Please, please, you guys, Iâm begging you to actually WATCH the original Snow White and the Seven Dwarfs.
WATCH.
THE.
MOVIE.
Because the Prince kissing Snow White is, to me, one of the most heartbreaking scenes in Disney history.
And hereâs why.
First of all, the Prince is clearly close to Snow Whiteâs age. He is both drawn and voiced as very youthful. He looks and sounds about 16 or 17, at the oldest. He is NOT a âpredatorâ. Heâs a boy who loves a girl, like in any good fairy tale.
Secondly, the Prince meets Snow White early in the movie. Sheâs NOT a complete stranger to him at the end. And their first meeting is significant. The Evil Queen makes a big deal out of Snow Whiteâs looks, being âthe fairest of allâ, etc. But the Prince is first drawn to Snow Whiteâs VOICE. Heâs captivated by her singing and her kindness to the birds. He sees beyond her looks. He sees past the rags she wears and recognizes that this is a good person, a beautiful person on the inside. Then when sheâs startled by him, heâs very polite and soft-spoken, apologizing for frightening her. Heâs a total gentleman. Then he serenades her, letting her know how much he admires her. (Words that she has NEVER heard from ANYONE else in her life, by the way.) Then he even smiles at and is kissed by a dove that lands on his finger, hinting he has a connection with animals somewhat like hers.
And then thereâs a fade to black. So we actually donât know if she came out again, if they talked for a while. Maybe they didnât, but maybe they did. The film doesnât clearly tell us one way or another. But there is a possibility that they did get to know each other a little there. And if they didnât, something is still beginning between them. They share warm smiles and affectionate looks. They both feel it, and they both hope to pursue it.
Then Snow White finds out her stepmom wants her dead and has to run away. Which means the Prince noticed her absence.
And the narrative text later tells us that he âsearched far and wideâ for her after she disappeared. (This guy walked so Fiyero could run, letâs be real.) Imagine the person youâve been thinking about, hoping to get to know, wondering if they may be the one, suddenly vanished without a trace. And sheâs the Princess of your neighboring kingdom. And then the Queen of the same kingdom also suddenly disappears. Wouldnât you be alarmed? Thereâs a chance the huntsman may have gone to the Princeâs kingdom for help, and warned him of the Queenâs horrible actions. Thereâs also a chance that the Queen already had a bad reputation in the area, and the disappearances were a confirmation of what was already suspected. So the Prince nobly tries to find out what happened to his newfound love, worried about her safety. Snow White sings about her hope that she will see him again and tells the dwarfs about him ⊠but the full truth of the situation is that heâs been thinking about her too. Itâs a mutual young first love, pure and innocent.
Then the Prince FINALLY finds his beloved⊠in a coffin. After a âfar and wideâ search, there she is, apparently DEAD! All his hopes and wishes for a possible relationship with her are dashed. A 17-year-old who once dreamed of reuniting with his first love has just found her dead. He knows absolutely nothing about the poisoned appleâs spell or its cure. He doesnât know a kiss will save her. He thinks sheâs gone. Forever. All he knows is that he has found the girl he loves too late, and he couldnât help her, despite all his searching. So, he kisses her goodbye. He kisses her as an apology, a sign of regret for lost dreams, a chance that he seems to have been denied. A 2-second touch of her lips to show his devotion. Then he bows his head and grieves.
This moment demonstrates than in him, Snow White has found the genuine love sheâs been yearning for. While her stepmother tried multiple times to murder her, now she has someone who genuinely values her, so much so that he searched everywhere to find her when she went missing. Who was so heartbroken and crushed at the notion that she was gone forever that he gave her what he thought was a goodbye kiss, his one and only way of showing what she meant to him before he became haunted by the ghost of her memory, of his failure, of his lost chance at love.
This is a deeply and tragically romantic moment that has sadly been widely misunderstood. Do not slander Prince Florian! He doesnât deserve it!
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Beyond the Pedestal and the Pyre: How Disney's Darkest "Love Square" Teaches Us True Autonomy
Let's talk about the absolute exhaustion of the modern shipping wars. We have all seen itâwhether itâs the boundary-crossing whiplash of Miraculous Ladybug or the painful, persistent tracking in TMNT 2012, modern television loves to reduce romance to a chaotic arena where characters fight like wild animals over a love interest. It strips away character agency, breeds toxic entitlement, and quite frankly, makes me want to turn off the screen entirely.
