are the least bit "the same," no matter how much someone might try to all boil them down to "the quirky Disney female lead." And, like the others, Asha has traits that set her apart. The big one for me is her bent toward social justice, which is something we haven't really seen in a Disney leading lady since Esmeralda in The Hunchback of Notre Dame. Even so, I admit that Asha's quirkiness isn't as justified by her backstory as the trait is by Rapunzel's isolation or Mirabel's "outcast" status in her family, and that does make it so that her characterization has less depth than those of some of her counterparts'. Does that make Asha a bad character? Of course not. If you like Asha as written, that's totally fine. Underdeveloped doesn't have to mean unlikable.

"There are too many characters in this movie!"

Even I've been a bit guilty of thinking this. I still feel as though the film would've saved a lot of space if some aspects of Asha's friend group had been redistributed to other characters. Like okay, you want to reference the Seven Dwarfs in Asha's inner circle, but give them all distinctive personalities? Have her mother fill the Bashful role, and cut Bazeema. Have her grandpa be Happy, and cut Hal. Have Valentino be your Grumpy role, and cut Gabo. Have Star play your Dopey, and cut Dario. Suddenly you only have three characters -- Simon, Safi, and Dahlia -- to introduce in that kitchen scene instead of seven, and you've also now given Asha's mum, grandpa, and sidekicks more personality as well!

That being said, the amount of characters truly isn't the problem. The real problem is time. Because let's be honest, we can ALL think of media with a large cast of characters we've become strongly emotionally invested in. The Lord of the Rings -- The Avengers -- Hazbin Hotel...but the difference is how much time the audience is given to get to know all of these characters. Even Snow White and the Seven Dwarfs, which has a cast of eleven, ends up leaving the Prince and the Huntsman rather underdeveloped compared to the Dwarfs. We don't ever learn the Evil Queen's whole deal or even her name, and she gets a lot of focus! With Wish only being ten minutes longer than Snow White with a cast of fourteen, it's little wonder the filmmakers struggled to have all fourteen of them leave a strong, unique impact. Even when I first watched the film, I didn't feel anything negative toward Asha's friend group -- if anything, I was happy to see a Disney animated female lead with a friend group of her peers, since the closest we'd gotten to that previously was Hiro in Big Hero 6 and Mei in Pixar's Turning Red. All of Asha's friends had the potential to be very interesting people, and that's why it's sad that we didn't get to see more of them and have the chance to become invested in them as individuals.

"Magnifico was actually right the whole time! Asha is the REAL villain of the story."

I see this one a lot, both from people who disliked the movie and fans who stan Magnifico, and as much as I won't give anyone a hard time for liking Magnifico, I think this view isn't really fair to either character or to the story the filmmakers pretty clearly wanted to tell. And sadly, as much as I want to be positive, I think this interpretation comes about partly because of inconsistent writing on the filmmakers' parts.

In Welcome to Rosas, there is this utopic vision presented of the island -- one that only reinforces the story told to us at the beginning by Asha, of how this man who loves wishes learned powerful magic so he could found this idyllic island kingdom with his wife where he could make wishes come true. Unfortunately, for some viewers, I think that propaganda works a little too well -- making us see Rosas as a place that truly is that happy and content and peaceful. And yeah, that does make it so that when Asha sings about how she wants "more than this," that could make her come across as rather selfish and entitled. But I think there are a few things that are good to remember --

Welcome to Rosas is framed as an advertisement of sorts -- like one of those commercials you see promoting Disneyland and how magical it is, without ever bringing up how much money it costs or how many lines you'll have to stand in. Asha's guiding some new people around with the goal of convincing them to stay and give their wishes to Magnifico, so of course it's going to sanitize the kingdom and make it seem like a place you'd want to stay in. There's blatant hyperbole thrown in there for dramatic effect, like the idea that you could go to outer space. Asha even sings that you're "unlikely to be unhappy": not that you'll be happy living on this island, just not unhappy. And yes, there is a difference between contentment and true, fulfilling happiness.

Simon's friends flat-out call him boring, after he turned eighteen and gave up his wish. This foreshadows what we learn about the wishes later, which is that they're a core part of a person that they're left a shadow of themselves without. At the wish ceremony later on, we can see this in the animation of the two "new citizens" giving their wishes to Magnifico. When they think of their wishes, they're full to the brim with joy, but when they've given them up, they're left looking confused and almost bereft, and even as everyone else cheers, they look unconvinced by the crowd's cult-like "forget without regret" chant. According to Wish's own canon, you're cutting out the "heart" of who you are, when you give up your wish.

