The much-desired, and necessarily, grandiose Disney film Raya and The Last Dragon should be made: a fantasy world drawn from various Southeast Asian cultures.

  For the company that has so many stories in the same generic European fairy tale kingdom since 1937 (the most recent being tangled up in 2010) is another in a series of long-overdue steps to make the world more beautiful onscreen.  That’s a great goal and a free good thing - but of course it could be good for Disney’s bottom line as well.  Kids are eager to see their own onscreen;  Further representation of different cultures means that more children can directly benefit them than the dissatisfied thrills that white children have granted for decades.  National and global, it means more enthusiastic butt in (real or virtual) seats.

  What’s more, the precise setting of the judgment - the land divided into five countries - allows for some specificity in the case of Southeast Asian cultural touchstones.  And the precision certainly seals the deal.  Significantly observed and deliberately deployed cultural narratives transform the broad and abstract concept of onscreen presentation into vivid, realizing our living stories with the power to reach us that our experiences are not only valid and worthy, but have the potential to inspire others.  Those who cannot share these experiences.

  But at the end of the day, Disney is Disney.  It is an organization that has a long history of throwing different cultures into its descriptive quisinart, M এবংori and Polynesian (Moana) or Swedish, Norse, Danish and Icelandic (Frozen) or ... basically the whole of Europe (Snow White, Cinderella, Sleeping Beauty, Beauty).  And the Beast, Jatla).  The important difference, of course, is that the European and Scandinavian cultural massages are dense on the ground, while Southeast Asian culture (s) are rarely portrayed in the American media.  So it’s surprising, if not surprising, to see some less-enthusiastic response from critics of Southeast Asian descent, with the film depicting five nations ranging from a broad, salad-bar perspective (somewhat Muay Thai here, to Vietnam’s floating market,  There are some Indonesian architectures etc.) Most of the original voice cast is composed of East Asian actors.  Disney needs to get better at it, and those who know, sit at home and criticize and provide strong, effective action in front of them.

  Here’s what Raya and the latest dragon got clear and unequivocally right: but the Disney princess as the flawed hero.

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  Pop Quiz, Hot Shot: What was the characteristic character that defined Cinderella?  Bell?  Ariel?  Rapunzel?

  Their “I want more than that” thirst and determination, you say?  Wrong This is an opening song, a statement of principles, not a personality.

  Here's the answer: They didn't have personalities.  No introspection.  There is no conflicting inspiration.  And it - in addition to their esophagus with body frames with hipbones and such large eyes that they could be animals that have survived in the Benticle Cave - makes them think it is so flat, one-note and passive.

  Raya, technically voiced by Kelly Mary Tran with great and intelligently sensitive emotions, is technically the daughter of Chief Benzer (voiced by Daniel Dr. Kim) in a country called Disney Princess: Heart.  But he’s much more than that - he’s a fighter, for one thing (the countless battle scenes in the film are thrillingly choreographed).  And she’s something else, nothing Disney Princess before her: she’s complicated.

  In particular, he has had problems with faith.  Big ones.  This is evident from the sudden but inevitable betrayal, which began the search for the glorious bringing of the plot of the film.

  If you don't pay close attention to the solitude of the opening of the judgment, you'll miss the whole thing, so here's the summary: The land was once perfectly fine and with lots of dragons, but there were some purple clouds then - the monsters came and turned everyone to stone.  The last dragon named Sisu revealed a great power from a round gem, which forbade the purple bad boys, but he disappeared in the process.  Subsequently, people divided into five warplanes, mutually incredible countries, and named different parts of the dragon - Talon, Fang, Spine, Tail and Heart.  Five hundred years later, the dragon's gem was shattered into five pieces as a result of trying to negotiate peace.  Raya and her adorable pillbag set out to find Pal / Mount Tuk-Tuk Sisu and to recover the five autumns, reuniting the land and the people in the process.

  From that lift pitch, you’ll probably realize that the basic mechanics of the Ray plot integrate your standard fantasy epic starter kit.  Details of where the film comes to life vividly include: stunning landscapes, disaster-stricken cities, Aukwafina's vocal performance as Sisu, the ridiculous contribution of a certain badd kids (no harm, but believe me), and the friendship between Sisu and Raya, the plot  Serving allows even the shortness of breath to present itself.

  But in terms of judgment: the film is smartly based on its reality, like its psychology - a fact that its cautionary, skeptical nature ideally suits the dark, fallen world around it and the scorching sun, optimistic outlook leads to bad results and over and over again.  A lesser, more linear film may eventually find a faster way to recognize another person’s goodness but the screenplay continues it by exploring what happens in an animated Disney film.

  It is its flawed nature that makes Raya the most attractive, most sympathetic and most layered Disney princess in the company's long history - and what makes Raya and the Last Dragon the best Disney animated feature in many years.