#Giselle the Christmas Ballet Fairy

[laciedollblog]

Merry Christmas and happy Hanukkah, Faeries!

[nachoaveragejoe234]

Barbie movies settings (including mentioned places that aren't the setting of the movie)

Nutcracker and Swan Lake - Russia. Based on Russian ballets, Tchaikovsky can be seen in a picture in Clara's house, Ivan has a Russian name and accent

Rapunzel - Germany

12 Dancing Princesses - Germany. Based on a Brothers Grimm story

Princess and the Pauper - England. Based on The Prince and the Pauper, which was set in England

Magic of Pegasus - Netherlands during winter. Annika is a Dutch name and several characters, including her, wear vaguely Dutch clothing. Other places that have been theorized are Scandinavia and Russia.

Fairytopia trilogy - Portugal. Elina mentions knowing Mariposa, who's from Spain, and is "cut off from Flutterfield".

Barbie Diaries - Malibu, California

Island Princess - Italy. Names such as Rosella, Antonio, Luciana, and Ariana already tell us a lot, but the sunny weather, the characters all having tans, and some of the architecture also indicate this.

Christmas Carol - London, England

Three Musketeers - Paris, France

Diamond Castle - Europe, likely Germany/France, and/or Greece. Liana and Alexa wear stereotypically European dresses, the house looks like a traditional French cottage, but the Muses wear togas and the Diamond Castle itself looks vaguely Greek temple-ish on the inside.

Thumbelina - United States. Updated the setting and time period to the 2000s, clearly not in Denmark.

Fashion Fairytale - Paris, France

Mermaid Tale - Malibu, California

Mariposa - Spain. Also because of the accents.

Mermaid Tale 2 - Australia (the Ambassadors are however coded as Korean, African, Brazilian, and Russian), maybe New Zealand (Aquellia is implied to be near it)

Fairy Secret - Malibu, California (Gloss Angeles is another dimension)

Princess Charm School - Europe. No indication as to where "Gardania" is. However, most speaking Charm School students are from other places (Hadley is from South America, Isla is from Japan, Portia is from Scotland, and Josette is from Africa)

Princess and the Popstar - Monaco. Meribella looks like Monaco, with it's small status and how rich it is. Also Amelia mentions her grandma knowing the King of Spain.

Mariposa and the Fairy Princess - Malta. Shimmervale is "across Fairytopia", and the British accents of many people, as well as several dark haired background fairies, some with light skin, some with dark skin, a common feature of Maltese people.

Pink Shoes - United States, France, Russia (The ballet world uses Giselle, a French ballet, and Swan Lake)

Pony Tale - Switzerland

Pearl Princess - Denmark. A mermid story with some similarities to The Little Mermaid.

Secret Door - Europe (Zinnia is another dimension)

Princess Power - Europe or an alternate reality America, or somehwere in the near distant future

Starlight Adventure - Space, in the future

Great Puppy Adventure - Willows, Wisconsin

Puppy Chase - Hawaii

Rock N Royals - Europe (with campers from other European places: Sloane from Scotland, maybe her two friends are American as they resemble Dua Lipa and Halle Bailey vaguely, Aubray from Ireland, Genevieve from England, Svetlana Petranova from Russia)

Spy Squad - Los Angeles, California

Video Game Hero - United States, "Japan". Her video game is heavily Japanese inspired, with animesque characters and Nintendoesque visuals.

Dolphin Magic - Malibu, California

Princess Adventure - Europe

Lost Birthday - United States

Big City Big Dreams - New York

Mermaid Power - Malibu, California

[rainbowmagicfairyfight]

Rainbow Magic Fairy Fight

Round 1

Round 1: Abigail the Breeze Fairy, Addison the April Fool's Day Fairy, Adele the Singing Coach Fairy, Aisha the Astronaut Fairy, Aisha the Princess and the Pea Fairy, Alexa the Fashion Reporter Fairy, Alexandra the Royal Baby Fairy, Alice the Tennis Fairy, Alison the Art Fairy, Ally the Dolphin Fairy (August 16)

Round 2: Alyssa the Snow Queen Fairy, Amber the Orange Fairy, Amelia the Singing Fairy, Amelie the Seal Fairy, Amy the Amethyst Fairy, Angelica the Angel Fairy, Anna the Arctic Fox Fairy, Annabelle the Drawing Fairy, Annie the Detective Fairy, Anya the Cuddly Creatures Fairy (August 17)

Round 3: Aria the Synchro Fairy, Ariana the Firefighter Fairy, Ashley the Dragon Fairy, Autumn the Falling Leaves Fairy, Ava the Sunset Fairy, Bea the Buddha Day Fairy, Becky the Best Friend Fairy, Bella the Bunny Fairy, Belle the Birthday Fairy, Bethany the Ballet Fairy (August 18)

Round 4: Billie the Baby Goat Fairy, Blossom the Flower Girl Fairy, Bobbi the Bouncy Castle Fairy, Bonnie the Bike-Riding Fairy, Brianna the Bee Fairy, Brooke the Photographer Fairy, Caitlin the Ice Bear Fairy, Callie the Climbing Fairy, Camilla the Christmas Present Fairy, Cara the Camp Fairy (August 19)

Round 5: Cara the Coding Fairy, Carly the Schoolfriend Fairy, Carmen the Cheerleading Fairy, Carrie the Snow Cap Fairy, Catherine the Fashion Princess Fairy, Charles the Coronation Fairy, Charlie the Sunflower Fairy, Charlotte the Baby Princess Fairy, Chelsea the Chimpanzee Fairy, Chelsea the Congratulations Fairy (August 20)

Round 6: Cherry the Cake Fairy, Cheryl the Christmas Tree Fairy, Chloe the Topaz Fairy, Chrissie the Wish Fairy, Clare the Caring Fairy, Claudia the Accessories Fairy, Coco the Cupcake Fairy, Coral the Reef Fairy, Courtney the Clownfish Fairy, Crystal the Snow Fairy (August 21)

Round 7: Daisy the Festival Fairy, Danielle the Daisy Fairy, Danni the Drum Fairy, Darcey the Dance Diva Fairy, Debbie the Duckling Fairy, Deena the Diwali Fairy, Demi the Dressing-Up Fairy, Destiny the Pop Star Fairy, Edie the Garden Fairy, Eleanor the Snow White Fairy (August 22)

Round 8: Elisa the Adventure Fairy, Elisha the Eid Fairy, Elizabeth the Jubilee Fairy, Ella the Rose Fairy, Elle the Thumbelina Fairy, Ellen the Explorer Fairy, Ellie the Guitar Fairy, Elodie the Lamb Fairy, Elsa the Mistletoe Fairy, Elsie the Engineer Fairy (August 23)

Round 9: Emily the Emerald Fairy, Emma the Easter Fairy, Erin the Firebird Fairy, Esme the Ice Cream Fairy, Esther the Kindness Fairy, Etta the Elephant Fairy, Eva the Enchanted Ball Fairy, Evelyn the Mermicorn Fairy, Evie the Mist Fairy, Faith the Cinderella Fairy (August 24)

