#Cinderella and her mice

[wyndlerunner]

Endlessly thinking about the Cinderella subplot in Mistborn Era 1

Except instead of sneaking in so her stepmother doesn’t catch her, Cinderella is there to rob the castle

And her glass slippers are glass knives

And instead of falling for the prince, Cinderella murders the king and then crowns the cute noble she met at a ball

[meowydoe]

Baby Doll calls Marcella “Marcellie” btw

[allaglow]

Psychological turmoil is so underplayed and people don’t realize the lasting impacts, beyond violence or anything physical, it can cause on the human condition. There’s a reason solitary confinement is considered the most deadly punishment and it’s unsettling that Lady Tremaine attempted to inflict that upon Cinderella from an early developmental age all the way up until the end. She tried to strip Cinderella of humanity, of any resources, of her dignity, until she felt like the only person in the world, that no one cared or loved her, and that all of her efforts toward a better life or to be included in society would’ve been fruitless. Cinderella’s fight to go to the ball is not about a Prince and it never was. It’s so much deeper.

[whippedcloudsofcream]

They really didn’t have to make Lucifer be so terrible to Cinderella 😭 Like the stepsisters treated him like shit and the stepmother only liked him for looks. Cinderella was the only one who treated him civilly, fed, and cared for him. It’s so weird, but I suppose it makes sense in a fucked up way. Abuse runs deep, right down to the pets 😂

[star-ocean-peahen]

After watching Cinderella (the original animated movie, which was my favorite as a child), it strikes me how it solves many common problems people have with this fairy tale. Like:

Why did they try to identify the mystery girl using her shoe size? Because the bullheaded king's only clue to her identity was the shoe the Grand Duke picked up off the steps.

Why didn't the prince recognize her by her face? Because his father wouldn't involve him in the process at all, and wasn't the one going around trying to find her.

Why did the prince want to marry a lady he only met that night? Because his father was going to force him to marry someone, and he genuinely liked this woman.

Why did Cinderella want to marry a man she only met that night? Because marriage was her best and most secure way to freedom. Fucked up, but you can't say it's unrealistic for the setting of a fairy tale. She also genuinely liked him.

If they're using the slipper to find her, wouldn't it be more sensible to search for the person with the other slipper? Yes. The King is purposefully nonsensical and the Duke is purposefully terrified enough of him to carry out his orders to the letter. Furthermore, they end up doing that in the end anyway, because the Duke's glass slipper is shattered, and Cinderella brings out the one she has to prove her identity.

Why didn't the stepmother and stepsisters recognize Cinderella at the ball? Because they were dancing too far away, and then left the party to dance in private, which was possible because the King wanted very badly for his son to hit it off with someone and tried to arrange the best conditions for that to happen.

Why didn't Cinderella save herself? Because in real life, abuse victims should not have to shoulder that responsibility, and usually can't. In real life, you need and deserve an external support system. Asking for help, in this kind of situation, is very important. She is saved by others because she is loved. Because she is not alone. Because she has friends who love her, and want her to be happy and safe and free. Because in real life, people who want to help someone who is suffering are like the mice. We can't pull out miracle solutions, but we can provide companionship and if we're in the right place at the right time, we can help the person find a better life.

Why didn't the fairy godmother save Cinderella from her abusive household, or try to help her sooner? Because she's magic, and magic can't solve your problems. Quote: "Like all dreams, well, I'm afraid it can't last forever." This (and Cinderella's dream of going to the ball) is a metaphor for pleasurable things in bad circumstances. An ice cream won't get rid of your depression, but it will provide you with momentary happiness to bolster you, as well as the reminder that happiness in general is still possible for you. Cinderella doesn't want to go to the ball so she can get away from her stepmother and stepsisters, or so she can meet someone to marry and leave with. She wants to go to the ball to remind herself that she can still have things she wants. That her desires matter. This is important because the movie does a very good job of illustrating Lady Tremaine's subtle abuse tactics, all of which invisibly press the message that Cinderella doesn't matter. While going to the ball and fulfilling her dreams may not be a victory in the material sense, it is still a victory against Lady Tremaine's efforts.

Why is Cinderella's choice to be kind and obedient framed as a good thing, when you are not obligated to be kind to your abuser? This one walks a very fine line, but I think the movie still makes it make sense. Lady Tremaine never acknowledges her cruelty. She always frames her punishments of Cinderella as Cinderella's fault. Cinderella is interrupting, Cinderella is shirking her duties, Cinderella is playing vicious practical jokes. Cinderella is still a member of the family, of course she can go to the ball, provided she meet these impossible conditions. Lady Tremaine's tactics are designed to make Cinderella feel like she must always be in the wrong and her stepmother must always be in the right. If Cinderella calls her stepmother out on her cruelty, or attempts to fight back, Lady Tremaine can frame that as Cinderella being ungrateful, cruel, broken, evil, etc. If Cinderella responds to her stepmother's cruelty defiantly (in the way she's justified to), she's not taking control out of Lady Tremaine's hands. Disobedience can be spun back into her stepmother's control. She wants Cinderella to be angry and sad and show how much she's hurting. So since Cinderella is adapting to her situation, she chooses to be kind. Not only because she naturally wants to be and it's part of her personality, but because it is a form of defiance in its own way, and it allows her to keep a reminder of her agency and value. Her choice to be kind is her chance to keep her own narrative alive: she is not obeying because her stepmother wants her to and she has to do what her stepmother does, but because she wants to. It's a small distinction, but one that makes all the difference in terms of keeping her hope and identity. (Fuck, I wrote a whole paragraph about how this doesn't mean you can't be angry at people who hurt you or that you need to be kind to deserve help, and then deleted it by accident. Uh. Try again.) Expressing anger and pain is an important part of regaining autonomy and healing. Although it is commendable to be kind while you are suffering, it is NOT required for you to get help or be worthy of help. If Cinderella's recovery was explored beyond "happily ever after" she would need to let herself be angry and sad to heal. Cinderella is not only kind because it comes naturally to her, but because it's her defense against the abuse she's suffering. Everyone's story and experiences are different, and one does not invalidate the other.

Bonus round for answers that aren't part of the movie:

Why didn't Cinderella run away? Where would she go? Genuinely, in hundreds-of-years-ago France, where would she go if she snuck out of the window with a change of clothes? With her step-family, she's miserable and abused, but she's fed, clothed, and in no danger of dying or being taken advantage of by anyone other than her stepmother and stepsisters. Even if she escapes and manages to find financial security, her stepmother might be able to find her and get her back.

Why didn't Cinderella burn the house down with them inside it/slit their throats in the night/poison their food/etc.? Because that's a revenge fantasy, and this story is a fantasy about being saved. There's nothing wrong with making Cinderella into a revenge fantasy. That's perfectly fine, as long as you acknowledge that the other type of fantasy is also a valid interpretation. (I mean, the original fairy tale features the stepsisters getting their feet mutilated and all three of them getting their eyes pecked out, so go for it.)

Why isn't Cinderella more proactive in general? Because she's a child who has been abused for the back half of her life, who has had to be focused on survival because. you know. she's an abused kid.

How did she dance in glass slippers? Gotta agree with you there man, that's weird.

[artist-issues]

If you haven’t seen Wish yet and you love Disney, do not go see it. I am telling you now. It is ripping out the hearts of the Disney movies you love and then waving their corpses around as if celebrating those hearts.

I’ll explain why, again: the message of Wish? Awful. Anti-Disney.

But they've been doing this for a long time. Saying one thing with their movies, and saying another with their PR and Disney Parks Soundtracks.

I'll explain.

