I’m a huge supporter of things which annoy misogynistic rich white men
Catdesk, please just marry me already.
Home of Selysa-Shipping Trash
*whispers* Mulan, Merida, and Rapunzel didn’t have men saving them
*regular voice* Lilo and Nani’s sisterly love for each other was a big point in their movie
*slightly aggravated voice* Enchanted questioned marrying a man you hardly know
*shouting* FROZEN ISN’T THE FIRST MOVIE TO HAVE THESE POINTS
Frozen is a mediocre trash-ball tbh
So I already am having problems with the new movie. Mostly my loyalty is kicking in insanely.
14 dwarves won back their kingdom.
14 dwarves were the only ones brave enough to try ANYTHING.
1 hobbit was convinced to be a part of this.
1 hobbit, such a little fellow, out of his element tried to do all he could.
The calamity of Smaug cannot be blamed upon the dwarves nor the hobbit for Smaug would awaken at some point and desolate another town another kingdom because of how twisted and evil he is.
Bard and the elves blame it on the dwarves, they over look the hobbit. They are so blinded by how they want to punish someone that they don’t see that these dwarves only wanted a home. Yet they are hated and blamed and humans and elves wish to slaughter them.
They showed Dori, Ori and Kili trying to get a head back on a statue. The dwarves trying to pick up the pieces of their lives. Trying to be safe and sound.
Fuck you BARD and FUCK YOU ELVES!
I’m not okay.
Not at all.
Well, them there is the flaw with the books.
Thank god we have fandom to fix that.
I am weary of the ‘old star is jealous of younger, prettier, more nicer star!!!’ storyline- yeah, I know it is basically Carlotta’s personality to attack undeserving ingenues but whatever, it’s my blog and I’ll rewrite dissatisfying storylines if I want to
in fact I have been toying with a magical dreamscape where Carlotta initially starts out hating Christine but eventually notices how terrified and overwhelmed the girl is and her blackened diva heart is touched with pity because as much as she likes to pretend she was born for the stage and can handle everything that comes with it, she remembers when she first became a hit and how scared she was (Piangi is the one who gently reminds her probably BECAUSE HE IS THE TENDER PRESENCE IN HER LIFE AND IS A TEDDY BEAR)
this basically amounts to Carlotta insinuating herself in Christine’s life and giving her advice on how to handle her fame, and how to carefully manage/maintain her career on her own because managers/agents are for the weak and only A DIVA can and should control her life
like she makes herself into an awkward stage mother who teaches the hapless baby how to be fierce and get exactly what she wants, but also aggressively defends her turf and tries to guide Christine towards another Opera House because this one is hers
and Piangi is a warm, cookie-baking presence in the background and gives Christine verbal support when Carlotta is being difficult, and between the two of them they are Christine’s aggressively protective theatre parents
(and because I am trash I’m picturing Carlotta walking in while Erik is ‘manifesting’ and freaks the hell out because what the actual fuck is behind that wall
and she tries to drag Christine out and Erik attempts to prevent that and the confrontation ends with Carlotta braining the Opera Ghost with a golden candelabra or something because nobody attempts to coerce La Carlotta’s pupil in divahood into marriage goddammit)
She is domineering, spiteful, has become shoddy at her art and craft, and throws tantrums like a three year old who has never been told no in their life
and I am utterly in love with her
Here is a woman who has clawed her way to the top of a pretty competitive field in a time when ‘lady of the house’ was the expectation for most women, giving absolutely zero fucks about how she is not necessarily respectable by society’s standards because she still has society fawning over her and paying money to see her, and who needs respectability when you have fame?
lord not my best sentence structure there MOVING ON
She has courage and determination aplenty, which we see in both the novel and the play- she doesn’t back down from a perceived threat, real or not. La Carlotta may not be a nice person but she is hardcore and therefore has no need for niceness to people she doesn’t care about (namely, everyone who is not Piangi). She is full of herself and is outrageous in nearly every aspect of her personality and lives exactly as she wants every moment of every day and I love her for it.
La Carlotta is, if I may be so bold as to say it, one of the only sane people in the Opera House. She is on the periphery of Erik’s manipulations, not even a pawn but a target, and she is far enough away from the love triangle and the related histrionics to see that the entire situation is utterly insane and that she wants no part in it whatsoever. To her it’s not some grand romantic drama, it’s a dangerous situation that has made her workplace difficult to be in and eventually kills her husband.
AHAHA OH GOD THE LOSS OF THE CARLOTTA/PIANGI DYNAMIC BURNS ME TO THIS DAY BY THE WAY
THEY WERE THE EVIL DIVA POWER COUPLE THAT THE PHANDOM DESERVES
HE WAS JUST SO SUPPORTIVE AND ADORING AND WOULD FUCKING FIGHT ANYTHING THAT VAGUELY THREATENED HIS GODDESS OF SONG
THAT ONE SCENE WHERE SHE FINDS HIS BODY IN THE 2004 MOVIE WAS THE ONE IMPROVEMENT AND IT HAUNTS ME