Round 10: Fatima the Face-Painting Fairy, Felicia the Fidget Toy Fairy, Fern the Green Fairy, Fiona the Flute Fairy, Fizz the Fireworks Fairy, Flora the Fancy Dress Fairy, Florence the Friendship Fairy, Frances the Royal Family Fairy, Francesca the Football Fairy, Frankie the Make-up Fairy (August 25)

Round 11: Frenchie the Bulldog Fairy, Freya the Friday Fairy, Gabby the Bubble Gum Fairy, Gemma the Gymnastics Fairy, Georgia the Guinea Pig Fairy, Giselle the Christmas Ballet Fairy, Goldie the Sunshine Fairy, Grace the Glitter Fairy, Greta the Earth Fairy, Gwen the Beauty and the Beast Fairy (August 26)

Round 12: Hana the Hanukkah Fairy, Hannah the Happy Ever After Fairy, Harper the Confidence Fairy, Harriet the Hamster Fairy, Hayley the Rain Fairy, Heather the Violet Fairy, Heidi the Vet Fairy, Helen the Sailing Fairy, Helena the Horseriding Fairy, Holly the Christmas Fairy (August 27)

Round 13: Honey the Sweet Fairy, Hope the Welcome Fairy, Imogen the Ice Dance Fairy, India the Moonstone Fairy, Isabella the Air Fairy, Isla the Ice Star Fairy, Ivy the Worry Fairy, Izzy the Indigo fairy, Jacinda the Peace Fairy, Jade the Disco Fairy (August 28)

Round 14: Jae the Boy Band Fairy, Jasmine the Present Fairy, Jayda the Snowboarding Fairy, Jessica the Jazz Fairy, Jessie the Lyrics Fairy, Josie the Jewellery-Making Fairy, Jude the Librarian Fairy, Julia the Sleeping Beauty Fairy, Juliet the Valentine Fairy, Kat the Jungle Fairy (August 29)

Round 15: Kate the Royal Wedding Fairy, Kathryn the PE Fairy, Katie the Kitten Fairy, Kayla the Pottery Fairy, Keiko the Diving Fairy, Keira the Film Star Fairy, Kimberley the Koala Fairy, Kimi the Bubble Tea Fairy, Kitty the Tiger Fairy, Konnie the Christmas Cracker Fairy (August 30)

Round 16: Kylie the Carnival Fairy, Lacey the Little Mermaid Fairy, Lara the Black Cat Fairy, Lauren the Puppy Fairy, Layla the Candyfloss Fairy, Layne the Surfing Fairy, Leah the Theatre Fairy, Leahann the Birthday Present Fairy, Leona the Unicorn Fairy, Lexi the Firefly Fairy (August 31)

Round 17: Li the Labrador Fairy, Libby the Story-Writing Fairy, Lila and Myla the Twins Fairies, Lily the Rainforest Fairy, Lindsay the Luck Fairy, Lisa the Jelly Bean Fairy, Lizzie the Sweet Treats Fairy, Lois the Balloon Fairy, Lola the Fashion Show Fairy, Lottie the Lollipop Fairy (September 1)

Round 18: Louise the Lily Fairy, Lucy the Diamond Fairy, Lulu the Lifeguard Fairy, Luna the Loom Band Fairy, Lydia the Reading Fairy, Maddie the Playtime Fairy, Madeleine the Cookie Fairy, Madison the Magic Show Fairy, Maisie the Moonbeam Fairy, Mara the Meerkat Fairy (September 2)

Round 19: Mariana the Goldilocks Fairy, Marissa the Science Fairy, Martha the Doctor Fairy, Mary the Sharing Fairy, Maryam the Nurse Fairy, Maya the Harp Fairy, Megan the Monday Fairy, Meghan the Wedding Sparkle Fairy, Melissa the Sports Fairy, Melodie the Music Fairy (September 3)

Round 20: Mia the Bridesmaid Fairy, Michelle the Winter Wonderland Fairy, Miley the Stylist Fairy, Milly the River Fairy, Mimi the Laughter Fairy, Molly the Goldfish Fairy, Monica the Marshmallow Fairy, Morgan the Midnight Fairy, Naomi the Netball Fairy, Natalie the Christmas Stocking Fairy (September 4)

Round 21: Niamh the Invitation Fairy, Nicki the Holiday Camp Fairy, Nina the Birthday Cake Fairy, Nur the Vlogger Fairy, Olivia the Orchid Fairy, Orla the Inventor Fairy, Padma the Pirate Fairy, Paige the Pantomime Fairy, Paloma the Dodgems Fairy, Pandora the Poodle Fairy (September 5)

Round 22: Paula the Pumpkin Fairy, Pearl the Cloud Fairy, Penelope the Foal Fairy, Penny the Pony Fairy, Perrie the Paramedic Fairy, Phoebe the Fashion Fairy, Pia the Penguin Fairy, Pippa the Poppy Fairy, Polly the Party Fun Fairy, Poppy the Piano Fairy (September 6)

Round 23: Priya the Polar Bear Fairy, Rae the Rollercoaster Fairy, Rebecca the Rock 'n' Roll Fairy, Rihanna the Seahorse Fairy, Riley the Skateboarding Fairy, Rita the Frog Princess Fairy, Rita the Rollerskating Fairy, Robyn the Christmas Party Fairy, Rochelle the Star Spotter Fairy, Rosalie the Rapunzel Fairy (September 7)

Round 24: Rosie the Honey Bear Fairy, Roxie the Baking Fairy, Ruby the Red Fairy, Ruth the Red Riding Hood Fairy, Sabrina the Sweet Dreams Fairy, Sadie the Saxophone Fairy, Samantha the Swimming Fairy, Samira the Superhero Fairy, Sara the Party Games Fairy, Sarah the Sunday Fairy (September 8)

Round 25: Sasha the Slime Fairy, Saskia the Salsa Fairy, Savannah the Zebra Fairy, Scarlett the Garnet Fairy, Selena the Sleepover Fairy, Selma the Snow Leopard Fairy, Seren the Sausage Dog Fairy, Shannon the Ocean Fairy, Shelley the Sherbet Fairy, Sianne the Butterfly Fairy (September 9)

Round 26: Sienna the Saturday Fairy, Sky the Blue Fairy, Skyler the Fireworks Fairy, Sophia the Snow Swan Fairy, Sophie the Sapphire Fairy, Soraya the Skiing Fairy, Stella the Star Fairy, Storm the Lightning Fairy, Summer the Holiday Fairy, Sunny the Yellow Fairy (September 10)

Round 27: Susie the Sister Fairy, Tallulah the Tuesday Fairy, Tamara the Tooth Fairy, Taylor the Talent Show Fairy, Teri the Trampolining Fairy, Thea the Thursday Fairy, Tia the Tulip Fairy, Tiana the Toy Fairy, Tilly the Teacher Fairy, Trixie the Halloween Fairy (September 11)

Round 28: Tyra the Dress Designer Fairy, Una the Concert Fairy, Vanessa the Dance Steps Fairy, Victoria the Violin Fairy, Violet the Painting Fairy, Whitney the Whale Fairy, Willow the Wednesday Fairy, Yasmeen the Canoeing Fairy, Yasmin the Night Owl Fairy, Zadie the Sewing Fairy (September 12)

Round 29: Zainab the Squishy Toy Fairy, Zara the Starlight Fairy, Zoe the Skating Fairy (September 13)

