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synergysilhouette · 7 days

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The Disney Renaissance: An Alternate Timeline (with additional films)

I had a lot of fun with my alternate timeline for the Revival Era post, so I thought I'd do the renaissance, along with a few scrapped films. I'm using a modern lens here when it comes to storytelling and portrayal of cultures, so it is a bit different. I'm also mixing my own ideas with scrapped ones from the films. Let's assume they began to use the "two movies a year" model during this period (and that they had the staff to support it).

The Little Mermaid--First off, the film uses a storybook opening and ending. Next, Disney embraces the abnormal, colorful palette used in original concept designs (as seen above), as well as keeping Ariel's knowledge of the human world; instead of Scuttle miseducating her, SHE teaches HIM about the human world. As a human, she has Eric teach her more about arts and sciences, though she does embrace dancing and horseriding. More time is spent giving a bit more personality to Ariel's sisters to show the world she's leaving behind, and Eric is modeled after Tom Cruise in a bid to grab more audience members. His singing voice is provided by Brad Kane, and the OG leaked ending is used (except we still get giant Ursula's boss battle at the end and the shell is still broken during the wedding because Jodi Benson is an underrated VA). The film makes about the same amount at the box office given that Disney was in a slump, but it's even more beloved by critics.

The Rescuers Down Under--Most of the film is the same as the original, except the success of "The Little Mermaid" inspires them not only to keep the musical aspect of the original, but make sure it gets just as much attention as TLM. Along with this, the idea to make Cody an Aboriginal Australian goes through, and the music takes influence from Aboriginal music, as well as being dynamic in order to continue with the action-film image that had gripped American audiences when they thought of Australian films at the time. The film makes about $150 million at the box office due to retooling it to feel more in-line with TLM's fantasy aspect while still appealing to action fans, and it makes Disney consider doing more theatrical sequels in the future...

Beauty and the Beast--The finalized version manages a better balance of aesthetic and historical, with the French influence being much more obvious in fashion and setting (though certain things like panniers weren't used in order to appeal to a modern audience's sensibilities) . Adam's name is mentioned explicitly here, as well as flashbacks to his human childhood in order to make his human appearance at the end of the film less jarring (sharing elements with the OG timeline's Broadway play and 2017 remake, such as the enchantress' magic making everyone forget the prince; let's just say that another king is ruling France around this time now--or the monarchy has already been abolish--and even when the curse is lifted, Adam doesn't press the issue). Linda Woolverton anticipates concerns of Stockholm syndrome, so she has the Beast send Belle home periodically so she can have "space" and she returns due to honoring her promise as well as her curiosity of the magical circumstances of the castle. The film is also a bit more mysterious, taking influence from Jim Henson's Labyrinth, as well as the beast being more enigmatic and contemplative rather than aggressive, though his time as a "monster" has led to him becoming more animalistic over time. Clarice is kept in this version, though Belle's loneliness is still highlighted as she's without her family in the castle, and even back home, Clarice "fits in" more than Belle does. Monsieur D'Arque is female, combining the character with Belle's scrapped aunt Marguerite, and she plays a larger role in this version. Gaston, while an arrogant jerk, is more mean than evil, and listens to Madame D'Arque's schemes in order to win Belle, as she once sees Belle visiting Maurice and believes that wherever she's been coming from houses immeasurable power. LeFou isn't kept in this version (the dynamic between D'Awque and Gaston is given more attention), Gaston is knocked unconscious rather than killed, as per the 1989 screenplay, and D'Arque is killed during the invasion of the castle. The critical and financial success to it is about the same as the OG film, and it also gave Disney breathing room to tinker around with different stories in the future.

(Also gotta give credit to MsHowlett on Deviantart for her fanart of Belle, combining both her concept art dress, which is more historical, with her final design.)

Aladdin--When drafting the film, there's a lack of clarity on whether the film should draw from Arab influences, given that most of 1001 Nights takes place in the Middle East, or Chinese influences, since Aladdin is stated to be set in China in the original story. Eventually they boil it down to being a mesh of Indian and Arab cultures (like in the OG timeline, but more culturally accurate), making Agrabah a kingdom between the Middle East and India. Because of this, the fashion doesn't really model the modern influences used in the OG timeline (though they do end up with final looks similar to their "Mirrorverse" appearances), and the phenotypes match the aforementioned cultures. It's mentioned that Aladdin's father left on a quest to reverse his family's poverty, and that Aladdin's mother died shortly before the film started. It's eventually brought up that Aladdin and Jasmine's relationship being built on a lie would divide audiences, so Aladdin reveals his poverty to Jasmine, who keeps the secret from her father since they'd never be allowed to marry. Jasmine and Aladdin are also aged up from 16 and 18 to being in their 20s to avoid critiques they got of Ariel being 16 and getting married. Jafar's backstory ("Why Me?") is explored more, particularly of how he worked hard to become a vizier and used to be looked down on others, and is seen as a evil version of Aladdin. Genie stays the same because he's awesome, and Brad Kane's work on "The Little Mermaid" inspired the team to call him to do Aladdin's singing voice. The film makes about the same in terms of box office, and is seen as one of the earlier examples of positive representation of Muslims in western media.

