8 thoughts on “Episode 2: Pinocchio

  1. Loving the insertion of the audio clips into the podcast. Puns are great; keep ’em coming.

    I had no idea Pinocchio was originally so dark. I wonder why Disney decided to make a movie out of the source material in the first place since it seems so inherently un-Disney. My guess would be that Disney himself didn’t know what un-Disney material was back then. So maybe it was a good choice, in the end, because it seems to have helped Disney define the line that he did not want to cross in his movies.

    Fantasia was definitely my favorite Disney film as a kid. Perhaps it was just a glorified series of music videos with a weird dude teaching you stuff in between, but I found it vastly more entertaining than stuff like The Little Mermaid, Aladdin, The Lion King, etc. which I deemed to be too kiddie to watch at the time. Yeah, apparently I was already a jaded little asshole in the early 90s. Anyway, it’s been a while since I’ve seen it and I no longer dislike movies just for being child-oriented, but I would wager that it would still be in my top 3.

    But really, the most important reason that Fantasia is good is that you could (and should) argue that TRL with Carson Daly is just a natural evolution of what Fantasia started, and EVERYONE liked TRL, amirite?

    • After reading that Slate article, my impression of this Carlo Collodi guy is that he was a real piece of work with a crazy superiority complex.

      First of all, he wrote satirical fiction (which is something that only a person with a superiority complex would write) that adults did not like, so he instead decided to write for children because “grown-ups are too hard to satisfy.” Ok, he can’t hack it writing for adults (which he wouldn’t admit, apparently), so he decides and direct his work towards children. That makes sense. Plenty of hacks go that route and become successful, despite their lack of creativity or quality (Hanna-Barbera, I’m looking at you).

      Except he hates children due to some gross generalization of boyhood behavior (the origins of which are unclear and probably unfounded). Thus, his only way to relate to kids is to tell them how terrible they are and to give them his best attempt at “Scared Straight!”. It seems like he actually did a good job at this, as Pinocchio’s abrupt death was actually effective in horrifying children, but he was eventually “forced” by his publishers to retcon his original, inspired, ending.

      In the end, he ended up marginalizing his message so that he could keep getting published and he ended up with a really popular book. In other words, he became just another sell-out. I can’t I blame him, but it’s a little sad, because it seems his original serial was uniquely horrific. I wonder if he would make the same decision if he would have known how different his character and message would ultimately become in the film.

    • Andy Zaltzman is my hero – no worries there. And I’m glad we were able to figure out contextual audio bits before Fantasia…

      But Fantasia, huh? Interesting!

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