[squirrelno2]

@greenestcoat I mean this very genuinely you are my hero and also the fact that you asked about dance makes me so happy

I got into dance when my mom and grandma took me to see the Nutcracker at age three (a very classic story honestly) - I don't remember anything about the show itself but I remember standing in the lobby getting a Clara Christmas ornament from the gift shop and proclaiming I was going to be Clara someday

(I still haven't been Clara but I was the sugar plum fairy in my senior year of high school, which is also a partial answer to the question of my favorite performances)

I don't know if I have a favorite style? Ballet was my first love and getting on pointe is one of my proudest achievements, but jazz and contemporary were both hugely important to me growing up just in how I learned to be a person (long story but I had a good teacher and the styles really emphasize a kind of freedom to make mistakes that was really healthy for my very messed up childhood brain)

Honestly I'm always chasing any dance forms from the African diaspora, it's kind of a special interest of mine - I've done a variety of actually African dances, as well as jazz and tap and hip-hop (I love it and I'm bad at it oh my god never ask me to show you my hip-hop skills) and Afro-Brazilian and probably some others given what I got up to in college was mostly "take every style you can" - the history of these dance styles and the places where they share similarities is super fascinating to me and underappreciated in the dance world at large even though the Africanist aesthetic is present in every American dance form as well as forms around the world

(I spent one year learning about this stuff and now I don't shut up about it - anyway Brenda Dixon Gottschild is The author to read for info on that, I can't really do it justice at this stage in my education) (also gonna say everyone who's interested in the intersection of dance and race should look into Donald Byrd's work because it's his fault I'm Like This)

My fondest dance memories are the messy ones - the time we rehearsed our pointe piece my junior year of high school in front of parents and other dancers, only for me to fall down doing a piqué arabesque directly towards the audience, and then I got up so quickly even my teacher had no idea it happened; sugar plum dress rehearsal where my leotard strap broke and the only thing keeping me from a nip slip in front of my classmates was a nude leotard, and I being a weirdo dancer finished the whole thing before dealing with it; the time the music stopped halfway through our selections from Giselle and so we finished the whole piece by dancing first in silence and then to the music that was two minutes behind us when it restarted (also the only time I danced the part I was understudy for in that piece. Sigh)

I like the mistake moments, clearly. It's fun to mess up and realise you can just keep going

[sparky-kasane]

Theatergender

A gender based around dramatic/theatrical aesthetics and/or activities. People who identify as theatergender may identify with musicals, screenwrites, and/or performing on stage in general. Of course, nobody needs to identify with those things to identify as theatergender and all genders are valid!

[ninaeasyart]

© Nina Easy Art

[highqueenofelfhame]

25 Days of Christmas: Rowaelin

Movement. 

you’re getting this early today since I missed one yesterday. enjoy. 

She stood centered in the room, eyes closed and completely still with her arms up in second position. Her head rolled around in a slow circle, lips falling open only just as she exhaled slowly. One last small warm up before she began dancing. It was what she did every time she began, always having a full routine to music that she used to ready herself.  Watching her move, no matter what she did, was absolutely stunning. It was fluid, beautiful, smooth and fluid like her limbs were ribbons of water. 

Watching her dance brought out something in him that he couldn’t quite place. It was the way that from her toes to the tips of her fingers conveyed emotion like no one he had ever seen on stage. To say Rowan Whitethorn was captivated by Aelin Galathynius would be an understatement. He was utterly entranced, completely unable to take his eyes off of her when she began dancing. 

The last two weeks had only heightened that for Rowan, after spending night after night with their bodies tangled and writhing toward an explosive end. Even then, maybe especially then, watching the way that she moved was intoxicating and left him breathless. Everything she did ruined him in all the best ways. Watching her move atop or beneath him while they made love and watching her now in the center of the practice room didn’t seem to be too different. Everything about her was raw and powerful and threatened to bring him to his knees. 

He watched from where he sat, leaning against a wall of mirrors as she sat down on the floor with ease and pulled her pointe shoes. Just earlier, he had already watched her prepare them for practice. They were nearly dead, he could tell, but he’d also watched her use a copious amount of super glue to into the toes to get as much life out of them as possible. 

Gods, even the way she tied her shoes with deft and nimble fingers was beautiful. 

As she tucked the ribbons under their eyes met and she offered him a shy smile, one that he usually saw in the morning when she rolled out of his bed and disappeared into his shower. Rowan smiled back, extending his legs in front of him as she walked over to where he sat. It was only them in the empty room, both of them wanting to practice their pas-de-deux for the Nutcracker, something that she made look so effortless and easy at each and every performance. Getting to dance with her was a dream, it inspired him in all the ways that a partner should.

Aelin’s hands landed with the lightest feather touch on either side of his face, two butterflies landing on his cheeks. Her eyes searched his and her fingers slipping into his freshly cropped hair. Rowan leaned up the slightest bit and she met him halfway. Aelin’s lips were so soft, her fingers against his skin were so soft.  A strand of her hair had managed to fall out of her bun, so when they pulled back he carefully tucked it behind her ear. With another grin, she made her way to the center of the room and hopped up onto her toes to begin practicing her solo once before practicing the duet with Rowan. 

So he sat and watched, watched as she pranced across the floor, watched the elegant and perfect lines and angles she managed to create with her body. Aelin made it look easy, made it look like anyone could do it. She looked like the ballerina in the music box as she turned on her toes. Each leap and extension was perfect, each turn light and airy. Rowan never got tired of this, of watching her do what she did best. 

She was Aphrodite, the most beautiful of the Goddesses down on earth. She was a titan, holding up the his world with so little effort that she did it in her sleep. Aelin was art personified, the stage her canvas, her body the paint brush. He would never tire of this, of watching her. He couldn’t wait for Giselle rehearsals to start in the spring to see what life and beauty she brought to that piece. Rowan wasn’t the only one eager to see what she did with the part, critics had been talking about her effortless grace and beauty for months since she was announced as a Principle Ballerina for Orynth Ballet Company. 

Rowan wasn’t the only one struck completely stupid by her dancing, she had managed to enthrall the entire world. 

In rehearsals, instead of the smile that she wore for her performance on stage, her lips were often in a pout and there was often a crease between her brows as she danced and criticized her movements in the mirror.  Rowan constantly wanted to kiss the pout away, to smooth the crease between her eyes away with his thumb. He wished she wouldn’t be so critical of herself, for she had no reason to be. Not when every move she made was technically perfect and all around stunning. 

He had never seen anyone dance like she did. No other dancer had ever made his heart ache with hope and skip so many beats it felt like a cardiac attack. Rowan had never seen anyone’s hands flutter like little wings quite like this, had never see the sharp lines her body made turn to soft ones with such ease. 

Aelin brought something in the Sugar Plum Fairy to life. It wasn’t a role. She simply was the Sugar Plum Fairy, dancing her way through her sugar coated candy life. Come spring, she would be Giselle, her ghost protecting her lover from anything that could come to harm him. Every role she took on, she became the character. Even when it had just been minor roles, nobody could deny that she was the one your eyes drifted to despite other dancers on stage. 

