Nothing Has Filled Me With As Much Rage Towards The Current Administration As Watching The Effects Of

nothing has filled me with as much rage towards the current administration as watching the effects of their policies play out in real time in my own back yard. I always knew they didn't care, but it's things like this that make me believe they're out to get us.

Who didn’t see this coming?

And here’s a stretch…who do you think were slashing those tires on the relief trucks?

Disney's unconventional "Cinderella" (1950) (long)

Having watched most of the many adaptations of Cinderella, I've come to realize what a unique adaptation Disney's 1950 animated classic really is. Unlike Snow White, which only had a few stage and screen adaptations before Disney produced its groundbreaking film, Cinderella had already been adapted many times before Disney's turn came, and Disney's version makes a surprising number of departures from the standard Cinderella "formula." It was definitely a fresh, creative Cinderella when it made its debut, and it arguably still is. Yet because it's become so familiar in pop culture, and today so often serves as our childhood introduction to the tale, it's easy to overlook its inventive storytelling choices. The 2015 live action remake uses several classic Cinderella adaptation tropes that the original 1950 film actually subverts!

Here's a list of the often-overlooked ways in which Disney's Cinderella stands out from earlier adaptations, and from many later ones too.

Cinderella herself. Disney's Cinderella isn't a traditional Cinderella in personality. The "traditional" portrayal of Cinderella, seen in virtually every adaptation before Disney's and several afterwards too, is the portrayal I call "The Waif": a very young, fragile, melancholy girl, dressed in pathetic rags and smudged with ashes, who makes the audience want to rescue her and who wins the Prince's heart with her wide-eyed innocence and artless charm. But whether chiefly to set her apart from earlier screen Cinderellas or from Disney's earlier delicate ingenue Snow White, Disney's Cinderella is none of those things. She comes across as older, or at least more sophisticated. Nor is she waif-like, but instead combines down-to-earth warmth with ladylike dignity, even at her lowliest. She doesn't sit in the ashes ("Cinderella" is her real name in this version), and her servants' dress is humble yet clean and only slightly tattered. She's gentle and kind, yes, but also intelligent, practical, playful, sometimes sarcastic, philosophical, optimistic, genuinely cheerful when she's with her animal friends, and yet angrier and stronger-willed than virtually all earlier Cinderellas. She doesn't beg to go to the ball, but asserts her right to go, and then sets to work fixing up an old dress of her mother's for herself. Only her stepfamily's sabotage, first by keeping her too busy to finish the dress, and then by destroying it after the mice and birds finish it for her, prevents her from taking herself to the ball without a Fairy Godmother. To this day, she stands out as a complex, unique Cinderella, which pop culture too often forgets.

Lady Tremaine. Some critics today complain that Disney makes Cinderella's stepmother a total monster instead of giving her "nuance" and call her portrayal "sexist." But can't we agree that her sheer cruelty enhances the film's dramatic power? And compared to earlier portrayals of Cinderella's Stepmother, it definitely makes her stand out. In most pre-Disney Cinderellas and many after, the Stepmother is a pompous, vain comic antagonist. Once again, Disney was innovative by portraying Lady Tremaine as a dignified, manipulative, and truly sinister villain, who takes quietly sadistic pleasure in abusing Cinderella and will stop at nothing to prevent her from going to the ball or marrying the Prince. As far as I know, she's also the first Stepmother to realize before the slipper-fitting that Cinderella was the lady at the ball and to take action to prevent her from being found. That's a commonplace plot device in more recent adaptations, but in 1950 it was a creative twist!

