A hundred thousand dreams to see @dreams-come-crumbling - Tumblr Blog

The easiest ones [songs to write] were the ones I wrote by myself. I love to collaborate and I love to co-write. My process when I’m cowriting is I typically—I’ll write the first half of a song and then I’ll stop myself and I’ll go “I think I know who would be good to help me finish this and might have some interesting ideas that maybe I wouldn’t think of. There are certain songs that I knew Jack was perfect for. There are certain songs that I know I would want to bring to Joel Little. And back on the last album when I was working with Max Martin, you know which songs would be great to bring to these amazing collaborators. I’m so lucky to work with these people. But when I’m writing a song and I think I’m gonna stop and bring it to a co-writer and I can’t, that’s when I end up finishing myself. That’s usually because the inspiration is so weirdly effortlessly potent at that particular moment that I HAVE to finish the song. So the songs Daylight, Cornelia Street, and Lover are the ones on this album that I wrote alone. I wish I could be like "guys, they were so difficult for me. I really put all of my work into these.” No, these were so easy to write because they were like, flowing.

Taylor on SiriusXM

Just another All Too Well by Taylor Swift appreciation post.

I know this song has its fair share of appreciation and love in the fandom but I wanted to share my feelings and thoughts on this masterpiece.

I'm going through a very painful breakup, after a very intense and short-lived love story much much similar to the one that inspired the songs in Red. And this is what I found, this music really does have a healing power. It makes you feel less alone somehow. And Taylor is especially good at that, because there's plenty of breakup songs out there, but her music is different. Her songwriting proves how heartbreak is actually a very complex and meaningful experience in someone's life, even though many people just put it down as a futile topic to sing about.

Well it's not.

[[READ MORE]]

Just wanted to appreciate how deep and real and raw the emotion in this song is. You can feel authentic pain surface from its sound and lyrics and vocals. Personally I find it astonishing how she used this strong, specific imagery that somehow we all have in our heads and turned it into a story we can all relate to... and I find it even crazier that the moments she described 7 years ago, I've lived all during the past few months. The same random things happened to me.

Singing in the car getting lost upstate, the red light thing, dancing in the kitchen, photo albums on the counter & his mom making fun of him, plaid shirt days and all that. And then him withdrawing from it, running away, being cruel in his honesty.

It's not like I even noticed, it just happened. It got me thinking: how can it be? And I figured that's Taylor's songwriting talent: she has this ability of being so specific, so personal in her storytelling, which makes it real, and relatable to real people & their stories. The same happens with some of her most emotional songs like Last Kiss, Fifteen, Out of the Woods, You Are In Love...

As someone who is going through these things, I just want to appreciate once more how on point this whole song is. The most amazing thing is how she captured these moments & pictures in words, as a collection of vivid memories, not a word to mention the feeling itself, you just feel it straight on your skin. This is "show-not-tell" writing at its finest. So sharp, so powerful, yet so simple and brilliant.

Just think about these beautiful lines and how she sings them and all the meaning they carry in just a few words:

"You almost ran the red cause you were looking over at me"

"Oh your sweet disposition, and my wide-eyed gaze"

"You tell me about your past thinking your future was me"

"We're dancing round the kitchen in the refrigerator light"

And then after going back through memories she pours out her frustration and regret and her honest view on the relationship; she depicts it so well, the feeling of being unjustly "torn away" from somebody's life when you wanted to be a part of it:

"Maybe we got lost in translation, maybe I asked for too much / but maybe this thing was a masterpiece / till you tore it all up, running scared"

"And you call me up again just to break me like a promise / so casually cruel in the name of being honest"

And then the void you wish you could fill once such intense feelings are gone; and you're desperately trying to find yourself again after blending your identity with someone else's; while they turned into a stranger, and it feels surreal.

"I'd like to be my old self again / but I'm still trying to find it"

"After plaid shirt days and nights when you made me your own / Now you mail back my things and I walk home alone"

And the sound of the song - the way she sings, the crescendo in the production, the raw sound of instruments & vocals, it totally captured that emotional state of being trapped in recollection of something you can't really let go, with memories and regrets flooding your mind while you're trying to put the pieces together.

