#chronicles of narnia aslan

[hydravns]

LIAM NEESON as ASLAN THE LION in THE CHRONICLES OF NARNIA: The Lion, The Witch & The Wardrobe (2005)

[minamorris1857]

Can we talk about how chaotic Narnian battles would feel?? Especially in Prince Caspian. Like, imagine you’re a little Telmarine soldier waiting for the catapults to go and you’ve got all your regiments in nice orderly rows and these two 16 year olds suddenly yell “charge” and the ground opens up beneath you, a mouse with a sword the size of a large pencil takes out your bestie, a griffin drops a dwarf 5 ft away from you and he comes up swinging. As you try to rationalize this, you’re stabbed by a twelve year old with a British accent. Finally, a really freaking big lion shows up, roars, and your entire army collectively pees their pants. At one point in the movie (yes I know the movies aren’t quite the same as the book but they’re still good) Peter says like “we have the element of surprise” like dude, you have drafted the trees I’m pretty sure everyone’s gonna be surprised no matter what.

[goldenvulpine]

[pftones3482]

I want to be excited for the live action Little Mermaid so badly

The Little Mermaid is my favorite Disney movie. Anyone who knows me knows I'm obsessed with mermaids as a whole and will watch any media that has them. Hell, I own my own tails and monofins. But every time I see a gif or a video for the new Little Mermaid, I cringe

(btw, this is NOT because of the casting. If you're against this movie because Ariel is black, you're a racist piece of shit and this post isn't for you)

My issue lies with the CGI. It just looks so FAKE. We've seen through the course of movies and TV shows that use it that CGI does not age well, and that's because technology is constantly improving. What was impressive in 2005 is not impressive in 2023 (Just look at Aquamarine, another movie about mermaids). And the CGI on Ariel and her sisters already looks fake and the movie isn't even out yet!

Compare this image from the trailer

To this screenshot from H20: Just Add Water (a TV show that came out in 2006):

You can see the details of the scales in the second image

The first image is flat. Sure, it's colorful, but it's flat. It's fake. Halle herself is the most beautiful and alive part of the image, because everything else is fake

The difference?

H20 had costume designers, ones specifically trained in mermaid tail making, HAND CRAFT every tail on the show. All of the scales were hand laid, all the tails molded to fit the actors/actresses perfectly, painted by hand

Let's even look at someone with no affiliation to TV or movies:

This is Mermaid Linden, a very well known (in the mermaid community) professional mermaid. You can tell her tail is not as high quality as the ones made for H20 (though it's still a VERY expensive tail) - but it still looks like it's a part of her. You can still see the details. Because professional mermaid tails are also all handmade and molded to fit each person. Even if they don't lay every individual scale, good professional mermaid tail makers are very meticulous about what they do.

This is what happens when Disney refuses to pay practical effects artists. We could have had beautiful, handmade tails that would look real on screen for decades to come and could be reused for promotional purposes - instead, they're underpaying and overworking their non-unionized employees to make CGI tails that don't even look real now.

(to be clear, I'm not shitting on the artists. As I said, they're being underpaid and overworked. This is not their fault)

And before anyone comes and says "But swimming in those is difficult!" Absolutely it is. You should never swim in a professional level tail (or even just fabric tails) without practice and training. Which Disney could have given the cast if they were willing to PAY people (the cast of H20 [a TV SHOW] literally learned how to be mermaids on set. It's been done before)

Disney's "Live Action" needs to be rebranded as "CGI with some real people tossed in" because that's all any of these remakes have been, and it's exhausting when I look at what we could have had.

[mozart-the-meerkitten]

So I rewatched The Lion the Witch and the Wardrobe today and I gotta say it's weird to me that people misunderstand Edmund and rag on him about getting taken in by the White Witch because it could have happened to any of the siblings.

In fact, Lucy does the exact same thing Edmund does when she first comes to Narnia. She trusts the first person she meets, goes to his house, eats his food and is put under a spell. Literally the only difference is that Tumnus regretted his actions because he wasn't evil. The White Witch had no regrets about how she manipulated Edmund, but the fact remains that she and Tumnus do the same things.