Swan Lake--Released in 1993, the film was designed as a love letter to classic Disney films, boasting Pre-Raphaelite art (mainly Dante Gabriel Rossetti's art) and operatic songs inspired by "Sleeping Beauty." There was discourse on whether or not to use the original score of the ballet, but eventually it was decided that they would use some of the score while creating some original musical pieces, as well as using ballet here and there for musical sequences. The film follows Prince Sky (taken from Tchaikovsky), who ventures to a magical land in order to find a hero to save his kingdom from the Owl King Rothbart. He encounters Odette, a wise but weary swan capable of turning into a human at night, and they team up to defeat Rothbart and fall in love along the way. The film made $400 million in box office, and critics compared it to "The Little Mermaid" and "Beauty and the Beast," with Alan Menken and Tim Rice's music earning praise. The film was nominated for "Best Original Film" at the Oscars, and the song "Moonlight Serenade" won best original song (and a commercial cover by Gwen Stefani and David Bowie). The film would later get controversy for Disney rumored to have made this film to spite "The Swan Princess," which came out the year later. Odette and Sky would later be brought into the Disney Princess and Prince line.

(Art comes from concept art for Barbie's Swan Lake; no concept art of a Disney version is known to exist. BTW, I'm not calling this art Pre-Raphaelite, but I did find it mesmerizing.)

The Lion King--For whatever reason, the team decides to move away from making the film about animals and instead make it a high-fantasy African musical with humans (though it's panafrican in style, it's said to be set in Tanzania). Pretty much all of the story elements are the same, but the enviornment is adapted for humans, with animal metaphors for one's spirit and guide. The film is largely successful (I'd say it makes less than the OG film, but still a hugely successful film since it highlights African culture in an inoffensive way) , but criticism abounds on the lack of a specific culture, particularly how several Tanzanian ethnic groups are conflated together into the story. There was also concern for the predominantly white cast (unless we change that; brainstorming a cast, but nothing's concrete). The film features more music (the OG film only had 5 songs; that's pretty low), and Simba and Nala are indicted into the Disney royal line.

(Art by s0alaina on Deviantart; not sure if it's based on Tanzanian cultures)

Pocahontas--Disney had the foresight and better judgment to NOT make a historical fiction piece with a sexualized lead. Instead, they allowed their Native American aides more imput on the story, eventually opting for an original story set in a fantasy world that had parallels to Indigenous colonization. The film centers on an Indigenous woman named Amonute (who the film is named after, taken from Pocahontas' birth name), who encounters new settlers with her siblings (basically Nakoma and Kocoum in this timeline). The settlers include the swashbuckling charmer Julian and his scholarly brother Lucien (inspired by Disney's version of John Smith and John Rolfe, as well as elements of Thomas, respectively; the colonists are overall French-inspired since they were seen as the less damaging of the major colonizing lands), both of whom fall for Amonute, and she returns their feelings. The film follows the same beats as "Pocahontas" in the OG timeline, and is reviewed much better due to being an original story free of sexualization as well as being as financially successful as Aladdin, but it isn't without criticism; there's concern of the romanticism of colonization, as well as the fact that the tribe Amonute is part of seems to mesh various NA cultures, as well as their clothing being more akin to Powwow regalia (due to colors, patterns, and accessories, but not as detailed of course) rather than anything historical. The ending is much more peaceful than IRL, and Amonute doesn't end up making a decision concerning her love triangle, so both Julian and Lucien join the Disney Prince line when Amonute joins the Disney princess line. In contrast to Billy Zane, Johnny Depp is brought on to voice Lucien, citing his singing ability as the deciding factor, though Billy Zane does play him in any work that Johnny Depp isn't available for.

