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Disneyland Attractions and Their Movies

Partners statue in Disneyland

Many Disneyland attractions already have movie attached to them. The Jungle Cruise will get its eponymous movie, starring Dwayne Johnson and Emily Blunt in 2020, though the boat designs were based on 1951’s “The African Queen.” The Indiana Jones Adventure has a series of films and a TV show based on the popular character; there are rumors of a fifth film in the works for 2021. Tarzan’s Treehouse is connected to Disney’s animated feature of the same name and was formerly known as the Swiss Family Robinson Treehouse; the Swisskapolka is still played in memoriam of the former incarnation. This leaves only the Enchanted Tiki Room as an attraction in Adventureland without a movie.

The Pirates of the Caribbean has had five movies based on it. A sixth one was scheduled but the writers walked out and Disney has yet to clarify whether the reboot will move forward. The Haunted Mansion had a terrible movie made about it and deserves a do-over. Tom Sawyer’s Island, based on the Mark Twain stories of Tom and Huck Finn with a pirate overlay, has a movie starring JTT and the tie-in to the Pirates of the Caribbean. The seasonal Davy Crockett Explorer Canoes have the surprise hit of the 1950s “Davy Crockett: King of the Wild Frontier,” which started on the weekly Disney TV show and moved to the theaters after it became so popular. New Orleans Square is pretty much covered unless you want to count the Blue Bayou or Club 33 as attractions.

Critter Country’s Splash Mountain is based on the never-to-be-seen-in-the-U.S.-again “The Song of the South,” and Winnie the Pooh has several films, and TV shows – most recently, “Christopher Robin.” The Country Bear Jamboree also got a movie; however, the film released after the show was evicted from the premises.

Over at Frontierland, the Mark Twain doesn’t have its own movie; neither does the Sailing Ship Columbia or Big Thunder Mountain. Big Thunder Mountain does have a series of comic books. The Golden Horseshoe Stage was designed by Harper Goff who also did the saloon in “Calamity Jane.” The Shooting Exposition is another attraction that is missing a movie. But does it deserve one?

Fantasyland is all about the mostly animated films of Walt Disney, which contributed to the TV show “Once Upon a Time.” From “Snow White and the Seven Dwarfs” to “Frozen,” just about every attraction has a movie to go with it. “Dumbo” and “Alice in Wonderland” are represented twice, and that’s not including the miniatures in Storybookland Canals. Even the Matterhorn is tied to “Third Man on the Mountain.” It’s a small world, however, does not.

Toon Town is also replete with films, or at least, the short cartoons of Disney’s past. Home to the Big Five, Toon Town also features nods to the Disney Afternoon with Gadget’s Go Coaster. “Who Framed Roger Rabbit?” provides the framework for Roger Rabbit’s Cartoon Spin.

Tomorrowland has its own movie, which was better than it was given credit for. The attractions in Tomorrowland mainly rely on “Star Wars,” “Toy Story” and “Finding Nemo for their themes. The exceptions are Space Mountain, the Monorail, the Astro Orbitor and Autopia.

Main Street U.S.A.’s attractions appear to be completely ignored by Disney’s movie making machine. Great Moments with Mr. Lincoln, the Penny Arcade, and the Main Street Cinema are all attractions without movies though Disney did distribute “Lincoln” in 2012. None of the vehicles on the street have their own films.

So, which of the attractions that do not have films should be made into a movie? Or is Disney going to need to create new attractions to find the next Pirates of the Caribbean franchise? Leave your comments below, include a possible plotline, just keep it PG.

Thinking deeply about a subject is part of becoming more creative. If you like Disney, a great place to start to think deeply and improve your creativity is with “Disneyland Is Creativity: 25 Tips for Becoming More Creative.” Preorder “The Haunted Mansion Is Creativity” for a more in-depth analysis of my favorite ride. For other articles related to Disney check out these links.