If Lucy had encountered the Witch the first time she was in Narnia, it would have been incredibly easy for the Witch to trick her, probably without even using enchanted food. Lucy was very willing to trust Tumnus until he actually told her he was kidnapping her. If the Witch had been charming with her and asked her to bring her siblings to Narnia Lucy would have tried, just like Edmund.

Susan wouldn't have been much harder, but she would definitely have required some sort of spell since she's so skeptical. But we know that, presented with the actual evidence that Narnia exists, Susan does accept it. From there it'd be fairly easy for the Witch to manipulate her by playing off how Susan's siblings don't like to listen to her logic even when she's right or has better ideas. I think Susan would also like the idea of being a queen and making her siblings listen to her.

Peter is a little harder, just because he's older and more cautious, but I think that it could be done. He has, honestly, the same vice as Edmund at the beginning. He's frustrated at the defiance his little brother is giving him and overwhelmed by the situation he's in. If the Witch could convince him that, when she made him king, his siblings would finally obey him, I think that he, like Edmund, would fall for it (especially if magic was involved in tricking him).

So, yeah, Edmund is just the kid who happens to get taken in by the Witch, but it could have been ANY of the siblings who betrayed the others. And that's the point. Edmund could be any of us- and at the same time, he is all of us. "For all have sinned and fall short of the glory of God." That is the point that Lewis is making with Edmund. It is so easy to let ourselves be deceived when we hear what we want to hear, because that road seems so much easier. But in the end it traps us and enslaves us, like Edmund was to the Witch, and there is only one who can pay the price for our betrayal.

[applesandpavenders]

[idkaguyorsomething]

it’s thinking about the last battle time again

[sorrowandchartreuse]

Rewatching Narnia has made me realize two things:

all of them, in those first few scenes especially, are just so young. like they are children children. when you watch Narnia as a kid yourself, you don't really notice but wow theyre really all infants in that first film???

The Pevensies without a doubt are the most accurate representation of siblings in any movie ever

[weepynymph]

Something I only just noticed in Narnia TLWW was the symbols on the backs of each Pevensie’s throne, and how each throne has the gift they were given by Father Christmas on their journey to defeat the witch, carved into its back. 

Except, of course, Edmund’s. Because he wasn’t there.

So what did they choose for Edmund’s symbol? At first I couldn’t make out much beyond a vaguely similar sword to the one Peter’s throne has on it’s back, but when I looked closer it got far more interesting.

At first I thought ‘why is Edmund’s symbol a sword breaking a stick? that’s so weird’ 😂 but after a bit of digging on the narnia wiki I found out it’s way cooler than that.

Like??? That is so awesome??? His gift isn’t an object, it’s an action. 

The sword itself isn’t even significant in the way Peter’s is, it’s the act of turning against Jadis, of breaking her wand, her power, that is Edmund’s defining symbol.

But wait, it gets better.

These absolute geniuses also designed Edmund’s symbol to look like a set of scales??? Are you kidding me??? And they totally succeeded as well because just looking at the deliberate shape of the broken staff with the sword running through the middle it lines up so beautifully.

Anyway, all this to say I fricking love this series so, so much, the production design is 😍😍😍 and Edmund’s arc is so perfectly carried through all the films I would quite literally die for him.

[artist-issues]

About Greta Gerwig, Little Women, and Narnia

Greta Gerwig should not be in the Narnia realm at all. As anything.

The Narnia stories are inseparable from Christianity. Greta Gerwig is a Unitarian Universalist. This means she, in her own personal life, doesn’t believe in the saving work of Jesus Christ, which is a core belief of Christianity, and a core theme in Narnia. Everything in the Narnia books hinges on this, from the character motivations to the structure of the fantasy world to the way the magic in Narnia works.

Additionally, the women in Narnia do not adhere to post-modern or even antique feministic values. They are celebrated for their love and tender-heartedness and faith, all of which require self-sacrifice. Aravis of The Horse and His Boy starts out a proud warrior escaping an arranged marriage and ends up a humbled lady of Archenland court marrying the Prince. Susan Pevensie is at her best when she’s tender-hearted and at her worst when she doubts and becomes more concerned about her own identity than others. The school that Eustace and Jill go to in The Silver Chair is derided for it’s feministic views. By contrast, modern feminism is opposed to self-sacrifice, and that is the kind of thing Greta Gerwig demonstrates belief in throughout all of her works.

