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  • In Asterix and the Big Fight, you can see Cancaphonix singing like a rock star, his guitar between his legs.
  • The final battle between Rourke and Milo at the end of Atlantis: The Lost Empire is reminiscent of a bully beating up a nerd.
  • Bambi: When Thumper and his family are grazing, he prefers to only eat the flowers and skip the green stuff, something his mother doesn't appreciate. This is similar to a human child who loves sweets and hates vegetables.
  • Batman Beyond: Return of the Joker features this with the Joker and his subtext with Batman leading to a scene where he corners Batman in his Batcave, throws him into a chair, and leans over him while getting really close to his face with a rape face.
  • Big Hero 6:
    • Hiro's behavior is similar to that of a person with high-functioning autism, especially with his quick outbursts of anger and how he is able to quickly calm down. For those familiar with the work of Temple Grandin, the calming effect of Baymax's embrace will ring especially true.
    • Whenever Baymax's batteries get low, he starts to stagger around and slur his speech like he's humorously drunk.
      Baymax: We jumped out a windoooow!
  • The Book of Life:
    • Goth Kid responds to a picture of La Muerte with "she's so pretty!" and has an identical reaction when he sees a picture of Xibalba.
    • Every time Xibalba and La Muerte kiss, notice how his black wings seem to rise as well. It’s also worth mentioning that La Muerte's candles shot off fireworks during The Big Damn Kiss.
  • The Brave Little Toaster:
    • In The Brave Little Toaster, some of Lampy's lines, out of context, could be taken as a liking for S&M.
      Lampy (original): It's just like that feeling I get when I think about the master.
      Lampy (Goes to Mars): I like being used!
    • And then there's this gem from The Brave Little Toaster to the Rescue:
      Computer: Ooh! That feels sort of good!
      Mouse: What does?
      Computer: My memory banks are being stroked and by an expert. I feel something. Something happening inside me. And I can't keep it to myself any longer!
      (The computer spits out paper)
  • Given the tone of The Breadwinner, it's not surprising that there's a mature and disturbing example of this in Idrees' creepy Sweet on Polly Oliver moment. He starts picking on Shauzia-as-Deliwar for collapsing in the middle of her job and Parvana, in her Aartish disguise, pulls him away so he turns his attention to her, pushing her down and pinning her to the ground. He mocks her for being too weak to push him off, and when she fails to, she screams. When he does get up, he mocks her again while grabbing her face by the cheeks. The fact that he tried to pressure her father into marrying her off to him earlier in the movie just makes it creepier, and him chasing her down with a semi-automatic gun after recognizing her and getting hit in the face with a brick makes it look like he means to do it for real.
  • Cats Don't Dance can be interpreted as an allegory about the prejudice and marginalization non-white actors and singers faced in Hollywood during the 1930s and 1940s. The scene near the climax with the bigoted human bus driver conversing with Danny only confirms the subtext, as the bus driver's comments about animals are peppered with lines like "you're one of the good ones" and "some of my best friends are...", which is the type of stuff a racist person would say to avoid being perceived as racist. That said, once Danny and friends do finally get the opportunity to demonstrate their talents, the human audience gives uproarious applause and the animals are catapulted to the stardom they wanted for so long.
  • Cinderella: The scene where the step-sisters rip apart Cinderella's dress is eerily reminiscent of rape.
  • In Encanto, Mirabel's relationships with the rest of the Madrigal family are very reminiscent of how a family would handle a young woman with a learning disability. Her parents constantly try to assure her that she's loved and it doesn't matter that she can't do things that others in the family can; the relative she's closest to is her youngest cousin who hasn't gotten his "gift" yet, and when he does she's both happy for him and disappointed that he's surpassed her too now, like a kid meeting developmental milestones that a handicapped adult hasn't; the family matriarch sidelines her and secretly blames her for the family's problems because of the stress her situation causes them; and while the other adults are usually polite to her there's an unspoken assumption in all their interactions that she's inherently less capable and less mature than them, and whenever she tries to help the family she's either given busywork to do or kindly but firmly told to stay out of the way.
  • In Fantasia the alligators trying to eat the hippos and other female animals have a very suggestive looks in their eyes, and flirtatiously dance with their targets.