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Wicked Comics Goes to the Movies and Every Comic Store Should Follow Suit

I have been to enough comic conventions to know that people who love comic books complain about the people who love the movies but don’t buy comic books. There’s a whole faction of geeks who love every issue of their favorite comic and consider someone who only knows the character from the movies and abomination.

Comic stores say they haven’t noticed an uptick in individuals coming into their store because of the film. For them, there just is no crossover. Perhaps, that’s because the comic stores need to take more initiative. Call it “The Avengers Initiative.”

A majority of movie-goers don’t go to comic stores. They probably don’t even know where the comic stores are. The simplest way for a comic store to attempt to harness the movie-goers who love the movies is to pay for an ad before the movie. Most movie theaters offer the opportunity to be in a slide show before the trailers. This offers an easy and less expensive way to get the word out about the shop, and placed before a “comic book” movie, it hits the target audience right where they live.

If the comic store can afford it, a comic store trailer, shot in high-def, should be appropriate for the movie screen. A trailer will even reach more people in their seats. Still, this isn’t the most effective way to reach people because most movie goers probably don’t have a reason to go to the store.

Setting up a booth with items themed to the film is the single best way to provide movie-goers an opportunity to find out about the comics. Any comic store that has also participated in a comic convention should already have the tools available to create a booth. By targeting the movie(s) in the theater at the time, a comic store can create an impulse buy and point of contact for new fans. Include a business card with every purchase, and you’re all set for getting new people involved in comics fandom.

It won’t be that easy. “Avengers: Endgame” openings promise to be chaotic. Imagine Free Comic Book Day without the giveaways. That also means more opportunities to generate revenue from the event.

National chain theaters may be less willing to give up lobby space for a booth. Of course, DC and Marvel could step in because it would be good for their comic sales and their movies. The theaters could see a rise in movie goers if the comic store is able to bring their patrons to the movie. Theaters also get the good will of comics fans and the advertisement that comes with the promotion of the event. A local theater may be more willing to partner with a local comic shop, and both could benefit from the exposure.

Most shops are run by one or two dedicated people. Having to give up a weekend, move everything, set up and take down is already a lot of stress. The change in routine, in addition to the increase in dealing with people who may not know what they want, can also be daunting, especially when there may not be any return. The keys to a successful theater run for a comic store setup is a willingness to get out of the comfort zone and a desire to improve sales at the store. Even if there aren’t any sales at the theater, the chance to meet people who love films can be worthwhile in and of itself.

Wicked Comics in Malta has partnered with Eden Cinemas for the opening weekend of “Avengers: Endgame” for Comic Fest. They will have booths, cosplayers, retro-gaming, performances, local artists’ booths and comics. It looks like they’ve organized a mini-comic convention to celebrate “Avengers: Endgame.” Wicked Comics organizes the annual Malta Comic Con, so they have a head start on any comic store that may not have organized events outside the store before.

Private showings are already sponsored by larger comic conventions like Salt Lake’s Fan X’ “Avengers: Endgame” screening. They could add a comic store component to the screening, giving people more opportunity to purchase from local businesses.

It may be too late for comic stores to partner with movie theaters for “Avengers: Endgame,” but it can be something to keep in mind for the next big movie. Of course, it doesn’t have to be applied to just Marvel movies. Disney’s “Frozen 2” and DC’s next film could also make for good opportunities to partner with a local movie theater.

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Speakers’ Club Jan. 19, 2019: An American Sounding

Word Crimes:

The Minister’s Cat “B”

What is the first priority of language?

Disney Villains:

Catch Phrases:

It’s better with butter

Accents:

Contractions: Use them.

AWESOME! How’s it going?

Why do American commercials look better than Russian movies?

Development and compensation. Hollywood. Fame and fortune. 1918-1922 in Russia; 1923 in America; What are you doing with your free time? Magic

Resources. Zashchitniki (380 million rubles or $6.3 million) Box Office: $15 million, Enjoy Movies declares bankruptcy, Avengers ($220 million) Box Office: $1.5 billion.

