Phineas and Ferb: Season 5 Review (Part Two!)

A Phineas and Ferb-themed spoiler warning.

Spoiler Warning: There are spoilers ahead for Phineas and Ferb, including Season 5.

Back in the summer, I shared my thoughts on what I mistakenly assumed was the entirety of Phineas and Ferb’s fifth season – the show’s first new episodes in a decade. But it turns out that Disney, for some reason, dumped only *half* of the episodes onto Disney+ back then, and a few more episodes have premiered over the summer and into the autumn. So I thought I’d better update my Phineas and Ferb Season 5 review, as some of what I said back then may no longer be accurate!

It’s also worth noting, before we go any further, that there are still a few more Season 5 episodes to come – but those won’t be landing until January. So I hope you’ll swing back in the new year for Part Three of this review, and to get my final thoughts on Season 5 as a whole! I just wanted to be clear about that, since I got a bit muddled up last time.

Still frame from Phineas and Ferb Season 5 showing the Doofenshmirtz Evil Incorporated building.
Doofenshmirtz Evil Incorporated!

As always, I’ll give my usual caveat. Everything I’m going to say is the entirely subjective, not objective, opinion of one person only. If you hate my take on Phineas and Ferb, think I’ve gotten it horribly wrong, or we just have different ideas for what makes a fun or successful episode… *that’s okay!* There ought to be enough room in the fan community for differences of opinion and polite discussion, and I share my thoughts with you in that spirit.

What I’d like to do first is talk about the recent batch of episodes in general, then I’ll address a couple of criticisms I made of Season 5 earlier in the year, which I’d now like to change or recind. And finally, after all of that, I’ll go through the newer episodes one by one and share my thoughts on each of them. For the purposes of this review, I’m calling each individual story an “episode,” even though they usually come paired up on TV and streaming. Last time, I covered all of the episodes in Season 5 up to The Ballad of Bubba Doof, meaning this time I’m starting with Attack of the Candace Suit and covering all the episodes up to Dungeons and Dating, which is the most recent story to air at time of writing.

With all of that out of the way, let’s get started!

Still frame from Phineas and Ferb Season 5 showing Doof, Vanessa, and Norm.
Norm and Vanessa with Doof.

One thing I wanted to mention last time (it was in my notes, but somehow didn’t make it into the final review) has also cropped up in this second batch of episodes. Someone on the animation team *really* loves their new “low light” filter, don’t they? So many dark scenes now have a kind of “hazy” effect over characters and environments, which is something I don’t remember seeing in any of the first four seasons. It doesn’t look bad, exactly, but when it’s used so often in so many different episodes, it becomes noticeable… at least it did for me! And when there really aren’t a lot of other visual effects or filters being applied, the constant re-use of this one sticks out all the more.

I don’t hate the way this looks, just to be clear. It’s a bit of a change from what you might remember from earlier in the show’s run, but on its own, in one-off situations, I’d never say that it looks *bad*. But when there really aren’t any other comparable visual effects, changing the way the animation looks to represent, for instance, twilight, firelight, or other such things, this “low light” effect being recycled in multiple episodes became pretty noticeable for me.

Still frame from Phineas and Ferb Season 5 showing Vanessa in low light.
The “low-light” filter.

Speaking of new obsessions that the writers seem to have, several episodes this time haven’t *really* ended, with an apparent old-school cliffhanger seeming to tease story continuations that are almost certainly never coming. If it was a one-off gag, I’d be fine with it. In some cases, those kinds of things work well, either as a genuine tease or as a pastiche of the kinds of films and TV shows which do that kind of thing a lot.

But when it’s overdone, and when it’s obvious that these stories are well and truly over, one-and-done things… it gets repetitive. As above with the “low light” effect, it was just something that I started to notice as we got further into the season, and even though it was by no means happening in every episode, I definitely felt it begin to overstay its welcome.

Still frame from Phineas and Ferb Season 5 showing a zombie Ducky Momo.
An example from the end of The Nightmare-Inator.

Dr Doofenshmirtz has (arguably) been Phineas and Ferb’s breakout character. But even keeping that in mind, Doof was *all over* this batch of episodes, being featured prominently. Heck, *four* of these episodes have Doof’s name in them, which must be some kind of record! There is still room for other characters, of course, but I think at this point it’s safe to say that Phineas and Ferb’s writing team are acutely aware of Doofenshmirtz’s popularity, meme-ability, and just the general place he’s carved out in pop culture.

I’m not saying it’s a bad thing necessarily, and *most* episodes still manage to feel balanced. But there’s a sense, perhaps, that Doof’s near-omnipresence is beginning to tip the scales just a little, and while the show is still managing to throw him into new situations or give him new experiences, I worry that if this continues, we might actually start to burn out on the character prematurely. There are still, at time of writing, forty-four new stories being produced, and if Doof is front-and-centre in as many of them as he has been in this batch of episodes… it might start to get a bit too much. He’s always been a main character, of course, but I just felt the balance tip a little this time.

