Nevertheless, she persisted: Dora and the Lost City of Gold
Dora is the superhero we didn't know we needed.

Discrimination, body shaming & violence. This is ballet in 2024. But a group of defiant dancers, survivors of industry abuse, want to form a radical, diverse company that opens its doors to others who have also suffered abuse, and gives these talented, traumatized survivors a chance to fight back, on stage. They find a run-down studio, and Chase Johnsey, a gender-fluid dance insurgent, to direct them. But, they have no money, no reputation, and Chase has never directed before. The dancers are brave, but young and deeply fragile. They must confront their traumas and find belief if they are ever to retake the stage. It is a journey of pain, hope, and above all resistance -to fight for justice, change lives, and create groundbreaking, liberated ballet- one choreographed step at a time.
Dora is the superhero we didn't know we needed.
Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.
Those saying it's a bad movie simply because it's bad as a slasher should be reminded that the likes of Jordan and Alexandra often don’t get their tales told, let alone in such major releases helmed by veteran actors like Bacon.
Neo Sora left a realistic and yet hopeful notion for the near future and the now.
Disney has a glaring and, up until recently, unaddressed issue that spans nearly its entire lifetime - an absence of diversity.