All Animation Is Disney...except when it's not. The one movie that deserves special mention here is Anastasia, which is mistaken for a Disney movie so commonly that even some Disney wikis include articles on it. It was made by Don Bluth and produced by 20th Century Fox, not Disney. Humorously,Anastasia actually would technically become a Disney movie over two decades later when Disney bought out Fox in 2019.
The studio always includes Hilarious Outtakes in their movies... except, no, they don't. They did that in A Bug's Life, Toy Story 2, and Monsters, Inc., and then got bored with the practice and stopped forever to focus on other kinds of Creative Closing Credits. Also the notion that the outtakes are genuine flubs from the voice actors which are then animated; while surely some of the concept's imitators took that route, Pixar's outtakes feature the Animated Actors getting hit by shenanigans such as corpsing, forgetting their lines, on-set pranks, stunt and prop failures, and other things that wouldn't happen in a booth.
Thanks to the "Pixar mom ass" meme, many people believe that mothers in Pixar films tend to be designed with noticeably wide hips and large backsides. Putting aside how few human women feature in their movies at all, most mothers in Pixar films aren't designed with serious curves, barring Helen Parr, Jill Andersen and Laurel Lightfoot — and even then, the latter two have pretty realistic figures. Ironically, the image most commonly used to represent "Pixar mom ass" is a shot of a large-hipped woman from Inner Workings — which was made by Disney, not Pixar.
Despite their reputation for, well, Disneyfication, Disney doesn't actually shy away from racy topics nearly as much as many people seem to think. For example, while they're not big on blood, films in the Disney Animated Canon generally don't believe in Never Say "Die", they don't censor alcohol or firearms, they've been indulging in the odd moment of Fanservice since at least the '50s, and they've occasionally been known to include brief moments of nudity. note The "Night on Bald Mountain" sequence in Fantasia features clearly visible bare breasts, Ariel can be seen bottomless in a few frames of The Little Mermaid (1989) after she gets her legs (albeit from a distance), and the "All the Cats Join In" segment of Make Mine Music features a surprisingly explicit scene of a teenage girl undressing to take a shower. Although now that Disney is the world's largest entertainment company, it has been trying to discreetly hide a few of these moments by digitally altering some of their films and making the original versions unavailable.
While it did name a trope, Disney villains don't always fall to their deaths, contrary to what many assume. Not only that, but some of the cited cases of villains falling to their deaths are wrong; while these deaths involved a fall, they weren't killed by the fall. For two examples, Maleficent was already mortally wounded from being stabbed in the heart before she fell, and Scar actually survived his fall off Pride Rock only to get killed by the hyenas he'd just betrayed. The trope only means their fates, though definitely ominous, are ambiguous (in many cases, they are last seen in silhouette, and the action cuts away before we see what becomes of them. Gaston is an unusual case, as the animators openly hinted at his impending death by drawing skulls in his pupils as he fell past the camera, but it qualifies as an Easter Egg because the detail is only visible for a second and, unless you're actively looking for it, is borderline impossible to see without freeze-framing it.)
Disney didn't shut down Robert Zemeckis' ImageMovers Digital studio after Mars Needs Moms flopped... because they had actually shut it down two years earlier, after the studio's previous film A Christmas Carol (2009) flopped. All the failure of Mars Needs Moms did was lead Disney to cancel the other "burn-off" projects that the remaining ImageMovers staff had with them, such as the Yellow Submarine remake and Zemeckis' adaption of The Nutcracker.
Everyone "knows" that The Emoji Movie got Genndy Tartakovsky's Popeye movie and Lauren Faust's Medusa movie canceled, when in actuality, the cancellation of both films happened during the Sony hack and the subsequent rearrangement of executive positions. Afterward, it was only then that Tom Rothman greenlit The Emoji Movie. This video explains it all in detail.
Many people who haven't seen the movie assume that the movie is about a pair of Dalmatians that produce a litter of 99 puppies, making 101 Dalmatians in total. In actuality, they only produce 15 puppies — the other 84 puppies were obtained by Cruella De Vil from other places (some legally, some not), and are adopted by the parent dogs at the end of the movie. The 84 adopted puppies don't even appear onscreen during the first half of the film.
Even people who know about the adopted puppies often assume that the 101 dogs of the title means 101 puppies. Actually, there are 99 puppies, and the total of 101 includes the parents, Pongo and Perdita.