Still frame from Phineas and Ferb Season 5 showing Doof on his hands and knees.
Doof is all over Season 5.

Phineas and Ferb took a break in August and September, before coming back with new episodes in October. I was a little surprised, then, that we didn’t get any kind of Halloween special. Such things are not expected nor demanded, but the show’s previous special episodes have been some of the best, and getting another Halloween or Christmas episode was something I had on my wishlist! Given that we aren’t getting any new episodes now till January, I doubt we’ll see anything festive this year. But I’m still crossing my fingers for 2026 or 2027!

There also aren’t any double-length or two-part episodes in this batch, excluding the second part of the Candace Suit saga. Again, not necessarily a problem, but some of the special feature-length episodes have been among the show’s best. Perhaps we’ll get something like that for the season finale?

Still frame from Phineas and Ferb Season 5 showing Isabella, Phineas, Ferb, Baljeet, and Buford.
There was no Halloween or Christmas special this time.

On the whole, I think I’d say that this second batch of episodes wasn’t quite at the same level as some of the other episodes we’ve enjoyed in Season 5. There were some standout stories, plenty of callbacks to the show’s original run, and the return of some characters who I felt had gone missing in those first few episodes – all of which I enjoyed and appreciated. But there were also a few duds, a couple of storylines which don’t land as well in the revival as they did in the show’s original run, and the pay-off to a pretty weak joke (that had been running all season) which didn’t really live up to the hype.

So… a mixed bag, then!

In terms of quality, I stand by what I said last time: Season 5 is probably about on par with Season 4, which – prior to the revival – would’ve been what I’d have said was the weakest part of the show. Note that I didn’t say “bad,” because there are some solid and some excellent Season 4 stories – as indeed there are in Season 5, too. But there are perhaps fewer of them, and some of the stories in between are either not especially memorable… or just not as good.

Still frame from Phineas and Ferb Season 5 showing Candace on her bed.
Candace on the phone with Stacy.

Last time, I said that I was disappointed to see Irving, Norm, Roger, and Jeremy basically go missing – and I’m pleased that each of them got at least *something* to do in the recent batch of episodes. Irving, by the time we reached the end of Season 4, seemed to have climbed out of the secondary character milieu to become an adjacent member of the friend group, so his absence was particularly noteworthy. Though we got a couple of solid roles for Irving further into Season 5, he’s still not as prominent as I might’ve expected, and doesn’t seem to be as close with the core friendship group as he was when the show’s original run was coming to an end. Episodes like Dungeons and Dating could’ve provided a “nerdy” character like Irving with loads to say and do, but he was relegated to a non-speaking cameo.

I’m glad that we got to see a bit more from Norm and Roger. Though neither has been especially prominent in Doof’s stories, they add a lot to his world and to that side of the series, and Norm in particular was great comic relief in some of the recent episodes. I’m glad that both of them had a bit more to say and do this time around.

Still frame from Phineas and Ferb Season 5 showing Vanessa and Norm.
Vanessa and Norm.

Jeremy is a bit of an odd case. If you didn’t know (and I don’t think I mentioned it last time), Jeremy’s original voice actor didn’t return for Season 5, and I suspect that’s why his role has been reduced this time around. Personally, I think that’s a real shame – after Jeremy and Candace became an official couple, his moments with her really opened up new narrative avenues which the show had begun to take advantage of. Although I think I’m right in saying that we saw more of Jeremy in the second part of Season 5 than we had in the first, he still doesn’t seem to be a particularly major character – not for Candace, nor for the series.

Jeremy works well when his easy-going, laid-back attitude can provide a contrast to Candace’s energetic and chaotic side. Throwing Jeremy into some of the boys’ plans has also worked well in the past, giving Candace either a reason to join in or at least to keep her busting in check for a while. Even in some of Jeremy’s more prominent moments this time, we didn’t get a lot of that. And he still doesn’t seem especially important or prominent on this side of the story. In any individual episode, it’s not something you really notice. But upon reaching the end of this batch of episodes, it’s odd to think that Jeremy – once such a prominent secondary character – has only made seven appearances in thirty-five stories, some of which only gave him a few seconds of screen time and one or two lines.

Still frame from Phineas and Ferb Season 5 showing Jeremy.
Jeremy’s role feels smaller in Season 5.

Last time, I said it was weird to see Candace achieving one of her biggest accomplishments – getting her driver’s license – only for it to not be mentioned again. We did finally get to see her drive, though, so we can check that one off the list! I still think the driving thing could be brought up a bit more often, even if it’s not directly related to the plot… because otherwise what was the point of License To Bust? But I’m glad that we got something in that vein this time around.

We’ll get into this a bit more when we cover the episode Bread Bowl Hot Tub, but this non-sequitur, which ran for basically all of Season 5, didn’t really get a strong enough payoff for me. I like how random it was, and it was cute to see Buford getting so excited as his request was belatedly granted. But after so much buildup across practically every preceding episode, this was one story which *really* needed to stick the landing. Unfortunately, despite a great guest star in Diane Morgan, it kinda didn’t.