I just really really love this song and I'm thankful it exists. Just wanted to celebrate how human and complex its content is, and it's much more than a "breakup song". Actually, all breakup songs are much more than that. Heartbreak is not easy, let's just embrace that. I'm grateful to Taylor for putting it into words. There's a reason it means a lot for so many people.

#all too well #taylor swift #red #music #appreciation post #heartbreak #breakup

dynamicsymmetry

Good stuff.

eerian-sadow

This. This is good fiction writing advice. I really appreciate how it was formatted as “this is a common problem, here is a solution to try in your own work” and not “oh god, don’t do that!” without any extra help. And I extra appreciated the “don’t rely on adverbs” bit, because they do have their place but they aren’t the only way actions can be emphasized.

nonomella-deactivated20171016

Coraline is a masterfully made film, an amazing piece of art that i would never ever ever show to a child oh my god are you kidding me

cthullhu-deactivated20170910

Nothing wrong with a good dose of sheer terror at a young age

whatthecurtains

“It was a story, I learned when people began to read it, that children experienced as an adventure, but which gave adults nightmares. It’s the strangest book I’ve written”

-Neil Gaiman on Coraline

greenbryn

@nightlovechild

lierdumoa

This is a legit psychology phenomenon tho like there’s a stop motion version of Alice and Wonderland that adults find viscerally horrifying, but children think is nbd. It’s like in that ‘toy story’ period of development kids are all kind of high key convinced that their stuffed animals lead secret lives when they’re not looking and that they’re sleeping on top of a child-eating monster every night so they see a movie like Coraline and are just like “Ah, yes. A validation of my normal everyday worldview. Same thing happened to me last Tuesday night. I told mommy and she just smiled and nodded.”

wahbegan

Stephen King had this whole spiel i found really interesting about this phenomenon about how kids have like their own culture and their own literally a different way of viewing and interpreting the world with its own rules that’s like secret and removed from adult culture and that you just kinda forget ever existed as you grow up it’s apparently why he writes about kids so much

12drakon

An open-ended puzzle often gives parents math anxiety while their kids just happily play with it, explore, and learn. I’ve seen it so many times in math circles. We warn folks about it.

gokuma

Neil Gaiman also said that the difference in reactions stems from the fact in “Coraline” adults see a child in danger - while children see themselves facing danger and winning

sometimesrosy

i never saw so much push back from adults towards YA literature as when middle aged women started reading The Hunger Games. They were horrified that kids would be given such harsh stories, and I kept trying to point out the NECESSITY of confronting these hard issues in a safe fictional environment.

jewishdragon

Also, in an interview, he said that Coraline was partially based on a story his not yet 6 year old daughter would tell him

SAGAL: No. I mean, for example, your incredibly successful young adult novel “Coraline” is about a young girl in house in which there’s a hole in the wall that leads to a very mysterious and very evil world. So when you were a kid, is that what you imagined?

GAIMAN: When I was a kid, we actually lived in a house that had been divided in two at one point, which meant that one room in our house opened up onto a brick wall. And I was convinced all I had to do was just open it the right way and it wouldn’t be a brick wall. So I’d sidle over to the door and I’d pull it open.

(SOUNDBITE OF LAUGHTER)

SAGAL: Right.

GAIMAN: And it was always a brick wall.

SAGAL: Right.

GAIMAN: But it was one of those things that as I grew older, I carried it with me and I thought, I want to send somebody through that door. And when I came to write a story for my daughter Holly, at the time she was a 4 or 5-year-old girl. She’d come home from nursery. She’d seen me writing all day. So she’d come and climb on my lap and dictate stories to me. And it’d always be about small girls named Holly.

SAGAL: Right.

