#Aurora Film Corporation

[imagitory]

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.

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! 💛

[selindogn]

[cisfemale and she/her] Welcome to Aurora Bay, [SELIN DOGAN]! I couldn’t help but notice you look an awful lot like [MELISA ASLI PAMUK]. You must be the [THIRTY THREE] year old [LAWYER]. Word is you’re [RESOURCEFUL] but can also be a bit [MALICIOUS] and your favorite song is [VIGILANTE SHIT BY TAYLOR SWIFT]. I also heard you’ll be staying in [AURORA BAY DRIVE]. I’m sure you’ll love it!

name: selin dogan

nickname: sel

age: 33

gender: cis female

sexual orientation: bisexual

occupation: corporate lawyer

residence: aurora bay drive

Selin was born in Sirince, Turkey to a single mother who was already raising her older half-brother, Ayden.

When Selin turned fifteen, her mother died after a short battle with MS. Selin had taken care of her since her diagnosis and watched it steal her mother away little by little.

Soon thereafter, Sel became more cold as she realized how cruel life could be to the most undeserving people.

Her brother, the only family she had left, had already been living in the states while trying to pursue his career as a film maker. Despite it not being his plan, he took in Selin and decided to leave his internship in order to find a job to support the both of them.

The move from Turkey to America was not the easiest on Selin as she was often on the outskirt of friend groups or the butt of jokes she didn't fully comprehend.

tw: stillbirth: At the age of nineteen, she got pregnant by someone she liked who'd lied about his feelings towards her and had no intention of raising their daughter. Her brother stepped up and promised that he would support the both of them - but at seven months pregnant, Selin got devastating news at the ultrasound.

tw: stillbirth and car accident: Three months after losing her baby, she got the devastating news that her brother died in a car accident while returning home after a night out.

After losing the only person that held her to this town, she packed her bags and left to move to Aurora Bay as a far different person than she'd been when she first arrived to America. She isn't as forgiving with people as she once was and often prefers to keep them at a distance.

The money she received from her brother death helped her with her tuition for law school and she immediately dived into her work and started a practice. It was a few years later that she met Bora Winters.

Despite being alone for years, Bo was someone who managed to disarmed her. He didn't shy away from the jagged sides of her personality and managed to find the hidden softness that still remained. She married him without knowing the first betrayal had occurred before the ink dried on their marriage certificate.

After a year of unsuccessful attempts at having a child, their relationship came to an abrupt end when he found out that she had been halting their attempts with birth control since the very beginning.

Their relationship has since turned callous and cruel as they navigate living under the same roof.

potential connections: 

a good friend 

drinking buddies

neighbours

coworkers

exes 

one night stands

flings

enemies

work clients

[audreyhardmeyerbloh]

Blog #3: The Everlasting "Damsel in Distress" narrative effecting self-love, and needing a "hero" (9/19)

Next, I'll be talking about the lovely damsel in distress narrative that Disney loves to push, which distorts women's self-image, perpetuates negative stereotypes, and reinforces passive role-taking, which can have crucial effects on those consuming it. I think we've all seen movies or shows where you can just tell that some man has to sweep a woman off her feet for her to be happy. Why is this message pushed so often in the media? I believe that women are made to seem inferior without a male in their lives, to keep the male patriarchy dominant. I mean, the male patriarchy is a system that keeps men in control, has power, dictates how women are supposed to be, and prioritizes men's thoughts or perspectives. Again, why are women always put in subordinate positions, specifically in Disney movies? Disney is pushing an agenda that women are inferior, period. The only way that a woman is seen as fulfilled, is if a male saves her, she is in a relationship with a man, and she gives up everything to make a man happy.

Now I know that there are more modern movies that have been made that allow women to take on a dominant role, in the Disney corporation, but I’m going to be talking about the classic ones that I’ve had such an impact on my generation and others in the past. From a feminist standpoint, seeing women have to rely on male characters to rescue them, is not romantic, cute, or helpful, especially in a world that is filled with sexism and hatred. Characters like Cinderella Snow White, Ariel, Jasmine, Aurora, Belle, and so forth are all perpetuating certain stereotypes and agendas, which are very harmful! I truly do love these princesses, because I know that they are capable of so much more, than what was written into the storyline. In Curtis’ dissertation, she says that “the passive and pretty heroines who dominate popular fairy tales offer narrow and damaging models... which becomes regressive ways for girls to define themselves” (Curtis, 2015). For example, Cinderella and Snow White rely on these men or other princes to rescue them from their horrible lives or situations, reinforcing the idea that women are helpless without men in their lives. The damsel in distress trope is common in Western films because it allows men to take over control of more space, which is the digital sphere. In a study by England et al., female characteristics were labeled as physically weak, submissive, “as in yielding to power or authority to another character” AKA men. Sensitive, asking for advice and help, needing assistance in life, etcetera (England et al, 2011). This is harmful for young girls to consume because it sends the message that self-worth is tied to men. If we are constantly viewing women relying on men to be happy and find genuine happily ever after, women won't even try to be independent or find happiness in themselves.

 Another good point, which was made in an article by Mimi, Annemieke, and Miracle is that the damsel in distress narrative not only affects young women but young boys as well. They explained that “this could potentially affect their perception of how women should be treated” (Mimi et al., N.A). I've never thought of this from a male perspective, but this is a really great point! Not only are little young girls watching Disney movies, but young boys are looking up to the Disney princes and other men in these films. Disney is reinforcing the idea that men always need to be in charge, come off as masculine, and confident, and always save the day. This reinforces gender roles, again, that men have to be the ones who make change, be heroic, and not show emotion. In my opinion, this is very sad. It really does have a direct effect on how young girls and boys see the world in society around them, and how they socialize with others. Some people think that critiquing these Disney movies is outlandish, stupid, or taking things too far. But in reality, what we consume via digital media, has long-lasting effects on our identity, our self-expression, our perceptions of people around us, and how things should go in real life. And if we think that women should be taking on these passive roles, diminishing the capability of women to be proactive in their own lives, then we are giving into the male patriarchy.

