STOP SUPPORTING UNORIGINALITY
No more sequels, reboots, live action remakes, cinematic universes, IP marketing, biopics, Hollywood BULLSH!T
I just saw the trailer for the “live action” remake of Lilo And Stitch and I just know people are gonna complain about how Disney is ruining their childhood but they go watch it anyways. For God's sake, STOP GIVING THEM YOUR MONEY!
Every single time Disney comes out with another live action remake or the fifth Toy Story or the third Frozen, y'all keep pulling up. When we get original films from them like Luca and Turning Red, you guys ghost them. None of these recycled materials bring anything exciting to the table but westerners have gotten so lost and obsessed in their nostalgia that the only new stories they'll consume are hollowed out versions of the old ones. It honestly makes no sense to me why people want to watch it knowing they'll just compare it to its original and that naturally, the charm of hand drawn animation and whimsical story telling is far more fulfilling than realistic CGI and a reused script. Lilo and Stitch will probably be the exact same story but with modern humour and a performative attempt to look woke (without acknowledging the colonialism and tourism problems Hawaii is facing). I'm not even saying anything that people who intend to watch it don't already know but it doesn't stop them and I'm utterly lost to why. Nostalgia? Curiosity? Boredom? We harp on Gen Alpha’s addiction to brain-rot like Cocomelon but I frankly don't see the difference here…
Disney is a filthy rich yet cheap-ass corporation that is ecstatic to no longer need to be innovative or creative to make millions of dollars. Mufasa, a CGI spinoff of a CGI spinoff, still wound up being a box office success.
Disney’s Mufasa: The Lion King is all set to make its streaming debut on March 26 after an amazing theatrical run lasting 96 days. The film grossed USD 712.5 million at the global box office during this period, registering a remarkable recovery after its sluggish start in a competitive Christmas holiday market.
Maybe I'm too harsh of a cynic but I can only understand a child wanting to see this movie and not even because it's part of the “Lion King lore”, because it hardly is, but because they just really like lions and big cats. Similarly, Inside Out 2 was a smash hit and again, maybe I'm just a cynic, but it was a mess of a film.
Regardless of the quality of these films, the popularity of these sequels and remakes is what's really concerning. The millions Disney rakes in aren't just coming from earnest viewers but nostalgia critics who continuously enable Disney's laziness for quick and easy cash, aided by the fact that the same people who keep watching these sequels think they're better than or “too old” to be watching new animated stories. This isn't some harmless yet self-indulgent stubbornness for the media we grew up with, Disney has officially prioritized sequels and reboots over original ideas.
This doesn't just mean a dip in quality for consumers but harsh circumstances for writers and directors who are forced to contain and filter their ideas through already existing IP’s. We end up missing out on new and powerful stories by blossoming creatives because Hollywood is merely a machine that recognizes the financial security behind a popular franchise over new original ideas. This direction ends up impacting marginalized voices the most who's unique perspectives end up being a conflict of interest. When people of colour play Disney characters that were originally depicted as White, it starts a media frenzy despite it hardly even being progressive on Disney's part. When the actual script contains queer or racialized narratives, promotion is stale and the identity aspect of these films end up being blamed for their subpar to poor reception instead of the marketing or Disney's paranoia to appeal to conservatives. Of course not all these films are “underrated”, some just aren't good, but I also feel like they were somewhat sabotaged by Disney. Many of the sequels and live action remakes have stinkers as well but that doesn't hold Disney back from making more because as much as they suck, they still get more support!
The reboot frenzy is spreading beyond Disney now. Dreamworks is now partaking in milking the cash cow, having just come out with a trailer for Shrek 5 as well as a live action How To Train Your Dragon movie.
Hollywood is overwhelmed with IP and although we were initially against it, I feel like now people have accepted this as the normal and even ask for more. People clamored at the theatres for Barbie (including me) and are anticipating for when their childhood show or movie or toy product will eventually come back with a reboot or live action. People were excited for the comeback of the Shrek franchise when Puss in Boots came out even though there should never be a fifth installment of any movie.