Watching her was a religion that he would worship until he was nothing more but dust in the wind. Watching her lift onto her toes with such ease and spin, her skirt a blur of pink and white, he came to the realization that this was all he wanted to be. This life, with her, dancing through it together. 

When she danced, he was in perfectly awe of how not flawed every movement was. So free, the way she moved, the way she made him feel. Like for the first time they were breaking free of everything that had held them back for so long. There was always a moment in rehearsals where he could physically see the action of her freeing herself from those moments, freeing herself from the things weighed her down. He watched her become weightless, watched her become water weaving in and out of a current. 

And it moved him beyond measure. 

tags: @starseternalnighttriumphant @mariamuses @keshavomit @faefromthenorth @ifyouwouldseemysoul @murlymoo150 @faerie-queen-fireheart @impossiblescissorspeachpaper @feyre-therabeaux @runawayrowan @someonemagical @stormymeow @singme-t0sleep @tswaney17 @shyvioletcat @city-of-fae @kandasboi @mynewdreamwasyou @tangledraysofsunshine @aelin-is-my-heart @empire-of-wildfire @mynameiscelaenasardothien  @schmlip-scribble @musicmaam  @westofmoon @aaronwarnvrs @acourtofrowaelinandfeysand @im-not-rare-im-rarr​ @ttakeitbacknoww​ @vi0let-femmes​ @dressedindustandshadows @lowhangingtreebranches

[high-pot-in-noose]

Val’s Totally Legitimately Acquired Stage Performances List

DM me to be invited over to watch *winkwinknudgenudge*

Musicals

Annie the Musical (by Norwalk High School)

Death Note the Musical (English Sub)

Dr Horrible’s Sing-Along Blog

FNaF The Musical

Grease Live!

Hairspray (by Columbia High School

Ham!lt0n

Heathers (West End)

Heathers (by Ray of Light Theatre)

Into The Woods (Original) (I also have the Disney version)

Kuroshitsuji - The Most Beautiful DEATH in the World

Legally Blonde (Official MTV)

Mary Poppins (by Summit High School)

Matilda the Musical

Six (without subs)

Sleeping Beauty the Musical

Sweeny Todd (Proshot)

The Addams Family (by CVHS)

The Sound of Music Live!

Wicked

Operas

Carmen

La Traviata

The Tales of Hoffman

The Magic Flute

Ballets

1001 Nights

A Christmas Carol

A Little Princess (by the London Children’s Ballet)

Alice’s Adventure in Wonderland (2010, Royal Ballet)

Anastasia

Cinderella

Cinderella (In-The-Round, English National Ballet)

Corsair

Giselle

Ivan The Terrible

Persephone

Romeo and Juliet

Ruslan and Ludmila

Swan Lake 

The Fairy Doll

The Metamorphosis (Royal Ballet)

The Nutcracker

The Sleeping Beauty

The Snow Maiden

The Winter’s Tale

Plays and Misc. Stage Performances

A Midsummer’s Night Dream (2013, Shakespeare’s Globe)

Amadeus (English National Theatre)

Macbeth (2020, Shakespeare’s Globe)

Macbeth (Stratford Festival On Film)

Much Ado About Nothing (starring David Tennant and Catherine Tate)

STOMP - Out Loud

STOMP Live

[queen-erika-the-songful]

One cosplay from each barbie movie you wanna do GO!

LOL okay then.

Nutcracker - Clara in her purple party dress

Rapunzel - Rapunzel in her purple ballgown

Swan Lake - Fairy Queen in her ballet dress

Princess and the Pauper - Erika in her disguise gown (but no wig)

Fairytopia - Azura in her main outfit + necklace

Magic of Pegasus - Brietta in her main dress + tiara

Mermaidia - Nori, mixed details from both the movie and her doll

The Barbie Diaries - Barbie in her “This is Me” black outfit + guitar

12 Dancing Princesses - Courtney in her princess dress

Magic of the Rainbow - Lumina in her main outfit

Island Princess - Ro in her ballgown

Mariposa - a “humanized”/”anthro” version of Zinzie

Diamond Castle - Melody in her main outfit + instrument

Christmas Carol - Eden in her Christmas dress

Thumbelina - adult Makena + Thumbelina doll

Three Musketeers - Aramina in a transforming ballgown-to-musketeer costume + fans

Mermaidia - Merliah in her blue hoodie + necklace

Fashion Fairytale - Alice in her fashion show gown

Fairy Secret - Raquelle in her fairy form

Princess Charm School - PCS uniform + tiara

Perfect Christmas - Barbie in her Christmas gown

Mermaid Tale 2 - Merliah in a transforming human-to-mermaid costume + tiara

Princess & the Popstar - Keira in her main popstar outfit + microphone

Pink Shoes - Kristyn in her Giselle costume

Fairy Princess - Mariposa in her final outfit & wings

Pony Tale - Skipper in her formal dress

Pearl Princess - Sandrine in her formal attire

Secret Door - Alexa in a transforming Zinnia dress-to-ballgown costume + wand

Princess Power - Corinne in her Dark Sparkle costume, but as a villain!

Rock ‘n Royals - Courtney in her “What If I Shine (Remix)” dress + microphone

Great Puppy Adventure - Barbie in her main outfit

Spy Squad - Teresa in her main spy outfit + goggles + keypad nails or other gadget

Star Light Adventure - Starlight in her mother’s dress + locket

Puppy Chase - Barbie in her recital outfit

Video Game Hero - Bella in her main outfit

Dolphin Magic - Isla in a transforming human-to-mermaid costume + necklace

Princess Adventure - Barbie's pink dress w/purple coat outfit + tiara

BONUS: Elina’s main costume + wings + necklace from Barbie Live! In Fairytopia

[whippedfouettelatte]

The Beautiful Revolution: Ballet’s Importance in the 21st Century.

For a course at school I was given the choice to write a research paper on any topic of my choice. So i wrote about something near and dear to my heart-- Ballet. This took quite a bit of time and research and I hope you fellow balletomanes will like it! Enjoy!

Smoke fills the scene, a large golden moon hangs over the placid navy lake. From out of the trees, dozens of white swans gently land on the water, sending soft ripples out across the dark. As their white feathers illuminate the night, they turn into beautiful yet haunting maidens glowing like ghosts in the moonlight. One of the swan maidens is adorned with a large silver crown. She is Odette, the Swan Queen. Mourning the loss of her humanity, as she has been turned into a swan by the evil sorcerer Von Rothbart. She dances across the lake, accompanied by her swan maidens. When out from the bushes a man wielding a crossbow seeks to hunt the swans he saw earlier, only to find the maidens. The hunter, Prince Siegfried, immediately falls in love with the Beautiful Odette, swearing to marry her and break her curse.

That vignette is easily recognizable as the story of Swan Lake. This ballet was first premiered at the famous Bolshoi Ballet in Russia on March 4, 1877- nearly 150 years ago. The Bolshoi commissioned this piece from the composer Pyotr Ilyich Tchaikovsky. Like many ballets, its initial run was a critical failure. The Critics criticized the music for being too complex and nearly undanceable. This shattered Tchaikovsky, who was extremely passionate about the project; finishing the entire score in one year. Sadly, the ballet would not be revived until 1895; two years after his death.