Considering Amaya says that Asha will need to keep the tea hot, listen whenever and for however long Magnifico wants to talk, and never question anything, Magnifico didn't want an apprentice -- that would insinuate he'd actually be teaching them magic. If anything, it sounds more like he wanted a personal servant to cater to his whims. And when that person interviewing before Asha disappoints him, he's left running down the hall crying hysterically. This develops Magnifico as the film's future antagonist. Already long before he uses the evil magic book, we see that he wants a subordinate to do whatever he wants without question or complaint, seemingly for nothing in return except his own approval and, I would presume, some sort of paycheck. (I mean, I'm not saying Asha was right to expect favors from Magnifico so soon, or that that kind of quid-pro-quo stuff isn't corrupt as heck, but considering she and Magnifico did seem to connect over how important the wishes were, and considering Sabino's 100 years old, can you blame Asha for opening up about her hope that Magnifico would consider granting her grandfather's wish? She never framed it as a quid-pro-quo, and this probably would be the best chance she'd have to appeal to the King directly.)

Asha is seventeen! Of course her world view is going to be smaller and more idealistic than Magnifico's, and of course her family is going to be the center of her world. At the same time, even if Asha is young, it doesn't mean her perspective isn't worthy of compassion and respect. Sometimes the young do have a more meaningful view of a situation than their elders -- just look at David Hogg, or Malala Yousafzai, or Greta Thunberg...hell, even Anne Frank! However upset Magnifico was about Asha disagreeing with and contradicting him, it does not justify how pettily he decided to shut her down. He was an adult, and a ruler besides: it behooved him to act like one.

The filmmakers clearly envisioned Magnifico as the villain. Even if you want to ignore the promos where they compared Magnifico to the likes of classic Disney villains, Magnifico is portrayed as an arrogant, vain, vindictive control freak. He thinks only he knows what's best for everyone else, has decreed that only he has the authority to cast magic or grant wishes, and knows how beautiful people's wishes are, but prefers to hoard them away like trinkets, long before realizing that crushing them gives him power. (Not to mention he looked at Asha's hand-drawn animation and actually said, "Do we call that a talent?" I mean -- excuse you!) I've even heard some people theorize that Magnifico was based off Disney's "collect-'em-all" CEO himself, Bob Iger, and not in a flattering way. His main argument scene with Asha has been compared to how creatives have felt about their corporate bosses abruptly shutting down and locking away their incomplete films rather than let them be finished or released. Admittedly Wish also goes out of its way to try to make Magnifico sympathetic by giving him the slightest of tragic backstories, having him actually trust Asha enough to show her the wishes after only just meeting her, and (later on) not giving into the temptation of the random evil magic book because Amaya asks him not to, and that definitely muddies the waters. I still have to stand by the fact, though, that one's motivation doesn't excuse their bad behavior, however much one can explain the other. Magnifico having a sad backstory or trauma doesn't mean he's justified in treating people poorly, collecting wishes for his own enjoyment instead of truly loving them and the people they're attached to by sharing them with others, or not wanting people to ever question him or his authority. Magnifico's "nicer" moments don't mitigate these things either. Nor does his role as king. Even if yes, the story could've done well to add more nuance to the idea of wishes and make clear that not all of them are good -- and yes, the story could've either made Magnifico's villainy a bit more straightforward or followed through with the idea of Magnifico being a misguided anti-villain...in this film, we only see good wishes represented in Rosas. Magnifico even calls the wishes "the very best part [of a person]" -- and so one can only presume that all of the wishes Magnifico's collected are that way. Asha even suggests (before Magnifico interrupts her) that if a wish is dangerous, they could probably address that, while still giving back the wishes Magnifico won't grant. And the wish that Magnifico explicitly calls too "dangerous" to grant is Sabino wanting to inspire future generations, presumably through music. Paranoia on Magnifico's part? Perhaps, but also unjustified, in the context of the film. When Star comes down, every last person in Rosas -- including Magnifico's wife and queen, Amaya, who presumably must know something of his trauma and understand wanting to protect their people -- feels nothing but warmth, hope, and joy: all except for Magnifico, who immediately reacts in fear just seeing the wishes moving outside of his control. This insinuates that Magnifico's perception is the odd one out -- he's the only one who's afraid and not inspired, because that alternative magic threatens his absolute rule and control. Just like he's threatened by his people asking too many questions about the wishes he's taken. Just like he's threatened by the idea that Sabino could inspire the next generation in a way he doesn't approve of. And in the end, if that random evil book did corrupt Magnifico, it only magnified what was already there inside of him -- a greedy, obsessive need to hoard things away all for himself and to control others.