Main Idea of Disney's Wish (and the You Are the Magic theme park song and merch): "The power to make your wishes come true is in you."

≠

Most Disney Movies' Idea on How to Have Wishes: "Do what's right, (trust a higher power) and something even more wonderful than what you wished will happen."

Don't try to argue with me about this. You have to look underneath the slogans and the sweater designs and the song titles to what the stories actually support to acknowledge this.

Because you can’t say “do what’s right” has power unless you answer the question “who gets to decide ‘what’s right?’” (Which, coincidentally, is a question Wish brings up and then doesn’t answer.)

Audiences of Disney used to accept that wishing on a star was much like prayer; there’s something you long for, and it’s out of your hands, but you wish for it and you do what you know is right in the meantime. And you’re not crushed, you’re not downhearted, because somewhere in your mind you trust that the combo of those two things—wishing on a higher power and diligence to do what’s good—will be what makes your wish come true.

Trust in a higher power—COMBINED WITH:

—diligence to do what’s good.

The Blue Fairy (higher power) gave Geppetto his wish specifically because he had demonstrated commitment to do good, whether he got what he wanted or not. The Fairy Godmother (higher power) gave Cinderella her wish specifically because she kept on being kind and good to low creatures like mice and wicked stepsisters, whether she got what she wanted or not.

Do you know why that combo (higher power + diligence to do good) is impactful? Timeless? Important?

Because it’s selfless. You want something, but you’re not going to sacrifice doing the right thing to get it. You’re not going to focus so hard on making what you want a reality, on your own, that you miss out on things that could be more important than what you want. And, you’re not so self-focused as to believe that if you don’t do it, it won’t get done.

Jeez, that’s the whole point of The Princess and the Frog!

Tiana wishes to have her own restaurant, and she believes that only her own hard work will grant that wish. She misunderstands her dad’s advice before he dies. She isn’t willing to trust a higher power combined with her own diligence to do good—she only trusts her own ability.

It’s not until she realizes that Ray, the character of faith, was right all along that she learns—what she wished for was too self-focused. It wasn’t complete without love. Something bigger than herself. And getting that was never going to happen just based on her own hard work.

But you know what? It was never going to happen just by a “higher-power” flavored shortcut, either. Because Facilier offers her her wish if she’ll just trust him, no hard work needed. But what does she say?

Trust in a higher power + diligence to do what’s right = selflessness, and getting more than you could have ever wished for. And if your wish is selfish, doing those two things will change your wish into something selfless.

More examples? Get ‘em while they’re hot, in case Wish made you forget, just like the current #NotMyDisney executives have forgotten, what real Disney wishes are for.

Belle wishes to have adventures in the great wide somewhere--but when she's imprisoned and that chance is taken from her it's not reversed because she worked hard to make her wish come true. It's granted because she gave up her wish for her father: she just did the right thing, regardless of her wish. And in the end, she does get what she wished for, which is adventure in an enchanted castle...and much more, because she gets true love, a throne, and a castle full of friends.

How about the One Who Started It All? The one Wish is failing to pay genuine tribute to?

Snow White wishes for someone to love her, and he does--but when they're separated, she does not exercise power to make The Prince come back to her. Instead, she loves who she can where she’s at—the Dwarfs. In the meantime, she has faith that he will keep his promise, and that pure trust in a higher power outside of her control is a big contributing factor to why the Dwarfs come to love her, and learn from her...and in the end, even more than she could've wished happens. He does take her to his castle, but she also has seven new friends who also love her, and the Queen is dead. And she didn’t need to use “the power in her” to work harder and get it done. She just needed to not focus so much on herself at all.

How about a male main character? One who’s wish starts out selfish, but after learning to wish on a higher power and be diligent to do the right thing, gets more than he could wish for?

Aladdin wishes to be somebody different (somebody he believes Jasmine could love, somebody who lives in a palace and is respected and “never has any troubles at all.”)—but doing everything in his own power for that wish proves that it was selfish all along; so he switches to doing the right thing, regardless of if his wish comes true, and he gets even more than he could’ve wished. He gets real love with Jasmine, he gets his friend Genie, and he gets to be free from feeling “trapped” because he doesn’t have to hide who he is anymore.

Or Simba?

Simba wishes to get to do whatever he wants as King—but when Mufasa dies and he’s convinced it’s his fault, it isn’t for that wish that he goes back to Pride Rock to confront his past and his Uncle. It’s because he had an encounter with a higher power—his father—that helped him to realize his wish was selfish all along. He gives up the selfish wish, and he goes back to take his place as king, not so he can do whatever he wants, but so that he can take self-sacrificial responsibility that comes with ruling. And because he just does the right thing, finally, he gets more than what he wished for.

How about something more recent? Zootopia.

Judy wishes to make the world a better place by proving she can be what she wants to be and catching bad guys—but when she tries to make her wish happen on her own, in her own abilities, she fails and is forced to realize that she should’ve been looking for help by understanding “bad guys,” like Nick. It’s only after she humbled herself, admits she’s wrong, and changes her wish from “proving I can be what I want and catching bad guys” to “proving that understanding each other makes the world a better place” (much less self-focused) that her wish comes true—and so much more. She does make the world a better place, and she does get to catch bad guys, but she also gets to befriend one who was a good guy all along, and become all-around more effective at her dream job.

This is how Disney always has been. Because it’s at the heart of good storytelling, and even life (not to get too dramatic.)

The power is not in you. Because it’s not about you. Self-sacrifice, faith, and doing the next right thing regardless of if you get your heart’s fondest desire is what makes more than just your wishes come true. And there has to be belief in a higher power to make that message powerful.

But Wish?

Not only is it bad at showing instead of telling. Not only is it lazy and soulless.

But it’s characters rip the Star out of the sky and say “don’t wish on this. Wish on yourself, to get what you wish for. You don’t need a higher power. You don’t even need to sacrifice to do what’s good—whatever you do is good, because you are the one doing it.”

That is wrong. That is not true, and it is not powerful. There’s no sacrifice in focusing on or placing your trust totally in yourself, and it undoes every good thing Disney has done up until now.

And it undoes it on the 100th anniversary, and it flaunts Easter eggs of the very things it’s undoing.

[nikibogwater]

If Disney is so dead-set on pumping out these live-action remakes and sequels to remakes, then where's my live-action remake of Cinderella III: A Twist in Time? I want Cate Blanchet bending the laws of the universe while dramatically snarling "Bibbity bobbity boo!" I want undercover Lily James on a stealth mission in the palace with her mice. I want Richard Madden yeeting himself out of a second story window to chase down his true love. If you're gonna commit to this whole live-action remake thing, then you'd better freaking commit.

[caffeinewitchcraft]

Cinderella Doesn’t Believe in Fairytales (pt 2)

((Part 1 Here))

Magic won’t fix anything.

Cinderella holds onto words. Commands. Be patient. Be kind. One big loving family. Magic won’t fix anything. Her loved ones’ words ring in her head the entirety of the following month, soaring above and diving beneath each other.

Sometimes the boy’s voice says, Be patient.

Sometimes her father says, Be kind.

Sometimes her mother says, Magic won’t fix anything.

Cinderella’s rations are in order. A week’s worth of dried foods to sustain her journey into town. It’ll take her a week on foot, three days by carriage but she doesn’t have access to a carriage. Her stepmother will be taking it. Her mind whispers, the Capitol is a week by carriage. You could—

She lets her mantras drown the thought. Cinderella is too old for fairytales.

