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.”
THE TEACHER Edwin Friedman believed that good leadership creates conditions for people to find tools to become emotionally mature. In other words, no matter what its stated goal (civil rights, community organizing, religious engagement), the most important purpose of leadership is to help us become more fully human.
Of course this is also true for artistic endeavors—stories that create emotional dependency in audience members are not offering good leadership, and they usually make for bad art too. We may like them, as they satisfy the surface-level desire for easily grasped narratives and quick resolution. But that’s the aesthetic equivalent of a cheap burger. Our deeper hunger is for stories that strive to tell the truth about life and its possibilities, that demand self-reflection, and that permit subtexts to breathe so we can fill in the gaps.
I saw three such films recently. Inside Out displays astonishing imagination, bringing us into the human psyche to figure out how we think. There’s genius in a story that gives the five core emotions personalities, wisdom in how it makes honest work of how people confront change, and a delightful bonus in the form of Bing Bong, a character with all the lovableness of Baloo the Bear and a purpose with which Carl Jung would be pleased. Inside Out offers no shortcuts to spiritual well-being. It’s film-as-therapy that’s as entertaining for kids as it is wise for adults (and vice versa).
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?
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.
After the synchroblog last week and all the discussions surrounding the question of if the emerging church is too white, I've had a number of interesting discussions regarding the ways in which the voice of the subjugated other (subaltern) finds a space