Chronology of the Disney Animated Canon

Timelines are fun if often frustrating to make. Some can be confusing, headscratchers, or downright make no sense. Today, we are going to try to piece together a very loose timeline of the fifty-eight installments of the Disney animated canon. 

 This is more of a chronological timeline over the historical eras, then trying to tie everything together. Now, whether or not each film is set in the same universe has always been a bit of a debate, and a lot of guesswork is made based upon easter eggs. For example, a toy of Dumbo appears in The Great Mouse Detective, which takes place in the Victorian era, and lacks the modern day trains that Dumbo has. So, a lot of these references are mostly inserted for fun. Other times, characters even crossover into each other’s films. This also means that some movies will not be included in this timeline.

 

For simplicity’s sake, certain movies won’t be featured in this chronological timeline:

-The Lion King, could easily be said to take place in 1994, but we have nothing to nail that down.

-Wreck It Ralph and Ralph Break the Internet are very meta movies, with Disney itself appearing in the sequel, with Ralph and Vanellope meeting the Disney Princesses and characters from Marvel and Star Wars.

-Melody Time, Make Mine Music, and Fun and Fancy Free as they are package films made up of shorter animates sequences that occur all over the place.

-The same applies for Fantasia and Fantasia 2000.

-I also decided to leave out Robin Hood, Chicken Little, and Zootopia, as they appear to exist in a reality where humans don’t.

-Frozen II isn’t out yet, so we don’t know how long it takes places after Frozen.

Dinosaur – 145-65 Million Years BC - Our timeline starts off relatively easy. Dinosaur is set over 65 million years ago, cause, you know, the title says “Dinosaur”. Aladar, an Iguanodon, is raised by lemurs, until their home and entire species can wiped out by a meteorite. The family then join up with a herd of dinosaurs to reach breeding grounds, encountering Carnotaurs and grouchy ignorant leaders on the way. Most interesting about Dinosaur is that one of the supporting characters is an elderly Brachiosaurus, whose species were more prominent in the Jurassic era rather than the Cretaceous. Heck, one character even mentions the Brachiosaurus is potentially the last of her kind. Boy, Dinosaur got really depressing all of a sudden. The film appears to take place in Africa and Madagascar, since that is the only native place lemurs live.

Brother Bear – 10,000 Years BC - One of my favourite films, the highly underrated Brother Bear occurs during mankind’s early days of living in caves, and when mammoths still walked the Earth. Of course, this carbon dating is purely guesswork (as a lot of this timeline will be!), but according to 10,000 BC’s article on Wikipedia, a lot of cave paintings, man dwelling in caves, and early tools and weapons were rising around this era. Mammoths went extinct around 4000 years ago, and are the only ancient Ice Age-era animals to appear in Brother Bear. Not, that Ice Age - the actual historical ice age.

Moana – 3000 Years BC - Okay, this is where things become as thin as ice. I didn’t really know where to put Moana on the timeline, but I thought it should be near the beginning. Maui steals the Heart of Te Fiti at least a thousand years prior to Moana’s birth, so this film takes place over a long time. According to one CBS article I found, Moana allegedly takes place three-thousands years ago, but I don’t know if that means literally 3000 years ago, or 3000 years BC. I decided to go with the latter, as academic research on Polynesian culture and origins indicates humans moved from the Pacific to the Polynesian area circa 3000-1000 BC. Moana exists in a time where physical gods and monsters lived in the world. And this isn’t the only movie associated with the gods.

Aladdin – 1600-1100 BC - Urgh, Aladdin! Another one that looked like its place in the timeline was solid, but the whole thing is confusing. In this movie, the Genie claims he has been imprisoned in his lamp for 10,000 years, the Sphinx’s nose is accidentally broken, and in the space of four minutes, and Aladdin and Jasmine fly from Agrabah, to Greece, then to China, and back again. I decided to pretty much just plop Aladdin here, as it was driving me crazy on where to put it. Gazeem says “By Allah!” upon seeing the Cave of Wonders, the term for God that existed long before Islam was founded. Pre-Islamic Arabia is said to have had major kingdoms and tribes from 3000 BC to 600 AD. Islam wasn’t around until the 7^th century. I’m probably grasping at straws here, but another reason I put Aladdin is because of its canon/non-canon connection with Hercules.

 

Hercules – 1600-1100 BC - Hercules is the set in an abridged version of the Greek myths, where Hercules (or Heracles) existed after the time of Odysseus, Perseus, Theseus (his cousin), and Achilles, when usually he comes at least second in that list. Anyway, the reason I linked Hercules and Aladdin together through Hercules: The Animated Series, which takes place during Hercules’ training days to be a hero. In this series, Hercules crosses paths with Aladdin. Hades meets the ghost of Jafar in the Underworld, and together they conspire to have Hercules and Aladdin destroy each other. So, this at least confirms Hercules takes place at least after Aladdin: The Return of Jafar. The majority of Hercules takes place when Herc is 18, so, if the animated series was canon, Aladdin has already happened. But, it is possible Hercules: The Animated Series isn’t canon to the movie. In the film, Hades assumed Hercules was dead for eighteen years, but in the animated series, he often interacts with him on an episodic basis. It is like a jigsaw that can’t be put together. So, if the animated series is canon, Aladdin takes place before Hercules in this timeline.

The Sword in the Stone – late 400s-early 500s AD - Phew, time for something a little easier. The Sword in the Stone features a young Arthur Pendragon on his relatively uneventful (but fun) journey to becoming the One True King of England, pulling Excalibur from the stone in London. Merlin pretty much confirms the film takes place in the Dark Ages, and repeatedly travels forward in time to the 20^th century, cause he hates the Dark Ages. The Arthurian legends involve the Saxons invasion of Britain, which took place in the late 5^th century and into the early 6^th century. The Dark Ages began in the 5^th century, so it all adds up nicely.

Mulan – 386-620 AD - There is some debate about when Mulan takes place, but it could be anywhere between 386 AD to 621 AD. Mulan’s historical setting is in the Northern Wei, which existed between 386-536 AD. A thousand years later, playwright Xu Wei also places Mulan’s legend within the same period. However, the Qing dynasty’s Sui Tang Romance, places Mulan around 620 AD, during the foundation of the Tang dynasty.

