Gorillion others
kiwifarms.net
- Joined
- Jan 1, 2023
What the fuck? This is so generic it hurts!
What profit?! Nobody other than drunk women watched that turd that tried to pass itself off as a show.
- Joined
- Nov 29, 2020
- Joined
- Mar 30, 2023
- Joined
- Apr 14, 2018
"B-But the Worldwide Release will save it"
"T-THE FIRST ONE MADE A BILLION DOLLARS"
Listen, I'll eat a strand of hair if either helps Mufasa win somehow
Vect
kiwifarms.net
- Joined
- Dec 14, 2020
...Maybe I will watch Sonic.
Everybody knew Mufasa would be shit because it's a prequel where nobody we know can die and would subvert the original story because of some reasons. Literally anybody on this site, hell anybody on Reddit, X, YouTuber, Facebook, fuck it Pornhub could come up with something more imaginative and interesting than this factory churn.
Everybody knew Mufasa would be shit because it's a prequel where nobody we know can die and would subvert the original story because of some reasons. Literally anybody on this site, hell anybody on Reddit, X, YouTuber, Facebook, fuck it Pornhub could come up with something more imaginative and interesting than this factory churn.
- Joined
- Dec 28, 2014
Make some more wokeshit Disney, I'm sure it will totally go blockbuster next time.
X-avier cuck
kiwifarms.net
- Joined
- Dec 7, 2020
I got more bad news about Mufasa and as some of you know I did say I like the music, but I've been informed by a friend who actually seen it that not only are some lyrics completely omitted from the film version but it even seems like part of the plan songs that LMM had hinted at might have been cut out before they were finalized.
There's this song called Bye-bye which despite the name is essentially genocide the song and the big bad sings this before he completely murders scars family.
In the album and demo version of the song there's this be prepared like sequence where the white lion and his pride end up running around and killing off everybody while singing some sort of chance but this was completely cut from the film to the point that it's just him jumping around singing bye-bye because they couldn't get the animation to work life.
The above is how it was supposed to be animated if it was 2D before it was going to be translated over to the CGI film before Disney screwed it up
There's this song called Bye-bye which despite the name is essentially genocide the song and the big bad sings this before he completely murders scars family.
In the album and demo version of the song there's this be prepared like sequence where the white lion and his pride end up running around and killing off everybody while singing some sort of chance but this was completely cut from the film to the point that it's just him jumping around singing bye-bye because they couldn't get the animation to work life.
The above is how it was supposed to be animated if it was 2D before it was going to be translated over to the CGI film before Disney screwed it up
- Joined
- May 30, 2023
X-avier cuck
kiwifarms.net
- Joined
- Dec 7, 2020
I actually like what they were doing there because it's a guy running around murdering somebody while being completely coy about it .
I can easily see someone like shere Khan doing this, but if you don't have the animation or character acting to back it up it'll go from being insanely sinister to quaint and silly.
A good example of this is what they did with the 2019 be prepared which is just a weird pseudopolitical speech as opposed to a bombastic and flamboyant song with killer lyrics
Gorillion others
kiwifarms.net
- Joined
- Jan 1, 2023
- Joined
- Mar 30, 2023
Is Disney fading to irrelevancy fast enough that theatres could choose to drop them?
- Joined
- Nov 29, 2020
oh fuck off, you dirty Rat. Side note, if you told the average Sonic fan 7 years ago that the movies would be so popular that Disney would do shit like this to because they're so scared, they'd have laughed in your face.
- Joined
- Feb 20, 2024
Disney slop getting wrecked by Sonic. What a laugh.
Seriously, a prequel about Mufasa is as interesting as watching paint dry.
- Joined
- Apr 14, 2018
Sadly Sonic 3 beat Mufasa on only opening weekend. Mufasa is getting some money back mainly because it had a worldwide release and also like Moana 2, families are seeing it for a holiday.
Hopefully Sonic 3 catches up, but in the worst case scenario for Sonic, I hope Mufasa doesn't make its money back or at least be as much of a resounding success that Disney hoped it would.
Hopefully Sonic 3 catches up, but in the worst case scenario for Sonic, I hope Mufasa doesn't make its money back or at least be as much of a resounding success that Disney hoped it would.
starborn427614
kiwifarms.net
- Joined
- Aug 27, 2020
Sonic 3's success only needed to hurt Disney once and it's accomplished that. Anything else is a bonus imo.
