January 5, 2010
I can’t really say much more about this Metaphilm article than is already expressed in the following excerpt:
In the film Fight Club, the real name of the protagonist (Ed Norton’s character) is never revealed. Many believe the reason behind this anonymity is to give “Jack” more of an everyman quality. Do not be deceived. “Jack” is really Calvin from the comic strip Calvin and Hobbes. It’s true. Norton portrays the grown-up version of Calvin, while Brad Pitt plays his imaginary pal, Hobbes, reincarnated as Tyler Durden.
Click below to read about the other eerie parallels between Calvin & Hobbes and Fight Club, including Susie Derkins, Moe, and G.R.O.S.S.
The Return of Hobbes
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1 Comment | 
Calvin & Hobbes, death, knock-offery, philosophy, psych | Tagged: Fight Club | 
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Posted by The Editor
December 2, 2009
[Editor's Note: This is a republish of an old Ex Situ which was part of a set, but I thought with my addendum that it deserved its own article.]
Yonder at The Minus World, there was a cleverly-conceived, confusingly both underwritten and overwritten, and woefully trying-too-hard-to-be-funny report about the frequency of Princess actualization. The original link seems to be dead, but here is a reprint:
New Haven, Connecticut – Profoundly sidetracked Yale scholars have been working feverishly to determe the statistical accuracy of finding the hypothetically kidnapped Mushroom Kingdom Princess in a castle. It has been agreed that 87.5% of the time, prospective rescuers will not happen upon the Princess and will instead hold a brief conversation with a fungus man who will inform them vaguely that her whereabouts are elsewhere. While probability and numerical accuracy have been officially cemented, researchers remain consistently baffled as to why she keeps getting yanked to begin with, or if the bitch is even worth it at this point.
Addendum: The calculation to find the Princess Probability isn’t even accurate. Taking into account the Warp Zones, there are many different paths Mario might take during the course of the game, each with a different total probability of the Princess being in a castle, hereafter referred to as 
.
In World 1-2, there is a Warp Zone to Worlds 2-1, 3-1, and 4-1. In World 4-2, there are two Warp Zones, to 5-1, 6-1, 7-1, and 8-1 in toto. So let’s break the Mushroom Kingdom into two sets: A and B, where each possible path to get to World 4-2 is in A and each possible path to get from World 4-2 to the end of the game is in B.
Here is a chart enumerating each path in A, where an “X” indicates a completed castle, 
is the total number of completed castles for that path, and 
is the total number of Princesses being in a castle for that path:
| Path |
World 1 |
World 2 |
World 3 |
NC |
NP |
Notes |
 |
X |
X |
X |
3 |
0 |
|
 |
|
X |
X |
2 |
0 |
Warp from 1-2 to 2-1 |
 |
|
|
X |
1 |
0 |
Warp from 1-2 to 3-1 |
 |
|
|
|
0 |
0 |
Warp from 1-2 to 4-1 |
And a similar chart for set B:
| Path |
World 4 |
World 5 |
World 6 |
World 7 |
World 8 |
NC |
NP |
Notes |
 |
X |
X |
X |
X |
X |
5 |
1 |
|
 |
|
X |
X |
X |
X |
4 |
1 |
Warp from 4-2 to 5-1 |
 |
|
|
X |
X |
X |
3 |
1 |
Warp from 4-2 to 6-1 |
 |
|
|
|
X |
X |
2 |
1 |
Warp from 4-2 to 7-1 |
 |
|
|
|
|
X |
1 |
1 |
Warp from 4-2 to 8-1 |
So the total number of paths possible is:
(which really is just 
)
To calculate the probability of The Princess being in another castle, 
, we can calculate and subtract it from 1 to give us:
is equal to the number of Princesses being in a castle in all possible paths, divided by the number of castles in all possible paths:
(Note that 
, since each possible total path 
results in 1 Princess being in a castle.)
So instead of 
, the correct calculation is:
Furthermore, since each path has a 
probability of being taken and the total number of instances of a Princess being in another castle summed over all paths is 
, we can calculate the expected values for the number of times the Princess is in another castle and the number of Princesses being in a castle:
To summarize: on an average full game of Super Mario Bros., one should expect:
- The Princess to be in another castle about 78% of the time
- The Princess to be in another castle 3.5 times
- The Princess to be in a castle 1 time
We here at J. Cart. Overanal. feel this probabilistic description is far superior, assuming we didn’t screw up the math. Comments or complaints about wonky symbol useage are welcome below.
