GQ Encyclopedia of Matt Damon, his Bourne co-star Julia Stiles begins to tell the story of their encounter with Prince:

Step 2: Declare yourself a pioneer of feminist media, to the enthusiastic agreement of the mainstream entertainment press.

Step 3: Exploit this label as a shield against any and all future criticism.

Like the queen gives birth and oops it’s this adorable little scaley lizard with tiny wings that she can never quite seem to fold right

None of the King’s advisors or doctors can explain it, no one can remember anyone who might have cursed the royal family, plus sire she’s clearly yours still I mean look at those eyes

They just kind of accept it and keep her in a tower so no one tries to slay her

The queen or castle servants reading bedtime stories to the toddler princess, who’s made a nest of her favorite toys and some jewelery she stole off her mother, and when she laughs little puffs of smoke come out of her mouth

The king being so proud when she flies across the room for the first time

And pretty soon she has a dozen girls sharing the tower with her.

Some were being pushed to marry, or promised in marriage to someone they hated. Some were already married.

Some were poor, or hunted, or enslaved.

Some were thrown out, abandoned, banished.

There’s a princess there, yes, one who would rather sit in the solar and read books than marry a boorish prince and interact with her subjects all day.

There’s a wizard-student who fled her university after one of the professors tried to curse her for disagreeing with him.

There’s a girl who ran away to be a knight, and a girl who was thrown out for being pregnant, and a wife who ran out the door with her toddler carried in her broken arms, her belly swollen and unwieldy, and stories circulate from the bar the next day about how the dragon swooped down and stole away a man’s wife.

Probably ate her, he says. Good riddance.

There’s a formerly-wealthy merchant wife, cast out by her husband in middle age so he can wed someone young and pretty.

There’s an elderly grandmother who’s outlived her family and her usefulness.

A street child, rag-clad and starving. A baby, left abandoned on a hillside.

It begins to filter through the land, spoken from fathers to daughter, husbands to wives, employers to servants: if you are bad, the dragon will take you. if you are stubborn, or willful, or refuse to marry, the dragon will find you. if you are useless, or slovenly, or disobedient, you will be thrown out and the dragon will pluck you up in its claws and take you back to its lair filled with bones.

They do not understand that this is not a threat but a promise.

They do not know that the version their servants tell each other, their wives tell their daughters, their mothers tell circles of friends, is “if you are desperate, the dragon will find you. if you want out, the dragon will rescue you. if you pause outside, and tell your fears to the soft beating of wings somewhere in the sky, you will fly, and the dragon will carry you home.”

There are bones, but they are surrounded by living flesh.

The tower, the Princess’s Tower in the central kingdom, is hidden by the finest spells and left alone by longstanding tradition. The nature of the Princess’s curse is a matter of speculation, but most likely, people say, she is under some fairy’s enchantment, and she will sleep for a hundred years until the right prince finds the way in.

The wizard-student was fairly advanced in her studies, and is quite good at teaching the runaway scullery-maid and the young unmarried mother turned out when her belly showed. The gates to the far reaches of the tower grounds open to a hillside two kingdoms away, and to an alleyway in a major city, and to a deep tideswept cave near a fishing village and a harbor, and to a storage room in the oldest wing of the Princess’s home palace.

The rich former merchant’s wife sorts through the dragon’s hoard of gold and gems, and delivers instructions to the runaway postulant and the worn old farm wife; dressed as a young clerk and a common tradesman, they go to call on this merchant who sets the best prices, and that factor who has misplaced goods available for a low price, and this manufacturer of looms and that seller of books.

The farm wife knows the best sheep to buy at market, the ewes who will bear twins and the lambs which will have the finest wool. Another country over, this time in the company of “his” elderly “father,” she buys cows that will give good milk, and chickens that will lay good eggs.

An elderly wizard visits a university, and inquires after their library; she is let in, and watched as she pages through books filled with arcane topics in languages she can’t understand; back at the tower, the wizard girl and her students capture the pages in a scrying crystal.

A pretty young fishwife smiles at the vegetable-seller as her daughter clings to her skirts, and soon the girls and women of the tower have seeds to plant. Looms hum, and dyestuffs are boiled, and even the poorest in their former lives wear bright dresses, or breeches and tunics if they prefer.

The dragon brings back a pirate woman from the harbor, stolen from the hangman’s noose while the crowd cheers; she knows where there is treasure stored, and soon the young girls have gems to play with, and the girl who ran away to be a knight has someone to learn proper swordwork from.

The little girl whose first flight was in her mother’s broken arms wants to be a blacksmith; when a swordblade breaks, the dragon breathes on it, as long as needed, while the child determinedly hammers it back together.