Again, for those people who see Magnifico more sympathetically than the filmmakers intended, I can understand why. Wish has two very conflicting ideas of who Magnifico is supposed to be, likely because it was compiled from dramatically different script drafts. But I feel demonizing Asha or ignoring the film's overall message about the value of people being free to chase their dreams to try to prop Magnifico up is misguided.

"Wish is bad because it's 'woke.'"

I almost wonder if I even need to say anything. This sentiment is so disingenuous, it seems like I should really be able to let it speak for itself. Ironically enough, though, I would actually argue that one of Wish's biggest shortcomings is that it isn't as revolutionary as it clearly wants to be.

For one, the culture of Rosas -- inspired largely by Spain and the Mediterranean -- is really never explored. We get no real influence of either of those cultures on the soundtrack aside from a few mandolins and a flourish of castanets now and again, unlike how Encanto embraces Colombia or how The Princess and the Frog celebrates New Orleans with their music. There's a lot of diversity in Wish's cast with a biracial lead and her colorful friend group (including Dahlia, who has a crutch!), but that would be a lot more meaningful if that diverse cast of characters had had fully fleshed-out personalities and relationships that made us emotionally invested in them, such as how Turning Red handled Mei and her friend group. We have aspects of social justice in Wish's storyline, sure -- but as much as you can draw parallels to Wish's story and the writers' strike that had been going on earlier that year and I think those parallels are striking, a film that clearly dealt with so much corporate oversight and meddling almost couldn't commit to making their villain a True Evil sort, and in the end, Rosas doesn't even do away with the absolute monarchy at the end of their supposed "revolution": it just shifts leadership from its King to its Queen. (And yes, I acknowledge saying "no more royalty" is a message that Disney, of all companies, would be hesitant to put out there, but you can't deny, it would've been both ballsy and different.)

Does this mean Bob Iger was right, that Wish is proof its creative types are focusing too much on message and not on entertainment? No. I'd say the bigger problems with the film were more likely caused by corporate interference -- you know, like hiring some popular pop composers to write songs that can be repackaged into other projects easily rather than primarily tell the story and develop the characters. Or deciding that our main female lead has to be able to do everything on her own without "too much help" from her main co-star (LOL, pun) because "feminism." Or defanging the villain with similarities to the company's CEO so he won't scare the kiddos. Or even animating the film at the exact same time as you're writing it like you previously did with Frozen II, to save time and take advantage of the 100th anniversary timing.

Even so, I sadly can't help but feel that Wish is "woke" largely in a performative sense. It features people who look different from each other and it talks about revolution and positive change, but it really doesn't go far enough to depict diversity in a way that people can get really excited about it or inspire deep thought and even maybe positive change in its audience. That's not focusing too much on message and not on entertainment -- if anything, it's more indicative of not giving the relevant and timely themes and the diverse culture enough focus.

"The meta Disney references are awful."

This one I think really is much more subject to personal taste. I've heard quite a few fans say how fun it is to find all the Easter eggs for other Disney projects or even to theorize how Wish could be connected to those movies in some kind of Disney Cinematic Universe. Personally I'm not in this camp, but that doesn't mean that I hate all the references included. The film opening with the exact same kind of text from Snow White and the Seven Dwarfs actually made me smile. The Sleeping Beauty-esque drawing style in the storybook was pretty. Even the Seven Friends as an idea I thought was cute, when I first saw the concept art for them.

By and large, the references I tend to see more favorably are the ones only hard-core Disney/animation fans would pick up on. This might make me sound snooty, but I still personally enjoy references like Star's design being based on one of the star cherubs from a discarded Snow White sequence far more than I do the more blatant ones like Magnifico crushing a dream about a "perfect nanny" or the boy dressed like Rosasbound!Peter Pan. I guess for me, the first kind of references feel more like homages, rather than things that are deliberately supposed to make you think of other Disney movies you could be watching instead of this one. For other people, though, thinking of different Disney films while watching Wish is fun, and it reminds them of how much they enjoy those other movies too. It's good, clean, nostalgic entertainment. And well, Disney has put plenty of Easter eggs in its work before, though usually a bit more sparingly.