The Black Cauldron – Dark Ages (5^th-15^th century) - The Black Cauldron also appears to be set in the Dark Ages just judging by the familiar medieval clothes, and how everything seems rather mucky, grubby, and miserable. Fflewddur Fflam is a minstrel, who were extremely popular during this era. Plus, the movie is your standard medieval fantasy story, apart from the psychic pig, zombies, and the most annoying protagonist in Disney history!

Sleeping Beauty – 14^th century - Princess Aurora is the classic princess so to speak, and lives in an equally classic interpretation of the Middle Ages, an age of chivalric romance, big pointy hats, and the like. Prince Philip even quotes that it is the 14^th century, so that pretty much nails down when Sleepy Beauty takes place. Prince Philip, slayer of dragons, and trend setter for the modern era.

The Emperor’s New Groove – 1425-1532 BC - Another movie that doesn’t have an exact date, so The Emperor’s New Groove is set during the Incans’ golden era was between the dates above, and Kuzco has got a pretty swank empire for him to groove around.

The Hunchback of Notre Dame – 1482 - Hallelujah! The first film on the timeline with an actual date. The Hunchback of Notre Dame is set in Paris, during a time where Christianity was huge, gypsies were persecuted by the second greatest Disney Villain of all-time, and a humble hunchback talks with gargoyles who may or may not be alive. Definitely one of Disney’s darkest and greatest movies. Interestingly, Belle cameos in the movie. The mayhem in Paris could explain why Belle and Maurice moved to the “poor provincial town”, but Beauty and the Beast has always been associated with the 18^th century. Belle’s cameo is likely just that.

Snow White and the Seven Dwarfs – 15^th century - At first, I thought Snow White would go just after Sleepy Beauty, but decided to do a little investigation. Another creator’s Disney timeline lists the film has being set in the 15^th century, and I wondered why. I looked into certain objects in the dwarfs’ cottage, discovering both clocks and certain types of pipe organs were not invented until around the 15^th century. Makes sense to include it around this century. As I said, a lot of this timeline is grasping at straws, but I wanted this to be a fun project, not a frustrating one hammered down by utter historical accuracy. Besides, Disney doesn’t exactly tell history as it always happened...

Pocahontas – 1607 – Speak of the devil, here’s Pocahontas, a beloved Disney film, but also their own attempt to distil history. The very first piece of dialogue in the film is establishing it is 1607, where Governor Ratcliffe’s expedition to the New World commences. Pocahontas and John Smith fall in love, creating what looks to be a peaceful union between England and the Native Americans of Virginia. Yeah, we all know history didn’t go like that. The real life Pocahontas did save John Smith from her father’s execution, visited Jamestown a lot, but was later taken captive, raped, married and had children when in her teens, and died at the age of 21. Then again, Pocahontas’ direct-to-video sequel did focus on Pocahontas going to England and marrying John Rolfe, sans the whole capture part.

Beauty and the Beast – 1770s – Honestly, Beauty and the Beast could be set anywhere within 18^th century France, but other websites said it is set around this period, so I decided to put it in the 1770s. Hopefully, Belle and the Beast would go on to survive the French Revolution, if it happened in the Disney animated universe.

The Legend of Sleepy Hollow – 1790 – Based on Washington Irving’s book, The Legend of Sleepy Hollow, though the book itself was published in 1820. Because now most of the remaining films have dates or general years of occurrence, there maybe less to say.

Cinderella – early 1800s – Not sure where Cinderella could take place, perhaps a little earlier in history, but the setting feels a little more modern compared to Beauty and the Beast. The French monarchy dissolved in 1870, so the film is at least set before then.

The Little Mermaid – early 1800s – Another challenging point on the timeline as Ariel’s place and time is a tricky one. I would at least say it is set somewhere in the 19^th century judging by the clothes and fashions. An article of Flavour Wire, where a fashion designer replicated historically accurate costumes for the Disney Princesses, she stated Ariel’s wedding dress is from the 1890s. Another issue is where The Little Mermaid is set. Though the fairy tale was written in Denmark, when has Denmark been tropical with palm trees and that wide variety of exotic fish? I would say that The Little Mermaid may in fact be set in a Dutch colony in say the Caribbean. The King and Grand Duke from Cinderella cameo during Ursula’s “wedding” to Eric, so this could put both princesses living within each other’s lifetimes.

Tangled – 1842 – Tangled and Frozen are both tied together, and were actually the basis for creating this timeline. Both films are confirmed to take place in the 1840s via the official Frozen artbook, despite Tangled looking like it is set in medieval Europe. The design aesthetic was to make it look like it came from a storybook. At the end of Tangled, Rapunzel and Eugene get married, and have been married for three years by the time Frozen rolls around – or at least by the time Elsa turns twenty-one.

Frozen – 1845 – Frozen takes place three years after Tangled. How do we know this? According to some, Elsa and Anna’s parents are going to attend Rapunzel’s wedding in Corona, but didn’t make it. The film picks up three years after the shipwreck, and look who cameos in Frozen, but Rapunzel and Eugene, attending Elsa’s coronation (on the left in the above image). Now if only it was more than a cameo and had exploded into a more ambitious project. Then again, we did get all the princesses together in Ralph Breaks the Internet. As for the year, I chose 1845 mostly because it is when The Snow Queen was published. Presumably, Frozen II will occur shortly after.

Alice in Wonderland – 1865 – 1865 was when Lewis Carroll’s Alice’s Adventures in Wonderland, so it seems a suitable year. Could easily take place a few years earlier based on Carroll’s relationship with the Liddell family.

Tarzan – 1880 – Tarzan is not related to Elsa and Anna by blood. I’m just getting that out of the way. It sounds very silly. As for the year of Tarzan, I’m not sure. Whilst Wikipedia says the film starts in the 1890s, the Disney Wiki says it starts in the 1880s. Neither of these make any sense, and I’d say it takes place even earlier, while the adult Tarzan’s story occurs in 1880. Jane and Professor Porter plan to take Tarzan on tour around Great Britain, introducing him to “Dickens, Kipling, and Queen Victoria” – only problem is that if this film was set in the 1890s, Charles Dickens would be dead, Rudyard Kipling would have only just published The Jungle Book, and, Queen Victoria would be really old. Dickens died in 1882, so I decided to set the film a couple of years beforehand.