Still frame from Phineas and Ferb Season 5 showing Buford's bread bowl hot tub.
Buford in his bread bowl hot tub.

Phineas and Ferb continues to be pretty meta and self-referential in Season 5, stretching some one-off gags and jokes into full storylines… even when there isn’t really enough material, or a strong enough foundation, to support something like that. I noted it last time with Buford’s life-size moulds – something which, inexplicably in my view, came up again in this crop of stories – but we can also add things like Perry’s lair entrances and the boys’ plans for croquet into that same category.

I’m all for the show reliving some of its glory days and replaying its greatest hits! That’s why a revival like this exists, at the end of the day – to play on the nostalgia viewers have for its original run. But at the same time, there are ways to tell new stories using these characters and familiar narrative frameworks that don’t *only* rely on things that had been set up years earlier. A nod and a wink to returning viewers can be a ton of fun, and I’m on board with in-jokes and meta humour. But when those things are the sole foundation for a story, or when the writers take a one-off gag or throwaway line and try to build it out into a complete story of its own… I think we’re getting far more misses than hits with that approach. So, for clarity: meta humour and being self-referential works well for jokes and small story beats, but hasn’t worked very well when an entire episode has been constructed around it.

Still frame from Phineas and Ferb Season 5 showing Monogram, Carl, and Perry in Perry's lair.
All of the entrances to Perry’s secret lair.

Next, let’s look at each of the episodes in turn, and talk about some of the things I enjoyed, disliked, or just found noteworthy about each of them.

For the sake of clarity, I’ve only watched most of these episodes a couple of times, so I’m not going to be delving deeply and nitpicking every element of them! I’ll cover each episode in broadcast order, and I’m not going to be ranking them, nor rating them out of ten or anything like that. Although these episodes are paired up, I’ll be covering each story individually.

Attack of the Candace Suit:

Still frame from Phineas and Ferb Season 5 showing the titular Candace Suit.
The Candace Suit.

As I said last time, Buford’s “life-size moulds” was a funny one-off gag that worked well in Season 3. But it’s not the kind of thing to build an entire story around, let alone a two-parter. With that being said, I felt Attack of the Candace Suit was the stronger half of this weird little two-part story, being noticeably better and more enjoyable than The Candace Suit had been earlier in Season 5. The now-sentient suit elicited some genuine sympathy, in the same sort of way as Frankenstein’s monster might, as it came to terms with existing as a living creature in this world.

This was also a good episode for Candace and Jeremy – one of the only times in the season where they got to spend much time together. It was also fun to see Candace and the boys on the same team, something that’s not totally uncommon but is still nice to see. The episode also got a happy ending, with the sentient suit being paired up with Klimpaloon, who got a small cameo at the end. I hope this will be the final part of the Candace Suit saga, and that we aren’t gonna get some kind of third episode next time!

Book Flub:

Still frame from Phineas and Ferb Season 5 showing Candace playing with Addyson.
Candace and Addyson on a see-saw.

This one I genuinely liked. We got a Candace-Linda team-up story, with one of Linda’s problems being in focus for a change. It made for a really interesting change of pace, as Linda had to rely on Candace’s unusual skills to resolve her book club issue. The return of Irving, as noted above, was also incredibly welcome, and seeing Irving and Linda working together was odd but cool! It’s nice, after all this time, that Phineas and Ferb can still find new character groupings, and put different spins on its storylines. This kind of originality, quite honestly, is something I wish we’d gotten a bit more of in Season 5.

This is a bit of a rarity insofar as it’s a story without much input from either Perry and Doof or Phineas and Ferb, but I think staying laser-focused on Linda, Candace, and Irving was the right choice. Perry and Doofenshmirtz’s fight on a burrito-plane was fun, and they added a bit of levity to the story as things progressed. All in all, though, this was a great change of pace.

The Bad Old Days:

Still frame from Phineas and Ferb Season 5 showing Doof and Vanessa in the back of a car.
Doof and Vanessa in Drusselstein.

Any chance to visit Drusselstein with Doof is fun, but I especially liked this new take on the old country. Doofenshmirtz is left hurt and confused when he sees how his hometown has been completely redesigned and gentrified, and is no longer the primitive backwater of his tragic backstories! This side of the story also contained some rare moments with Doof and Vanessa, and his excitement at her potentially becoming a citizen showed off his best fatherly tendencies. I wish we got more with these two in Season 5.

The boys’ side of things felt a little… repetitive. The giant drill was similar to something we saw right at the beginning of Season 1, and searching for either a missing ring or one of their mom’s lost possessions was also kind of samey if you remember similar escapades in Seasons 3 and 4. Nothing about it was *bad*, though, and this was really the episode’s secondary story. A great episode for Doof and a fun visit to Drusselstein, even if goings-on back in Danville weren’t quite as strong.