Value of entertainment: News, magazines, credits

English is everywhere. Russian foreign box offices include China and Brazil.

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Roger Ebert and What I Learned from the Nostalgia Critic about Living a Better Life

In the Nostalgia Critic’s tribute video to Roger Ebert, the Nostalgia Critic unpacks a lot of wisdom and lays it out for the viewer. What he sees in Roger Ebert is amazing, and what the Nostalgia Critic sees should be what we all strive to be.

The Nostalgia Critic’s greatest point about Roger Ebert, and by extension Gene Siskel, is that Ebert had a passion for movies. From the classics to animated films to the dreck released by Hollywood, like “Leonard 6,” Ebert was passionate about movies. When they were bad, he got angry about it. When they were good, he experienced great joy. These feelings and his expression of them were all a part of his love for film as an art and cultural signpost. The passion for film was a large part of what made him and Siskel so successful at a job that many would say is inconsequential. After all, “it’s just a movie,” but to them both it never was.

Passion is what makes us successful at life. Unfortunately, everyday life and its responsibilities can sap your passion. It can take what you love and tie it to money until your passion is squeezed out and turns to drudgery. Everyday life carries debts, worries and obligations that stymie and steal energy from your passion. It can even make your passion seem inconsequential, like the movies.

If you find your life is devoid of passion, seek out what brings you joy again and grab at it. Hold onto it and rekindle your passion because that’s what the human experience is about. When you are doing what you’re passionate about, you become a more creative and happier you.

For more on creativity, get “Disneyland Is Creativity.” Order “Penguinate! Essays and Short Stories.” Preorder “The Haunted Mansion Is Creativity.”

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Nine Episodes in: ‘Salvation’ requires trust

“Trust is the most valuable commodity in the world” – paraphrased from the Russian Defense Minister Toporov on “Salvation.”

In fewer than six months, the world will end. All it would take to save the world is to launch a gravity tractor equipped with the newly developed EM drive into space. It seems like it should be a relatively simple thing to accomplish. The biggest issue is that no one trusts each other enough to let anyone else do his or her thing, and it starts at the top with the governments of Russia and the U.S.

REM: It’s the End of the World as We Know It (And I Feel Fine)

Russia cuts off all diplomatic ties to the U.S. and threatens war. They know the asteroid is coming, and they don’t have the ability to build an EM drive, in spite of having kidnapped one of the scientists responsible for its invention. Russia threatens to shoot down anything shot into space and has already destroyed any satellite capable of crashing into the asteroid (which they should do, because if the asteroid is blown to pieces, it will result in a lot of meteors raining down on Russia and other countries in the Eastern Hemisphere rather than an extinction level event.) Russia threatens these things because they found that the U.S. has already dropped one asteroid on them (using the real-life Chelyabinsk meteor as part of its story).

Kaa the Python: Trust in Me

The U.S. president refuses to acknowledge the action, and the only way to move forward with a launch is for billionaire Darius Tanz to take PR official Grace Barrows to Moscow. Barrows is friends with the former ambassador, who may be able to arrange a meeting with the Minister of Defense. Pointless shenanigans (meaning the death of Barrows’ friend and the frame-up of Tanz and Barrows for her murder by polonium) ensue and the two meet with Toporov, who demands a test of their trust. Barrows and Tanz drink the tea laced with SP-117, which is not sodium pentothal, and tell the truth about what they want and how they propose to get it.

Russia still doesn’t trust the U.S., but it trusts Tanz and Barrows. The launch is a go. Yay! We’re going to save the world with a joint operation between the U.S. and Russia… Scrap that. The world learns about the asteroid, and Russia withdraws its people again. The Secretary of Defense sends up the rocket with the only EM drive, as far as he knows, and it gets shot down. The world will be destroyed because government officials couldn’t do the right thing. The only plan anyone has left is to shoot nuclear missiles at the asteroid as it gets closer, and every scientist has already said that plan won’t work. (Tanz has a secret plan, but the Secretary of Defense doesn’t know this at the time he makes his stupid decision.)