GAIMAN: Who would come home to normally find their mother had been kidnapped by a witch and replaced by evil people who wanted to kill her and she’d have to go off and escape. And I thought, great, what a fun kid.

somewhereinmalta

It’s anxious adults who desperately want to “soften” stories. Kids prefer the real thing: with monsters, bloodthirsty ogres and evil murderous stepmothers; where the littlest brother always wins and all the villains are horrendously punished in the end. The world is threatening to the eyes of a child, so they need a fictional universe where the little people have a fair chance against the big and strong.

shoresoftheshadowlands

This isn’t specifically about stop motion but it is about how sad or scary parts of movies aren’t really all that bad- IE the 80′s movies, particularly Don Bluth’s films. (X- The Melancholy of Don Bluth, by Meg Shields )

How the children’s animation of the 80’s made room for sadness, and what that taught us.

There was a time when McDonalds used to give away VHS tapes with happy meals, and by some stroke of luck, one day my mom picked The Land Before Time. It was the first film to etch itself onto me ‐ the way film tends to with kids. I would recreate the plot with stuffed animals and parrot the lines to whoever would listen; I pawed that VHS box until the cardboard went soft.

A couple years ago, I saw that Land Before Time was playing on t.v. and couldn’t remember the last time I’d watched it all the way through. Within five minutes I was completely obliterated and sobbing into a throw pillow. This is a shared experience for children raised with Don Bluth: that as a kid, I could only clock a hazy sense that his films felt different from Disney fare, but that the articulations of this difference, and their ability to emotionally floor me, are something I’ve only become aware of in retrospect.

There was a regime change in animation during the 80’s. Quite literally in the form of Bluth’s official break with Disney in ’79, but in a more elusive sense with the landscape of what children’s animation during that decade felt like. For whatever reason, be it Bluth’s departure or a diseased managerial ethos in the wake of Walt’s passing, the 80’s were a mixed bag for Disney. Don’t get me wrong, they’re amiable and charming films, but The Fox and the Hound and The Great Mouse Detective are not classics. And for all its ambition, The Black Cauldron cannot be redeemed on technical merit. Disney would eventually yank itself out of its slump in ’89 with The Little Mermaid ‐ but animation during the 80’s, along with the childhoods of a slew of millennials, were definitively shaped by Bluth.

That there is a dark tenor to Bluth’s work has been thoroughly, albeit perhaps vaguely, noted, often citing individual moments of terror (cc: Sharptooth, you dick). While I don’t doubt that frightening and disturbing scenes contribute to an overall sense of darkness in Bluth’s work, I’m unconvinced that they’re at the root of what distinguishes his darker tone. There is, I think, a holistic sadness to Bluth films; a pervasive, and fully integrated melancholy that permeates his earlier work.

These stories are full of crystalline moments of narrative sadness; specific story moments at which I inevitably mutter a “fuck you Don Bluth,” and try not to cry. There’s Littlefoot mistaking his own shadow for his dead mother; Fievel sobbing in the rain (a Bluth mainstay) convinced that his family has abandoned him; Mrs. Brisby shuddering helplessly after she and the Shrew temporarily disarm the plow. Other plot points are less tear-jerking so much as objectively miserable: the cruelty of the humans in The Secret of NIMH; An American Tail’s intelligent allegory for Russian Jewish pogroms and immigration; Carface getting Charlie B. Barkin drunk and murdering him at the pier.

You know — FOR KIDS!

Thematically, there is an ever-present air of death about Bluth’s work that is profoundly sad. Bones litter certain set-pieces; illness and age are veritable threats (shout out to Nicodemus’ gnarly skeleton hands); and characters can and do bleed. Critically, Bluth films don’t gloss over grief, they sit with it. From Littlefoot’s straight up depression following the on-screen death of his mom, to Mrs. Brisby’s soft sorrow at finding out the details of her husband’s death.

There is a space for mourning in Bluth’s stories that feels extra-narrative, and unpretentious. Critically, this is distinct from, say, wallowing. Bluth’s films have a ridiculously productive attitude towards mourning, most lucidly articulated through Land Before Time’s moral mouthpiece Rooter: “you’ll always miss her, but she’ll always be with you as long as you remember the things she taught you.” Disney meanwhile, tends to treat death as a narrative flourish, or worse, a footnote. And in comparison, even notable exceptions like Bambi and The Lion King seem immaturely timid to let palpable grief linger for longer than a scene, let alone throughout a film’s runtime.

