The thing with the Genie is that we get to see Regina genuinely… struggling with allowing him to take the fall, until the moment when he makes his terribly worded wish.
And then what we get is that beautiful, beautiful triumphant smile.
She can feel guilt about the Genie’s fate until the moment when he reveals his true colors and attempts to make her an object, just like every other person she’s going to war with. And for the first (and only?) time, the universe is on her side about it. He wants to look upon her face forever? Then he shall.
He violates her primary principle: a person is a person. And in doing so, he loses his own personhood—not through any action of hers, but in one of the few moments of actual justice in Regina’s life.
(Source: ramarika, via regallywicked)
The original story of the little mermaid is that she must kill the prince in order to be human, and in the end, she loves him too much and kills herself instead.
The artwork is too great not to reblog.
Ok, ok - important expansion: she only has to kill the Prince because the deal was if he fell in love with her she could be human forever, and he didn’t. By which I mean, he was a good person and genuinely nice to her, but he didn’t fall in love. He fell in love with someone else, also perfectly nice - not the seawitch in disguise, fu Disney. The Mermaid is told she can only return to the sea now if she kills the Prince. She goes into the room where he and his lover lie sleeping and they look so beautiful and happy together that she can’t do it.
That’s why she kills herself. And because it was a noble act she returns to sea as foam.
One moral of the story was that women shouldn’t fundamentally change who they are for love of a man, and in theory Han Christian Anderson wrote it for a ballerina with whom he fell in love. She was marrying someone else who wouldn’t let her dance.
Well shit man
(Source: xxdardarxx, via penda-bear)