So yeah, I think ragging on the flood of Disney Easter Eggs in Wish is a bit unfair. As much as most of them aren't for me and I would've been happier with a lot less of them, I know there are other people who find joy in them, and I'm happy they do. The animators working on this film undoubtedly had a lot of fun including those references too, and I don't blame them! It's fun to create art celebrating what you love with like-minded people.

"Wish's songs are all terribly written."

Now up to a certain point, I could just say exactly what I said against the last criticism -- that this really comes down to personal opinion. Unlike meta Easter eggs, however, music is an art form, and there is real craftsmanship to it -- hell, people study music theory for a reason. And as several Youtubers have discussed before, there are real structural problems to how a lot of these songs are written. In some cases, it's an issue of cadence, where the way the words are sung don't sound like how they'd be naturally spoken aloud. In Knowing What I Know Now, for instance, sometimes the singers use the wrong emphasis on certain words, just based on where they land in the song, such as when Asha sings about Magnifico showing his "TRUE col-ORS in SHADES of GREEN," even if people don't naturally emphasize the second syllable in the word "colors." In other cases, it's over-stuffing a line with words so that the melody line isn't as memorable, such as in This Wish where the amount of syllables per line are all over the place and sentences get cut in weird places --

Isn't truth supposed to set you free? (9) Well, why do I feel so weighed down by it? (10) If I could show them everything I've seen, (10) Open their eyes to all the lies, then (9) Would they change their minds like I did? (8) But when I speak, they tell me, "Sit down!" (9) But how can I when I've already started runnin'? (8) Oh, this is where we've been, (6) But it's not where we belong, (7) And I may be young, but I know I'm not wrong... (11)

There are also cases where the songs barely use any actual rhymes in favor of half-rhymes or worse twist themselves into pretzels just to make an actual rhyme, such as in I'm a Star, with lines such as "When it comes to the universe we're all shareholders // Get that through your system! (Solar!)" and "Ooh, I'm a star! // Watch out, world, here I are!" (Excuse me while I cringe.) And then of course, most infamously, there are the redundant and otherwise weird lyric choices, most commonly cited in Magnifico's And This is The Thanks I Get?!, such as "I got these genes from outer space!" and "I let you live here for free and I don't even charge you rent!"

By and large, people have not responded as well to Wish's soundtrack as they have for many other Disney musicals. It could also be argued that the songs don't tell the film's story as well as they could've. The most egregious example of this is At All Costs, which is supposed to be our villain and hero singing about the beauty of the wishes the first has collected, but was literally written as a love song first, just because Julia Michaels wanted to write a song that could be played at people's weddings even if the movie in question didn't feature any romance. Even This Wish was written well before the script was finished, and this is when we can tell from all the concept art released by Disney that this movie had been dramatically rewritten at multiple stages of development.

And yet even with this, I still see people making animatics for At All Costs featuring their own characters or Asha and the discarded Starboy concept. (And yes, we'll come back to that.) I still see fan-made music videos featuring This Wish. Hell, even I have some of Wish's songs on my IPhone, and I listen to them actively! Knowing What I Know Now, as much as I see what's technically wrong with it, is still a bop for me. However much I had to take a full-on sanity break after listening to I'm a Star a second time, I do enjoy This Wish and At All Costs, just on their own. I don't think This Wish (reprise) is a bad musical or thematic climax, especially if one considers Magnifico's fear that Sabino's wish was to inspire the next generation through music, and it ends up being a song -- sung by his loving granddaughter -- that ultimately defeats our antagonist. I don't think any of Wish's songs really help tell the story as well as other Disney songs do for their films, but I still think there's room for personal taste here. Music -- like all art -- still has an element of subjectivity. It isn't a science -- yes, there is talent and skill involved that can only be mastered with practice and hard work, but there's still a bit of magic that comes with the finished result, and as much as it might not be popular with the masses, that doesn't necessarily make something worthless, or that public consensus can't change. Tchaikovsky famously hated the work he did for The Nutcracker, as did the critics of his day, only for it to go on to become a staple of holiday entertainment and ballet productions overall. Plenty of cult classic films like Labyrinth and Heathers didn't make a lot of money or get lots of praise when they first came out, but soon enough they found their audience.