1 Comment | Super Mario Bros., ex situ | Tagged: Princess Peach, probability, warp zone | Permalink
Posted by The Editor
December 1, 2009
Contributed by J. W.
In Darkwing Duck Season 1, Episode 7 (“Dirty Money”) Darkwing is hired by a banker named J. Gander Hooter to find out who’s been removing the ink from the nation’s printed money. Showing Darkwing a stack of unprinted bills, Hooter presents an observation that subtly explains the core philosophy and flaw of the central banking system (i.e. the Federal Reserve): “This paper was once worth $10,000,” he says. “Now, without the ink, it’s worthless. Without printed money, the economy will self-destruct.” The episode never really returns to this point – in fact, the entire question of the missing ink goes largely ignored – but the fact that a children’s cartoon would even mention the economy’s self-destruction and the fact that printed money is essentially worthless paper makes it hard to believe that there’s not a greater metaphor at work in this episode.
Prior to hiring Darkwing Duck, J. Gander Hooter had hired an investigative firm called SHUSH, which is represented by a character named Agent Grizzlikof. Appropriately, Agent Grizzlikof is a bear with a Russian accent (a double layer of meaning, given that the Bear is the symbol of Russia). Throughout the episode, Grizzlikof demonstrates a Soviet’s penchant for excessive bureaucracy and an insistence that everything be done “by the book.” Before allowing Darkwing to take part in the investigation, for example, he demands that Darkwing become a member of SHUSH. This involves a lengthy application process that includes a physical obstacle course (Darkwing is literally made to jump through hoops) and a mountain of paperwork. Seeing the huge stack of papers before him (the D-11 Stroke 6 Destination Disclosure Form), Darkwing remarks that “This is worse than the obstacle course.” On cue, he is informed that “Those are just the forms for permission to fill out these forms,” at which point 7 or 8 new, even taller stacks of papers are brought to him on a forklift.
According to J. Gander Hooter, however, Grizzlikof’s methods of over-regulation have failed (a jab at the failure of Communism, perhaps?), which is why he’s hired Darkwing Duck to take over. In contrast to Grizzlikof (whom Darkwing describes as a “predictable paper-pusher”), Darkwing is praised for his “unpredictable methods,” as well as his “unique brand of logic and deduction.” It is perhaps no coincidence that “unpredictable” and “logic” are both buzzwords frequently used to describe the unregulated capitalist system idealized in libertarian/free market circles. As Dr. Robert Murphy writes in his Politically Incorrect Guide to Capitalism, “Aside from the ‘fact’ that it hurts the poor, the other major objection to capitalism is that it is allegedly chaotic [unpredictable]. After all, in a market economy no one is ‘in charge’ of car production, and it’s nobody’s job to make sure that enough newborn-sized diapers get made.”
The actual villain of the episode is a cleaning lady named Ammonia Pine (interesting that the villain is a worker, the central mythical figure of Marxist philosophy), who secretly works for the shadowy syndicate known as F.O.W.L. Her goal, unlike most cartoon villains, is not to steal a large sum of money, but to wage economic warfare. “With SHUSH off my tail and all the money scrubbed,” she cackles, “the banks will go down the drain like scum in a bathtub.” This dastardly scheme is championed by the High Command at F.O.W.L., with whom Ammonia Pine communicates via a small telecommunication device. Once the banks fail, they say, “Our economic experts will move in to mop up.” Towards the end of the episode, High Command reiterates this point, describing the manner in which they can “begin taking control of the banks and financial institutions.”
Thus, in a single cartoon we have a Russian bear whose mountains of regulation prove ineffective (Darkwing is only saved from Ammonia Pine’s giant vacuum cleaner when he tears Grizzlikof’s SHUSH manual into pieces and uses its pages to block the vacuum’s vent system); a villain who realizes that power comes from destroying (and then controlling) banks and financial institutions with the help of “economic experts”; and a hero whose greatest virtues are his lack of rules (i.e. he is unregulated) and his unpredictability. Sounds to me like two critiques of Communism (its bureaucracies and its thirst for economic control and power) and a wink at free-market capitalism. This is perhaps no surprise, given that Darkwing Duck first aired in 1991 when the Soviet Union was well on its way to collapse.
1 Comment | Darkwing Duck, politics, villains | Tagged: capitalism, Communism, free market, Marxist | Permalink
Posted by The Editor
October 29, 2009
Found this one through the reliably bookmarkable Cartoon Brew. It’s a fascinating and insightful study of the color choices used in It’s the Great Pumpkin, Charlie Brown by Justin Hilden.