But once in a generation, a narrative comes along that completely subverts our expectations. It uses a tangled web of desire not for cheap romantic drama, but to deliver a profound, masterfully written commentary on human nature. We saw glimpses of this maturity when The Legend of Korra subverted early love triangles to forge deep, foundational partnerships. But the undisputed blueprint for this storytelling device remains 1996âs dark Disney masterpiece: The Hunchback of Notre Dame.
Through what can only be described as a thematic "Love Square," this film dissects the stark, terrifying boundaries between Infatuation, Lust, and Genuine Love.
At the absolute center of this narrative web stands Esmeraldaâthe film's brilliant deuteragonist and a fierce Romani dancer. In lesser hands, a character described as universally desirable would be reduced to mere fanservice, a bland prize to be won, or a tool for the male gaze. But Disney gave us a powerhouse. Esmeralda drives the moral compass of the entire film through her razor-sharp wit, bottomless compassion, and absolute selflessness. She isn't wandering around waiting to be saved; she is actively fighting a system of corrupt authority to secure justice and freedom for her marginalized community.
To understand how her presence dismantles traditional romantic tropes, we have to look at the three radically different vectors of desire surrounding her.
1. Quasimodo: The Trap of Holy Infatuation
Quasimodo's attraction to Esmeralda is completely natural, but it comes from a place of deep psychological scarcity. Sheltered, isolated, and continuously abused by a tyrannical father figure who told him he was a monster, Esmeralda is the very first person to look at his face with genuine kindness, patience, and respect.
Naturally, he falls fast. But in his beautiful ballad "Heaven's Light," we see the hidden trap of his affection: he completely deifies her. He views her as a flawless, untouchable angel. While it is completely normal to develop a crush when someone shows you warmth, putting women on a holy pedestal is inherently unhealthy. It denies them their humanity, their flaws, and their reality.
Quasimodo has a heart of pure gold, but he isnât emotionally ready for a romantic partnershipâhe needs to discover his own identity outside of his stone tower first. The beauty of his character is that when he discovers Esmeralda loves someone else, he completely subverts the toxic "Nice Guy" trope. He doesn't get bitter. He doesn't get possessive. He chooses radical, platonic allyship, remaining her protector and celebrating her happiness with the man she chose.
2. Claude Frollo: The Incel Logic of Holy Lust
On the absolute opposite end of the spectrum sits Judge Claude Frolloâthe definition of a predatory, narcissistic abuser. Frolloâs obsession with Esmeralda is a toxic cocktail of systemic racism and violent sexual projection. He spent decades trying to ethnically cleanse her people, but the moment he sees her command the stage at the Festival of Fools, his rigid, self-righteous worldview shatters.
Because he cannot handle his own lack of discipline, he projects his sin onto her body. To Frollo, she isnât a human being; she is a witch, a temptress, and a sexual object that must be conquered, dominated, and put in her place. The sheer visceral horror of him sneaking up behind her to sniff her hair and grope her neck remains one of the most chilling depictions of sexual harassment in animation history.
Frollo's entire psychology is built on modern incel logic: he blames the victim for his own desire. In his mind, itâs not his fault that heâs a predator. Itâs not his fault heâs a stalker. It is always "Esmeralda's fault" for just existing and breathing. His legendary villain anthem "Hellfire" is a terrifying manifesto of patriarchal entitlement. When she escapes, his bruised ego burns down half of Paris, leading to the unlawful imprisonment and off-screen murder of countless innocent citizens. His ultimatum at the pyreâ"choose me or burn"âproves that predatory lust would rather destroy a woman completely than allow her to possess her own bodily autonomy. Her spitting in his face is the ultimate rejection of his entire oppressive system.
3. Phoebus: The Clarity of Genuine Love
Finally, we have Captain Phoebusâthe green flag that anchors the narrative. What sets Phoebus apart from both Quasimodo's deification and Frollo's objectification is that Phoebus sees Esmeralda as an equal.