The mice watch her from the windowsills the day of the full moon. She is mending Anastasia’s stockings by the fireside. It is the last time she’ll do so and she attempts to summon some fondness for the chore. It’s her sister who trusts her with this task, she has spent so many evenings warm and cozy with a needle and thread, she has gained some skill in mending from so many years practicing—

No fondness wells. Instead Cinderella’s eyes burn from the length of time between blinks and her heart beats so slowly that she feels like time is moving backwards. The fire crackles and Cinderella breaks the thread with her teeth, finishing the mend as sloppily as she can. With any luck, it’ll rub and give Anastasia a blister while she dances with the Prince.

She’s horrid. Did her mother see this side of her when she made her daughter promise to be kind? Cinderella starts on the heel of the next stocking.

“Cinderella.”

Stepmother is standing in the doorway to the kitchen, one elegant hand presses to the rough stone, the other behind her back. Drizella peeks out from beneath her arm, hair piled up on top of her head. Anastasia hovers behind, swishing her emerald skirts from side to side.

“Yes, Stepmother?” Cinderella asks. Her voice startles her. Low and rounded and empty. She is deep inside her own head as Stepmother steps into the sunlight streaming through the small window above the preparation table. “Is there something you need assistance with?

“I have been thinking,” Stepmother says. Her chin lifts and her eyes glint when she eyes the basket of stockings. “You have…shown efforts in this household. I know the girls and I have not been as attentive as of late. Our focus has been entirely on the ball. Yet, I would not have you thinking your…help has gone unnoticed.”

“It was my idea,” Drizella blurts. She darts under her mother’s arms and pelts forward, nearly falling when she stops just short of Cinderella’s seat. She grins down at her. “This is my idea!”

“Our idea,” Anastasia says with a sniff. She steps around her mother with tiny, practiced steps. She’s using a strange accent, half Capital and half west mountains. She’s been attempting to blend into the upper nobility. “We thought of it together.”

“Yes, my girls are so kind,” Stepmother says. She reveals what she’s holding behind her back and Cinderella’s breath stills in her lungs. It’s fabric, beautiful, shimmering silver fabric. A hint of a lace sleeve peeks out from the bundle. “Here.”

Cinderella stands. This can’t be what she thinks it is. She doesn’t reach for the bundle even when Stepmother takes a step forward, hand outstretched. She swallows. “Is that a dress?”

“We had some money leftover at the seamstress,” Drizella says, leaning into Cinderella’s side. She tilts her head to rest on the taller girl’s shoulder. “Isn’t the color beautiful?”

“I didn’t want lace on my dress,” Anastasia says. She sits in Cinderella’s abandoned chair, smoothing her skirts like a court lady might. “So the seamstress said she could add it to yours. You’re welcome.”

Cinderella is staring at the dress. This can’t be real. Something in her chest trembles. Were they thinking of her at the seamstress’ studio? Her? “Why?”

“So you can attend the ball of course,” Stepmother says. She takes another step forward. “I am not so ungenerous as to ban you from going. Did you think I would?”

Yes. Cinderella’s hand trembles when she reaches for the dress. Her fingertips graze the smooth fabric. “It’s beautiful.”

“As beautiful as you are,” Stepmother says. Stepmother’s voice trembles. She blinks quickly as if holding back tears. “I have never told you so. It is not good for a girl of your…station to nurture ideas. However, I have come to regret my restraint.”

Don’t! Cinderella ignores the warning. Her heart is aching so fiercely that she can scarcely breathe. She takes the dress from Stepmother as gently as she would hold one of the mice. “You want me to come with you?”

“We’re all noble daughters,” Anastasia says primly. Her eyes are on Cinderella’s folded dress. “Wearing that, you might look the part.”

“Indeed. We leave in an hour,” Stepmother says. She holds out her hands to her daughters. “Come, girls. Let’s not get in Cinderella’s way. She must pack quickly.”

Cinderella feels light headed. She strokes the fabric and marvels at how cool and light it feels against her fingers. She doesn’t have anything else to wear to the Capital, not a stitch, but she has a dress. A dress her family gave her.

Don’t.

“But I want to see her open it,” Drizella whines. She walks backwards towards her mother. “Go on, Cinderella. Take a look. You’ll love the silhouette.”

Cinderella hardly notices Anastasia tiptoe around her. They bought her a dress. She doesn’t care what it looks like. It could be decades out of fashion. It could be completely bare. She doesn’t care. They bought her a dress and Stepmother acknowledged her hard work and—

Don’t, don’t, don’t, don’t—

Cinderella unfurls the dress. Something so light she didn’t notice it in the folds of the fabric drops to the ground and rolls.

Coal.

The dress is streaked with black soot, the front wrecked by the stains. There is no lace on the dress except for the one sleeve. The hemline is unfinished and cut at an angle that can’t be salvaged. The silver fabric is ruined everywhere except for the back panel of a skirt which Stepmother had used to conceal the mess.

“Oh, dear,” Stepmother says as Cinderella stares at the wreck. The trembling in Stepmother’s voice isn’t regret. It’s glee. “My, Cinderella, your dress is a mess. You won’t be able to go to the ball after all, will you?”

“In that?” Anastasia asks. She presses a hand to her chest, once again safely behind her mother. “No, no, no, you could never go in that.”

“Maybe you can clean it,” Drizella says. She’s bouncing on her toes. “You’re good at cleaning, right, Cinderella?”

“Alas,” Stepmother says, shaking her head. She ushers the girls ahead of her. “We leave in just an hour.” She clicks her tongue. “Do hurry, won’t you, Cinderella? Of course, if you can’t save the dress, what’s the point? Perhaps you should stay here after all…entirely up to you, dear.”

Anastasia’s snorts and Drizella’s shrieks of laughter echo behind them. They’re off to pack, thrilled by their prank. Stepmother stays in the doorway. Cinderella can feel her looking. Cinderella can’t tear her gaze away from the dress. After a long moment, Stepmother speaks.

“It is not in my nature to be cruel,” Stepmother says. Her heel taps against the stone. “I see we have hurt you. Perhaps you think us unkind for this little mischief, hm?”

Cinderella’s head is bowed. She can’t bring herself to speak.

“Trust me,” Stepmtoher says, “that it is not even a tenth as cruel as it would be to have you come with us. You are beautiful, Cinderella. Does it please you to hear me admit it? I can concede that much at least in light of what you must be feeling. But my daughters have worked hard for this day. They do not deserve the cruelty of having you who have worked for nothing overshadowing their efforts just because you were born beautiful.”

“Beautiful?” Cinderella tastes the word like poison on her tongue. “I—I am not—“

“Save me your false humility,” Stepmother says coldly. Her tapping heel stills. “You think yourself clever, but you are just a girl. I see how you lord yourself over my daughters. I have spent years attempting to curtail your excessive pride to no avail. In the end, you’ll see today as a favor to all parties involved. My daughters deserve this opportunity to rise above their station. You? You will have the opportunity see where you really belong.”

There is something interesting happening in Cinderella’s chest. Whereas before her heart beat so slowly it felt as if time flowed backwards, it’s the opposite now. Her heart is beating so fast and so loud that a river rushes through Cinderella at the speed of light.

“Beauty,” Cinderella says. She finally pulls her gaze from the ruined dress to meet Stepmother’s eyes. Stepmother’s mouth thins in displeasure, but Cinderella doesn’t care. “All these years over— over your perception? Your idea of what I am? Who I am?”

“Do not condescend to me,” Stepmother says.

It is not a denial.