Incecticyder
kiwifarms.net
- Joined
- May 22, 2024
Sonic 3 is built on the back of Sonic 1 & 2. Mufasa is built on the back of Nu-Disney. Sonic has staying power, Mufasa does not. When the theaters get the option to choose which movie to keep show after a few weeks, I know where I place my bets.
- Joined
- Dec 15, 2022
Lead paint specifically.
- Joined
- Jan 7, 2023
All the live-action Disney slop has an incredibly short shelf life, so Mufasa is going to be forgotten about the moment it leaves theaters.
- Joined
- Mar 12, 2021
More fallout from Pixar nixing the trans storyline from Win or Lose. Come get your tears.
link | archive
Some of the creatives who helped shape the transgender storyline for the Pixar series Win or Lose are mourning its loss after The Hollywood Reporter broke the news last week that the character at its center will now be portrayed as cisgender.
“It hardly surprised me, but it devastated me,” Sarah Ligatich, a former Pixar assistant editor who consulted on the episode, tells THR. “For a long time, Disney has not been in the business of making great content. They have been in the business of making great profits. Even as far back as two years ago when I was at Pixar, we had a meeting with [then-CEO] Bob Chapek, and they were clear with us that they see animation as a conservative medium.”
As THR reported, Win or Lose — focusing on a middle school co-ed softball team called the Pickles with a voice cast including Will Forte as coach — is scuttling a storyline involving a character named Kai expressing her trans identity. A spokesperson for Disney, which acquired the acclaimed animation studio in 2006, said in a statement that “many parents would prefer to discuss certain subjects with their children on their own terms and timeline.”
THR spoke to multiple former Pixar staffers who expressed their sorrow and dismay at the company having axed this storyline. One also noted the apparent irony of the Disney statement, given that the company’s animated films are known for including such adult themes as the death of a parent (Bambi, The Lion King) or substance use (Alice in Wonderland, Pinocchio). Of particular frustration was the episode having already been completed, meaning that adjusting story elements requires the team to scramble to be ready for the February release, not to mention that this brings added expense.
“The episode in its final form was so beautiful — and beautifully illustrated some of the experiences of being trans — and it was literally going to save lives by showing those who feel alone and unloved, that there are people out there who understand,” says one former Pixar employee who did not work directly on the show but had seen it and asked to remain anonymous. The insiders note that the episode had changed significantly from older footage that has circulated on social media last week and showed the character deliberating over which bathroom to use. “So it’s just very frustrating that Disney has decided to spend money to not save lives.”
Pixar’s moves of late have spurred debate about the direction of its projects and whether it intends to prioritize diversity. After the company laid off 14 percent of its staff in May, Pete Docter — the Inside Out director who replaced John Lasseter as chief creative officer in 2018 — raised eyebrows with an interview about the company’s latest goals. In light of Pixar seeing a few titles underperform in recent years, Docter said that the studio should make the “most relatable films” possible, which was perceived by some as advocating for a shift away from more autobiographical stories centering on underrepresented characters and voices.
His remarks came in the wake of the 2022 criticism of Chapek’s response to Florida’s “Don’t Say Gay” bill. This was followed later that year by right-wing pundits creating a furor over a same-gender kiss in Pixar’s 2022 Toy Story spinoff movie Lightyear. Recently, members of the team behind Disney Channel’s animated series Moon Girl and Devil Dinosaur made headlines with social media posts noting that the company had decided not to release an episode centering on a recurring transgender character.
“It’s 100 percent political,” a former Pixar employee who identifies as trans says about the Win or Lose decision. He notes that ABC News recently paid $15 million to settle a defamation lawsuit brought by President-elect Donald Trump: “Disney just had the settlement with Trump. We saw it recently with the Devil Dinosaur and Moon Girl episode that was cut. All of us who knew about Win or Lose and this character were all just clenching: ‘Please don’t hit us next.'”
Indeed, those with Pixar ties worry that the Win or Lose change is not an isolated situation in terms of projects pulling back on their messages. Disney CEO Bob Iger said in April, “The bottom line is that infusing messaging as sort of a number one priority in our films and TV shows is not what we’re up to. They need to be entertaining, and where the Disney company can have a positive impact on the world, whether it’s, you know, fostering acceptance and understanding of people of all different types, great.”
According to a former Pixar artist, the team behind Hoppers, the 2026 Jon Hamm-led Pixar film focusing on a human and beaver who swap bodies, was forced to downplay its planned message of environmentalism. “Unfortunately, when you have your whole film based around the importance of environmentalism, you can’t really walk back on that,” says the artist who worked on the movie. “That team struggled a lot to figure out, ‘What do we even do with this note?'”