Am I saying that no person who isn’t a Christian or some type of conservative when it comes to feminism can ever work on Narnia? Absolutely not. I’m not saying that. Lots of people on the Walden Media Narnia movie (the first one), which was great, were not Christians and did not believe in the saving work of Christ. But they stayed faithful to the source material, even if they didn’t believe in the source material themselves. So the story retained it’s autonomy and power.

Greta Gerwig can’t do that. She has already demonstrated that she does not know how to make a story that hangs on to it’s integral source material if she, herself, doesn’t agree with that source material. She can’t be objective, and therefore, she can’t be faithful to what Narnia is.

How do I know that? Little Women.

I don’t care if you liked the Little Women movie by Greta Gerwig. I don’t care if the acting was “amazing” and I don’t care if Timothee Chalamet and Florence Pugh are great in it. I said exactly what I said. Greta Gerwig made a great movie—but she made a terrible adaptation of Little Women.

It was not Little Women. She made changes to Little Women. What changes, you ask? Changes to the specific pieces of the source material that did not reflect Greta Gerwig’s personal views.

That’s the cardinal sin for directors of adaptive stories or remakes—to make changes to the core themes of a classic tale, because you don’t agree with those core themes. That’s called mutilation, not “updates.”

Here’s how she did it in two major ways in Little Women:

She cut out Jo’s humble response to Friedrich’s gentle rebuke of sensation stories, and replaced it with a feministic self-pitying outburst from Joe and s borderline apathetic, cool piece of feminist advice from Friedrich. That takes all the continuity out of it and warps the characters. That scene is so pivotal in the book. It’s Jo, respecting a man who is much older and excellent in character than any other she’s ever known, and feeling immediately humbled by him calling her out. She’d never have responded that way if Laurie called her out. They would have argued. But this scene was supposed to show what Jo needed from a future romantic partner. She needed someone she respected, someone who could be wise and gentle—two things Laurie is not. She needed someone who would help her take her eyes off of worldly success and herself, and onto eternal benefits to mankind, specifically, the effect her stories might have on children. His gentle, respectful, wise love (and the love of characters like Beth) turns Jo from a self-absorbed writer into a selfless mother, like her own Marmee.

But Greta Gerwig never wanted Jo to be a selfless mother. She wanted, and I quote, “Jo’s love to be her work, and her romance with Friedrich secondary.” You know why?

Because that’s what Greta Gerwig believes in. Greta Gerwig’s life is her work. Watch any of her movies, you’ll see the smudge marks of that wholehearted belief all over them. She can’t even be objective when the whole point of a character is to make work secondary, as was certainly the case with the character of Jo March. No. She has to twist up one of the best American heroines ever into an automaton of herself.

The second way she mutilated source material is with Amy and Laurie. In the books, Amy and Laurie grow to love each other out of the character deficiencies that they make up for in one another. At the start of their courtship, Amy is ambitious and Laurie is lazy. Amy wants to marry for advantage, and Laurie wants to make much of his spurned love for Jo by giving up on life. And that’s it.

It’s Amy who first wakes up to feeling something romantic toward Laurie, not Laurie, and Laurie is not the first to make a move on her. Laurie does not know he is in love with Amy until well after she knows she loves him. Then, he does not make the first outward advance on Amy. They both come to the same conclusion together; when they do, she does not resist. In Greta Gerwig’s version, he’s back to falling in love with a girl who’s resisting, because that’s where Timothee Chalamet’s emotional acting shines or whatever.

But that’s not the worst part. The worst part is that she adds a feminism speech from Amy, as a reason for her resistance, and she subtracts the scene where Laurie actually proposes. The scene where Laurie proposes, in the book, is so beautiful.

The two characters are in love, they know they’re in love, and neither of them is insecure about it. Amy has learned that she needs a life-partner who knows her and will protect her, like her old home-values did, and not some rich aristocrat or prince. Laurie has learned that he needs a life-partner who can stir him toward change, not through big explosive arguments and hope of conquered affection like Jo, but with gentle love and sheer inspiration, found in Amy.