Cinderella is a child again, perched on top of her father’s shoulders. The light is golden in her mother’s hair and she reaches for a strand that’s fallen free of her pins—

She is crouched in the garden, watching ants pull at a grounded butterfly’s wings. Sickened, she steps on them, pounds at them with her heels. Her name rings through the air as her mother hurries towards her—

Her father’s back is fading into the light as he leaves her mother in her window. Her mother’s shoulders shake and Cinderella is behind them both, clutching a doll—

She is holding her mother’s hand and it’s so cold. Her eyes are as pale and lifeless as the butterfly’s wings. Cinderella calls for her mother and the silence swallows her whole—

Cinderella is crying in the snow. She is dying or dead. Her legs are frozen, as cold as her mother’s hand, and she can’t tell if she’s even walking still. A bell rings through the trees and, half-mad, she follows it—

She lies in the warm grass of the meadow as the boy talks about stars and constellations and something beautiful unfurls in Cinderella’s chest for the first time in years—

She hopes. There is hope so bitter that it puckers her soul a little more with every letter she writes. She stands at the window and waits for her father or a letter or a sign—

You deserve more, the boy says. You’re strong, Cinderella. You have endured the freezing cold long enough. It is time to find somewhere warm—

When Cinderella is able to rip herself from the memories, Stepmother is gone. The dress is crumpled on the ground and Cinderella’s heart is loud in her ears.

“I,” Cinderella says to the empty room, “am more than beauty.”

Something in her chest cracks. A bone, maybe. A heart.

A dam.

Cinderella, not waiting for night, bursts out of the kitchen door. She lifts her skirts so that she can lengthen her strides and runs. The woods swallow her without preamble, the canopy glowing green in the afternoon light.

Be kind.

She leaps over fallen trees and dodges low branches, not caring as sticks fling up under her heels and leaves whip at her face. Her heart pounds.

Be patient.

How could she have been so blind? They were never going to love her. Stepmother saw only what she wanted to see, a part of Cinderella that is not who she is, something that’s never mattered.

One big loving family.

She poured love like blood into their mouths. She did what her parents taught her and loved with hands so open that her fingers bent backwards. For what? To be boiled down to nothing? To be pretty?

Magic won’t fix anything.

Cinderella, chest heaving, leaps into the clearing. She can feel her hair tangled behind her. Her hands are stained with soot and they leave black fingerprints on her skirts. A cut on her leg oozes. The wind whips at her in alarm. Cinderella doesn’t care.

She approaches the tree. The boy is waiting, still for once. How did he know she’d be there so soon? Why is his presence watching her like that? The rainbows of magic shiver like grass, bending away from her when she stalks through them.

“You promised me magic,” Cinderella says. Somehow she is not out of breath. She presses a hand to the oak tree’s warm bark. Her eyes spark. “Didn’t you?”

“I did,” the boy says.

“Then show me magic,” Cinderella says. “Whatever you want. Whenever you want. Just—keep your promise. Take me away from here.”

“Your wish,” the boy says, “is my command.”

The bark shifts under her fingers and Cinderella falls forward into the tree. She doesn’t have time to scream. Would she even want to? She drops into darkness so warm that her shoulders loosen as she plummets.

Out in the meadow, a single butterfly drifts across the top of the wildflowers.

——-

Thanks for reading! This is turning into a whole novella, but I’m having a blast writing it!

Part three will be posted next Friday (sorry this one was a day late! I’m traveling) and is already up on my Patreon for those who’d like to support me there :)

See you next week!

Patreon (X)

[rose-tea-and-strawberries]

I was watching Cinderella (1950) and I just know that house of mouse!au Jaq and Gus absolutely hate Crowley for exploiting Miss Yuu. Like you saw how much they despised the stepfamily for piling work on Cinderella and how much it pained them that she just had to take it even when she very clearly didn't want to.

I already heacanon that Miss Yuu has befriended the mice that live in Ramshackle and basically feeds and looks after them but I can see her and Cinderella's mice and bird friends being the cutest best friends ever.

[marciabrady]

it's so funny to me that the princess our culture associates fundamentally with passivity offers credos which are among the most active and powerful of any in the fairytale canon

first and foremost, cinderella communicates that we all are what we contribute.

cinderella saves the mice and fosters an environment of collaboration, harmony, and unity that's harbored by her own industrious nature. mind you, she does all of this against her stepfamily's wishes, actively defying them, and creating a counterculture in the process.

as the story team intended the animals to be a reflection of their human counterpart, notice how cinderella's kindred are uniformly hardworking, intentionally kind, and approach every situation with their best foot forward, adapting a problem-solving mindset that collectively aids them all in their shared progression toward the betterment of themselves and the world around them. take the very first scene in which we see cinderella and the culture she's created, for instance:

everyone has a hand in the first chores of the day and they're all choosing to do it with a smile on their face. key word: choosing. because this isn't an idly happy lot whose joy is an accident of their own nature or something that's easy. their happiness is something they have to be mindful of and, in many cases, fight against themselves to achieve. because, guess what? their life is terrible. they've been reduced to living in a dusty attic room of a decaying house. many of them were saved from death by cinderella, herself, and know that if they venture too far outside of the safe quarters she's provided, or if they allow themselves to be seen in some way, they'll be back at death's doorstep. the danger and stress they live under would cause anyone to snap, or anyone to never want to get out of bed, which is why we see them looking like this in one of the most relatable openings of all time:

i mean, cinderella canonically hits the snooze button:

the birds literally have to force her to wake up, initially:

and once she does wake up, she's playful and pleasant and kind, yes. but that doesn't last long- the clock immediately tries her by reminding her of the daily toil she must face in order to maintain the food and shelter that's tantamount to, not only her own survival, but that of this tiny community that she's the unofficial mayor over and continues to be responsible for. she has to sustain herself and the others she's collected around her by choosing to live life the way she does. this kindness is something she has to pay for, every day. and she physically snarls at being reminded of the hand life's dealt her:

and you know what? that's a very human quality that everyone can identify with in some regard because it's hard, even if you are someone who loves life and the people around you, to keep going in spite of the challenges you face. being positive, plainly put, is something that's difficult and you have to keep reengaging yourself to be because it isn't a natural state for most people, and especially not people that have been treated as unkindly as cinderella. let's not forget that she lost both of her parents at a young, formative age, and from that time in her youth when, like all other children, she deserved to be supported and loved and protected, she was literally "abused, humiliated" and "forced" into being a literal "servant in her own house." she had no security- both of her parents were gone, she had no money to fall back on, no education, no means with which to leave the house, and to try to get a job in that world and environment- as unlikely as it would've been to obtain in the first place (which, again is so relatable- look at the staffing shortages and people struggling to find employment today)- would've been contingent upon references of some sort, and we all know that lady tremaine definitely would've either a) ran a smear campaign against cinderella to absolve herself and the family name of any personal fault or b) prevented cinderella from ever leaving in the first place so that no one would ever know that atrocities the tremaines forced her to endure from the time she was practically an infant.

she wakes up after barely being able to sleep, probably, due to all the daily chores she must, alone, accomplish to keep an entire estate afloat. everyone is depending on her, from the stepfamily to the mice to the grounds of her family's home itself. her body's practically aching from the lack of rest, the physical work she's forced to do every day, from sleeping on such an uncomfortable bed. the only place she feels remotely safe is in this drafty attic, which smells of fraying wood and aging artifacts and is in a constate state of decay, with weeds growing in the sides of the tower. that's not even mentioning the emotional turmoil, the ptsd, the grief, the neglect, the physical abuse she's also processing at any given moment

so, yeah, cinderella snaps. and there are times she snaps later on in the film but she always reels herself in and consciously makes the choice to never succumb to her circumstances. this is what makes cinderella extraordinary. she singlehandedly- and actively- ends the cycle of abuse through the behavior and choices she partakes in every single day.