Another point I want to make is how the damsel in distress narrative, or how the Disney princesses are always tied to a male counterpart, can distort self-image and self-confidence. Constant exposure to these types of narratives can tank young girls' self-esteem, self-love, and confidence in how they view themselves, and how they think of other girls as well. It can undermine self-worth, and encourage girls to focus on finding a man to be happy, which is a never-ending cycle until they find someone that meets their expectations, which is destructive. I've even been around certain family members, or friends, which think I'll be happy once I find a boyfriend or a husband. But why should women be the ones in that circumstance? Why is the narrative that men will only be happy if they find a woman not pushed? It's because of the blatant sexism and reinforcement of women as inferior to men in these Disney films, and other forms of digital media that are streamed constantly 24/7. Reinforcing the stereotype that women should wait for a Prince to change their circumstances, leaves women in such detrimental positions. No Prince Charming is going to come for you, you have to be your own girl boss! Women should advocate for themselves, be independent, make their own choices, and help themselves, but this can't happen if we keep pushing passivity onto women. It could be extremely harmful in real life if a girl is in a dangerous, violent, or egregious situation, and they think it's normal to wait for a man to help them out of it.

Why did Ariel in The Little Mermaid give up her voice and natural self for a man? Why do women have to compromise their own identities and desires for the sake of a male relationship? Why does Cinderella have to pretend that she is someone rich, wealthy, and popular to finally have a man to swoop in and save her? Why does Jasmine in Aladdin Have to deal with internalized misogyny and sexism, with multiple male figures waiting for her to be rescued by a Prince and controlling her? Why does Snow White have to keep running away from her problems with an evil witch, and the only solution is a male Prince rescuing her from that? Why does Aurora from Sleeping Beauty wait to wake up, unless a male kisses her and saves her? These types of characters perpetuate the idea that women are made for men at their disposal and that women can only become more through romantic relationships with a male. As said in Schrijver's analysis, “romantic storylines of the Disney classics were aligned with the cultural context of the time, where women’s identities were defined by their relationships to (and caretaking of) others: someone’s wife…” (Schrijver, 2020). When young girls or boys turn on these classic Disney films, they inadvertently contribute to a narrative that limits the perception of who women should be, act like, and behave. This really does lead to real-world implications, such as women being unrepresented in leadership roles, in real life, at jobs, and the worldview acceptance of gender inequality.

            For example, Ariel must get Eric to fall in love with her, or she'll lose the voice that she's traded forever. Why do we have to give away our voice, body, and agency in order to get someone to fall in love with us and save us? What makes it even more obscure is that they want Ariel to use her body, looks, and physical features, instead of her personality and voice! This sends the message that women need to flaunt their bodies and look perfect on the outside, rather than use their intelligence or voice to attract a man. As you can see in the short clip (https://www.youtube.com/watch?v=TavVK1g-sr0&t=24s) Ursula says “It's much preferred for ladies not to say a word… not all that impressed with conversation, she who holds her tongue gets a man”. I truly do find this outrageous that these lyrics were included in the film. They definitely do have intent behind them, and a certain agenda to push onto its viewers. Ursula is explaining that women who don't speak up, and use their own agency, intelligence, and so forth, will never be saved by men. Women should be passive, not use their voice or opinion, and just sit there and look physically pretty for a male to come to save the day. Wrong!!! The idea Ariel is a poor damsel in distress and needs Eric to save her to get her voice back and live happily ever after it's definitely harmful. The message behind it twists reality in a sexist way.

            Another example is Jasmine in Aladdin. Her father treats her as some souvenir, waiting for some man to come and save her from the palace walls. Her father and other men are controlling of Jasmine's independence, choices, and agency to do what she wants and parade her around as a sex symbol, rather than a loving daughter who just wants to be happy. In another blog post about a similar topic, Stacciatello made an amazing point as well saying that “the emotional and psychological impact of having your entire life controlled, your fate decided for you by higher-ups, and your existence reduced to nothing more than an object of desire, cannot be understated” (Stacciatello, 2024). Jasmine, like many other Disney princesses and women in general, often are told that they have no choice in their fate, and are sexualized to nothing more than an object of desire. This is prevalent in many other Disney movies, such as Sleeping Beauty, Cinderella, Ariel, and so forth. This reinforces the idea that men are always in control of what goes on in the world, specifically women, and how they should be inferior to men. The Disney corporation reinforces the patriarchy, by allowing their viewers to think that men have the power and agency to dictate everything about life, including what women should do and who they should be with. Father gets mad that she does not want to be a part of this life where men keep trying to suit her and marry her. While it's great that Jasmine is actively refusing to adhere to gender roles and be pawned off to different men, it speaks volumes about how her father is angry about it. Men, no matter who they are, want to have the power and agency to dictate to women, just like Jasmine's father. As seen in the clip (https://www.youtube.com/watch?v=Q_WRPz-arFA&t=113s ), Jasmine is “not a prize to be won!”

Citation

https://ir-api.ua.edu/api/core/bitstreams/7a89d99a-6595-413e-8f73-b1b8c6e78974/content (Erika Curtis Dissertation)

England, D.E., Descartes, L. & Collier-Meek, M.A. Gender Role Portrayal and the Disney Princesses. Sex Roles 64, 555–567 (2011). https://doi.org/10.1007/s11199-011-9930-7

https://otago.shorthandstories.com/the-portrayal-of-women-in-disney-films/index.html (Mimi article )

https://tacit-knowledge-architecture.com/object/growing-up-as-a-disney-girl-the-changing-spaces-of-the-feminine-in-disney-films/ (Schrijver article)

https://www.youtube.com/watch?v=TavVK1g-sr0&t=24s (Ariel voice clip)

  https://www.reddit.com/r/disneyprincess/comments/1ao9fb5/a_character_analysis_of_jasmine_by_me_warning_too/ (Stacciatello quote jasmine)

https://www.youtube.com/watch?v=Q_WRPz-arFA&t=113s (Jasmine clip)

[southwestfilm]

Video Production Company Birmingham - Aurora Media from South West Film on Vimeo.

We are a video production company located in Birmingham and the Midlands offering full service video services. We specialise in creating dynamic corporate videos and promotional video content for businesses and brands in the UK and internationally. Find out more at aurora-media.co.uk/video-production-birmingham

[llpodcast]

(Literary License Podcast)

Mrs. Frisby and the Rats of NIMH is a 1971 children's science fiction/fantasy book by Robert C. O'Brien, with illustrations by Zena Bernstein. The novel was published by the New York City publishing house Atheneum Books.

 This book was the winner of numerous awards including the 1972 Newbery Medal.   Ten years following its publication, the story was adapted for film as The Secret of NIMH (1982).

 The novel centres around a colony of escaped lab rats–the rats of NIMH–who live in a technologically sophisticated and literate society mimicking that of humans. They come to the aid of Mrs. Frisby, a widowed field mouse who seeks to protect her children and home from destruction by a farmer’s plow.