In modern times, this ballet is arguably one of the most quintessentials ballet. Most people can easily imagine the dancers decorated in white tutus, leaping and bounding across the stage. If one is to go to the ballet in the twenty first century it is probably in order to see Swan Lake in the summer, The Nutcracker in December, or Sleeping Beauty in the spring. Yet, today ballet is seen as an almost archaic art form, only seen or cared about by the elderly season tickets holders or attended as a mandatory Christmas event. This line of thought is damagingly inaccurate. Ballet has historically been more than just an entertaining art form: it has been a medium of protest and political commentary since its birth in the tumultuous court of the Sun King in France during the fifteenth century.

While some find it hard to believe that ballet in its prime was an important piece of the media that almost every active member of society was privy to or invested in. Today, ballet can seem to be an unimportant mode of protest to the ever changing political landscape of modern media. Swan Lake, while still restaged to this day and adapted into hundreds of unique and different storylines in thousands of companies across the world, seems like a story that has been sapped of any political importance-- as many think 150 years of political change and growth can negate the power of a message. This could not be further from the truth. Ballet is politically relevant all throughout history and into the twenty first century.

Many ballets have universal messages that run through the heart of the story; love, forgiveness, and betrayal. Additionally, most have political ideas that reflect the society and the politics of the time. In classical ballets, their political messages are easy to discern. When ballet is looked at through the lense of historical politics and society, it is easy to see what influenced each of the ballet’s elements. Ballet culture has been molded to fit the political landscape of the time. Most new ballets that have been created follow this idea of being a mirror to society, which can be easily seen and tracked through different retellings and restagings of influential or famous classic ballets. When the ballets are changed or modernized, they are always shaped to fit the political landscape of the time. Ballet is one of the few pieces of media that can be molded and adapted. Ballets from one hundred fifty years ago are still being staged. It is a timeless art form that is important and entertaining in every time frame. From its invention all the way to the twenty first century it challenges society and it should not be ignored or pushed to the wayside.

One of the first true classic ballets called Giselle is an influential political product of the nineteenth century. On the 28th of June 1841, it premiered at the Theatre de l'Academie Royale du Musique. This ballet tells the story of a young peasant woman named Giselle. She lives in an idyllic village in the German countryside. She is naive and full of life, she loves to dance though it is dangerous for her weak heart. Giselle falls in love with Albrecht, who she thinks is another peasant, when in reality he is a prince in disguise. Albrecht’s true identity is found out by a game master, Hilarion, who despises Albrecht because he too is in love with Giselle. Later, a group of nobles show up, along with Lady Bathilde-- Albrecht’s fiance-- who upon seeing him confronts him, asking him why he has been away. After seeing Albrecht kiss his fiancee, Giselle goes mad and dances around erratically when suddenly her heart gives out. She dies instantly.

In act two, Hilarion lays flowers on Giselle’s grave in the forest. He is suddenly attacked by Myrtha, Queen of the Willis. Willis are the spirits of women who were scorned or betrayed by men. When they find men, they enchant them and force them to dance to death. Albrecht is about to become a victim of this fate, but Giselle, a new spirit, forgives him for his betrayal and saves his life. The sun rises over the horizon and the spirits fade away. Albrecht is left safe and alone.

Giselle was an instant success because of how unique the plot was. This ballet reflected some of the deepest sensitivities of the time, at this point in history the population of Paris, France was plagued by illness and poverty on a massive scale. In the 1840s, life expectancy was around only forty years old for both men and women (Life Expectancy, Mike Roser). Women died in childbirth at a significant rate. Barely anyone in France during this time could afford suitable living quarters, as the revolution had decimated the government and in turn the economy. Giselle was a heroine that reflected the face of the French people. Instead of being portrayed in a negative and shameful light, Giselle represented hope for the common masses of France by being positive and sweet despite her circumstance in life. She is the hero of her own story and her powers of forgiveness overcome her afflictions. It was a kind of encouragement to the people that despite their circumstances they can rise above their station. This was the message of the revolution, helping to advance the everyday people and provide equality.

In addition, this ballet’s setting is in an almost fairy tale like village in the middle ages in Germany. This was a beautiful escape for the Parisians, as the industrial revolution was in full swing throughout Europe, and came to the cholera ridden streets of unemployed Paris. Many artist were unhappy with the change of morals and beliefs that coincided with the multiple social revolutions and the industrial revolutions, “which these artists and philosophers attributed to the Age of Enlightenment, they yearned for what they imagined to have been a better past. Thus emerged the common use of quasi-medieval settings for Romantic ballets and the supernatural themes that allowed people to escape reality” (Hutchins, 37). Therefore they were disillusioned by the new age of logic, and wanted to harken back to an age of romance and what they considered to be emotion-driven societies.

Furthermore, the analysis deepens when you look at the connections to the government of the time. In the ballet, Duke Albrecht woos Giselle under the guise of a peasant who is just like everyone else. He walks among the other peasants pretending to be one of them when in reality he is royalty. He takes advantage of Giselle and her love for him, and all of his promises are false as he swears to love only her but lies about his true alignment with the nobility. This directly parallels King Louis-Philippe-- the King of France during the time of Giselle’s creation. In France there were two different political parties at the time: The Parti De Resistance (which was mostly populated by the common french people,) and the Parti De Movement (the aristocrats and the wealthy.) Louis-Philippe never vocally sided with a party, but his cabinet was mostly made of the Movement party. Philippe, in order “To Demonstrate his connection and devotion to the French people… called himself the ‘King of the French’ rather than the ‘King of France.’ Early in his reign, Louis-Philippe walked freely and unprotected among his people, holding an umbrella in place of a scepter” (Hutchins, 36) This garnered him the nickname ‘The Citizen King’ before he fell out of favor with the French. Both Albrecht and Louis-Philippe inserted themselves into the culture of the lower class citizens, with disastrous effects. They tried to disguise their true alignment with the nobility under the guise of being like the rest of the citizens. This comparison is no accident; Giselle took a critical look at the political landscape of the time and reflected it in a deep analysis of socio political trends during 1840s France. Making is a influential piece of political relevance.

Giselle was a reflection and analysis of its time period, and in its many updated versions it has continued that legacy. In 1984, the Dance Theatre of Harlem staged an all new production of Giselle. The DTH is a dance company made entirely of African-American dancers. Because of this, Arthur Mitchell the founder and artistic director of DTH decided to mold the ballet to a new setting to allow the dancers to feel at home in a ballet known for its ‘whiteness’. A large problem with ballet in the 1980s was its inherent white race coding, Giselle is a part of a series of classical romantic ballets; including Swan Lake, La Sylphide, and La Bayadere, known as Ballet Blanc, which literally translates to ‘White Ballet’ due to the ballets central plot having white supernatural effeminate beings. Therefore, the DTH was tasked with changing the story to something racially inclusive yet not patronizing to the dancers. As ballet was inherently racist in the 1980s, many pointe shoe makers simply “did not believe that black girls were dancing on pointe” (Caught Dancing: Hybridity, Stability, and Subversion in Dance Theatre of Harlem's Creole "Giselle", 273). Therefore, to adapt Giselle into a modern cultural identity Mitchell moved it out of the medieval german rhineland, into post-civil war Louisiana plantations. Making Giselle a free former slave, while Albrecht is an aristocratic plantation owner posing as a poor farmer. Because of this setting, the ballet has been unofficially deemed Creole Giselle.