Mantis Fact:

Still frame from Phineas and Ferb Season 5 showing Doof cowering from a giant praying mantis.
Jurassic Park vibes, anyone?

Mantis Fact felt like a classic Phineas and Ferb episode from the show’s original run. Candace wants to bust the boys for their over-the-top creation, while Perry has to investigate what’s going on with Doofenshmirtz’s latest inator. The twist was that Perry and Doof ended up having to work together to shut down his inator, which had created a group of giant, deadly praying mantises. I don’t think the core idea of constantly sharing “mantis facts” added much to the story, though, and the delivery felt a bit grating as the episode wore on.

The camouflaged bird sequence gave me a few good laughs near the end, and I felt Mantis Fact was a solid mid-season offering that harkened back to the show’s earlier seasons. I mean that as a compliment, and it’s an episode I’ll happily return to and re-watch in the future.

The Nightmare-Inator:

Still frame from Phineas and Ferb Season 5 showing Doof and Perry.
Doof and Perry do battle.

This episode felt like it was harkening back to Season 3 or 4, whichever one had that Halloween special! There were some fun sequences, as Doof’s inator seems to malfunction, causing nightmares to become real. Vanessa got a great up-tempo song in a sequence that drew on the likes of Evil Dead and other horror titles for inspiration. We also got a callback to the haunted/evil Ducky Momo, as well as Vanessa’s relationship with Candace’s favourite kids’ show.

This was another story with only one main storyline, and I think keeping Doof and Perry in focus worked pretty well. It allowed for a greater variety of dream and nightmare sequences, including some pretty random and surreal imagery, which is always fun. I like the running joke of Ferb’s mind being a total enigma, and Doof’s apparent phobia of a giant, out-of-control Perry. Not a totally unique idea, perhaps, but solidly executed overall, and with a great song.

Doof in Retrograde:

Still frame from Phineas and Ferb Season 5 showing Baljeet and Irving.
Baljeet and Irving: an unlikely duo!

I had to re-watch this one to remember what happened; nothing about the episode left much of an impression. The whole “solar system” thing felt way too samey after the boys made something comparable back in Season 4, and Doof’s motivation for wanting to be the centre of attention didn’t really ring true for me. There were a couple of fun moments, like Carl moving Perry’s chair when he tried to enter his lair, but a lacklustre song kind of capped off a really uninteresting Doof and Perry story for me.

On the flip side, it was fun to get some interaction between Baljeet and Irving, and I liked how this storyline gave Baljeet more of a main role. The two “nerdy” characters worked well together (surprise, surprise!), and it was just a fun change of pace for Baljeet. Irving got a chance to live out his “being like Phineas and Ferb” fantasy, and we got a pretty classic ending to the story with Doof’s inator destroying the kids’ inventions.

Bend It Like Doof:

Still frame from Phineas and Ferb Season 5 showing Doofenshmirtz and Perry playing football (soccer).
The match of the century?

Bend It Like Doof had a pretty weak setup, and at first I thought it was just going to be a vehicle for a couple of famous guest-stars. In the end, neither Megan Rapinoe nor Cristo Fernández really got all that many lines, so I’m just not sure what the intention was here! I like football (or soccer, if you prefer) as much as the next person, but Phineas and Ferb already did a pretty solid episode themed around that sport back in Season 3’s My Fair Goalie. This episode wasn’t *bad* per se, but it lacked originality, and the central Doof-Monogram conflict has been done better – and more believably – elsewhere.

It was nice to see most of the members of L.O.V.E.M.U.F.F.I.N again, albeit that most of them didn’t have major roles, and to spend a bit more time than usual with Major Monogram. It was also weird (and kind of funny) to get some continuity with the episode Tropey McTropeface, through the news reporter-turned-prison escapee Dink Winkerson. Not a great episode, but there are some highlights and funny moments.

Dooflicated:

Still frame from Phineas and Ferb Season 5 showing a giant Phineas robot.
A giant Phineas robot.

This was a fun idea, and even though it leans a bit too heavily on the “doesn’t Doofenshmirtz have weird mannerisms” trope, I think it was well-executed, too. Seeing the boys take their inventions in an overtly evil direction – albeit in the name of fun – was a blast, and Candace being the protagonist for once, having to stop them when they got out of control, felt like something fun and different.

Dooflicated also gave us one of the rare moments in Season 5 where Doof and Vanessa have a meaningful conversation. I liked Vanessa’s totally blasé attitude to name-dropping a famous relative on her college application; it seems in-keeping for her character while also being a subtle comment on nepotism in the United States. I still miss the idea of Vanessa working for the O.W.C.A. in some capacity, and I think it’s a shame how that idea wasn’t picked up more this time. But a nod to her college applications was a fun way to go, too.