 The rats of NIMH were inspired by the research of John B. Calhoun on mouse and rat population dynamics at the National Institute of Mental Health from the 1940s to the 1960s.

 After O’Brien’s death in 1973, his daughter Jane Leslie Conly wrote two sequels to Mrs. Frisby and the Rats of NIMH.

 The Secret of NIMH is a 1982 American animated fantasy adventure film directed by Don Bluth in his directorial debut and based on Robert C. O'Brien's 1971 children's novel, Mrs. Frisby and the Rats of NIMH. The film features the voices of Elizabeth Hartman, Peter Strauss, Arthur Malet, Dom DeLuise, John Carradine, Derek Jacobi, Hermione Baddeley, and Paul Shenar. It was produced by Bluth's production company Don Bluth Productions in association with Aurora Productions.

 The Secret of NIMH was released in the United States on July 2, 1982, by MGM/UA Entertainment Co. under the United Artists label. It was praised by critics for its elegant and painstakingly detailed animation, compelling characters, and deep and mature plot, and won a Saturn Award for Best Animated Film of 1982. Though only a moderate success at the box office, it turned a solid profit through home video and overseas releases. It was followed in 1998 by a direct-to-video sequel, The Secret of NIMH 2: Timmy to the Rescue, which was made without Bluth's involvement or input and met with poor reception. In 2015, a live-action/computer-animated remake was reported to be in the works. A television series adaptation is also in development by the Fox Corporation.

  Opening Credits; Introduction (1.21); Background History (4.50); Mrs Frisby and the Rats of NIMH Plot Synopsis (6.15); Book Thoughts (11.37); Let's Rate (42.18); Introducing a Film (44.01); Secret of NIMH (1982) Film Trailer (46.00); Lights, Camera, Action (48.33); How Many Stars (1:33.30); End Credits (1.35.41); Closing Credits (1:37.18)

 Opening Credits– Epidemic Sound – Copyright . All rights reserved

 Closing Credits:  Flying Dreams (from The Secret of NIMH) by Kenny Loggins featuring Olivia Newton-John.  Taken from the album More Songs from Pooh’s Corner.  Copyright 2000 Sony Records.  

​

Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast. 

 All rights reserved.  Used by Kind Permission.

 All songs available through Amazon Music.

[marketwatchpune]

Japan Inkjet Printer Ink Market 2023 Global IndJapantry Analysis and Key Vendors – VuPoint Solutions, Canon, Lexmark, Aurora, Epson

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[eloisegirlinnovators]

GIRL INNOVATORS--Inside the Magical and Terrifying World of Disney

There are many different things that I will touch on in this project such as how the princess narrative affected young girls, representation within Disney, as well as racism in the corporation. Furthermore, I will speak on how there have been efforts to make a more positive switch and represent more than just white people. In this blog, there are many different details of Disney that I will express and examined. The world of Disney that we all witnessed as young individuals have many undertones that destroy the magic. As one gets older it is easier to pick apart and examine these ailments.

Introduction...

Disney. The magic. The characters. The sexism. The racism. Most when thinking about the multibillion-dollar company think of magic and fantasy. The vision of the people is clouded while there is a large part of Disney that is ignored. For decades the Disney corporation has allowed various inappropriate ideologies that affect their young viewers. When it comes to little girls and boys watching these films there are many inaccurate depictions that affect their young minds. I will first start out with the age-long tale, the damsel in distress who must have a male (most of the time a prince) to come to her aid and save her. This is something that is seen extremely frequently throughout Disney princess movies. While there are many examples I will start off by looking at some of the original Disney princesses versus the now further-developed Disney princesses.

When examining our original princesses such as snow white, cinderella, and aurora, there are obvious aspects that show how all of these women need a man to succeed. Below is an article I found that had many different opinions concerning this subject. When reading this article, these Disney princesses have something in common: their lives were greatly improved by a man swooping them off their feet. Cinderella, for example, had an absolutely miserable life being controlled by her step-sisters and step-mother, but the second that a prince fell in love with her she would live an idyllic life. This may seem like it does not matter but these stories are carried by young children as something that they strongly hold onto. It gives the audience who watch these movies and shows the idea that a male partner is the only way to be happy. With the viewers of Disney princess movies being young moldable minds it makes it all the more crucial to not have the message that men will make your life better. With this, there have been progressions toward feminist girl boss princesses. Below I will discuss the way that Disney has started to pivot for the better when feeding younger generations fairytales.

Below is a picture of the "original Disney princesses" where there are very clear racial and sexist undertones within their stories. From Pocahontas where there are clear inappropriate racist plots, to the damsel in distress that most princesses play Furthermore when researching, I sought out a picture of the "original Disney princesses", when searching on google I found that Pocahontas was not included in most images. This surprised me because of the way that I grew up thinking that Pocahontas fit into that category. This ties into an aspect of inclusion and the way that Disney has left out diversity in these movies.

Run Down of Disney Princess movies and the things that are just not right....

CINDERELLA: This princess is a classic story of rags to riches. Cinderella is cruelly ruled by her stepmother who treats her as her own servant. One night she sneaks away to a ball, where a prince falls in love with her. As she leaves in a rush he will only be able to find her by a glass slipper. There are many things wrong with this storyline. Cinderella is only noticed once she becomes “beautiful” wearing a ball gown and looking like a princess. The message that comes across in these actions is that you must look a certain way to become a princess. This idea can be quite detrimental when it comes to young girls watching stuff like this as it sends the wrong message. 

AURORA: There are a lot of controversies when looking at the story of sleeping beauty. There is a large presence that surrounds the lack of consent. While I am aware that a “true love's kiss” has been a common subject throughout the history of princesses, allowing to show this message is something that should not be taught to young people. To further the extent of this, when doing research I came across an article that told the original story of princess aurora. “I​​n the original Italian version of Sleeping Beauty, known as Sun, Moon, and Talia, Princess Aurora is awakened by repeated rape by the King and eventually gives birth to two children while unconscious.” This makes the lack of consent shown all the more inappropriate. 

BELLE: Beauty in the beast is a seemingly love story, but many aspects of the plot contradict this. Belle is taken by the beast into captivity, and after trying to escape a couple of times is run away by wolves and other obstacles. She ultimately ends up with the beast, which makes me wonder if she just got together with him out of compliance. Young children should not look at this movie as a good relationship because of the way that Belle was essentially kidnapped. 