Princess Jasmine is widely assumed to be fifteen years old, with the law requiring her to marry a prince by her sixteenth birthday. This was actually true in an earlier draft of the script, but concerns that making her only fifteen would go beyond Deliberate Values Dissonance led to the Sultan's line being changed from "...by your sixteenth birthday" to "...by your next birthday." Jasmine's age is never specified in the finished film.
Because the musical number "Let's Make Music Together" from All Dogs Go to Heaven is considered the Trope Namer for Big-Lipped Alligator Moment (via The Nostalgia Chick), it's often assumed that it's a completely out-of-place moment with no relevance to the plot and that the singing alligator in question completely vanishes from the movie when the song ends. King Gator actually does reappear towards the end of the film, and even end up playing an important role in the narrative when he takes down Carface and saves Charlie at the climax. In other words, the nonsensical part which is never mentioned again isn't the alligator himself, but the musical number sung by him.
The Aristocats: Duchess' line "If you want to turn me on" is often cited as a Parental Bonus. She's actually using an older meaning of the term that refers to getting someone's attention, not sex or drug use.
Many sources-both fan and official-will make you think the Beast’s claws, horns, and nose are black. In reality, they are shades of brown.
The Enchanted Rose is almost always portrayed as red when it's hot pink.
The Beast's real name is not "Adam". Officially, he's just "The Beast" or "The Prince". "Adam" is a Fan Nickname at best.
Everybody "knows" that Belle's relationship with the Beast is just a heavily romanticized portrayal of Stockholm Syndrome. Except it's not. Stockholm Syndrome is an instinctive form of self-preservation in which kidnapping victims try to bond with their captors in hopes that they'll treat them humanely. Belle explicitly refuses to bond with the Beast until after he first saves her life and then starts treating her kindly, even when she has every reason to believe that she's putting herself in danger by doing so. Not to mention that she is there willingly after trading herself for her father, who the Beast had captured on legal grounds. If anything it would actually be Lima Syndrome, where the captor becomes sympathetic toward the victim and is in effect the polar opposite of Stockholm Syndrome, but even then it's not a straight example as, again, she's there willingly rather than against her will. Ironically, it's the Disneytoon Studios sequels that skew far closer to a portrayal of Stockholm syndrome than the original movie, with both films Flanderizing Belle and the Beast's relationship into an All-Loving Hero trying to "change" a violent jerkass - but since these movies are lesser-known and generally agreed to suffer from major Sequelitis, the original film still gets all the blame.
Belle's age is widely assumed to be 17. This probably stems from an earlier draft of the screenplay, which was very different from the finished film, which featured her 17th birthday. Her age is never mentioned in the finished film, and interviews reveal that the creative team ultimately saw her as being at least 18 and more likely in her early 20s.
Despite common belief, "Cinderella" is not a nickname, at least not in this movie. You often see people wondering what her "real name" is (with many people usually pin it as "Ella", "Elizabeth", or something similar), as well as complaining about Cinderella continuing to use her derogatory nickname even post-marriage. However, Cinderella implies that her name is "Cinderella": the opening narration introduces the heroine as her father's "little daughter Cinderella" before the wicked stepfamily appears. This isn't helped by it being a nickname in other versions of the fairy tale, including Disney's live-action Cinderella remake using the popular idea that her name is really "Ella".
The personality of Cinderella has been washed away over the decades, to the point where her very name is popularly used in reference to outdated archetypes of women. This is in part due to both Lost in Imitation in relation to other versions of Cinderella and the general manner of lumping Snow White, Cinderella, and Aurora as identically "bland" characters. Cinderella is dismissed as a demure, passive Princess Classic who just sits around all day waiting for her Prince Charming to save her. In the actual film, Cinderella is quite sassy and isn't nearly as passive as people think. She also doesn't wait for Charming to save her. This makes her xenafication in Cinderella III: A Twist in Time less surprising than it usually is seen. In fact, The Nostalgia Critic thought the animated Cinderella was more assertive than her live-action counterpart. When she's trapped in the tower, the animated Cinderella tries to break herself out before reaching her animal friends for help, whereas the live-action Cinderella doesn't seem too alarmed by it.