Home On the Range – 1889 – Another film with a confirmed date. Set in the later days of the American Frontier.

Pinocchio – 1890s – While The Adventures of Pinocchio was published in 1883, I’d say the film takes place a little later. Pleasure Island has a ferris wheel on it, the first of which wasn’t built until 1893 in Chicago. Makes sense to put the film at some point afterward.

The Jungle Book – 1893 – The Jungle Book lacks a date, so I placed it in 1893 when the actual book was published.

The Great Mouse Detective – 1897 – Set in 1897 during the Victorian era. Interestingly, we see that Sherlock Holmes and Dr. Watson actually exist in the Disney universe, Basil living under Holmes’ house in Baker Street.

Wind in the Willows – 1909-1910 – Though The Wind in the Willows was published in 1908, the film is set a year after, over several months between late 1909 and early 1910, based on Mr. Toad’s time in prison. Toad escapes prison on Christmas Eve 1909.

Lady and the Tramp – 1909 – Confirmed to take place in 1909, though it could occur over the next couple of years due to the arrival of Jim Dear and Darling’s baby, and the time Lady grows from a puppy, and then has puppies of her own.

The Aristocats – 1910 – Confirms the year straight away at the start of the movie.

The Fox and the Hound – 1910s – Lacks a date, so I’m setting The Fox and the Hound in the 1910s, mostly based on the antique Model T automobiles seen in the film.

Peter Pan – 1911 – Another film that lacks a date, so I set it around 1911, when Peter & Wendy was published by J.M. Barrie. Its sequel, Return to Neverland, is set during the Blitz in World War II.

Atlantis: The Lost Empire – 1914 – Confirmed at the start of the film, though the prologue occurs centuries ago.

Winnie the Pooh films – 1926 – As this was the time A.A. Milne published the classic books, set during Christopher Robin’s childhood, it makes sense to place them in 1926. I would say that all of the animated Pooh films and the animated series could take place in the same year, or over a couple, ending with the events of Christopher Robin in the 1950s.

The Princess and the Frog – 1926 – The film first begins in 1912 when her Tiana is a child, her late father participating in World War I. The main plot occurs in 1926, and during Mardi Gras.

Everything onwards takes place in the modern day, or at least during the time that they were released, so most of the remaining films on the timeline are mere place markers. Dumbo is up first, set in 1941, followed by Bambi in 1942, which may take place at least over a couple of years based on a deer’s lifespan. Saludos Amigos and The Three Caballeros occur between 1942-1944, depicting Latin American countries in the era, inspired by Walt Disney’s tour of the region. Next is 101 Dalmatians, which takes place in 1961. The Rescuers and The Rescuers Down Under take place within a short space of one another. Since The Rescuers was released in 1977, I set the sequel around a year later. Oliver & Company felt like the most modern day movie of its time, set in New York City around 1988.

Lilo & Stitch may have one of the longest timespans in the canon. While the film takes place in 2002, the franchise spawned a sequel, an animated series, and a tie-in movie to that, not to mention an anime spin-off/sequel where an adult Lilo appears, and has an identical daughter, and then a Chinese animated spin-off. I don’t know if the anime and Chinese show are considered canon, but I decided to put them in. The original animated series had crossovers with Kim Possible, The Proud Family, Recess, and American Dragon.

Next in the timeline, we have Bolt, which occurs in 2008. But, then we have Meet the Robinsons, which came out in 2007, but involves time travel. Part of the movie occurs in 2037 where the world effectively turned into Tomorrowland. So, Meet the Robinsons takes place both before and after Bolt.

Big Hero 6 was released in 2014, but its positioning and place in this timeline are a little vexing. It is set in San Fransokyo, which appears to be an alternate version of San Francisco, with Japanese technology and themes. Of course, it could be a different city and location altogether. Or maybe I’m just looking too much into this already wobbly timeline.

And finally, we have Treasure Planet, set…in the future. Some when far into the future! A time of intergalactic voyages, farting aliens, and the 18^th century was fashionable again. Okay, it is based on Treasure Island, so the aesthetic makes sense. We see a toy of Stitch in Jim Hawkins’ bedroom. Perhaps, Stitch’s placement on Earth by the Intergalactic Federation kicked off an eventual, stronger relationship between mankind and aliens, leading to the eventual development of the world of Treasure Planet. This union perhaps wouldn’t take place centuries later, as we see no aliens walking around in Meet the Robinsons’ future.

So, there you have it. My attempt to weave the Disney universe together into a timeline. Again, all of this is just guesswork and wish fulfilment. Animators and filmmakers from Disney have said that these films are all disconnected from each other, and exist in their own standalone stories. Still, it is fun to try to join the dots together.

Disney's Hercules: Movie vs. Myth

Hercules, Disney’s 1997 animated film, is one of my favourites from the company’s animated canon. Though some say it is the weakest of the Renaissance-era movies in terms of storytelling, I personally love it. The main characters are likeable and fleshed out, the charismatic Hades (voiced by James Woods) is an absolute riot, the art style is memorable, and the gospel soundtrack by Alan Menken is extremely catchy.

Still, the film does take a lot of liberties with Greek mythology. Disney is no stranger to reworking classic stories and telling them in a more family friendly style, often becoming the best known incarnations of said tales. Greek myths are a lot more, well, violent, dramatic, and prone to adult themes that Disney wouldn’t dare to touch. In the movie, Hercules is a charming, good-natured goofball, who finds a happy ending with the snarky Megara. In Greek myths, Hercules was driven insane by the goddess Hera and murdered Megara and their children in a fit of rage, and has to undertake his infamous Twelve Labours to earn redemption.

“Hercules” isn’t even his Greek name, but his Roman one. His Greek name is Heracles. But that’s just the tip of the Olympus-sized mountain of liberties that Disney took with the myths. We’re going to go through a few examples and references used in Hercules.