For the 2024 Oscars, Disney took up two slots and both films were sequels; Moana 2 and Inside Out 2 (the former I'm pretty sure only got a nomination because of Disney's influence). Despite having twice the amount of hats in the ring, this is their third loss in a row, being outdone by the indie Latvian film, Flow. If you still haven't seen it, please watch it! It is incredibly moving and an inspiring feat in regards of story telling. Flow’s ability to tell a clear story and convey animals’ emotions, personalities, and unique character dynamics with no dialogue is beyond impressive. Although being part of the Oscars is great promotion, I still feel that people aren't as ecstatic to check out a movie that doesn't come out of the big studios that we've grown familiar and comfortable with.
We should look to the film industry, or more-so film culture, outside the west. Films that encourages creativity and conversation over “universal appeal” and commercialism. Although 3D animation is becoming more stylistic in the west thanks to Into The Spiderverse’s artistic influence, mediums like 2D animation, stop motion, and other unique forms of animation has gone nearly extinct in the western market. The “Disney art-style” has dominated western animation where all these films began to blend monogamously with one another even though Disney also used to have a diaspora of styles. Independent projects however have not forfeited diverse animation tactics and would take full advantage of their mediums to enhance their story telling. The other two 2024 Oscar nominees for Animated feature, Memoir Of a Snail and Wallace And Gromit: A Vengeance Most Fowl, were both stop motion films. The film that won last year, Boy And The Heron, was a hand drawn animated film (although Ghibli and specifically Hayao Miyazaki is already respected as one of the greats) and the winner before that, Guillermo Del Toro’s Pinocchio, was also stop motion. Not only do I hope for Disney and other big studios to start feeling provoked to churn out original stories but to also explore new mediums and animation styles rather than constantly relying on CGI as the easiest and most cost effective route. Although it's hard to believe that'll happen when these companies don't respect animation at all proven by how animated projects are constantly being made into “live action” or are just being cancelled altogether. The infantilizing of animation bleeds into audience perception and movie goers wound up avoiding animation altogether unless it mimics realism.
Although we're currently drowning in an era of reboots and sequels in film and TV, indie and original projects are beginning to upstage capitalist driven products at the awards. But we won't see a real pivot until that change is also reflected in the box office. Stop supporting unoriginal ideas! Stop giving it your money and show up for independent movies! Also unsubscribe from Disney+ for a slew of reasons. Hit them where it hurts. Don't be compliant in Disney's lazy greed and catering to harmful conservative standards. Expand outside the American film industry and you'll quickly realize just how stifled and consumerist their films are. I'll end this off recommending some films, studios, and directors who continuously challenge the status quo of modern entertainment.
Cartoon Saloon is an animation studio based in Ireland that prioritizes hand drawn animation. Tomm Moore directed Breadwinner, The Secret of Kells, Song of The Sea, and Wolfwalkers. With the exception of Breadwinner, his films represent Irish culture and folklore with insanely beautiful stories and visuals.
SPA Studios ran by Sergio Pablo created Klaus, a classically animated and computer rendered film that is so insanely gorgeous. It takes you back to Disney's Renaissance era of animation (which Sergio Pablos has animated for), absolutely beautiful and jaw dropping.
Studio Laika is entirely dedicated to stop motion and houses films like Coraline, Box Trolls, and The Missing Link! They're coming out with a new film, Wildwood, which I'm excited for!
Aardman Animation takes on a variety of styles although they're famously known for their stop motion like Wallace and Gromit and Chicken Run. Utterly charming and creative!
Alê Abreu is a Brazilian film director who's made several animated projects including Boy And The World. This is a movie that altered my brain chemistry and how I look at art. If you enjoyed Flow for it's ability to tell a movie length story without dialogue, you'll love Boy And The World!
Adam Elliot is an Australian stop motion film director. His most famous short is Mary and Max and his most recent feat is his fist feature length film, Memoir of A Snail, which was my personal favourite of the year! I love how his work captures life and all its wrinkles and blemishes but doesn't treat them like it's shameful. There's something meditative and romantic about his work although they seem quite somber on the surface.
Just to shoot off other animated film recommendations: Persepolis, Chicken For Linda, Fantastic Mr. Fox, Paprika