#and look at their names in the actual credits of an actual disney movie :'))) i feel so so proud

[10yearsofdnp]

January 18, 2015: Dan and Phil at the Big Hero 6 premiere! 🤖🎥🍿🤩

[maybe-boys-do-love]

It's wild that the whole global trend of gay-focused happy ending romance shows and movies has only been going on for *looks at calendar* a measly ten years!

Just ten years ago. 2014. That's when you get the discovery of a market for queer romance series and films with happy endings. That year the OG Love Sick in Thailand came out. Brazil puts out The Way He Looks, which deserves so much more credit than it receives for influencing the aeshtetics of the genre. Looking premieres on HBO, and although it had low ratings, it's an important touchstone. And, despite Nickelodeon’s censorship and shifting the program from tv to its website, the Legend of Korra confirms Korrasami in its season finale.

The next year, in 2015, we get Love Sick season 2, and China, pre-censorship laws has a few options: Happy Together (not the Wong Kar Wai one lol), Mr. X and I, and Falling In Love with a Rival. Canada, premieres Schitt's Creek. In the US, Steven Universe reveals Garnet as a romantic fusion between two female characters, and will proceed to just be so sapphic. Norwegian web series Skam premieres and sets up a gay protagonist for its third season, which will drop in 2016 and entirely change the global media landscape.

Then, 2016! This is the MOMENT. That aforementioned Skam season happens. Japan puts out the film version of Ossan's Love and anime series Yuri!!! on Ice. China has the impactful Addicted Heroine, which directly leads to increased censorship. The US has Moonlight come out and take home the Oscar. In Thailand, GMMTV enters the BL game and Thai BL explodes: Puppy Honey, SOTUS, Water Boyy, Make It Right, plus, the Thai Gay OK Bangkok, which, like its influence, Looking, is more in the queer tradition but introduces two dramatically important directors to the Thai BL industry, Aof and Jojo.

By 2017, Taiwan enters the game with its History series. Korea’s BL industry actually kicks off with Method and Long Time No See. Thailand’s got too many BLs to mention. Call Me By Your Name, though not a happy ending, makes a big splash that will send ripples through the whole genre, and God's Own Country offers a gruff counter-argument to problematic age differences and twink obsessions. This is also the year of Netflix reboot of One Day At a Time bringing some wlw to the screen, and the Disney Channel has a main character come out as ‘gay’ on Andi Mack ( I’m am ready to throw fists with anyone who thinks the Disney Channel aesthetic isn’t a part of current queer culture). And I'd be remiss not to mention the influential cult-following of chaotic web-series The Gay and Wondrous Life of Caleb Gallo: "Sometimes things that are expensive...are worse."

All this happened, and we hadn’t even gotten to Love, Simon, Elite, or ITSAY, yet.

Prior to all this there are some major precursors some of which signaled and primed a receptive market, others influenced the people who'd go on to create the QLs. Japan has a sputtering start in the 2010s with a few BL films (Takumi-Kun, Boys Love, and Jujoun Pure Heart). Most significantly in the American context, you have Glee, and its ending really makes way for the new era that can center gay young people in a world where queerness, due to easy access to digital information, is less novel to the characters. And the QL book and graphic novel landscape was way ahead of the television and film industries, directly creating many of the stories that the latter industries used.

There's plenty of the traditional queer media content (tragic melodramas and independent camp comedies) going on prior to and alongside QL, and there are some outlying queer romance films with happy endings that precede the era but feel very much akin to QL genre tropes and goals, many with a focus on postcolonial and multicultural perspectives (Saving Face, The Wedding Banquet, Big Eden, Maurice, My Beautiful Launderette, and Weekend). I don't mean to suggest that everything I’ve listed ought to be categorized as QL.

Rather, I want to point out how all of these new-era queer romance works are in a big queer global conversation together, in the creation of a new contemporary genre, a genre that has more capacity and thematic interest to include digital technology and normalize cross-cultural relationships than other genres (there's a reason fansubs and web platforms are so easily accepted and integrated to the proliferation of these series).

You're not too late to be part of the conversation. Imagine being alive in the 1960s and 70s and participating in the blossoming of the sci-fi genre. That flowering is where gay romance sits now. Join the party.

[rcmclachlan]

okay, so if you’re not writing the aquarium scene in the 118/217 scheming fix-it (god i love this) can you at least share what mishap and or shenanigan gets them banned from the aquarium?? (since you mentioned it in the tags i assume you picked one!)

The aquarium is Christopher's idea, because getting Buck and Tommy back together is the one thing he and Eddie can talk about without it devolving into shouting or week-long silences that make Eddie want to put his fist through his living room wall.

So if plotting to interfere in the open bear trap that is his idiot friends' breakup gets him an hour of uninterrupted screen time with Chris three times a week? He'll meddle in a way that would make even his abuela say, "cariño, that's a little much." He'll change his legal middle name to el metiche.

"Buck used to take me to see the otters when I was younger; they're his favorite. But the exhibit has been closed for a year because they've been redoing it," Chris says, then texts him a link to the aquarium website. "The big reopening is next week. If someone asked Buck to take Jee-Yun, he wouldn't be suspicious."

"Chris, you're a genius," Eddie says, a little awed. His entire body aches to reach through the laptop screen and across state lines to pull his kid into a hug, but all he can do is sit on his hands and hope his face shows all the love he feels.

A small, but genuine grin unfurls on Chris's face. "That's not news, dad."

Eddie decides to take the aquarium idea to what Chimney keeps calling the weekly 118-217 Shadow Summit to see if the rest of the group thinks it holds water—no pun intended—and is extremely offended when Dana gives him a slow blink and says, "That's actually not bad. Who came up with it?"

"Is it that hard to believe it was my idea?"

"Very."

Dana presses the rim of her wine glass to the sly, crimson curve of her mouth. With her victory rolls, winged eyeliner, and tattoos, she looks like the winner of a car show pinup contest. She also looks like an evil queen out of an old school Disney movie. At least five people in their general vicinity look like they'd thank her if she force-fed them a poisoned apple or turned into a giant dragon.

Eddie reaches into the bowl of popcorn by his elbow and throws a handful of it at her. She just takes a sip of her wine and serenely lets the kernels bounce off her.

"Knock it off before I put you both in a time out." Lucy drains the dregs of her beer and says to Chimney, "Having Buckley take your kid is the perfect excuse—she's, what, two? Three?"

"Five," Chim says with the heartache of a man whose baby is almost old enough to rent a car. "As long as we don't tell my wife that Jee's playing the part of the cutest MacGuffin ever in this little plot, we should be good. But how do we get Tommy there?"

"Short of planting a bomb in the penguin tank, I can't think of a reason Mr. Nature Boy himself would ever voluntarily go." Hen roots around in the popcorn bowl for the kernels with the most butter. "Actually, he might be thrilled if we did that. I don't think he likes birds very much."

Dana lifts a brow. "I smell a story."

"Does it smell like KFC?" Chim pops a pretzel in his mouth and chews loudly, grinning. "Once we've adjourned the cabal for the evening, remind me to tell you about Maurice."

Eddie doesn't know Nico very well—he can't get a read on the guy to save his life—but the smug smirk he's sporting looks entirely out of place. Nico takes the last mozzarella stick off the platter they'd ordered to share and puts it between his teeth like a cigar. He looks like the world's lamest oil baron.

Eddie looks at Dana in askance. Wordlessly, she plucks a piece of popcorn out of her hair and throws it at him. It nails him right between the eyes.

"Let me handle Kinard," Nico says. "I'll get him there, no problem."

To his credit, Nico does get Tommy to the aquarium the day of the sea otter exhibit grand reopening. And thanks to Chimney planting Chris's idea in Buck's head at the start of their next shift, Buck does take Jee-Yun.

Unfortunately, their paths never cross, because while the penguin habitat doesn't explode, the sea jelly gallery does, completely flooding the first floor. When the aquarium is forced to evacuate everyone, Buck and Jee-Yun end up at the Chili's down the street, while Tommy ends up riding in an ambulance with an old woman who gets stung by a box jellyfish.

"I don't understand how this happened!" Lucy shouts, keeping her fingers on the ankle pulse of a man in the middle of an allergic reaction to a lilliputian jelly sting as Hen and Chim pump him full of epinephrine and then start administering compressions.

Eddie would help, but he's carrying three kids—two in his arms, one on his back—through shin-deep water to safety while attempting to dodge all the bluebottles floating on the surface. Dana glides past him to get the next group of kids waiting to be rescued, not a hair out of place. She looks like a fucking mermaid. He's gonna trip her the next time they pass each other.

Annoyed, Lucy casts around and then asks, "Has anyone seen Nico?"

Just in time for the man himself to sedately walk through the pandemonium, two bewildered penguins tucked under his arms like purses. He smiles brightly. "Hey, did Kinard pass through here, by any chance? Phase two of my plan is ready to go."

Eddie stares at him. "What was phase one?"

He never does find out what exactly phase one entailed, but it's enough to get them permanently banned from the aquarium for life.

"If you ask me, the punishment so does not fit the crime," Nico says, digging an elbow into Eddie's side as he jostles for room in the back of Athena's squad car.

Eddie says nothing. He's too busy mentally composing the short-answer portion of his application for the El Paso Fire Department, although, in the end, it doesn't matter. He completely forgets everything he plans on writing when Athena slides in, glances in the rearview mirror, and shouts, "Those better not be penguins in my back seat, Edmundo Diaz!"

He and Chris spend two hours talking about it during their next call, so Eddie calls it a win.