Space Adventure:

I’m a big Star Trek fan (if you couldn’t tell already), so Space Adventure was almost tailor-made for me! The show-within-a-show doesn’t just parody Star Trek, of course, and there were references or hints at other sci-fi properties, too. Although it was undeniably silly, I really liked the end result, and it’s no exaggeration to say that I think I laughed the most at Space Adventure’s parody than I did at any other episode in the season!

Space Adventure was, unsurprisingly, also a solid episode for Buford and Baljeet. I felt it harkened back to stories like Bully Bromance Breakup, while also reminding me a little of Excali-Ferb – at least in terms of its core premise. It was bold to frame this story around *only* Buford and Baljeet, with Phineas, Ferb, Candace, Doof, and Perry all absent. It was arguably even bolder to then have the bulk of the story just be this Star Trek-themed show-within-a-show! But for me at least, Space Adventure is one of the highlights of the season.

Droogenfest:

Still frame from Phineas and Ferb Season 5 showing the titular Droogenfest.
The Fireside Girls at the festival.

I like some of the ideas present in Droogenfest, but the core drama of Danville somehow being *desperate* for a trade deal with the Drusselstein delegation didn’t really work, even in light of Gimmelstump’s new-look presentation from earlier in the season! Setting that overblown nitpick aside, though, Droogenfest comes across like another classic story. The kids are participating in a big local event, Doof’s attempt to ruin his brother’s reputation gets in the way, and they end up having to work together to put things right.

The callback to Candace Against The Universe – where Doofenshmirtz and Isabella last interacted with each other – was a fun addition, and a way to keep the film somewhat relevant. Little touches like that – when not overwhelming a story – help the world of Phineas and Ferb feel connected, so I appreciated that. And it was neat to get another little addition to Drusselstinian culture and history. All in all, a pretty solid offering.

Doofercise:

Still frame from Phineas and Ferb Season 5 showing Doof's gym advertisement.
Join the Doofnasium!

Doofenshmirtz gets the idea to turn exercise into power for his inators and opens a free gym. I actually weirdly kinda like this premise, and Doof and Norm make for really fun exercise gurus. The episode starts off slow, but quickly builds up to Doof’s gymnasium idea, with even Vanessa getting roped in when he makes one of those dodgy low-budget local TV commercials! That was a particularly fun sequence. Perry’s idea to overload the inator was a bit obvious, perhaps, but it worked well to bring this side of the story to a conclusion.

Candace and Jeremy’s date gets interrupted by the boys’ land-boat. The visual of the boat was pretty neat, and I liked the way it looked. As I said above, we didn’t get a ton of Jeremy and Candace together, so this date – before its interruption – was nice to see. The chase through the city was also pretty exciting. Another episode that could’ve been from an earlier season, really – which I mean as a compliment.

Croquet Y-8:

Still frame from Phineas and Ferb Season 5 showing Phineas explaining his new game.
Oh look, it’s that throwaway line from Season 4… as a full episode. Yay.

Remember in the New Year episode, when Baljeet asked why the boys were going straight from Football X-7 to Hockey Z-9? Yeah. This is another one-liner that, for some reason, has been stretched beyond breaking point to form the core of an entire story. And I’m sorry, but there was just no need. The “we’re saving that for croquet” comment in Season 4 was funny, but it was clearly nothing more than a joke – the humour coming from the fact that croquet is not the kind of sport you could really “soup up”, for want of a better term. The end result even borrowed from the boys’ bowling ball invention back in Season 1, and it just didn’t feel like a particularly strong premise *or* a good execution of the idea.

The dilemma Perry faced, though, added stakes to his and Candace’s side of the story, and it was cute to see Candace and Jeremy following the robotic Perry duplicate around, trying to make the documentary. I didn’t feel Doof’s sheep-related invention was one of his best or most interesting ideas, but the time limit Perry had kept that side of the story largely on the rails.

Dinner Reservations:

Still frame from Phineas and Ferb Season 5 showing Doof and Monogram at a restaurant.
Ah, the old sitcom cliché…

The boys’ drone light-show idea was fine, if a little underwhelming after their more impressive laser light-show in Season 4! But I liked the way it began, with Buford talking about how his family home was, apparently, just covered in Christmas lights. And the visuals at the end, with the drones making different images, worked pretty well.

However… the other side of the story was not my favourite. I can buy Monogram and Doof’s feud, though I think it fell into the fairly common kids’ show cliché of adults not knowing how to act like adults. But what I didn’t really think worked was Monty and Vanessa’s relationship. In Act Your Age, at the end of Season 4, we saw Ferb and Vanessa together as a couple in the future. And that’s a really great direction for both of them, paying off Ferb’s crush from earlier episodes while also giving Vanessa an unexpected new direction. But with that context, I just can’t get invested in Vanessa’s doomed relationship with Monty. It was great to see Monty again, and we got some pretty okay slapstick comedy out of the whole “enemies having dinner” premise. But… I think I’m over Vanessa and Monty now that the show has confirmed Vanessa’s future with Ferb. I don’t want to see her and Ferb together in the show’s present day… eww. But maybe Vanessa’s relationship with Monty should just quietly be sidelined?