  • Frozen:
    • Frozen (2013):
      • Prince Hans is textbook example of an abuser, complete with crafting a socially acceptable facade, using the "honeymoon" period of pretend affection to gain his victim's trust, then turning nasty once he's in control and gets what he wants. The opening song spells this out pretty succinctly: "Beware the frozen heart". Anna's gestures in the aftermath of the betrayal are also reminiscent of that of a rape victim, listen to how she delivers the line "I was wrong about him, it wasn't true love.", deliberately understating the trauma, while drawing the folds of her own cloak around herself, as though it was something she was really ashamed of.
      • The way Elsa's parents treat her — keeping her a secret and locking her away from the world, despite how clearly it makes her miserable — is depressingly similar to how a lot of parents treat children who aren't "normal", especially disabled children.
    • Frozen II:
      • Olaf mentions that "water has memory", something which played a role throughout the film. In Real Life, this has been used as an excuse by homeopathy practitioners whenever they are being debunked about how there's practically nothing else besides water in their concoctions—this was cheekily played with when they made a joke about how something along the likes of sewage would reflect in the water supply.
      • The subplot of the dam being ostensibly presented as a "gift" to the Northuldrans but is actually a way for King Runeard to further oppress them by cutting off their resources alludes to the Alta controversy, where a hydroelectric dam proposed since the late 1960s sparked a series of protests from the Sami people who took umbrage at what would disrupt their traditional way of life.
      • Frozen II has allusions to Norwegian colonialism. Elsa's paternal grandfather, King Runeard, didn't get along with the indigenous Northuldra (which are in essence Sami). He attacked them because he was afraid of their magic.
  • In Gnomeo & Juliet, the height of a gnome's hat seems to parallel with the size of something else. Made especially apparent when Nanette asks Juliet about the size of Gnomeo's hat, and when a jealous, small-hatted Tybalt deliberately smashes Benny's especially large hat.
  • Memphis' confession that he dropped Mumble when he was an egg in Happy Feet, thus explaining why he's "different", can be just like somebody saying that his child was dropped on his head when he was an infant.
  • In Home (2015), the Boov convince themselves that the humans are simple and backwards in order to feel better about basically taking over the Earth. Oh even tries to convince Tip that the Boov "liberated" humankind, and later says that Captain Smek taught them that humans were little better than animals. The parallels to human colonialism and the history of maltreating natives should be obvious.
  • Horton Hears a Who! (2008): The Mayor of Whoville is ridiculed for believing there's a giant invisible elephant in the sky. Sound familiar?
  • How to Train Your Dragon 2: The way Drago controls his Bewilderbeast bears an unsettling resemblance to how an abusive circus trainer would control an elephant; much like an elephant trainer or a mahout, Drago carries a bull-hook (a long wooden baton with a sharp hook on the tip), which he hits his dragon with in order to cow it.
  • The Hunchback of Notre Dame:
    • The scene depicting Esmeralda's dance from The Hunchback of Notre Dame. First she appears out of a puff of smoke onto a stage, then starts to perform a sultry dance, then runs up to Frollo, wraps her scarf around him and kisses him, then runs back onto the stage and continues her dance, then splits and winks at the viewer, revealing a brief closeup of her eyes, then gets back up and grabs a spear from one of the guards' hands, before finally driving said spear into the stage and dancing around it as if it was a pole!
    • At the end of the film, just right after Frollo falls to his doom, Quasimodo actually looks like if he is marrying Esmeralda to Phoebus.note 
  • The Incredibles:
    • When Mr. Incredible is out rescuing people from a burning building, Helen spots something on his collar and says, "Is that... rubble?" in the same tone of voice one would say, "Is that lipstick?" His response goes with this too, in a terribly funny way, "It was just a little... workout. Just to stay loose!"
    • "It's time for their secret identity to become their only identity. Time for them to join us or go away." Also, Violet's dialogue during the dinner scene: "Normal? What do you know about normal? What does anyone in this family know about normal?! We act normal, I want to be normal!"
    • Bob's encounter with Huph in his office mirrors the traditional superhero vs supervillain confrontation. Huph uses his power to demean and bully and has Bob trapped and at his mercy. Bob even has a subtle moment of realization that Huph's "enormous clock" speech is no different from the monologuing he received from super-villains while captured and could do nothing but listen helplessly. He ends the conflict in a traditional superhero manner by throwing Huph through several walls. Unfortunately, being a non-powered human, the results are quite damaging to Huph and disastrous to Bob's career.
    • Helen's discovery that her husband has been doing hero work behind her back and the evidence in-hindsight is like a woman discovering that her husband has been cheating on her as a part of his midlife crisis. It doesn't help that when Helen finds Bob on Syndrome's island he's hugging Mirage. Justified in that an earlier draft, presented Helen's fears of being cheated on much more explicitly. The final draft toned it down to it being implied but not directly addressed.
