Mulan (1998)

The world seems to be getting more and more unsafe for transgender people. Varying legislation in the USA and the UK are having negative impacts on the mental health of trans people. From making gender-affirming healthcare less accessible to not acknowledging pronouns, the world seems to be hyperfocused on attacking people who aren’t cisgender. Though adults are unfortunately often the victims of hate crimes, the toll isn’t less on children. They aren’t allowed to claim different identities from what they’re assigned at birth, and often even lack the resources required to understand how they’re feeling. There are severe efforts being made to hide awareness that some people are transgender, feeling a different gender identity that does not align with their expected gender and birth sex. This causes children with trans identity to grow up with a lot of resentment for themselves. Films can often alleviate this alienation by presenting realities where these feelings are shared by characters. These film can be interpreted as transgender stories. Animation as a storytelling medium crosses all ages and backgrounds, making them prime vehicles to explore complicated themes.

That pretty much sums up the personality of the titular Wednesday Addams (Jenna Ortega), the protagonist of the Netflix Original series Wednesday. For those who have not yet been introduced to the delectably morbid family, Wednesday Addams is the daughter of Gomez Addams (Luis Guzmán) and Morticia Addams (Catherine Zeta-Jones). She is sarcastic, intelligent, and has a taste for the macabre. To quote her, “Sartre said ‘Hell is other people.’ He was my first crush.” Wednesday Addams struggles to get along with people due to her complete lack of empathy. She sees the world as a “place that must be endured” and that doesn’t help her social skills. But, she is sharp and uses her lack of emotional connection to analyze situations from objective perspectives and solve mysteries unhindered by partiality. She is like an eagle perched on the top branch of the tallest tree, a deadly observer, waiting for the correct time to reveal herself and solve all problems at hand.

In Wednesday, however, Wednesday Addams is far from a silent and detached observer. Wednesday is as much a coming-of-age series as it is a mystery thriller, and the coming-of-age aspect plays out through Wednesday’s adventures, or misadventures to be precise. Navigating a space where people lie to cover up horrible truths and are guided more by their prejudices than their sense of urgency to get at the truth is not easy for Wednesday Addams. She makes and loses friends and foes, and gradually learns to appreciate the nuances of human interaction, without for a second sacrificing her own individuality. Her natural penchant for feeding bullies to piranhas is untouched by the end of the series, but she goes through a change of heart about the world and some of the people in it.

Wednesday starts like any typical coming-of-age story. The protagonist’s life is upended and they’re introduced to circumstances they initially hate. Wednesday Addams gets kicked out of her high school after she tries to get back at the boy who bullied her brother by dumping piranha in the pool while he was swimming. So she is taken to Nevermore Academy, a school for the special “outcasts” of the world. These outcasts include witches, werewolves, vampires, and almost everyone who has supernatural attributes. It is revealed in the very first scene of the series that Wednesday gets psychic visions, so it makes sense for her to be at Nevermore. Amidst attempts to run away from school, she slowly starts unearthing clues to a mystery that has been haunting Jericho County for a while. Located on the outskirts of Jericho, Nevermore’s students are the prime suspect in the spree of murders happening there. Apparently, a beast has been hunting down civilians and killing them. Wednesday Addams has a psychic vision about it and decides to dedicate her time to hunting down the beast. She writes detective novels and has developed a penchant for solving mysteries.

The story structure of Wednesday is unique in that it has the typical narrative structure of all three genres – horror, mystery, and coming-of-age blended in perfect sync with each other. Wednesday goes through the familiar stages of rejecting her new circumstances, finding something intriguing that keeps her there, forming meaningful bonds she never wanted to, and eventually becoming invested in the place she wanted to leave initially. The character development happens at the same pace as the development of the mystery. The mystery is designed like a classic whodunit, with the list of suspects growing and narrowing at every turn. We have a very reliable narrator in Wednesday Addams who takes us through the revelations and the logical complexities of the mystery at hand. Meanwhile, the mystery is itself sinister in nature and this makes way for the horror aspect of the story. With a few jumpscares and a lot of gory visuals, the series has a treat waiting for fans of sanitary horror. It isn’t difficult to stomach but still leaves an impact. And every episode ends with either a twist that changes everything or a horrifying visual that gets burnt into the viewer’s mind.