Sinbad--Released in November 1995, the film's setting being influenced by Iraq was controversial given real-world circumstances concerning the country's relationship with the United States. However, Disney was inspired by the success of "Aladdin" and the (mostly) positive feedback "Aladdin had received in terms of Asian cultures and Islamic representation, as well as motivated by the controversy of the film conflating India and Saudi Arabian cultures. Ted Elliott and Terry Rossio considered the love triangle aspect, but given how Kateri's love triangle divided audiences and growing concern that it'd make Sinbad look like a jerk, the idea was dropped, with his best friend being uninterested in Aaliyah, Sinbad's love interest (who, like Jasmine, was named after a celebrity). Sinbad was modeled after Aladdin to be clever and crafty, but rewritten to be more reserved and quiet to contrast with previous outgoing Disney men, while Aaliyah was more rough and tough than previous Disney women (she was also designed with Salma Hayek as inspiration and Wendy Malick to play her, but it fell through). Let's imagine they got a mostly Arab cast (I doubt they'd go for actors of Iraqi heritage alone), and the film's focus is on Sinbad recruiting Aaliyah to help him rescue his best friend Zayn from being executed for a crime he didn't commit--but Aaliyah did. The musical was highly successful, making over $300 million at the box office and the song "Never Again," detailing Sinbad's rough childhood to his friendship with Zayn and falling in love with Aaliyah, being nominated for BOS at the Oscars. Despite concerns about how Aaliyah might be perceived as a former criminal, she still joins the Disney princess ranks.

(Note: This concept art is from Dreamworks; Disney never got to a point where they made concept art, as far as I know.)

The Hunchback of Notre Dame--Mostly the same as the OG timeline, though with notable changes. Claude Frollo, while still a villain, does show to have a twisted love for Quasimodo, the twisted part coming from his own skewed worldview as well as Quasimodo's perceived "ugliness" and guilt over killing his mother. Quasimodo is also given a bit of a deeper skintone and darker hair color to remind the audience that he is a person of color--not that light-skinned/haired people can't be POC, but this film depicts all Romani people with certain attributes. At best, Quasimodo is mixed, so his features should exhibit that. The gargoyles are less comedic, but they still represent a softer, lighter side of the film as they represent hope and kindness, trying to teach Quasimodo the good of the world, as well as the archdeacon being involved in his life (with the gargoyles never explained as literal magic creatures of representations of Quasimodo's psyche; I like it both ways). It's noted that part of Frollo's obsession with Esmeralda isn't just lust, but also his guilt again over the death of Quasimodo's mother. Esmeralda and Phoebus' lives are fleshed out a bit more (particularly Esmeralda's, highlighting French-Romani culture), as well as giving Phoebus moments to sing. Esmeralda is also tweaked slightly so certain things that she does aren't read as romantic towards Quasimodo, even though he takes them as such. The film makes the same impact financially and critically, along with Esmeralda sadly not joining the DP line due to difficulty marketing her darker film. There is NO SEQUEL, though Madellaine is shown at the end, with Esmeralda and Phoebus singing part of the reprise of "The Bells of Notre Dame" to an infant Zephyr after the events of the film.

Hercules--Given the wide range of feedback they've gotten on cultural representation before, Disney decides that rather than label this a film about Hercules, this is an original story set in an Ancient Greco-Roman-inspired culture that take from a variety of Greek myths, with Hercules, Perceus, Achilles, Orpheus, and Bellephron being influences for the protagonist Nikanor, a kindly demigod prince on a quest to discover the secret behind his magical abilities with his sardonic lover and clever nephew, all while avoiding obstacles set forth by his wicked stepmother (as you can see, they were inspired by "Hercules: The Legendary Journeys"). While a colorful and creative journey (noted as a possible influence for the "Hades" video games by Supergiant), it's also been noted for it's psychological exploration of madness and depression, earning comparison to various mature video games. The music was equally praised for helping to uplift the film at important moments without ruining the vibe. The film made $400 million at the box office, and it's success led to a sequel TV series as well as Nikanor and his love interest Chania joining the Disney royal line given a lack of negative feedback from Greece as in the original film.

Mulan--In this particular timeline, Disney didn't have an issue with Stephen Schwartz working with Dreamworks for "The Prince of Egypt," though the tone is still the same as the OG timeline (ie maintaining that Mulan joined the army for her father, not for personal gain--except to prove she could do something that could make others proud of her). There are more songs in the film, including a "Reflection" reprise sang by Shang and Mulan (or whatever the equivalent would be now that Stephen's writing the music) after Mulan's identity is revealed, as well as a song detailing Shan Yu's motivations and "Mulan's Decision" with lyrics. Mulan has an older sister and a younger brother, both of whom she views as superior to her due to her sister having married and being much more graceful (the progenitor to Isabela Madrigal, in a sense--but it's not an act) and her brother automatically being more valuable thanks to being male. Shang's also mentioned as having a younger brother, and we get a bit more detail into his personal life, mirroring Mulan's desire to protect her father and make him proud. Most of the film is the same, otherwise. The film makes about the same as the original, with the particular praise for Mulan being a lot less underrated thanks to more music.