It's almost universally agreed that Charming was either too lazy or too face-blind to search for the supposed "love of his life" himself, so he sent a lackey out to try the slipper on random girls until the Duke found any random girl who fit. In actuality, the Duke merely informed the King right after the ball that the Prince vowed (off-screen) that he "will not rest until he finds the girl who fits this slipper." While the context makes it clear the Prince meant whoever owns the slipper, the King (also The Caligula) is so impatient to get his son married and producing grand kids ASAP that he deliberately cherry-picks and tries to hold the Prince to his Exact Words. In fact, it's the King who sends the Duke out to try the slipper on random girls without the Prince's knowledge or consent.note This misconception is so ubiquitous that various Disney sequels and remakes (such as Cinderella III: A Twist in Time and Cinderella (2015)) go out of their way to try to explain or address and deconstruct the Prince's very impractical plan of sending someone else out to try the slipper on random girls until they found one that fit, when the Prince never even did this in the original Disney movie.
The Duke: The Prince, sire! He vows that he won't rest until he finds the girl who fits this slipper! The King: Oh, he said THAT, did he?! [kisses the slipper]] Ha ha, we've got him! ... The Duke: But sire, this shoe could fit any number of girls! The King: That's his problem! He's given his word, [and] we'll hold him to it.
Cinderella proves her identity by putting on the glass slipper... except not really. In the film, it's clear that fitting the slipper is just a formality; what proves her identity is that she produces the other glass slipper when the first one breaks. Furthermore, the Grand Duke recognizes her.
It's widely "known" that the film is a Disneyfication of the Brothers Grimm story "Aschenputtel", which is known for featuring numerous grisly and disturbing plot points—like the stepsisters mutilating their feet to fit the glass slipper, and being blinded by birds as Laser-Guided Karma. Except the credits state that it's based on the Charles Perrault version (a somewhat Lighter and Softer version of the tale), which doesn't feature any of that stuff.note Related to this: the Grimm Brothers are widely assumed to be responsible for the "original" version of Cinderella — but Charles Perrault wrote his version centuries before the Grimms were even born. And even then, the basic premise of the story is Older Than Print, and dates back to ancient Greece or China. And for what it's worth, Disney released their live action remake only months after their film version of Into the Woods, which follows the Grimm version of the tale, and does indeed feature the stepsisters cutting their big toe and heel off respectively.
Everybody knows that Cinderella wears a blue dress in the famous ball scene. Except she doesn't—her dress is silver. Notably, Disney is largely responsible for proliferating this misconception: they've been selling official merchandise of Cinderella in a blue dress since at least the 1990s (possibly to make it more eye-catching, and possibly to contrast better with Belle's yellow dress and Aurora's pink dress), and even used digital color correction in later versions of the film to make her dress look blue (see Digital Destruction for more information). And they finally solidified it as Cinderella's default look in the 2015 live-action remake, where her dress is blue.note Even Cinderella's physical appearance was changed for marketing purposes: nearly all Disney merchandise depicts her as blonde, even though her hair is more reddish in the actual film. Once again: Disney used color correction to change this, and finally made it official in the live-action remake (with blonde actress Lily James in the role), possibly to make her more distinct from the brunette Belle and the redheaded Ariel.
Many claim that all five of the crows in Dumbo were voiced by white men doing their best "black guy" voices. While it's true that the lead crow was voiced by a white actor, the other four were voiced by actual black singers.
FernGully: The Last Rainforest: Many people tend to interpret Hexxus as being a deity over pollution as a means of pointing out how Anvilicious the movie is. In actuality, Hexxus is a Destroyer Deity whose purpose is to cause mass destruction across the Earth, though, since Magi stated that he was spreading his poison long before modern technology existed, killing humans and animals alike with volcanic fire. Pollution could merely be just a way to speed up the process for him, rather than being his modus operandi.
Some people cite Finding Dory as the first Disney movie to feature a gay couple, because there were two women with a baby in one scene. Actually, the women weren't with a baby— they were observing some main characters who were riding in a stroller. Their relationship is ambiguous, but Ellen DeGeneres, the voice actress of the protagonist, claims that they're just friends.
With the release of the 2013 Disney Animated Canon movie, many people have commented how "ground-breaking" it is that the main female character's Love at First Sight and Fourth-Date Marriage is deconstructed and discouraged. This builds on the assumption that such tropes are extremely common in Disney movies, while actually the last Disney movie that played these tropes straight was The Little Mermaid (1989) — and even then there was a Time Skip to Ariel and Eric's wedding, leaving it open how long it was until they were married. All Disney movies after that, Disney Princess movies included, either played with the tropes or avoided them entirely. Frozen is just the first one to deconstruct those tropes by having the apparent Prince Charming turn out to be the villain.