Bread Bowl Hot Tub:

Still frame from Phineas and Ferb Season 5 showing Buford on a raft.
Rafting home.

As I said above, I didn’t feel this episode was good enough to be the payoff to a season-long gag. In fact, even if it hadn’t been running all season, I’d still say this was an especially weak story. I’d actually rather that Buford’s bread bowl hot tub had remained un-made; a non-sequitur type of joke that could be brought up sometimes… just another random idea of Buford’s that the kids are clearly never going to make. Because what we got was just… not very good.

Diane Morgan, who guest-starred as the voice of the titular hot tub, is great, and it’s such a shame she was wasted on such a weird and ultimately underwhelming story. There probably was a way to write a story like this, but maybe it needed to be a feature-length story or maybe it needed other characters involved? Something went wrong, anyway, and while it’s great to see Buford getting his wish, and to get a Buford spotlight episode which picked up on various aspects of his characterisation… this wasn’t the way to do it. And the end result was one of the worst episodes of the season for me.

Entrance Exam:

Still frame from Phineas and Ferb Season 5 showing Candace and Stacy trying to speak with the mysterious force.
Communing with the “mysterious force…”

I’m glad that, after Perry’s lair entrances gradually disappeared from Phineas and Ferb as the show’s original run wore on, Season 5 has brought them back. They’re a classic part of the show, and many of them – like couch gags in The Simpsons – have been a ton of fun. But sometimes, when you over-explain or dig too deeply into something like this, it loses much of what makes it fun or impactful. We get it: Perry has lots of ways to access his secret lair. Did we need an entire episode all about that, drawing attention to how much of the Flynn-Fletcher household is taken up by these access points?

Where I will give Entrance Exam its dues is in Candace’s story. Hearing Monogram’s voice from below, she mistakenly believes she’s speaking with the “mysterious force” responsible for making the boys’ inventions disappear – and that typical sitcom mistaken identity cliché actually made for some genuinely funny moments. Particularly when Stacy also got involved, this side of the story was a ton of fun.

Dungeons and Dating:

Still frame from Phineas and Ferb Season 5 showing Evan.
Evan.

The most recent episode at time of writing. Dungeons and Dating was all about live-action roleplaying, as the boys (and their friends) set out to tell their own version of the ending to their favourite franchise when it was prematurely cancelled. I like the premise, I like the references to D&D, and we got some neat backdrops for the kids as their adventure unfolded. I think this could’ve been a good story to include someone like Irving or Albert, but both were only present in the background, which was a bit of a shame. I liked the callback to Buford being a fan of fantasy, though, and the kids had a fun adventure on this side of the story.

Doof’s reality show dating thing was neat, too. It was clearly a reference to the likes of The Bachelor and Love Island, and the character called Evan, who could seemingly only say his own name, was a hilarious send-up of the kinds of pretty-but-empty-headed folks who all too often appear on programmes like that! Norm and Vanessa’s banter as they watched Doof on TV was also laugh-out-loud funny for me.

So those are all the episodes so far!

Still frame from Phineas and Ferb Season 5 showing the Flynn-Fletcher house.
The Flynn-Fletcher house.

Closer in quality to Seasons 4 than Seasons 1-3, and perhaps a bit of a dip compared to the first half of the season. But there are still some funny moments in practically every episode, and some novel and interesting story ideas which go a long way to justifying Phineas and Ferb’s resurrection after a decade-long break. I will gladly watch these episodes again (and again), and I’m sure I’ll enjoy them all the more when I’m not taking notes for my review or looking for things to pick on!

There are four episodes left in Season 5, and then we still have Season 6 to come. I’m hoping for some kind of special episode or feature-length outing in January to round out the season – but even if we don’t get that, I’m sure I’ll be satisfied with more adventures in Danville with Phineas, Ferb, Candace, Perry, Doof, and the rest of the gang.

I hope this has been interesting. Please remember that all of this is subjective! And be sure to join me in January or February when I’ll write up my thoughts on those final episodes, as well as perhaps talk a little bit more about the season as a whole. If you missed it earlier in the year, you can check out my review of the first part of Season 5 by clicking or tapping here. That’s all for now, so… Trekking with Dennis is out! Peace!


Phineas and Ferb Season 5 is currently airing on the Disney Channel, with some episodes also streaming on Disney+. Other episodes will join Disney+ in January 2026. Phineas and Ferb is the copyright of Disney Television Animation and The Walt Disney Company. This review contains the thoughts and opinions of one person only and is not intended to cause any offence.

Phineas and Ferb: Season 5 Review

A spoiler warning graphic.

Spoiler Warning: There are spoilers ahead for Phineas and Ferb, including all of Season 5.

