Le Saboteur said:
Bruh, you so woke you must be blind if that's the connection you made.
Pray sir, what, precisely, connection is that?
I made two: (1.) Linking the millionaire S.E.A. club with the 1%, and (2.) Linking (actually contrasting) the S.E.A. club with the
Disney Shorts -- recently put out by Disney Television Animation that consciously adopted more of a blue collar, every-man's ethos for Mickey & Co's adventures.
Le Saboteur said:
I know White Guilt is a popular thing these days, but you can take that Said trash out of here.
The irony here is too rich -- compare your cast of fictional S.E.A. explorers (and, for the Hell of it, throw in the lives of the imagineers who offer their likenesses for some of the S.E.A. related artwork) against Said's true life story and you're calling Said's
oeuvre trash?
Said is no two-bit
Mizzou assistant professor shouting for some muscle. Regardless of your views of his works, he transformed academic analysis (true, relying heavily on Michel Foucault -- which may be why you're calling his work 'trash' but that's a separate argument).
As for 'White Guilt' -- none here of that here at all.
First, the whole S.E.A. concept of a connected back stories for rides, venues and attractions in different Disney Lands and venues goes against the original vision for Disney Land/World of transporting park goers to dramatically different
AND SEPARATE worlds that are mere steps apart. For example, having a S.E.A. related back story for both Big Thunder Mountain Railroad and the Jungle Cruise is retarded because it creates a linkage between the two worlds (Adventureland and Frontierland) that shouldn't be there. The S.E.A. linkages makes the world too small a place -- and that's not what Walt Disney's vision was about.
Second and what's worse, the actual linkage is a group of dead, crusty rich guys. How unimaginative is that? Given the way the Imagineers are falling over themselves with homages to
African Queen, I think it would be fitting if a founding member of S.E.A. would be King Leopold or one of his bastard sons. That way, Disney diehard fans searching for 'Easter Eggs' could gain an appreciation for real history instead of the now (with this film)
twice white-washed story of the Belgian Congo that bizarrely enough has its true roots in Joseph Conrad's masterpiece The Heart of Darkness.
What you call 'White Guilt', I simply call having a marginal interest in acknowledging the true historical record.