Can I just say how intensely proud I am of Shia LaBeouf for taking all the crap, all the criticism and abuse, from the media, from the legal system, from FUCKING NAZIS, that he does and still getting the fuck back up again. He’s not a perfect person obviously, but he is a good one and I wish I had even half his courage and fortitude. He astonishes me and I love and support him and his message.
Inspired by THIS POST about gay Disney Princesses.
When the old beggar comes to the door, Addy knows better than to let her in. She doesn’t look at the rose or the woman too long; she shuts the door.
Some will call her arrogant or selfish, but what is she to do? No guards, parents in the capital (not, here, not here), and the knowledge that she is the damsel in all those fairy tales weighs heavily on her mind. Oh, little princess, far from home and alone, so alone.
The Enchantress (for they do not call her witch) makes sure that she stays that way.
Alone except for her wilting rose.
(She did not want it, would not take it, so she was bound to it. Such is the way of Princesses.)
Addy used to have frightful bursts of temper. Her face would turn red, fat tears rolling down her cheeks, mouth screwed into an upside down kidney bean. Anything could set her off; a too tight corset, a walk ended too quickly, another toy sword taken away. She’d wail and scream, kick her feet and punch the air, tear and rend anything within arm’s reach.
The first time she has a fit in her new form, it’s after Mrs. Potts reads the King and Queen’s decision on her…condition. She’s to stay here, on the outskirts of their kingdom, until a Prince comes to release her from her spell. Alone until a different sort of bond is forced on her, until she is made to change from princess to beast to bride.
Addy know why they refuse to save her. It’s because she’s always been too big, too strong, too ill-tempered, too–
In her rage, Addy upends the tea tray, forgetting, forgetting, forgetting.
She is reminded when fine china falls to the hard ground, when it rattles, when it shatters, when it screams.
“No!” Addy falls to her knees next to her dishes– no, her friends and frantically rights them, apologies tumbling from her lips, eyes brimming with tears.
“Temper,” Mrs. Potts murmurs, more out of reflex than anything, looking obviously terrified. She hops from her side to her base, better able to control her new body than any other castle resident. Her lid is sitting askew and her eyes are wide (so wide) as they dart from one cup to another. “Daniel? Daniel!”
Addy cuts herself on broken porcelain and flinches. She–she’d killed him, she’d been so thoughtless, how could she? “I’m sorry, I’m sorry, I’m sorry–”
“I’m okay,” a little voice says. “I’m okay, Mom!”
Addy sobs as she locates him under the silver platter, on his side, trapped. She throws the platter too hard, lodging it in the wall, and takes Daniel in her paws.
“It’s okay, Princess Addy,” Daniel chirps at her. He’s a little older than her, just a few years, and he’s always trying to be strong. His eyes are wide (too wide), but he offers her a tremulous smile. “I’m okay.”
“Thank goodness,” Mrs. Potts says and her china clinks as she hops forward.
Addy’s eyes lock on the horrible, huge chip in his rim.
I did that.
She’s across the room before being aware of setting Daniel down, of standing, of leaping away.
“Princess,” Mrs. Potts says from her low, low position on the floor. “What–”
“Don’t call me that,” Addy grits out. Her huge body leans heavily against the door, making it groan, as she desperately tries to wrap her paw around the handle. She can’t stop looking at the chip, the proof of harm, the proof that something much worse can happen so easily. “Don’t call me– I’m not–I’m not the Princess. I’m the Beast.”
The door crashes open and she disappears.
It’s weeks before the servants realize that she’s never going to answer to her name again. She no longer sleeps in her princess bed or attempts to wear her princess clothes. She wears pants scavenged from the servants’ quarters, tunics from her father’s closet, ties her mane back with twine instead of ornaments.
Independent Animated Films From ~The Previous Year
Phantom Boy. This is the story of a New York boy who has an illness, but becomes a hero. The boy escapes his hospital-bound body to go check on his family, but soon he uses his ability to solve crimes. It’s another detective story by the makers of A Cat in Paris and it uses the same animation style.
The Boy and the Beast. This is the most recent movie made by the famous anime director who made Summer Wars, Wolf Children and The Girl Who Lept Through Time. This film is about a boy who ventures into the realm of monsters and grows up under the guidance of a beast. Later he reconnects with humanity.
Big Fish & Begonia.
This movie was funded in part thanks to social media and became a surprise box-office sensation.
Long Way North.Before working on this film, the director worked on the animation of The Secret of Kells and The Painting. His style here consists of contourless shapes in gorgeous pastel colors. The story is about a teenage girl who goes to the Arctic to look for a lost boat in late 19th century Russia.
Miss Hokusai. This is an episodic anime film about a female artist in Edo Japan who has to deal with work, her eccentric father and a sick sister. It’s based on the life of the daughter of Hokusai, the artist who drew the famous big wave with mount Fuji in the background. The film showcases some of his artwork.
My Life as a Zucchini.
This is the Oscar-nominated stop-motion French film. It’s an adaptation of a semi-autobiographical novel about a boy who goes to live in an orphanage. It’s realistically somber, but it’s also full of charm and even hope. The children’s performances are phenomenal. The Blu-ray comes out in May.
The Red Turtle. This is the Oscar-nominated French film co-produced by Studio Ghibli. It’s a beautiful and quietly contemplative fable about the stages of life. I would say avoid the trailer if you haven’t seen it and intend to watch it because it’s a mini version of the whole film. The Blu-ray comes out in May.
Louise by the Shore.
From the director of The Painting and it’s even more beautiful. It’s a deliberately slow and introspective story about an elderly woman who is left alone in a seaside town vacated during the winter.
a soft place to land - a mix of gentle showtunes to chill out and relax to
i can’t wait - bright star // i don’t need a roof - big fish // all about her - lift // another part of me - lizard boy: a new musical // hero and leander - myths and hymns // what about love? - the color purple // on the willows - godspell // love song - pippin // portrait of a girl - bare: a pop opera // the next ten minutes - the last five years // give way - dogfight // the secret of happiness - daddy long legs // another life - the bridges of madison county // the human heart - once on this island // prayer - ghost quartet // the crying scene - murder ballad // you’ve got a friend - beautiful: the carole king musical // the guilty ones - spring awakening // gold (a capella) - once: a new musical // a soft place to land - waitress //
There’s a whole group of turtles that fold their necks into their shells sideways rather than pulling them straight back (called sidenecks). Several of them have very long necks that they can fold back into their shell and then shoot out to grab passing prey. Snakeneck turtles have truly impressive neck reaches.
“Don’t mind me, Mr. Fish, I just have a short little neck I definitely couldn’t reach all the way over…”
“JUST KIDDING YES I CAN”
They have such cute creepy little faces. If they didn’t all get so big I would love to have one (puts another turtle on my Someday list).
The other trouble is that snakenecks can sometimes be a bit nippy and since their necks are long enough to reach all the way to the back of their shell NOWHERE IS SAFE.