He doesn't look at her and see an angel or a witch; he sees a brave, sharp-witted, soulful, and brilliantly confident woman. He respects her combat skills, listens to her political ideals, and is willing to throw away his entire military career and risk execution to protect her people. His love isn't built on what Esmeralda can do for his ego; it's built on a mutual, grounded respect for who she fundamentally is as a person.
The Ultimate Takeaway
Disney's "Love Square" is a timeless blueprint for media literacy. It teaches us the profound difference between loving an idea of a person and loving a real person. It reminds us that true love can expand far beyond romanceâmanifesting as the beautiful, platonic, chosen family that Quasimodo, Phoebus, and Esmeralda build together at the film's conclusion.
Most importantly, it delivers an uncompromising message on consent and autonomy: You are never, under any circumstances, entitled to someone else's body just because you are attracted to them. You don't get to manipulate, harass, or burn down the world because your feelings aren't reciprocated. True love values the safety, choice, and freedom of the other person above all else.
A Deep Dive Into Disneyâs Most Underperforming Princess
Princess Aurora canât even be described as controversial. To most, sheâs simply boring, too passive, and a continuation of the bland cycle of white princesses who wait around for magic or a prince to save them. Although no one hates her, they find her irritating at the worst, uninteresting at best. In the fifties, they must have thought the same thing. Sleeping Beauty was a commercial failure, and led to company wide annual loss. Sleeping Beauty had followed several other financial flops, such as Bambi and Alice in Wonderland, the latter costing Disney around half a million dollars. Due to her lack of popularity, Aurora may be one of the most neglected Princesses. Many cling to her out of nostalgia, or because she has a nice design, and they find it hard to defend their love for the movie. But the movieâs turbulent history and the amount of detail that went into Aurora herself is what really makes her so incredibly fascinating.
Starting with her design, Disney hired Marc Davis as the supervising animator for Aurora. He also animated Maleficent. The intention was for them to be realistic enough to be placed against the heavily detailed backgrounds of the movie. Davis had embraced this artistic direction, while many of the animators found it, and especially Aurora, laborious and tiring to work on. Both Maleficent and Aurora had to be refined and dynamic. Davis was Disneyâs go-to animator for âpretty girlsâ, examples being Tinkerbell and Alice. His knowledge of anatomy and the human body brought both Aurora and Cinderella to life, two of Disneyâs most visually iconic characters. Davis had also incorporated Art Nouveau and Art Deco into Auroraâs design, while the tapestry-like art style of the movie was chosen by Eyvind Earle, who was inspired by pre-Renaissance European art. The score and songs were based on Tchaikovskyâs ballet.
Aurora alone required more effort and attention to detail than any princess before her. It took Walt Disney and his team three years to choose a voice actress. They nearly scrapped the project until they discovered Mary Costa, but Disney himself avoided interacting with her in person early on in the project, fearing that sheâd influence his vision of the movie.
Aurora was loosely based on her voice actress. Her appearance and her habits (such as gesturing when speaking and singing) were both incorporated into Auroraâs animation. She was also drawn to resemble both her live action model, the same one as Cinderellaâs, Helene Stanley, and actress Audrey Hepburn. Davis took inspiration from Audrey Hepburnâs slender physique and elegant demeanour.
In the book Multiculturalism and the Mouse: Race and Sex in Disney Entertainment, author Douglas Brode referred to Aurora as âa model of modern (50âs) female glamourâ and compared her to Brigitte Bardot. He also compared her gown to the work of Christian Dior.
As a character, she was described by Nerve as being âthe apex of women who made no choices for themselves.â Aurora is a member of the âGolden Eraâ of Disney heroines, the original Princess trifecta. Her dreams are the same as those before her. But itâs possible that Auroraâs dreams of true love derived from the need for companionship outside of her three fairy godmothers.
On their website, Disney describes her as, âgraceful and kind. She knows that a wonderful future awaits, if you just have the courage to dream it. Aurora enjoys using her imagination and sharing stories with her forest friends. She is also loyal in her relationships -- to her animal friends, her fairies, and her kingdom. Aurora believes in a wish and remains hopeful that she will find the adventure she is looking for.â
Walt Disney himself described Aurora as being âa very layered character/different. Sheâs calm, yet playful. She has a sense of humour, and she has an imagination.â We can not argue that she was considered layered through the lens of the fifties, because many critics disliked all three of the original princesses for their passive personality, or lack thereof. But from the perspective of the team working on the show, they saw much more to her.