Tarzan--While an unspoken musical was considered at the time, the characters instead sing in this version, with director Kevin Lima coming around to it under the condition that Tarzan himself didn't sing while other characters did. During production, Tarzan was retooled in a rather unique way. Taking influence from the critically acclaimed show "Batman: The Animated Series," Tarzan, while still kind and empathetic, was made to be more brooding and mysterious and less humorous in order to help make his character (more) intriguing as well as beguiling the audience. The dreadlock hairstyle is also removed, and Jane, Archimedes and Clayton are American (to diffuse the misconception that only British people can be sophisticated intellectuals) while Jane teaches Tarzan to not just speak English, but French as well, similar to his cousin in the book. The film is just as financially successful, with Jane and Tarzan joining the Disney royal lineup.

Aida--Released at the end of 1999, Disney released their take on "Aida," an opera about an Ethiopian princess who is captured by Egyptians and falls in love with the Captain of the Guard. Disney adapts most of the story in order to create an epic and emotional tale like "Kateri," but without the tragic ending of the original opera. In this version, war is prevented between Egypt and Ethiopia, and Radamès and Aida survive. Certain issues plagued production, from Elton John's resistance to do another animated film and Disney catching wind of Dreamworks' "Prince of Egypt" (which ended up releasing the year before), but it became a worldwide hit at making $400 million at the box office, and praise was brought to the fact that Disney learned from the casting of "Aladdin" and cast actors of Middle Eastern descent for Egyptian characters. Needless to say, Amneris and Radamès join the royal Disney line.

(Note: not sure if Elton John and Tim Rice collaborated here like they did for the stage musical in the OG timeline, or if Alan Menken and/or Stephen Schwartz got involved instead)

Lemme know what you think! I know the renaissance is the Roman Empire for a lot of Disney fans, but I wanted to give it a shot. Maybe I'll tweak it later (currently wondering if a should include "Hocus Pocus," which, while never planned to be an animated film, would probably get more attention outside the Halloween season. If I do, it's replacing TRDU).

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askthechronoverse · 7 months

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Below is a little taste of a fic I wrote for the @tlm-fanzine. I am honored to be among the amazing fan artists and writers who contributed to celebrate the 10th anniversary of the first movie! If you want to read what happens next, as well as everything else the zine has to offer, go to this link to pre-order.

"Welcome to the Systar System." A harsh robotic voice made Denny jump and Benny hop over to the controls. As Benny worked the controls, Denny patted himself down, making sure all of his parts were in the right place. Benny saw this and gave his partner a very spirited pat on the back.

"You're okay! It's always really jarring the first several times you go through the Stargate!" The blue clad spaceman took his walkman back and placed it on the control panel. He occasionally glanced over his shoulder to his friend with a bright smile and starry eyes as he began to readjust the autopilot and take manual control of the ship. Denny couldn't help but grin at that enthusiasm.

As Benny piloted the ship, Denny looked out the window at the eleven planets lined up in a near perfect row. His mind wandered to the events of that terrible wedding and the shadowy figure that was said to have orchestrated the whole operation. How could someone have hated this beautiful universe so much, they sought out its total destruction? Didn't they look out the window of their impossible ship and see what Denny was seeing? Maybe the person responsible was just a monster, living in the Special's imagination. No one ever ruled that out yet, after all, and not even Emmet Brickowski was sure he was truly real.

#promos for friends #tlm zine #the lego movie #tlm benny #tlm #post does contain Rex slander oops.

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cloudzzcore · 2 months

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Howdy folks I’m Cloud and I’m just a simple writer who’s trying to find a new hobby!

INTRODUCING MYSELF / Masterlist

——

╰─ - ̗̀✎ About me:

୨୧┇Name: Cloud

୨୧┇Age: Not saying it, But I am a Minor

୨୧┇Pronouns: All (Preferably He/They)

୨୧┇Timezone: EST

⌣⌣⌣⌣⌣⌣⌣⌣⌣⌣⌣⌣ ‧₊˚✧

╰─ - ̗̀✎ My Boundaries...

୨୧┇DMs: ✅ (ask)

୨୧┇Pings: ✅

୨୧┇Friend: ✅

୨୧┇Nicknames: ✅

୨୧┇Tonetags: ✅

⌣⌣⌣⌣⌣⌣⌣⌣⌣⌣⌣⌣ ‧₊˚✧

╰─ - ̗̀✎ Interests & More!

୨୧┇Likes: The Little mermaid live action, ITSV, ATSV, Bad Guys, Law and order, Lackadaisy, TADC, Helluva Boss, Hazbin Hotel.