Phineas and Ferb’s fifth season was one of my most-anticipated entertainment experiences of 2025. I’m a pretty big fan of the show, having first encountered it shortly after its original premiere in 2007 or 2008, back when I used to have a satellite TV subscription! When Season 5 premiered on Disney+, I didn’t just binge the entire thing right away; I wanted to take things a bit slower and give each episode a chance to settle. That being said, I still finished the whole season in under a week, so maybe my self-control isn’t as good as I thought!

If you just want the tl;dr, here it comes: Phineas and Ferb Season 5 was wonderful. Some episodes were truly outstanding, reaching the bar set by those earlier stories in the 2000s and 2010s. Others weren’t as spectacular, but even in the ones I found less enjoyable, there were still fun moments, creative storytelling, or jokes that managed to win a chuckle. I think I laughed out loud at least once while watching all eighteen/nineteen episodes (the numbering gets a little bit weird; we’ll cover that as we go), which I think says a lot.

Still frame from Phineas and Ferb Season 5 showing Phineas with a Fireside Girl at school.
Phineas at the beginning of the new season.

I think we should start by getting a handful of negative points out of the way before we talk about all of the good stuff.

First of all, the new season was quite self-referential, calling back to episodes, story beats, jokes, and even internet memes spawned by Phineas and Ferb’s original run. That, in itself, is not a problem, and at least some of these “meta” moments were funny, added something to the story, or just plain worked. But for me, Season 5 came very close to crossing a line that basically no series ever gets right, turning in-jokes and winks to the audience into cringeworthy fan-service. Relying too heavily on the past, even in a revival like this, doesn’t allow new storylines to stand on their own two feet, and while some self-referential “meta” moments in Season 5 were incredibly good fun… others strayed too close to that line for comfort.

Secondly, Season 5 basically ignored Dr Doofenshmirtz’s character arc from the latter part of Phineas and Ferb’s original run. The season premiere saw him – apparently at random – deciding to “turn evil again” after an entire year of being a good guy, and then none of that was ever acknowledged again. Doof was back as we last saw him – which, for me, felt a little hollow. Don’t get me wrong: it was fun to see him back in his element, and to have more wacky adventures with him and Perry. But the way it was handled left something to be desired. I’m not sure how the show could realistically have done a better job here – except, as I mentioned more than once before Season 5 aired, if these new episodes had been set in the same endless summer as before, instead of one year later.

Still frame from Phineas and Ferb Season 5 showing Doofenshmirtz firing one of his inators.
Doof is evil again.

The one year time jump wasn’t mentioned a lot, and didn’t really do much for most of the characters. Though nominally “older,” the only kid character whose age was even mentioned was Candace, and that was just a throwaway line. Everyone just kind of… reverted to type, if that makes sense. And for a show whose main characters are children, I’m not sure that feels right if you step back and think about it. When you’re a kid, one year is a massive amount of time, and none of us were the same at age ten as we were at nine, or at sixteen as we were at fifteen. While I’m not saying I wanted to see whole character arcs for the kids or big personality changes, what I am saying, again, is that the time jump doesn’t seem to have achieved very much. I’m left wondering why it was included at all.

We saw Candace finally achieve one of her biggest goals – something she’d been pushing for going all the way back to the beginning of Season 1: getting her driver’s license. And the episode was funny – we’ll touch on that in a moment when we look at each episode in turn. But… after getting her driver’s license, Candace literally didn’t use it again for the entire rest of the season. In the very next episode, we even see her riding her bike.

Still frame from Phineas and Ferb Season 5 showing Candace on her bicycle.
This was literally the episode after Candace passed her driver’s test.

As with Doofenshmirtz above, this kind of speaks to a bigger issue for me. Candace has grown as a character over the course of an entire year, and finally scored one of her biggest accomplishments – something even her brothers don’t have. This happened early in the season, and there were fifteen more stories in which Candace could’ve driven a car, even just in the background of a scene, not necessarily as a major plot point. But it didn’t happen. I love episodic television, and a big part of Phineas and Ferb is that it’s an episodic show where things “reset” from one episode to the next. But for something so important and meaningful for a character to be completely sidelined… it doesn’t feel right, somehow. And it all adds to that same feeling I was talking about with the time-jump: was it really necessary?

There were eighteen individual stories in Season 5 – the opening pair of episodes form a single story, and the Meap episode was also feature-length. Across those episodes, we spent at least some time with most of what I’d consider to be the show’s recurring characters… but by no means all. There were some noteworthy absences, as well as several characters whose roles were very minor. The likes of Jeremy and Norm got very few lines, Roger Doofenshmirtz was seen but didn’t really interact with the plot in a big way, Love Handel only appeared in the background to sing a song, and Irving – who’d climbed the ranks to become an honourary member of the friend group by Season 4 – was entirely absent aside from a couple of background cameos.

Still frame from Phineas and Ferb Season 5 showing Irving looking sad.
Irving was notably absent in these new episodes.