The first characters we meet in the film are the Muses, our narrators, and the Greek goddesses of the arts. Calliope, Melpomene, Terpsichore, Thalia, and Clio make up the group, though there are actually nine Muses in myths, with Euterpe, Erato, Polyhymnia, and Urania. They are also daughters of Zeus, making them Hercules’ stepsisters.

The movie’s backstory is an abridged version of an event called the Titanomachy, during which the Olympian gods went to war with the Titans, to see who would rule over the universe. The details have always been vague, and the war lasted ten years before the Olympians won. In the movie, there are only four Titans, each based on one of the four classical elements, and were trapped in an underwater vault by Zeus. In the animated series, which may or may not be canon with the movie, several actual Titans from mythology, like Prometheus, appear as supporting characters.

Hercules is born as an immortal god, but loses his godhood thanks to the schemes of Hades, and has to become a true hero in order to regain his powers. In the myths, it is the opposite. Hercules was born as a mortal demigod, and only after he died did Zeus transform him into a true god. The film also portrays Hercules as the son of Zeus and his wife-sister Hera.

Ho, boy! Hera is a very different person in the myths. In the film, she is a loving mother to Hercules. In  the myths, she is a jealous, spiteful, and very vengeful woman, despite being the personification of good marriage. Zeus was a rather unfaithful husband, chasing after and sleeping with hundreds of beautiful woman, who gave birth to a number of known deities and heroes like Apollo, Artemis, Hermes, Dionysus, and Perseus. Hera would often unleash fire and brimstone upon the poor women and their children, several who would sit alongside Hera and Zeus as Olympians.

Hades is by far the most entertaining character in the film, and is perhaps the best known adaptation of the god of the Underworld. In truth, Hades was probably the least immoral of the three Greek brothers of himself, Zeus, and Poseidon, who were both horny all the time and often did unscrupulous things to in their lustful pursuits. Hades regarded humans as dull, and his role as keeper of the Underworld was just his job. Perhaps the worst thing Hades did in the myths was the abduction of Persephone, goddess of the spring, who he would manipulate into becoming his wife. A deal was eventually struck that Persephone would spend half a year with him, and the other half on the surface with her mother Demeter.

 

Hades’ characterization in the movie involves his obvious jealousy and contempt for Zeus and the other gods, implying he was forced into the role of ruling the Underworld. In the myths, Zeus, Poseidon, and Hades drew fair lots on who would rule over which domain. Zeus got the skies, Poseidon the ocean, and Hades got the Underworld.

He consults the three Fates, elderly hags who can see the future, and cut the mortal threads of life for each person on Earth, cutting them with scissors when the time comes. The Fates are a fusion of characters – the Morae, three sisters who decide human fate, and the Graeae, another trio of sisters, who were born elderly and share one eye between them.

Hercules is abducted by Hades’ minions Pain and Panic, who strip him of his immortality using poison, but are unable to kill him before the arrival of Alcmene and Amphitryon. Zeus had sex with Alcmene, and she is Hercules’ mother in myths. Pain and Panic transform into snakes to kill baby Hercules, but he treats them like play things and sends them flying away into the air. In the myths, Hercules kills the snakes, who were sent by Hera. Pain and Panic appear to be based on Deimos and Phobos, who worked for Ares. Deimos and Phobos themselves would appear as separate characters in the animated series.

Years later, Hercules learns of his true heritage and is sent by Zeus on a journey to become a true hero, aided by the winged horse Pegasus, and Philoctetes, a satyr who once trained heroes. Interestingly, Pegasus is never associated with Hercules in the myths, but rather other heroes like Perseus and Bellerophon. Pegasus is actually the child of Poseidon and Medusa, leaping out of Medusa’s neck after Perseus decapitated her. And that’s just one of many weird ways characters are born in mythology!

 

Hercules meets Philoctetes, or Phil, on an island that resembles the city of Rhodes, the Colossus of Rhodes, once regarded as one of the seven wonders of the ancient world, lies in pieces throughout. Phil tries flirting with nymphs, but they reject. One turns into a tree, referencing Daphne, who was turned into a tree to escape a lustful Apollo.

Phil’s house is a smorgasbord of references and easter eggs. Phil claims he trained all of the great heroes like Jason, Odysseus, Perseus, Theseus (“A lot of ‘-euses’,” as Phil puts it), and then Achilles, who died of his infamous heel injury. However, in the animated series, Hercules meets an elderly Achilles. Again, the cartoon’s canonicity is questionable. The mast of the Argo, the Golden Ram’s healing wool, and the head of the Trojan Horse can be seen in Phil’s house.

Hercules later rescues Megara from the centaur Nessus, and travels to Thebes, where one disgruntled citizen, fed up with the city’s disasters, vows to move to Sparta. Hercules then battles the multi-headed Hydra, which is the second of his Twelve Labours. Like in the myths, Hercules continues to cut off the Hydra’s heads which regenerate, but he then kills the beast by burying it in a landslide.

The “Zero to Hero” musical number is told via montage, showing Hercules accomplishing several of his other Twelve Labours, fighting the Erymanthian Boar, the Nemean Lion (whose skin cameos as Scar from The Lion King), and a Stymphalian Bird. But, Hercules also fights and defeats the Minotaur and Medusa. These were slain respectively by Theseus and Perseus in myths. Heck, Phil’s memorabilia shows said heroes fighting those monsters. It is implying that Hercules is telling an alternate history where the likes of Perseus, Theseus, and Odysseus failed as heroes, with a discus showing Theseus being strangled by the Minotaur.

Hercules and Megara go on a date, mentioning they attended a play based on Oedipus, one of the most tragic figures in Greek mythology. Oedipus was a king of Thebes, who accidentally fulfilled a prophecy that he would kill his father and marry his own mother. He is the inspiration for the Oedipus complex. Hercules later gives up his powers for a day so Hades can invade Mount Olympus with the freed Titan. But, the pragmatic Hades deploys one of the Titans, a Cyclops, to murder the depowered Hercules.