The subversion of True Love's Kiss is also praised as incredibly inventive. While the only two Disney movies that played that trope straight are Snow White and the Seven Dwarfs and Sleeping Beauty — which means the last time that trope was really used was 1959. The Little Mermaid (1989) also toys with it, but as in Frozen doesn't end up playing it straight.
Everyone "knows" that from the time her powers become secret until her coronation day, Elsa never leaves her room, and that the sisters never see one another during that time. This isn't true — Elsa becomes reclusive and the sisters are no longer close, but it's never specified how often Elsa exits her room during this period, and she is shown outside as a teen. (Admittedly, this is over the course of a song sung by Anna about Elsa's withdrawal from her, which is why it seems that way.)
Ice Age: The Meltdown: Oppositors of later movies tend to argue that this movie involves the melting of the glaciers and therefore the end of the Ice Age, which is used as a justification for this installment being considered the Grand Finale of the series. That's not what happens, the movie focused on the valley where the protagonists are living in, being about to flood because of an ice wall barely holding a massive body of water, there's no sign in the movie that this is an issue for anyone else besides the valley where the Herd were living at the time, so is quite a stretch to argue this will be the end of the Ice Age at a global scale.
A lot of people assume Zira and Scar were romantically involved, because of how obsessed she is with him and that Nuka was the child they had together, based on his comment "Scar wasn't even his [Kovu's] father". While the second film's creators did initially intend for both of these to be the case and for Kovu to be Scar's son too, they scrapped the latter idea once they realized the incestuous implications this would have on Kovu's and Kiara's relationship, and to be safe opted not to even hint at step-cousinhood for the young lovers either. Scar could still be Nuka's father, and maybe even Vitani's father, but it's never specified. The series is intentionally ambiguous on whether Zira was Scar's mate or not.
Nala and Simba are not officially cousins or half-siblings. Many people think this because there are only two male lions in the pride: Scar and Mufasa, who are brothers. While real lions don't tolerate other lions' offspring in their prides, Mufasa only seems to be mated to Sarabi and Scar seems unaffiliated with any lioness. An unused scene has Scar trying to seduce Nala which implies even more that he's not her father, as it's unlikely Disney was going for the other interpretation. Hence, there is the possibility some other unknown lion fathered Nala, in that her mother came from another pride while pregnant with her. The Lion Guard jossed the theory by showing Nala's father as a cub, and he is neither Mufasa nor Scar.
Thanks to memes and theories being posted around the internet, it's common knowledge that Disney plagiarised Kimba the White Lion — mostly by people who have never actually seen any version of Kimba, only the posts about visual similarities. The basic plot of Kimba shares nothing with The Lion King outside the main character being a lion cub who loses his father early on, with anything else being exaggerations of one-off moments from random Kimba episodes: Kimba is a long-running franchise with several series and movies clocking in about 19 hours of footage so similarities are basically inevitable, and a lot of them are also common tropes about African animals that you'd see in any work about them. Meanwhile, many of the visual comparisons used often come from the 1997Kimba film as well (which, if you know your release dates, is three years after The Lion King's release), or have been deliberately cherry-picked to "prove" the claim that one ripped off the other and actually have nothing to do with each other in context. "Simba" being Swahili for "lion" is the reason both main characters' names are near-identical - in fact, "Simba" was the original pitch for Kimba/Leo's Dub Name Change, but it was altered because dub producer Fred Ladd was concerned the original name was too generic to trademark. (And anyway, what plagiarist would deliberately copy the name of something, thus making the idea theft obvious?)
Another commonly-stated claim regarding the film is that it's basically "Hamlet with lions." It involves a prince who gets told by the ghost of his father that he has to avenge his death and defeat his evil uncle, but puts off doing so... and that's about the extent of the similarities, with every plot point, character, conflict, and theme, along with the story's general pacing and structure, being vastly different. The creators did note that they saw it as an inspiration, but they clearly went in their own direction. (And on that note, The Lion King 1 ½ is only similar to Rosencrantz and Guildenstern Are Dead in a very meta sense; the plots have no similarity. In a similar vein, The Lion King II: Simba's Pride is said to be the lion version of Romeo and Juliet, but aside from the Star-Crossed Lovers angle, the plots are pretty different. For one thing, the story ends on a much happier note than its inspiration).