and, again, this isn't something that's easy for someone who has been in survival mode for a majority of their life. but the conscious choices, active efforts, and mindful decisions cinderella makes is what frees the household from that cycle of abuse continuing. i mentioned earlier that the animals are supposed to be a parallel to their human counterparts. remember how we meet gus? he's just been caught in a trap, doesn't have anything to wear, and is literally recoiling in fear. due to his terror and his own need to defend himself out of instinct, he attempts to make himself come off as threatening as possible and is ready to pop off the minute that jaq approaches him:

but, through cinderella's influence, she's able to give him hope once more. she treats him warmly, pairs him up with a buddy to go through life with, comes up with a name- and even a nickname- for him, gives him a community, a safe haven, and clothes him. in that short time, look at the difference she's made in his mood, his demeanor, even his approach to life:

and it isn't just the mice cinderella's this way with. in the opening slides, we see cinderella holding an adorable puppy dog. but as the film progresses, and the narrator details the despair the family estate has fallen into, that puppy dog turns into an old, starved bloodhound who's secretly sleeping on the floor of the cold kitchen to keep from freezing to death. he has to keep even his dreams to himself so as to not be heard by the stepfamily and potentially kicked out. he openly hates lucifer but cinderella encourages him to think of lucifer's good points too, even if she can't think of any herself, to be able to continue successfully cohabiting this environment with him. and when he pounces on lucifer, deserved or not, she puts an end to this:

because cinderella knows what will ever happen if bruno allows himself to give into his impulses, to treat others as life has treated him, to attempt to retaliate in an impossible environment when the odds are already against you. you'll harm yourself the most and perpetuate that cycle.

but, just as bruno is a reflection of cinderella, notice how gleeful lucifer is in falsely incriminating bruno, so that another being who's never wronged him will be unjustly punished and suffer:

this is what separates cinderella from the tremaines. this is why she is the heroine and they will never be, despite how many people you see empathizing with how unfairly life must've treated them for being the "conventionally unattractive" characters in the film, or for having a single mother which to them denotes less resources, or for being awkward, or for whatever other reason of the month they're being rewritten to be the victims.

if we are the sum of our contributions, the tremaines are nothing and that is definitely a reflection of their reality. they only feel alive when they're making fun of cinderella or humiliating her by continuing that cycle of abuse they passively adhere to and never challenge. remember how we met cinderella and her friends, gathering their spirits and putting on a smile, despite how hard it is with the troubles that face them? how they look past that to work together and try to change life for the better?

the tremaines can't be bothered to get out of bed. the truly passive, lazy characters, they grog about in dim rooms, turning around in their fine silks and ornate finery, while a being they literally enslaved is being forced to do their bidding. and they refuse to actively participate in their very charmed and privileged life. they can't even find a reason to be happy- but instead are upset when cinderella enters their room. they want to know why she's taken so long, to hurry up, to continue to wait on them, hand and foot. when she asks them how they're doing, they grumble, "as if you care." because they don't care about anyone else, so why would others care about them? and that type of apathy breeds resentment, which- in the wake of such sedentary creatures- seeks manifestation and results in destruction. the stepsisters get out of their comfortable beds only when they have the opportunity to point their finger at cinderella, to get their mother to punish her. again, they feel alive by inflicting pain on others, it's literally what gets them out of bed:

again, as the parallel, this goes for lucifer, too:

as cinderella nears lady tremaine's bed, her stepmother's eyes blaze with fury, hatred plain on her face:

lady tremaine doesn't move, her hand only lifting to stroke lucifer, who has the biggest grin on his face. meanwhile, the desperation is evident in cinderella. she isn't quite defeated, because she does stick up for herself three times in the scene. but she's tired of this. she's tired of being tormented by her only family, of having the odds stacked against her even when she's doing everything in her power to live as peacefully and productively as possible, of being forced to fight a losing battle that will never result in peace but will only further prompt hatred, and division, and anger. in her expression, there's almost a plea for lady tremaine:

it isn't until she sees cinderella's expression, she hears cinderella try to explain what happened, that she livens up. because she has the opportunity to, again, keep that cycle of abuse alive, to actively try to destroy cinderella's quality of life and to profit off the position of power she's in over cinderella. look at the difference in lady tremaine's expression in the previous cap, and in this one, when she believes she's silenced cinderella and is preparing to tear into her:

one of the best instances through which i can further illustrate this ideology (you are what you contribute) is in a later scene, where we see the stepsisters discard their fine wares, labeling it trash and flinging the luxuries life's afforded them to scorn. it's nothing to them.

yet, to the mice and cinderella, it isn't nothing. because, remember, the royal proclamation declared that every eligible maiden should attend. at first, the stepmother refuses to let cinderella go and even the stepsisters brush her aside with classist comments. when cinderella sticks up for herself by reminding them she's still a member of the family, and by trapping them in the language of the royal decree "every eligible maiden," lady tremaine has no choice but to consent- on the grounds that cinderella is able to make herself eligible through producing a suitable dress. because, remember, cinderella isn't seen as a person. she's seen as subhuman, someone who's reduced to wearing tatters and isn't seen as a person in the eyes of their society unless she has social indicators of wealth via her clothing, in this specific instance. drizella and anastasia never have to think about that, because they exist as people of value in their society due to their good fortune that they had no part in creating. they don't know what it's like to be laughed at, to not be considered eligible or even a person in the eyes of society the way that cinderella's lived experience has reflected since her father died. meanwhile, the tremaines are so deep in their own privilege, that they're literally waving it around like it's a rag and carelessly tossing it away. yet, what does cinderella do, with much less?

cinderella makes do with what little she has, always to help someone else. and because of this active kindness, it changes the mindset of those around her. since she's afforded this to so many of the mice, what do they do for her in return?

what a difference in how cinderella and the stepfamily approaches what's, essentially, the same material? and this community that cinderella has established and continually maintained and influenced comes to each other's aid, time and time again. whether it's cinderella freeing the mice from death, or giving them clothing, or allowing bruno to sleep inside unbeknownst to the stepfamily, or the mice turning into a LITERAL army and battleground in cinderella's honor:

again, this community is just as active and vital as cinderella, herself, is. because those values i mentioned earlier, of helping one another and rising above your circumstances and working together, aren't just whimsical morals cinderella sings about. they're constant behaviors she's actively taking part in and impact the household they all share, to the point where when they help each other take action when the time is right. they're constantly conferring with one another on how to best use their community and the resources this offers to get closer to victory. (meanwhile, the stepfamily is only for themselves; anastasia and drizella literally repeatedly hit each other and compete, even to the point of giving conflicting stories to the grand duke that makes their pathetic attempt seem all the more discreditable at alleging they were the princess at the ball the night before) we see it in how cinderella and her friends accomplish their chores together, in how the mice plan to get her dress remade while she's busy, even in how cinderella's quick thinking leads to calling upon bruno, who must be awoken by the birds with an interjecting call from the horse, and how this leads to all of their escape:

because, this community also knows when it to fight and support one another in times of battle and when the goal will bring about a victory that will ultimately reign peace; they know when it's worth it for a shared goal and the benefit of all parties involved. and the difference cinderella brought into that household is what gave them all glory and helped them, not only survive, but succeed. it isn't just the poor scullery maid we see ascend in the closing chapter of the film. we see the same bluebirds who attempted to wake her up in the beginning of the film holding her wedding veil:

we see those same mice that she nursed from death, and clothed, and fed, and loved; the mice that risked their lives in remaking her deceased mother's dress so that cinderella might, too, have a chance to go to the ball; they're still here, cheering her on and throwing rice in blessing at the happy couple, their own clothing being upgraded to reflect that of the royal staff:

we see that starved bloodhound and the old horse leading the royal regiment, as beautiful and shining and proud as their majestic counterparts:

and this is the world that cinderella, as a character, offers. not a world in which multiple parties are at competition with one another over who's the prettiest, or the wealthiest, or where hatred breeds continual hatred. but she presents us a world in which everyone deserves to be seen, heard and valued; where everyone can find a community they can contribute to and have purpose in and be worthy of experiencing love, whatever you determine love to be whether it's romantic or in the form of a found family.

a world in which everyone can go to the ball:

[poitcast]

Moments from "Once Upon a Studio" that I adored

Mickey kindly offered Oswald to take first place in the group photo, telling him "After you!". Oswald happily thanked him by tipping his head to him.

