She’s Berries, Baby

#I hope they feel like Italian today

When life gets you down do you wanna know what you’ve gotta do? Just keep swimming. Just keep swimming. Just keep swimming, swimming.

The Santa Clauses (2022) Teaser (x)

TREASURE PLANET (2002) dir. Ron Clements, John Musker

I have no caption for this.

The snow glows white on the mountain tonight. For the sake of your health, please remain indoors.

I just can’t

You made me think of that sentence in his words and now I cannot unhear it.

I simply cannot feel sorry for multi-millionaire Scarlett Johansson only earning $20 million instead of $30 million or what the fuck ever because Disney recognised that large parts of the world still can't safely go to the cinema on account of the deadly pandemic and released Black Widow on Disney+ at the same time as in theatres. But then I also support anyone suing Disney for any reason, so you see my dilemma

The case isn’t really about Scarlett Johansson. It’s about setting precedent for the way actors are paid when content is released on screening services going forward, and Scarlett Johansson is pretty unique in her position of both having a valid case for breach of contract and having a large enough platform, following and wealth that suing Disney won’t completely destroy her and her career.

She offered to renegotiate her contract at the point the decision to release on Disney+ was made, and Disney refused, that is what lead to the case.

The overwhelming majority of actors, even actor’s working for Disney are not millionaires, I know that because I am a jobbing actor, and I earn less in a year then either of my siblings, both of whom have office jobs.

When you get a film or television job, in addition to what you’re paid at the time you also get something that in the UK is called royalty fees, and in the US is called residuals. This occurs when the show or film is shown or licensed on another channel or network, almost always for a set period of time, although Netflix has started buying the rights to small indie films outright.

Royalty checks can be hilariously small. A friend I trained with once got one for £2.07 because their show had just been licensed to be shown on a Thai TV network, but more often they are a lifeline for actors. Most actors work minimum wage jobs in between acting gigs, and when you also have the cost of Headshots, Self Tape equipment, travel to auditions and lost wages whenever you have to take time off to prep and travel to auditions, you understand why equity wages are so high for individual jobs, because that one episode in a soap you got paid £800-£1200 for (minus 10-20% for your agent), could be your wage for 2 months and you would be considered a fairly successful working actor, even if it was your only acting job in that time period.

The case isn’t about a multimillionaire quibbling over how many millions she is being paid, although it’s likely that had Black Widow had a prepandemic release Scarlett Johansson would have been paid closer to 200 million than the 20 million she is being paid. Although Disney is pushing that angle hard so I fully understand why you’ve fallen into their propaganda trap. It is one of the very few opportunities for actors, screenwriters, cinematographers, directors, and all the other hundreds of creatives involved in the filmmaking process to challenge some of the status quo with streaming services and really ask questions about how royalties will work in the future.

There is a reason that the unions are backing the case and that’s because the other way around, breach of contract is a huge deal, there can be penalties of hundreds of thousands of dollars for contract breaches, often on jobs where you are paid a fraction of that, and believe me, Netflix, Disney, Amazon, Universal all persue those payments, and in certain circumstances even go out of their way to blacklist the artist.

If breach of contract is a big deal when actors and other creatives do it, it should be just as big a deal when studios do it, but it isn’t because Capitalism is rarely about rewarding artists and all about bottom line profit.

This case has the potential to really change things and help millions of ordinary, jobbing actors and creatives. I am 100% on Scarlett Johansson’s side with this and any reasonable person who cares about the well-being of artists should be too.

^^^^^^^^ this. this right here

A true hero isn’t measured by the size of his strength, but by the strength of his heart.

Every gesture, every move that she makes, makes me feel like never before. Why do I have this growing need to be beside her? ↳ TARZAN (1999) dir. Chris Buck, Kevin Lima

DISNEY + TRIVIA

SLEEPING BEAUTY (1959) BEAUTY AND THE BEAST (1991) TREASURE PLANET (2002) FROZEN (2013) THE HUNCHBACK OF NOTRE DAME (1996) HERCULES (1997) MOANA (2016) MULAN (1998) OLIVER & COMPANY (1988) ATLANTIS: THE LOST EMPIRE (2001)

Cinderella (2015) dir. Kenneth Branagh

It’s not so bad. Others have it worse, I’m sure. Cinderella (2015) dir. Kenneth Branagh

So finally done with my 1674830th watching of Rodgers and Hammerstein’s Cinderella (dir. Robert Iscove, 1997) and I have some FEELINGS about the color choices they made in this film and how it helped get across their central message.

This is a long one, so bear with me.

We first meet Cinderella in the village, which is BURSTING with color from the walls of the shops to the clothes of the villagers to the boxes Cinderella is holding.

Cinderella herself, though, almost stands out in the village in her browns and muted reds.

During “The Sweetest Sounds,” we see that the prince is also wearing those exact same colors during his “undercover” excursion into the village. They both are feeling trapped and are trying to blend in and settle for being someone they’re not, just in different ways.

Cinderella’s stepfamily, on the other hand, are wearing very brightly colored outfits. And when they get back from the village, we see that they live in a similarly brightly colored house. There’s brightly colored tiles on the walls of the stairs, all the furniture is brightly colored, there’s flowers and baubles and colorful feathers everywhere.

But during “In My Own Little Corner,” we see that the kitchen, where Cinderella spends most of her time and is most comfortable, is mainly browns and some muted reds. There’s a few greens spotted here and there in a fruit bowl and things like that, but you have to look for them. And Cinderella herself dresses in effectively the same colors, browns and muted reds/pinks. So she disappears into her kitchen haven but she stands out like a sore thumb in the brightly colorful areas of the rest of the house.

