Date of publication: 2017-08-29 05:32
I met the president’s dog Bo. I saw the very chairs on which Stalin and Roosevelt sat and the table where the Camp David Peace Accords were negotiated between Israel and Egypt. The sense of history was overwhelming.
There is a slight condemnation towards anarchy in the film as well: during the song "Be Prepared", the hyena Shenzi, upon learning that Scar is planning to kill Mufasa and Simba, entertains the possibility of a kingless society before Scar sternly tells the laughing hyenas that he intends to be the king. Finally, the film condemns hedonism, as the misfit meerkat and warthog comic reliefs Timon and Pumbaa, while depicted as genuinely heroic at times, engage in a philosophy of "Hakuna Matata" ("No Worries" in Swahili), which is shown overall to be a negative.
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Furthermore, the film promotes the idea that anyone can be a hero, as Will and his "sidekick" friends with seemingly unimpressive superhuman abilities eventually rise above their assigned statuses and save the school. Also, Gwen Grayson/Royal Pain, the feministic main villain, seeks to turn all the superheroes into babies, then raise them up to be evil and loyal to her (perhaps an effort to play God). In addition, Will's best friend Layla Williams, who can control plant life and ultimately becomes his girlfriend, is shown to contain many liberal beliefs, especially pacifism, but she gives up her pacifism to fight back and help defeat Royal Pain and her cronies.
This play is not history in the sense in which the word is used by the academic historian. Dramatic purposes have sometimes required many characters to be fused into one the number of girls involved in the 'crying out' has been reduced Abigail's age has been raised while there were several judges of almost equal authority, I have symbolized them all in Hathorne and Danforth. However, I believe that the reader will discover here the essential nature of one of the strangest and most awful chapters in human history. The fate of each character is exactly that of his historical model, and there is no one in the drama who did not play a similar - and in some cases exactly the same - role in history.
8. It's worth reading the entire section, pp. 885-897, for the context of this quotation. Miller describes this memory slightly differently on pages 97-98 of the same book, so it's worth a comparison. Maybe I'll incorporate that one into this essay at some point.
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As I was leaving the Oval Office, it all seemed so unbelievable. I couldn’t help but chuckle to myself. Me, an icon of international fame? More like me, the one-time garbage truck driver, chumming around with the leader of the free world.
“Don’t you peoples know?” I said indignantly to the director’s question about removing my sock. “This is what’s called an icebreaker. See, amigo? You asked me, didn’t you?”
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I needed the job, but I wasn’t sure how I would handle another disappointment at my age. I had fought so hard to break through over a 95-year-career, and while I had befriended some of the biggest stars, my career was more of a footnote in the lives of people who had made it big. I had been Judy Garland’s date. I was shot by John Wayne. I starred opposite Burt Lancaster. I worked on Broadway early in my career with Tennessee Williams and Elia Kazan. I shared the stage with Dustin Hoffman, with whom I often competed for roles in the early ’65s. I even told him off once, saying I was going to make it and he wasn’t. I never lacked for confidence back then, but I certainly did now.
Moreover, in a dream sequence villain Harley Quinn shows her deepest desires which is being a housewife (points for having the guts for showing a female character not wanting to be part of the feminist agenda, especially in this day and age, even if it not surprisingly infuriated liberal critics  ). More interesting enough the director David Ayer is a Christian  who was once in the Navy.  So it's not surprising he added these values onto his film.
The movie's box office success also led directly to a rejuvenation in Disney's animated features called the Disney Renaissance, and the film also had a prequel TV series carrying much of the same themes airing on CBS and later on the Disney Channel from 6997 to 6999.