Look at all the fun times they’re missing.

Musically, James Horner and Jerry Goldsmith’s impossibly beautiful scores are laced with a forlorn undercurrent. In particular, Horner’s tonal dissonance in The Land Before Time theme punches the Wagner-lover in me in the throat (admittedly, a good thing). Further to this, the first half of Goldsmith’s “Escape from N.I.M.H,” is reminiscently Tristan and Isolde-y. And while I’m here, I would also like to formally issue a “fuck you for making me cry in public” to American Tail’s “The Great Fire,” which when combined with visuals, is nothing short of devastating.

Speaking of visuals, backdrops of grim and vast indifference dot Bluth’s work; from the twisted Giger-esque caverns of the rats’ rosebush, to the urban rot of a thoroughly unglamorous New York and New Orleans. That these landscapes are in a state of decay is particularly dismal; there is a tangible barrenness, a lack of the warmth our characters are desperately hoping to find by their film’s end. These are depressed and morose spaces ‐ and that they are so seemingly unnavigable and foreboding makes them all the more compelling, and narratively resonant.

The way Bluth uses color is also notable, with dark, earthy tones prevailing throughout only to be blown out quite literally with the golden light characteristic of Bluth’s hard-earned happy endings. Before Littlefoot and friends reach The Great Valley, an event marked by gradually illuminating god-rays, they must slug it out through the parched browns, blues and pitch of their prehistoric hellscape. Like Charlie’s final ascendance into heaven, Fievel must endure similarly muted shades until he is finally (finally) reunited with his family and soaked in glitter ‐ a level of Don Bluth conclusion-sparkles perhaps only rivaled by the radiance of Mrs. Brisby’s amulet as she Jean Grey’s her homestead to safety at the end of NIMH. Because Bluth leans into darker, less saturated tones, these effervescent conclusions are all the more impactful, which speaks in part to the methodology of Bluth’s melancholy.

The plucky leads of Bluth’s early films are all fighting for the same thing: family. From Mrs. Brisby’s persistence to protect her children, to Charlie’s (eventually) selfless love for Anne-Marie, these are characters in search of home. Invariably, each of these characters gets their happy ending, but they have to go through hell to get there, literally in Charlie’s case. In a recent interview, critic Doug Walker asked Bluth if there was any truth to the rumor that he thinks you can show children anything so long as there’s a happy ending, to which Bluth replied:

“[If] you don’t show the darkness, you don’t appreciate the light. If it weren’t for December no one would appreciate May. It’s just important that you see both sides of that. As far as a happy ending…when you walk out of the theatre there’s [got to be] something that you have that you get to take home. What did it teach me? Am I a better person for having watched it?”

Melancholy isn’t just a narrative device for Bluth, it’s a natural part of navigating life, of searching for wholeness, and becoming a better person. Bluth acknowledges sadness in a way that never diminishes or minimizes its existence; he invites melancholy in, confesses its power, and lets it rest. Sadness is, for Bluth, an essential characteristic of the world and living in it. That is a wholly edifying message for kids, delivered in a vessel that is both palatable and unpatronizing. For this reason, among innumerable others, Bluth’s work has immense value as children’s entertainment…even if it means crying into a throw pillow twenty years later.

catoncoals

jam-hearts

The most relatable joke of Kid Gorgeous

dreams-come-crumbling

My life in a bunch of gifs honestly

naomisalman

fuck it until you make it

gather round, folks, that i may pass down the tale of Fuck-It Jonn, because that dude is just the GREATEST FUCKING CONMAN in the WORLD, and he WASN’T EVEN TRYING. he absolutely fucking STUMBLED ON ACCIDENT into THE SCAM THAT WOULD DEFINE HIS ENTIRE LIFE. the lie that transformed his ENTIRE EXISTENCE out of SHEER RANDOM BULLSHIT.

and his sole motivation was to EAT FINGER FOOD.

consider:

in the Wayback Days™ before i was born, the people who would later become my parents had this friend named… yeah, let’s say jonn. i’d rather not say his real name. bitches not snitches, and all that.