The mice and other animals. Viewers debate whether Cinderella's mouse friends, Jaq, Gus, et al, and their misadventures evading Lucifer the Cat are a welcome addition or take away too much screen time from Cinderella herself. But there's no denying that the presence of the mice and birds is an inventive storytelling choice, which makes Disney's Cinderella stand out! And I can provide a long list of reasons why they're more than just "filler." (1) They add liveliness, humor, and appeal for younger children. (2) They gave the animators an outlet for the type of character animation they did best, rather than binding them to the harder work of animating realistic humans. (3) They give Cinderella someone to talk to besides her stepfamily. (4) They give her a way to demonstrate her kindness. (5) The struggles of the mice with Lucifer parallel Cinderella's abuse by her stepfamily, and Cinderella's undying optimism not only keeps her from despair, but inspires them too. (6) They arguably provide a further reason why Cinderella stays with her stepfamily – not only does she have nowhere to go, but an entire community of small sentient creatures relies on her for food and protection. (7) They reward Cinderella for her kindness. From the start, her friendship with the mice and birds makes her life easier to bear, both by easing her loneliness and because they do helpful deeds for her, like mending and cleaning her clothes. They fix up her mother's dress for her to wear to the ball – only the stepfamily's last-minute cruelty requires the Fairy Godmother to step in. And in the end, they're directly responsible for Cinderella's happy ending by freeing her from her locked room. They do all these things because Cinderella has protected them, fed them, made them clothes, and been their friend. Therefore, Cinderella's good fortune never feels "just handed" to her: her kindness directly earns it.

The Fairy Godmother. It's always varied between illustrators whether Cinderella's Fairy Godmother is portrayed as a grandmotherly old woman or as youthful, regal, and beautiful, but screen and stage adaptations before the Disney version virtually always took the "youthful, regal, beautiful" approach. That is, when they didn't change her into a wise, fatherly male magician-advisor, as in several opera adaptations! At any rate, seriousness and dignity were the norm for this character in most adaptations from the 19th century through the 1940s. Making her a sweet, comforting, grandmotherly figure, with a comically and adorably absent mind, was another of Disney's fresh choices.

Cinderella's entrance at the ball. We all know the classic image of Cinderella's entrance from other adaptations. Cinderella appears at the top of the grand staircase that leads down to the ballroom, and a hush falls over the assembly, as not only the Prince, but all the guests and members of the court are amazed by the unknown lady's beauty and magnificent dress. Even in versions without a staircase, Cinderella captivates the room the moment she enters. Adaptations both before and after Disney's, including Disney's own 2015 live action remake, play her entrance this way. But the 1950 animated classic subverts it! The grand staircase leads up to the ballroom, not down to it, and Cinderella's entrance isn't a triumph at first, but a vulnerable moment as she makes her way up the stairs alone, dwarfed by the splendor around her. Then, when she reaches the ballroom, no one notices her at first, because the other ladies are being presented to the Prince and all eyes are on him. But then the Prince notices her in the shadowy background as she quietly marvels at her surroundings, and leaves his post to approach her and invite her to dance. Only then does the rest of the assembly notice her, because she's the one the Prince has singled out. It's more understated and it feels more realistic than the traditional entrance, as well as more clearly symbolic of Cinderella's venturing above her station, then both literally and figuratively being led out of the shadows by the Prince's unexpected attention.

The slipper-fitting plan. Over the years, it's been fairly popular to mock the idea of using the glass slipper to find the Prince's love, as if there were no chance it would fit anyone else. Disney's version is creative by having the slipper-fitting search be the comical, hot-blooded King's idea, not the Prince's, and making it clear that it's not, nor is it meant to be, a foolproof plan to find Cinderella. The Duke points out that the slipper could fit any number of girls, but the King doesn't care if they find the right girl or not: he just wants to hold his son to his pledge to marry "the girl who fits this slipper" and force him to marry the first one who fits it. This also means that Disney doesn't do what most adaptations do and have the Prince conduct the search himself, but follows the original Perrault tale by having a gentleman, in this case the Grand Duke, do it instead. This prevents audiences from mocking the Prince for relying on the slipper instead of knowing his beloved's face.