This was the film that Walt Disney worked his hardest on, it took ten years to complete. It was also the very last Princess film he was involved in. Her âlayersâ were very much intentional. Disney tried to do the same thing with Cinderella.
With Cinderella, they attempted to make her less passive than Snow White, and they showed this through her rebelling against her abusive stepfamily. Maurice Rapf said, "My thinking was you can't have somebody who comes in and changes everything for you. It can't be delivered for you on a platter. You've got to earn it. So in my version, the Fairy Godmother said, 'It's okay till midnight but from then on it's up to you.' I made her earn it, and what she had to do to achieve it was to rebel against her stepmother and stepsisters, to stop being a slave in her own home. So I had a scene where they're ordering her around and she throws the stuff back at them. She revolts, so they lock her up in the attic. I don't think anyone took (my idea) very seriously."
The toned down version of Cinderella, although rebellious in her own way, is still toned down. That part of her character was written out. In comparison to what she would have been, she is passive. Aurora and Cinderella are both less passive than their predecessors, but passive nonetheless. All three of them are the staple damsels in distress.
However, Mary Costa described Aurora as âvery strongâ, citing her urge to defy her guardians as a display of independence and an example of her strength. Aurora was raised by three women, and had never met a man in her life. Costa believed that because of this, she was âinnately romanticâ as opposed to lonely or depressed with her sheltered life. To quote, âthere was a certain part of her that maybe she didnât realise, that was just so romantic and maybe expecting something thatâshe didnât even know what.â
She believed that her being raised by three older women rather than her parents made her âa little bit older, and yet, sheâŠhad this young, outreaching spirit.â Author Douglas Brode points out that the fairiesâ independent raising of Aurora mirrors âprecisely that sort of womenâs commune numerous feminists experimented with throughout the seventies.â Aurora living in an isolated, female-only space, with female authority, is reminiscent of the bold and liberating radical feminist movement. In her own way, as a peasant, she was independent. And that independence and autonomy was taken from her upon discovering that she was royalty and betrothed to a prince. She was leaving her home and the presumed man of her dreams behind, and not of her own free will.
Aurora had enjoyed her simple life, it had fulfilled her, even if she desired more. She had dreams of finding romantic love, which she talks about in the movieâs song âI Wonderâ. Additionally, her close relationship with animals demonstrates her loving and kind personality. She has a whimsical imagination, and itâs scenes like the ones from Disneyâs Enchanted Tales series and âOnce Upon a Dreamâ, that would support Costaâs claim of her being a romantic. Where sheâs changing in and out of pretty gowns with a magical wand, and giggling to herself. Or dancing happily with the forest animals, thinking about her imaginary prince. In âKeys to the Kingdomâ, she proudly sings about wishing to make decisions with her heart.
Her independence is demonstrated on multiple occasions in Disneyâs discontinued Enchanted Tales: Follow Your Dreams. Aurora graciously accepts responsibility of her kingdom while both her and Philipâs parents travel away for a business trip. All on her own, she is determined to get all of her Princess duties finished on time, the hard way. She refuses to take the easy way out, time and time again, even when she doubts herself. She works harder than even her father, who would take the easy way out by signing royal documents without reading them. Even when Meriwether gives her a magic wand to help her out, she reads and fills out every royal form diligently, and helps out all of her subjects. She manages to complete her tasks on time and throw a banquet for her family and Philip by the time they return. The lesson here is to âstick to itâ and to âpersevereâ. But her insistence on doing everything on her own is shown once again in A Kingdom of Kindness, where she must plan a surprise party for Philip. The three fairies attempt to help her, but she continues to tell them that she wants to do it on her own. This series was cancelled, and it is difficult to find any clips of it online. But this short-series gives us some insight into Auroraâs character.
She is assumed to be the protagonist by most, but many consider the three fairies to be the protagonists. They help move the story along, they protect Aurora, and they have distinct, in-your-face personalities. Many consider Aurora authentic, or the title character, but whether she is the protagonist or not has never been agreed upon. Her lack of role in the story has been criticized by many. But some take it as an allegory for the lack of control
The most lengthy debate surrounding Aurora has to do with how feminist her character is. She may have been an improvement from the previous princesses, but she is not regarded as a particularly feminist character.