The Cyclops were actually close allies to Zeus in Greek myths, becoming his personal armourers and weapons designers, crafting his signature lightning bolts. Though, there was one evil Cyclops named Polyphemus, who fought Odysseus and was blinded by him. Hercules blinds the Cyclops whilst battling.

After defeating the Titans and blowing them up in space, Hercules finds out Megara has died and her soul has gone to the Underworld. Hercules bursts into Hades’ lair, riding the three-headed dog Cerberus, and demands Meg’s soul back. He and Hades make a deal that if he saves Meg’s soul, Hercules shall remain. This may be a reference to the tragic tale of Orpheus and Eurydice. When Eurydice died, Orpheus went to the Underworld to ask Hades to give her back. Orpheus played his lyre, moving Hades. The god agreed to let Eurydice return to life, but only if Orpheus didn’t look back at her whilst guiding her out of the Underworld. Sadly, Orpheus failed in his mission. Hercules, however, has a more successful mission, rescuing Megara’s soul by obtaining his godhood, and punches Hades into the Styx.

The animated series was filled to bursting with characters and elements from Greek myths. Hercules’ best friends were Icarus and Cassandra, rivals with Adonis, had a crush on Helen of Troy, and a number of other heroes and gods appeared. Heck, the show even had a crossover with Aladdin, in which Hades and a ghostly Jafar joined forces to eliminate Hercules and Aladdin.

So, like all heroes, Hercules gets his happy ending, deciding to give up his immortality to be with Megara on Earth. In Greek myths, Hercules had several more wives after Megara, but eventually died thanks to poison and ascended to become a god. He even made amends with Hera, and married her daughter Hebe. In both versions, Hercules received a constellation in the sky, and was defined as a true hero.

Will Mary Poppins Returns Be Good?

Wind’s in the east… mist coming in. Like something is brewing, about to begin. Can’t put me finger on what lies in store, but I feel what’ll happen, all happened before…

Since the last time I added a post on this blog, Disney finally acknowledged they need to actually respect their cast members and pay them decent wages, the battle for 20^th Century Fox is nearly won, Bud Luckey passed away, The Incredibles 2 came out, and James Gunn has been fired from Marvel Studios. With all those mixed feelings, let’s talk about something a bit more positive yet questionably unnecessary.

Mary Poppins is perhaps the most beloved and popular of Disney’s pantheon. It universally loved (unless you are called P.L. Travers), highly regarded as Walt Disney’s magnum opus, bringing together the best creative minds in Disney to create something amazing. The careers of Julie Andrews, Dick Van Dyke, David Tomlinson, and well, everyone else, have been defined by Mary Poppins. Everything about this movie, from Mary Poppins’ entrance, to the dancing penguins are iconic and well remembered.

Now, fifty-four years later, a sequel, Mary Poppins Returns, is coming to cinemas in December. The longest gap between a live action film and its sequel ever. The film is set thirty years after the 1964 film, and will star Emily Blunt as Mary Poppins, with Lin-Manuel Miranda, Ben Winshaw, Emily Mortimer, Meryl Streep, Colin Firth, Julie Walters, David Warner, Angela Lansbury, and Dick Van Dyke in supporting roles. Dick Van Dyke is the only actor from the first film to return, though he is now playing Mr. Dawes Jr. (played by Arthur Malet) in the film. Winshaw, Mortimer, Walter, and Warner are inheriting the roles of Michael and Jane Banks, Ellen, and Admiral Boom.

Julie Andrews was initially invited to make a cameo, but she declined, wanting the film to be Emily Blunt’s movie. No doubt people will compare the two performances once this sequel comes out. Now, when the film was announced, my first reaction was “Why?” Does Mary Poppins really need a sequel? Mary Poppins stands alone. Its reputation, popularity, and timelessness allows it to stand on its own two feet. P.L. Travers did write a number of novels, so Disney did have at least some resources to use, which they claim they are for this new movie. But, the question stands – does Walt Disney’s magnum opus need a continuation?

It’s no secret that Mrs. Travers despised the film and cried at the premiere out of despair, demanding Walt re-edit it. When Cameron Mackintosh approached Mrs. Travers to adapt the books into a stage musical, she agreed, but on the condition no one from the film was involved. However, the songs from the film were allowed to be used. Mrs. Travers’ hatred didn’t cover the whole film. She approved of Julie Andrews as Mary Poppins, and even liked “Feed the Birds”. In 1977 interview, she remarked that she had seen the film again, and described it as “glamourous and it’s a good film on its own level”, though barely like her books.

Perhaps Mary Poppins Returns is a good opportunity to adapt the books a bit closer. The 1964 film did have a lot of magic and charm to it, but at its heart, it was about Mary Poppins coming to mend a broken family, headed by a troubled father committed to his job at the cost of caring for his children. It does look like the sequel will be following a similar story, with a grown up Michael Banks implied to be a widow, struggling to raise his children despite help from Jane, and is working in the same bank his father once worked in. I am only going to assume that Mr. and Mrs. Banks are both dead, though Ellen and Admiral Boom are still alive.

The lone teaser trailer is charming enough, slowly building up the return to Cherry Tree Lane, Michael’s fixed kite blowing around the neighbourhood until picked up by his children and Lin-Manuel Miranda’s character. They launch it into the sky, and cue the world’s greatest nanny descending from the clouds. This did boost my excitement for the film, and the cast looks pretty good, but that lingering concern remains. Is this film necessary?

If there is one thing that encapsulates the last few years of Disney, and particularly CEO Bob Iger’s time in charge of the company, it has been fuelling the nostalgia of consumers. Disney purchased The Muppets, Pixar, Marvel, and LucasFilm during the past ten years. Star Wars has made a comeback, and while the fatigue has started to set in, Disney still plot to milk this cow for all that its worth. The likes of DuckTales and Kim Possible have returned, all of Disney’s greatest classics are getting live action remakes, and even Oswald the Lucky Rabbit was brought home (and completely underused).

It is obvious Disney are cashing in their chips with all of these reboots, remakes, and revivals. Mary Poppins is Disney’s most renowned live action film, so it makes sense to revisit the property. Perhaps Saving Mr. Banks was meant to test the waters and renew interest in Mary Poppins?