The palace meanwhile, is also colorful, though it tends more towards purple and rich dark reds to signify their royalty. The Prince will dress in purples to match his parents and be who they want him to be, despite how stifling he finds it.

The kitchen gains more colors during the reprise of “In My Own Little Corner” when Cinderella is once again attempting to retreat to her little haven where she pretends her life is tolerable, but her dreams of entering the real world and actually being able to be herself kept intruding on her. There’s even blue light coming in from outside when before the light was more yellow/orange, probably indicating the outside help of the Fairy Godmother that’s about to appear.

And of course, she only gets her beautiful blue ballgown after she decides to actually accept her godmother’s help and go to the ball. She moves from the brown kitchen to the colorful outside, proving she’s making the choice to go against orders and do something about what she wants. Her brown and red clothes are literally magicked away and turned into a resplendent colorful dress while surrounded by colorful flowers and the front of the house.

During the ball scene, the Prince is immediately recognizable in a white top, signifying how out of place and uncomfortable he is amongst a sea of blue and purple, people indistinguishable from each other, both to him and the audience.

The stepsisters clash with the Prince in their neon green and pink gowns, but Cinderella compliments him with her light blue gown, immediately matching the very subtle light blue vest he has on underneath his jacket. Cinderella and the Prince are able to stand out from the crowd and be themselves while still being PART of the ball. The stepsisters by contrast are playing a part their mother has told them to play and disrupt the entire ball to the point that when Cinderella arrives, several people have fallen to the floor in the commotion.

After the clock strikes midnight and Cinderella and the Prince are separated, we get THIS:

Warm and cold tones highlighting their differences. Cinderella is back in her browns, back to feeling like she has to hide herself away and can’t fit in, can’t find love or belonging. Her transformation into confidence was only temporary, she doesn’t truly believe yet fully that she can have what she wants. The Prince, however, is 100% there. He’s fully invested in Cinderella and finding love, he’s got the confidence now to go after what he wants, to be the kind of Prince HE wants to be and that starts with finding the woman of his dreams.

During “A Lovely Night” Cinderella, for the first time we’ve seen, tries to fit into the colorful house with her stepfamily, utilizing what’s left of her courage and confidence from earlier. And she nearly succeeds, but she’s still always in her brown rags, she never truly belongs with them, no matter how much she tries to keep convincing herself she does, no matter how hard she tries to honor her last promise to her father to stay together as a family, she does not belong there and never will.

She always gets overshadowed by her stepsisters and her stepmother. And after she’s shot down once again by her stepmother, she goes to her haven, where her stepsisters’ things are waiting for her to put away, the only spots of color in the room except for some blue light coming from the window. She immediately turns around and goes outside, to the world of color and possibilities, to finally say that she knows she deserves better and deserves to be loved and so she can’t stay here the way she promised her father. She doesn’t have any hope of being able to be with the Prince, but she’s gotten to the first step towards freedom.

Back at the palace, the Prince is now FULL of color, but instead of a bunch of purples and dark reds like his parents wear, he’s got a bright blue coat on.

He’s embracing his responsibility and his destiny, no longer pretending to be someone he’s not, but he’s also going to do it HIS way. He won’t settle for a half life.

And, of course, at the end, when Cinderella and the Prince are dressed all in white for their wedding day, everyone else dresses in white to match THEM, and the stepfamily is still dressed in full bright colors and now THEY’RE the ones who don’t fit in.

The color schemes in the film are leading us towards the message of the film that you can’t truly get what you want from the world until you actively go after it instead of just dreaming about it and accept who you are instead of trying to settle for being who someone else wants you to be.

Just thought it was both a visually and mentally beautiful message.

Ratatouille (2007) dir. Brad Bird

Nani Pelekai in Lilo & Stitch (2002) dir. Chris Sanders, Dean DeBlois

phineas and ferb quarantine episode where candace is convinced that this time her mom will see what the boys are doing because nobody can even leave the house but somehow linda is always in the wrong room

AAH, PERRY the PLATYPUS! I suppose you’re wondering about my evil plan. Well, you see, when I was a child in Gimulshtump, I was quarantined for several months, 

phineas: we turned ourselves into holograms so that we can still hang out with our friends while social distancing. later candace! *he and ferb fade out of view* 

candace: mOoOoOoOoOoOoOoOoOoOoM!!!!!!!!! 

Okay, but the thing with Perry and Doof becomes a lot funnier when you remember that Perry, being a platypus, is immune to the virus.

So imagine Doof monologuing over Zoom, secure in the knowledge that Perry the Platypus can’t possibly thwart him over a video call, when Perry disappears from the frame. As he ponders where his nemesis could have gone, Perry plummets onto Doof’s balcony and socks him one in the jaw.

Doof: What?! Perry the Platypus?! What are you doing? You shouldn’t be out here! There’s a quarantine going on, in case you haven’t noticed!

Perry: *platypus noise*

Doof: Oh, right, you’re a platypus, and this is a human virus, so… You know, I don’t really know how I forgot that.

Perry makes sure to do a full decontamination on his way home, to make sure Phineas and Ferb don’t get any potential virus particles on them after petting him and picking him up.

at one point while doof and perry are fighting doof goes “wait! i forget to put on my mask” and perry stops punching him to let him put on his mask then they just go back to fightung

I see this and I raise you Perry and Doof fighting six feet apart to adhere to proper social distancing rules. Perry has a mask over his bill.