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Can’t anyone come up with new content? Does everything have to be rehashing and recycling old content?
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Mad Madam Mim or GTFO
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It would be great! But who would take this role?
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At this point, I think the “unnecessary gritty reboot from the villain’s perspective” trope has gone from “played out” to “seriously played out” to “unbelievably played out” and all the way to “a subtle but sharp take on the people who keep paying to see these films.”
It’s actually pretty funny!
You know, this kind of looks fun to me. I still need to see the newer Harley Quinn movie, which I understand is somewhat ok? Anyway, Emma Stone is almost always good from what I’ve seen, IMHO of course.
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[Establishing shot: birds and squirrels flitting about an enchanting forest]
MAGNIFICENT…
[Camera zooms toward ext. window of rustic cottage, melodic voice can be heard within]
MARVELOUS…
[Int. shot of beautiful young woman with long purple hair twirling and singing]
WOMAN: “La la la la la, la la la la la la la”
…MAD.
[Young woman turns to camera to reveal her face has transformed into that of a hideous sow]
Woman: “BOO!”
MIM
Coming Summer 2022
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I for one will not rest until I know everything there is to know about Alonzo Hawk’s mind.
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I’d watch that. It sounds great.
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Eh…
I like Emma Stone, but I loathe Disney; and I see no point in certain character’s “origin stories.”
Cruella de Vil is such a character.
Now Madam Mim, on the other hand…
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I really didn’t realize that The Sword in the Stone had that much cultural impact.
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Apparently there’s a whole subgenre of fan fiction centering around Arthur’s relationship with that sexy girl squirrel.
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I may be anti-Disney now; that doesn’t mean it didn’t have still significant relevance in my childhood.
(Plus I knew people in undergrad who took shrooms and then rewatched stuff like Sword in the Stone…)
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It’s late-stage Hollywood. They need to keep their mega-franchises going, to keep new generations of kids interested and going to the theme parks. And it’s hard to find compelling plotlines for sequels, when the original story has already been told to satisfying completion (see “Toy Story 4”). But the Star Wars prequels earned about $2.5 billion on a combined $345 million budget, not counting re-releases – and not counting merchandising, DVDs, and theme park attendance. All that despite the fact that they objectively, overwhelmingly, incontrovertibly sucked. Though the Star Wars sequels had the biggest box office numbers, those movies were less profitable. (And yeah, they ended up being incoherent and sucky in their own way, too.)
So when Disney isn’t making lifeless live action remakes of their animated catalog, they’re consumed with finding ways to shortcut the risk associated with a full reboot. And all the other studios are, too. They scour their properties for ways to tell new, utterly needless stories. “All those characters you enjoyed in that one movie? Don’t you wonder how they got to be the way they were at the beginning of that movie? How did Joker become a bad guy, again? Why does Wonka have such a big thing for candy? What’s the slavishly concrete and one-dimensional explanation for his MOTIVATION? Here are all the answers, in a mechanical plot to fill in any perceived tiny plot holes and provide useless fan-service moments of satisfaction! Come and see! Please! Our stockholders demand it!”
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That said, Emma Stone and Emma Thompson are both wonderful, so I’ll probably end up seeing this with the kids, and though I may walk out thinking, “huh, what was the point of all that?”, I’ll probably still find myself enjoying it.
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Yeah - I don’t really care for Cruella De Villle, and Disney can absolutely suck it, but watching Emma camp it up in some ridiculous vintage outfits a la Harley Quinn, yup.
I’ll just head-canon it as something else and not pay to see it.
Yarr 
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