you're gonna make it after all

possible conclusions to be drawn from this:

mrs potts has over 20 children but only actually cares about one of them

there were tons of children in the castle when it was cursed and none of them bar Chip had parents or guardians

the cursed servants, going mad with the isolation, have taken to drawing faces on the actually inanimate objects and treating them like children

I didn’t think it was very realistic in the movie and it turns out, it’s pretty realistic.

you cannot compare an all white cast (plus one black man, John Legend, as the character selling out/diluting jazz–a musical form/style/culture innovated by black people–with pop music influences so Ryan Gosling’s character can clutch his pearls) in a Hollywood movie nominated for an Academy Award to a film with an all black cast nominated for the same award. you just can’t. films with predominately/entirely white casts have historically dominated the Oscars; the fact that three excellent black-focused and black-led films (Moonlight, Fences, and Hidden Figures) were nominated and took home awards IN THE SAME YEAR is of huge significance. 

not only that, but don’t overlook that Moonlight features a gay black man, a bisexual black man, and an Afro-Cuban man as characters in leading roles. (Mahershali Ali is also Muslim–he’s the first Muslim actor to win an Academy Award, ever.) also, as a film set in Liberty City/Miami, many of the characters are also of Caribbean descent. identity is intersectional: Moonlight told a story about a gay, poor, black boy dealing with toxic masculinity, the crack epidemic, and homophobia that ended hopefully and happily; La La Land was yet another masturbatory, white savior-y, trite film about white people in Hollywood.

telling compassionate, nuanced, nourishing, and intimate black stories or stories about black people in a white-dominated field diversifies the box office and award shows alike, and–MOST IMPORTANTLY–gives tons of people without representation a mirror to look into.