Don’t Give Disney a Pat on the Back for Doing the Bare Minimum
Disney has cleverly managed to dance around the misdeeds of their past by scraping by with an insincere action that does very little to incite any long-lasting positive changes.

Worlds collide in more ways than one in this stunning collection. Confidence is violated, classes clash and desire is concealed, yet love still triumphs regardless of the consequences. Boys On Film 14: Worlds Collide features nine new, powerful, and dramatic short films: Lee Haven Jones's "Want It" starring Jamie Cutler and Alan Turkington; Sophy Holland and Alicya Eyo's "Brace" starring Jake Graf and Harry Rundle; Mauro Mueller's "A World For Raúl" starring Alexandré Barceló and Adrián Alonso; Dennis Shinners's "Barrio Boy" starring Dennis Garcia and Dan Leonard; Darwin Serink's "Aban + Khorshid" starring Mojean Aria and Bobby Naderi; Jan-Dirk Bouw's "I ♥ Hooligans"; Christopher Bradley's "The Violation" starring Slade Pearce, Elaine Hendrix, and Shayne Topp; Rafael Aidar's "The Package" starring Jefferson Brito and Victor Monteiro; and Søren Green's "An Afternoon" starring Ulrik Windfeldt-Schmidt and Jacob Ottensten.
Disney has cleverly managed to dance around the misdeeds of their past by scraping by with an insincere action that does very little to incite any long-lasting positive changes.
It’s passionately protective of the women mentioned in the story or appearing on screen. Just like the article and the #MeToo movement, the film could help a trapped person find the courage to fight back.
The Magician's Elephant has a strong multicultural cast and a heartwarming story about bringing two long-lost siblings back together
Mariah Carey's "All I Want for Christmas Is You" is an iconic family favorite with a multi-talented biracial lead that will remain fresh and magical for years to come.
A lonely little Hawaiian girl and her mischievous blue alien friend form a bond that heals both of their hearts, as well as ours. This live action version adds emotional nuances—notably in the sisters’ dynamic—while preserving the charm of the original.
Perhaps the most amazing and groundbreaking quality about The Birdcage is how removed it is from both illness and insensitivity. Whereas films preceding it were often somber stories about the tribulations of being gay in a conservatively straight world, Nichols and screenwriter Elaine May expose the fallacies of conservatism as traditional values are thrown into a more open-minded space. They don’t care how far the community has fallen so much as how high they can rebuild themselves.