ARIEL: When looking at the story of the Little Mermaid, there are aspects of Ariel that I do not think are positive for feminism. Ariel suffers between wanting to be on land, while her father wants her to stay in the ocean. When she meets Prince Eric the desire only grows. When she is cursed and told that she must find a true love's kiss in order to stay on land, the intensity grows. Ariel in the end leaves her life behind for Prince Eric. This is an issue because of the way that she is so easy to abandoned her whole life for a man. In a perfect world, Ariel would be able to balance her family and her love.

SNOW WHITE: The plot of snow white is similar to sleeping beauty when it comes to the lack of consent that is shown. The reason that this is so significant is due to the fact that in both of the situations these women are left asleep and speechless, therefore unable to consent to the kiss. When looking at an additional article for more insight I came across this quote, “Though the by-laws to the Queen’s spell does include the by-law of love’s first kiss waking Snow White to life, it is problematic if Prince Charming simply assumes that role to himself.” This is crucial to my point because any man can just choose to take action to kiss the sleeping princess. Consent to young children is an important thing to learn and this strongly contradicts that. 

POCAHONTAS: Thus far I have looked at the anti-feminist ideologies in these movies, but I want to shift to look at that as well as the racism presented. Within the movie, Pocahontas the key element is the fact that it is a true story. This makes it important that there is historical accuracy to do the certain characters justice. The marriage between Pocahontas and john Rolfe (called John Smith in the movie) was believed by historians to be non-consensual as she was kidnapped by settlers. Furthermore, there are many inappropriate terms that are used by the settlers such as “heathens, savages, etc” when referring to the native people. The problems in this movie stem from the depictions of Native American people and the inaccuracy of the true story.

MULAN: Despite the fact that Mulan is one of the more feminist characters out of the group listed, there are misrepresentations present in the movie. Mulan the main character in the movie is seen to be more “westernized” compared to the other characters. “Mulan has paler skin than any of the other characters, as well as rounder eyes.” I found insight in a review on did where the author highlighted “Shan Yu is grey-faced and yellow-eyed with long, pointed fingernails like claws, and pointed fang-like teeth.” It is clear in the comparison of Mulan and Shan Yu that there are racist undertones. Furthermore, sexism plays into this throughout the lyrics of the songs in the film, “Men want girls with good taste, calm, obedient, who work fast-paced.” the shows those watching that you must fit into a category in order to be liked by the men around you. 

JASMINE: In the movie Alladin there are controversial scenes with microaggressions throughout the film. Jasmine is a woman who is controlled by the men in her life with little to no option to make her own decisions as her father wants a man to take care of her. As Jasmine doesn't wear a Hijab in the film there is a sense of feminism but it contradicts itself when Jasmine is only seen in a Hijab when disguised as a poor Muslim woman. When it comes to the things said in the film there are various things to point out. First, the mispronunciation of Arab words in the film is offensive to a culture that is not Disneys. The main characters such as Jasmine and Aladdin have lighter completions, while other characters are depicted as seeming to be more Middle Eastern. 

Sources for the Information above...

While not all of Disney should be looked at in a negative light, I believe that there are aspects that must be taken into consideration and ultimately hold Disney accountable to an extent. Although there are many ailments when examining Disney's acts on their characters, not all of these princesses confine themselves to the stereotype. I will now examine the positive aspects that can be seen in Disney films. When researching this assignment, the first article I came across was about princesses' positive effects on young girls. This was very surprising because when I went into this project, I planned on primarily focusing on the negative aspects. I believe that it is very common for those in slightly older generations to think that all older Disney princesses feed the wrong message but I was amazed to find this article that contradicts that motion.

Within the article above many important ideologies came to my attention. As previously mentioned there are negative aspects that surround many of the Disney princesses, but this article above was able to open my eyes to a different side of this argument. As mentioned in the title of the article in Time magazine, even the researcher was surprised by the results of the study. In a study by Sarah Coyne, various discoveries were made regarding how young girls have been affected when watching princess movies. The author of the article describes these results, "She was shocked to find that girls who were obsessed with princess culture at 5 were actually more likely to hold progressive views about gender roles—to advocate for both female empowerment and for men to express their emotions—at age 10." Finding out this information made me feel significantly better about the culture that surrounds princesses. As older people see the imperfections in these movies is very clear, to now that young children are not absorbing all of the bad things is very positive. Although this does not make it okay, young girls are powerful and will learn to use that power in amazing ways.

When looking at what I will be calling the more progressive princesses, there are many messages that can be positive for developing minds. In this section I will look at the stories behind Elsa, Ana, Merida, and Moana. Starting with looking at the movie Frozen there are many concepts that deny the ideas of following a man. As seen in the image above Elsa is clear that one should not marry a man they just met, while naive sister Ana thinks otherwise. She quickly falls for a man who ultimately is evil and out to get her. The movie progresses and in the final scene Elsa has created a giant snowstorm that her sister Ana and others have been trapped in. Ana who had been previously struck, was told that only an act of true love could thaw a frozen heart. Ana races to find her love interest and be saved. When he betrays her she freezes and it seems like all hope is lost. Then Elsa comes to her and huggs her and crys and she unfreezes. This message is so incredibly amazing for a multiude of reasons. To switch it up and have a story about sisterhood and the strong meanings behind it rather than another love story is a step in the right direction. For young audiences to see two main characters who are strong women as well as independent is extremely important. Lastly to bring the concept of a sister or friendship being able to heal a person is crucial to a new age of Disney movies. 

The next character that I believe is important for young minds to witness it Merida. Although Merida has a princess title, she does not play into the stereotypical role of a princess. She is tough, doesnt care about her appearance, and most importantly does not seek out a man. In this movie Merida is told she must marry but frankly she would rather shoot her bow and arrow and ride her horse. This movie has many more messages than just the idea that Merida does not want a husband, but when looking at this movie compared to older ones that stands out the most. Another important factor in this movie is the way that in the end Merida ultimately ends up by herself. She does not care about having a partner, and would rather be with her family and the company they can provide for her. One of the many reasons why this is important is because it sends a message to young minds that you dont need to have a partner. Not everyone has that desire and no one should be subjected to being with someone when they dont. Merida shows girls that life can be just as good with a man or not. It is movies such as Brave that continue to make disney movies progressive in a feminsit sense. 