There was a time when comic books were not only geeky, but a total "guy thing." Whenever I hear conversations about superheroes, it would be two guys arguing about whether Batman can take down Superman. I will admit my love of comics did come from watching comic-book film adaptations, but once I realized there weren't enough superheroes being represented on the big screen, particularly super heroines, I decided to do a little research of my own. It turns out that all the superhero films I grew up watching were directed by men, and the comic book nerds were mostly young boys and older men. Of course, there are young girls and women who are into comics, but it would make sense for them to feel overshadowed by the overbearing masculinity in the comic book industry, and by Marvel Studios. But, all that has changed. As many of us know, Marvel Studios has taken an interest in women-led superhero films, but some of us are oblivious to the women behind the camera and the pen. In this article, we'll be discussing women in Marvel, including women directors of Marvel films, women show runners, and writers of Marvel series. [Texts bolded in red are links to Marvel.com]

Before Captain Marvel was adapted in to a film, I remember seeing a comic book of a superhero with blonde, short hair, labeled Captain Marvel, and my first thought was, she must be the most powerful superhero if she's named after Marvel Comics. The point is I didn’t know much about her, and sometimes, when I see a superhero onscreen that I’m not familiar with, my expectations aren’t that high. But, there was no disappointment in watching Captain Marvel. My only disappointment is that not enough people are talking about this Superhero film. Not like the recent Marvel superhero films. This film has been directed by the filmmaking duo Anna Boden and Ryan Fleck. This means, technically, Captain Marvel is the first Marvel superhero film to be directed by a woman.

Few things in the realm of entertainment are able to replicate, let alone surpass, the enchanting and fantastical worlds of Disney Studios. Their magical wonderlands and blissful worlds have been captivating audiences for almost a century and I am no exception - some of the most influential media from my childhood up to now have been products of Disney. But I'm not here to celebrate or excuse them, they have a glaring and, up until recently, unaddressed issue that spans nearly its entire lifetime - an absence of diversity. And that doesn't really even begin to express the gravity of the issue, it's more an avoidance of diversity, a conscious effort to neglect any competent minority representation. It wasn't until 69 years later that Disney finally released a film featuring people of color in 1992's Aladdin - with an all-white voice cast. And three years after that with one of the most beautifully animated films Disney has ever produced in Pocahontas in 1995, which actually utilized Native American talent such as Irene Bedard, James Apaumut, and Russell Means, amongst others, to voice its Native American characters, but also has one the most backwards and problematic narratives Disney has ever offered. It wasn't until Mulan in 1998 that Disney finally made a feature film about non-white characters, starring (primarily) non-white actors, that made actual progress towards inclusion and even as it relates to trans representation as discussed here, which is something the rest of the industry still has yet to make significant progress on. But with that being said, since 2009's Princess and The Frog, Disney has seemingly made an effort to release films featuring a variety of cultures that stand alone and above many of their other projects. 

But they still have a ways to go. While they have made enormous leaps in way of Hispanic and Asian representation with fantastic films like Coco, Moana, Raya and the Last Dragon, Encanto, and most recently Turning Red, they have fallen behind on the front of Black representation, with only two films, 11 years apart, featuring a Black main character. Princess and The Frog and 2020's Soul. This lackadaisical attitude they seem to have is a bit alarming, and as great as I thought Soul was, there was one stand-out issue: the main character, Joe Gardners (Jamie Foxx), has his soul swapped into the body of a housecat while 22 (Tina Fey), a yet to be born soul, is transferred to his body, thus removing any sense of individualism he once had, and even plays him off as a joke at times. This is, unfortunately, the case for a not-insignificant portion of the film. Joe spends a lot of time as a tamed, talking cat while a white woman is voicing and acting in a black body. This doesn't entirely ruin the film or detract from what is otherwise beautiful, but the decision to commit to this frame of storytelling for such an extended duration is a bit perplexing, especially given it received so much praise for its depiction of Black culture. Though the film does have a number of themes permeating throughout, it can feel a touch crammed, which ultimately leads to getting even less time with Joe Gardner - the man. And for those of you who have seen it, you know he isn't devoid of development, as Joe and 22 rely on one another to learn about multiple different aspects of life. But it still remains that he isn't his own person for much of the movie, and I would have loved to see a version of the film where Joe still gets to experience that same development while being in control of his own actions. I don't entirely know how something as glaring as this went overlooked at Disney, and Pixar too for that matter. (Editor's note: especially after how Princess Tiana was trapped in the body of a frog for most of Disney's Princess and the Frog.)

This also isn't the only misstep they've taken recently. Disney recently had a scene for the upcoming Pixar film Lightyear removed, that features a same-sex kiss. Fortunately, Pixar employees demanded it be restored and Disney complied, but why was it taken out in the first place? Disney seems insistent on reaming stagnant when it comes to inclusion and trying to represent all types of people. When they move, they move slow, and the progress is minimal, but at the end of the day, it's progress nonetheless. With films like Luca, which many argue is LGBTQ+ coded given the relationship between the two main characters, Disney clearly has the potential to tell incredible stories revolving around same-sex relationships if they just stop with the 'no-homo' environment they seem to be pressing. I personally think it's time for Disney to stop with the tip-toeing and release a film with proper representation for groups of people they have otherwise hidden as background ambiguous easter eggs, and simply deal with whatever controversy they would inevitably receive. Because let's be honest, with the success of their animated features, not to mention their little properties known as Star Wars and the MCU, it's not like they have anything to recover from financially. So bite the bullet, Disney: you have no reason not to.