Liam, the kid scientist responsible for the discovery of the asteroid and calling its attention to Tanz and then develops the EM drive, finally gets his ex-girlfriend Jillian back to Tanz Industries to do a job she’s uniquely qualified for. She may be willing to get back together with Liam; after all, she had to keep the secret from her family and discovered how difficult it was. Then, the reporter shows up, attempts to blackmail Liam and reveals to Jillian that they kissed. Liam is dumbstruck.

First of all, this is not how a good reporter behaves. However, it’s the second time that this particular reporter attempted to blackmail someone. She has also made friends with people who could provide her with information for her story. She’s going to get the story regardless of the morality involved in the methods to get it. Her story is the reason the Russians pull out of the launch deal. She is also the reason why Liam and Jillian have more trust issues than before.

Billy Joel: A Matter of Trust

While in Russia, Barrows and Tanz engage in a tete-a-tete, which results in an SP-117 kiss. Barrows is dating Harris Edwards, her boss at the Department of Defense. This action would likely undermine their relationship by destroying the trust they have in one another, but back in the states, it’s clear that Edwards doesn’t trust her. Professionally, he revokes her security clearance; personally, he goes to a bar and has sex in the bathroom with the bartender. When Barrows gets back to the U.S., he arrests her and then accuses her of sleeping with Tanz. Dude, that ship sailed when you went to the bathroom with the bartender. What gives him that right? Oh, and he’s being set up by someone to make it look like he ordered Barrows to be assassinated.

Fleetwood Mac: Little Lies

Barrows daughter doesn’t trust her and ends up in Re/Syst. Tanz makes a deal with RE/SYST, who tack on a malware program to monitor Tanz’ work from here on out. With all of the lies and deception, it’s hard to see how anyone will gain another person’s trust.

Instead of people trusting in each other, we’re stuck with a bunch of egos, lies, and the inability to let it go for the sake of saving the human race. Everyone is involved in making shady deals and shadier decisions that work to undermine what little trust they’ve built up. Worse, everyone is ready to believe the worst of someone else; they turn on a dime regardless of their confessed feelings. If this show is any indication of the truth about people and trust, there is little difficulty in believing that a few people at the top will wind up destroying the Earth for petty reasons and because they lack the humanity, intelligence, and moral compass required to do the right thing for everyone rather than the right thing for themselves. If people facing the end of the world can’t trust each other, how can normal people in everyday life expect to do so?

Trust isn’t an easy thing to rebuild. Once it’s broken, there are few people who are big enough to build it back up, and few people who change for the better in order to justify rebuilding the relationship. Human beings are creatures of habit. If a person engages in behavior that destroys trust he or she will probably engage in the same behavior again no matter the good intentions the person may have. The point is: Trust is the most important commodity in the world. The world is ending for someone every day; inspire trust and help make it easier to face.

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Marvel Vs. DC: Who has the better fans?

Looking at the box office scoreboard, this discussion may seem like a no-brainer. Clearly, Marvel wins in every aspect of movie profitability. Critics and audiences alike seem to score Marvel films highly, and the receipts for this $4 billion Disney purchase make Marvel a bargain buy for the House of the Mouse. While the box office dominance is undeniable, this doesn’t mean that Marvel has a better fan base; it just means that it has better movies.

In fact, the box office reveals something quite different. DC clearly has the better fan base. When a POS like Batman Vs. Superman can rake in $872 million worldwide, it isn’t the casual fan that is making that happen. When a decent but not super film like Suicide Squad can show the legs it has at the end of summer start of fall, it is the DC fans that are making it happen. DC has been making clearly inferior films, and yet, those films have been blockbusters. It can only be fans who return time and again to see their favorite characters. If Marvel had the same fan base, it would have garnered more than the current 4 in the top 12 films on the all-time box office list.