The three original princesses, all being pale-skinned European princesses with a naive and endlessly forgiving (an unrealistic standard), sends a message to their viewers that this is what princesses should look like, how they should behave. All three classic princesses are deeply intertwined with Disneyâs long history of racism and bigotry. In an attempt to amend this, Disney has released back to back live action remakes of their movies, all receiving mixed reviews. Maleficent was Sleeping Beautyâs remake, focused on a maternal relationship between Maleficent and Aurora. Many people interpreted the scene where Maleficentâs wings get cut off in her sleep as sexual assault. This inclusion made many survivors of sexual assault feel represented by the character.
From my perspective, the original Sleeping Beauty is technically a movie centred around women. A teenage girl lives with her three surrogate mothers, who end up saving her in the end from the female antagonist. Although Prince Philipâs role in the story is still a large part of what moves the plot along. It is Philip who is captured, as Maleficent knew that he would go looking for her. He courted Aurora, defeated Maleficent with the help of the three fairies, and kissed the princess awake. But he still doesnât get as large of a role, or nearly as much screen time, as the three fairies.
In short, both the movie and the princess fascinate me. And although there is depth if you squint, a character does not need to be fleshed out to be lovable, or at least endearing. Aurora is my favourite Disney Princess, and I find the history behind her and the film to be more interesting than what meets the eye.
I love the comments and defense of the original Snow White but some people are not taking the defensive position that I would take, all things considered.
I mean, asking the question âsince when is it bad to wish for love?â is one thing, but then sometimes people follow it up with, âand thatâs not all she wanted! Thatâs not her main goal!â
Okay I appreciate you but yes it was. Letâs just call it like it is. And then donât back down. Hear me out.
The first thing you learn about Snow-White is from that pretty opening-fairy-tale-book page, where it points out two characters: the wicked and vain stepmother who is afraid of Snow White and dresses her in rags to cover up her beauty, and uses her as a scullery maidâand Snow White herself, who isâŠwell, used as a scullery maid.
Treated as a servant, and actively hated by the only family she has. And sheâs a child. She hasnât been alive very long to experience anything other than hatred and jealousy toward herself.
Sheâs even talking to birds, and the fact that theyâre clustered around her from beginning to end of that opening scene indicates that theyâre very comfortable with her and she talks to them all the timeâbecause theyâre the only positive interaction she gets to have.
Thatâs the situation that Snow White is in. But the first thing you learn about who she is and what she wants comes when she wishes in the well. And whatâs she wishing for?
Love. The one she loves. A specific, male figure, who will say nice things to her and find her. She wants him to come quick. Why?
How silly. How vapid and shallow of her. How weak and one-dimensional. Please, goodness, canât someone update her to have some depth?
NO.
She is a young woman who is not given any love and is treated like a horrible nuisance who must be covered up in dirt and rags. She has no friends except birds, who canât talk back. She is actively hated by the closest person to her.
Itâs a miracle she even knows the word âloveâ and has the strength of character to believe in it after the situation sheâs grown up in.
The song very specifically says âIâm wishingâŠfor the one I loveâŠto find meâŠtoday. Iâm hopingâŠand Iâm dreaming ofâŠthe nice thingsâŠheâll say.â
She wants to be loved because she isnât loved. Geez, she wants someone to say nice things to her. She wants to give her own love because she doesnât have anything but courtyard doves to befriend. Of course itâs her goal. Of course itâs her wish. What wish or goal could be higher? And what wish or goal could be more natural for a character in her situation?
And even more than that, what could be stronger than believing that it will happen? This character whoâs been unloved and mistreated by everyone takes a Prince at his word when he says heâll give her that love. He promises it, and she believes him.
She has every opportunity and right to be bitter, hardened, anti-social, self-absorbed (pre-Huntsman and Dwarfs, she could very easily believe that nobody else is going to watch out for her except herself) and jaded. But instead she has this pure faith, which it takes a lot to maintain when everything has been ripped away from you. She couldâve been totally swamped by doubt and bitterness.
I mean, she could worry that the Prince wonât be able to convince her Stepmother to let him marry her.
Then when she gets chased into the woods for her life, she could fret that the Prince wouldnât know how to find her.