Another title that turned heads internally was the forthcoming original feature Elio, centering on a boy who teams up with aliens. It had initially been slated to hit theaters in March but saw its release date pushed to summer 2025. Initial Elio director Adrian Molina, who is a gay man, departed the film earlier this year. Docter has stated that Molina, who will receive a director credit, moved to a different Pixar project.
In the meantime, Pixar released Inside Out 2 in June, en route to it becoming the year’s highest-grossing film.
Ligatich, who is trans, recalls feeling welcomed and valued during her two-and-a-half-year Pixar tenure before being laid off in May. She has been in contact with members of the Win or Lose creative team, including executive producer David Lally, following Disney’s decision to excise the storyline for teen trans actress Chanel Stewart. Ligatich also expresses frustration that the show has been completed for quite some time and saw its release date delayed multiple times after the initial launch was set for a year ago.
“I can’t tell you how much I cried yesterday thinking about that conversation that David had to have with [Chanel],” Ligatich says. “Not only are you asking someone to play someone they’re not, but to also get them to wrap their mind around a political conversation that is just so beyond them,” says Ligatich. “They had this story in the can for two years, so they could have released it in a Biden presidency, and they chose not to.” (For her part, Stewart has said she was “very disheartened” about her retooled character.)
Ligatich says she knows artists who do not want to work on the Win or Lose episode in question, though insiders note that staffers were given the option not to work on the episode. So far nobody has taken the company up on that offer.
Whether other animation studios will follow Pixar’s lead in potentially limiting queer storylines and other aspects of diverse or potentially polarizing storytelling remains to be seen. Because of this, one of Ligatich’s fellow Pixar castoffs is working to launch an independent animation studio to encourage underrepresented voices.
Ligatich believes that there is a market for such animated stories at places like Netflix, which may not focus on creating LGBTQ content, but has made some noteworthy acquisitions in the space.
“Netflix is more than happy to host content that tells authentic LGBTQ stories,” Ligatich says of the streamer that earned an Oscar nomination this year for its acquired title Nimona. That film, praised as a trans allegory, had previously lost its home when the Disney-acquired Blue Sky Studios was shut down in 2021. “That’s really how it’s going to go moving forward, is you’re going to see a lot of indie studios pop up to tell stories.”
The original storyboards from this thread. The article says it has changed significantly since then, but all it says is that the character debates on which bathroom to choose, which is exactly what this scene is, so receipts needed:
link | archive
Ex-Pixar Staffers Decry ‘Win or Lose’ Trans Storyline Being Scrapped: “Can’t Tell You How Much I Cried”
One consultant on the episode says the company is "asking someone to play someone they're not" by changing a character voiced by trans actress Chanel Stewart to cisgender.Some of the creatives who helped shape the transgender storyline for the Pixar series Win or Lose are mourning its loss after The Hollywood Reporter broke the news last week that the character at its center will now be portrayed as cisgender.
“It hardly surprised me, but it devastated me,” Sarah Ligatich, a former Pixar assistant editor who consulted on the episode, tells THR. “For a long time, Disney has not been in the business of making great content. They have been in the business of making great profits. Even as far back as two years ago when I was at Pixar, we had a meeting with [then-CEO] Bob Chapek, and they were clear with us that they see animation as a conservative medium.”
As THR reported, Win or Lose — focusing on a middle school co-ed softball team called the Pickles with a voice cast including Will Forte as coach — is scuttling a storyline involving a character named Kai expressing her trans identity. A spokesperson for Disney, which acquired the acclaimed animation studio in 2006, said in a statement that “many parents would prefer to discuss certain subjects with their children on their own terms and timeline.”
THR spoke to multiple former Pixar staffers who expressed their sorrow and dismay at the company having axed this storyline. One also noted the apparent irony of the Disney statement, given that the company’s animated films are known for including such adult themes as the death of a parent (Bambi, The Lion King) or substance use (Alice in Wonderland, Pinocchio). Of particular frustration was the episode having already been completed, meaning that adjusting story elements requires the team to scramble to be ready for the February release, not to mention that this brings added expense.
“The episode in its final form was so beautiful — and beautifully illustrated some of the experiences of being trans — and it was literally going to save lives by showing those who feel alone and unloved, that there are people out there who understand,” says one former Pixar employee who did not work directly on the show but had seen it and asked to remain anonymous. The insiders note that the episode had changed significantly from older footage that has circulated on social media last week and showed the character deliberating over which bathroom to use. “So it’s just very frustrating that Disney has decided to spend money to not save lives.”