so. france in the late 80s. jonn and my parents had just finished school and all found jobs in computer engineering. (not that they STUDIED computer engineering, mind you. no, they were all studying how to become fish farmers or some shit. but those were simpler times, when knowing how to turn the fucking screen on got you a comfortable salary at the ripe old age of 24 years old.)

except that jonn, who was a chill hippie kind of dude, was bored to death by his desk job. so bored that he decided to just up and quit. “fuck it”, was basically jonn’s motto. fuck it, he’d find something better! fuck it, and things would work out! EXCEPT (as you may have guessed) THEY DIDN’T. for months and months he didn’t find another job. and so he ended up depressed, struggling, and eating dinner at my future-parents’ tiny apartment, three times a week, so he wouldn’t literally starve.

time went by. jonn was still unemployed. so before his resources hit rock bottom, jonn did the only logical, reasonable thing. what’s that, you ask? begged for his old job back? went back to school? crawled home to his parents? ha ha! obviously you do not share jonn’s ADVENTUROUS AND ENTREPRENEURIAL SPIRIT. and also you lack his BIZARRE LOGIC AND PLAIN WEIRD APPROACH TO LIFE.

what jonn did was: say “fuck it” (again) and leave for thailand.

because you see, thailand was cheap by french standards. so cheap that even a penniless dude on unemployment could live there for weeks on end, spending much less than he would have in france, as long as he didn’t mind roughing it. and jonn didn’t mind! “fuck it”, he’d said. and by god, he would stand by his words!

so jonn gamely scrounged up the money for the plane ticket and then… yeah. basically bummed it out in thailand. for two months. seeing the sights. sleeping on the street. making new friends.

and one of these news friends turned out to be very adept at FORGING PAPERS.

huh, jonn said to himself (probably high at the time) this sounds not at all shifty and more like a ONCE IN A LIFETIME OPPORTUNITY; what could POSSIBLY GO WRONG. my new thai best friend is even offering me a FAMILY DISCOUNT. for fake papers. fuck it! let’s have some!

as far as i can tell, jonn… didn’t even need fake papers?? like, he was literally just trying not to pass up on an opportunity here. so he smoked some more weed (i can only assume) and got A BRILLIANT IDEA. fake ID card? LAME. fake driver’s licence? HACKNEYED. fake medical degree? PEDESTRIAN. no! jonn got himself a fake press card.

but why??

well, OBVIOUSLY, just so he could get into cultural events for free - conferences, art premieres, etc - and eat all the finger food. that was his grand plan. stroll into press-only events, wave his poorly-made card around, and gorge himself on canapés. no more going hungry! ever! jonn would live off tiny slices of toasted foie gras and flutes of cheap champagne for the rest of his life!

so now jonn, Very Obviously Fake Journalist™, is back in france and he’s DOING THE THING. and guess what? this was before google. before facebook. before linkedin. impersonating a journalist was very easy. if people asked where you worked you just said you were freelance, then steered the conversation to current politics and stealthily devoured the entire buffet while everybody was busy debating.

and so. this is what jonn is doing. his monumentally stupid plan is actually working. this is how he eats. with thai-made fake papers and sheer fucking confidence. and of course people start noticing him eventually! jonn is always fucking there! at all and any events in paris! because, again, THIS IS HOW HE EATS! but it’s always the same people running around in these circles, anyway. so nobody’s surprised to see the same dudes popping up over and over again. jonn blends in! and jonn is very good at making friends. and changing the subject. and eating canapés.

and then ONE DAY

one of jonn’s newfangled journalist friends (a REAL journalist, mind you, who has NO IDEA that jonn isn’t What He Seems) basically goes: “dude i’m so swamped rn. everyone wants everything all at once. fuck. shit. are you swamped too?”