So, in the most beautiful analogy for courtship that ends in marriage ever, he proposes to her while they’re rowing on a lake. She’s sitting next to him in the middle of the boat, she’s got one oar, he’s got the other, and she says, “How well we pull together, don’t we?” And he says, “so well that I wish we might always be in the same boat. Will you, Amy?” And she says “yes.”

That’s it. No argument. No big, passionate, sentimental explosion like he had with Jo. No wrenched and broken heart-strings. He didn’t have to convince her. She didn’t have to resist. Because entirely without force, and entirely without insecurity, they protected each other’s hearts and came to a conclusion that was based on something so much deeper and more eternal than fleeting passion.

Greta Gerwig cut that out and listened to Meryl Streep and put in another stormy lover’s-quarrel speech from Amy about why she couldn’t be with Laurie because she was in Jo’s shadow, and feminism and marrying for advantage, blah blah blah. It’s terrible. It’s mutilation. It ruins everything the original Little Women had.

it doesn’t matter if she got some of the characters right. It doesn’t matter if she got a lot of the quotes right. It doesn’t matter if all of Act 1 of the movie is mostly-book-accurate. If you change load-bearing themes or character motivations, you show that you can’t be objective and faithful to the source material.

It is fine if Greta Gerwig wants to make a movie about a woman who loves her work more than anything else. It is fine if she wants to make a movie about how women are under-appreciated for their minds and souls, and have characters that go on a journey to prove it. But it is not fine to use someone else’s story to say it. Make your own story, Greta Gerwig.

Oh, you already did? See: Lady Bird? See: Frances Ha? Then come up with something new. Don’t shoehorn your same beliefs into every franchise that is offered to you, like vomiting, then eating the vomit and regurgitating it over and over in new colors. Figure out how to tell someone else’s story in a faithful way, objectively, or else keep your stained hands off until you can clean them up. Especially, keep them off Narnia.

Greta Gerwig makes movies for Greta Gerwig, by Greta Gerwig. She can’t be objective, and for that, she can’t do Narnia. She can’t do it justice, she can’t do it faithfully, because she makes movies for herself, by herself.

[sweetpandorabox]

Peter Pevensie as a Boyfriend ⚔️🛡️

⋆ ˚｡ ⋆୨sweetpandorabox୧⋆ ˚｡ ⋆

⋘ 𝑙𝑜𝑎𝑑𝑖𝑛𝑔𝑑𝑎𝑡𝑎…⋙

Warnings ⚠️: Slight mentioned of sexual themes and some spicy stuff.

Dating this incredibly attractive, loyal protector and brave older Pevensie sibling could include:

👑👱🏻‍♂️🏰

He's really protective of you and often expresses how much he loves and cares for you, so much so that if anyone even tries to come close to hurting you by words or physically he won't hesitate to eliminate them.

He's quite a gentleman and believes that he has to take care of all the ladies in his life including his Mother, Susan, Lucy, and especially you. He would offer his arm when the two of you are waking together, he would bow to you when he greets you and he never lets you carry anything, Peter has that timeless chivalry personality about him.

Sword fighting lessons with him only for it to turn into an extremally spicy make-out session after, because of the build-up of sexual tension over time and the fact that he always wins with him pinning you down on the floor without even trying.

You are the only one that can calm him down after he blows up after fighting with his sibling or is stressing out about ruling Narnia.

He would see you falling asleep nearby the entrance of the castle waiting for him to return from a patrol ride around Narnia which he finds to be the most precious thing, then he'll pick you up in his arm and carry you to sleep in his bedroom and not your own one.

He calls you cute nicknames like Darling, Pretty, Lovely, or Princess.

Likes when you call him Pete, Darling, Sugar, or Your Highness (He likes when you call him that because it sounds so seductive coming from your mouth).

His love language is probably Acts of Services, sure he loves a good PDA once in a while and all the things you both did together as a date, but he's a natural server and protector. He shows his love by protecting you, making sure you're fed well and healthy, or the little things like helping you take off your gown, brushing your hair for you, or helping bathe you.