"The animation is lazy!"

There's actually a much better video discussing this, made by a real professional animator, and I think I'll just let him handle this.

youtube

One thing I want to touch on, though, is Jennifer Lee's commentary about why Wish ultimately wasn't done in 2D animation --

"What happens in hand-drawn is that you have the incredible hand of the artist, but also limitations in what you could do on screen. What happened in CG is you'd have incredible, boundless opportunities, visually, that elevated it — even to the point for some — into realism, which is not what we wanted to do. The more important thing to us was to have a way to find technology that can do everything. Connect to the true vision of the artist, but bring in technology that could finally take away limitations."

-- and yeah, I'm not going to lie, this sentiment leaves a really bad taste in my mouth. The idea that hand-drawn animation somehow limits what art you can create is mind-boggling for anyone working in animation to think, but especially for someone working in Disney animation. I can't help but feel like Uncle Walt would've been ticked if he'd heard anyone suggest this. Anyone who loves animation I think would be annoyed by it, and I'd say people like Hayao Miyazaki continue to prove that Lee's thought process isn't true, considering that his hand-drawn film won the Oscar for Best Animated Feature the same year that Lee's Wish was passed over by the Academy altogether. To be fair, though, this is more a reflection on certain Disney leaders' dismissive attitude toward the medium that built their company as well as the vast majority of the films they're supposedly celebrating, rather than any condemnation of the hard-working animators who worked on Wish. And yes, although no one can argue that Wish ultimately doesn't look as good as its animated peers like Sony's Spiderman: Across the Spiderverse (which was made with half the budget Wish was), that's more the fault of a flawed vision on the part of the filmmakers than anything. It's certainly not indicative of a lack of talent, resources, or caring from the animators themselves.

"Wish would've been so much better if it had featured a love story between Starboy and Asha!"

Okay, let me pop this bubble right now --

None of Disney's official releases have ever indicated Star was going to be Asha's love interest.

The concept art featuring Asha and human!Star? Yeah, that exists, but there's nothing strictly romantic in any of those concepts, like them kissing or even hugging. At All Costs originally supposedly being a love song for Asha and Star? As touched on above, nope, it was even more of a cynical corporate decision than that -- the songwriters just wanted to write a love song that they could repackage and use elsewhere, even if there was no love story to go with it. The thing about Asha and Star supposedly being soulmates? That's derived from a comment in the artbook from Wish co-writer Allison Moore, talking about Asha and Star in their current forms, and so therefore the sentiment was intended platonically --

"Now Star and Asha have an emotional journey. They are soulmates."

And well, just based on a good chunk of the Disney animated films that had come out prior to Wish featuring male and female leads -- Zootopia, Moana, Big Hero 6, Wreck-It-Ralph -- there was really nothing definitive to suggest that our two central characters were going to be romantically linked. And even if Star and Asha were going to be love interests, that still would've been no guarantee of a better movie -- you'd still need compelling, well-developed characters, if you want to likewise have a compelling, well-developed relationship between them. And as I've argued in the past, a movie doesn't need romance to be good. If someone could feel sincere platonic love between Star and Asha as their actual movie selves, then any romance between them wouldn't be needed. I truly believe the only reason that so many people have gotten so hung up on the idea of a Star/Asha romance is because that original platonic "soulmates" idea Allison Moore and others envisioned just didn't ring true for them. They saw more love and interesting chemistry between the original concept art versions of Star and Asha than they did between any of the characters in the finished film...and so they've built upon those flickers of love with their own imagination and then built that mental image up into something that I don't think the filmmakers probably ever intended.

I must be honest, it was kind of a slog, watching Wish for a second time. I stopped multiple times to take notes, unable to just sit back and let the movie wash over me. Even so, I truly appreciate how much time you must've spent to skim through this way-too-long analysis, as well as the votes you all cast in that one poll of mine! I love analyzing Disney, and as much as I don't love Wish, I do think it provided great fodder for new fan creations and has amazing potential as an educational tool about both good storytelling and film-making. And if there are more criticisms of Wish you'd like me to discuss, please feel free to reblog this post with them! Thank you for your support!

To close us out...if you love Wish, then keep on loving it! Don't let anyone -- including me -- tell you otherwise. I don't think a film that was truly the worst thing ever would've attracted as much attention or overanalyzing as Wish has received. And for those of you who are still dissatisfied with Wish, here's a list of films I compiled that you can watch and enjoy instead!

