The final battle between Rourke and Milo at the end of Atlantis: The Lost Empire is reminiscent of a bully beating up a nerd. Guess which is which!
Batman Beyond: Return of the Joker features this with The Joker and his Foe Yay 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.
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!
Wasabi is described as neurotic and compulsive, apparently suffering from OCD, as well as a hint of anxiety.
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.
Elsa is forced to keep a secret that she will be shunned for. Later, it all comes spilling out and she sings "Let it Go", a song about being who she is without caring about what others think of her. If you didn't know she was hiding her ice powers, that could easily be a story of a girl coming to terms with her homosexuality.
In Gnomeo and 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, 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.
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 (who, because of her almost being tried and sentenced to death by burning by Frollo for a crime she did not commit, is now left with a long, white dress since all of her other outfits were presumably destroyed by Frollo so that she would be executed properly before the trial) to Phoebus.
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!"
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, and most certainly kill a person had that been a human being, not to mention her cackling.
The scene where Triton argues with Ariel in her grotto then destroying it is scary enough, but just listen to it in a...different context.
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".
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.
Tulio really gets into that massage he gives Chel, and they were quite clearly having sex when Tzekel-Kan walked in on them.
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.
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 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?!
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.
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 "villain", closely resembles racial profiling in airports.