The updated, live-action version of the film, out this weekend, manages to make the development of its central romance a little more redemptive. It’s mainly a recreation of the original film, but manages to squeeze in some additional context that make its characters more fully-rounded, and their circumstances more understandable. But while this progressive package [complete with a more diverse cast and LGBTQ-friendly supporting characters] is a bit easier to swallow, the core problem of the story still remains.
Telling stories that encompass the scope of experience help us understand those whose experiences are different from our own. Amidst current racist, sexist political rhetoric and threats of more to come, we’re going to need more stories that bridge that gap.
In some ways, the film is a retread of familiar territory. The rehabilitation center, which doubles as an aquarium, feels like an expanded take on the first film’s fish tank scenario, and employs similar characters and situations. Composer Thomas Newman also returns for a new approach to Nemo’s gorgeous score, with less memorable results.
But thematically, Dory is just as strong as its predecessor. By taking a closer look at its title character’s positive attitude, director and co-writer Andrew Stanton shows audiences that Dory isn’t simply optimistic, but hopeful and resourceful.
Zootopia is the story of a large, metropolitan city where everyone lives in peace and harmony. Tolerance and diversity are hallmarks of this great city. Hope abounds in this land of talking animals because it’s a place where, “You can be anything!” Zootopia is peaceful because after thousands of years of evolution, carnivores no longer eat other animals. Everyone lives in peace. The prophet Isaiah’s vision that “The wolf will live with the lamb, and the leopard will lie down with the goat” seems to be fulfilled in Disney’s latest movie.
Pixar, the computer animation studio beloved for its kid-friendly fare such as Finding Nemo and Inside Out, is not known for taking on religious themes.
But its newest short film tells a personal story about a boy who learns to appreciate his religious heritage by envisioning the Hindu gods as superheroes.
Sanjay’s Super Team, directed by artist Sanjay Patel, is based on Patel’s relationship with his father and his experience growing up in California as the son of Indian-American immigrants.
“This is a very personal story; it’s the truth about how I grew up,” Patel said.
“It’s about how difficult it is for different generations to see eye to eye.”
Just as polar vortices sweep through America, Elsa, one of the main characters in the latest Disney princess movie, Frozen, unleashes her icy power in the fictional kingdom Arendelle, across theaters everywhere. In addition to delighting progressive audiences by satirizing Disney’s own trope of “marriage at first sight,” the story compels viewers, young and old, to find courage to be their true selves. The Oscar-nominated signature song, “Let It Go,” poignantly expresses the sentiment of letting go of fears, secret pains, and pretense. Fans of the song, from celebrities to little girls, have been belting the tune theatrically anywhere from kitchens to car rides to the Internet.
G.K. Chesterton says,
Fairy tales are more than true: not because they tell us that dragons exist, but because they tell us that dragons can be beaten.
A good story is more than a pleasurable experience — it empowers us to live a changed life. Frozen is filled with beloved characters and catchy melodies, but also has much to teach us about power, privilege, and community.
Having a 3-year-old daughter opens your eyes to a world that you did not know existed, the world of princesses. Disney has cornered the princess market; there are currently 11 official Disney princesses, and if you are brave enough to travel to Disney World/Land or even a Disney store, you will soon find out that there is a plethora of accessories — dresses, placemats, and cups (just to name a few).
Disney has come under fire in the past for focusing only on Caucasian women — Snow White, Cinderella, Aurora (Sleeping Beauty) and others. But over time, non-white princesses were introduced, like Mulan, Pocahontas, Jasmine, and Tiana.
Disney’s latest princess was Merida from the film Brave broke most of the Disney princess rules. She didn’t like pretty gowns, she liked to shoot bows and arrows, and her crowning glory was frizzy, wild red hair. Some people believed that Disney had finally broken the mold of the “damsel in distress” model of princesses that has been a dominant theme throughout many of the films. The trend actually started with Pocahontas and Mulan; maybe the theme of strong women role models would continue. Brave was a cute film with a wonderful message. Merida had a round face and was rough and tumble with her triplet brothers. She didn’t want fancy dresses or even want to be a princess; Merida just wanted to be Merida. She was the example of girls being girls, no matter how they look.
However, in a recent update, Disney decided to take the idea of Merida in Brave and throw it out the window. Merida, for her official induction into the Disney princess cohort, got a bit of a makeover. Merida 2.0 was taller, skinnier in the waist and had a slimmer face. Her famous bow-and-arrow set are missing, and her iconic wild hair has been tamed.
After the uproar that followed, Disney quietly pulled the newer version of Merida.
But my question for Disney stands: why? What was so wrong with Merida that it warranted the change?
LOS ANGELES—The ACLU is suing The Walt Disney Co. on behalf of a Muslim woman who claims the company discriminated against her by not allowing her to wear a headscarf while working in a Disney restaurant in Anaheim.
Former Disney employee Imane Boudlal worked at the Storytellers Cafe at the California Adventure park, directly across from Disneyland. In 2009 she requested to wear her hijab while working. The ACLU claims that two months later, Disney supervisors denied her request, allegedly due to Disney policies on employee uniforms.
Managers, however, say they worked with Boudlal on several uniform options including one involving a hat, in keeping with the restaurant’s style, to be worn over her hijab.
So, you've seen Politicians Who Look Like Disney Characters.
Today it's our great pleasure to bring you 16 Christian Leaders and Their Cartoon Counterparts, including our buddy Brian McLaren (over there with Turtleman from Finding Nemo), Rick Warren, Rachel Held Evans, Mark Driscoll, John Piper, Rob Bell, God's Politics contributor Shane Claiborne, Pope Benedict XVI, our very own Sojourners Chief Executive Awesomeness Jim Wallis ... and many more.
I’m a child of the 90s—the true height of Disney mania. Little Mermaid. Aladdin. Lion King.
But have you ever gone back and watched a childhood movie as an adult? And what about after tapping into social justice? Well, you missed a lot the first time around. Your little toddler brain had no idea that things could be so complex. So—the ten ways the social justice movement changed how I look at Disney movies:
10. Learn the Humanity of the Poor — Let’s learn from Aladdin and not be the snooty prince with the weirdo facial hair pattern (who, as we learn later wears the classic red heart boxers). When we push the poor aside, we deny their God-given humanity.
Aladdin, that handsome be-vested “street urchin,” sang it best.
A few links on some creative outdoor sculptures, the etymology of the name Spider-Man, Disney's Bible theme-park that was never made, a new form of mashups, President Obama and Entourage, and cover of Adele played on the Chinese zither.
Take a roller coaster ride on a classical music score, and see a voilionist respond to a cell phone interruption. See a visual of the day the internet went dark, and generate your own SuperPAC name. Plus, for the first time, Disney employees can grow facial hair. Take a look at today's links of awesomeness!
An ebenezer is a reminder. It tells the story of God’s faithfulness and our repentance. It is a marker for transformation and conversion.
Dickens, I would assume, did not give Scrooge the first name “Ebenezer” without reason. While the word has fallen out of common use (the hymn “Come Thou Fount” is often sung now with the word “altar” in replace of “ebenezer”) it is still powerful with meaning.
“Ebenezer” is the marker that commemorates the moment that everything changed. In difficult times it is the reminder that what was true at the time of the original change, namely God’s faithfulness, is still true today.