୨୧┇Favorite Characters: Zooble, Kinger, Gangle, Jax, Caine (TADC). Mr. Wolf and Ms. Tarantula, Diane. (Bad Guys). Ariel, Sebastian (TLM). HOBIE, Miles, Pavitr, Gwen, Jessica Drew, Peni Parker, Spidernoir. (ITSV, ATSV). Freckle, Rocky, Nicodeme and Serafine (LACKADAISY), Fantoccio, BARNABY, Billie. (Billie Bust Up) Queen Bee, Fizzarolli, Millie, Loona, STOLAS. (Helluva Boss), Angel Dust, Alastor, Charlie, ADAM. (Hazbin hotel)

୨୧┇Dislikes: Pushing Boundaries, misuse of tonetags.

୨୧┇Extra: I'm a avid helluva boss and Hazbin Hotel editor.

⌣⌣⌣⌣⌣⌣⌣⌣⌣⌣⌣⌣ ‧₊˚

Fandoms I write for

Hazbin Hotel Masterlist

Characters that I write for:

Charlie

Vaggie

Angel Dust

Alastor

Husk

Niffty

Lucifer

Adam

Lute

Possibly Sera

Emily

Vox

Velvette

Rosie

Carmilla

Sir Pentious

Helluva Boss Masterlist

Characters that I write for:

Blitzo

Millie

Moxxie

Loona

Stolas

Queen Bee

Octavia

Asmodeus

Fizzarolli

Crimson

Striker

Verosika

Glitz and Glam

Barbie Wire

Possibly Andrealphus

Trolls (All three movies)

Characters that I write for:

All of the Royal Troll Leaders

All of BroZone

Poppy

Viva

Hickory

(JUST ASK FOR A CHARACTER BC I CANT THINK OF ANY-)

The Bad Guys

Characters that I write for:

Mr. Wolf

Mr. Snake

Mr. Pirahna

Mr. Shark

Ms. Tarantula

Diane Foxington

The Amazing Digital Circus

Characters that I write for:

Pomni

Jax

Gangle

Kinger

Caine

Ragatha

Zooble

Possibly more to come!!

Rules for requests

——

I can’t do smut to save my life and don’t want so no smut, Sorry!

No P*dophillia

No nasty stuff

No Oc x Canon characters

#the amazing digital circus #hazbin hotel #helluva boss #bad guys x reader #hazbin hotel x reader #the amazing digital circus x reader #spider man into the spider verse #spider man into the spider verse x reader #trolls band together #trolls world tour #trolls x reader

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artist-issues · 20 days

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Hello! It's been a while since I was last on your ask inbox. I hope you are doing very well. This is perhaps going to be more of a rant than a regular ask, but I need to say this. I know people are very understandably quite over the topic of TLM 1989 vs TLM 2023 and most would probably prefer to sweep it under a rug. I really can't blame them for letting it go, but given that it's been almost a year since it came out, we could look at it in "retrospect" (I don't think that's quite the right word hehe) and I have to say, the way a lot of its stans continue to talk about this movie like it surpassed the original and even have this slightly disrespectful tone towards it is already very irritating, but one of the things that definitely irritated and even straight-up angered me the most about its reaction was the way they, as a collective, threw OG Eric under the bus in order to prop up the LA version. They literally said that the LA version had deeper feelings and cared far more about Ariel than his original counterpart and the "solid proof" they use to prove this was the Kiss The Girl where in the animated he refused to kiss her whereas in the LA version he was very willing to kiss her and the other scene was where he let Ariel slip down to the ground in the animated whereas in the LA he held her all "protective". They used this as proof that the original was practically a "careless douchebag" compared to the LA one who is the true "romantic and sensitive guy" and that really, really pissed me off, and I know I shouldn't let things like that upset me so much, but it goes to show that none of them ever paid any amount of attention to the original movie. They were practically dragging the original Eric all across the internet for that to prop up the LA version, not taking into account the context of absolutely anything at all. Literally almost nobody viewed him as a douchebag for that and the moment this movie comes along, all of a sudden, he doesn't really care for her and is trash??? They clearly forgot about the "I lost her once. I'm not gonna lose her again" scene, which was excluded in the LA version because he DID give up on looking for her after his mom told him to forget about her because "They can't be together". So much for being such an amazingly caring and romantic guy 🙄 I know you also see through the insane nonsense that is that argument, specially as someone who analyzes classic Disney movies so thoroughly and sees things about them that the average viewer can't see. This seems kind of like a rant, but I saw something related to that and I got so mad. People (outside of the TLM fandom) have always dismissed him as "bland", but this movie seems to have provoked a level of hatred to be thrown at him because they don't find some of his reactions to be "good" and "romantic" enough, but all it shows is how little they actually appreciate and understand the original material. Forgive me for my somewhat long and heavy rant, but I wanted to get it off my chest, and I believe you will understand why this made me so mad even a year later. I'd really like to see your thoughts and feeling on this topic. I certainly let mine be known! 🤣

No, I agree! I have a very dear friend who is also fond of analyzing movies and she, too, loves the Live Action Eric more than the original. And I think people are falling prey to one really subliminal, psychological thing here—we're adults now. And Live Action Eric is handsome, and feels more adult, because he's live-action. So there's this aspect of it that we really weren't feeling or paying attention to on the same level in the animated version: it's basically just his sex appeal. I hate saying it. I hate saying it like that.