Bill Melendez’s 1966 television animated special It’s The Great Pumpkin, Charlie Brown may not seem the obvious choice for a study in color theory. The Peanuts shorts from that era are usually considered beloved yet simple children’s fare. In animation circles these specials are often footnoted as being produced quickly and on the cheap. While it is certainly true that The Great Pumpkin is not high art, it has endeared itself into the collective holiday psyche of Americans since the late 1960s. Such an emotional attachment stems from the familiarity of the characters, the breezy quality of the music, the innocence of the voice acting, and also – I believe – the use and direction of color.
Mr. Hilden has graciously accompanied his article with illustrative screen captures and comments, e.g.:
The kids are surrounded and buried in these deep, dark tones with two exceptions. The kids who go trick-or-treating are anchored onto a baby blue sidewalk in the same value as the boring house interiors, in contrast to Linus and Sally who remain half covered by the Halloween intensity. This makes trick-or-treating feel less exciting than waiting in the pumpkin patch for the Great Pumpkin.
I love this stuff. The early Peanuts specials are more sophisticated and crafted than they may first appear. No wonder these things are classics. For another fascinating over-analyzation in the same vein, see “The Art of Bill Melendez.”
Color Design in It’s the Great Pumpkin, Charlie Brown
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Leave a Comment » | Charlie Brown, It's the Great Pumpkin Charlie Brown, ex situ | Tagged: Bill Melendez, Flying Ace, Great Pumpkin, Halloween, hue, Linus Van Pelt, Snoopy | Permalink
Posted by The Editor
October 28, 2009
Never saw Ice Age 3: Dawn of the Dinosaurs, but since it’s coming to home video soon (I wish I got paid for that plug), it’s time for an apropos update.
Page Schilt has mixed feelings about Ice Age 3. On one hand, it shows animals of heterogeneous gender permuting peacefully. On the other hand, it does its best to reinforce stale stereotypes, particularly masculine tropes. Here’s a bit:
In an attempt to create a compensatory family of his own, Sid appropriates a trio of dinosaur eggs. Now in nurturing mode, he begins referring to himself as “Mommy” and even–unless I’m much mistaken–using feminine pronouns.
All of this, I know, sounds really queer.
But, like so much pop culture, Ice Age 3 simultaneously subverts and reinforces sex and gender norms. All the stuff it’s dredging up from our collective cultural anxiety closet–changing gender roles, the anti-sociality of the nuclear family, alternative communities, homoeroticism–is, I would argue, kept in check by the film’s policing of traditional gender roles.
and
The utopian nature of the collective is emphasized by the subplot about heterosexual romance between two squirrels. The female squirrel, a hot femme fatale, repeatedly uses her sexual wiles to part the male squirrel from his nut (pun intended, I’m sure). After battling it out in SM foreplay for most of the movie, the squirrels briefly succumb to sexual bliss before descending into domestic hell.
It’s a good read, with some links that I’ll probably highlight individually in the future.
Ice Age 3: Can a Queer Utopia be Built on Prehistoric Gender Roles?
> Catena Ex Situ
2 Comments | Ice Age 3, anthropomorphica, cross-dressing, ex situ, gender, homosexuality, stereotypes, the female gender, the male gender | Tagged: nuclear family, Scrat, utopian collective | Permalink
Posted by The Editor
September 3, 2009
Contributed by Krissy N.
Many people like to hypothesize that perhaps Peppermint Patty and Marcy are lesbians, despite a blatant lack of evidence. Peppermint Patty is not gay. This much is obvious from her treatment of Charlie Brown. She likes him. She expresses her crush through her aggressiveness, by being overly chummy and encouraging him to do things he would normally avoid. She is forcing a relationship between them. Notice that Charlie Brown never contacts her intentionally; they run into each other at school or afterward, on the baseball team, or while shopping. Their relationship is based on knowing the same people and attending the same school.
Why Patty chooses to be aggressive toward Charlie is a matter of observation. Aside from Patty, the other girls include Sally and Lucy. Sally is Charlie’s sister, he has no choice about his relationship with her, they live in the same house. Lucy is the only girl Charlie approaches willingly, seeking her “advice” often. In these sessions she abuses and ridicules him. From observing this type of behavior, one may conclude that Charlie Brown is a masochist. Patty figures that the only way to have any sort of relationship is to abuse the poor boy. But she can’t be like Lucy because of her love for Charlie; she wouldn’t intentionally hurt him.
