I never noticed the painting in the lefthand corner before. Adorable. If you look at later screens, Rapunzel never painted over it.

A decent look at the royal bedroom. I was always looking at Mother Gothel so I never saw the bassinet in the corner. I had wondered where it was in the room.

I love that these lanterns represent what Rapunzel wants, but even more that it’s a symbol of something inside every sixteen-, seventeen-, and eighteen-year-old. This bigger calling, this idea of independence, a huge personal leap of “Me becoming myself.”   -GLEN KEANE

I can’t believe that I never noticed this before - how the exact pose was repeated in both scenes. I love this film.
 

Looking at these screenshots next to each other, a couple of things stick out that I did not register during the movie.

(1) The first buildings in the village were the buildings adjacent to the quay (screenshot 2), and the first boats that appear were small ones, not the big seafaring vessels that arrived later (screenshot 4). This suggests to me that the current village grew over the centuries from a fishing village into a small but seemingly important port.

(2) The town preceded the castle, meaning the town didn’t emerge as an offshoot of the castle, but more likely the opposite: The castle was the product of someone wealthy or powerful in the town. It’s more organic that way. Production designer Doug Rogers said that they didn’t want it to be “this oppresive monarchy on the hill that these people could never attain, or even feel a part of.”

The iconic Kingdom of Corona shot.

This is why I love screeshots. How many times have I seen this movie? And yet I had never seen that one light on in the castle as the kingdom searches for the magic flower.

The water during “I See the Light” is so still, I wondered if it was a lake. But the waves in the background here make me think it’s the sea. And the Corona flag, with that ship. Clearly a kingdom on an ocean, I think.

The lights don’t look all that far away, actually.