For Starboy/Asha stans...Stardust!

For both Starboy and Chris Pine stans...Rise of the Guardians!

For those of you who love the idea of storytelling magic...Whisper of the Heart!

For those of you hungry for a diversely cast, "woke" fairy tale...Rodgers and Hammerstein’s Cinderella (1997)!

For people looking for a colorful, family-friendly musical...Wonka!

For avant-garde animation fans...Guillermo Del Toro’s Pinocchio!

For modern CG animation fans...Puss in Boots: The Last Wish!

And finally, probably most obviously -- for those Disney fans looking for a loving tribute to 100 years of Disney Animation with a bunch of Easter Eggs and good humor...Once Upon a Studio!

Much love to you all! 💛

#disney wish #wish (2023)#wish critical #disney #opinion #analysis #oh boy here i go

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highdramas · 1 year

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hi ! i absolutely love everything you’ve written about joel so far and i think you really capture the essence of the character. i would love it if you could write an imagine where joel, ellie and the reader make it to tommy’s and settle there and become a family (kind of), maybe the reader and joel have a kid and he’s scared but they make it work (?) i think it’d be super cute and who doesn’t love daddy!joel? 🥺

i loved this request!! i changed it just a tiny bit and made r come to jackson after joel and ellie so i hope that's ok. also fucked around with ages so joel is 47 here! thank you sm for sending and reading and i hope that you enjoy <3

wc: 2679

there was a story about jackson and the people who protected it. the people who had built it into a fortress, a civilization almost resembling the one that you knew years ago. so many years ago-- god, you were a different person now. you were hardened after so much time spent fighting, clambering to stay above running water.

the river of death. you'd heard the whispers on the wind about it, but you didn't believe it. not really. not when one person told one person who told you about this place-- but you would beg. shit, you would get on your hands and knees and plead if you absolutely needed to.

you're just one person. one person looking for her sister, and if what you'd been told on your journey proved true... she was here. and you would find her.

like clockwork, the charging of horses approaches you. instantly you raise your gun into eyesight and set it onto the ground, keep your hands up. "i've got nothin' else." one of the many men and women keeps their eyes fixed on you, the rest of their face obscured by the bandana they wear. but there's some distinctly masculine about the look. his harsh eyes are unrelenting. "i'm just looking for my sister. my baby sister." your eyes shine with unshed tears. "she's sixteen-- i know you probably think i'm bluffing to get your sympathy, i'm not! i promise you i'm not."

your near tears when the one who had been staring at you so intently hops off his horse, bringing forth a dog. "you infected?" he asks in a deep southern drawl. "this thing'll sniff it on you if you are."

"no," you say instantly and the dog is brought towards you, sniffing at you, before it starts licking your hands. you manage a smile and you look back up to the man. "her name is birdie."

when people start looking at one another, you feel an instinct in yourself spike. "where is she."

there was a long while that jackson didn't feel real. a long while where you were still not all that unlike a feral animal. wounded, scared, skittish. a year later, with a beer in hand and laughter on your lips, you remark how it's wonderful that they didn't shoot you point blank that very first day.

but it was joel who found you. and joel would never have done such a thing; not when you mentioned the one thing that he felt so deeply in his bones that it was like he knew you from the moment you laid eyes on him. you were a sister. you were an older sibling. and he recognized that feral look in your eye. it was not dissimilar to the one he had that first time he came to jackson, hoping that maybe tommy would be out there.

your relationship with joel had been trepidatious. after your reunion with your sister-- sixteen years old and alive, miraculously alive thanks to friends the two of you had made out in that scary world who you would never be able to repay enough-- it was joel who sought you out. joel and ellie, so much like him in a way that you recognized instantly. birdie was introducing you to anyone who would bear to stick around her rambunctious energy, but if there was anyone who could match it, it was ellie.

and that left you with joel.

those dark eyes burn into the side of your face as you watch ellie and birdie find a spot for movie night. they're playing mulan, which birdie had let you know had become her favorite in the months she'd been in jackson without you.

without you. because in those months apart, you had failed her.

"movies. crazy, isn't it? that they watch fuckin' movies?"

that gruff voice coaxes you from your own thoughts, which perhaps was joel's goal in the first place. there's a small smile on his face which he turns towards you. "unbelievable," you get out.

joel, with a slight nod of his head, beckons you to follow him. "c'mon. they'll be fine."