  • The Little Mermaid:
    • When Ariel is first transformed into a human and swims up to the surface, she bursts from the waves gasping for breath, nude but for her Seashell Bra, her head flung back, her back arched, looking for all the world as if she were having an orgasm. Since the entire story can be interpreted as a metaphor for a young girl becoming a woman and discovering her sexuality, and the potential perils of love and sex, this may very well have been intentional.
    • Ursula, while not a good character, was sane and composed during most of the film. However, when she transforms into Vanessa, its implied that she lost quite a bit of sanity (to the point of becoming a borderline Ax-Crazy) when turning into her, as she talks to her mirror in a manner similar to a schizophrenic, emits a psychotic grin when throwing a pin at a mirror's head with enough velocity to knock the mirror back, which would have killed someone if that had hit a person, not to mention her cackling.
    • King Triton's destructive rampage in the grotto can also be interpreted as an abusive parent having a fugue episode, deliberately and spitefully causing a great amount of property damage (in addition to endangering three innocent lives), and not knowing just what he's done until he cools down.
  • Luca is about two sea monsters who turn into humans when they are on dry land. However, they revert back to their monster forms if they ever get wet. That is why they try to avoid getting wet, since they fear that humans won’t accept them for who they are. This could be seen as an allegory for LGBT people, who often feel the need to conceal their true identities since they fear that they won’t be accepted into society. The interactions between main characters Luca and Alberto only strengthens this allegory.
  • Mr. Peabody & Sherman has a social worker who doesn't trust Mr. Peabody with adopting Sherman because he's a dog. Just try to hear her talk and not think "homosexuals".
  • Night of the Animated Dead: When Barbra describes her encounter with the ghoul in the cemetery, she talks about how he "hugged her" and "tore at her clothes" in a manner that makes it sound more like a rapist than a flesh-eating zombie.
  • The infamous scene from Pinocchio and the Emperor of the Night where Puppetino turns Pinocchio back into a lifeless puppet has been compared to a rape scene, which must have been why the scene is altered/cut on TV showings.
  • The Road to El Dorado:
    • The scene where Tzekel-Kan completes the potion that summons the huge jaguar stone-beast-thing. Orgasm much?
    • Miguel and Tulio's entire relationship. The entire 2nd half of the movie reads like a breakup. The Ho Yay was so strong that a rumor was started that Miguel and Tulio were supposed to be boyfriends during production. While Dreamworks wouldn't have been courageous enough to even think of making them a couple, even now, Word of God from the character creators is they did want to make them a couple, but were shot down partway through development.
    • Tulio really gets into that massage he gives Chel, and they were quite clearly having sex when Tzekel-Kan walked in on them.
  • SCOOB! has Dick acting disturbingly like an abusive parent to his robot minions. The Rottens all act like young children whose understanding of right and wrong mainly amounts to pleasing their master. They seem to be very aware of Dick's explosive temper, as they are seen trying to pacify him, especially Dusty, who keeps apologizing like a broken record. But Dusty's frantic apologies only infuriate Dick more, and finally blows into a full down tantrum as he pelts Dusty with any object he can find and lobbing insults at the little robot (who is the mental and emotional equivalent of a child and has curled up into a Troubled Fetal Position at this point) but at this point anything Dusty does just makes Dick even angrier, and he only ceases the physical/verbal onslaught when he gets the idea to make an "example" of the poor little guy whose only crime was to fail despite doing his best and sincerely apologizing for it. He grabs Dusty, who at this point is squirming frantically as Dick rips his head off and crudely stuffs a vacuum cleaner on it.
  • In Spider-Man: Into the Spider-Verse, Miles' powers activating leads to him growing several inches overnight, sweating profusely, and, after some Power Incontinence, getting his palm covered in hair. He even dismisses all of these effects as "a puberty thing."
  • Spider-Man: Across the Spider-Verse has Miguel O'Hara, AKA Spider-Man 2099, as a principal antagonist. Miguel runs the Spider Society, a group of Spider-Beings from across the Multiverse who have a strict rule against interfering in "Canon Events," events that every Spider-Being goes through (Uncle Ben dying, Gwen Stacy dying, temporarily giving up on being Spider-Man, etc...). This is based on a (somewhat dubious) theory that interference with Canon Events can cause the Multiverse to collapse. When Miles lears that this would require him to allow his father to die (one Canon Event is "a police captain that Spider-Man was close to dies in the line of duty"). Miles refuses to allow his father to die and Miguel has a Hidden Disdain Reveal moment and he tells Miles that Miles never should have been bitten by the spider, and that he is an "anomaly" in the Multiverse. All of this makes it very easy to interperet Miguel as an analogue for toxic purist Spider-Man fans who get upset over deviations from Canon and/or refuse to acknowledge Miles as a true Spider-Man.