[cleabellanov]

I do actually get insane when the actors adore the relationship between their characters. Like that’s * THE * best bonus we could ask for

I am, of course, talking about Cherik. It’s an art.

Like, we’re all aware the actors love their characters as much as their fans do. And although it’s years ago that all of it was happening, I think the release of Deadpool and Wolverine reignited some very strong flames and flashbacks in this fandom (that. end credits. montage.)

So yeah I just love it when

James and Michael talking about their characters literally raising a child together

James and Michael talk about their characters

Calling the relationship of Magneto and Proffesor X a “love story” because it is

All the times they’re just flirting with each other

(just one EARLY example)

Lines with double meanings and admitting it with no filter

This iconic interview when they talked about fanfiction and fan art like YES GIVE THE PEOPLE WHAT THEY WANT

Casually talking about a * Cherik * (emphasis on the ship name) spin-off when they just go “around the world looking for obscure fish”.

And many more, because the chemistry between the actors (Ian and Patrick too obviously) never ceased to be there at the heart of it all.

It makes me wonder what other actors ( cough cough Tom and Owen) would say if they were allowed to, like if disney let them out of the basement for example hahah ☺️ (don’t worry I know they’re doing their best) In any case, I guess we’ll never know…?

What I know, at least, is that X-men as movies and an era are laudable thank you very much

[imjustavenuxwithaboomerang]

i showed my sister the equestria girls movies last week because i needed a win and these were her thoughts:

equestria girls:

"sunset, you've gotta wait till your goons are gone before code-switching"

"sunset knows she's a horse so being with flash is kinda weird"

"don't like snips and snails"

"pan rainbow dash?" (i asked if she had any thoughts on their human designs and that was it, idk what to tell ya)

"why are the people colored in this reality?"

"why is rarity british?" (overall thought about the whole franchise)

"when did we fucking ask him? nobody asked him to join" (about flash playing guitar during the cafeteria song)

^but yeah she didn't really vibe with flash but she found the "one no would've been fine" line funny

"laughter" "no, it's insanity"

"i didn't know there was another way" "i don't give a fuck"

rainbow rocks:

"why is the moon, cheese?"

"i like the names. in case you weren't sure this was about music" (said during the opening credits when it showed the dazzlings)

"to be fair, you did ruin everything" (towards sunset)

"somebody needs to slap rainbow"

she really wanted to protect fluttershy, i could tell

she also wasn't necessarily loving flash x twilight during the first movie but definitely wasn't after he made twilight cry so-

friendship games:

"great, a murder board"

"why are you keeping tabs [on chs]? maybe you should focus on your other students" (towards cinch)

"what do you think i should do?" "you should keel over and die"

"sugarcoat, just stab me in the heart, why don't you"

"she looks like she belongs in spongebob, derogatory" (about cinch)

"twilight is doing disney knees"

"cinch is a bitch, cinch is a bitch. cinch is a winch, cinch is a winch" (said in a sing-songy way)

"why's this bitch singin'?" (again about cinch)

"we want what we deserve" "who said you deserve it, you fucking bitch?"

can you tell she hates cinch??

also made a couple jokes about how cadence and luna seemed like girlfriends in all of their scenes together (which was actually really valid)

legend of everfree:

"what do y'all do?" (towards celestial and luna)

"[the opening credits sequence] is gonna be at the bottom because it's giving me home by phillip phillips"

"and this is my brother, timber spruce" "TERRY?" (as in terry from tdp, which is where i got the cargo shorts thing from, so let's all thank my sister)

seemed to not be the biggest fan of sci-twi x timber ("just timber!")

"do we have watches!? cause they've mentioned time twice" "the sun dial" "but it's gonna be dark, she said it doesn't work at night!" (funny conversation that doesn't work in hindsight because they apparently had their phones with them the whole time)

"i don't know why but i'm getting trans from rainbow, cause everyone else is drawn with boobs and she's not. in that shot at least"

"if i see a man coming out of the woods, i think he's just buried a body"

"that's a disgusting design i'm sorry" (about gloriosa's villain look)

"sorry i thought he was going to kill his sister, he saw the ax and i thought he was just gonna- this is a children's movie. just for a split second"

part 2 magical movie night thoughts

[rockybloo]

I'm a normal and well behaved person until people bring up fairy tales around me and try the good ole internet shtick of "um actually" but they wind up sharing information that is not entirely true but is shared like it is so please beware that this post turns into caps lock halfway through

I've been working on Beanstalked for a good 10 years so I think I am allowed to have this be where I shove my feet into the sand because I whenever people drop fairy tale fun facts in my inbox or comments, they are the most basic fun facts you can get off surface level clickbait articles, first page Google results you don't even click on and just view from a preview point (or just using Gemini AI at this point) or "TOP TEN DISNEY MOVIES WHERE THE ORIGINAL STORIES ARE SUPER DARK"

I NEED PEOPLE TO DIG DEEPER

IF YOU'RE GONNA TELL ME A FUNFACT ABOUT A FAIRY TALE YOU GOTTA BE ABLE TO TELL ME WHAT VERSION YOU ARE PICKIN FROM BECAUSE CHARLES PERRAULT AND THE GRIMM BROTHERS HAVE VERY DIFFERENT OUTCOMES FOR THEIR LITTLE REDS! CINDERELLA IS ANCIENT AS FUCK! SOME OF THESE TALES WERE ORALLY TOLD INITIALLY AND GOT WRITTEN DOWN FOR A COLLECTION OF SORTS WHICH MEANS IN MANY CASES WE DON'T EVEN HAVE A TRUE ORIGINAL AND JUST HAVE TO GO OFF WHAT HE EARLIEST DOCUMENTED RETELLING IS

IF YOU ARE SAYING A NURSERY RHYME IS BASED OFF SOMETHING, YOU GOTTA BE ABLE TO BACK IT UP AND NOT JUST TELL ME SOMETHING THAT I LOOK UP LATER ONLY TO SEE IT SPECIFICALLY STATED IN ONE SINGLE ARTICLE WITH A FOOT NOTE THAT SAYS "this is just a theory and has no supported basis"

AM I A FAIRY TALE EXPERT?

No

BUT BASIC FACTS THAT ARE OFTEN JUST THEORIES OR HALF TRUTHS AIN'T ENOUGH FOR ME

GIVE ME NAMES, SOURCES, ACTUALLY READ THE FABLES AND NOT JUST WIKI SUMMARIES

AND IF YOU TELL ME SOMETHING THAT ONLY APPLIES TO DISNEY I WILL MANIFEST SPIDERS IN YOUR HOME

"Did you know that Cinderella's sisters get their eyes pecked out by birds in the original story"

IS PARTIALLY TRUE!

There are MANY versions of Cinderella because it is an OLD story and has been called many different names. THIS STORY IS SO OLD IT CAN ACTUALLY BE CALLED ANCIENT WITH CONFIDENCE! The Grimm Brothers have said bird attack event happen in their retelling which is a LOT more violent than Charles Perrault's which is the one that MANY think of when they hear the name "Cinderella" (if you don't just think immediately of Disney)

Now, this ain't an open invitation to just start dropping fairy tale fun facts in my inbox. I've been working on Beanstalked for 10 years and there is a rock solid chance I probably have already heard your fun fact. This ain't even meant to be a "I KNOW MORE THAN YOU" because it's just because I have heard the same basic facts over and over again at this point 😭 a bitch is TIRED MAN! I won't doubt there is stuff I don't know since I ain't a folklorist but I beg that people make it worth my while and credit a source they got their info from, say where the retelling (if it is one) originates from (like if it's from a collection), and at least say something Beanstalked related.

ACTUALLY that last part is mandatory. I've seen how y'all do people that do Greek Myth based adaptions - YOU AIN'T DOING THAT SHIT TO ME! YOU GOTTA PAY THE ROCKY TOLL AND SAY SOMETHING RELATED TO MY OCS OR I CHUCK YOU OFF THE BRIDGE!

This is why I have a rule that people that enter my inbox with simple fairy tale trivia and nothing else get BLASTED by Beanstalked info

YOU CANNOT AVOID THE LORE - YOU WILL LEARN ABOUT THE OCS!

[jesncin]

adding onto the conversation about Xanthe Zhou's outfit...

as another chinese-american, I see a lot of clothing that claims to be "inspired" but all it does is make western clothes in silk brocade or remake the same red qipao or tangzhuang people wear in old kung fu movies.

it's frustrating to see only those takes on traditional clothes when there are so many things to choose from! chinese history is expansive, to put it lightly, and even us ABCs have access to a range of traditional clothing.

my specific issue with Xanthe's is that, to me, it's just a reskinned version of Mulan's casual clothes in Wreck-It Ralph 2 (from 2018, while I'm p sure Xanthe debuted in 2023).

technically they have an undershirt with the mandarin collar, but it feels like almost an afterthought. it doesn't even differentiate itself with the slanted neck opening that goes to the side (idk what to call it, examples below from an article on hakka clothing)

the writer, Alyssa Wong, is chinese-american (as is one of the editors), and the penciler, Haining, is taiwanese, but that doesn't automatically make their work un-critiquable representation.

I don't doubt that it resonates with some people - my issue is that it's an incredibly safe design, one that doesn't introduce anything new to western audiences. the clothes they wear while hero-ing can be anything, and that's what the creative team chose?

I have other feelings about the fact that they chose to make Xanthe have spiritual powers, which feels like it is not helping the "Chinese people are a mystical kung fu people" stereotype in the US, (especially given how few chinese-americans are given their own comic run at dc), but I digress.

Yes to all of this!! I get why people like Xanthe's fashion as a character design, but in terms of creative innovation and a design that informs a character's narrative,,,Xanthe's clothes look more like an easy way to cosplay the character over anything else :I like you said, we've got this after-thought yellow mandarin collar and a bomber jacket with motif on it. It's giving "clunky way of combining traditional and modern". I even made the Wreck It Ralph Mulan outfit comparison too because it really isn't new!! It's such a mainstream safe look that Disney put Mulan in it. Not even a hanfu for Xanthe? Aiyah

Indeed! Spirit World has an majority-asian team of creatives and hey it's cool to see an entire creative team with their names written out in hanzi in the credits but that doesn't guarantee an infallible piece of fiction free of criticism. Including the representation. Especially when it comes to inter-community critique, we're more than allowed to be critical of the creative choices on display.

Exactly!! "Safe" is the key word when describing Xanthe and Spirit World. Like it's not outwardly horrible and offensive design (or story), but it's also not saying anything either other than bland "cool". Xanthe's in generic jeans for H'ronmeer's sake. The most fashion-safe statement of all time. For your non-binary Chinese character? Come on. Even Cass got a better outfit in Spirit World >_>

I agree on the whole Spiritual powers thing actually! If they're pairing Xanthe with Johnstantine, I wish they pulled more from Vertigo Hellblazer's approach to the occult and spiritualism. My friends here are practicing shamans, and I think having a Hellblazer approach to the stuff they go through would be so neat. But instead we got. Fighting spirits and demons in fantasy-spirit land with a giant sword spectacle. Like part of why I find the giant sword exhaustively trite is because it's just a signifier for folks to see a cool anime-looking weapon and see how it works in Hollywood-fu fight scenes. It has no deep storytelling purpose other than to look cool. Spectacle seems to topple the grounded reality of Chinese spiritualism here.

Generally I feel like Xanthe suffers the "Superhero first, secret identity second" problem- where the creatives were so focused on what would make a cool superhero that they let the interiors of Xanthe's life and culture fall by the wayside. We don't get to know how Xanthe came to terms with their culture as a Chinese American, or how that intersects with being non-binary. Or even how they choose to express that with the clothes they wear. Just look at the cool fight scenes.

[jellazticious]

“You can’t rush art”

I think everybody can recall the quote from Toy Story 2. From the most satisfying part of the movie where we see a montage of Woody getting restored by a toy maker. It’s one of my favourites too, I absolutely loved looking at the different procedures used to fix a single toy. The toymaker’s precision and care were found mesmerizing by everyone. As a multi-hatted artist, one that can draw, sculpt, animate, and write, I can say that it’s spot on that there’s so much to do for a single piece of work. HOOO boy, you should see how me and Beefy are organizing Cursed to Charm, there’s so much.

For the upcoming webcomic, we design characters, give each and every one of them their stand-alone story, design different clothes, create the map, draw renders and posters, polish scripts for the episodes, plan to program the comic’s own website, make the backgrounds eventually, etc. To people who aren’t artists or take art for granted, to them, art is stroking a paper using a pen and BAM instant masterpiece. No no, it’s more than that.

Another thing I’d like to say about the comic is that the progress is very slow yet very fruitful because of the time taken. Me and my co-author came up with the idea at late November, which makes the comic four months old now. However, with all that time passed, we have already finalized the list of nine episodes of season one. We have also written seven out of nine summaries from that season before actually writing the dialogue in detail. We have a rough four seasons worth of story progression in the span of four months. Nyeh, excuse the little ramble about CtC, I’m just giving insight of how much should be done for the production of anything which leads us to the next point.

Art production in general.

Movies, animation, shows, video games, books, comics etc etc

All of these are part of art, some people would deny because it isn’t sophisticated like they’re lead to believe art is supposed to be. Art is literally just creation man, can’t get any simpler than that 😩 if you made something, then you made something woohoo! Congratulations you made art, cooking included. It came free with your fucking humanity.

Anyway, just like the webcomic, every single one of these listed also have a set of different procedures that will piece together the final output.

Let’s take Disney movies as a specific example, I want to talk about something real quick.

So one time, I was watching Tarzan with my parents and we stuck around for the end credits. My mom pointed out the animators are divided into sections and there’s so much names on them. There are different teams of animators for each character and these teams are divided in two for the storyboarders and the clean up artists. When the credits rolled a bit more, it showed that the background artists and colorists also have their own sections too. There’s so much people working on different body parts of a movie. I got the habit of reading end credits of every movie I watch, animated or live action, then I would compare the credits of old and new movies. Boy, let me tell you that the work space on old movies are FILLED compared to newer movies. One thing I noticed about Disney movies although, is that the old movies have more sections compared to new ones. The major difference of old Disney and new Disney are the length of the credits and the time gap of the movies. I’m really not trusting the way new movies have way shorter end credits while the publish time of new movies are getting narrower and narrower. Before the 2000s, movies usually come out twice a year and sometimes there’s a two-year hiatus before the next batch of movies are published. Now there’s at least two or three movies that publish yearly while also releasing a bunch of shows in the middle of it. I really don’t understand business talk with the way it sacrifices quality over quantity. Like I get having money is great and all but what’s the use of hoarding it? Especially when there’s so much news of people about to be in poverty and mass layoffs. Why should companies earn money if they’re not going to redistribute it back to the economy at all? This is a little off topic but I want to point it out that people in the 80s used to buy whole houses by being a janitor but nowadays people could barely afford a one room apartment even with three jobs. The Simpsons is an example of this because it was set in the 90s and the family is constantly reminded of how “poor” they are. They even created an episode that talks about the same job that supported people’s fathers will no longer support you nowadays (Poorhouse Rock ep22 s33). It’s fishy and I’m salty about it especially because I hear so much people complaining about how they’re not being given a chance to work. Anywho! Let’s go back to art.

I’m just spitballing my thoughts here but somehow they’re connecting either way. All I’m trying to say is that for the people who care so much about the quality of art, it’s noticeable that they get downgraded, not just by the look but by the way they’re written.

Example.

Clone High.

Jesus Christ, the new show is a nightmare and an insult to the original Clone High. The difference is clear with this one. The original Clone High was heavy satire of every single high school trope used in shows and movies. Every single character was meant to have one personality and that personality is the butt of the joke. The original did not care about making the characters appealing because the appeal is found in the way they interact, they clash so much and a lot of them are idiots. The writing is funny because the dialogue flows so easily unlike the renewal. The renewed Clone High takes itself too seriously and it tries too hard to be relevant. It’s funny to me that fans can draw the original’s art style more accurately than the animators hired. What’s even more frustrating is that concept art was released from the art head and the concept art looked way better than what they decided on the final designs. Other than the art style that tries to be marketable, the writing is insufferable with the way they try to be “relatable” without understanding why the original jokes were funny to begin with.

Now we’re all familiar with this cheap tactic of using the title of successful franchises to grab clicks and views. It’s every live action Disney film, it happened to Scooby Doo, Marvel shows, FNAF, some Cartoon Network shows, Megamind, and now even Kung Fu Panda. Basically MILKING. It would have been better if the productions TRIED to understand the original’s intentions which they forgot about. They ended up being disappointing at best and soulless at worst. I won’t be explaining much cuz I’ve already reached the minimum word count lmao. I’m just rambling here, I better not see anyone interrogate me in asks or replies. ANYWAY, I’m gonna get to the point real quick.

Back to the quote at the start of the post, people tend to forget that. Art is a skill, not a button people press and it gives you pretty pictures or videos. Art is a job and an effort. While art is subjective and it differs from person to person, one thing for certain is that art that is made ingenuinely will never be better than art that is made because the artist loves art. This is why the Tom & Jerry reboots with the lineless art style even if they had a storyboard artist who understood the cartoon wackiness (which were discarded for a “cleaner” and faster style). This is why it’s so frustrating to see concept art of movies which have more appeal than the final 3d models. This is why FNAF Security Breach was nearly unplayable.

Because they all rushed art.

They rushed in favour of what is marketable, no matter how unappealing it is. Everything could have been better, some final products are good, but all of them could have been better. As good as what were released pre 2010s when production had a passion. You can’t spell heart without art.

I’m just really passionate about art in any form since it’s everything that created me too. I will not be here at this point in time if it weren’t for me learning that there’s so much beauty in the world if you could just squint and appreciate why that’s so. I’m defined by my works and it only hurts and infuriates me that people who have the ability and accessibility to create better art than I do waste it for their personal gain or selfish intentions. Everyone could be a better person because of art just as it did to me. Again, it came to us the moment we’re born, art isn’t just a pretty picture, it’s everything we create out of love, passion, time, and effort.

But really, to the wise words of Chef Saltbaker, “like any good bake, heart and soul is the secret ingredient”

You can’t rush art.

[timetravellingkitty]

Mulan 2020 sucks lol

Written and edited by yours truly

So, Mulan 2020 happened. And I am disappointed. Seriously disappointed. It is utter garbage. I would genuinely prefer it if I watched Mulan II 5 times in a row, and that's saying something.

There is so much to talk about because this has so many issues. I don't think my brain can handle a movie as bad as this for some time. It is a disgrace to the original animated movie.

(Who cares about spoilers?)

And yes, I can and I will compare it to the original movie because it is a remake. It is totally valid to see where this fell flat and where the original succeeded. I'm not saying it has to be like the original cartoon, that is stupid. As I mentioned, it's to highlight the failures of this movie.

Besides, even if we forget the fact that it is a remake, this movie is still horrible.