"but--"

"they'll be fine." joel says, reassurance and not annoyance in his voice. "i know it's hard. but she's safe."

joel had lead you to the bar and he poured you a low glass of whiskey, and as you sat there, he didn't even have to say anything for the story to start tumbling from your lips. you smuggled your little sister out of kc when it all went to shit. there wasn't a chance in hell you were going to stick around in that hell hole-- not with kathleen in control. you weren't the only one who felt that way, of course. a group of you had planned to go west together. and that's what you did. until a group of raiders fell upon you and you, you were supposed to be the distraction. but being a distraction quickly turned into being left behind, watching as your group, your friends, your baby sister-- they ran off to what you hoped could be safety.

it still felt like a failure. it felt like a failure because you heard birdie crying, heard her pleading them to stay, just to wait. that they didn't have to leave you. but this world was do or die, and you didn't resent them for leaving. you were glad they had.

failure. it was a failure. it was a failure that birdie had to be brought up in a world like this, not one where she could've been in choir and gone to prom. it was a failure.

and then joel's story. of sarah and of ellie and of everything in between-- and that hospital. his lie. "you're the only person i've ever told. well, besides tommy," he says with a rub at his chin. "but i couldn't-- i couldn't let her--"

your hand folds over his. "i know."

"a date." you put your face in your hands and joel rubs his hand up and down your back, with a small smirk. "i mean, she's--"

"she's seventeen years old, kid." joel pats you right between your shoulder blades.

birdie is not the only one who has found love, so it seems.

you feel joel's love everywhere, all around you. it sends a pang to your heart to think about the way that he lived for twenty years. yes, he had tess. and you had mourned a woman that you never met, said your silent thank you's to her. she kept joel alive. she kept joel going, in their own odd way, a life that you cannot fathom now.

not only that. she was just a person-- a person trying to get by. you think about all of the people who are never mourned, never remembered, lost to time and circumstance. you'll mourn every dead person you learn of, just so that they're no longer forgotten.

you feel joel's love when he helps guide you on how to be a parent. he said that it's like riding a bike; he learned with sarah and he never forgot. you feel joel's love when he takes your shift when you're not feeling well. you feel joel's love when he saves you a spot next to him during movie night. you feel joel's love everywhere, wrapped around you like a warm blanket.

"i know she is," you say gently, as if to soothe yourself from the rising anxiety in yourself. "i just..." you look at joel closely. "i don't want her to get hurt. i realize how fucking ridiculous i sound when i say that, believe me."

the corner of joel's mouth turns up into that smile that you absolutely fucking adore. "well, hey-- at least you're aware."

you groan and shove his shoulder but he pulls you in a catches your chin, his lips pressing to yours. you feel joel's love then.

"is this going to even be accurate?"

maria shrugs her shoulders and leans against the doorway. "joel is forty seven years old," you say, meeting maria's gaze. "he's not going to want this. and not just for that reason."

of all the people joel had won over, the most surprising had been maria. you'd heard the stories of that first visit, before the hospital. but you were thankful that he had. you were thankful for tommy and maria-- that you had a family. a makeshift family that loved and cared for one another. tommy, maria, their little baby. you, joel, birdie, and ellie.

"stop stalling and take it," maria says and that has you snorting, muttering something about damn district attorney under your breath that has her shaking her head.

so, you do. you take the pregnancy test, put the cap on it, and set it on your bathroom counter. you and maria are staring at nothing for a long time when the timer on maria's phone goes off and she snatches the test. "let me." she glances down at it and looks back at you. her lips are pressed into a thin line. and you don't even have to look at it to know what it says.

pregnant.

there's a part of you that think it's slightly fitting that the first snowfall is going to coincide with you telling joel of your pregnancy.

there's something magical in the air. not that you necessarily feel that magic right now... you feel something else entirely. fear and worry, anxiety and curiosity... but still, above it all, you feel happy. you don't know how the hell it makes sense that you can feel happy despite it all, but you do.

you watch joel as he piles together a rough snowball and pelts it right at ellie. "hey! you asshole!" that voice of hers never fails to make you smile, and the same is true now. you hear joel's laughter ring clear and true through jackson and you know that you're going to be alright. everything's gonna be alright.

your thumb nail runs along the little plus sign on the test, having already committed it to memory. for a moment you try and envision the look on joel's face when you tell him. it always ends up slightly muddled in your head, like you can't quite picture the real thing.

across the street joel catches your eye. you've always had the suspicion that he could identify you without even knowing you were around. it's like there was something inside both of you that tugged you towards one another, always. he nods his head at you and you nod back, crossing towards him. his gloved hands go to your waist and tug you in to him. "havin' fun?" he asks you, rubbing his hand up and down your back. "where's little bird?"

you point out birdie and her boyfriend with a smile. "gonna start calling her lovebird."