That entire ending was perfect. I love how the "When You Wish Upon a Star" number began with Alan-a-Dale strumming his lute on top of the building, and then Scat Cat, Mirabel, and Junior join in before the singing begins. The build-up to Jiminy Cricket was great.

Belle and Beast singing together! In the original film, they had separate verses in "Something There" so it was nice that they shared a small duet. Paige O'Hara and Robby Benson did a great job!

Quasimodo singing! I'm glad to hear Tom Hulce in the role of Quasi again. James Baxter did a terrific job animating him once again.

Scuttle interrupts Ariel's verse only for Baloo to shut him up and share a sweet bonding moment with Mowgli.

There's something incredibly poetic about Snow White holding hands with Mulan and Asha as they sing together. Disney Studios owes a lot of its success to its princess characters, and it was cool to see three generations of female protagonists (the original, the Renaissance era in the 1990s, and the most recent era).

Winnie the Pooh's presence in general. I love how Christopher Robin and the others have to help him out of the picture frame, recreating the rabbit hole scene. Also, Pooh singing "Fate steps in, and sees you through" at the end and Tigger pouncing on him really got to me.

Cinderella and Prince Charming going down the stairs and Charming loses his shoe. The role reversal was cute enough, but after snatches the shoe, they go into silly mode with Prince Charming shouting "Eric, get your dog!" and Cinderella enabling the situation by saying "Go, Max, go!" It's incredibly endearing to see Prince Charming have a sense of humor and Cinderella happily going along with the shenanigans.

Antonio with the other animal characters and telling Joanna not to eat Jacques and Gus. Pluto coming in to save the mice was nice too.

Incorporating the archival audio from Robin Williams's recording as Genie.

The fifteen puppies watching the "Night on Bald Mountain" segment from Fantasia and Chernabog pops out of the screen. I also noted the various "Art of" books of their feature films on the cabinet surrounding the television.

Hearing Nathan Lane as Timon again and calling Olaf "Frosty".

Robin Hood and Little John snatching Scrooge McDuck's money bags and reveling in their victory. Oo-de-lolly!

The Wreck-It Ralph cameos! Vanellope on her race car, Ralph calling Mickey "Garfield" and Fix-It Felix fixing Goofy's camera. All in character and perfect.

Mickey's gang having their time in the spotlight. Donald trying to go down a crowded elevator, Goofy working as the photographer (may or may not be a subtle nod to his occupation in A Goofy Movie), and even Clarabelle has a moment.

It was nice seeing some representation for their shorts (Ben and Me, Johnny Appleseed) and their overlooked films (The Black Cauldron, Home on the Range, Chicken Little, and Dinosaur). Even if they didn't have any dialogue, their presence alone certainly counts.

Highlighting the artists that contributed to the studio. Burny Mattinson's cameo at the beginning was nice, and though Walt Disney himself was very much a complicated person (staunchly anti-union being one of them), the moment of Mickey staring at his portrait was genuine enough (Mickey says a simple "thanks" before he joins the rest of the characters). The framed photographs of various artists throughout the halls was also nice (I'm sure the actual building has those framed pictures of their former employees). I would have been a lot more critical of the short if many of the presence of the other artists weren't felt in the studio.

Overall, it was a great short! It was a beautiful love letter to the animation studio and its characters. I'm glad that they didn't incorporate any Pixar stuff and even flaunt their acquired assets (Star Wars, Marvel, etc.). It was just about celebrating their original animated works and the large catalog of characters. The animation was also fantastic and it was cool seeing the 2-D characters interact with the CG characters in a way that felt natural. I greatly appreciate the effort and love that was put into the short.

[valkyriexo]

My Favorite Princess | Hyunjin

ᑉ³pairing; Husband! Dad! Hyunjin x Reader

ᑉ³genre; Fluff

ᑉ³warnings; none

ᑉ³Authors Note; Hope you all enjoy :)

As you prepare for your daughter, Areum's Cinderella-themed birthday party, the air is alive with anticipation. Your little princess has been dreaming of this day for weeks, and you're determined to make it a fairytale come true.

With Hyunjin by your side, you dive into the task of transforming your home and backyard into a magical kingdom straight out of a storybook. The party decor team bustles around, hanging shimmering streamers in shades of blue and silver, while fairy lights twinkle like stars in the night sky.

"Let's place the Cinderella carriage centerpiece right in the center of the table," you suggest, pointing to the elegant coach adorned with sparkling crystals. "And we can scatter glass slipper confetti around it for an extra touch of magic."

As you direct the placement of each decoration, you can't help but feel a surge of joy at the thought of your daughter's delight. This party is more than just a celebration—it's a chance to make her dreams come true.

"Mommy, Daddy, look at this!" your daughter exclaims, twirling in her blue tulle dress as she examines the decorations. She is dressed in a custom-made Cinderella gown. As for you and Hyunjin, you've opted for a more casual approach to your attire, both donning outfits in shades of blue to match the party's color scheme.

"It's like I'm really in Cinderella's castle!" she continues.

You smile at her enthusiasm, feeling a warmth spread through your heart. "It's all for you, sweetheart." 

Hyunjin crouches down to his daughter's level, his eyes sparkling with affection as he takes in her excitement. "You look absolutely beautiful, just like Cinderella herself," he says, his voice filled with warmth.

She giggles, twirling once more, the skirt billowing around her like a cloud of magic. "Thank you, Daddy!" she chirps, reaching out to take his hand. In her other hand, she clutches Jiniret, dressed like one of the mice from Cinderella. "I'm so happy!"

Your heart swells with love as you watch the tender moment between father and daughter. Despite the stress of last-minute preparations, seeing the joy on their faces makes it all worth it.

Hyunjin takes her hand gently, his touch reassuring as he leads her out towards the backyard. The sun casts a golden glow over the meticulously decorated space, where shimmering streamers in shades of blue and silver dance in the gentle breeze. A canopy draped with twinkling fairy lights adds a touch of enchantment to the scene, creating an atmosphere fit for a princess's celebration.

Meanwhile, you continue to oversee the placement of decorations, your attention focused on every intricate detail. Each corner of the backyard and house is adorned with magical touches. Banners depicting scenes from Cinderella's story flutter gently in the wind, adding to the whimsical ambiance.

As the party guests begin to arrive, your home fills with laughter and excitement. The air is filled with the aroma of freshly baked treats, from cupcakes adorned with edible glass slippers to sandwiches cut into pumpkin shapes. Tables are adorned with bowls of fruit arranged artfully to resemble a majestic castle.

Areum eagerly greets each newcomer with a radiant smile, her eyes scanning the crowd in anticipation, hoping to catch a glimpse of the "real-life Cinderella." She can hardly contain her joy as she awaits the arrival of the enchanting princess she's been dreaming of meeting.

