The Problem With Disney's Movies In One Word

You may have noticed something different about Disney if you sat down and took a good look at basically any of their

movies

over the last six or seven years. Something change. Disney has obviously bought its way into a business monopoly and while that may or may not be theirs. The

problem

isn't really what I think is wrong or the current state of Disney

movies

. In fact, I think what's wrong with Disney is a creative

problem

that can be solved. All modern Disney movies aren't bad, not all are terrible pieces of entertainment, but I do believe. that there is an inherent flaw in the way they make themselves look.

I recently sat in a surprisingly empty theater and watched The Rise of Skywalker and something quickly occurred to me: It's a movie built almost entirely on a single

word

, and that

word

is intertextuality. and in this case, the façade of intertextuality A couple of years ago, Evan Pugh Shaq wrote a great article titled Intertextuality, Hollywood's New Currency. It's a word you hear a lot in film school, but what I don't think he knew at the time was how out of control this idea would get in Disney movies. The introduction is a big word that means something very simple. the shaping of the meaning of a text or in this case movies by another text or again movie is the moment when the light saber race or the moment when the Avengers revisit the fight in New York at the end of the game and this can be done well, in fact I would say the end of the game uses intertextuality masterfully, the toys with their nostalgia, your emotions by bringing you back to the moment when Hulk punches Loki in Tony. penthouse by bringing Thor back to Asgard on the last day his mother was alive, but it's best used sparingly, it's supposed to complement the substance of a story, it serves a meaningful function, it can and should be more than fanservice , so look at that, and it's usually meant to be more than that's meant to import the fanservice is cheap inter - for Ali when used well it shouldn't be so what happens when you try to make it the entire basis of your movie?

Hi Phelan, It's an emotional story. He found the illness from him. In fact, remakes are the second biggest offenders here, by their nature remakes are intertextual, but if you pay attention or even if you don't, you'll notice a simple trend among these live-action films that take on the Lion King almost every moment. genuine entry. from the 2019 remake comes from cheap emotional intertextual moments, hey, I remember that from that movie I loved 20 years ago, moments where Beyonce begins her verse in Can You Feel the Love Tonight? The moonlight walk moment feels so wonderful because they use your nostalgia.

As Evan weaponized it, it's an attack on your emotions, but ask yourself this outside of those moments, what does this movie add to the Lion King story, what moments stand out for you or take Beauty and the Beast at times ? for-shot remake of the animated film is the opening number of Belle the taking of the rose be our guest the live-action remakes of Daisy are so self-indulgent that they are so self-obsessed that they lose sight of everything that is not informed so it has already been created they believe that if they promote the technology if they hire Emma Watson they will forget that they already gave us those moments before or that they are just giving them to us again because they know that we remember them fondly and to their credit they try to extend it beyond the fanservice they make them integral parts of their films take Aladdin Disney used Avira from Aladdin a little off the course of her original story keeps all the things that were supposed to make the genie love the songs on the carpet while only taking the biggest risks slight with the source material, but it takes risks, unfortunately it relies on the big moments that we already care about almost exclusively for the audience reaction and then those moments end up in the movies still asking us to care about the moments that aren't those. the ones that BR apart from what we know and love and it gets harder and harder to do, so trust me, what did you say, trust me?

Yes, when you feed your audience a bunch of those nostalgic intertextual moments when they become almost ubiquitous, it's incredibly easy to lose that audience, when those moments end we start looking for nostalgia and presenting everything that is not, but I think that In reality, it is Star Wars that best explains how intertextuality has absorbed Disney's own creativity and how doing it wrong turns into simple fanservice. It may be enough that no, I don't want to spoil anything, so I won't, but what I will say is that what swallows up the creativity of live-action remakes has totally cannibalized Star Wars, this doesn't mean that the movies are bad, that's not what I'm here to talk about, what I want to say is that it's no surprise that they've struggled so hard to develop a true identity in three movies, that what you'll find in the new trilogy is an internal debate . about intertextual attea or fanservice and tense for what is expected in the end for better or worse and service, the problem is that in sexuality it slowly got out of control here first it is the Millennium Falcon then the lightsaber then Leia then she was sued and then Luke Lando and little by little the trilogy began to be a series of moments that chased the bait of nostalgia.

At its heart, it was a great story, but when the last Jedi attempted to veer off the self-indulgent, self-sufficient course, he encountered a rapid change of course. The Rise of Skywalker, an identity conflict clouded again by Disney's obsession with the past of its IP stars, is again, by its very nature, a sequel series and therefore cannot escape some intertextual moments, but they should not become a crutch. They don't feel cheap and shouldn't be relied upon to make up for a lack of narrative creativity. It's almost as if Disney believes we're not smart or capable enough to understand a new Star Wars story, the substance of which it is.

If it is based on deepening our emotional ties, Star Wars is interested in creating new memories and when that intertextual battle begins to appear in the films themselves, it is more difficult to invest as a viewer in the things that you do not yet recognize, in which Disney focuses. box a corner of their own creation, but it's not impossible for Disney to handle these things properly. The endgame sample is a journey between texts or a review of character moments that add something to the story that aren't just there to manipulate the view of New York through a different Lens that furthers Tony's understanding of himself, his father and his family.

It's a series of moments that build up to a perfect crescendo. One that makes sense if you isolate the force that awakens when a bb-8 movie pulls back the curtain on r2 and that's it. Realize quickly that r2 is simply there for us to go to. Hey, he looks at that, but an endgame is a series of moments that matter and that make sense. Make sure some moments like Hulk in the elevator are there for laughs and a little Avengers nostalgia, but the story itself. It is not based on them. Cap sees Peggy again and informs everyone about her.

Thor returns to Asgard. Well, the winery is down here. My father used to fish in the same fusion of reality. Disney is capable of creating massive movies that tell interesting stories. but it is not revealing to recognize that it has become easier for them to hit the bottom of intertextuality, it is not only, as I have not said, the new currency of Hollywood, it is Disney's new game plan for everything that is not a superhero and, in fact, even the things that What's the problem, in the process Disney is losing sight of why people watch their movies in the first place, it's not the moments, it's not a rose petal falling or discover r2, it's the stories, it's the journey to those moments that make those moments impactful to make those moments matter and Disney stopped taking the journey seriously, maybe stopped taking the journey altogether and instead started to chase the moments, it's an attempt at internal text that reads like baseless fanservice in almost every movie they've released in the In the last six or seven years they've forgotten what matters because the moments look great in the trailer and because those great moments sell the tickets, but we have grown, we know these moments too well to be fooled by the moment in which they appear.

We are recreating to be tricked into feeling the same way we felt when we first experienced them, maybe it's time for Disney to grow up with us. This is a summary of today's nostalgic episode. If you enjoyed it as always, hit the like button below and if you have. I haven't done that yet, so hit subscribe and hit that little bell next to the subscribe button. It's just a notification belt, just make sure you get notified when I upload, which is the only real way to know when I posted something and on your screen, as always, our two more episodes from our installs, you can click on any of them to see things I've worked on recently or in the past and I'll see you next time.