Of Disney and Sound Mind...

(Warning: The following entry contains spoilers for Ralph Breaks the Internet. I strongly urge everyone to see the film first.)

Growing up, I assumed that Disney was of two minds. The first mind gave us classics like Fantasia, The Jungle Book, The Disney Renaissance films and, later, Pixar’s line-up. The second mind routinely made bad, corporate decisions and shovelled out garbage in an attempt to shamelessly pander to children. These two minds, at least on the outset, appeared to clash, such that I never could peg the company: were they responsible for some of the best movies ever, or were they responsible for some of the worst movies ever? Did they cater to families, or openly insult them?

I know I’m not alone on my feelings. Many people, myself included, have expressed thoughts about Disney’s recent business practices-from acquiring 20th Century Fox, to unjustly firing James Gunn over old Tweets he’s apologized for-yet have still ended up watching their films anyway. They’ve openly derided Disney’s corporate self-awareness in their recent work, all-the-while enjoying this self-deprecation. They’ve even mocked their shameless live-action remakes of classic movies, despite still seeing them. For every complaint you can lob at Disney’s corporate side, you can as easily give a compliment to their creative side.

Perhaps this is most-apparent in Ralph Breaks the Internet. The film is their fourth canonical sequel, right after The Rescuers Down Under, Fantasia 2000 and Winnie the Pooh, yet it definitely feels the most corporate. This is to be expected, especially with it tackling the internet, but the level of flat-out shamelessness feels in your face. Between references to eBay, YouTube, Twitter, viral videos, search bars, pop-up blockers and online video game servers, I was half-expecting a Rick-Roll. And, thankfully, the movie didn’t disappoint there either.

However, it all clicks, no pun intended. And I think that has to do with Disney’s artistic side, as everything about the movie, even its corporate cynicism, is crafted with a weird sense of love and adoration. Some parts feel like they’re stretching it, like how Ralph’s videos on BuzzTube go viral so quickly and net him big bucks (trust me, it’s not that simple), but it doesn’t lose sight of its own charm. The movie’s creators seem like they actually care, and this extends to the film’s (2nd)-best scene:

Snow White’s vocal solo always gets me. (Courtesy of Disney UK.)

This scene should be the most cynical, contrived part of the entire movie: it’s self-referential, taking place at “Oh My Disney!” (which, by the way, is a real site.) All of the canonical Disney princesses are present, with the living voice actresses reprising their roles, and they each lament their tropes to the audience. And it feels like padding, as Ralph Breaks the Internet borders on 2-hours. Despite this, it’s funny, clever and really well-acted, even resurfacing in the movie’s third-act. So despite later reminding you that, yes, Disney owns the rights to the 60’s Batman theme, because 20th Century Fox, it’s hard to really stay mad when the creators made a great pitcher of lemonade out of shrivelled up, corporate lemons.

You know what else feels refreshingly sincere? The film’s musical showstopper and, arguably, all-around best scene, one destined for a Best Original Song nomination at The Oscars. In it, Vanellope, lamenting about her fondness for the online game Slaughter Race, sings about how she prefers the game to Sugar Rush. It’s a great number that showcases Sarah Silverman and Gal Gadot’s singing chops (which surprised me), but the lyrics are grossly self-aware. You can only hear a line like “Hey, there’s a Dollar Store!” in the opening verse so many times before you smirk at its corporate corniness.

But that’s how Disney is in general: they put enough heart into cash-grabs to make you forget they’re cash-grabs. They repackage the same product in different ways to make you crave it over and over. They also show their awful, business side repeatedly, but you forget all about that with their next offering. Disney, like Nintendo, knows how to force your own nostalgia down your throat and not make you choke, cynical as that is. And if people can overlook Nintendo suing shamelessly over ROM disputes and firing Alison Rapp for moonlighting prostitution in university, then they can overlook Disney unjustly firing James Gunn and not distancing themselves from John Lasseter after his predatory behaviour became public knowledge.

That’s what makes Disney successful, after all! It’s not like they don’t have talented individuals working for them, because they do: they have a strong team of animators and writers. Pixar’s one of their subsidiaries. They’ve made billions of dollars from Marvel and Star Wars, and they’ll soon add Indiana Jones to their repertoire. They even had a temporary deal with Studio Ghibli, pumping money into their later productions and distributing their films in the West. Say what you will about Disney, but there are people in the company who care!

And I don’t think that’s unintentional. As a child, it might’ve seemed like Disney was of contradictory minds, but as an adult I no longer see the contradiction: they can, and do, co-exist. It’s possible to be both corporate and passionate. And it’s possible to build an empire from quality entertainment. Because if Walt Disney himself has taught us anything, it’s that an astute businessman sees the market and jumps on it…even if that means stepping on the toes of others.

Now, if you’ll excuse me, I’m gonna whine some more about the “live-action” remake of The Lion King, even though I’ll probably end up watching it…