The DTH had to strike a balance when creating Creole Giselle, they had “the desire to provet the patent falseness of claims declaring the black body as wrong for ballet and the need to maintain a race-based cultural particularity in the performances of his company” (Gaiser, 273). The ballet, while mostly staying true to the choreography of the original 1841 production, was modified slightly. As many black dancers had not had the chance to prove themselves in a classical ballet setting, this production was their chance, yet if the steps were exactly the same they would run the risk of being called ‘imitative’ or being compared to other classic stagings of Giselle. This production had to be unique to show the dance community that Giselle was a ballet for everyone, while still separating it into a sphere where African-American dancers could show their talent without reprimands. Just like in everyday society, racism was still a large part of everyday life and it was something that wasn't overcome in the 1980s, but various people and movements were starting to repair bonds.

Creole Giselle was one of the first steps in the ballet world to show black dancers were as capable as white ones. Creole Giselle looked at its political landscape and reflected the ideas of respecting the old but welcoming the new into everyday society. In a study titled New Patterns of Racism: the different worlds of 1984 and 1964 we find that when comparing 1984 to 1964 “much has happened since 1964 in American black-white relations, but the changes have been uneven across and within institutions. In each area reviewed- politics, education, housing, occupation, family structure, income, health, and business- there have been conflicting trends. In general, gains are impressive when compared with earlier black conditions; however, they are less than impressive when compared with current white conditions.” Just like society, Creole Giselle looks on the bright side of improving race relations while still not breaking the boundaries it is stuffed into. Having to change things in order to help people find the story and choreography more palatable to their expectations. This version of Giselle carries on the legacy of reflecting the face of modern society.

The updated setting of Creole Giselle isn't where the reflection of society stops. Recently, in 2016 the English National Ballet commissioned Akram Khan to stage a new version of Giselle. This version of Giselle is different than any before. In this retelling, “they have set the ballet among a community of migrant workers, who have been sacked from their jobs at a garment factory and are having to eke out a precarious existence in an impromptu camp. The courtly world of Albrecht is replaced by a privileged group of landlords and factory owners, who live apart from their workers behind a high wall” (Akram Khan's refugee Giselle: 'A real woman in a catastrophic situation' by Judith Mackrell). Khan, who began his work on this new adaptation with the Director of the ENB, Tamara Rojo, chose to set the ballet in a migrant worker factory because of the refugee crisis in Europe. He realized while the ballet can seem naive to modern audiences, some of the strongest themes in the ballet are in the simplicity. The duality between love and betrayal, or reality and the supernatural. Khan kept those elements central to the ballet, while also focusing his attention on Hilarion. While in the original he was just a simple game master who was in love with Giselle but forced her to see the lies Albrecht told, in Khan’s Giselle he has “expanded Hilarion’s role in the ballet into a fixer, a go-between who works with both migrants and capitalist”(Mackrell). This version of Giselle is much grittier and grounded, like the Indian dance style Kathak, which Khan was taught. The second act replaces beautiful ghostly woman in long white dresses dancing across a forest, to women covered in dirt and grime with long ragged hair and clothes in an abandoned factory.

This ballet, while aesthetically different from the original in many different ways, still is recognizable as the classic tale of Giselle. Khan’s Giselle is a perfect commentary on Europe's refugee crisis, showing the everyday people as humans and developed people on the stage through the titular character Giselle. Just like in the 1841 version, yet today people are an eclectic mix of cultures, heritages, and styles just like the Creative team. Khan being born in Britain, yet raised to be in tune with his Bangladeshi heritage. Rojo, from Canada, born to immigrants from Spain. Giselle has changed drastically throughout the years, but in every adaptation it can be used as a critical analysis on the socio political landscape of the time.

Ballet still has a long way to go before it becomes as much of a cultural staple as it was in the 1800s. Yet it increases in popularity everyday, as many dancers have become activists or advocates for equality, feminism, LGBTQ acceptance, and much more. Ballet is moving back into the cultural limelight as its relevance in the political scene is recognized more and more. Many dancers have become household names, like Misty Copeland or Mikhail Baryshnikov. Ballets on stage tackle different social and cultural issues it is hard to ignore the fact that ballet is politically relevant all throughout history and into the 21st century.

[classicdecadence]

Ooh giselle and Alexei!

@deliirious

For their first Christmas together (or at least the first when they're not enemies lmao), Alexei settled on a ballet-themed gift for Giselle. After looking around various antique shops and websites online, he bought her a music box that plays the tune of the Dance of the Sugar Plum Fairy from the Nutcracker when opened and has a little figurine of the Sugar Plum Fairy turning around in time to the music too.

[gramilano]

Giselle with Alexander Campbell as Albrecht and Francesca Hayward as Giselle. © ROH, Helen Maybanks 2018

Francesca Hayward and Alexander Campbell are quickly becoming The Royal Ballet’s ‘couple to see’. After recent successes dancing Clara and the Nutcracker, as well as the Sugar Plum Fairy and her Prince, over the Christmas season, they have just debuted in Giselle. An important moment in the career of any dancer.

The Guardian said that Hayward was “nothing less than exquisite” and remarked on the “illusion of spontaneity” she brings to the choreography, while The Telegraph was blown away by Campbell’s “immersion in character” and the “punch of his dancing”. Another test passed triumphantly. Facebook was awash with appreciative comments the next day: critics are useful; a fan-base is indispensable.

The Nutcracker with Alexander Campbell as The Nutcracker, Francesca Hayward as Clara © ROH, Tristram Kenton, 2013

Hayward and Campbell first danced together when she was a last-minute substitute as Clara in December 2013.

It was seeing The Nutcracker that set Hayward off on her ballet journey, though she saw it on video. Her grandparents, wanting to keep her occupied, bought her a copy “on a whim”.

I still feel emotional every time I dance Clara and the Sugar Plum as they are definitely a realisation of my dream. Two of my favourite and most emotional moments are Clara and Hans Peter’s pas de deux in Act One and the Grand Pas de Deux of the Sugar Plum Prince and the Sugar Plum Fairy in Act Two. They are probably the two parts I danced the most from the whole ballet when I was little, dancing them at home by myself, and the music always gives me goosebumps no matter how many times I hear it.

Last season, soon after the end of the The Nutcracker run came The Sleeping Beauty and during that period Hayward and Campbell performed together as Clara and the Nutcracker/Hans-Peter (in Peter Wright’s version of the ballet, Drosselmeyer’s nephew, Hans-Peter, has been transformed into a Nutcracker Doll), the Sugar Plum Fairy and the Prince, Bluebird and Princess Florine, and they debuted together as Aurora and Prince Florimund.

It was probably about three or four months in total rehearsing and performing together — says Campbell — and I feel like it was hugely beneficial to us, as it gave us a lot of time to get to know one another. It felt as though we were able to take things from each of the performances and build on that as we worked towards the next one. It was one of the most enjoyable times in my career.

Hayward adds,

It’s been great to have a consistent partner to learn the art of pas de deux a little better and I think we have a lot of respect for each other. We’ve shared some important debuts and daunting first night shows together!