Marcy has no strong evidence to prove that she is not gay, but there are some interesting things I can say in support. Marcy is very passive. We have never seen her take great action, or even say much beyond offering a few helpful points to Patty or covering for her in class. Marcy reminds me a bit of Charlie Brown in her passiveness. She never places herself into any given situation, more that she is flung into it. Her actions are often dictated by others. She doesn’t have any strong ambitions or goals, neither does Charlie outside of his desire to succeed at least once. Both of them are very polite, honest, and nice to other people (especially adults). The two don’t force their opinions onto anyone, neither of them have an outgoing or aggressive “will” to speak of (Even Linus has a strong will, though no actual personality flaws. Instead, he is a dynamic personality, with an old and knowledgeable soul). Because of these similar traits I always wished to see the pair together.
Their similarities make one think about their relationship to Patty. Charlie Brown is the object of Patty’s affections, so what does that make Marcy? The Peanuts gang is partly defined by its relationships: Patty likes Charlie, Lucy likes Schroeder, Sally likes Linus, Charlie Brown likes the cute little redhead girl. Marcy is an anomaly in this social circle as a figure not involved in any type of crush as the other characters are. So it is not entirely unlikely that Marcy likes Patty. Having some of the same personality traits as Charlie Brown makes her a likely candidate as a significant other for Patty. In contrast to Charlie, Marcy chooses to be near Patty, showing more control over her circumstances than he ever could. Seeing what kind of person Patty chooses to adore, Marcy emulates that behavior, trying to draw the attention toward herself. Of course that is merely not enough. Marcy makes herself helpful so that Patty acknowledges her existence, depending on Marcy to help her out of tough situations. She wedges herself into Patty’s life the way Patty attempts to place herself into Charlie Brown’s day. Marcy uses Patty’s actions as the basis for her own.
Though Marcy might act passive to gain Patty’s favor, I do not believe that it is merely a facade. Part of the behavior is native to her personality. She spends a lot of time with Patty, it is nearly impossible for any person to maintain a passive facade that long. Patty is very overbearing and egotistical, if there existed anything with Marcy’s personality to disagree, the two egos would have clashed and the pair of girls would always be fighting. Marcy’s lack of a personality saves her persona from being crushed by the monster that is Peppermint Patty. Marcy’s innate passiveness ultimately prevents her from revealing her true feelings. Admitting now one feels about someone else takes courage, especially for introverts such a Marcy, who must live in the perfect and most likely repressed society that is the world of Peanuts.
4 Comments | Charlie Brown, Peanuts, from the archives, homosexuality, psych, stereotypes | Tagged: Linus Van Pelt, Marcie, Peppermint Patty | Permalink
Posted by The Editor
August 21, 2009
Now here’s an overanalyzation! Written by bona fide Drs. Robert Patterson (general surgeon) and Charles Weijer (bioethicist) in 1998, it’s a comparison of the methodology and practical philosophy of Springfield’s most prominent medical professionals. Published in the Canadian Medical Association Journal, no less! Exclamation point!
I’m afraid Dr. Marvin Monroe isn’t considered one of Springfield’s most prominent medical professionals. But Dr. Julius Hibbert is:
Deeper analysis, however, reveals that Hibbert is no Semmelweiss. He treats the health care system like his personal cash cow by taking time to talk to his patients and distributing lollipops to children. No wonder the US system is so expensive. Worse yet, he stocks his office with patient education materials that either contain value judgements or are poorly written.
Bonus points for a Semmelweiss reference. Of course, the other prominent medical professional is Dr. Riviera:
…he’s no shill for the medical establishment. Knowing that physicians’ fees are the real cause of the health care funding crisis, Dr. Nick produced a TV ad in which he offered to do any surgical procedure for just $129.95 (Can$193.95 at time of writing [Can$140.87 today. -Ed.]). Cost-effective and consumer conscious, Riviera would never let quality of care interfere with discount-rate fees.
Topical!
An analysis of the medical care provided to the family of Homer J. Simpson
> Catena Ex Situ
Leave a Comment » | The Simpsons, ex situ, morality | Tagged: $129.95, Dr. Marvin Monroe, Dr. Nick Riviera, Semmelweiss | Permalink
Posted by The Editor
August 6, 2009
Contributed by Brendan S.