The Lion King (2019) is often said to be part of Disney's "Live-Action Remake" line, even by Disney themselves, to the point where they submitted it as a live-action film at the Oscars only to be surprised when the academy placed in the animated category anyway. But it isn't a live-action film. Truth is, just about everything is done with photorealistic CGI; there's only one live-action shot (the very first shot in the film, featuring the sunrise) to test if audiences can tell the difference.
Kovu being adopted by Zira is a misquote of a Word of God stated on Facebook. The series itself does imply Kovu is biologically Zira's.
It has become common knowledge that Scar's real name is "Taka". Not quite: this fact was revealed in the officially licensed story A Tale of Two Brothers included in the 1994 book The Lion King: Six New Adventures, but that book hasn't been recognized as Canon in decades; it was made without any involvement from the creative team behind the film, and includes several plot points that were later contradicted by future works (for example: it depicts Simba and Nala as having a male cub named Kopa instead of a female cub named Kiara). Even setting that aside, The Lion Guard eventually revealed that his birth name is "Askari".
The non-English words in "The Circle of Life" are often assumed to be Swahili, since many characters have Swahili names. The lyrics are actually in Zulu.
Everyone "knows" that the movie takes place in Denmark due to the author of the 1837 story the film is based off of being Danish. The truth is that co-writer and co-director John Musker and co-producer Howard Ashman agreed early on that the story didn't need to be set in Denmark after the latter proposed using calypso and reggae elements in the music. Art director Michael Peraza, Jr. has also stated that the film's design is based primarily on the Mediterranean and Roman and Italian architecture. Disney has even confirmed that Ariel grew up in the Mediterranean Sea and Eric's kingdom is in Italy. See the Literature section for an identical misconception about the original story.
Ariel is touted by pop culture as a passive Damsel in Distress who wants nothing but to marry a man she doesn't know. Except, Ariel is an extremely active character who was in fact the first Disney Princess to save the life of her prince; she first does it when Eric nearly drowns in a storm, and again when Ursula is about to zap him with the Trident. Her famous song "Part of Your World" is an "I Want" Song about how she wants to become part of the human world because she loves the culture — and it's sung right before she meets Eric. He does have to save her in the end, but that's only because Ursula is targeting her specifically for the aforementioned incident where Ariel saving him resulted in her accidentally killing her own minions.
Pop culture also claims that Ariel makes a Deal with the Devil to leave her family forever for a man she doesn't know. Sure she technically does, but that part is in the villain's plan, and the narrative presents it as a bad thing; Ariel even remarks that if she becomes human "I'll never be with my father or sisters again", and only agrees to the deal because she's recently been traumatized by her father destroying all her human objects. The basis that Ariel gives up everything for Eric is coming from the deal with Ursula — that Ariel actually doesn't fulfill, since she doesn't get Eric's kiss before the third sunset. She becomes human at the end with her father's blessing, at which point she and Eric have fallen in love properly. The sequel (which Disney admittedly don't count as canon) clarifies that Ariel stays in touch with her family.
In pop culture, it is also generally "known" that Ariel is that princess who "gave up her home, her family, her fins, and her voice just for a man." This, again, ignores how Ariel was established to be unhappy with her life under the sea and desperately wanted to join the human world long before she ever laid eyes on Eric, who was merely the final push to go after what she wanted. Her Establishing Character Moment involves her forgetting the date of her big concert because she was so excited searching for human trinkets in a sunken ship, she goes to the surface to ask a seagull about the human world (which is all but stated to be a regular occurrence), and she sings an entire "I Want" Song about wishing she was part of the human world and had legs to walk, run, jump, dance, stroll along a street, stay warm on the sand, etc.
The titular character has a reputation as an airy-fairy Indian Maiden who preaches Green Aesops every few minutes. This ignores that Pocahontas has a playful, childish side such as when she has a water fight with Nakoma in her very first scene. She also gets extremely angry more than once, for example when John uses the word 'savages', and when Thomas shoots Kocoum, she has to be physically restrained from attacking him herself. The movie's Signature Scene is "Colours of the Wind", which is more about showing John how great her culture is. The actual Aesop is about peace and tolerance between people of different backgrounds (not that this can't overlap with a Green Aesop of course).