Cinderella breaking free and asking to try on the slipper. Even though in Perrault's original tale, Cinderella asks to try on the slipper, she almost never does in adaptations. In most versions other than Disney's, including Disney's own 2015 remake, Cinderella's presence in the house (and/or the fact that she has the other slipper) is either discovered by accident or revealed by Cinderella's allies, not by Cinderella's own initiative. In some versions, she even tries to hide from the Prince and/or the search party, either out of fear of her stepfamily or because she feels unworthy of the Prince in her rags. But not Disney's animated Cinderella! First of all, she has an assertive emotional breakthrough when she calls on her dog Bruno to chase Lucifer away and free Gus to slip her the key to her locked room. Earlier on, she urges Bruno to try to get along with Lucifer, lest the stepfamily not allow him to sleep in the house – it's clear that Bruno represents her own rebellious side, and in that scene she's really talking about herself, revealing that she tolerates her stepfamily's abuse so she won't lose her own "nice warm bed" and be homeless. But in the climactic scene, when she finally sees a way out, she gives up playing nice and seizes her chance. First she unleashes Bruno on Lucifer, and then she runs downstairs and directly asks to try on the slipper, not caring how her stepfamily will react, or what the Grand Duke will think of her shabby dress, or whether the audience will accuse her of gold-digging or not. This isn't a common breakthrough in other Cinderella adaptations, but it fits perfectly (like a glass slipper, you might say) with the Disney Cinderella's stronger-willed and more self-assured characterization.

"I have the other slipper." We can probably all safely assume that when audiences first saw Disney's Cinderella in 1950, they all expected Cinderella to try on the glass slipper she lost, with her identity revealed by its perfect fit. They never would have expected Lady Tremaine to trip the footman and break the glass slipper... only for Cinderella to calmly reveal that she has the other one. It's yet another clever and unexpected twist, not seen in any other version. Not even Disney's own 2015 remake.

Disney's Cinderella deserves far more credit than it gets for being unique among the myriad versions of the tale, especially compared to the versions that came before it.

I made a silly uquiz while dog sitting"

(This is very Tumblr-core. There are many like it, but this one is mine.)

It's Edmund who figures it out first, you know, who Aslan is. Like, a week after they're back in England, they go with the Professor to the little village church, and they stand and sing Amazing Grace, and the rector preaches something about Jesus dying for sinners, and Edmund is nailed to the pew with utter certainty: That's Aslan.

He doesn't say it directly to anybody, he has to chew it over, has to test it and try it, and see if it holds true. He and the Professor have many lively discussions about what Narnia actually is, what it's for, what other worlds would mean for science or philosophy or theology. But every time he goes back to the Bible and reads it, he finds echoes of Narnia, echoes of the Lion's voice, and the truth settles into him, becomes something solid and certain deep down inside.

Peter... sees the possibility almost as quickly. He's not so sure of it though, is a bit shy of something so incredible, doesn't want to get it wrong. He wants it to be true. He thinks about it a lot. But he doesn’t say any of it aloud, until he says to Aslan, at the end of his last trip to Narnia. It gets decided then, in there somewhere. He doesn't understand how or why, but he will believe anyway.

Lucy, now, Lucy always knew in a way that was beyond words, unconsciously, deep inside somewhere she never stopped to examine. She stands in Eustace's room, with Aslan’s words ringing in her ears, and it's like a light bulb has come on, or a bucket of cold water has been dumped over her head. Oh. Oh, that's what he meant, oh, now I understand.

And Susan, dear Susan, she suspects, she wonders, but no. Impossible. Too strange, too illogical. Waves it away like a nagging fly. But she figures it out years later, not too late, no sir, not too late at all. Maybe it's a book, maybe it's a song, maybe it's retelling the Easter story to a little girl curled up in her lap. Maybe it's an old poem pulled from the wreckage of a train. She pauses, startled, before the tears come tumbling down, and she murmurs the name she hasn't spoken in what feels like a lifetime, murmus it like a prayer: Aslan.

Jesus.

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eowyn in the houses of healing 🩶