    • In the same movie, the Peter Parker of Earth-65 (Spider-Gwen's universe) obviously doesn't become Spider-Man, but he still faces the high school bullying that many Peter Parkers do. He reacts to it in a very dark way: by taking a serum that transforms him into The Lizard and attacking the bully at the school prom. The scene, including Peter's refusal to talk about it with Gwen and his dying words of wanting to be special, give off overtones of a school shooter.
    • Some viewers have noted that the Spider-Society seem more apt to a cult than an organization of superheroes, with the back half of one video outright comparing the mechanics of the Society to fascist ideals (albeit through the mindset of another character), pointing out how the Society also has a somewhat "megalomaniacal" leader in Miguel (note how, during his Hidden Disdain Reveal to Miles, he ferociously emphasizes how he has been the one working to keep the multiverse in order). Many Spider-People, even the ones that would normally be against this kind of thinking such as the Spectacular and LEGO Spider-Men, agree collectively with the concept of Canon Events where people close to them must suffer or die because they are "supposed" to happen in order to help them become better Spider-People— no matter how heartless it seems to enforce these events— and try to convince everyone else that this philosophy is the "ideal" one. Anyone who dares question this line of thinking (such as Gwen) gets harshly reprimanded or exiled, no matter their contributions to the group beforehand.
  • Spirit: Stallion of the Cimarron: Spirit’s time at the Cavalry camp with attempts to break him is eerily reminiscent of Indian boarding schools, with his hair being cut short, hunger, thirst, and restraint used as punishment, and a racist military officer overseeing the whole thing.
  • Storks: Junior and Tulip trying to deliver a baby to her family sound a lot like a young couple struggling with their new baby, and their argument about who is going to rescue the baby at the climax is straight out of a divorce.
    Tulip: This baby is the only good thing to come out of this whole thing!
  • Strange Magic: The portrayal of the elves and fairies is very reminiscent of American racial politics. The elves are all dark skinned, poorer looking, and voiced by black voice actors. The fairies are light skinned, have fancy balls and are voiced by white voice actors. The fairies rule over the elves and there seems to be some prejudice against them. Sunny, an elf, is desperately in love with Dawn, a fairy, but she never notices him while flirting with every fairy boy she can see. Her father faints in horror upon seeing the two kiss at the end of the film.
  • Strange World: When Pando is first discovered, it makes for a very effective fuel source and pretty much everything in Avalonia runs on it, but begins losing its efficacy when the story starts, necessitating an expedition to uncover the root of the problem. But when it's revealed that the entirety of Avalonia is resting on the back of a giant turtle-like creature, Ethan and Searcher realize that the creatures that have been destroying the Pando roots and hunting them through the movie are just the creature's antibodies, and Pando is an infection slowly killing it. When they try to tell the crew however, Callisto locks the pair in the brig so they can complete the mission, the warnings of the giant creature dying falling on deaf ears. Pando is pulling double duty as both a climate change and a cancer allegory.
  • Tangled:
    • In the campfire scene, replace the crown with Rapunzel's virginity. Mother Gothel tells her that Flynn is only after one thing and once he gets it, he will leave her.
      • Rapunzel's hair can also be seen as a symbol of her virginity, having gotten its power from a magic flower. Thus, Flynn "deflowered" her when he slashed her hair with a pointy object. It's even worse if you listen to the reprise of "Mother Knows Best" on the soundtrack. Without almost totally visual context, this is exactly what it sounds like.
      • This adds a even creepier factor to the Stabbington Brothers' "We want her" line. It's already pretty misinterpretable, but they want her 'magic hair', when they first wanted the 'crown'.
    • When Flynn tries to use "the smolder" on Rapunzel and it doesn't work, he remarks "This is kind of an off day for me, this usually doesn't happen," as if he were talking about something other than merely trying to charm a woman.
    • The scene where the Stabbington brothers encounter Rapunzel and try to capture her. The ominous atmosphere made it seem more like they were trying to rape her.