Niki Caro is one of the few woman directors to transition from independent films to high-grossing blockbusters. When I first watched her 2002 film Whale Rider, I immediately fell in love with the protagonist Pai, and was in awe from learning so much about the Maori tribe. The story centers on twelve-year-old Pai, and the gender role obstacles she faces, in order to, become her tribe’s new chief. Interestingly enough, last year fans of the 1998 Mulan were raving about the reimagining of Mulan (2020), and when I found out Niki Caro was behind the camera, I was not shocked. However, I was surprised because she’s known for indie films, and this was a big leap from indies to a live-action Disney princess movie. But, after watching two of her films, one of them being North Country (2005), it didn’t take me that long to see a pattern of strong female protagonists and the theme of gender inequality. 

That being said, Whale Rider and Mulan are very similar, and made sense for Caro to take on the Mulan remake. The new Mulan separates itself somewhat from the animated version. Caro wanted the film to stay true to the Chinese legend of the heroine, just like Whale Rider is an homage to Maori culture. Pai and Mulan have similar stories and characterization, one of them being their presentation. One might say Pai looks like a boy from the top half of her body and a girl from the lower part of her body; this is because Pai has short curly hair and usually wears a t-shirt with a skirt. Mulan purposefully transforms into a man’s appearance to blend in with the soldiers; she does this by putting her long hair into a man’s bun, wearing armor, and concealing her breasts. Not only are, Pai and Mulan presented as androgynous characters, but their androgyny and shift in gender roles are also how both films are similar, in that Pai and Mulan are breaking their cultural traditions, so they can have the same opportunities as their male counterparts.

One of the ways, Niki Caro emphasizes gender inequality as an obstacle for the two characters is, by displaying how the characters are not allowed to show strength. In Whale Rider, Pai is forbidden to train with the boys, who are learning from her grandfather to become the new chief. Instead, she secretly spies on their lessons and watches them train with the fighting sticks, so she can learn how to use them. When her grandfather discovers Pai fighting with one of the boys with the sticks and wins, he gets furious with her, and does not acknowledge her to be an equal to her opponent.

In the opening scene of Mulan, a young Mulan is seen actively running, and jumping throughout their village. Her impressive spirit and energy are shamed by the villagers and her family because girls are not supposed to display any form of masculinity. However, these obstacles that society throws at them, do not stop them from pursuing their desires, and expressing their true selves. Pai takes lessons from her Uncle, the only person willing to teach her, and is not bothered by her gender. Mulan disguises herself as a man, to join the army to fight in her father’s place, which allows her to train with the soldiers, and embrace the gifted skills she had to hide, when she was seen as a woman. 

This list details the best of the animated classics featuring cultural and racial diversity – subjective and in no particular order. Also included are favorite movie quotes, songs, and notes on whether the main voice actors are accurate to the film.

This Pacific Island princess declares to god Maui:

Maui laughs in her face, deceives her multiple times, and throws her off the boat, with song and dance to boot. Despite this, Moana maintains her identity and ambition. Eventually, she learns that basing one’s ambition on another person, or demi-god, is not the best idea and that having a backup plan is wise. Her backup plan then turns into her main plan - i.e. trusting herself! Fantastic girl power, and excellent self-determination. Moana (2016) doesn't mess around!

While film and TV still have a long way to go when it comes to LGBT representation, there are so many more opportunities for LGBT people to see themselves onscreen than there were even a few years ago. Best of all, some of the best LGBT films and shows are available online for free or on popular streaming services that you might already be subscribed to. Here are some of my top picks for films and TV shows with positive LGBT representation, sorted by where you can find them. (Note: This list is accurate as of June 2021, but streaming libraries change frequently.)

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The characters that made the cut are in essence — girls that kick butt, challenge stereotypes/gender norms, and are just in general, great characters to begin with. Who says a girl can’t have some spunk?

Matilda is a special girl with telepathic powers and a brilliant mind for her age. She frequently stands up to her ruthless principal and parents with both her smarts and psychic abilities.

Abominable is the story of a yeti in Hong Kong who escapes imprisonment and makes its way to the roof of an apartment building to hide. The apartment building happens to be the home of a young girl, Yi, who has busied herself with odd jobs to avoid dealing with the recent death of her beloved father. When Yi discovers and befriends the yeti, she takes it on a journey home to Mount Everest. Yi and the yeti are joined by her neighbors, Jin and Peng, as they outrun and outsmart the British bad guys, Dr. Zara and Burnish who want the yeti, dead or alive, to display as proof of its existence.

There are a few twists and turns to the plot. For example, the yeti has magical powers and the bad guy changes over the course of the film. However, the story does not feel original. It is pretty predictable and familiar. Sidenote: why do children’s movies always involve a dead parent?

This film was produced by both DreamWorks and China’s Pearl Studios. This is evident in the visuals of this film. There are scenes that take your breath away with its beauty — like nothing we have seen in a DreamWorks film before. As the group moves along their journey, the landscapes are completely stunning. The co-production aided in an accurate representation of a beautiful and varied country.