My concern is that Mary Poppins Returns will simply be a repeat of its predecessors greatest hits, and not try telling a different story. Michael is now a troubled adult and parent, implied to be working at the same miserable bank his father worked at, now run by Colin Firth’s character. I wonder if Michael’s accidental run on the bank will hover over him like the sceptre at the feast. Dick Van Dyke is playing Mr. Dawes Jr., and his character will likely be a nod to Mr. Dawes Sr. from the first film. Admiral Boom is back too, so the classic “Posts, everyone!” gag will return. No complaints there. Lin-Manuel Miranda’s character is a lamp lighter who just so happens to have been Bert’s apprentice, operates on Cherry Tree Lane, and likely knows the Banks family as well.

And while I will reiterate that the teaser trailer was charming, it was obvious that it was using nostalgia as a major selling point. The phrases used in the trailer let us know we are visiting a world that is a big part of the imaginations of multiple generations. We are in the same location, with the same characters, a similar plot, and familiar elements. Mary Poppins is seen flying through the clouds, the characters are flying a kite in the park, Lin-Manuel is dressed exactly like Bert, we see a gentlemen reading a newspaper in clothes very similar to Mr. Banks’, and the trailer ends with the iconic mirror scene where Mary Poppins’ reflection stays behind.

Now, don’t get me wrong. I am fired up for this film, and plan on seeing it shortly after it comes out with my family. the movie will most likely be a huge success. Disney are playing their cards right. Still, I at least hope they are. Mary Poppins is one of Disney’s most sacred of cows like Mickey Mouse and Winnie the Pooh, but it is also a milestone in childhood family favourites, nostalgia and cinematic history. If the film bombs at the box office, this will likely have huge repercussions for Disney and their long line-up of live action remakes. The planned Mulan remake has already been pushed back to 2019.

Mrs. Travers did write many books, so there is plenty of material to choose from, but Disney’s version is the most well known version. The sequel will hopefully use new ideas, and the setting of the Depression will bring a new dynamic and atmosphere on Cherry Tree Lane. We probably will see many nods and homages to the original film, and hopefully a couple of cameos from the surviving cast, but the film should and must stand on its own and develop an identity of its own. To be a worthy successor to one of the greatest family film of all-time, and not just a nostalgic-based cash grab.

Armchair Reimagineering - The Great Movie Ride

I found this old re-imagineering in my computer, and thought I'd share it and update it a little. I wrote this refurbishing of The Great Movie Ride for Ideal Buildout a few years ago. Last year saw the closure of The Great Movie Ride, the last of the original attractions at Hollywood Studios to close its doors. It is to be replaced by Mickey and Minnie's Runaway Railway. It is about damn time we are getting a Mickey Mouse ride that isn't a M&G or actually stars Donald Duck. It is just a shame that TGMR is the sacrifice to get it.

Okay, let's face the facts. The Great Movie Ride might have been on the list for extinct attractions for years. The Hollywood Studios (formerly the MGM Studios) was built and open to spite Universal Studios, and barely had any attractions to begin with. New things like Fantasmic and the Twilight Zone Tower of Terror arrived, and the park slowly found its identity. The Great Movie Ride was built in an impressive replica of the Chinese Theatre and served as the icon of the park. Or at least until that butt ugly giant Mickey Mouse hat was dumped in front of it for years.

As the park changed, old attractions were replaced, the Great Movie Ride stayed, and remained hugely popular with guests. However, the problem was that it was gathering cobwebs. The ride never once changed its content. It occasionally had a minor technical upgrade or new narration overlay, but the line-up of classic films were never swapped out. The attraction opened in the 1980s, and the latest films featured were Alien and Raiders of the Lost Ark. That's nearly three deceades of film to explore, and Disney did little to upgrade the ride. There was also a lack of movies released by Universal, because they are the enemy, and most of the films featured anyway were products of the Turner Classics collection.

There is a lot of charm to the ride, like the on-ride tour guides, the actors who hijack the vehicles while dressed as cowboys or gangsters, and how they meet their comical ends. The ride was a travelling theatre ride, and remained popular throughout its run. And that animatronic of the Wicked Witch of the West was amazing. And it's the closest we've ever gotten to a Mary Poppins dark ride.

Now with Hollywood Studios introducing undergoing a massive transformation to introduce Star Wars: Galaxy's Edge and Toy Story Land, inspired by the Wizarding World of Harry Potter over at Universal, things are different. Disney's mindset now seems to be that IPs make better money and rides than original ideas, and the old rides are out for the new.

But, what if rather than simply scrapping The Great Movie Ride, Imagineering instead revived it with a fresh new take, new featured films and characters, and even a connecting story. My version did sacrifice the actors, however, so take this with a grain of salt.

The Great Movie Ride is housed in a full-scale replica of Hollywood’s iconic landmark, Sid Grauman’s Chinese Theatre. Outside in the theatre’s courtyard are a number of handprints by actors, actresses, and some of the greatest filmmakers in the business, as well as some iconic characters too. Also sitting outside is are a pair of cars – one owned by Alfred Hitchcock, and the second owned by Walt Disney. The queues have covers, and is large enough so guests will not have to wait outside in potential bad weather (or just the heat).

The interior two rooms would be designed after rooms of the Chinese Theatre. The first hall is lined with posters of classic films like Casablanca, The Wizard of Oz, Gone With the Wind, and Snow White and the Seven Dwarfs among others. There is also a small gallery, showing replicas of important inventions and landmarks of film history including original cameras owned by the Lumiere Brothers, the pioneers of filmmaking.

The third room is the Magical Movie Props Exhibit, featuring a number of movie props in glass cabinets, which have a life of their own. The Ruby Slippers click together. A carousel horse from Mary Poppins bobs up and down. A lightcycle from Tron which is "on lone from ENCOM". The Dead Man's Chest has the faint sound of a heartbeat coming from inside. Thor's hammer is on display, but has crashed through the floor, its handle protruding out of the hole, complete with a sign reading "Need help. Norse God's strength required." 