Not only are DC fans propping up the box office, they are also propping up the advertising campaigns. A vocal movement, which made international headlines, to shut down Rotten Tomatoes because of the critic rating of Suicide Squad was enough to create more curiosity among casual movie goers. This seemingly absurd and outlandish petition generated controversy and kept Suicide Squad in the minds of the population who may have otherwise skipped the film because of the critic rating. Critics are often wrong, and in this case, it worked to the advantage of the film.

All of this happens at a company that has no Stan Lee at its forefront. Lee is a god amongst geeks, and his word generally carries fans beyond the pale. His presence in every Marvel film, doesn’t make the film better necessarily, but it does make the fanboys and girls squeal. Lee and his cult of personality should be able to drive every Marvel film above the $1 billion mark. Instead, DC is relying on the strength of the appeal of its characters, if not the actual characters themselves, to bring in audiences, and it has thus far worked.

Marvel films may be glorious hits that are super profitable, but they are drawing on the return presence of fans that aren’t necessarily Marvel fans. DC relies on its core of superfanatics to make sure that it has enough in box office to bring out the next movie. That gives the rest of us hope that DC will figure out how to make the next movie wonderful.

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Kubo and the Two Strings: Storytelling is magic.

Kubo and the Two Strings was released in the U.S. in 2016, and according to IMDB, it made about $76 million worldwide with $48 million in the U.S. This is sad and maybe should be left for another day and another discussion about originality and sequels. As it is, if you are among the many who haven’t seen this film, I suggest seeking it out, maybe with this link, and pressing play before you read the rest of this article. It’s okay, just bookmark this article and come back to it. You’ll be glad you did, and if you aren’t you can tell me why in the comments below. This was a long-winded way to say:

SPOILER ALERT SPOILER ALERT SPOILER ALERT

Kubo goes to the village every day to tell his stories. He brings them to life with origami characters made with the magic of music. The people gather around him and watch intently as he strums and talks his way through the deeds of his father as told by his mother and translated through Kubo’s magic. Storytelling isn’t just something people do around a campfire or to their children at night. The best advertisers, TV shows and sports broadcasts know that story is what keeps people in front of their sets and buying products. Storytelling is a powerful tool anyone can use. Storytelling can improve people’s moods, capture their attention and make them beg for more.

We are the stories others tell about us. As Beetle points out to Monkey, Monkey will live on in Kubo’s stories and through generations of storytellers who pick up Kubo’s thread. She will continue to live, even when her spirit leaves this plane. Kubo’s grandfather forgets who he is and becomes the person in the stories of the villagers. The moment is both profound and dark as he is a microcosm of living up to what others believe about him.

Storytelling is magic. It can bring the dead back to life and create images that never existed. It can be used to enhance a person’s worldview and self-esteem or to destroy that person. Storytelling is one of the most powerful ways to keep memories alive, and it’s something people have done since they first gathered together in groups.

Long before there was written language man gathered in the caves of Lascaux and painted pictures on the wall. They used these pictures,that came to life in the flickering firelight and the imagination of the audience to tell their stories – how to hunt, how to survive, and what it meant to be a part of the tribe. People kept their stories alive, so the next generation could learn and grow from them. Keep your story alive, tell it in whatever medium you are comfortable with, and if you don’t know what that medium is, find it. You and the world will be glad you did. Human beings are storytellers. You are a storyteller.

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Old Creativity and New Creativity collide in ‘Happy Feet’

In “Happy Feet,” every penguin has a heart song that he or she uses to find a mate. If the songs work together, the penguins marry and have eggs. The heart song is so important that a penguin isn’t a penguin without it. When Mumble is hatched with feet that compel him to dance, his father is worried and upset. He admonishes his son to keep his feet still; he knows other penguins wouldn’t understand.

Time proves his father right. His dancing is seen as an afront to the Great ‘Guin, and Mumble gets blamed for the lack of fish. Mumble doesn’t think that the accusation makes any sense. Mumble is ultimately banished from the penguin community. He goes to find the real culprit responsible for the missing fish – people. In the end, it’s Mumble’s happy feet that save the penguin community from starving as humans take an interest in the him, and after he teaches his penguin community to dance, the penguin colony on the ice.