Heck, she could just forget about him, give up, and say, âthis is my life now, Iâm living with these seven dwarfs and weâll take care of each other, I guess thatâs the most I can hope for.â
But no. She has faith in his promise, and hangs on to her dream, and sings, with total assurance, âSomeday My Prince Will Come.â I mean, she wonât even let a moment of panic in the woods go by without reprimanding herself for losing that faith, for a second.
Can any of you say the same? Can any of you imagine being that kind of person: the kind of person who unashamedly wants to love and be loved in return, and when everything is stripped away and every chance at that taken from you, you hang on and believe anyway? You stay positive and even joyful anyway? For love?
Come on. Defend that. Yes, her goal was âjustâ to be loved. And to love in return. The fear of having her life taken from her, the necessity (not the desire for) freedoms from that, was just an obstacle in the way of being loved. And this isnât a movie about Snow Whiteâs natural reaction to abuse. Itâs about her strength of faith in love in SPITE of that abuse. The spotlight is on her strength, not her weakness, but itâs strength of faith in love.
Anyway.
If you believe that itâs good and fine for a girlâs whole goal and fondest dream is to be loved, then donât stand with one foot in that camp and another in the camp that says âgirls want more than just love.â No, what? Love is the best thing a girl can want. Iâm not talking about âromance.â Iâm not talking about sex. Iâm talking about pure, self-sacrificial, kind love. Itâs the best thing they can want, and Snow White is one of the only characters who does want it unashamedly, uncomplicated.
Just defend that. Donât try to argue that the âSomeday My Prince Will Comeâ Princess isnât wholeheartedly after love. Makes it look like you donât believe thatâs as wonderful as it is.
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There are a million reasons why Turboâs reveal in Disneyâs Wreck-it Ralph is such an iconic and memorable scene. A scene that I and many others have replayed ever since 2012 and its impact has never left our minds. It solidified King Candy/Turbo as one of Disney's top villains ever created, surprising and shocking viewers with a plot twist that Disney hasnât been able to overthrow with their other movies before they abandoned villains until King Magnifico but he sucks so. He WISHES he was as charismatic as King Candy plz-
But this analysis isnât just about King Candy/Turbo, itâs also about Vanellope Von Schweetz. Sheâs the most important ingredient to making this scene work and play out the way it does and ultimately why itâs so fucking cathartic. ( More so than Ralphâs fight against Cy-Bug Turbo in my opinion) After watching how it was originally story boarded, the crew behind WiR perfected this scene with a specific detail that they changed. In the early storyboard, Vanellope causes King Candyâs vehicle to crash, causing him to glitch and transform into Turbo in front of the cameras. While I love love love the extended race between Vanellope and King Candy and sort of wished it could have been longer in the actual film, I am content that they didnât go with the direction. In the movie, King Candy is revealed after trying to beat/kill Vanellope with his horn rod/pole thingy from his kart, she grabs it and glitches due to stress/adrenaline/her emotions, her blue glitch traveling through the cane and making contact with King Candy, finally putting down the facade he had on for 15 years and revealing him as Turbo to the characters in the film and the audience. Itâs such a small detail, it only happens in a second, but itâs all it took for the start of his downfall and his eventual demise.Â
And this is why it brings me catharsis every time I watch this scene. I could never put it into words before, but itâs beyond satisfying that the end of King Candyâs horrible reign starts with Vanellope and her glitch. The very same glitch that he caused trying to delete her code and remove her place from the game. The glitch that he used as an excuse to turn everyone in Sugar Rush against her. He usurped her throne and tried to ruin her life. Despite this, he still had the audacity to shout âGet off of MY track!â earlier. It brings his Roadblasters incident back up, it was his choice, trying to steal the thunder of another racing game that just got plugged in because he couldnât stand the idea of anyone taking his place, only for Turbo Time and Roadblasters to be unplugged. All of this circling back and biting him in the ass. Vanellope was the key all along and he knew it, he feared her despite never really having a conversation with her as far as we know (Vanellope asking Turbo âWhat the-?! Who are you!?â leads me to believe that if they did converse in the past, it was not in his true form and he was most likely already King Candy. Plus it just goes to show how fast he hijacked Sugar Rush), but you can just tell by how desperate he was to keep her from racing, he didnât want anyone to take his place ever again.Â