Ask for your input before making a big decision because he trusts you and relies on you for support especially if he has to debate it with his siblings first.

Horseback riding around the beach in Cair Paravel to watch the sunset, but the both of you would ride and share one horse with you sitting and wrapping your arm around his torso, while he leads the horse.

Whenever he sees you doing something and looks about busy he comes up behind you, and turns you to face him by spinning you around by the waist before caressing your cheek softly and then pulling you into a sweet yet passionate kiss.

He requests you specifically when he's hurt/injured after a battle or some tough fight training days to take care of him, like cleaning his wounds, being there to kiss him, holding his hand to lessen the pain, or performing some oral sex on him if he's in the mood (😏) instead of choosing his other loyal servants.

The two of you are always smiling around each other before it erupts into a fit of laughter out of nowhere ending up with you and Pete on the floor dying.

Lucy and Edmund would catch the both of you kissing or showing PDA somewhere then they'd look at each other and get grossed out saying "Eww" or "Get a room you two, there's a billion inside this castle", then you and Pete would somehow share the same mindset and start teasing them by kissing even more, or exaggerating the PDA until both Lucy and Edmund can't take anymore and run off, giving you and Pete a good laugh after.

When it comes to sex he's very gentle with you making sure to put you first before himself, despite how much you drive him crazy with lust because of how attractive you are to him, so it's mostly slow, passionate sex but he does love giving you a good hickey mark all over your neck and chest area or when you give him a bit of ear play to get him turned on.

He's actually quite funny intentionally most of the time and can be quite sassy as well which you find hilarious especially when he's annoyed, hungry, or frustrated.

Let's you wear and steal his white long-sleeve tunic for bed instead of proper pajamas because it looks adorable on you and fits slightly larger.

He falls for your cute puppy eyes every time, even if he says no multiple times or refuses your request at this moment it always works and he always says "Oh come on don't do this to me Darling" but then you'd plead and he would sigh before smiling and boom he says yes.

He never goes to sleep without solving a fight and he wouldn't let you sleep either until the both of you have a makeup kiss.

He doesn't seem to be the jealous type on the inside because he hides it so well from you, but when he sees someone staring at you for more than 5 seconds he rolls his eyes and kisses you out of nowhere.

Taglist:

@igncrantbliss @milivanili99 @thatdummy-girl @nighttimemoonlover

[hydravns]

ASLAN

THE CHRONICLES OF NARNIA: The Lion, The Witch & The Wardrobe (2005)

[minamorris1857]

Imagine…

Lucy falls out of the wardrobe and just sobs. She can feel it, that it won’t open back up. Everyone they loved is on the other side of a wall, but there’s no way around it. She hugs her knees to her chest and wishes she was anywhere else. She is grieving.

Susan steps into the Spare Room and immediately feels sick. Her body doesn’t fit right anymore. Her legs are too short and her head is so light because her hair is gone. She gives dry sobs and scratches at her skin. It’s like putting on a shoe that’s too tight or a dress that’s too short; she feels both tied down and exposed but she has no idea how to fix it. She is in pain.

Peter takes one step out before he runs back in. He rams the back of the wardrobe with his shoulder over and over and over again, until hot frustrated tears stream down his cheeks because he cannot be a boy again, he can’t. There’s no strength in his body anymore, but when the wood starts to creak he gives up. He slides down the wall in defeat and reaches to tug on a beard that isn’t there, to rub a scar that’s melted into his skin. He is defeated.

Edmund stumbles onto the floor and just heaves a great sigh. He did not want this, nor did he expect it, but he should have. He does not weep, he does not tear at his skin, he does not force his way back home. He simply stands up, and thanks Aslan for the second chance at life, even if he does not want it. Edmund is not happy to be back in England; his heart is, in fact, cleaved in two. But he knows the power of plans that are not his own. He is hopeful.

[staliaqueen]

Honey, when I'm above the trees I see this for what it is

[meandmyrandomstuff]

The Chronicles of Narnia where everything is the same but whenever Susan's horn is blown it plays Holding Out for a Hero by Bonnie Tyler.

Thank you very much.

[applesandpavenders]