"Daddy, Mommy, when is Cinderella coming?" she asks, her eyes sparkling with anticipation.

Hyunjin chuckles warmly, ruffling her hair affectionately. "She'll be here soon, sweetheart," he assures her.

Your phone suddenly buzzes with an incoming call. With a furrowed brow, you step away to answer the incoming call. You were eagerly awaiting the delivery of the cake, and were hoping it wasn't a last-minute hiccup.

"Be back soon," you murmur, offering a reassuring smile before stepping away. "Hello?" you answer.

On the other end of the line, you hear a hurried voice speaking, delivering the news you had feared. "I'm sorry to inform you that the princess performer has fallen ill and won't be able to make it to the party," the voice says, its tone apologetic.

Anxiety begins to creep up within you as you hang up the phone, your mind swirling with worry. How will you possibly break this devastating news to your daughter? And more pressing still, how will you salvage her dream birthday party now?

In the background, curiosity sparkles in your daughter's eyes as she turns to Hyunjin. "Daddy, what do you think Cinderella's like?" she asks, her voice filled with wonder.

Hyunjin grins down at her, his eyes twinkling with amusement. "Well, I think she's probably very kind and brave, just like you," he replies, his voice soft and reassuring.

Your daughter beams at the comparison, her heart swelling with pride. "Do you think she has a prince, like in the story?" she asks, her excitement growing with each word.

Hyunjin's smile widens as he considers her question. "I think so," he says with a playful wink. "But let me ask you something, my little princess. What do you like the most about Cinderella?"

Your daughter's brow furrows in thought as she considers his question.

As she nods enthusiastically, she reaches out to squeeze Hyunjin's hand. "I love that Cinderella's prince always finds a way to be there for her when she needs him the most."

Hyunjin chuckles at her observation, his eyes shining with affection. "Ah, so you're a fan of the prince, then?" he teases, a playful grin tugging at his lips.

"He's like a hero," she declares, her eyes shining with admiration.

As your daughter's excitement fills the air, your thoughts race, scrambling for a solution to the sudden dilemma. It's already an hour into the party, and with the festivities in full swing, so finding a replacement princess performer seems virtually impossible.

Hyunjin's laughter breaks through your frantic thoughts, drawing your attention back to the present moment. His gaze flickers briefly to you, sensing something amiss. A subtle shift in your demeanor doesn't escape his notice, and a furrow creases his brow as he registers your troubled expression.

"Mommy, are you okay?" your daughter asks, her concern mirroring Hyunjin's.

You force a smile, attempting to reassure her. "I'm fine, sweetie," you say, your voice catching slightly. "Just... thinking about somethin-"

But before you can even finish the sentence, he's already spinning a new tale. "Oh my goodness, look who's here! Your best friend Ha-ri just arrived!" he exclaims, his voice filled with excitement.

"Really?" your daughter gasps, her eyes widening with anticipation.

Without another word, she darts off towards the entrance, her Cinderella gown billowing behind her as she races to see her friend.

As your daughter bounds off to greet the guests, Hyunjin's playful demeanor fades, replaced by genuine concern. He stands beside you, his hand gently squeezing yours as he senses your distress.

"Is everything alright?" he asks softly, his eyes searching yours for any hint of what has occured.

You take a deep breath, trying to steady your nerves. "The princess performer... she's unable to make it," you explain, your voice tinged with disappointment. "I don't know how to tell our daughter."

Panic continues to bubble within you, your mind racing with thoughts of your daughter's shattered expectations. She had been so excited for Cinderella to be there, and now you're at a loss for how to break the news to her.

"She's going to be devastated," you murmur, your voice catching with emotion. "All she wanted was Cinderella... she didn't even ask for presents."

Hyunjin's expression softens as he listens to your words, his heart aching for both you and Areum. He wraps his arm around you, pulling you close in a comforting embrace.

"I don't know what to do, Hyunjin," you admit, your voice trembling with worry. "How do we make this up to her?"

Hyunjin's arms tighten around you, his touch a comforting anchor in the storm of your emotions. "Shh, love, we'll figure it out," he murmurs, his voice gentle and soothing. "We'll make her birthday unforgettable, even without Cinderella."

Your words hang heavy in the air, the weight of disappointment pressing down on both of you. "But we'll never live it down if it doesn't happen," you whisper, tears threatening to spill from your eyes.

Hyunjin's touch is tender as he brushes away a stray tear. "Don't worry about that," he says softly, his voice filled with determination. "You worry about greeting the guests and looking pretty. I'll take care of it, okay?"

His words wrap around you like a warm blanket, offering a glimmer of hope in the darkness of your despair. With a shaky nod, you lean into his embrace, finding solace in the strength of his arms.

"Okay," you whisper, your voice barely above a breath. "Okay."

As Hyunjin presses a gentle kiss to your forehead, you feel a sense of calm wash over you. With a shaky exhale, you reluctantly release yourself from his embrace, returning your focus to the tasks at hand.

As you make your way to the backyard to check on the guests, Hyunjin disappears into the depths of the house, determined to salvage the birthday celebration. Amidst the hustle and bustle of serving guests and attending to last-minute details, you lose track of time.

An hour passes in a blur, and as you glance around , you realize that Hyunjin is still nowhere to be found. A sense of worry hits you.

Where could he be?

Before you can dwell on your concerns any further, your daughter's voice interrupts your thoughts. She stands before you, eyes wide with anticipation, hope evident in her voice.

"Mommy, is the princess coming soon?" she asks eagerly.

You search for the right words to soothe her, but the truth catches in your throat.

"I... I'm not sure, sweetheart," you reply, your voice faltering. "But let's focus on enjoying the party, okay?"

As your daughter's questions become more persistent and her restlessness grows, you feel the weight of your uncertainty bearing down on you. Each inquiry chips away at you, until you're on the brink of revealing the truth to her.

But just as you open your mouth to speak, the sound of hoofbeats and the creak of carriage wheels cut through the air, stopping you in your tracks. 

Your daughter's eyes widen in wonder as she turns to you, a spark of hope dancing in her gaze. "Mommy, do you hear that?" she asks, her voice tinged with excitement.

Before you can respond, the source of the sound emerges from around the bend, and there, coming into view, is a magnificent horse-drawn carriage led by a majestic steed.

Your heart skips a beat as you recognize the unmistakable look of a horse-drawn carriage. At the reins is Minho, dressed in regal attire from head to toe. And in the carriage, dressed in shimmering all-white attire, is Hyunjin, a dazzling smile gracing his features.

As the carriage comes to a stop before you, your daughter's face lights up with sheer delight. "I get to have my own carriage!" she exclaims, her voice filled with joy.

Hyunjin chuckles warmly, stepping down from the carriage and sweeping your daughter into his arms. "Of course, my dear," he says, his tone tender. "Why bring Cinderella when you are already a princess? My favorite princess, at that."

Your daughter beams at the compliment, her cheeks flushing with happiness. "And every princess needs her prince, right?" she says, her eyes shining with adoration.

But the surprises don't end there. Coming out of the the carriage is Chan, dressed in an elaborate costume that can only be described as the Fairy Godmother.

Chan, with an exasperated sigh, straightens his posture and adopts a stern expression. He clears his throat.

"Hello, I am Chanita, your Fairy Godmother," he announces in a deadpan tone, clearly not thrilled about his role. You watch as Minho snickers in amusement.

But before he can continue, Hyunjin elbows him so hard that Chan's tone changes abruptly, now filled with excitement. "And I'm here to grant all your birthday wishes!" he exclaims, his voice filled with enthusiasm.