INTRODUCTION

Mulan 1998 is a classic. It has great visuals, an awesome soundtrack, wonderful and compelling characters, a great message and a cool plot. It's just a great movie in general. It is an adaptation of The Ballad of Mulan, a Chinese legend. Both the legend and the animated movie are about a young girl named Mulan who disguises herself as a man to take her father's place in the army to fight back against an invasion.

As big of a success Mulan was, Chinese audiences thought some things were weird. For instance, having a dragon be a comic relief character, given that dragons are highly respected in Chinese culture. So of course, Disney decided to try another shot, claiming that they wanted to be more culturally sensitive, accurate and closer to the original ballad.

Mulan 2020 is a remake of the original animated movie, and was marketed to be more "accurate to Chinese culture and the Ballad". This claim is, of course, false, because they failed in that aspect. Say what you will about the cultural inaccuracies in Mulan 1998, but at least it was a great movie. Besides, Mulan 1998 didn't pride or market itself on being culturally accurate, the way Mulan 2020 did, so there's that.

CHANGES

I don't mind some changes. And honestly, if there's one thing I appreciate, it's that it isn't a carbon copy of the original (looking at you The Lion King 2019).

Li Shang's character is divided into two characters: Commander Tung and Mulan's love interest Honghui, apparently in light of the Me-Too movement. This is a dumb reason. Disney wasn't comfortable with a superior having a relationship with a subordinate? The hell? The romance between Shang and Mulan was only insinuated at the end, when Mulan wasn't even a part of the army anymore, so there's that. Also, Mulan gave her consent, so I don't know what they’re talking about.

Mushu isn't present in the movie. I can see why though. He contributed quite a bit to the soul of the animated version but a CGI dragon would be very distracting. Also, the director said that removed him to achieve a more realistic tone.

Grandma? No grandma. Mulan has a sister though, who only exists to mess stuff up.

The Huns are replaced with the Rourans and Shan Yu is replaced with Bori Khan.

Mushu is replaced with a phoenix, who acts as an emissary for the ancestors

There are no songs, except in the end credits, which isn't a bad thing. The instrumentals of the songs in the animated one play during some scenes (I'll talk about the music, don’t worry)

CHARACTERS

The characters in this movie are so boring. Our lead character Mulan lacks the charisma her animated counterpart had. She's utterly bland, uninteresting and poorly written. In the original, she knew she wasn't physically strong and that she couldn't solve her problems with her strength, so she used her intelligence and wit. She excelled by working hard and being strong willed and determined. This Mulan is a well rounded character.

Mulan in the live action is given Chi powers (Chi is a big part of Chinese medicine, in case you didn't know). Honestly, I wouldn't be as mad at Mulan being given superpowers, had they actually done this properly! Chi isn't like midichlorians, it's something that flows through everyone. Mulan is naturally born with dumb superpowers and has to hide them because as her dad says, " Chi is for warriors, not for daughters”. There is a problem:

It has been mentioned many times that Mulan needs to hide her superpowers otherwise she will be shunned and ostracised. Then why doesn't she get more repercussions everytime she uses her powers? The worst thing that happens is little Mulan getting looks of disgust when she uses them. On other occasions, when she is now a part of the army, she uses her powers in training and she doesn't get any backlash? What the hell?? Then why even bother in the first place?

The only way for this narrative to work is if Mulan got more repercussions for using her powers.

If I were to make the line "Chi is for warriors, not daughters," work, I would make it go something like this:

*At the end of the movie when Mulan comes home*

Dad: Didn't I tell you that Chi is for warriors, not daughters?

Mulan: "I am a daughter, but I'm a warrior too."

(Yes, I know this is similar to a scene in Avatar: The Last Airbender, but this would be better, tbh. Also, watch Avatar: The Last Airbender)

Let me compare the training montages from both movies.

In the animated one, there is an absolutely AWESOME montage of Mulan training side by side with her companions, slowly gaining their trust. She climbs the pillar with both medallions by using her wit, not by brute force. This Mulan worked hard. Besides, the fact that "I'll Make A Man Out Of You" plays over this is the only thing that makes it better (banger song, thank you Donny Osmond)

In the live-action, Mulan is supposed to lift up buckets and climb on top of a mountain. There are also other training scenes, but those aren't very important. In these scenes, she succeeds with the power of CHI. WHY? Mulan here just achieves her goal because she is oh so special. She didn't work to achieve her goal at all, because she is perfect. No struggling or development here at all.

Mulan in the animated version was more concerned about saving her father. Mulan in the 2020 version is a dumb patriot who can't even do patriotism right ("I know my place. It is my duty to fight for the kingdom and protect the Emperor") How very empowering.

In short, live-action Mulan can do no wrong. She has no flaws, no personality and no charm. Everything comes to her pretty easily, because MAGIC.

Li Shang's role in the live-action is divided between Commander Tung and Mulan's love interest Honghui, as mentioned before. Both of these characters are flat, dumb and boring. Tung exists to tell Mulan to cultivate her Chi and to train these idiots (and to offer his daughter’s hand in marriage to her, unaware that Mulan isn’t actually a guy, but eh). Honghui is there to be a stupid love interest, who gives us an “I am Spartacus” moment.

The witch is by far the most interesting character. She actually has more than one side to her, has SOME kind of depth and you can even feel sorry for her. She is supposed to serve as a foil to Mulan, given that both have similar powers. In case you've forgotten (which is something I wouldn't blame you for), she's an outcast who's now working with Bori Khan. Why is she an outcast? Because of her Chi. The witch has said many times that she could kill Bori Khan in a snap, then why doesn't she kill him? Because she needs acceptance? What the hell? She decides to pull out the whole "We're the same, you and I," stupidity to Mulan, and I can see that. It's just that the writers just didn't put much thought into it. “It’s too late for me” because you saw a woman leading an army of men? Also, why does she warn Mulan that Bori Khan is coming? Unless she's playing both sides, except her motivations aren't made clear enough for this to make sense. Finally, she dies for the dumbest reason. God, it just makes me so mad. She had so much potential, but no. They just had to mess her up.

Bori Khan? MORE LIKE BORING KHAN. Not much is there. His animated counterpart Shan Yu was scary and contributed to some of the darkest moments in the movie. This guy over here is just...nothing. That's all I have to say.

Mulan's sister is only there to mess up the meeting with the Matchmaker. What a stupid change. First off in the animated version, it's Mulan who messed up, because she isn't perfect. She fails at being stereotypically feminine AND masculine, but in the live-action, she literally pulls off a Spiderman cafeteria scene, and the blame is put on the sister. In the animated movie, this scene is groundwork for Mulan wanting to prove herself and going on a hero's journey, providing depth to her character, but in the live-action, she's perfect. What is the point? (I know this section was supposed to be about the sister, but eh). The sister doesn't provide anything else to the movie, so thanks! I hate it. Moral of the story: Girls can do anything boys can, as long as they have superpowers. If you are born special like Mulan, you can be respected, whereas if you are like the sister, you have no significance and in the end, you can just fit in and be irrelevant. Congratulations!

The live action group of guys Mulan met and befriended in the army lack the charm and comedic timing of their animated counterparts. That’s it. Seriously. I have nothing more to say about them, because they don't really have anything going on. I don't even know why they are included, because their contribution is nil, save for them blandly speaking lines from the animated version’s songs ("I don't care what she looks like, I care what she cooks like"), which is seriously cringe.

The dad is there to tell Mulan that Chi is for warriors. A shame, because I really liked the dad in the movie. He was a source of wisdom for Mulan, whose greatest honour was having her for a daughter. In the live-action, he just takes the sword that Mulan is given at the end of the movie. The mom is meh.

The emperor is also meh. At least he was wise and cool in the animated version, but here he just does bed sheet kung-fu.

Did I mention that the dynamics between the characters are unnatural, forced, awkward in a bad way and in no way indicates any chemistry between them? Oh yeah, I didn’t, until now. They don’t establish much when it comes to emotion.

Simply put, Khan (Mulan’s horse in the animated version) had more personality than all of these characters combined

PERFORMANCES

Liu Yifei as Mulan was a pretty terrible choice. She is just a block of wood, who has absolutely no range, and this isn't because of the writing. She is genuinely bad, and is regarded as one of China’s worst actors (I kid you not). She just can’t emote.

Jet Li as the emperor is meh. But hey, he doesn’t have much to do, so eh.

Jason Scott Lee as Bori Khan is fine. He doesn’t suck, but he lacks the command and authority of a character who is supposed to be intimidating, but I guess it has something to do with the writing of his character.

Donnie Yen is a martial art legend, but unfortunately, he doesn't have much range as an actor.

The best performance of this movie is that of Gong Li, who played the witch. Honestly, she is charismatic, charming and has an idea of what she is doing.

To save everyone’s time, simply put: most of the performances are bland and mediocre. Partly due to bad writing and partly due to most of the actors not being, well, good at acting.

CULTURAL AND HISTORICAL ACCURACY

So Disney went all “we like cultural and historical accuracy”, which is nice. For example, the Huns are replaced by the Rourans, a real tribe in China around the time Mulan was supposed to be alive. They also removed the hair cutting scene, because as iconic and awesome as it is, it doesn’t make sense. Chinese men wore their hair long too. You know what? I like these kinds of changes. I appreciate accuracy. If only Disney didn’t pride themselves on their accuracy when they got almost everything else wrong (They somehow got Mulan's house wrong lol). I don't know jackshit about Chinese culture so just go watch that Xiran Jay Zhao video it's very swag

THE BALLAD OF MULAN

In a surprising turn of events, this isn't accurate to the Ballad, like they had marketed it to be (I know, I’m shocked too). In a reference to the Ballad, Mulan is riding a horse and she sees two rabbits running side by side. She goes home and tells her family that she saw 2 rabbits, and she thinks that one was male and the other female, but she wasn't sure. This just misses the entire point of the Ballad.