Singing and dancing are creative acts, but if a person or penguin keep singing the same song, the act loses its creativity. Creativity must be something new. In the case of “Happy Feet,” it’s the dancing that is creative, and because it’s new, it threatens the status quo. Mumble, its initiator, gets punished for his creativity. When he returns to the community, his new creative act saves the penguins.

People rely on creativity to continue to adapt and grow, as a species and as individuals; people are also threatened by anything that’s new. It’s the paradox of creativity: human beings need it to survive and embrace it in words, but fear the change that comes with it and reject it out of hand. Creativity can be great and terrible. It’s up to us to embrace the innovations that will solve current problems and to encourage those creative acts that bring more beauty and true enjoyment, like dancing and singing, to life.

For more on creativity, get “Disneyland Is Creativity: 25 Tips for Becoming More Creative.” Order “Penguinate! Essays and Short Stories: Improve Your Creativity for a Better Life and World.” Preorder “The Haunted Mansion Is Creativity.”

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The Problem with ‘the Single’ in Disney’s Movie Business

Disney movie tie ins

In his examination of Disney’s “Dumbo,” “Forbes” writer Scott Mendelson laments the Disney Company’s penchant for releasing big budget films that have already been made, including the live-action remakes of animated classics and the multiple sequels that Disney has released over the course of roughly the last decade, and while he acknowledges that the studios are in part to blame, he also lays the blame on movie goers. “The studios can’t responsibly green-light what they know audiences will not go to see in theaters.”

The Dollars and Sense of It All

In 1984, when Michael Eisner became CEO of the Disney Company, the top grossing movie was “Beverly Hills Cop” with almost $235 million and $316 million worldwide. Disney’s movie releases were in the tank and not making what they should be with a few exceptions. In 1984, Touchstone’s “Splash” opened at No. 1 on the chart and grossed over $69 million (Box Office Mojo) by the time it finished its run; it cost $8 million to make. The film was a huge success at the time, and it brought in about $62 million profit.

Eisner looked at the situation and decided that Disney and its movie making companies would make smaller budget films that would make money rather than hope for a summer blockbuster that could fail. They were going to hit singles rather than try for homeruns. In 1986, “Ruthless People,” “Down and Out in Beverly Hills” and “The Color of Money” were released with grosses of $71, $62 and $52 million making them the 9th, 11th and 12th highest grossing movies of the year. Eisner’s strategy was successful, and Disney carved out a niche with these low budget, over-performing types of films.

Flash forward to 2018 and the surprise hit (not Disney) “A Quiet Place.” With a budget of $17 million dollars, this is the type of film Disney would’ve happily made in the 1980s. The movie made $340 million dollars worldwide ($323 million profit). Marvel’s “Black Panther” cost about $200 million to make and brought in over $1.3 billion; domestically, it was the top grossing film of the year. It would take about three “A Quiet Place” size releases to make the same amount of profit as “Black Panther.” However, “Black Panther” was a surprise in its own way.

Marvel’s sure thing for the year was “The Avengers: Infinity War” – a sequel, which according to the just over $2 billion box office gross, you’re probably familiar with. The estimates for the cost of the film run between $300 million and $400 million. Even on the high side of the estimate, the film brought in $1.6 billion, or the rough equivalent of five “A Quiet Places.”

I understand these numbers aren’t exact. There are marketing costs to consider as well as what the actual theaters make, which is different depending on the country. However, the point is it doesn’t make any sense for a company that brings in $12.6 billion (2018 net income) to worry about $10 or $20 million, the budget of “A Quiet Place” for a return of only $323 million. As Mendelson pointed out, Disney had taken risks with “Tomorrowland” (profit at a scant $20 million), “The Finest Hours” (losses estimated at $20 million), and “The Queen of Katwe” (estimated loss of $5 million). These movies didn’t return enough profit to justify their existence.