As Chan waves his wand theatrically, a burst of glitter fills the air, and your daughter's laughter fills the space around you. "Fairy Godmother!" she cries with glee, running towards Chan.

Your daughter giggles with delight as Chan scoops her up in his arms, placing her gently inside the carriage. She squeals with excitement as he lifts her, her laughter echoing through the air as she settles into the plush seat.

Meanwhile, Hyunjin descends from the carriage and comes to your side, a grin playing on his lips.

"How did this happen?" you ask incredulously, shaking your head in disbelief.

Hyunjin chuckles, a mischievous twinkle in his eyes. "I may have called in a few favors," he admits, his tone teasing. "You know, just to make our little princess's birthday extra special."

You raise an eyebrow, unable to resist pressing for more details. "And how on earth did you convince Chan to be the Fairy Godmother?" you inquire, still trying to wrap your head around the unexpected turn of events.

A grin spreads across Hyunjin's face as he leans in to whisper in your ear. "Well, let's just say Changbin wasn't available, and Chan and Minho both lost a bet and owed me a favor," he confesses, his voice laced with amusement.

As your daughter's joyful laughter fills the air, she calls out to Hyunjin, her voice echoing with excitement. "Daddy, come ride with me!" she exclaims, her eyes alight with anticipation.

Hyunjin's eyes sparkle with amusement as he glances at you, a silent question in his gaze. With a nod and a smile, you encourage him to indulge your daughter's request.

As Hyunjin climbs into the carriage, he keeps his gaze fixed on you, his eyes filled with so much love it's palpable. A smile blooms on your lips, and the warmth in your eyes doesn't go unnoticed by your daughter.

"You really love mommy, don't you?" she observes, her voice filled with curiosity.

Hyunjin's smile widens as he turns his attention to his daughter, his heart overflowing with affection. "Yes, sweetheart," he confirms, his voice tender. "Your mommy is my favorite princess."

Your daughter's eyes light up with understanding, and she snuggles closer to him, her small hand finding his. "That's why you're always going to be my favorite prince."

"Why?" Hyunjin asks, his gaze softening with affection as he looks at his daughter, waiting for her answer.

"Because you love mommy more than anyone else," she continues, her gaze unwavering. "And I want to be just like you, loving someone so much it makes magic happen."

Hyunjin's heart swells with pride as he listens to his daughter's heartfelt words. "That's right," he murmurs, his voice filled with tenderness. "Your mommy is the most special person in the world to me."

He intertwines his fingers with hers, holding her hand gently as he speaks. "And you, my dear, are the most precious princess," he continues, his eyes shimmering with love.

With a shared smile, they set off on their enchanting carriage ride, the gentle clip-clop of the horse's hooves accompanying their journey.

As the wind tousles their hair and the golden sunlight bathes them in its warm glow, Hyunjin leans in to whisper in her ear. "Happy birthday my sweet girl," he says softly, his voice carrying the weight of a thousand promises. "I love you."

*·˚ᑉ³ M.LIST | Ko-Fi | Taglist | Thank you for your support | Consider leaving a comment, reblog or like | © 2024 Valkyriexo  licensed under CC BY-NC-ND 4.0 

[allaglow]

So much of Cinderella’s story is colored by community. Even outside of the film, Ilene Woods only got the part because she did a favor for a friend. Just as Cinderella always does favors for the mice, which led to their unwavering loyalty to her. I have to remember to make that a core focal point of my portrayal of Cinderella. It’s about communities helping communities.

[susiephone]

Dungeons & Disney Princesses - Cinderella

“Okay, so my character made her deal with the Fairy Godmother a couple years ago, but instead of magic powers, literally the first thing she asked for was to be able to talk to the mice that lived under her bed. So that’s why she’s still level one and carries a bunch of live rodents around in her bag.” “Excellent. Incredible. No notes.”

inspo from @heroeddiemunson

[rubywolf0201]

Whenever I think about the scene where Matakara is running away from the mysterious shadow (Ichiya) and is viably traumatized by it, I’m constantly reminded of that dress scene in Disney’s Cinderella and how both situations are animated beautifully in a realistic manner where you feel for the character running away (albeit differently).

Only thing that I can find similarity is how both characters feel a sense of hopelessness in their respective scenes (Matakara being truly alone with the possibility of his brother leaving him and Arajin outing the truth about himself and Cinderella witnessing the dress that her mice friends made for her be torn and ripped apart and cried at her freedom being taken away)

[artist-issues]

I’d like to say something about how well animals are used in Disney’s Cinderella 2015.

Reminder: the point of the movie is “Have courage and be kind and your dreams will come true.”

Cinderella and Kit both believe this principle and both act on this principle, through thick and thin and the hardest of circumstances. So the way they live their lives and the decisions they make in the story all make that “kindness and courage” point perfectly.

The whole movie treats kindness and courage like a superpower. It’s this beautiful cause and effect, repeated over and over.

Because Ella is kind, she gets to go to the ball. And that’s the big one. So I think sometimes we overlook other areas where she’s repeatedly kind. Like with the animals. I shall explain.

In the opening of the movie, the Narrator compares Ella to a princess watching over a kingdom. Who’s the kingdom? Her animal friends, and the house they’ve lived in with their people for generations.

But specifically, the animals. Little Ella picks up, not kittens or puppies, but mice. (She’s kind to all animals, but the lowest, like mice and lizards, are the ones she most often comes into contact with and helps. And then they, the humblest of creatures, get “a night at the ball” where they’re transformed.)

And her mom specifically says that their job is to “look after” the animals. Throughout the whole movie, Ella never scolds her wicked stepsisters. She never reprimands them or snaps back. But she does reprimand who?

Lucifer, the cat. The mouse family (especially Gus.) She’s not just kind to them. She mothers them. She takes care of them. Like they’re the subjects in her kingdom. They all have to get along, on her watch. They all have to get enough to eat. They all have to stay safe and happy.

When she has nothing, she’s taking care of them. So, when, at the end of the movie, she calls the Prince “My Kit,” and he calls her “My Queen,” they’re both acknowledging the other person’s true self. Kit is a King in Training, not just THE PRINCE—but Ella is a Queen, not just CINDERELLA. And how do we know she’ll make a good Queen? Because we’ve seen how well she takes care of the lowest, humblest creatures.

And she’s rewarded for taking care of others. She’s rewarded for self-sacrifice and kindness. Obviously, the mice help her when she’s locked in the attic, and they pull her carriage as horses.

But that’s not the only example of her kindness to animals leading to dreams coming true. After all, when she meets the Prince, it’s not just because she’s running from how cruel her stepsisters are. The horse doesn’t spook for no reason—it spooks because a Stag startled it.

What Stag, you ask?

The Stag that Ella saved from the hunting party. She’s never met it before, and it had it’s horns lowered to her, right in the middle of interrupting her one—of only two—moments of despair. But she responds by warning it and telling it to run—her own troubles forgotten in a second, acting out of kindness.

Then her horse spooks. And then the courageous Prince notices, abandons the propriety of the Hunt, and meets/falls in love with her.

See? Cause and effect. She only meets the Prince after her kindness to one animal directly leads her to being noticed by him.

In fact, the whole conversation they fall in love over is about how he should be kind to the stag, and have the courage to do what’s right rather than just “what’s done.”

So anyway. In conclusion. This movie’s a masterpiece. And it uses animals as 1) an object lesson of how the humblest of creatures are worth caring for, and 2) how kindness and courage to those who have the least chance of rewarding you will be rewarded. Whether they’re wicked stepsisters incapable of love, or mice and geese incapable of speech.