Guests enter the loading area, which is basically the same, with a backdrop of the Hollywood Hills. The soundstage resembles a street in Los Angeles, with the iconic theatre marquee acting as the entrance to the ride.

Sitting on a bench outside the cinema is Oswald the Lucky Rabbit. As guests queue and board the ride vehicles, Oswald discuss movies and the film industry via humourous quips, then inviting guests to visit some familiar and icon scenes from classic films. At this point, the ride vehicles arrive for guests to board, which resembled boxed theatre seats, with room for twenty-five people per vehicle. The vehicles are driven automatically, but have emergency breaks and can be driven by a cast member if necessary.

After guests board, the ride begins, accompanied by "Hooray For Hollywood". Guests venture through the long lobby of the cinema. We see Oswald in the screening booth and offers a history of cinema. The cinema's walls melt away, transforming into an early 20th century film set, where we see the Lumiere Brothers inspecting their first camera, Oswald narrating over the scenes. We also see Georges Melies directing a scene from A Trip to the Moon. We pass by a projector showing a number of early films.


We pass right through the projector's flickering light, as if going into the machine itself. We find ourselves in a black-and-white cityscape. We've entered the Silent Era and the golden age of comedians. Harold Lloyd dangles from a clock. Charlie Chaplin is dressed as the Tramp, greeting the audiences as they pass by. Buster Keaton crashes a car. We also see Laurel and Hardy, Roscoe Arbuckle, Douglas Fairbanks, and Mary Pickford amongst the scenery. Oswald narrates about the Silent Era. 

We pass through a jazz club where Al Jolson introduces sound to film as he does in The Jazz Singer. The scenery vanishes as we pass through a thin pair of walls, where large projections of film reels fly by. We see Felix the Cat, Mickey Mouse, Gertie the Dinosaur, Looney Tunes, and Snow White amongst the imagery. The Golden Age of Animation. Oswald briefly laments his own history with Disney, and how Mickey's creation paved the way for the success of animated shorts and films.

The vehicle comes out into the night life of Hollywood. There's a constant musical beat in the air, as we pass by scenes from beloved musical movies. It chucks it down as Gene Kelly swings from a lamp post in Singing in the Rain on the left. After that, the gangs of West Side Story square off from the fire escapes and windows of an apartment block. Just after them, Natalie Wood and Richard Beymer sing a duet together.

Afterward, the vehicle travels up a small slope, travelling up into the rooftops, which take on a more British, Edwardian feel. Mary Poppins and Bert perch on a chimney top singing "Chim Chim Cheree", followed by an army of chimney sweeps leaping up onto the rooftops around the scene and performing a show stopping rendition of "Step in Time". This goes on as the guests leave the scene, venturing back down to ground level.

Guests enter a seedy, rundown part of town resembling 1930s Chicago. Oswald, dressed like a stereotypical gangster, explains they have entered the world of film noir and crime thrillers. He warns the guests to take heed around "this part of town". James Cagney from The Public Enemy watches the guests, telling them to move along or he'll smoke 'em. Humphrey Bogart appears as his role in The Maltese Falcon, speaking to Peter Lorre, Mary Astor, and Sydney Greengrass. Oswald accidentally interrupts their chat, making the group believe the audience possesses the Falcon. We escape around the corner before the characters can react.

However, right around the corner, we stumble across a bank robbery orchestrated by the likes of Bonnie and Clyde. The cops across the street open fire, and a crazy gunfight breaks out. Oswald screams for the guests to flee. Things start getting weird as more modern faces appear to join the gunfight. Al Pacino as Tony Montana screams from a balcony, opening fire with a machine gun. The cast of Reservoir Dogs appear. A young Robert De Niro hides behind a taxi. A building catches on fire. 

Luckily for us, the fire forces the vehicles to take a left through a pair of doors. Inside is the office of Don Vito Corleone himself, who has the Maltese Falcon on his desk. Oswald talks to the Godfather, who thanks Oswald for the great service he has provided for bringing him the Falcon. Oswald asks for a way "out of the genre", Corleone pointing him to the doors at the other end of the room. On the way out, Oswald comments he is puzzled while films are starting to blur together.

 
We venture through the doors, and the cityscape is replaced by the barren, rocky landscape of the Old West. This is a rather short section, as we travel through a western town. We travel through a cemetery, seeing the iconic stand off from The Good, the Bad, and the Ugly, accompanied by the film's awesome theme.

There is the remains of a derailed train, referencing The Great Train Movie. Gary Cooper examines the wreck, as Will Kane from High Noon. On a cliff overlooking the scenery, Butch Cassidy and Sundance dangle from it, arguing whether they should jump or not. We pass by Buffalo Bill's Wild West Show, featuring Annie Oakley and Calamity Jane performing a musical number together. We travel towards a dark mineshaft, and sitting on horseback to see us off is the Duke himself John Wayne.

We travel into the mineshaft, seeing an empty mine cart pass by on an overlapping track. The mineshaft quickly changes into an Egyptian temple, Indiana Jones and Sallah removing the Ark of the Covenant from its chamber on the right hand side. A sword-wielding assassin watches the scene. He vows to kill the intruders before vanishing into the shadows. We go around the corner, hearing a scream, a gust of wind, and something impaling someone to a wall. We find the skeleton of the assassin pinned to the wall by poisonous darts.

The vehicle passes on through a treasure room, filled with gold and amazing jewels, ancient treasures, and artefacts. However, there is also a sarcophagus in the room, which creaks open, and the rotting form of a mummy emerges, reaching out for the guests as they make an escape.

The gold spills out across the track, as we enter an even larger cave filled with endless piles of treasure. A pile of treasure stirs, revealing it to be the gigantic animatronic form of Smaug from The Hobbit. Here, the vehicle stops for a brief encounter with the dragon. Oswald negotiates with Smaug to let them pass by, but Smaug contemplates eating the intruders. However, upon smelling dwarfs, Smaug shoos the guests and Oswald away. We travel into another tunnel, passing by Bilbo Baggins playing games with Gollum, whilst pocketing the One Ring behind his back.

In a final scene, we pass through some ancient Greek ruins, the Argonauts engage several skeletal warriors in a swordfight. Meanwhile, Medusa lurks in the shadows, having recently added another petrified man to her collections.

