one girl scrolled past this and woke up without boobs
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HELP I CAN’T STOP LOOKING UP DISNEY PIANO SHEET MUSIC.
Reblog if you have boobs
Forever reblog cuz I don’t wanna wake up without boobs.
The fucking notes
Just read the notes
I’m not gonna risk anything
ovvio, chi più di me
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Lol nahh not today
i sat behind this guy on a laptop in the school cafe and watched his completely straight face as he typed ROFL!!!!!!!! LOLOLOLOLOLOLOLOLOLOLOL!!!!!!! he didnt even blink
disney has some real nerve for this le fou nonsense when howard ashman saved the disney film studios from financial ruin with his own two hands in 1989 & ensured they would be around long enough to make these high budget remakes decades later. like full offense disney if ashman hadn’t 1) saved your company and 2) provided you with the formula you now attempt to replicate you wouldn’t be here raking in millions in profit with rote imitations of his work 20 yrs later. “why does disney need to have gay characters?” bc the man who gave you your entire childhood and disney the longevity to make ugly remakes of his movies would’ve wanted there to be gay characters and not just gay coded narratives by the year of 2017, THAT’S WHY.
so before anyone tells me i’m exaggerating the importance of howard ashman:
in 1988 disney was in dire straights, hadn’t had a notable box office success since 101 dalmatians in 1961. they’d bled out a significant number of their animators and staff, and by the time they’d begun production on oliver & co. they were fairly directionless and not sure how they’d survive the bankruptcy they were teetering on. they’d been trying for years and years to find a formula for success and hadn’t found it yet, with only a few exceptions here and there.
they also hadn’t done fairytale based musical since sleeping beauty in 1959.
howard ashman and alan menken were right off of the success of little shop of horrors, and when ashman was called in to do a song for oliver & co. he chanced upon the development of the little mermaid and suggested, among other things, that disney return to the musical formatting of their classic princess movies. this time, he suggested they adopt a broadway storytelling style, rather than the operettas their previous musicals emulated. (the primary difference here being that operettas have characters singing passive commentary about circumstances they’re in, whereas broadway calls for every song to be a scene in itself that pushes the story or character development forward.)
broadway turned out to be perfectly suited to animated films because 1) they provided vibrant, memorable numbers that propelled the plot quickly and 2) the best songs were marketable. disney’s financial and critical success in the 1990s– and the ubiquity of their movie’s soundtracks– would attest to this.
so menken and ashman entered the disney creative team and ashman produced and co-wrote the little mermaid, beauty and the beast, and began production on aladdin. ashman died of AIDs, halfway through the production of aladdin. but because he had insisted on bringing in and collaborating with broadway talents, soon stephen schwartz and tim rice entered the picture.
between the four of them, they wrote the music and lyrics for the little mermaid, beauty and the beast, aladdin, the lion king, pocahontas, hunchback, and hercules. it was these core movies and the broadway talents attached to them that defined the disney renaissance, and propelled disney back to the financial and creative glory it hadn’t held since the early 1960s.
disney musicals as we know them were 100% the product of howard ashman’s creative influence and his collaboration with menken. before the little mermaid, there was no single “disney style,” because before ashman they were scrambling for footing and direction. he (and menken) not only provided the skeleton on which all modern disney musicals have been built (princess and the frog, tangled, frozen, moana) but the financial success of the early disney renaissance cemented disney’s position as the media deity it is now.
so what does all this have to do with le fou being gay? howard ashman was a gay jewish man in the early 1990s, fighting AIDs while working in children’s movies with rigid censorship. whatever LGBT content he could incorporate into those films was not much more than metanarrative coding.
back then, disney movies could have been sunk by boycotts and outraged conservatives. nowadays? disney can do whatever the hell they want. disney still produces and promotes pirates of the caribbean as part of their brand’s lineup, which has ALL RANGE of violent and suggestive content, but because it’s heterosexual they know no parents will protest. and yet? in the remake of a movie which was the brainchild and final passion project of a gay man dying of AIDs, they choose a villainous buffoon as their “gay representation.”
MY POINT? howard ashman was the creative force responsible for disney’s return to glory in the 90s AND the one whose vision ensured its tremendous success and growth into the 2000s. the least they owe his legacy is to use the security their company has now–media superpower that it is– and provide the respectful representation he wasn’t allowed to when he was busy saving their asses.
- Disney didn’t kill the EU.
- The EU hasn’t died unless you and everyone else let it die.
- Lucasfilm made the decision to create new stories.
Get to know these facts.
I spent a good minute staring at this trying to work out how Disney could possibly kill the European Union.
disney fucking caused brexit
now that same sex marriage is legal in the US, can we have Disney movies where the hero falls in love with someone of the same sex
*slams fist on table*
LESBIAN DISNEY PRINCESS
CHUBBY DISNEY PRINCESS
GAY PRINCE
THIS IS THE CONTENT IM LOOKING FOR
the signs as disney
- Aries: i only love the old disney. and by old i mean from 1989-1999 not that actual old stuff like snow white or anything.
- Taurus: reclaiming oswald
- Gemini: movies everyone think are disney but aren't
- Cancer: the planes franchise
- Leo: every piece of frozen merchandise in existence
- Virgo: disneyland orlando
- Libra: the princess line up
- Scorpio: the once upon a time tv show CGI department
- Sagittarius: elsa's a QUEEN not a princess
- Capricorn: opening another theme park in Asia
- Aquarius: walt's frozen head
- Pisces: everyone assuming CGI movies are pixar movies
god imagine being a disney channel kid for a few years and then just being set for the rest of your life. you’d never have to work again
is the lifelong lasting shame of being known as “a disney channel kid” really worth it
financial stability is worth anything lawyermorty
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
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.
Someday archeologists are going to dig up Disney World and think that it was some type of bizarre mouse worshipping kingdom.
That’s because it is fucker.