“oh, for sure,” jonn says through a mouthful of his twenty-ninth serving of canapés that night. “not a second to myself”

“god. fuck. tell me about it. shit. i’m just so damn swamped.” Real Journalist shakes his head. “if i could only find someone to cover for me on this one article.”

now, i know i said before that jonn was smoking weed. but i must confess now i said it for humorous effect. i have no idea if jonn’s ever been within five hundred yards of a blunt his whole life. but what you must understand is that jonn is Chill™ on like. a soul-deep level. his whole mind is one long exhale of smoke followed by the words “fuck it”. this is a man who left his job for no reason, lived in thailand on a tourist’s visa for two months, got fake papers there for the lol of it all, and is now living off press-only events in paris. jonn was BORN HIGH.

SO. when RJ asks him: “dude. jonn. you said you were working freelance. i know you’re busy but don’t you think you could maybe cover for me? just this once?”

jonn NATURALLY answers: “fuck it. sure”

then goes to an unemployment center and applies for one of their free one-week classes. on journalism. jonn spends ALL OF ONE WEEK learning How To Write An Article Like A Real Journalist With A Real Press Card. then writes the article. basically bullshitting his way through that thing. half-assing the life out of it. faking his heart out. because why not? FUCK IT.

i have NO IDEA if he actually did a good job or not. but it was in fact good enough for RJ who really must have been truly swamped, and was so truly grateful that he told all of their mutual journalists friends. who were ALL SWAMPED. i’m given to understand it’s the natural state of the journalist in the wild.

and so jonn is now REGULARLY COVERING FOR ALL SORTS OF JOURNALISTS.

not making much money i assume. but still, not bad for a dude who studied journalism for five whole days.

and well, it’s kinda fun! better than moping around at home waiting for the next free canapé press-only premiere. so jonn keeps at it. and eventually it occurs to him that hey! he spent two months in thailand. why not make an article out of that? so he writes himself a lil paper, retelling his Bumtastic Adventures in the Land of Thai People, Cheap Living and Forged Papers (That Last One Having Nothing to Do With Him Personally of Course). and he’s kinda proud of it. so much that he gives it to his journalist friends. can they maybe pass it around? see if anybody would be interested in publishing it? for a modest fee and some more canapés?

and yeah. someone was in fact interested in publishing it. and that someone was:

THE

NATIONAL

GEOGRAPHIC

(french edition.)

so jonn got a REAL press card. got a FULL-TIME JOB at the national geographic. and spent the REST OF HIS WORK LIFE traveling abroad for six months, then going back to paris the rest of the year to write about his wacky journeys. he’s retired now, having published several books full of his articles and photographs. he’s bought a b&b in the french countryside with all his money. and continues to say “fuck it” to any problem that comes his way like the absolute fucking legend he is.

as far as i know, none of his journalist buddies nor his boss ever found out about any of this.

brendaonao3

Okay, this needs to be a movie SO bad

wellfuckthishellsiteiguess-deac

i made this instead of writing

starfallskitter

im reblogging this instead of writing

omegansamurai

Okay...

You know, now that everything is settled down now after the announcement of the ATLA Netflix live-action remake, I’ll just say…I’ll get myself the benefit of the doubt for this series. Maybe Bryke WILL try something different. Maybe there will be more character development and exploration…maybe there will be stuff that wasn’t touched on the cartoon…maybe we WILL have a fourth season…maybe? And maybe there WILL be new relationships(*cough* like Taang *cough*….*cough* or Zutara *cough*). I mean, I don’t know. Because really, in the long run, they have to try something NEW. They can’t tell the same story again, in LIVE-ACTION even. We KNOW the story, and we KNOW the characters. They can’t possibly change Aang, Zuko, Toph, Katara, Sokka, EVEN Iroh’s characters if that’s the case. They’re too well-beloved. Bryke wouldn’t just change everything to make it THEIR version of what should happen. Maybe they are actually going with Aaron’s story route this time around…maybe. I mean, I know it sounds crazy, but why else would they make a live-action remake of ATLA on Netflix? I mean…could they have changed their tunes?

If they can make something new while keeping their already established characters intact, and not be petty about it, then…maybe it will be good. Maybe it will be a better story told. The story that was supposed to be told.

Also, let’s be honest, Kataang being played in live-action will be kind of awkward. That kind of stuff will only work in a cartoon, not in real life.