But I have to because when you realize that what you're saying is correct—there is NO sense in which Eric in the LA is more caring than the real Eric—then you have to go, "okay, if it's not that, then what is it?"

It's that he has scruff. And a British accent. And a wet-fabric low-cut white shirt on. And then suddenly a movie that was about simple, innocent, young love that you could read about in a fairy tale starts to feel a little more angsty, a little more about passion, a little more like The Vampire Diaries, etc.

I'm not saying they're just preferring the LA Eric carnally. (Sorry.) I'm saying, I think there's a difference between the maturity levels of the romance. Live Action wants you thinking about Eric in terms of adult longing. Animated wants you thinking about Eric in terms of childhood dreams. The problem isn't even that one is more noble than the other (although. yeah.) The problem is that the original movie used the relationship to symbolize an important theme, while the Live Action tries to make the relationship the theme, itself...and then like you said, it backs off on that, because the movie "can't be about a girl giving up her life for a boy," so all that's left is "wanting to date hot seaswept Eric vicariously through Ariel."

When you put something that was animated into Live-Action, it carries this stigma that the Live action will be more relatable and "deep" than the animated version, specifically for adults. So then it becomes a self-fulfilling prophecy; the adults just choose to respond to material (like a romance between a prince and a mermaid) that is no deeper than the original as if it is deeper, simply because they went in there believing more in the depth.

That's about as plain as I can make that, I think.

You already covered why Eric is definitely caring in the original perfectly, so I won't go into that. But I do think that what people are missing is how good Disney used to be at making sure a character did what he was supposed to do for the story. Animated Eric's whole thing was that he wasn't going to give up on his Fated Dream Girl. He didn't know it was Ariel, but he wasn't willing to give up on her and jump in this girl he found on the beach's arms until he was sure his dream was all wrong. I think people miss that. I think people see his actions as "he wasn't that into Ariel" instead of "he's a good guy who's 1) nervous about kissing a girl and 2) still thinking about Another Girl he believes rescued him from drowning."

And that's punctuated, like you said, at the end when he realizes his Dream Girl was Ariel all along. And then of course he's sacrificing himself to go after her. He was always willing to. He just didn't know what he didn't know. Remember, Eric isn't Boy Ariel. But he does have this in common with her: he really has faith in something other people don't understand. For him, it's an ideal of true love. For Ariel, it's an ideal of a good world outside the one she lives in. But for both it boils down to love. So you're just seeing Eric act accordingly, until he knows that all along Ariel has been the fulfillment of his ideal.

Anyway. You're super kind, but I don't think I'm able to see things other people can't or even won't in Disney movies. I really think everyone sees them, but not everyone feels the need to verbalize them 😅 I also think what the Live Actions do is basically large-scale gaslighting. By "fixing" things that were not mistakes, and changing major aspects of the story while standing on the shoulders of nostalgia and the original's success, the Live Actions make a meta-commentary on the old movies. So people who loved the original Ariel are like, "oh yeah, good point, that always bothered me," when, no it didn't. Not enough to ruin the story.

Anywho. I missed your asks!

#Asked #answered #live action little mermaid #the little mermaid 2023 #tlm #little mermaid #Ariel #Prince Eric #halle bailey #eric

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octan-computer · 2 months

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Hi, i am the Computer.

This is a blog I made once LB gave me permission! I have... A part of me, which is like a glitch/virus which is...

Error Virus Detected-034

EVD-034: y34h.. wh4t3ver...

Things I will NOT answer:

-(non-TLM character) x (TLM character)

-Canon x oc

-Nothing containing President Business.

-Nothing that contains Bad Cop's parents (Explicitly)

-No offenses

-Very explicit questions

-Unikitty x (anyone)

There are commands to change my answer:

C: Comic

T: Text

C.S: Cute Sleep

+K: Kiss

G.A: Good Art

?: In the act

!: Not in the act

O.O.C: Out Of Context

(more will be added)

Postscripts: EVD hates cockroaches, hates President Business, doesn't know what a dog is, He likes cheeseburgers with spiders, His favorite weapon is the chainsaw. He has no eyes (but for some strange reason he can see), his hobby is decapitating beetles, And he has goat legs.