So the scene continues and his famous line and breakdown goes as this: âIâm Turbo! The greatest racer ever! And I did not reprogram this world to let YOU and that halitosis riddled warthog TAKE IT AWAY FROM ME!â Itâs just so ironic, unfair and hypocritical of him it makes my blood boil! And the way heâs raising his voice, jabbing his finger at her and Vanellopeâs trying to shrink away from him as he yells at her face before he tries to murder her I just- So cruel, scary, wicked and disturbing! But Vanellope, this brave WARRIOR, is reminded of her glitch after Turbo calls her for what he believes is the last time. âEnd of the line, Glitch!â She takes a moment, everything slows down around her as she tries to control her glitch to escape Turbo. She glitches away, missing the wall and It ends up saving her life! I just cannot stress enough how beautiful that is! She used her disability, that everyone thought would simply doom her and the game, and embraced it when she needed it most. Her glitch, while it was suddenly given to her by circumstances she couldnât control or prevent, she took control back. Itâs her beautiful superpower and itâs empowering. After this scene, itâs the âendâ of Turbo before he gets nomâd by a Cy-Bug. ( I want to note that he later says âIâm the most powerful VIRUS in the arcadeâ, part of me wants to believe he said that because clearly Vanellope bested him as the greatest racer ever but I doubt that was their intention lol)
Theyâre the embodiment of Selfishness vs. Selflessness. While Vanellope had everything taken away from her, she didnât follow the same path as him. Turbo had everything taken from him, but it was his fault and he only ever thought about himself, never about the destruction he left behind. Hell, all she ever wanted was to be one of the racers, no matter how much they bullied her and ostracized her, she never ended up being evil like him even though it would be a perfect recipe to become a villain, this is also what makes her a mirror to Ralph. (Remember in that one deleted scene where she said she wanted to break the racersâ legs but come on can you blame her!?!?! She was so real for saying that.) VANELLOPE IS MY FAVORITE CHARACTER EVER AAAA.Â
Before I ramble any further, I will forever love the choices that the writers made for the climax and it just ends up being an absolutely perfect and brilliant scene and I will continue to rewatch for the millionth time.Â
The reason why Buck felt like he should've been the main character instead of the cows is that in the original version of the movie, he WAS.Â
The original version of the movie was called Sweating Bullets. The main character was a young bull named Bullets who admired the horses that led his herd and dreamed of being a hero. He had the same personality, aspirations, and character arc of Buck in the final version. The three cows didn't exist in this version.
Oh... my...
After reading this, I decided to go on the Disney wiki and look up more info.
The deuteragonist was Lucky Jack the rabbit. His role was reduced to a supporting character.Â
The villains were the same, and yet vastly different. In the original version, Alameda Slim and his henchmen were ghosts that were going to hypnotize (or possess) cattle into offing themselves out of revenge.
You know, the final version of the movie isn't the worst thing ever, but I can definitely see why it didn't do it for a lot of people. Probably because when compared to other Disney movies, it's more appealing to just kids instead of people of all ages. So that's why this original version of the movie sounds much better, because I imagine it would've had a more mature tone while still being comedic. Why did they dumb it down in the way that they did?
I would love to see what Sweating Bullets would've been. I also would love to see the original versions of Wish and Chicken Little...
Disney's biggest enemy is Disney themselves.
For a lot of Disney movies, the original story/concepts look so much better than the final product, but they end up getting twisted around due to executive meddling. Although in this movie's case, it was one of the story artists who came up with the new story. Good job, man đ
Read these, they have more information:
Sweating Bullets was an early version of Disney's 2004 animated feature film Home on the Range. A little bull named Bullets, that wants to b
What I find the most fascinating about the Evil Queen from Walt Disneyâs Snow White and the Seven Dwarfs (1937) is that, not only is she beautiful and the ultimate ruler of her queendom, but sheâs very knowledgeable about witchcraft and sorcery, but I find thatâs also the most tragic aspect about her character, because she had it all: beauty, riches and power. And yet, deep down, she was still unhappy, all because she was not considered the most beautiful in all of the land. I feel her character is to illustrate how we, as human beings, are never happy with what we already have. We always want to have more.