But yeah, again, I don’t know. Only time will tell…and the internet. Until then…I might have some high hopes for this project. Who knows, we’ll see.

OF COURSE, if the characters are gonna be butchered beyond belief once more by Bryke, and if it will actually be like the movie in some regard, then there will be ABSOLUTE HELL to pay. So don’t screw this up, Bryke. X(

Oh, and lastly, if you have changed your attitude and by some chance ARE gonna use Aaron Ehasz’s ideas, then do give him some of the credit too, please? :)

ugly

Pre-nap me: gosh I’m just a lil bit sleepy I could use me a lil nappy nap

Post-nap me: why…. Why do I exist in this world…. How do I know what is real… What is the truth…. I’m so thirsty

marcos-jo-deactivated20211027

In process:)

#woah someone still makes jackunzel fanart?

droo216

tv aesthetic → avatar: the last airbender

The greatest illusion of this world is the illusion of separation. Things you think are separate and different are actually one and the same. We are all one people, but we live as if divided.

ottermoone

With the announcement of the live action Netflix ATLA show, you know I had to make a fancast

Anthony James Whitewolf as Sokka

Blu Hunt as Katara

Forrest Wheeler as Aang

Peyton Elizabeth Lee as Toph

Paul Sun-Hyung Lee as Iroh

Ryan Potter as Zuko

Nichole Bloom as Azula

Rila Fukushima as Mai

Teresa Daley as Ty Lee

korra-of-the-south

EVERY PERSON IN THE ATLA/LOK FANDOM TO NETFLIX RIGHT NOW:

greyhyms-deactivated20220506

i love prince eric. from the little mermaid. he’s hilarious. because he seems like one of the most mild-mannered and unassuming princes in the disney canon, but he is also one of the few to actively kill the bad guy. most disney villains die by consequence of the final battle but are not directly killed by the hero/heroine. most of them fall to their deaths or cause their own demise, and sometimes the hero is indirectly responsible because they’ll launch them into that direction or something, but they still don’t bring knife to heart directly.

but then a couple do. and prince eric is my fave out of those few because up until the final act, he is the most chill motherfucker u ever seen. like he is quick to spring to action during the storm scene n stuff, but otherwise? he’s really quiet n sensitive and runs along the beach playing the flute for his big shaggy dog n he smiles like a lil nerd and gets all cute around ariel and he’s so sweet n everything.

AND THEN IN THE FINAL BATTLE THAT MOTHERFUCKER STRAIGHT UP DRIVES A SHIP THROUGH URSULA LIKE WHAAAAAAAAAAAAAAAAAT!!!! NO WONDER NO ONE IS TRYIN TO LAY SIEGE TO HIS KINGDOM!! ALL THE NEIGHBOURS ARE LIKE “HOLY SHIT DON’T GO THERE! PRINCE ERIC IS A BEAST! HE’LL STRAIGHT UP DRIVE A BOAT THROUGH YOUR BITCH!”

i love him

lainybunbuns

At the beginning of the movie Prince Eric, without hesitation, jumps into the ocean, in the middle of a storm, and climbs onto a ship that’s on fire, all to rescue his dog.

Then when he’s convinced some mystery woman saved him, he starts looking for her just to thank her. On his way, he meets some mute naked teenage girl who can’t even walk or dress herself, confirms that she’s not the girl he’s looking for, then brings her to stay at his castle anyway, for no particular reason.

No one questions this, just like they don’t question when he shows up three days later with a mysterious woman one morning and says he’s getting married that same day. At said wedding, several witnesses see his fiance turn into a sea monster, which he then murders by piloting a submerged ship pulled up from the bottom of the ocean straight into her.

A week later, he marries the mute girl and the god of the sea himself rises from the ocean to give his blessings. Again, no one questions this.

I’m convinced that Eric had to have done some crazy insane stunts on a regular basis, cause despite him being so chill and relaxed normally, no one bats an eyelash at any of his ridiculous decisions or incredible feats during the course of the film. Clearly they’re all used to it, and rumours of him marrying an ocean princess would only dissuade potential enemies of his country even further.