The next progressive princess I will look at is Moana. The first thing to look at in this movie is the way that there is zero love interest. In almost every movie created by Disney there is a sense of two people falling in love with one another. Moana is simply on a mission to save her community, which is just one more positive thing in this movie. Further speaking there is more representation racially. Moana is a polynesian character and is actually for once represented as one within her features. In addition to this Moana is one of the frist Disney characters that I have seen that has a normal body. It is common that a princess is skinny and perfect and clean looking, which is not what everyone looks like. Having the representation of someone who isnt tiny is extremely important especially within childerens movie. The last aspect of this movie that is positive it the family and community. Moana seeks to go on a mission to restore the health of her home, not for a man but for her loved ones. 

While most are aware of the continuous racism in Disney productions, the representation that is given to white girls and no others has been harmful to those unrepresented. In the article below a researcher conducted a study to look into this aspect of Disney deeper. This study included asking young girls worldwide to draw a princess. The results were in a sense heartbreaking. "In this sample, nearly every drawing — 61 out of 63 — depicted a light-skinned princess, many of those resembling Disney characters. Fijian girls drew multiple Ariels; Indian girls drew Belles and Sleeping Beauties. Not one girl drew a princess in her country's traditional garb." This is all the more reason why representation matters so much for young minds. While looking further the researcher discovered that most young girls would pick the "traditional" white princesses over any of the others. Knowing this just furthers the need for Disney to continue to show more and more diversity when it comes to movies that are catered to young groups. This being said in the next section I will further look into the way that racism in Disney has been present for far too long.

Racist Moments from Disney Movies...

“Who's the fairest of them all?”---This quote from Snow White and the Seven Dwarves although seen to be fine has undertones of racism. The quotes allow for a sense that being white is being the "fairest" of them all or being superior in a sense.

“Keep on working / Stop that shirking / Pull that rope, you hairy ape”--- This quote from the movie Dumbo has very clear racism due to the fact that this is shouted at faceless black circus crows (actually workers).

The scene with Native Americans in Peter Pan and the depiction that is created is very racist. They are seen speaking gibberish and smoking copious amounts of tobacco out of a pipe, while also seen offering the pipe to the children such as Peter Pan.

Within the Lady and the Tramp, there is a song sung by two Siamese cats. In this song, they are seen with slanted eyes, bucked teeth, and East Asian accents. Within the remake, this was cleared by removing the song and changing the breed of the cats.

"Where they cut off your ear, if they don't like your face / It's barbaric, but hey, it's home."--- This quote from an Aladdin song was a part of the original lyrics to the song Arabian nights which was later just changed to "its barbaric, but hey, it's home". This change is somewhat different but still incredibly offensive to those from these areas.

With the information above it is very clear the offensive and horrible history is very much present. That being said there are been efforts over the past couple of years to include more diversity and representation. While there are many strides to be made movies like Raya and the last Dragon, Moana, and Frozen have made efforts in the right direction. When it comes to a goal that Disney needs to face the priority should be to continue to further to make movies that have different bodies, races, sexual identities, etc.

Sources for this section...

Conclusion...

To conclude I do believe that going back and looking at all of these storylines and plots are extremely important. Since media is something that has become bigger and bigger every year the things we allow children to watch matter. Despite certain studies that show that not all children are affected in a harmful sense, we still must make the effort to remove these points. We must raise the generations below us to feel able to be independent without the need to be with a man to make them happy. Teaching children through movies can be beneficial due to the fact that technology is something that is so prevalent in our world. My goal for this project was to illuminate the way that Disney has failed to empower young women in the past as well as offend communities with many racist undertones and micro-aggressions. I want my kids in the future to be able to watch movies and see every type of person and feel connected and represented when watching movies. Disney has come further than have in the past but there are still many different people that need attention and representation. Throughout this project, while examining all of these different points I felt sad in the sense that I was raised watching these films with no realization of all of these important points. Overall my goal of this was to show the way that there are so many little things that have been shown to us as young children that we were so oblivious to, but when looking at it later in life so many things become more apparent. Princesses do not need a man to save them or to come to their aid, the newer progressive princesses are independent Girl innovators who will do amazing things without a man or partner.

[longaccessories]

Finn little storm boy

#FINN LITTLE STORM BOY MOVIE#

#FINN LITTLE STORM BOY TV#

Next up for the director is Hungry Ghosts, Matchbox Pictures’ 4-part drama commissioned by SBS, which sees a vengeful spirit wreak havoc across the Vietnamese Australian community in Melbourne.The world’s population was 6,623,847,913 and there were an estimated year babies born throughout the world in 2006, George W.

#FINN LITTLE STORM BOY TV#

He’d have liked to have directed more films but has ridden the TV drama wave with credits including Reckoning, Deep Water, The Code, Peter Allen: Not the Boy Next Door and Love Child. It is Seet’s second feature following Two Fists, One Heart in 2008. Kathy Morgan International pre-sold the film to a bunch of territories/regions including France, South East Asia, Eastern Europe and the Middle East. Good Deed Entertainment has acquired the North American rights to the film funded by Screen Australia, the South Australian Film Corporation, Piccadilly Pictures, Aurora Global Media Capital and Salt Media and Entertainment. He wears his heart on his sleeve and you feel his inner grief and sadness.” He’s vitally robust and energetic, but has a very sensitive, almost fragile demeanour. He’s one of the most sensitive, open actors that I’ve ever worked with, young or old, completely in touch with his emotions. Seet hails Little, who has since appeared in Kim Farrant’s Angel of Mine, Hoodlum/Netflix’s Tidelands and Playmaker Media’s Reckoning, as an “absolute discovery,” explaining: “I can’t imagine how we would have made the film without him. Little sent in a self-test which was so good the director and producers flew to Brisbane to meet with him to make sure it wasn’t a fluke. I think audiences will have a good cry, but there is a layer of optimism.”Ĭasting directors Ann Robinson and Hannah Charlton searched far and wide for an actor to play Storm Boy. We’ve passed the baton of the story onto another generation. Seet says: “Justin’s script, which gives the two time frames, is brilliant, underlining the timeliness of the story. Little is the young Michael, aka Storm Boy, who befriends Fingerbone Bill (Jamieson), an Aboriginal man, and rescues three pelican chicks whose mother was killed by hunters. When his grand-daughter Maddy (Davies), who worries about the environmental impact of the deal, rebels against her father, he tells her the story of his youth when he lived with his father Hideaway Tom (Courtney) in a small shack between Ninety Mile Beach and the Coorong. Scripted by Justin Monjo, the plot follows Rush as Michael Kingley, a successful retired businessman who goes to Adelaide as the company he founded decides whether or not to lease vast farming lands in the Pilbara to a mining company. Storm Boy, which stars Geoffrey Rush, Finn Little, Jai Courtney, Trevor Jamieson and Morgana Davies, launches on more than 300 screens this Thursday. “I asked them, ‘Do you know my history?’ Safran’s film was wonderful, a classic, and as I left the meeting I wondered if I had what it takes to pull it off.”Įnthusiastic responses to previews staged by Sony Pictures and screenings at the St George OpenAir Cinema suggest he’s nailed it. So when producers, Ambience Entertainment’s Michael Boughen and Matthew Street asked him to direct a contemporary re-imagining of the movie, he did not hesitate.

#FINN LITTLE STORM BOY MOVIE#

His uncle took him to the movie which made such an impression he kept the film’s poster, which still adorns his bedroom. The director was born in Australia but lived in Malaysia until he was 12. Shawn Seet was 12 when he saw Henri Safran’s Storm Boy, the 1976 family drama based on Colin Thiele’s acclaimed novel. (L-R) Jai Courtney, Finn Little and Shawn Seet.

[theendofthefilm]

Jalsaghar

Satyajit Ray India, 1958

[weitingzhou]

2022 VANNISE Corporate Video_Behind the scenes

Before the formal production of the animation, the Vannise team discussed with me for a long time about the main purpose of this short film, including the main directors of Vannise, the brand story behind it and the feelings between the main directors and the audience. We found that the main points of Vannise came from the natural and lovely way of getting along with the main directors, hoping to share the original intention of life and good things with friends. Therefore, with the audience friends who accompany them to grow up, there is now Vannise.

Therefore, we pull the story to the meeting of the masters, and all the things they passed along the way are the common memories of them and the audience, such as the wild moose, raccoon and deer, the scenery of various national parks they visited, the four seasons all the way, and finally the proposal under the aurora, the light of which becomes the Logo of Vannise ✨.

It seems like a romantic dream process, but all this is the most real to Vannise after 🥰 with Vannise embark on the journey

-------------------------

For 📩 cooperation, please write to ✨

Please write to us for cooperation.

Email:weitingzhou.work@gmail.com

instagram ｜ facebook ｜Behance

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@artistpicks @illustration-media @art

[icarus-suraki]

For the asks, 4, 22 and 27

4. mythical creature you think/believe is real

I do think there's got to be some kind of life on other planets. I mean, the Drake equation does make it seem possible. Now, do I think Little Gray Men (or White People from Space) have come to visit? Not really. I'm extremely skeptical (though I do love a good "real abduction" story).

I'm still holding out hope that Bigfoot/Sasquatch is real. I mean, there are all these stories from Native and First Nations traditions that match current pop-culture concepts of Bigfoot. Like, there's something that matches here and I'm curious as to what it might be. After all, it turned out the moai on Easter Island really did walk to their places, and indigenous people in North America learned how to make maple syrup from squirrels, as they always said. It's us white people who keep doubting people who actually know the truth.

I'd also really like unicorns and winged unicorns to be real, but that's because I am still a 6 year-old girl on the inside.

And I guess "fairies stand to reason."

20. favorite disney pricness movie?

Wait, princess movie? Oh man, um, okay... Uh...

Does Aladdin count? I know Aladdin himself is the main character, but Jasmine is a princess and she's pretty cool (and has a pet tiger). I saw that movie so many times on VHS that I could just about recite it from beginning to end lol.

Oh, sweet, I just looked up what the "Disney Princess" product line is and "[t]he franchise does not include all princess characters from the whole of Disney-owned media, but rather refers to select specific characters from the company's animated films, including in the franchise protagonists of animated films from Walt Disney Pictures, with eleven characters from the Walt Disney Animation Studios films, and one character from a Pixar film. The 12 characters in the franchise are Snow White, Cinderella, Aurora, Ariel, Belle, Jasmine, Pocahontas, Mulan, Tiana, Rapunzel, Merida, and Moana."

So I'm going with Jasmine here.

Now if I can stretch the definition, Princess Leia Organa. Since Gisnep is like the Napoleon of corporations, taking over everything, and now owns Star Wars, and Leia is a Star Wars and is also a princess, she is therefore a Disney Princess. QED.

27. what's your favorite go-to outfit?

Garth from Wayne's World: jeans, Chucks (mine are low-tops), random graphic t-shirt, flannel shirt over it, black-frame glasses, awful hair.

Do I like it? Not really. Am I stuck with it? Pretty much.

Oh wait, that says "favorite." Okay, okay, so that's just my "default" outfit because I apparently hate myself. But my actual favorite that could be a go-to is...black skirt, black footless tights, black-and-white striped knit shirt, black cardigan, black flats. I like to think I look a bit like a Beatnik chick and/or French. All I need is a beret. And a cigarette. I've got the world-weariness and the ennui down.

Weirdly specific and unrelated asks...

ADDENDUM because I goofed:

22. do you have an emotional support water bottle?

I think I kind of do? Or I used to, at least. Working at the library, it was pretty much standard practice to have a water bottle with you at all times and in all places. I had a blue metal one that I liked...well enough, except that I had to hold it up in front of my face to drink from it and that got old. 

One of my colleagues, though, had a nifty Contigo bottle that had, like, a built-in straw to the thing. So you just flipped the mouthpiece up and, boom, like drinking with a straw. Now I won’t feel like I’m tippling the last drops out of the whiskey bottle anymore, hooray! So I got my own--in black and gray for some reason. In retrospect, I should’ve chosen blue or something.

Anyway, the new one also had a nice loop for my fingies, which the blue one did not (shamefully). And I hauled that thing everywhere with me for a long time. And it was cool when they put in those water bottle-filler things on the water fountains at a new library building--one I happened to be working in. 

Now that I’m not really...working...anywhere, I’m not using it as much (if at all) anymore. But, yeah, my boy Contigo there with the plastic straw format.

[whatanoof]

Shang Chi

rant below!

as an East Asian girl who grew up watching the MCU and Star Wars and loving the content with my whole being, I am used to not having people who look like me in mainstream popular media. It's the sad truth. Whenever I wanted to dress up for Halloween, I limited my options to Mulan and non-human characters. I believe that I was Mulan for two years in a row at one point, because I couldn't go as Cinderella or Belle or Aurora.

In middle school, I was obsessed with Comicon and the idea of going and being able to cosplay. But who would I cosplay as? Mulan was again, an option. But this is comicon, you're able to go as anything within the magnified range of fandom, dress as wildly and accurately or inaccurately as you want. Nothing excited me more than the idea of being able to dress up as a superhero, specifically MCU. But who? The only person in the MCU who looks like me is Helen Cho, a side character in Age of Ultron that was brushed to the side as soon as her basic plot device of genius bio-engineering was finished. She had so much potential, and then she was lost to time.

In Star Wars, the only character who remotely looked like me was Rose Tico, and I felt uncomfortable cosplaying as her because Kelly Marie Tran is Southeast Asian and I am East Asian. It didn't feel accurate nor right. And the writers did her so dirty with her character development. She was written off after her debut film, The Last Jedi, to the point where my mother went to see The Rise of Skywalker a few years later and completely missed her. She became a background character after being one of the leading side characters.

The point being, I don't claim to know any of the inner workings of Disney. I'm not angry about this issue, I'm happy that there is any Asian representation in this media. But I'm sad that whenever I think about cosplaying and dressing up and playing characters in mainstream media(MCU and Star Wars), the only logical options that I jump to consider are background characters. I'm sad because there are going to be other little girls like me, who feel alienated from a fandom because they don't look a certain way. Who feel like there is a certain activity and dream that they can't participate in because of their monolids and flat noses and features.

But when I see Disney slap Shang-Chi and Simu Li and Awkwafina to the side and not hype it up, then I get angry. They have an entire movie made. An entire fucking movie, and they can't be bothered to promote it. They promoted Dr. Strange, they promoted Black Widow and Captain Marvel and Black Panther all amazing standalone media that features new heroes and actors and welcomes them to the MCU franchise. Everyone knew when Black Panther was coming out, everyone couldn't hear enough about Captain Marvel dropped. But where is Shang-Chi? I've seen exactly one(1) trailer about it, and that wasn't even on normal TV. They're leaving Simu Liu on his own, working with every social media tool he has to communicate his excitement about this project, and brushing him to the side?

No they don't get to do that. They don't get to brush aside every little boy and girl that looks like them that internally, even subconsciously, is wondering why no one who looks like them is on the big screen. They don't get to do this.

So I'm asking politely, would you guys all consider supporting this movie? Whether reposting trailers and posters, or going to see it in theatres, or even buying it, please? As you consider, don't do it because of a hatred against a big corporation(though it is justified) or because you want to be a social media activist or whatever shit. Do it because somewhere out there, there's a child who will sit up during the movie and tug their parent's sleeve, point at the screen, and say, "That looks like me!" Do it so that Asian kids can dress up like Shang-Chi and more heroes for Halloween. Do it so that people don't end up feeling unnecessarily alienated from a fandom because of their faces.

[gavillain]

witch hazel, aurora, neverland mermaids, and magic mirror

Witch Hazel:

First impression - I always thought she was a lot fun and one of my favorite parts of Mickey's House of Villains. Her whole segment is really fun classic Disney Halloween vibes, and I was always here for it.

Impression now - I feel the same way today, and I'm nostalgic for her. I wish Disney had used her more, tbh. She was such a wacky and entertaining character who would have made a great reoccurring character in the Mickey Mouseverse.

Favorite moment - When she's standing over her cauldron calling out ingredients for Huey, Dewey, and Louie to add to the pot and quoting Macbeth. There's just something so fun to me about a witch at her cauldron.

Idea for a story - Witch Hazel comes back next Halloween to make sure Donald isn't being stingy. Donald, wanting to avoid any repeat incidents, tricks her into going after Uncle Scrooge instead. Wacky hijinks with Witch Hazel and Uncle Scrooge ensue as sort of a marrying ground of the Trick or Treat Cartoon and the Mickey's Christmas Carol cartoon. Of course it ends with Donald getting some spooky comeuppance eventually after she gets done with Scrooge.

Unpopular opinion - I don't think there are any truly unpopular opinions to be had. But one opinion I have that I haven't seen anyone else say is that I don't like it when witches have buckles on their hats. It looks too "pilgrim-y" for my tastes, and I think her design would be better without it.

Favorite relationship - Her friendship with Huey, Dewey, and Louie is adorable, and I love how mischievous they all are together.

Favorite headcanon - She herself isn't evil or a villain, but she likes to hang out with villains for fun because they get her sense of mischief better. She and Mad Madam Mim are friends.

Aurora:

First impression - I always liked her and thought she was a beautiful princess, and her movie was always my favorite. She wasn't ever a favorite of mine, but I always liked her.

Impression now - You've actually opened my eyes to how special and great of a character she is. I always knew she was lovely, but you've made her come alive to me like never before! I wasn't ever above a little sneering at her during the era when Disney Princess discourse was a thing, but now I would never even think of looking down on this beautiful character :)

Favorite moment - I love that first scene in the cottage where Flora, Fauna, and Merryweather have to try to get her out of the house so that they can plan her birthday surprise. I love the sly looks that show that she knows that they're planning something, but she still indulges them anyway. It's sweet.

Idea for a story - I love the story idea of Merlin popping in at the good fairies' request to tutor Aurora when she was younger. Him teaching her and helping her to grow into the princess she becomes is just perfect.

Unpopular opinion - She's always in the top tier of Disney princesses. She tends to get some of the most side eye from critics, and I just don't think any of that is worth bunk. She's amazing and everything a Disney Princess should be.

Favorite relationship - Her and Phillip have a beautiful fairytale romance that I absolutely melt for every time. I also love her familial relationship with the Three Good Fairies too!

Favorite headcanon - I'm coming around to being quite fond of the idea that because Maleficent's curse said that she will be "beloved by all who know her," Maleficent actually does have feelings of love towards Aurora, albeit her twisted version of love. I think if they spent any time together after the film, Maleficent couldn't help but develop a fondness for the princess per her own incantation.

Neverland Mermaids:

First impression - I thought they were pretty and well animated, but I never really have give them a whole lot of though, tbh.

Impression now - They're one of the fun fantasy elements that make Neverland feel like such a vibrant and wonderful place.

Favorite moment - The one thing I always remember about them is the one mermaid saying "we were only trying to drown her" so innocently XD

Idea for a story - I feel like there has to be a whole beautiful underwater world in Neverland, and I'd love to see Peter Pan getting some magic that would let him breathe underwater so that they could bring him to their magical world and have an adventure down there to see what other magical creatures live in Neverland's waters.