Made it through today’s matinee! Thanks to my fantastic prince @acampbell_1 for getting me through this afternoon’s Sugar Plum marathon & to our incredible coach Lesley Collier 💕 H a p p y N e w Y e a r 💕 #sugarplumfairy #nutcracker #ballet #royalballet #exhausted #butlovedit

A post shared by francesca hayward (@frankiegoestohayward) on Dec 30, 2017 at 3:24pm PST

So, what makes the partnership work?

Francesca is a very intelligent performer and her approach to performances and to developing a character isn’t too dissimilar to mine. I think we both like things to make sense in our head when we are out there on stage. When it comes together and works well it is a really satisfying feeling.

Hayward senses that she is “very calm and safe” dancing with Campbell:

Most importantly we hear and feel the music with the same musicality. This is great as it means we can be more flexible and adaptable with our steps together. If the music’s faster or slower, I can take a little longer or make a step a little quicker without panicking him as I know he is with me and won’t be surprised! I have complete trust in him to always have my back… quite literally!

An excellent coach can make the difference between a series of steps and a dance, between approximated moves and those executed with all nuances the choreographer intended. None is better than The Royal Ballet’s Lesley Collier, who was a Principal Dancer with the company from 1972 until her retirement in 1995 and has been a répétiteur at Covent Garden for almost two decades. She also happens to be the Sugar Plum Fairy in the video that inspired Hayward to start dancing.

Lesley Collier has coached us for nearly all our roles together. I think she’s a wonderful coach as she has always learned the steps through the music and the story, and the thoughts and feelings that go with marrying the two. I personally find it really hard to be inspired when I am taught something by being given rigid counts.

The Sleeping Beauty with Francesca Hayward as Princess Aurora and Alexander Campbell as Prince Florimund © ROH, Bill Cooper, 2017

The Royal Ballet’s practice to invite its retired stars to coach carries on through the generations; former Royal Ballet Principal Jonathan Cope became a répétiteur immediately after he stopped dancing in 2005.

Alexander and I were also coached for The Sleeping Beauty by Jonathan Cope which was immensely helpful for the technical aspects like lifts and grips. It was also an amazing chance to dance with him — he would often lift me and partner me to show us how to do it!

Campbell says that he feels “inspired” by having Collier in the studio with them:

It took me quite a while not to be star struck by her – this was the ballerina who created Rhapsody with Baryshnikov after all! But, that aside, she is incredibly caring and knowledgeable, and it’s been a real pleasure getting to work with her. I have a real appreciation for Lesley’s commitment and eye for detail and I know that Francesca looks up to Lesley a great deal.

Yet not everyone looks up to Collier — one Royal Ballet Principal famously does things her own way, throwing out many of the choreographer’s intentions in doing so. But Hayward’s eager to learn and learn well:

It’s great to have Lesley pass down comments and notes from Ashton and Macmillan. Lesley was the first Sugar Plum Fairy and Lise from La fille mal gardée that I watched on a video as a child, so it’s incredible to be in the studio being taught these ballets by her.

Not every little girl who watches a ballet video starts taking ballet classes, and very few young dancers get into a company, but for Hayward there was to be a promotion every year with The Royal Ballet from 2013 until she became a Principal Dancer in 2016.

When Kevin O’Hare [Director of The Royal Ballet] promoted me I hadn’t done any big tutu roles yet — The Sugar Plum Fairy and Aurora were yet to come — so I think he saw the potential for that, but really I think he saw that I was capable of dancing the bigger roles because I could convincingly tell a story which is essential to nearly any ballet.

I think he also knows that I’m generally pretty calm and I take everything in my stride both on stage and off.

Giselle with Alexander Campbell as Albrecht and Francesca Hayward as Giselle. © ROH, Helen Maybanks 2018

Giselle with Alexander Campbell as Albrecht and Francesca Hayward as Giselle. © ROH, Helen Maybanks 2018

Giselle with Alexander Campbell as Albrecht and Francesca Hayward as Giselle. © ROH, Helen Maybanks 2018

Campbell’s story started in Sydney, Australia, when he was so excited by what he saw at his grandmother’s dancing school, that he began studying there when he was just five. Inspired by Baryshnikov, he chose ballet over cricket as a teenager:

One of the qualities I most admire about Mikhail Baryshnikov is the sense that he performs everything with real commitment and sincerity. It is something that I try to bring to my own performances and I believe it is a quality that really stands out. I certainly appreciate it in others when I see it.

He crossed the globe to study for a short while at the Royal Ballet Upper School before joining the Birmingham Royal Ballet. In 2011 he moved to The Royal Ballet as was promoted to Principal Dancer in 2016, the same year as Hayward.

I would say that my versatility has probably helped me get to where I am. I think that the biggest joy and challenge for the Principals of The Royal Ballet is having to perform the vast amount of repertoire we have here, often with conflicting styles and demands, at the highest possible level.

Becoming a Principal and being entrusted with roles such as Prince Florimund in The Sleeping Beauty and Albrecht in Giselle has widened his horizons even more.

Both these roles have allowed me to work really hard on my classical technique and it’s forced me to examine the way I do certain things. My aim is always to work hard on the technical elements in class and rehearsals so that by the time we get to performances the steps are just an extension of the character I am playing as opposed to a series of steps and enchaînnements. It’s a lot easier in theory than in practice but that is the aim!

Last night after our official debut in Giselle. So glad @katchkadeem was on hand to snap this picture! Thank you! Thank you also for all the wonderful support we have received, especially on Instagram. Knowing so many people were rooting for us was a special feeling. I also have to thank my beautiful partner @frankiegoestohayward – I feel very fortunate to have been onstage with you for your first Giselle and thank you for being such a pleasure to perform with ⭐ – – – – #royaloperahouse #royalballet #giselle @royaloperahouse

A post shared by Alexander Campbell (@acampbell_1) on Feb 10, 2018 at 3:17am PST

After Giselle, Hayward and Campbell will both be dancing in The Winter’s Tale, though not together, but then will team up again for Manon in April.

Campbell says,

I’ve enjoyed everything we’ve worked on together so far and I hope that we will have the opportunity to develop this relationship further as I feel it could be something quite special.

One ballet to add on to the list of possible future collaborations would be Romeo and Juliet.

I saw Francesca perform Juliet for the first time and I thought that it was a really beautiful interpretation of the role — I’d love to play against it because I think she gives her partners, and all the cast members around her, so much to work with. Here’s hoping!

I mentioned sincerity on stage as something that I admire in performers and I think that Francesca displays absolute sincerity whenever she performs. It makes it very easy for me to play off and it is genuinely exciting to be onstage with her.

Hayward quips,

Who knows what the future’s got in store, but I hope we have a lot more Nutcrackers ahead of us!

END

The Nutcracker with Francesca Hayward and Alexander Campbell. © ROH, Helen Maybanks 2016

The Nutcracker with Francesca Hayward and Alexander Campbell. © ROH, Helen Maybanks 2016

Interview with The Royal Ballet’s hot couple: Francesca Hayward and Alexander Campbell Francesca Hayward and Alexander Campbell are quickly becoming The Royal Ballet's ‘couple to see’. After recent successes dancing Clara and the Nutcracker, as well as the Sugar Plum Fairy and her Prince, over the Christmas season, they have just debuted in…

[rainbowmagicfairyfight]

[wallpaperpainting]

Top 14 Trends In Retro Art To Watch | retro art

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[autumnleavescoffeedreams]

T’s Masterlist of AU Ideas

Need some inspiration for your next fanfic? Here are a list of ideas I’ve compiled to help you get started! There are also a few sub-AUs I included just because :)

BY ERA...

