It'll most likely may not win, but it's great that Wish receive some love.Whoops! Another Best Animated Picture nomination for Wish. Sorry, haters. Also nominated for best song.
THE COLOR PURPLE Receives 5 Critics Choice Film Nominations - Full List of Nominees!
The Color Purple has received five Critics Choice Film nominations. Nominees include Danielle Brooks, Maestro, Bradley Cooper, Carey Mulligan, Colman Domingo, Da’Vine Joy Randolph, Disney's Wish, Barbie, and more. Check out the full list of nominations now!www.broadwayworld.com
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Wish (Walt Disney Animation - November 2023)
- Thread starter DCBaker
- Start date
Disgruntled Walt
Well-Known Member
- In the Parks
- No
This thread is going nuts! I for one would like to see a forum where everyone can express their views (which are their right to believe and share) without being labeled -ist, -phobic, or woke. Isn't it possible to just express an opinion and be okay with it if someone expresses an opposite opinion? This shouldn't be a battlefield!
The culture war has no place in a Disney forum. And yet, there are things that have happened in the past few years that have made the two collide. And I think that speaks volumes for the current state of the company.
I'd like a return to talking about Disney, not politics. Part of that is the people in this forum, and part of it is Disney itself, which has injected itself with political under- and over-tones.
I know I disagree with a lot of people on this forum on many topics: Disney, politics, society, and more! But I'm glad we're all able to talk about the company we're interested in here.
I look forward to a day, hopefully soon, when a thread about Disney's most recent animated feature doesn't devolve into political bickering.
The culture war has no place in a Disney forum. And yet, there are things that have happened in the past few years that have made the two collide. And I think that speaks volumes for the current state of the company.
I'd like a return to talking about Disney, not politics. Part of that is the people in this forum, and part of it is Disney itself, which has injected itself with political under- and over-tones.
I know I disagree with a lot of people on this forum on many topics: Disney, politics, society, and more! But I'm glad we're all able to talk about the company we're interested in here.
I look forward to a day, hopefully soon, when a thread about Disney's most recent animated feature doesn't devolve into political bickering.
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Bob’s a politician… I don’t really care what he said…he also said that these decisions where made after he stepped away, but all the films were green lighted before the pandemic… while he was still CEO…he is mistakenly catering to the anti-woke mob… IMO it is not going to work… it is only going To emboldened those who rage against Disney
I did not find The Little Mermaid woke at all… To complain about as you say “race swapping” Ariel…tells me you must not have watched TLM… Halle Berry felt perfectly cast as Ariel… even the harshest critics praised her performance… Spiderverse was more woke than TLM… and look how that performed
Yes… The Mom must be on vacation or something… I am surprised some of these comments are still here including my own
Tha Realest
Well-Known Member
Honest question- why do you persist in coming back here knowing you constantly eschew the forum rules, keep getting suspended, and seem to despise half the posters?
Not my question, I know, but perhaps... some people are worth melting for?
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Casper Gutman
Well-Known Member
I think Buddy's a valuable poster even if I may not always agree with him and I hope he sticks around.
TP2000
Well-Known Member
The only person who could honestly describe Barbie as being "Woke" would have to be stuck in 1973 and be upset that Barbie was suddenly allowed to be a doctor instead of a nurse, or the plane's pilot instead of the stewardess, or be an Astronaut instead of a go-go girl. (Not that there's anything wrong with go-go girls! Some of my best friends have been go-go girls.)
As a reminder, 1973 was 50 years ago. If you're that stuck in the past as to think Barbie in 2023 is "woke", you're hopeless.
TP2000
Well-Known Member
I can help with that!
Wish is still a massive global box office bomb. It is on track to lose at least $200 Million for Disney.
What's interesting is that foreigners dislike Wish even more than Americans do, on a per capita basis. The damage to the Disney brand isn't confined to just the deplorables in St. Louis and Salt Lake City, it extends to Stockholm and Singapore as well.
I know it wouldn't surprise you to know that Disney+ has roughly 60 million subscribers (excluding India) outside of the US. They've probably also been trained to wait for the digital release, unless you think that's somehow a uniquely American phenomenon.
Willmark
Well-Known Member
Who here said this?
