Aladdin is a white fantasy, and that’s hardly surprising, because the film is basically some white guy’s foggy notion of the Orient… . Aladdin is thus fixed firmly within the gaze of white supremacy—the superior, Christian society that is not mentioned directly, but alluded to in juxtaposition to the brutal depictions of a hybrid Arab-South Asian culture and the film’s underlying anti-Islam messaging. At the time of its release, Aladdin served as a panacea, a sweeping solution to the vacuum of non-white narratives for children, callously delivered in a continuation of its rich racist legacy. This movie was, essentially, a way to justify neocolonial, imperialist white feminism.
darcy doesn’t sing a single note even during conversations where everyone else is singing at him that is until the argument following his first attempt at proposing to lizzy where you can see his restraint fall away
his first big solo is the letter he writes her
gelsey bell is mary and the unofficial narrator and she sits down at her piano to describe whats going on but before she can ever reveal her feelings on the matter, starting with that gelsey bell scream, mr bennet comes over and does the whole ‘that’s nice dear but give someone else a turn’
mr wickham has this huge ballad about how darcy ruined his life and its super melodramatic and touching
mr collins proposal to lizzy is an absolute bop that he gets so into he forgets for a moment what he’s doing he’s just owning the stage
wickham has a song where he’s trying to seduce lydia but she’s not even listening she’s just monologuing about how excited she is to get laid
during darcy’s second proposal he keeps hesitating waiting for lizzy to interrupt him like she has done every time before but she doesn’t say anything until he’s finished
at the end mary sits down at the piano and right where she’d usually be interrupted, kitty joins her and harmonises
jane and bingley have the adorable upbeat romantic duet which is just them being super polite like ‘oh so nice to have you here’ ‘so nice to be here’ interspersed with their inner monologue which is just them being like fucking jesus I’m so in love
the bingley sisters probably have a really cool mean solo
lady catherine has this terrifying disney villain song in the garden
You gave an entire generation a shining star in Steve Rogers. Not only in strength, but in courage. In valor. In getting back up every time you fall, in fighting for what’s right even if everyone is against you. In being kind, being selfless, being determined, being loyal.
It was never about the super speed, strength, and shield for me.
Steve is hope, inspiration, a friend during the darkest of times, a beacon of light when the world is against you. Steve is adjusting in a place you don’t feel like you belong, loving so fiercely you become almost reckless, sorrow so painful it makes you ache, smiling despite it all and holding yourself tall.
Thank you Chris for taking on this role even when it terrified you. Thank you for embodying this character, for not only portraying his ideals, thoughts, and behaviors so perfectly, but for adopting them and working towards being a better man.
I’ll always believe we deserve a more Steve central cap 3. Maybe one day we’ll get that.
But for now, I just wanted to say, Captain America won’t disappear even if Chris is done playing Cap. Even if someone reprises the role, there’s only ever going to be one Cap. Chris is an iconic Steve Rogers. Even if A4 is the last time we see him on screen, he has a place in our hearts that ensures his legacy, his love, his story will always be there.
That little guy from Brooklyn who was too dumb and too brave not to run away from a fight, I’ll follow him forever.
Thank you Chris Evans for being our Captain. Thank you for bringing Steve Rogers to life.
Molly's Monsters 