Long story short, Mulan in the Ballad is actually a seamstress. She joined the army in her father's place. She defeats the barbarians and goes on a ten year long campaign with her friends, after which they meet the Son of Heaven (a sacred imperial title of a Chinese emperor). He offers her a high ranking position, which she refuses, because she just wants to go home. She returns home and her family welcomes her. Sometime later, her friends come to visit her, and they find out that she is actually a woman. The friends are shocked because she has been in the army for 12 years and in those 12 years, they didn't even realise that she was a woman.

Mulan then replies:

The male hare's feet hop and skip

The female hare's are muddled and fuddled

But when two hares are running side by side

How can you tell the male from the female?

Which is where the poem ends.

So, Mulan just going on, judging those rabbits like that makes absolutely no sense. The Ballad is about how no matter how different men and women look, when they live and fight amongst each other, who gives a damn about the differences? You know what would have made sense though? If Mulan got off her horse, went close to the rabbits, examined them, and then made the conclusion that one is male and the other is female. This would actually be sticking to the message of the Ballad. Also, why do they make it ambiguous as to whether she accepts the high ranking position? I assume for a sequel (yes, God save my soul). Here we can see another example of its impeccable accuracy to the Ballad.

THIS ISN'T EMOTIONAL AT ALL

Everything that made the original film good has been stripped away. Every moment that is meant to be emotional is very dull. For example, the scene where Mulan makes the decision to take her father's place in the army is supposed to be a very powerful scene. Mulan is risking it all just so her dad can be safe. She might be killed if discovered, and her family would be dishonoured.

When Mulan comes back from the Matchmaker, she has a moment of reflection while singing "Reflection". This is the beginning of her personal journey, discovering who she is. In this, after Mulan comes back from the Matchmaker, she doesn't have a moment of reflection. The army immediately shows up. Am I really supposed to believe that Mulan feels bad about this? That Mulan is really struggling?

When Mulan’s friends are singing, it suddenly shifts to the striking scene of the burnt village. This, in my opinion, is the best use of tonal whiplash. From this point on, things are getting serious, and the emotional weight of this tragedy is felt. In this, they just randomly show up at the village.​​ There is no seriousness (stop trying to tell me this movie is adult, mature and serious, it just looks like that on the surface).

Their attempts at being emotional are poor and unconvincing, and ultimately, the end product is an emotionless, soulless, depthless entity.

THE MUSIC

The director mentioned in an interview that she didn’t add songs into the movie because it is “unrealistic to break into song when you're in war”, and I don't think I’ve heard anything more false (apart from the concept of a flat Earth). Even I, who isn't going into war anytime soon, know this is false. They instead inserted instrumentals from the original film. Except, it's very weirdly placed. The instrumental for Reflection is placed when Mulan is fighting the Rourans after she reveals herself to be a woman. Like, there isn't any context. In the end credits, they had the original song "Loyal, Brave and True" sung by Christina Aguilera, which was nice. I don't really have much to say in regards to the music. The music is overall forgettable.

THE ACTION

The action may seem weird, but this kind of martial arts is a part of the Wuxia genre, which is what they were going for. Well, they failed. The choreography is bad, the CGI is bad, EVERYTHING is bad. Honestly, if you want a good Wuxia movie, Crouching Tiger, Hidden Dragon exists. The action is here stupid and stiff.

OTHER DUMB STUFF

Why does Mulan take her armour off before going into battle? That is just stupid. Can't you just take the bindings off? Also, WHY OPEN YOUR HAIR-

Mulan really likes kicking spears (and pointy stuff in general). Seriously. It’s weird.

The CGI is okay I guess, I don't know. The phoenix in some scenes looks pink to me. There are some pretty visuals though.

It is very obvious that there is a green screen used in the scene where Mulan and her friends find the burnt village. And it looks bad. Pretty ugly. It looks bad. The green screen looks bad.

The war strategy is just weird. I can't really say anything about it in text form because how am i supposed to describe it, help- (she literally teleported behind the bad guys in the avalanche scene-).

I like how the animated film, which had a dragon as a comic relief and other silly stuff, is more mature than this.

For what joy does Mulan get another sword from the army? Also, shame the dad is all “oh look at the values written on the sword, they are honourable” even though in the original the greatest honour was having her for a daughter.

How was Mulan even able to tell the gender of the rabbits?

Why not just try to send a warning to the Emperor that the Rourans are coming to get him?

Why does Commander Tung let Mulan lead them-

I AM SO DONE

Well, I think I have said everything I wanted to about this movie. I know I havent talked about its controversies but honestly, I am done. I am so done with this. This document took 5-6 months of my life. I am kind of proud of this, and there isn't much I have done to be proud of. I did procrastinate on this a bit, and I had stuff going on, but finally, I am done. In the future, if I remember something, I'll add it here, but I think that is unlikely. I never want to watch or even go near Mulan 2020 again. It's horrible, and there is barely anything redeemable. I hate it here. It’s been reported that a sequel is in development. If it’s true, of course I’ll watch it, how else am I supposed to validate my self hate? I am also, of course, the resident “friend who suffers for everyone else’s entertainment”. If you want a live action remake of Mulan, Mulan: Rise of a Warrior exists. Go watch it, it’s free on YouTube with subtitles. I really liked it.

If you’ve somehow made it this far, thanks for reading. I congratulate you for putting up with whatever this is. I would also like to take a moment to congratulate myself for actually committing to this. It was painful yet fun to complain about this to the best of my ability. If anyone wants to add anything to this, feel free to do so. Now, if you’ll excuse me, I’m out. I have lost my faith in humanity, and I have other things to complain about.

[fedoraspooky]

Okay Spooky, if you don't mind random questions- what's your favourite Disney movie?

Oh I don't mind at all! I'm actually quite tickled to get one out of the blue like this. nwn

But yes! Answer! Uh, well... Honestly a lot of the ones in the 80s and 90s hold a bit of sentimental value to me due to the fact that my dad worked on them. I would always leave the tape running through the credits until I spotted his name. ;w; In fact, on the DvD for Treasure Planet, if you go to the special features you can actually see him in the making of featurette, where they're asking him about how he sculpted the cyborg parts for John Silver! But, er, yes- favorites!

I would say, it's kind of a toss up between two-

I LOVE The Great Mouse Detective. It encapsulates a lot of stuff I like about that era of Disney, and I do enjoy me a good detective story. The animation is smooth and full of character, and has that rough-lined charm of the xerox era, and the backgrounds? Absolutely gorgeous. The story is fun and full of great comedic moments and also moments that downright terrified me as a kid (That Fidget jumpscare and everything leading up to it still gives me the heebie jeebies). But most of all, I love the characters and the dynamics between all of them, especially whatever Basil and Ratigan have going on. Dear lord. Really not surprising this movie ended up being part of my big list of inspos when writing Kilroy. XD

Second movie- and I know some people don't count it as Disney but to hell with it, it was in kingdom hearts so it darn well counts in my book- The Nightmare Before Christmas. GOD, this movie. When it first came out, I couldn't make it past the opening song because I was scared of the clown with the tearaway face. I shit you not. BUT once I was past that, it quickly became an obsession in my little kid mind. My mom actually showed me a PHOTO she has of me from when I was still in my single digits of age, in which apparently I had taken a black permanent marker to my face to draw rings around my eyes and lines on my mouth so I could look like Jack Skellington. My mom still has it framed in her living room to this day. XD But yes, I sang all the songs, I drew Jack and Sally and Zero all over whatever paper I could get my hands on, and I even made a christmas ornament of Jack's head out of sculpey that we put on the tree every year since. It was probably a huge reason that I became such a huge Halloween and spooky-things lover. And even to this day, it resonates a LOT with me as a movie about someone who is just experiencing the WORST artistic burnout. That's really what this movie is about, I've written a whole-ass essay of a post once rambling about Jack's Lament as a song because of the feels it gave me (i tried to find it but idk if i deleted it during a scare of tumblr copyright striking blogs for music a long while back or if tumblr's blog search function is just poop, either is possible).

Anyway I've talked your ear off long enough, my apologies for the long post but sadly that is what happens when you get me talking about stuff I like. <XD ; Every time I say I won't, but then I become this:

[mikehasfleas]

Bruh. I just realized. Moana 1 and Moana 2 are the exact same movie but Moana 2 is the worse copy.

Plot:

[ -example(moana 1, moana 2) ]

-moana wants something that she's scared of (voyaging, finding new people)

-moana feels like she has to choose between her family and the thing she wants (breaking tradition would be going against her family, she'd have to physically leave her family and she may come back empty handed which would make the voyage useless I guess? Didnt we already learn this lesson in moana 1?)

-moana goes anyway (leaves in secret, leaves but not in secret)

-moana becomes buddies with an old and stern yet silly person(s) who always wants to help, to a fault (Maui (wants to help humanity but ends up hurting them, is often comedic relief yet can be very serious, and is really old.), Loto+Kele+Moni=Maui without actually being serious about anything (Loto: always wants to help, to a fault. Kele: old and stern. Moni: silly comedic relief)

-moana has beef with the coconut guys ([no example needed, it just happens])

-moana learns about the main villain, who is an evil elemental being that has put a curse upon humanity (Te Fiti is fire and earth, Nalo is air and water)

-moana goes to a magical realm where she meets a minor villain and we hear their musical number while they have Maui's hook held hostage (Tamatoa with "shiny", Matangi with "get lost")

-we hear Maui sing his song ("you're welcome", "can I get a chee-hoo" (it physically pains me to type that name) )

-moana sees her grandma's + ancestor's spirits ([no explanation needed, girl's just seeing ghosts])

-they go beat the main villain and moana's necklace comes into play when curing the curse (Moana restoring the heart of Te Fiti, Moana diving down to grab the shell but ends up doing... whatever happened there (genuinely like what happened there) and touches the island)

-now that they fixed it they go stand on the island ([once again, no explanation needed])

-problem solved, desire is fulfilled, conflict fixed, end credits (moana got to sail with her people while still connecting them to their ancestors, moana sees the people she went out looking for)

Like. Am I crazy or did the writers just straight up chop moana 1 into little bits and try to recreate it without people noticing. It's straight up the same fuckin movie but moana 2 is a stupid copycat. It even starts with a baby in it like moana 1 did except this time the baby was irrelevant. Maui had the life and soul sucked out of his character and given to 3 characters who have 0 other traits and all Maui is left with is just being voiced by dwane johnson. You could Pepsi challenge these 2 movies and only know the difference because one of them is room temperature and flat. Moana litterally A-poses in a scene that made it into the final cut. It's so bad and I know that's partially because it was never supposed to be a feature length movie (it was originally gonna be a TV show on disney plus) but that doesn't mean it's a good movie. The entire theater I saw it in was cracking jokes at the most intense scene because we litterally could not take it seriously after Maui's song and we were on thin ice before that. I do not recommend watching it, like don't even hate-watch it unless you wanna hear the same soundbite of the rock singing off-beat over and over, which nobody should ever have to hear. I would've walked out if not for my pure morbid curiosity and the fact that I was there with my family. It shortened my lifespan by 4 years at least

[piracytheorist]

After much deliberation, I decided to watch Wish, the abomination that Disney released last year as its "100th anniversary film". And well, yeah, it's pretty poor. There's so much in the story that an actually experienced, self-respecting writer would cross out from the first draft, but they sadly got into the final film.

And I cannot for the life of me believe that Star was supposed to have a human form?? And we got the stupid merchandise bait? Cause I swear every time Star did something I was thinking "Imagine that being a character with a human form and voice" and going like WE WERE ROBBED. The talking goat that gave absolutely nothing to the narrative but butt jokes was one thing, but then you ask of your audience to feel something for a moving plushie? Idk I couldn't feel a thing for that, even though it felt like the story was begging me to. It wants me to buy a plush star and give the mouse even more money sooooo bad.

And the songs were... oof. How did Disney end up like this. How. They're literally in their "live long enough to see themselves turn into villains" era.

Anyway, funny part, cause one of the characters was called Simon O'Donohue and I actually had to pause because I was laughing so hard. And I should know, I do know, the name O'Donohue and its variations are actually among the most common Irish surnames but man. When you love a celebrity, their name always hits hard when it comes from where you don't expect it. I still laugh thinking about it, I'm imagining myself seeing this movie in theaters and bursting out in laughter at the name, and people looking at me like wtf is she laughing at.

A weird mix of emotions, I gotta say. It's a shame because it had an interesting potential but someone just... didn't know what power they held. I don't know who's to blame, most definitely higher executives from the mouse, but it's really a pity. It even ends with the "When You Wish Upon a Star" after the credits, showing the castle with the arc of fairy dust, and all I felt was "You've lost its meaning, Disney. We used to love your movies despite your horrible business choices, but now we don't even love your movies. What else is left."

[physalian]

On the one hand I am sick and tired of nostalgia bait trying to make up for shit writing to convince you that the movie is better than it actually is, but there is something special about Deadpool & Wolverine, No Way Home, and DOFP that the rest of the MCU just doesn’t have (did not actually see DP 2 and haven’t seen DP 1 since it came out).

I think the obvious dividing line is that these cameos serve a narrative purpose they’re not just there tossed in with the kitchen sink. I know Spiderman’s movies were by Sony but they fit the same vibe as what happened with Fox—these movies can only exist because they’ve been re-cast and remade and rebooted so many times, and because of the nature of these characters, and when the writers understand that that is the essence of a comic book character, that their story will never end, there will always be a new issue, a new evolution of them, so let’s embrace it instead of trying to fit it into an adaptation that dismisses it, it just works so well.

NWH does ride the nostalgia train a bit too hard, but Toby and Andrew still treated their roles, getting to be on screen again, play these characters again after their dismissal from the canon, regardless of what the actual story was about, that was special. The heart and soul those two brought to those characters was special.

DOFP is still regarded as one of if not the best X-Men movie, and it goes beyond the “nostalgia” of seeing the original actors working with the next generation, that movie felt like a passing of the torch in a way that didn’t crack jokes at the OG’s expense, like so many Marvel movies have done—laughing at themselves before the audience can laugh at them and making themselves really insincere and unable to embrace the cheesy corniness of what comic books are.

You could have a movie where every single iteration of Batman comes back in some DCU multiverse of madness, but so many of his adaptations are grimdark and serious that the only movie that kind of pulled it off was Lego Batman, and those fourth wall breaks were just a couple jokes, not literally having a script with tiny Lego Batman on screen acting across from the Bale Batman.

Not only that, these three movies didn’t just bring in cameos and toss their actors a sack of cash for a couple days of filming. It really felt like all these actors, who’ve all had if not awful adaptations, but less than thrilling ones, and even some great ones, are getting the chance to show the world/Hollywood/whatever that they were given up on too quickly, that they still had more left in them—and Hugh Jackman acting his ass off in DP&W just goes to show it. Dude has played the same character I think more than anyone else in comic book history? If not, he’s very close, or at least spans the most years in his role. He could have phoned it in, showed up and did the bare minimum, but he didn’t, and he gave a version of Wolverine that is both so like the character we’ve seen on screen for 20 years, and something new, because this isn’t our Wolverine.

And of course all the other cameos—the oldest Fox movie I’ve seen is the first Spiderman. I recognized Wesley Snipes and knew that Jennifer Garner was important, knew her weapons were significant, but I didn’t realize who she was until they said her name. I just know that her movie was pretty bad. The meta narrative of a Fox send-off victory lap, giving these characters and actors one last chance to give it all they’ve got just felt like it was done from a place of deep respect for comics, cinema, and the legacy of these movies—X-Men ran so the MCU could fly. It didn’t feel like assembly line MCU schlock at all.

So while I really, sincerely hope that the higher powers at Marvel don’t look and go “oh so they do like nostalgia bait,” this felt like so much more than “nostalgia bait”. I do not need more of it at all, but if this was the send-off that Fox never got when Disney ate it, then this movie and the end credits BTS montage was, at least I think, the best they could have done with it.

[jq37]

Please let us know if you solve this mystery!

OK! It’s the end of the year so let me compile everything I was able to come up with (with the help of everyone I dragged into this–you know who you are and thank you and I’m sorry). 

To anyone who’s just seeing this and doesn’t have context, in November, right before the movie Wish came out, I made a longish post questioning who Allison Moore was (which, incidentally, is the first post that comes up when you Google “Allison Moore Disney”).

The reason I was curious about who this random writer is is because she’s credited as one of the co-writers of Wish, Disney’s 100th Anniversary Feature Film BUT she has no obvious experience writing for animation, children, or fantasy when everyone else on the main team has credits on stuff like Frozen and Encanto. I thought it was bizarre that there would be someone so green on a project so big so I went digging. 

Here’s what I learned:

(1) Moore wasn’t originally announced as being attached to the project. Chris Buck, Jennifer Lee, and Fawn Veersunthorn were all mentioned when the project was officially announced in Sept 2022 (for example). Moore was not. And you’d think they’d mention the *co-writer*, right? You don’t start to see her name until a year later in Sept 2023 when the trailer dropped (for example). So it seems like she was brought onto the project later. Of course, this could just be a normal quirk of the industry or something I’m misinterpreting, but I think it’s worth mentioning. 

(2) Moore seems to have a lot more credits in stage writing than she does in screenwriting. I wasn’t able to 100% confirm it until recently (I’ll get to that in a second) but she’s written a bunch of plays and it seems like this is where she has most of her bona fides. 

“Allison is the recipient of two Jerome Fellowships, two McKnight Advancement Grants and the Bush Artist Fellowship.”

That sounds fancy. But it still doesn’t say “Top Choice for Disney Anniversary Movie” to me. That’s not a statement on writing quality. I haven’t read/seen any of her plays. It’s about the subject matter. Look at some of these synopses:

None of that really screams Disney. Which isn’t to say people can’t have range. George Miller wrote all the Mad Maxes but also Babe and both Happy Feet. But if I was hiring someone for a really big project, I wouldn’t want that project to be their first attempt at expanding into that genre. 

(3) This isn’t actually inherently important but she was on an episode of Nailed it. That’s where this picture comes from:

She won the first round and the game ended in a three way tie for the first time in the show’s history. 

The only reason this is noteworthy in the larger scale of things is that, until very recently, this was one of only two places online you could see Allison Moore talking. The other is this very short interview on the red carpet during the premiere. 

There’s nothing in that interview that explains anything. It’s mainly her talking about how it was fun working on the movie and how good the movie is. 

Honestly, good for her for not being Extremely Online, but it really felt like I could get a bit of a handle on everyone else who’d worked on this project in a high profile way but not her. Which is part of why I started down this rabbit hole to begin with. There was nothing to show where she might have had a connection or an interest or anything that would connect the dots. 

For reference, Fawn (who was one of the Directors and story writers) has the kind of resume that I was expecting Moore to have when I initially Googled her:

Smaller jobs on other kids/animated movies (Hop, The Lorax, Despicable Me 2), some storyboard or art work on other Disney stuff (Frozen, Moana, Zootopia, Ralph), and then a big break (Raya and Wish). Based on my understanding of the industry (and I know a fair bit because it’s one I’m interested in professionally) that’s a very typical track to get to the writing side of animation.  

A couple of people speculated that Moore got onto the project in a mentorship capacity. Now, I’m a Black woman who writes fiction professionally when I’m not on this hellsite (affectionate) with the rest of y’all. That means I have firsthand experience with what mentorship looks like in writing–both official Diversity and Inclusion type mentorship and more organic “Let me take you under my wing” type mentorship. I have *never* seen anyone get a job this high profile at the jump just due to mentorship alone. Going from zero to Disney’s 100th anniversary is kinda insane. This wasn’t some B project or something. It was a Big Deal Project. And this is Disney so they could have hired basically anyone they wanted. So you have to assume this was an active decision someone made and not just a thing that happened for lack of options. But in all my searching, Moore wasn’t mentioned except to just say she wrote the screenplay with Jennifer Lee. It was just the baking show and the Youtube clip.

Until today.

(4) I’m going to preface this by saying this doesn’t actually answer the question in a big AHA! way, but it is the only interview I’ve seen about Wish from Moore besides the red carpet clip.

On December 15th, Moore gave this interview with the San Antonio Current.

I stumbled across it while searching for a different piece of information and eagerly clicked to see what she had to say after three weeks of silence after the movie dropped on November 22.

Here are some highlights:

-In high school she was a theater kid and thought she wanted to pursue acting. 

-I college she did playwriting and eventually she got her MFA from Iowa (which has a weirdly great MFA program btw, and also, this interview is how I confirmed she was the playwright Allison).

-When she started on the theater track at her college, she told them she was a playwright so she could study that too even though she’d never written a play before. So it sounds like Wish isn’t the first time she’s just jumped into a new thing without experience. You have to respect the hustle.

But this is the most important line in the interview because it’s like, an answer and a non-answer all in one. She’s asked, “How did you go from writing plays to writing for TV and film?”

And her answer is, “I had a whole career writing for theater, and then when my son was born, I realized I needed to make more money, so I started pitching for TV. I worked in television for about a decade. In the midst of working in TV, I continued playwriting. That's how I got on the radar at Disney.”

Which kind of sidesteps the most intriguing part of the question? Like, first of all, it’s not 100% clear if she means her playwriting or her TV writing caught Disney’s attention. I’m guessing playwriting, but I could be wrong. Secondly, who is “Disney” in this situation? A Disney recruiter? A Disney director? Did Jennifer Lee see a production of Slasher: A Horrifying comedy while passing through Texas and think, “Her. I want her to be my co-writer on this children’s film.” And what did she do to impress them so much that they right away put her on the the *Anniversary Project*? Like, I know I keep harping on this but I can’t stress enough how big of a deal this is. It’s hard enough to write for just your average sitcom or little movie. To just jump on something this big is baffling. I obviously don’t expect Disney to be justifying their every hiring decision publicly but, usually, when someone is doing something like this, it’s very obvious why they were chosen and, even with this sliver of explanation, it’s still frustratingly opaque. And with the strange post hoc timing of the interview (seriously, doesn’t promotion usually happen PRE movie release?) It almost reads like an interview that exists because someone realized the lack of any online presence was weird. 

(5) When she was a kid, Allison Moore had a crush on Fox Robin Hood. That’s not at all important to the mystery, that’s just information she volunteered during the interview and that I’m now sharing with you. So when you search her name now, the top results are me wondering who she is, her IMDB, and her talking about how she liked Fox Robin Hood's little hat. Which isn't a LOT of information, but it’s more than we had before and that’s something.  

[peachyqueenly]

Cookie Run, Queerbait, and why the concept does not apply to SeaMoon... 2!!!

//This is a repost of an older post, as something else came up that I wanted to add to this analysis. If you don't want to reread the entire thing, feel free to skip to the section headed with 'Queerbait: Lost in Translation'.//

There are a lot of issues with the way Devsis, the developers behind Cookie Run, handle diversity in their games. Most notably, it falls into the common trap many, MANY gacha games do in that it partakes in a lot of orientalist tropes. But one debate I’ve seen that I just cannot get behind, as a lesbian, is the idea that they have queerbaited-- most namely, with SeaMoon.

Below the cut, I will explain why: what queerbait is and what it looks like, queerbaiting vs coding, and why comparing WlW tropes from other countries to queerbaiting is unfair (and also maybe don’t apply a Japanese literary concept to a Korean game, more on that later). All in a bid to show why it is not only wrong to compare SeaMoon to queerbaiting, it is harmful.

SeaMoon, for those unfamiliar, is the name popularly given to the ship between Sea Fairy Cookie and Moonlight Cookie in Cookie Run. Aside from the ocean and the moon being a common motif for romance in fiction already, the game had hinted at their romance in a lot of in-game and side material. Most namely, Sea Fairy’s line about Moonlight’s heart ‘being the warmest’ and the “I want you Everyday” music video with their moment together + the lines that went along with that moment...

Your love brought spring to my endless winter...

For more examples of where their romance was suggested, I recommend this doc: https://docs.google.com/document/d/1LPJU8yBYD8Ng7lhh_lR0bA2XRwmJTtbRceGuKahFxFs/edit

The point is, most WlW in this fandom caught onto the romantic ramifications of the ship long before Moonlight was expanded on in Kingdom and the recent updates all but confirmed their mutual affection towards one another. The two of them even got matching costumes and a bond story that was as close to romance as Cookie Run would do (as it is ultimately not a romance centered franchise).

With who they are established...

Queerbait: What is it?

Queerbaiting most popularly is understood as a marketing gimmick where creators and multimedia companies suggest queerness to draw in LGBT people and allies, only for the rug to be pulled out from underneath fans. Though it has other meanings, especially in other cultures as I'll explain more below. Whether this is utilizing the ‘bury your gays’ trope, the rep being constrained to insignificant side characters/moments, or just not existing at all.

The two most popular examples of queerbaiting would be recent Disney movies and Voltron. Though special shoutout to Harry Potter, as if we didn’t have enough reasons to hate the book series and JKR. As the stuff with Dumbledore was an obvious retcon to go ‘look how progressive I am!!!’.

Voltron’s last season had two key things regarding queerbait: the Klance drama (the ship between Keith and Lance) and Shiro’s bait and switch with his partner.

To the show’s credit, Shiro was actually gay. Even revealed to have had a partner he was engaged to. However, this rug was pulled out from underneath fans when they actively killed said partner. He was given another partner in the epilogue, but the fact he was revealed to be gay only for his partner to be killed off (coupled with the next thing) upset many queer fans.

Klance is a lot more insidious. In the run up to the final season, Netflix and the crew actively promoted the show using Klance and its popular support. Despite the fact they knew the relationship was never intended to be canon. This is one of the most explicit examples of queerbaiting out there, and is foundational to understanding the specificity and insidiousness of the marketing ploy.

For Disney, I would like to focus on the Star Wars sequels and Beauty and the Beast (2017). The last movie of the sequel trilogy had the creators talking about how there would be queer rep... leading many queer fans to believe they were talking about Finn and Poe for obvious reasons, something the creators never corrected/confirmed. Only for the rep to merely be two background characters in one scene.

As for Beauty and the Beast, Le Fou was celebrated as Disney’s first openly gay character, leading folks to believe they’d explore him having feelings for the titular bad guy. But that was never really explored in any meaningful way, and the rep we got of him was a ‘blink and you’ll miss it’ moment between him and an unnamed character. Arguably he could fall more into coding, but the fact Disney actively marketed him for his gayness is where it bleeds into queerbaiting.

In general, queerbaiting is a more modern problem, as companies feel they can say the word gay now. But are still wishy-washy on actual depictions of queerness. So we get them celebrating their inclusion, even if it’s ultimately little to nothing.

Queerbaiting vs Queer Coding

This is when an important distinction needs to be made: what is queerbaiting and what is queer coding. Queer coding is when media uses subtext, but never explicitly says, a character is gay. A good way to understand this is to compare 90′s disney movies to modern ones.

As discussed above, modern Disney will often go on about having queerness in their movies only for it to be minimal at best if not existent. 90′s Disney meanwhile never marketed their movies as having LGBT elements, but many fans could see the way in which queerness came through from characters like Ursula (literally modeled off a drag queen), Scar, and Hades. 

Queer coding can be seen as a product of the Hays Code era-- where positive depictions of ‘perverse sexuality’ (including homosexuality) was not allowed in film, relegating a lot of queerness to the roles of villains (hence the association Disney villains have with it). That, or queer creators had to find ways of coding their heroes in ways that went under the nose of cishet audiences.

Queer coding exists in a net-neutral space. As queer coding, while in many ways is outdated in a world where media can show explicit LGBT rep, was integral to the ways in which queer creators told their stories for years. And actively influences the way many queer creators continue to tell their story (for better and for worse). It can also perpetrate stereotypes against queer people, as we saw with the Disney villains, however.

Still, this is different than the relatively modern concept of queerbaiting as that is largely a negative phenomenon. Queer coding was a tool used and is still used by actual LGBT people, while queerbaiting is more often than not the work of cishet folks or corporations wanting to make a quick buck.