The film is often talked about as though it were like Dances with Wolves, showing Native American culture through the lens of a white protagonist. Ignoring the obvious, that the film is named after her, Pocahontas is undeniably the lead character and the Powhatan tribe is largely shown through her perspective. John Smith does not interact with another Powhatan besides her until Kocoum attacks them at the end of the second act. Pocahontas is the active protagonist who drives the plot and brings about the resolution.
Since the late 2010s, both among people familiar and unfamiliar with the movie, Rio has become infamous as the movie based on an endangered bird that ultimately went extinct after the movie's release, to the point that one generally can't mention the movie without that fact being brought up. Except that as of yet, the Spix's macaw is not extinct; it's only considered extinct in the wild, as captive populations still exist. In fact, the species's situation in the movie itself (at least at the time of the first movie's release) was actually worse than the actual species's status, as only Blu, Jewel, and their offspring were alive at the end of the first movie, whereas in real life there were over a hundred in captivity. It wasn't until Rio 2 (which is generally not as mentioned when the fact about Rio and the "extinct" Spix's macaw comes up) and its reveal of surviving wild macaws that the fictional macaws ended up in a better situation than the actual ones.
Many people like to point out the special's supposed bad message of "differences should only be tolerated if they prove useful or can be exploited" since Rudolph is only accepted after Santa realizes his nose can be used to see through the storm. However, while that may apply in the original song, in the actual show, a few characters like Clarice were nice to Rudolph from the beginning, and he is accepted back in Christmas town before he saves Christmas with his nose. His friends and family realize what a mistake it was to mistreat him even earlier, upon seeing his bravery and survival skills.
The Abominable Snow Monster's Heel–Face Turn is sometimes misremembered as occurring because Hermey the Dentist Elf pulls a bad tooth out of his mouth, curing him of a toothache that was causing his mean attitude. Actually, there's no toothache involved: Hermey pulls out all his teeth so he can't eat anyone, and then Yukon Cornelius tames him during their offscreen time together after their shared Disney Death.
Everyone “knows” that Aurora from Sleeping Beauty is a passive character because she’s asleep for most of the movie. In reality, she falls asleep during the transition from the second to third act with 25 minutes of the movie left. While it is true she has relatively few lines and the movie is arguably more about the fairies and Maleficent, she’s awake for most of it.
Likewise, everyone "knows" the film is a Lighter and Softer version of the "original" Darker and Edgier version by the Brothers Grimm. The film is actually based on The Sleeping Beautyballet by Pyotr Ilyich Tchaikovsky (as the opening credits state), and the music and story are actually very faithful to the ballet. (Even if it wasn't, the Grimm version of Sleeping Beauty is also not that dark by Grimm's own standards.)
Related to the above, many people think that in the Brothers Grimm story, the prince impregnates Sleeping Beauty in her sleep and she wakes up after giving birth to twins, and assume it was Disney who changed the story to have her awakened by True Love's Kiss. Actually, the awakening kiss is in the Grimms' version. The versions where the prince impregnates the sleeping princess are much older and weren't used as sources for either the Disney movie or Tchaikovsky's ballet.
The film is not the first animated feature film. It is the first to be released in America, the first to be produced in the English language, the first from Disney, the first to feature color, and the first to turn a profit and be successful, but it was by no means the first to be what we now consider a "feature-length" film (over 60 minutes). That honour goes to two films (now lost) by Argentinian animator Quirino Cristiani. The oldest surviving animated feature is Lotte Reiniger's silent film The Adventures of Prince Achmed (1926, 65 minutes).
Despite common belief, there's nothing to suggest that "Snow White" is a nickname in the Disney incarnation of the film.
There's no evidence that the Prince is named Ferdinand, though a lot of people assume he is. The confusion apparently stems from Shirley Temple's passing mention of Ferdinand the Bull as she presented Walt Disney with his special Oscar for Snow White – viewers unfamiliar with the Silly Symphony have assumed that "Ferdinand" must be the Prince.
Modern-day views on Snow White and the Seven Dwarfs are critical of the Prince kissing Snow White while she is incapable of consenting, believing it to be sexual assault or akin to it, or worse, since Snow White is "dead" at the time, necrophilia. There is nothing in the Prince's behaviour to suggest he is kissing her as an expression of romance; he may simply be paying his respects, of which a kiss can be a sign. While it does serve as a True Love's Kiss, that may have been unintentional on his part as the Draught of Sleeping Death's effect was broken.