Two of my all-time favorite movies, 1939’s The Wizard of Oz and 1968’s Yellow Submarine, have several things in common besides being musical fantasies- they’re practically parallel in a number of ways:
| The Wizard of Oz |
Yellow Submarine |
Colorful, peace-loving kingdom under siege by evil despots and their minions:
The Wicked Witch of the West
The flying monkeys |
Colorful, peace-loving kingdom under siege by evil despots and their minions:
The Chief Blue Meanie
The Dreadful Flying Glove |
| The Mayor of Munchkin City |
The Lord Mayor of Pepperland |
| A sepia-toned Kansas |
A bleak, grey Liverpool, England |
| Dorothy wanting more than her drab surroundings |
Ringo: “Nothing ever ‘appens to me.” |
| The song “Over the Rainbow” |
The rainbow gate to Pepperland |
| The Kansas farmhands each having counterparts in Oz |
The Beatles meet their Pepperlandian doubles- namely Sgt. Pepper’s band |
| Evil talking trees throw apples at Dorothy and the Scarecrow |
The Apple Bonkers drop large apples on the heads of innocent victims |
| The Yellow Brick Road served as the path to Oz |
The Yellow Submarine brought the Beatles on a perilous journey |
Highly intellectual albeit slightly befuddled individual who befriends the main characters:
The Wizard |
Highly intellectual albeit slightly befuddled individual who befriends the main characters:
Jeremy Hilary Boob, Ph.d. |
| The Emerald City, which led to the Wizard’s palace |
The Sea of Green, which led to Pepperland |
| The Wizard, in his hot-air balloon, accidentally leaves Dorothy stranded in Emerald City |
Old Fred, on board the submarine, Old Fred, on board the submarine, stranded in the Sea of Phrenology at one point |
Brief but effective use of classical music:
“Night On Bald Mountain” by Mussorgsky |
Brief but effective use of classical music:
“Air On a G String” by Bach and “Peer Gynt Morning Suite” by Grieg |
| On her broom, the Wicked Witch skywrites “Surrender Dorothy” over Oz in hideous black smoke |
The Flying Glove left behind a trail of smoke jetting the skies of Pepperland while terrorizing the populace |
| The Scarecrow, Tin Man and Cowardly Lion successfully infiltrate the Witch’s army to rescue Dorothy |
The Beatles crudely disguise themselves as an Apple Bonker to infiltrate the Meanie army and bring Pepperland back to its glory |
Act of kindness used to defeat the bad guys:
a bucket of water thrown at the Wicked Witch |
Act of kindness used to defeat the bad guys:
music was used as a weapon against the Meanies & completely restored Pepperland |
| With the Witch having been killed, the flying monkeys and army are free from her control |
The Blue Meanies decided to give up their evil ways and join in the eternal celebration/happiness |
| In spite of it all being a dream, Dorothy spoke fondly of her adventure in Oz, the good and the bad |
Back in our world, the flesh and blood Beatles speak of the great time they had in Pepperland-even with more Blue Meanies lurking in theaters |
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1 Comment | Yellow Submarine, knock-offery, villains | Tagged: Blue Meanies, Liverpudlian, Mussorgsky, Surrender Dorothy, The Wizard of Oz | Permalink
Posted by The Editor
June 23, 2009
Who would have thought that Twitter would be useful for more than paradigm-shifting omnidirectional awareness of social zeitgeist? Well, since joining Twitter (by the way, I joined Twitter: @overanalyzation), in addition to fomenting unrest I have found it to be a useful tool for discovering new and exciting over-analyzations. Like this one: our first Twitter-found article, from a re-tweet by @SaturdayMorning of a tweet originally from @SpaceMonkeyX.
Space Monkey X (the son of Space Monkey IX, inventor of the tungsten grapefruit) has written an impressively detailed over-analyzation of Yo Gabba Gabba!, placing it firmly and confidently within the Abrahamic canon. Here are some choice quotes to hopefully get you to read the whole thing:
Unlike the Golem – and more like the Muslim story of Adam, the first man, created from sand, clay, water, and dirt – once they’ve been animated by their Master, the Gabba Gang enjoys a certain level of free will to play in Gabba Land. Lance is still a presence as He watches from above, but for the most part He lets them do their own thing. However, that’s not to say that Lance never intervenes, as He did with the bird seed in the episode referenced above. In fact, He will often influence the events below by dictating when the Gabba Gang should eat, sleep, what to play with (bouncy balls, balloons, Super Martian Robot Girl comic books, etc.), how to treat one another, and even reprimands them if they misbehave. Similarly, the Bible chapter Leviticus deals with the laws that were passed down to the Jews regarding what they should eat, how they should raise their children, proper sexual practices, and other guidelines so they could remain in God’s favor. Of course the punishment for going against Lance’s wishes takes the form of a wagging finger and a disappointed demeanor, rather than fire, brimstone, or a plague of frogs…
…This leads us to the question of what roles the Gabba Gang plays in this scenario. If DJ Lance is God and Plex is Jesus/Muhammad/Moses, who are Brobee, Toodee, Foofa, and Muno? One could argue they are the four major sects of religion that worship God – Judaism, Islam, and Christianity broken into Protestant and Catholic. Muno, for example, would definitely be considered Catholic thanks to the guilt he carries in being the one who knocked down the blocks, bit his friends, and took things from others. His numerous reiterations of the song, “I’m So Sorry”, including the line, “I can fix it / I can make it better” show his obvious desire to atone for his sins against DJ Lance’s moral teachings. However, trying to equate the other Gabbas with the “personalities” (AKA stereotypes) of the other religions becomes more difficult. Perhaps the best answer, then, is that they are, as the characters’ personalities imply, children.
“Jesus wept.” – John 11:35
Yo Gabba Gospel! >Catena Ex Situ
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1 Comment | Yo Gabba Gabba!, ex situ, philosophy, religion | Tagged: DJ Lance, golem, Jesus, Leviticus, Toodee, twit populi | Permalink
Posted by The Editor
June 12, 2009
[Editor's Note: I found this Ex Situ via the indispensable The Disney Blog.]
Mr. Michial Farmer at Ladder on Wheels has written an excellent two-parter about themes of darkness and anxiety in Disney and Pixar movies (including Up). It’s practically a survey of disturbing things in Disney and Pixar movies. The first part is all about how dark the early Disney features were, and how they lost some of that darkness after (roughly) World War II:
…All of the early Disney features—for our purposes, let’s define “early” as prewar, which would allow us to work with Snow White and the Seven Dwarfs, Pinocchio, Fantasia, Dumbo, and Bambi—are shiny and beautifully drawn, but all of their prettiness only serves to hide the deep, existential dread at their cores.
While Mr. Farmer has a good point, I do think he neglects some of the darker imagery of The Rescuers, The Black Cauldron, The Lion King, or even Lilo & Stitch. Though the darkness in these films isn’t quite as fundamental or thematic as most of the pre-WWII examples he gives.
His second part is all about how Pixar’s stories are successful partly because they have embraced those mature themes which have been largely absent from the post-war Disney films. Here’s part of his discussion of Finding Nemo:
Finding Nemo, on the other hand, begins with a reference to and amplification of the central terror in Bambi. Here Marlin’s wife dies a terrible death just as they’re planning their life together, and the Barrucuda who eats her also goes ahead and takes out all but one of her eggs. Marlin—understandably, although the film doesn’t seem to acknowledge that!—becomes a picture of anxiety, protecting his disabled son (a nod to Dumbo, though Nemo doesn’t get the brutal mocking that his elephantine counterpart does) from the world that took his wife with little to no warning.
It’s very true that Pixar does not shy away from including more sophisticated and mature themes. It’s certainly part of the reason why Pixar movies resonate strongly with both kids and adults. Pixar also does not make the mistake (common among the filmgoing public) of mistaking “dark/edgy” for “dark/mature.” A lot of cartoon and comic fans seem to think it validates their love of the artform if disturbing stuff is haphazardly included, whether or not it actually adds anything symbolically or thematically. Pixar probably learned its lesson after that first disastrous “edgy” draft of Toy Story.
Deep in the Big Black Heart of the Sunshine State
Part 1 >Catena Ex Situ
Part 2 >Catena Ex Situ
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1 Comment | A Bug's Life, Atlantis, Bambi, Bolt, Brother Bear, Cars, Chicken Little, Cinderella, Dumbo, Fantasia, Finding Nemo, Home on the Range, Lady and the Tramp, Lilo and Stitch, Meet the Robinsons, Monsters Inc., Pinocchio, Snow White and the Seven Dwarves, Song of the South, The Black Cauldron, The Hunchback of Notre Dame, The Incredibles, The Lion King, The Little Mermaid, The Princess and the Frog, The Rescuers, Toy Story, Toy Story 2, Toy Story 3, Up, WALL-E, death, ex situ, morality, philosophy, villains, violence | Tagged: angst, existential dread, ontological, The Island, World War II | Permalink
Posted by The Editor