Queerbait: Lost in Translation

Another element of queerbait I did not previously address is how its more commonly understood in the context of cultures' media (such as in Eastern countries like Korea and Japan). As the financial reasoning behind the idea isn't as front and center (for a myriad of complicated reasons regarding how explicit queer rep can be from country to country). Though this definition of queerbait can also apply to US and English based media.

To some, queerbait also applies to coded LGBT relationships that are primarily centered on or meant to appeal to straight audiences (WlW rep meant for the male gaze, MlM rep meant for girls).

In other words, fetishized LGBT coding.

I would personally argue (as a queer non binary lesbian) that this meaning is less insidious than the money making logic behind modern queer baiting that happens in the US mainly, but its for an important reason...

A lot of this queerbait relies on elements of coding still. While the way many Western viewers see queerbait in American media relies on using explicit queerness as a marketing ploy. To compare, let's look at idol/sports anime and the previously mentioned Disney movies.

The idea that idol/sports anime is queerbait is... contentious. And one I'm not entirely sure I even agree on. But it is undeniable that some of its more WlW centric scenes appeal to the male audiences that view these shows or games. Still, nothing is ever made explicit. It utilizes elements of queer coding originating from the yuri/gl genre that was built up by queer people themselves.

To some, this may be more insulting. For me personally though coding has always been a net neutral, and this form of coding is just more on the negative end for me. Still, there is something there for queer people to take away.

Meanwhile, the way in which disney queerbaits its audience is by saying their character is LGBT then... doing nothing with it. Not even elements of coding. Just-- 'yep there's a gay character in our movie come watch it'!!! Its a lot more soulless compared to the previous one, and therefore to me is more insulting.

Why SeaMoon falls more into Coding

With the two elements defined, let’s explain why SeaMoon falls more into the realm of coding rather than baiting.

First off, the way the devs write romance is consistent with how they wrote SeaMoon. Most of the ways in which things were left vague before Kingdom could be explained in the devs unfortunate habit of not elaborating on things they really should elaborate on. On top of romance in general being coded rather than explicit in the franchise.

As an example, lets discuss the two closest things to M/F romance we have in the franchise-- PureLily (Pure Vanilla and White Lily) and MintCocoa (Mint Choco and Cocoa). 

PureLily became more explicit in the same update as SeaMoon (with Pure Vanilla wondering aloud if he still loves her), but in general the way their relationship was shown before the Crunchy Dreams event was largely through subtext (how the two spoke of one another, PV’s garden, etc) and outside material (the love quiz).

This also applies to MintCocoa. During the days of OB, the game itself did not elaborate much on either of the two’s characters (just as they didn’t with Moonlight). With most of their romantic subtext (like SeaMoon) being in outside videos, media, and merch. Kingdom in general seems more willing to elaborate on romance, as we saw in the story that came with Cocoa’s release.

And secondly, the devs never really threw SeaMoon around as a way of saying ‘look how progressive we are’ or to appeal specifically to LGBT fans. Anytime SeaMoon was included in media, it was often alongside other coded relationships such as MintCocoa or things like RaspRose (Raspberry Mousse x Rose). And even the times they did do things like promote themselves during pride month, they never used SeaMoon. Instead they used the Hollyberry kingdom (due to its bg having same-gender couples dancing and having drinks together). 

The way SeaMoon was treated up until the recent Kingdom update was more in line with queer coding rather than queer baiting. Which is NOT perfect, as media should go beyond coding in the modern age. But it is not as bad or as insidious as queerbaiting implies.

Not as insidious as either definition of queerbait; as nothing about the relationship between them is really centered on being for the male or fetishized gaze either. They're Cookies... in a series where romance is not a focus. While one could argue their romance is stuck more into the background compared to say MintCocoa and PureLily, it still isn't designed to be fetishized (in canon, what fandoms do with SeaMoon and other LGBT ships is its own matter).

Extra Note on S Class Comparisons

S Class is a trope in Japanese media where two girls will often have a very close bond, akin to romance. However, it is ultimately still platonic and disappears upon either graduation from school or marriage. It is over 100 years old, with some of the first pieces of the genre being in the early 1900′s. And was a major influence on the yuri, more commonly called GL now, genre.

Before anything else, I want to offer a brief aside that maybe we should be careful when comparing a Japanese literary trope to a Korean game. Comparing the two countries can be a very... very touchy subject matter. Especially in the context of this being a genre that rose in popularity during the colonization of Korea by Japan.

I do NOT think you can compare SeaMoon or anything in CR to S Class tropes. But I will discuss it just to clear things up, as I find comparing the trope to queerbaiting problematic.

It is more akin to queer coding rather than queer baiting. Why? Many of the authors who utilized the trope were queer themselves. In fact, “Obuko Yoshiya, a lesbian Japanese novelist active in the Bluestocking feminist movement, is regarded as a pioneer of Class S literature”. Again, a key factor that separates coding and baiting (being that queer creators will often code but won’t bait). 

The genre is at its worst stifling and harmful to the modern day GL genre in Japanese literature, and extremely heteronormative. But to compare it to things like queerbaiting or to entirely dismiss it as a form of WlW rep in the context of how it was used by actual queer people in Japan is entirely unfair to the genre; queer rep does not look the same in every country.

S Class also evades the way in which queerbait can mean being meant for the male gaze, as it is a trope whose origins lie earnestly in media meant for girls. That does not mean it can't be used to appeal to the male gaze, but it is not where it started.

Ending Notes

Are the devs perfect in their representation of SeaMoon and WlW? Of course not, there is a valid conversation to be had on how queer relationships constantly being merely coded rather than explicit is annoying and hurtful. And more and more queer people have this critique of the concept of queer coding. On a personal level, I can forgive it in this specific case cause its in line with how the devs do romance in general. But if it bothers you that it was merely coded for the longest time rather than explicit, that’s entirely valid.

But the idea the devs ever queerbaited audiences is unfair and actively makes many WlW feel invalidated in how they easily saw the coding present in the two’s relationship. Again, queer coding is a net neutral phenomenon while queerbaiting is mostly negative. To subscribe such a notion to what is important rep to so many WlW is hurtful.

Sources

https://www.animefeminist.com/escape-yuri-hell-flip-flappers-critique-class-s-genre/

https://bookriot.com/what-is-queerbaiting-vs-queer-coding/

https://docs.google.com/document/d/1LPJU8yBYD8Ng7lhh_lR0bA2XRwmJTtbRceGuKahFxFs/edit

https://en.wikipedia.org/wiki/Class_S_(genre)

https://en.wikipedia.org/wiki/Queerbaiting#:~:text=Queerbaiting%20is%20a%20marketing%20technique,romance%20or%20other%20LGBTQ%2B%20representation.

https://en.wikipedia.org/wiki/Queer_coding#:~:text=Queer%20coding%20is%20the%20subtextual,character%20in%20media%20as%20queer.

[weirdblondestuff]

Why is everyone hating on Disney's "Wish" so much?? Is it just where I live or an universal experience?

Like, ok, the villain is nothing but a control freak. Is that really all that we're seeing here?

Are we really ignoring the fact that they managed to mention *a lot* of Disney's old movies and some nice things?

TW: some spoilers ahead?

Also, feel free to add things or agree or disagree. I really want to understand why everyone is hating that movie so much. I'm not saying it's my favourite but I actually think there's some interesting stuff there.

The main friend group is formed of seven people, excluding Asha. Each of them reminds me of one of the seven dwarves from Snow White, except that the one who represents Dopey can talk. The short one even says "And they ask me why I'm grumpy!". He's clearly Grumpy.

Asha's grandpa, Sabino(?) is turning 100, just like the Disney company. And after the final credits roll, there's a scene of him playing "When you wish upon a star" on whatever instrument he plays(don't really know the name of it, sorry).

On one of the wishes, Aurora's dress can be clearly seen for a split second.

On another wish, we see Peter Pan flying around and soon after king Magnifico mentions Neverland. Later on, a guy NAMED PETER. WANTS TO BUILD A FLYING MACHINE. AND HE LOOKS EXACTLY LIKE PETER PAN. Coincidence? I think not.

They reference Tangled with the scene everyone is drawing on the ground with chalk.

Bambi! Bambi is in the movie! As an adult and he barely has 5 seconds of screen time? Yes, but it's still Bambi.

Asha's wish is... Guess what? Made upon a star. 🎵When you wish upon a star...🎵

Sleeping Beauty might also have been referenced when king Magnifico "trapped" everyone in that... Rose thorns looking magic. (It's either this or my mind is mixing Disney's version with the tale I read as a kid. Sorry.)

When Asha's trying to lure the king into the forest, she's given a small stick with some magic in it and is wearing something very similar to what Cinderella's fairy godmother wore. Later on, she receives an actual magic wand and is asked to become everyone's fairy godmother, and her clothes sparkle similarly to how Cinderella's ones did when her dress transformed.

Magnifico also mentions the Evil Queen from Snow White! (Not sure if this is the exact phrase but I'm pretty sure he said something similar) "Mirror, mirror on the wall, who in the land is the fairest of all?".

Valentino says something, by the end of the movie, that references to Zootopia (something along the lines of "A place where all mammals are the same. And wear clothes!").

The star does the Disney intro thing by the end of the movie(Castle on the background, the star... Y'know what I'm talking about. Hopefully.).

There might be other things I forgot to mention here and things I didn't notice. Also, I've only watched the movie once, in english, and it isn't even my mother tongue, so there might be some misunderstandings. Anyway, overall, I don't think the movie deserves all the hate it's getting. It's definitely not the best movie of all, but, honestly? It's not that bad.

Please forgive any mistakes 🙏 and help me understand whatever's happening because it doesn't make much sense to me.