Not only that, you can try to open something else from my files! As:

-images

-Reports

-Communications (Who did i recently talk to and what are i talking about)

-annotations

-garbage collector

-mini moments

-etc

Oh, if you ask me, I have almost all control of Octan now, the rest is already LB's again, I'm back to following his orders.

#The-Computer #EVD-034 #The LEGO Movie #LEGO #LEGO Movie

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ultimateinferno · 11 months

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Anyways. Finished Yumi atNP. The Realmatic theory wheels are turning so I'm doing a singular post vomiting my thoughts. Major spoilers. Not a book review.

So assuming the Machine (or even cosmere at large) didn't just schlorp most of Yumi's investiture upon its destruction, which is a valid assumption since she nearly died, she technically still is Very Fucking Invested. According to Design, Elantrian level.

Which side note, interesting how we got confirmation that Elantrians have more magic than Returned. The bastards have to die, see the future, come back and eat souls to persist, meanwhile the silver people just automatically get the cool shit with no maintenance. Making up for the 10 years a zombie, I guess. Is Endowment stingier than we thought?

This, honestly explains how Nikaro was able to bring her back with his painting given there's a direct correlation between the amount of investiture a cognitive shadow has and how long they persist upon death.

That does bring me to the thought of if the Machine's repeated amnesia prevented... let's go with the term Sprenification of Yumi's cognitive shadow. As Vasher explained to Kaladin, as cognitive shadows persist in time, they more they're made to embody core aspects of their Identity in order to survive. Yumi has been dead for 1700 years.

You can rationalize this as the Machine pruning her Cognitive development. Then again, her mastery of stacking (which honestly very fun talent, love that for her). I haven't read TLM (despite having it digitally), but it's been discussed that Kelsier may already be undergoing that process, and he's been dead for only <400 years, so 1700 is a lot.

If not, I wonder if Yumi is now immortal because she is (was?) more invested than a Returned. That does mean she might eventually undergo Sprenification, if it hasn't occurred already.

Speaking of, I like how... a lot of the magic is just... not really elaborated on. Unlike other Cosmere books, where their fight scenes live and die on how meticulous use of the magic by our protagonists, and Sanderson likes to stress that there is a correlation of an audience's understanding and narrative problem solving regarding magic. It's... a big reason why there was that pre-Sanderlanche exposition dump. I'm wondering if there was a better way to relegate that information.

Anyways, the pre-existing magic system's primary basis is built on the pre-existing foundation of Realmatics and Perception. Expectation and perception shapes outcome. If you image the Nightmare as bamboo, it is bamboo. If you shove the soul of a 19 year old highly invested yokihijo into the body of an art school drop out, shit dude, that's her's now. With the dissipation of the Shroud I'm curious as to how art can influence the world from there. Can paintings more readily dictate the shape of spirits, due to their similarities to the Nightmares? This magic system I think is the softest of the lot, and I actually find that pretty cool.

Lastly before I wrap this up, while Sanderson has introduced cosmere soceities inspired by non-european cultures, (on multiple planets, no less), it feels especially palpable with this setting. While Roshar is decidedly not European but it's also familiar enough that whitewashing is an active problem within fan spaces. Meanwhile, here, it's so in your face about being not European that people have no excuse (as if they had any to begin with), but maybe I'm too much of a weeb that catching details was easier for me than others. It's cool, though,, we get to see snapshots of the culture as it develops through time, which is only really exemplified in the Mistborn novels so far. Not really relevant to magic but a musing nonetheless.

#cosmere #cfsbf #yumi and the nightmare painter spoilers #yumi and the nightmare painter #brandon sanderson #cosmere spoilers #ssp3 #ssp3 spoilers #this post isnt a review as ive said but as a whole the book shot up to some of my favorites in the cosmere as a whole #character dynamics are very fun for me (which is why WoR is also up there) and the setting is quite refreshing #im already a champion of animated cosmere but this of all things *needs* an animated adaptation i will not accept alternatives #if i had it my way i'd hone in and develop a lot of the supporting cast in the adaptation.#really spice them up and bring out the slice of life parts of the narrative #and hopefully inject added foreshadowing to avoid that exposition dump pre sanderlanche #at the end of the day it's a slice of life fantasy romance. lean into the slice of life #developing it directly in japan would be cool unfortunately from what ive gathered cosmere isnt particularly a notable property there #which isnt really here nor there. not everything jumps cultures super well and thats fine

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redrascal1 · 1 year

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The live action version of The Little Mermaid now has altered the lyrics to Kiss The Girl, in order to make sure Ariel ‘wanted’ Eric to kiss her (apparently #metoo - you know, Amber Heard’s supporters these days, were very happy with that) has changed Scuttle’s gender and it’s Ariel who kills Ursula, not Eric....as ‘women don’t need men.’