Pixar’s moves of late have spurred debate about the direction of its projects and whether it intends to prioritize diversity. After the company laid off 14 percent of its staff in May, Pete Docter — the Inside Out director who replaced John Lasseter as chief creative officer in 2018 — raised eyebrows with an interview about the company’s latest goals. In light of Pixar seeing a few titles underperform in recent years, Docter said that the studio should make the “most relatable films” possible, which was perceived by some as advocating for a shift away from more autobiographical stories centering on underrepresented characters and voices.
His remarks came in the wake of the 2022 criticism of Chapek’s response to Florida’s “Don’t Say Gay” bill. This was followed later that year by right-wing pundits creating a furor over a same-gender kiss in Pixar’s 2022 Toy Story spinoff movie Lightyear. Recently, members of the team behind Disney Channel’s animated series Moon Girl and Devil Dinosaur made headlines with social media posts noting that the company had decided not to release an episode centering on a recurring transgender character.
“It’s 100 percent political,” a former Pixar employee who identifies as trans says about the Win or Lose decision. He notes that ABC News recently paid $15 million to settle a defamation lawsuit brought by President-elect Donald Trump: “Disney just had the settlement with Trump. We saw it recently with the Devil Dinosaur and Moon Girl episode that was cut. All of us who knew about Win or Lose and this character were all just clenching: ‘Please don’t hit us next.'”
Indeed, those with Pixar ties worry that the Win or Lose change is not an isolated situation in terms of projects pulling back on their messages. Disney CEO Bob Iger said in April, “The bottom line is that infusing messaging as sort of a number one priority in our films and TV shows is not what we’re up to. They need to be entertaining, and where the Disney company can have a positive impact on the world, whether it’s, you know, fostering acceptance and understanding of people of all different types, great.”
According to a former Pixar artist, the team behind Hoppers, the 2026 Jon Hamm-led Pixar film focusing on a human and beaver who swap bodies, was forced to downplay its planned message of environmentalism. “Unfortunately, when you have your whole film based around the importance of environmentalism, you can’t really walk back on that,” says the artist who worked on the movie. “That team struggled a lot to figure out, ‘What do we even do with this note?'”
Another title that turned heads internally was the forthcoming original feature Elio, centering on a boy who teams up with aliens. It had initially been slated to hit theaters in March but saw its release date pushed to summer 2025. Initial Elio director Adrian Molina, who is a gay man, departed the film earlier this year. Docter has stated that Molina, who will receive a director credit, moved to a different Pixar project.
In the meantime, Pixar released Inside Out 2 in June, en route to it becoming the year’s highest-grossing film.
Ligatich, who is trans, recalls feeling welcomed and valued during her two-and-a-half-year Pixar tenure before being laid off in May. She has been in contact with members of the Win or Lose creative team, including executive producer David Lally, following Disney’s decision to excise the storyline for teen trans actress Chanel Stewart. Ligatich also expresses frustration that the show has been completed for quite some time and saw its release date delayed multiple times after the initial launch was set for a year ago.
“I can’t tell you how much I cried yesterday thinking about that conversation that David had to have with [Chanel],” Ligatich says. “Not only are you asking someone to play someone they’re not, but to also get them to wrap their mind around a political conversation that is just so beyond them,” says Ligatich. “They had this story in the can for two years, so they could have released it in a Biden presidency, and they chose not to.” (For her part, Stewart has said she was “very disheartened” about her retooled character.)
Ligatich says she knows artists who do not want to work on the Win or Lose episode in question, though insiders note that staffers were given the option not to work on the episode. So far nobody has taken the company up on that offer.
Whether other animation studios will follow Pixar’s lead in potentially limiting queer storylines and other aspects of diverse or potentially polarizing storytelling remains to be seen. Because of this, one of Ligatich’s fellow Pixar castoffs is working to launch an independent animation studio to encourage underrepresented voices.
Ligatich believes that there is a market for such animated stories at places like Netflix, which may not focus on creating LGBTQ content, but has made some noteworthy acquisitions in the space.
“Netflix is more than happy to host content that tells authentic LGBTQ stories,” Ligatich says of the streamer that earned an Oscar nomination this year for its acquired title Nimona. That film, praised as a trans allegory, had previously lost its home when the Disney-acquired Blue Sky Studios was shut down in 2021. “That’s really how it’s going to go moving forward, is you’re going to see a lot of indie studios pop up to tell stories.”
The original storyboards from this thread. The article says it has changed significantly since then, but all it says is that the character debates on which bathroom to choose, which is exactly what this scene is, so receipts needed: