Charm, most recent Disney movie music, if it were a small movie, would have been two pressures. The first is the pressure to end happily. No. happily, be careful; fun and acceptable ending. The very happy the end, not at all uncommon, is where any last offense or injustice or self-pity, at the last minute, is resolved if it is — if not by — magic, depriving the audience of the opportunity to have a beautiful, painful thought. he was planning to have it all this time. Alas, the compulsion to settle for more happily is on the rise American movies that worrying about it now, in the 21st century, sounds like a dweeby and nonsense. It is very difficult, I think, to contradict the second, less mentioned of the pressures that the poor film faces. The talismanthe story of a Colombian magical family losing its magic: coercion, especially in its characters, dance.
Yes, dancing. As such, they move their bodies during the singing process, often for no better reason than they can. In “High Pressure” The talismanA very interesting song, one of Madrigal’s sisters, Luisa, sings about stress – great stress – being strong for the whole family. He means this physically and emotionally, as Luisa’s power is very strong, and because Lin-Manuel Miranda is not a clever singer. “Stress is like a grip, a grip, a grip and it will not go away, hee,” he sings. “Stress like a tick, tick, tickle until it’s ready to blow, whoa.” All the while, this big lady is just coming out and closing in as if she’s really fascinated by the bedroom glass. “This looks like a TikTok dance,” a friend told me as we watched. Later that night, he sent me a TikTok – a real-life experience of doing the same.
Obviously, this was exactly what Disney was expecting, in preparation for the event: Give the grieving old woman a sexy body change, put on earwormy therapy-speaking, and see a free ad. Crass whatever you want. conditions, but in the case of video entertainment? It’s disgusting.
In the real world, lumbering elephants are exposed by the aggression of speeding midgets. All of its influence, in fact, transforms the human body into a mess, sweat and danger and its triumph: What is this movement? How do they bend like this? Will she fall in rhythm? People in sports music dance all the time, and they should; and part of the decorated myths. Computer-generated cartoons are free to dance as well, but in doing so, there is a great deal of recognition for their creative movement, hence, food or other, dance – especially if their movement seems to be in the sports team. way. Dips and swivels start to feel like they’re overused, strange, pixel pixels and pirouetting in a very, confusing way. At worst, it is an insult to the body shape.
So it’s not fun to watch. It is also, often, embarrassing. Luisa begins to dance inside the video where she shows no interest in acting, or another Madrigal second sister sings and sings. The talismanand so on TikTok-ready hit, “We’re not talking about Bruno,” one can not only hear Disney’s hopes for viewers to take this as their own, but also the organization’s refusal, years of production, animation as their only brand. There can be no movie like The talisman isolation; instead, it should court possible for any kind, from ice shows and park rides to, without much shame, Broadway music.
Blaming Cold. Prior to its release in 2013, the distinction between Broadway and Disney music was unmistakable. Sure, classics like Lion King, Beauty and the Beastand Little Mermaid all ended up on Broadway, almost in a low-quality setting, but none of those films were made in the hope of being screened. For one thing, there were no small, unstable dances; in other words, the singing was more steady, less intense. This changed the day Idina Menzel, the Rentand and Wickedwords insulting gravity, were thrown inside Cold, making Disney its all time watching movies. Since then, movies like Moana, Koko, Cold IIand now The talisman everything has been as small as the animation and as a stage, ready for a moment to be transformed into a reality. In 2018, Cold first public appearance on Broadway. Does the show attract new, young people to struggling companies? Maybe. Is that enough to justify ouroboros of platform-agnostic IP homogenizing and superficializing our entertainment beyond the hope of technology? Probably not.
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