Many people tend to believe that the Prince is 31, thus making him out to be a predator for kissing the teenaged Snow White. However, his age is never said in the movie. In fact, the book The Art of Walt Disney actually places his age at 18. It is unknown where people got the idea that he was 31.
The prince who kisses Snow White is often stated to be Prince Charming, to the point that one common joke about the Disney canon is drama arising from Snow White and Cinderella discovering that their husbands have the same names. Actually, the Disney version of Snow White follows the original fairy-tale of never revealing the prince's name, only referring to him as "the prince". The stock joke is sometimes extended to also include Aurora from Sleeping Beauty, although the prince she married was actually named Philip. Only Cinderella's prince is ever referred to within canon as "Prince Charming".
Almost every article and database about the Hungarian film Son of the White Horse mentions that it was based on the work of 19th-century poet and folklorist László Arany along with unspecified other folk stories and Hunnic, Avarian, Scythian and other steppe people's mythologies credited in the film's opening. While not far off the mark, this is only part of the picture. The folktale Son of the White Mare exists in at least fifty forms; the one attributed to Arany is just the most famous version that he collected as a folklorist rather than wrote as an author. The movie only shares its title, its character names, the origin of its main hero and some other basic similarities with it. The film mostly draws from the overlooked story Treeshaker, Irontemperer, Mountainroller (collected by folklorist Gyula Illyés), its characters and dialogue matching this version much more closely than Son of the White Mare. In Arany's telling of the tale, the movie's three protagonists are actually villains who first serve the Son, then betray him and get slain by the end, unlike in the movie and in Illyés's version.
The Swan Princess is a blatant example of Disneyfication by giving the story of Swan Lake a happy ending? It's actually one of several adaptations of the story to do so, and in fact the original ballet was meant to have one.
No, Edward didn't have a model in the works that wasn't finished in time. He was never in any version of the script, and there supposedly wasn't an opportunity to utilize him, and he therefore couldn't have had a model being made.
The main reason why P.T. Boomer was removed was not because he was too scary for a children's film villain, but it was because the test audience didn't like the non-Sodor scenes in general.
Toy Story is pretty much universally accepted to be the first feature-length 3D CGI animated movie, but an obscure Japanese movie called Gadget Trips: Mindscapes was released in May 1995 for the Laserdisc in Japan, while Toy Story came out in November of the same year (sources for Mindscapes will often claim it came out in 1998, but that was when the more widely-available DVD version was released). Mindscapes is an Animated Adaptation of the relatively unknown Gadget game series, and like the games it's a total Mind Screw that only partially makes sense if you read the summary included with the Laserdisc version or read the art book Inside Out with Gadget, which the movie borrows its "plot" from, and it's essentially an extended music video with weird imagery in the same vein as something like Koyaanisqatsi. Though, if one wanted to count something that was in development before both Toy Story and Mindscapes and then released afterwards, then the Brazilian animated movie Cassiopeia could have a claim to being the first movie of its kind, since it started development in 1992 (while Toy Story started development in 1993), but production problems such as some of the computers getting stolen prevented its release until 1996.
Some fans claim Amelia and Delbert are either both from One Gender Races or are actually the same species, making them an example of Bizarre Sexual Dimorphism. However, if you look closely at the background in Doppler's observatory, a few of the paintings have female Dog Men, so Doppler's species is not a One-Gender Race and he's not the same species as Amelia. The Licensed GameTreasure Planet: Battle at Procyon may have started this misconception, as all the Canids (Doppler's species) were male and all the Felinids (Amelia's species) were female.
In Turning Red, everybody knows that Mei gets her period during the movie. Except she doesn't. Mei's mother, Ming briefly thinks Mei has started her period when Mei hides in the bathroom after first turning into the red panda. After seeing Mei panda out at school, Ming probably put two and two together about what happened that morning. It is true that Mei experiences the beginnings of puberty during the film (largely the changes to her emotions and libido) but no other physical changes are readily apparent. The film doesn't even mention the word period; the euphemism of "the red peony blooming" is used instead. However, pads, cramps and items to manage cramps are mentioned by name. Also, the scene where Mei cries out for the red panda transformation to go away and curls up into a ball is only evocative of someone experiencing menstrual cramps, not a depiction of that experience. Given that the red panda transformation is intended as a metaphor for female puberty, this audience perception is to some extent inevitable.
explains it all in detail.