Sir_Cliff
Well-Known Member
This is exactly what I keep coming back to: they know their wish will almost certainly not be granted unless they lack basic mathematical skills. You could argue Magnifico's criteria for granting wishes is hidden, but the fact most won't get granted is not.
The warning about authoritarianism and power corrupting, I think, could have been the basis for a very interesting film. It just isn't well-written enough to work, at least in my view. The situation is quite murky regarding the degree to which the citizens are just consenting to something they shouldn't versus being actively deceived, and you also have to embrace the notion that the most important thing in life is following your own wishes/dreams to find the conclusion satisfying. Weirdly, Rosas also remains a monarchy.
By comparison, I think Elemental handled Ember having to deal with following her own dreams and desires as well as respect and duty toward her family and culture very well. The internal struggle and final conclusion was far more satisfying than the fight against Magnifico, at least for me, as there was a struggle between a competing desire for freedom and feelings of responsibility that the character had to balance. The happy ending in Wish just seemed too easy and simple to me.
Tha Realest
Well-Known Member
I’m not saying he should leave. I appreciate his perspective. I just don’t get why he’d want to stay given his constant irascibility towards his view of the forum rules and their enforcement, and his emotional reactions to some of this.
Phroobar
Well-Known Member
Well Barbie did start out as a hooker.
Phroobar
Well-Known Member
Why does Universal not have this problem? Even the hard core Disney fans didn't show up. In fact I would bet most of you didn't show up to see it. Why? If we are such fans why are we there first showing?
Why do Americans spend over $100 billion on lottery tickets every year even though they know they will almost certainly not win? Humans are horrible at understanding odds and will do pretty much anything with a massive benefit if there's even the slimmest of chances it might happen.
So we're on the same page, which Universal movies are we talking about here? This year, they've managed two viral successes in Oppenheimer and M3GAN. The rest of their biggest movies have all been known entities as part of franchises (e.g. Fast X, which was hardly a success anyway) or based on well-known properties (e.g. Mario, FNaF), and those are the movies that are still getting people to see them in theaters. Generally, audiences aren't showing up for things that they don't already recognize.
Is the question about why people don't wait for them to be on Peacock? (I'm assuming that's where they all go.) I don't have Peacock (it only has 60% of the number of D+ subscribers in the US, after all), so I don't know if they have a consistent, well-known, and fast release plan for getting their movies onto the platform. The only one I know about for sure is FNaF, which did inexplicably get a day and date Peacock release, but still managed to do well in the theaters. Horror is a genre that has also still done well in the theaters (the freaking Nun II almost made a $100 million), so people have turned out in some numbers. It probably could have been an even bigger smash without the Peacock release.
If you're comparing to Trolls 3, I'd suggest that everyone would certainly still be calling Wish a bomb, even if it were doing the marginally better numbers that Trolls has pulled in.
Edit: All that to say, that I do think Disney has had marketing/messaging/target audience problems with some of these recent movies. Your elevator pitch to the public has to be understandable in a single sentence and appeal to the audience you're seeking. Disney's budgets imply that they're going for a wide, all-ages audience, so the pitch for Wish had to be something like "a young woman and an adorable magical star team up to defeat an evil king." But they put too much nuance/complication into the evilness of the king, and then revealed that nuance in the trailers. Mass confusion.
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Tha Realest
Well-Known Member
Thank you for reminding us of all of the Universal films released this year that greatly exceeded their expectations.
How many Disney films could say the same?
I can't speak to much of any of Disney's output this year. I've never liked the MCU, I know they'll all turn up on D+ in short order, and long Covid is a bummer so we've had to be choosier about how often we go to the theater. My argument has always been that people are still watching these movies in large numbers, only on Disney+, where they don't need to pay more money and wrangle their kids in order to see them.
The ones that met/exceeded my outsider perspective BO expectations were Guardians 3, Little Mermaid, Elemental, and A Haunting in Venice.
Again, Universal is leaning on established IP there. They are all sequels or based on pre-existing IP. Mario is the 1st or 2nd most well-known character in the world. The elevator pitch for all of them is simple: "Come watch X. You know you love X."
The only Disney movie on that list that's not original is Lightyear, and it's only tangentially related to an existing property. So Bob can say that Disney makes "too many sequels," but a) it's not actually true and b) that's the only thing that sells with any reliability at the post-pandemic box office.