The vehicle exits the caves, revealing we have come out of an immense mountain. Ahead, is an enormous looming gothic castle. Standing outside is Alfred Hitchcock, enjoying a cup of tea. He greets the guests, informing them that they are about to go into the "frightfully exciting" horror portion of the ride. A werewolf's howl signals are entry into the world of terror. The architecture is impressive but foreboding. We hear creepy noises. Hissing cats, the jangling of chains, heavy breathing, ghosts crying out. 

Count Orlok rises out of a coffin to our right. We pass through the laboratory of Dr. Frankenstein, who brings to life his iconic monster through lightning, insanely declaring that "It's alive!" The vehicle moves on into a very haunted bedroom. Regan MacNeil sits in the poster bed, throwing up green slime, and her head spins. Green handprints appear and disappear across the walls and ceilings. Lightning flashes outside the window, revealing "All work and no plays makes Jack a dull boy" has been written on the walls. A TV sits by the bed, mostly on the fritz, but occasionally jumps to a spooky image - footage from B-movies, the icon of The Ring, and the titles of The Twilight Zone.

The vehicles go down a slope into the castle's dingy dungeon. We hear cries for help and insane laughter. We pass by several prison cells, even one scarier than the last. Hannibal Lecter sits in his cell, smiling at the guests. The next is empty, until a light turns on, revealing Mrs. Bates in a rocking chair. The dungeon starts to take on a strange, dream-like quality, transforming into the boiler room from A Nightmare On Elm Street. The room turns a sinister red, and we see glimpses of Freddy Krueger. We hear him speak "You're my children now," as we head for a set of double doors. An enormous claw appears over us, as Freddy cackles maniacally. We are gone before we are ensnared.

Guests exit the castle, out into an open cornfield with the Devils Tower visible in the distance. We spot Oswald get abducted by a UFO before flying off. A pair of metal blast doors open before us, built into the side of the mountain. Alarms go off as we venture into the sci-fi section of the ride.

We travel through the interior of a spacecraft, implied to be owned by the Weyland-Yutani Corporation. Communications reveals there is a Xenomorph onboard for studying. However, like the rest of the attraction, there is a bizarre blend of faces wandering around. Robby the Robot from Forbidden Planet patrols a corridor. At the other end of the hall is another set of blast doors. We hear someone asking HAL 9000 to open the doors, but we hear the AI's voice refusing to comply. As we pass by an operations panel, we see an alien's bony, brown arm appear from behind it and press a button, asking to "phone home" (a nod to E.T.) This seems to convince HAL and he opens the doors.

The vehicle travels into the ship's bay, where we find noneother than C-3PO and R2-D2 attempting to prevent Rocket Raccoon and Groot from commandeering a spaceship. The four banter until red alarms go off, panicking C-3PO. Someone shouts over the intercom that the alien has escaped. We enter a dark metal corridor, hearing the hisses of the Xenomorph, its shadow passing by. Ripley lurks in a hallway, armed with a flamethrower. We venture further down the hall, hearing more noises, until there is nothing but silence.

The Xenomorph then springs out of an overhead vent, spraying "acid" at the guests before vanishing back into the vent. It follows after us, scurrying through the vents. However, a wall explodes to our right as the Terminator steps out. The Xenomorph emerges from above the door, attacking the Terminator. Both titans vanish back inside, the door sliding shut behind them. As we reach a pair of blast doors, we hear the sounds of gunfire and scream. Another explosion rips through the wall, revealing a victorious Terminator with the dead Xenomorph head in his grip.

After that dramatic encounter, we pass into an open airfield, where we see Humphrey Bogart and Ingrid Bergman saying goodbye from Casablanca. Onwards, things take a more romantic tone, venturing through a European court. Romeo and Juliet declare their love to each other via the balcony scene. And to add in a little Disney magic, we see several of the Disney Princesses (Snow White, Cinderella, Belle, Aurora, Ariel, Tiana, Rapunzel) dancing with their respective princes in a courtyard. The familiar tune of "Bella Notte" begins playing, as we pass by Lady and Tramp sharing a plate of spaghetti at a French restaurant.


Oswald starts tearing up out of sight and starts sobbing. The lights suddenly go out, save the headlights of the vehicle. Oswald realises he has cried all over the projector and tries to fix it, causing it to malfunction and blow up the film reels. He tries something, and we hear jiggery pokery sound effects around us.


The vehicle moves into the next room. A flash of light, guests finding themselves in a tornado of flying film reels. Imagery from various films fill the reels, as Oswald panics. Iron Man briefly flies by, claiming the projector is starting to fuse films together, explaining the mismatched character encounters. The words of Walt Disney encourage Oswald to fix the projector. He dons Mickey's sorcerer's hat (yes, this should happen!) and tries using magic to take the guests to one film world without interference. It works, as we spot a familiar Kansas farmhouse fly by. The lights go out again as we hear a great crash.


The lights come back on, revealing we have ended up in Munchkin Country in The Wizard of Oz. Dorothy Gale's house lies to our right, with the dead witch's feet sticking out of them. The Munchkins celebrate, only for the Wicked Witch of the West to appear out of a ball of fire and smoke. She blames Oswald for killing her sister. She retreats when Oswald warns her that more houses may crash down. The Munchkins suggest going to see the Wizard himself to fix the problems, and off we go to the see the Great and Powerful.


We pass by Dorothy and her travelling companions, who view the Emerald City from afar. And, hey presto, we find ourselves in the Wizard's throne room. The Wizard suggests using the Ruby Slippers to fix things, to which Dorothy does by clicking her heels together. We hear the sound of magic being cast and Oswald reports that the projector is working.


The vehicles move on out of Oz and magically back into the cinema. We travel into the screening room, passing by the rows of chairs filled with Disney characters and right through the screen itself. We come to our big finale, where Oswald along with the other principle Disney gang, along with a chorus, sing "Hooray For Hollywood" one last time, as we return to the separate unloading bay and head for the exits, with the memories and wonder of films in our minds and hearts.


But, that's just my idea.