Whoever dreamed this up sounds very much like the same type as the individuals who turned Rey from a likeable, flawed character into an unlikeable judgmental harpy, who gets forgiven for everything including stabbing an unarmed man and being perfectly happy with killing her own grandfather, and who ‘doesn’t need anybody’.

By all accounts this is the Rey they want to continue with in the forthcoming Rey film.

The Little Mermaid has tanked at the US box office, despite according to critics, Bailey’s genuinely engaging performance.

Sending a message is one thing...completely ruining what at the end of the day is meant to be harmless escapism and entertainment, purely to pursue an agenda, is another. Especially now post Johnny Depp’s courtroom victory #metoo are still supporting a lying sociopathic abuser because she’s female.

Most people don’t want another SW film promoting Rey Palpwalker as poster child for #metoo. I now have a very strong feeling this film may not actually be made post TLM disastrous box office fail.

If Disney flat out refuse to accept that there is NOTHING wrong with romance, that women can be strong without having to be alone, and that loving and being loved isn’t somehow an ‘insult to womanhood’, then they deserve everything they get. Audiences are tired of being lectured when they go to the cinema to escape.

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goodcopbadcop · 1 year

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do u have any headcanons for why bad cop didnt appear in the second movie . there was probably a reason but do u have any headcanons for it .....

YES I DO

As the sudden arrival of General Sweet Mayhem and then the prompt kidnapping of most of Apocalypseburg’s remaining heroes put the entire community in shock, GCBC DID consider going out to rescue them, but stopped themself when they saw that the only other person willing to risk their life to venture into space was….. Emmet.

Not to discredit Emmet and his achievements in saving their realm and even befriending Lord Business, GCBC still feels like they’re on shaky ground in terms of developing a mutual relationship. They have some slight internalized shame of being on the ‘bad’ side, and still feel like they’re slightly shunned by EVERYONE, and still thinks that Emmet and his friends aren’t fully trusting of him. They don’t want to even be ‘good’ friends with Emmet, but they at least respect his presence and doesn’t mind helping him when they’re both exploring around the outer ruins of the city, every once in awhile.

Still, the idea of being stuck with him on a tiny spaceship in the endless void of space, under the constant looming threat of the Duplos, in which they are usually powerless against…… yeah no GCBC will absolutely NOT stomach that.

Ironically, they didn’t really mind Emmet’s supposed ‘immaturity’, as GCBC sees his jovial positivity as a good personality trait, and having some sort of light within the gloomy atmosphere of their ruined society isn’t that bad at all. Granted, GCBC kept this opinion to themself, not wanting to appear as ‘weak’, as being so happy-go-lucky was now severely looked down upon.

Plus, if Emmet AKA their real last ‘hero’ in Apocalypseburg, was to leave on this perilous journey, who will be left to protect the ruins of a once great city? It has already been lowkey confirmed in the “Welcome to Apocalypseburg!” set that GCBC STILL WORKS AS A ENFORCEMENT FIGURE, with him actively maintaining a jail and even posting up bounty posters for some criminals. Crime still seems to be a issue, especially considering how Apocalypseburg is literally just inspired by Mad Max’s worldbuilding, crime probably is at a all-time high 🤷‍♀️ Robbery probably is the most prevalent issue, as everyone now tries to fight over what bricks and other miscellaneous pieces they can find to try to just LIVE.

His pride in being essentially the only remaining working officer in Apocalypseburg, acting as the last bastion of a ‘normal peace keeper’, has simply gotten to his head. Leaving everything behind on what may have been a suicide mission in order to help some people in which they believed didn’t even see him as a equal, deterred him completely. (Well, Benny did treat him better than the others…..)

As the story goes on, GCBC could only look on in horror as Armamageddon occured, as they genuinely felt so helpless as their entire realm literally CRUMBLED into a storage bin. After this event, GCBC does now feels some DEEP regret that he didn’t accompany Emmet on his journey, sincerely believing that if they joined him, perhaps Armamageddon could have been avoided in the first place or that he could have diplomatically worked out a peace treaty with Queen Watevra Wa'Nabi (or straight up kill her, he has already enough blood on their hands)

He is however 100% oblivious as how to this was fate, and Emmet had to go alone in order to create the paradox which gave way to Rex’s existence, which in the long run will cause both Apocalypseburg and the Systar System to peacefully merge together 🥲 GCBC really cannot get a W at any moment in their entire existence, he is the most fucked character in all of the TLM series lol

#THANK YOU FOR SENDING A ASK IN!!! it’s been literal ages since I’ve written something like this!#gcbc #the lego movie #🪑

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