"ah, sounds fitting." you can feel his eyes on the side of your head. "something's up with you."

head whipping around to look at him, you try to keep your face as neutral as possible. "i don't know what you're talking about."

"don't bullshit me. i see it written all over your face."

pursing your lips at him, you turn your attention over to ellie. "there is something up with me." your hand slides down his arm before you take his hand, leading him away from the crowd.

this is make or break, you realize.

far enough away from other people, you slide the pregnancy test out of your pocket. you stare down at it and tap it against the palm of your hand. following the sound, joel glances downward, eyes snapping back to yours. "what is that?"

facing him, you place it into his hand. you watch as he stares at it and his eyes go shiny, snapping up to meet your gaze. wordless, all you offer is a brief nod of your head. "i missed my last period. and i've had an upset stomach in the mornings. think they call that morning sickness." there's a million different things happening all over his face, and you don't know how to decipher any of them. this is the first time that you feel you haven't been able to fully understand the man that has opened you up. "look-- you didn't sign up for this. you don't have to-- you don't have to stick around out of obligation."

joel's nostrils flare. "you think that i'd do that? that i would do that to you?"

"no! no, of course not-- joel, that's not what i'm saying, and you know it." you put your face on his hand and turn it towards yourself. there's tears shining in your eyes now. "i don't want to back you into a corner that you don't want to be in, is all. i don't-- i don't want you to feel like you have to do this. any of this."

with a long and shaky sigh, joel shakes his head, putting his hands on his hips. a hand scrubs over his face and when it falls, he's looking at you straight on. "i'd be lyin' if i said i wasn't scared shitless. being a dad--" his head instantly turns towards where you can faintly hear ellie's laughter. "i do alright with ellie. and i'm scared with her, too." he swallows. and he stands a bit straighter. "i'm not goin' anywhere. i'm not. and it's not out of obligation. it is because i love you."

you loosen a breath and his hand grips your elbow and tugs you close to him, wrapping his arms around you. "i love you," he murmurs again. and the thing about joel is he doesn't always say his love, but he always shows it. but the words warm you up just the same. "and i'm gonna love the shit out of our kid."

laughing into his chest, you squeeze your eyes closed. "i'm scared too," you admit. "what if i'm not--"

"oh, i know you're not sayin' that." he tips your chin up. "you raised birdie. and you did a damn fine job." he taps your bottom lip with his thumb. "we're... we're gonna be alright, kid."

birdie and ellie sit shoulder to shoulder, looking at the bundle in ellie's arms. you smile a little from your spot on the bed. joel takes the other spot next to ellie, his gaze flicking from you, to ellie, and to the baby in her arms.

"little theo," she coos softly, tapping his tiny nose. "i love that name."

joel looks up at you and you swear that something behind his eyes sparkle. "don't look at me. i definitely didn't pick it."

ellie giggles and looks at you. "knew it." she glances over at birdie. "you want to hold him?"

birdie, so soft and delicate, glances over at you. you give a reassuring nod of your head and force yourself onto your feet. joel is up in an instant helping you up, helping you move towards birdie. you sit next to her and brush a piece of her hair back. "only if you want to, bird." she instantly nods her head and turns to ellie, opening her arms up. and when theo is placed into her arms... you feel your eyes well.

family. you glance over at joel and he puts a strong and steadying hand onto her shoulder which you nuzzle your cheek against.

"he's perfect," birdie murmurs, stroking his cheek. "i didn't know a baby could be perfect, but he is."

you hum and nod your head. "glad i'm not the only one who thinks so," you tease. birdie leans against you for a moment and she looks at you with sparkly eyes. "i remember when i held you for the first time," you whisper. "i thought you were pretty perfect, too."

a tear falls down her cheek and you catch it with your thumb. joel's hand rubs at your shoulder and that word rings true once more.

family.

you'll be okay. you know you will.

#joel miller x oc #joel miller x reader #joel miller x you #joel miller imagine #joel miller fluff #joel x reader #my writing #request

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