Unpopular opinion - I don't really have much of an opinion on them tbh.

Favorite relationship - Again, not really anything relationship wise that I can think of.

Favorite headcanon - See my above idea of a beautiful underwater world that they live in.

The Spirit of the Magic Mirror:

First impression - I thought he was so cool and mysterious and such a fun part of the movie and its whole aesthetic. He was one of my favorite characters as a kid, actually.

Impression now - One of my favorite Disney Villain Henchmen. He's got such a spooky and ethereal vibe to him that he tickles my fancy. I also have loved him in the various supplemental Disney materials like the DVD menus and theme park attractions. He's just one of those characters who makes my imagination soar.

Favorite moment - When Grimhilde first summons him from the farthest space and he appears from within flames. There's something so mystical and cool about that whole effect :D

Idea for a story - I like the idea of one day he frees himself from the mirror and regains corporeal form, seeking to get revenge on Grimhilde for imprisoning him. And she must contend with facing him, and possibly having to turn to her enemies for help.

Unpopular opinion - I'm just gonna use this for all the Disney henchmen: he's better and more interesting than Kronk. Would much rather watch him than Kronk's antics any day.

Favorite relationship - I love the idea of him having a romance with Madame Leota from the Haunted Mansion. Two disembodied spirit heads manifesting in enchanted glass objects who can see all. They're practically made for each other!

Favorite headcanon - He is the spirit of Grimhilde's father sealed away inside of a mirror by her after she overcame his abusive hold over her. He's enchanted to obey her every whim now, letting her finally have the power in their relationship.

[southwestfilm]

Video Production Company Somerset - Aurora Media from South West Film on Vimeo.

Our video production company, based in the inspiring locations of Bath and Somerset, is dedicated to providing comprehensive video services. We specialise in crafting cutting-edge corporate videos and personalised promotional content for businesses and organisations across the nation and around the world. Find out more at aurora-media.co.uk/video-production-somerset

[idiosyncraticrednebula]

It’s no secret that I’ve shown my comtempt for the Disney company on this site quite a lot as of lately, but despite all of this, I do want to make a distinction between my feelings for both the corporate side of Disney vs. creative side of Disney. Now that I’ve clarified on that, I just wanna say how annoyed I get when these faux feminists view the classic Disney princesses as “weak” and terrible role models for young girls just because they clean, cook and marry princes. First of all, these movies were made between the ‘30s and ’50s when things were quite different for women, so stop dragging animated films that are more than 6 decades old for having certain problematic aspects to them; second of all, with the exception of Aurora because all she did was daydream about finding her prince and nothing more (not really her fault she was portrayed this way though, poor girl was only in the movie for 18 minutes), the princesses were subjected to emotional and mental abuse and controling from their step-mothers, particularly Cinderella, and I’d dare to say that she was strongest of them all because despite the abused she suffered, she perserved through kindness and courage. How is that a bad message for young girls or children in general? These types paint her as weak and submissive for not being all “feminist” and “tough” like how Disney is trying to portray their princesses nowadays, which, in my opinion, is hella sexist. I hate this notion that a woman being kind, submissive and feminine immediately correlates to her being tied to the evil patriarchal values that keep women oppressed lmao. Besides, I don’t remember neither Snow White nor Cinderella being desperate for a boyfriend until they met them. The classic Disney princesses aren’t as weak as some of you believe them to be. Let young girls enjoy and look up to Disney Princesses if they want to. I don’t see the necessity for them to look up to Xena or Beatrix Kiddo 2.0 all the time. Nothing wrong with liking a princess who is kind, humble and feminine.

[nosastrra]

𝑰 𝑭𝑶𝑼𝑮𝑯𝑻 𝑭𝑶𝑹 𝑬𝑽𝑬𝑹𝒀𝑻𝑯𝑰𝑵𝑮 𝑰 𝑯𝑨𝑽𝑬 𝑨𝑵𝑫 𝑰 𝑾𝑰𝑳𝑳 𝑪𝑶𝑵𝑻𝑰𝑵𝑼𝑬 𝑭𝑰𝑮𝑯𝑻𝑰𝑵𝑮.

cdr j. nova shepard [ the vanguard ] | twenty-nine/thirty-one

a platinum ring, engraved with letters and shapes she did not recognize. that’s the only earthly position nova grew up with, and a whispered promise of her parents’ return. she doesn’t have any memories of their faces, just silhouettes of sharp features and striking violet eyes, eyes that were surely genetically modified and passed down to her. as years droned on in painful pace, the realization that no family would show up to claim her, a flimsy film of hope was all she had as she set out onto the streets to join the tenth street reds, a desperate plea for attention to call out for any fragment remaining from her past. she left the young girl with violet eyes back at the orphanage and even discarded her first name [if you call her jane -- she will not hesitate to knock the breath out of you] and instead, she fell into the fold of children with names that belonged to the stars as humanity’s fascination with space grew at an exponential rate. she took up her own middle and became known for it -- nova.

her views had never aligned with those of the criminal underbelly of boston, but the winters were cold and she needed to live if she were to ever find her family. she was only a runner for the gang, never participating in their bigger hits but aware of their anti-alien agenda. it was then that nova finally recognized the shape engraved on her ring - the insigne of the system alliance marine corps. it wasn’t a light at the end of the tunnel, but rather a much longer, winding one, one nova took up with big hopes and dreams for family. 

and she sure did find it on her first posting, touring and serving as a private first class, then corporal, and finally chief on the ssv monarch. the ring hung nestled between her dogtags but was no longer a tether of a juvenile yearning as shepard found her place among her people. boisterous and filled with warmth, that was quickly usurped and crushed underneath the writhing tentacles of thresher maws on akuze. shepard had barely survived the excursion, and carries with her the horror of losing her entire unit, non-commissioned officers and commanding officers alike on akuze. a meritorial promotion, a long recovery, and an n7 certification later, shepard finally found herself a prospect for spectre candidacy and an executive officer on the ssv normandy. 

my shepard is a headcanon heavy, earthborn, sole survivor, paragade shepard. 

verses include pre/post/during/and between mass effect games. 

her face claim will be wallis day. 

open to all/any ships but as always, chemistry is preferable. 

her bio will be updated to include all my shepard’s in-game choices.

headcanons can be found here.

[ kaidan alenko | aurora jett | b.jenkins | rahna ozdemir ]