50s AU

80s AU

Ancient Egypt AU

Cold War AU

Medieval AU

Dark/Middle Ages

Renaissance

Regency AU

Revolutionary War AU

Roaring 20s AU

Stone Age AU

Tudor AU

Victorian AU

World War I AU

World War II AU

BY GENRE...

Apocalypse AU

Dystopian AU

Fairy Tale AU

12 Dancing Princesses

Aladdin / Arabian Nights

Beauty & the Beast

Cinderella

Hansel & Gretel

Jack & the Beanstalk

Peter Pan

Rapunzel

Rumplestiltskin

Sleeping Beauty

Snow Queen

Snow White

The Frog Prince

The Little Mermaid

The Prince/Princess & the Pauper

The Princess & the Pea

Thumbelina

High Fantasy AU

Horror AU

Mafia AU

Military AU

Musical AU

Mystery AU

Noir AU

Pirate AU

Sci-Fi AU

Shakespeare AU

Superhero AU

Supernatural/Paranormal AU

Time Travel AU

Urban Fantasy AU

Utopian AU

Wild West AU

BY COUPLE...

Airplane Passengers AU

Aristocrat/Commoner AU

Arranged Marriage AU

Artist/Muse AU

Author/Publisher AU

Body Swap AU

Childhood Sweethearts AU

Chosen One & Sidekick AU

Complete Opposites AU

Doctor/Patient AU

Hades & Persephone AU

Handcuffed Together AU

Lab Partners AU

Neighbors AU

Pen Pals AU

Personality Switch AU

Rockstar/Groupie AU

Roommates AU

Royalty/Servant AU

Soldier/Nurse AU

Soulmates AU

Teacher/Student AU

Tourist/Native AU

BY MOVIE / BOOK / SHOW / GAME / PLAY / BALLET...

Battle Royale AU

Breakfast Club AU

Chronicles of Narnia AU

Dirty Dancing AU

Giselle AU

Hogwarts AU

Inception AU

Jumanji AU

Les Miserables AU

La La Land AU

Middle Earth AU

Nutcracker AU

Pacific Rim AU

Phantom of the Opera AU

Star Trek AU

Star Wars AU

Swan Lake AU

Swiss Family Robinson AU

Terminator AU

Wonderland AU

BY CHARACTER TYPE...

Android AU

Archaeologist AU

Assassin AU

Astronaut AU

Celebrity AU

Cosplayer AU

Criminal AU

Dancer AU

Demon Slayer AU

Detective AU

Double Agent AU

Explorer AU

Fallen Angel AU

Fighter Pilot AU

Guardian Angel AU

Hacker AU

Musician AU

Nerd/Geek AU

Olympic Athlete AU

Photographer AU

Private Eye AU

Punk AU

Race Car Driver AU

Revolutionary AU

Royalty AU

Street Performer AU

Tsundere AU

Tutor AU

Viking AU

Yandere AU

BY MYTHOLOGY / LEGENDS / FABLES...

Atlantis AU

Egyptian Gods AU

El Dorado AU

Fountain of Youth AU

Greek Gods AU

King Arthur AU

Norse Gods AU

Robin Hood AU

BY SUPERNATURAL / PARANORMAL ENTITY...

Angel AU

Banshee AU

Demigod AU

Demon AU

Genie AU

Ghost AU

Mermaid AU

Siren AU

Werewolf AU

Vampire AU

Zombie AU

BY HOLIDAY...

Christmas AU

Fourth of July AU

Halloween AU

Hanukkah AU

New Years AU

Spring Break AU

Thanksgiving AU

MISCELLANEOUS...

Backpacking Across Europe AU

Battle of the Bands AU

Bookshop AU

Carnival AU

Circus AU

Coffeeshop AU

College AU

“We got paired up for a group project but none of us know what we’re doing”

Conspiracy AU

Dragons AU

Heist AU

High School AU

Summer School

Immortal AU

Kidnapped AU

Prison AU

Reincarnation AU

Road Trip AU

Seven Deadly Sins AU

Summer Camp AU

Time Travel AU

FOR HUMOR...

“Marry me because my green card expired” AU

“Why does by neighbor have to be an aspiring opera singer?” AU

“I’m a server and you’re a frequent customer and you flirt with me but YOU NEVER TIP ME, WHAT THE HELL MAN?” AU

“I never break the law but I was asked to be part of a massive heist and damn, I really need to pay off my student debt...” AU

“I lied and said I could speak a different language to impress my crush but now he wants me to tutor him so I need to become fluent in Mandarin in 3 days HELP” AU

“We are fictional characters that know we are fictional characters and so we decided to have a little fun and mess with the author by not following any of the tropes they’re writing” AU

[Updated 8/21/17]

[lgbtbarbie]

Barbie Appreciation Month - Day #5 - Fairytales - Shippy

Major Mint x Captain Candy from The Nutcracker - Since I was so young when I first watched the first Barbie movies, I didn’t really have any ships as a child. Now, however, things have definitely changed! I ship these two because their relationship throughout the film develops; they’re initially quite competitive and don’t always get along, however by the end of the film they’ve grown close and even dance together.

Odette x Fairy Queen from Swan Lake - As much as Daniel and Odette are a cute couple, I gotta say my gay ass loves this ship so much. Watching this movie with LGBT+ tinted glasses, it’s hard to not see the Queen’s affectionate feelings for Odette, and Odette becomes more and more fond of her the more she helps her and makes her realise her potential.

Anneliese x Erika x Julian x Dominick from The Princess and the Pauper - I shipped the “canon” straight couples, but I also shipped the two girls, so why not just ship all of them as a poly relationship? They basically all marry each other!

Eden x Catherine from A Christmas Carol - These two were best friends when they were young, then grew apart as they became women due to Eden’s selfish nature (yet Catherine still worked with her), and then they rekindle their relationship at the end of the film when Eden understands the error of her ways. I know Freddy asks Catherine out, but I like to think that Eden told him to do it because she thinks it’ll make Catherine happy, and now she’d rather see her happy even if it means sacrificing her own happiness, but Catherine eventually realises she only likes Freddy as a friend.

Kristyn x Hailey from The Pink Shoes - Barbie films always try to show the power of friendship etc so they create two best friends that have a really close bond and I can’t help but ship them!! These two girls go through an entire adventure together, and Kristyn ends up saving Hailey’s life, and then even brings her out on stage to bow, giving her the credit she deserves for making wonderful costumes. They compliment each other perfectly; Kristyn is the romantic optimist, whilst Hailey is the cautious realist with a goofy side to her personality.

Albrecht / Ballet Scout 1 x Hilarion / Ballet Scout 2 from The Pink Shoes - Despite these two starting as rivals, and that is their relationship in the original Giselle ballet, they become more and more close to each other as they spend time together and realise that they can actually learn a thing or two from each other. I already ship the Princess and the Pauper, why not the Prince and the Pauper?