  • In Toy Story, after Buzz Lightyear finds out that he is just an action figure, he jumps over the banister trying to fly to the window... and tumbles down the stairs painfully and breaks his arm off. Many adult viewers have suggested the parallels to a suicide attempt. It that wasn't enough, the scene after that which shows him somehow manages to getting drunk on imaginary Darjeeling tea, proclaiming himself "Mrs. Nesbitt" and his hysterical laughter when Woody finds him is startlingly reminiscent of an alcoholic person struggling with a mental breakdown.
  • Toy Story 2:
    • Jesse and Stinky Pete questioning Woody about being damaged is one "he hits me because he loves me" short of questioning a victim of domestic abuse.
      Pete: Was it because you're damaged? Hm? Did this "Andy" break you?
      Woody: Yeah, but— no! No, no, no no no it wasn't like that! It was an accident I—
      Jesse: Sounds like he really loves you.
      Woody: It's NOT LIKE THAT okay?!
    • Jesse and Stinky Pete questioning Woody about being damaged also has some bad implications from the view of someone who was not abused and was in a genuine accident, or received injuries from a rough activity: The jumping to conclusions, the refusal to listen to the truth, and the belief that injuries must mean abuse. Neither is the way to intervene, especially the refusal to let the person speak.
    • In a more humorous vein, the end scene has Jesse, who's just been adopted by Andy, performing the same Hot Wheels trick that Buzz had used at the start of the film, this time to launch herself to the door to open it for Buster. Buzz is awestruck and his wings pop up.
  • Toy Story 3:
    • Ken's Camp Straight and The Dandy behavior cause several of the other Sunnydale toys to refer to him as a "girl's toy", and his reaction, as well as the implication that it happens a lot, is similar as a heterosexual guy who's sick of being Mistaken for Gay just because he's In Touch with His Feminine Side.
      Ken: I'm not a girl's toy! I'm not! Why do you guys keep saying that?
    • The scene where Lotso ridicules Big Baby for missing his mama, destroying the only keepsake he has from her, and angrily yelling that she never loved him sounds an AWFUL lot like an abusive father toward his distraught child.
    • On a more disturbing note, the scene where Buzz gets brainwashed is eerily reminiscent of a rape scene with him being forcibly bent over, his battery covering removed and them accessing a normally private part. To further drive home the point, he's screaming in pain, begging his tormenters to stop and finally ending with a Big "NO!".
  • The Transformers: The Movie: Subverted. Kup, an Old Soldier Autobot, is constantly being reminded of situations he's lived through. When the Autobots finally confront the Big Bad, the planet-eating Unicron, who has transformed into the biggest robot ever seen and is attacking Cybertron, Hot Rod asks him, "Doesn't this remind you of anything?" Kup replies, "Nope. I've never seen anything like that before."
  • Turning Red is a film about a young girl who learns that the women of her family are werebeasts who gain the ability to transform into giant red pandas in their teens. She's confused and frightened by the changes to her body, she's at the mercy of her emotions because strong feelings trigger the change and her mother needs to counsel her on how to deal with what she's become. It's a pretty unsubtle allegory for puberty, to the point that her mother initially assumes the first transformation is her first period. Her mother also notes that Meilin's panda spirit arose earlier than it did for others, a reference to children being perceived to hit puberty at younger ages in recent generations.
  • Wreck-It Ralph:
    • Vanellope's glitching is treated like some sort of disease or illness, similar to epilepsy or Parkinson's Disease by the other racers. She even refers to it as "pix-lexia" and mentions that she was a mistake and that she wasn't supposed to exist.
    • The entire scene with the other Sugar Rush racers picking on Vanellope and destroying her race car is basically playground bullying at recess.
    • The dialogue for the Laffy Taffy scene sounds like something from a bad S&M porno when taken out of context.
    • The scene where Ralph wrecks Vanellope's cart is heartbreaking enough, but listen to it out of context and it sounds like child abuse... and not the humorous kind.
    • Ralph being "randomly" stopped and questioned by the Surge Protector constantly, coupled with him being treated badly for being a "bad guy", closely resembles racial profiling in airports.
  • Zootopia:
    • The various racism allegories in the movie, such as Judy's protest that she's not a "token bunny" on the police force, and her claim that only rabbits can call each other "cute".
    • The ice cream store owner invoking "We Reserve The Right To Refuse Service To Anyone" word-for-word during Nick's first scene.
    • And then there's the clash at Gazelle's peace rally, with this exchange resembling a common slur used against immigrants, and the subsequent retort when used inaccurately.
      Pig: Go back to the forest, predator!
      Cheetah: I'm from the savanna!

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