Other Sources of Income

When “Star Trek” dolls were released and the series ended, the sales of the toys dried up as well. There wasn’t anyway to remind people about the purpose of the toys without the show. When “Star Trek: The Next Generation” returned the Star Trek universe to television, toy sales skyrocketed.

In 1983, Funimation released “He-Man and the Masters of the Universe” after Reagan deregulated children’s programming. The show was designed to sell He-Man action figures. Once it made it on the air and He-Man sales sky-rocketed every toy company got involved in Saturday Morning Cartoons: “Transformers,” “Go-Bots,” “M.A.S.K.,” “Jem and the Holograms,” and “G.I. Joe” to name a few. Whether the show or the action figures came first is of little consequence, what mattered was that some of the cartoons were pulled from the air not because of the cartoons’ popularity, but because the toys lacked sales.

Disney’s synergistic approach to marketing means the media giant isn’t looking just at the movies. It’s also looking at what it can make from tie-ins. Dumbo’s new movie release, regardless of how it’s received, sells more stuffed Dumbos. Marvel’s movies sell more superhero action figures, Lego sets, and whatever else they put their characters on. These things all bring in more money. Disney princesses outsell Barbie now are a multi-billion-dollar market segment. Their inclusion in “Ralph Breaks the Internet” keeps them fresh, updates them for this generation and keeps the product moving. The Disney company not only needs to create movie sequels and remakes because they are smaller financial risks, but also because they sell more toys, products and Disney park experiences.

What’s It All Mean?

There’s no incentive for Disney to green-light smaller film projects, even if they become the next “A Quiet Place.” The movie industry can only stand so many new films before there aren’t enough movie-goers to see them all. Worse, people say they want new stories, but they only think they want new stories. Audiences still flock to their favorite characters and movie franchises because its an acceptable risk. To spend $10 to $15 on a movie that you may not like or know nothing about doesn’t make much sense when you know that Marvel (or DC or Pixar) has a release right around the corner.

Moreover, Disney can make more money from product friendly franchises that it can tie into its theme parks than it ever could from a movie that has to stand on its own two legs. This all becomes more problematic with Disney’s recent acquisition of 20th Century Fox, and it’s looming control of 40 to 50 percent of the box office. The studios will have to schedule movies so they don’t cut into each other’s profits, which will mean fewer movies and fewer opportunities for a smaller film to get made.

For more on the Disney Company, preorder “Penguinate! The Disney Company.”

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One Episode in: The Umbrella Academy devalues creativity

The only child, Number Seven, or Vanya as she likes to be called, without powers is perhaps slated to be the most powerful of all the superhero children gathered at the Umbrella Academy. In the first episode we’ve already seen Vanya, played by Ellen Page, practicing violin on a stage. She’s written a book, and her dream patterns were beeping off the chart and compared to the relatively normal brain patterns of the other children. She is clearly the most creative of the group, and that’s what makes her dangerous.

Diego and Luther are the tanks. Time and space travel boy is a freak! His fight scene against what appears to be an elite military group was incredible. Suggestive woman is dangerous, but says she has stopped using her power. And Klaus, a drug addict and cliché, speaks with the dead – that’s a different kind of freaky. That leaves Vanya, who is undervalued and underappreciated.

Creativity and the resulting innovations are what set the humans of today, homo sapiens sapiens, apart from other humans and animals. Being able to make something and then turn that to other uses is how people became the dominant species on Earth. People aren’t the fastest or strongest. They aren’t even the smartest necessarily, but people adapt the situation to their needs. Too cold? Build a fireplace and house. To hot create an air conditioner. To wet? Open an umbrella.

Vanya also trained with her father though she may not see it that way. She knows what the people in the group can do and how to use their powers, and as soon as she adapts her thinking to solving the problems at hand, she will be the one to guide the members of the Umbrella Academy to greatness with better chances for success.