There were also a few character groups or pairings that didn’t appear in Season 5. The relationship between Dr Doofenshmirtz and Vanessa was barely touched upon, as they hardly spent any time together. The Flynn-Fletcher family didn’t actually do anything all together, either; no family vacation, no road trip, not even sitting down for a meal. With Roger and Norm effectively absent, Doofenshmirtz didn’t have either of them as character foils, and there was no Charlene, either. Major Monogram only had Carl. And Candace spent very little time with Stacy, Jeremy, or any of her other friends.

As above, there wouldn’t have been time for every conceivable duo or group to get an outing, and there’s still Season 6 to come. The first four seasons took time to even introduce some of these characters, let alone build up relationships between them, and I’m not really trying to demand everyone everywhere all at once! But… I felt some of these absences. Doof and Vanessa not getting any time together was particularly noteworthy given how the show’s original run ended and how important Vanessa is to Doof’s arc. Norm’s absence was similarly felt. Then for the kids, Irving disappearing and Jeremy getting basically a single scene all season long kept things focused on the principal characters, sure, but it also limited their potential interactions outside of their core friendship group. None of it is egregiously awful, and if you just watch a single episode, you wouldn’t even notice anything was amiss. But taking the entire season as a whole… it felt odd to reach the end with the absences and lack of interactions we’ve discussed.

Still frame from Phineas and Ferb Season 5 showing Mayor Roger Doofenshmirtz.
Roger didn’t get much screen time – or any scenes with his brother.

I guess the positive spin I could put on all of that would be that this is a revival, and the writers and producers may have wanted to take their time re-establishing the show’s core formulae and character dynamics before adding in too many secondary characters and side characters. That’s a reasonable argument in some ways, as Phineas and Ferb Season 5 is also intended to bring in new viewers alongside returning fans.

Okay, okay. That’s probably enough negativity for now. Phineas and Ferb doesn’t need to be nitpicked to death. So let’s move on and talk about the things I enjoyed. Thankfully, that’s pretty much everything else.

If you read my pre-season “wishlist,” you might remember me saying that what I wanted out of this revival was, in a word, more Phineas and Ferb. And that’s pretty much what I got: the show has returned to its classic formula, with two-and-a-half storylines that intersect, plenty of wacky inventions, fun musical numbers, and a good-natured sense of humour. Not every episode was perfect, but I’d happily watch all of them again… and again. No season of television is going to be filled with five-star episodes, but there were several in Phineas and Ferb Season 5. Even when the new season was at its worst, there were still laugh-out-loud moments, emotional scenes, enjoyable songs, beautiful animation, and other things to enjoy. No episode this time was irredeemably awful, and I’d say that the new season’s overall quality was about where I expected it to be. Perhaps it’s closer in tone and quality to Season 4 of the original run than to Seasons 1-3 – and if you know me you’ll know I felt Season 4 wasn’t quite reaching the bar of those earlier seasons. But it was still good – and so is Season 5.

Still frame from Phineas and Ferb Season 5 showing the Doofenshmirtz Evil Inc. building.
You can just hear this image, right?

When I reviewed Candace Against The Universe a few years ago, I said that one of the best things the film did in its opening moments was re-establish the world and characters of Phineas and Ferb, making it feel like nothing had changed and that everyone we remembered was still there, living their lives in the Tri-State Area. And once we got over the new season’s opening sequence, which was set at the kids’ school, I think the rest of Season 5 nailed that feeling again. Most of the main storylines felt like they could’ve been lifted from the show’s original run, and with the exception of the season premiere and its obvious time-jump, narratively the rest of the episodes blend in with the rest of the show. In a few years’ time – and regardless of whether more Phineas and Ferb is produced after Season 6 – it probably won’t even be noticeable to play some of these episodes in a random order, mixed in with others from the show’s original run.

One of the biggest differences – and where Season 5 might actually be noticeably different from Season 1-4 – is in the animation. Some character outlines felt softer and less blocky, colours tended to be flatter, with less differentiation, and there’s something about a lot of the characters’ eyes – particularly background and secondary characters – that just felt a little… off. I don’t know how else to put it. I will say that, despite some pre-season fears, this was something I got used to. And I think the animation lines up with Season 4 and Candace Against The Universe more than it does with Seasons 1-3. It wasn’t bad per se, but maybe there’s been a change in Disney’s animation software or a different animation studio… and I think it’s worth mentioning, at least.

Still frame from Phineas and Ferb Season 5 showing minor characters in a crowd scene.
A selection of background and secondary characters.

The songs were all top-class, and I enjoyed all of them. I would note that it was a bit strange how not every episode got its own original song this time around; the episodes More Than An Intern and Agent T (For Teen) got versions of songs from the original run of the show rather than their own compositions. They were fine, though.

My favourite songs of the season would have to be When The Tri-State Aurora Comes Around and No Sleepin’ At A Slumber Party, both of which were great fun. The Tri-State aurora sequence – which we’ll talk about more in a moment – was absolutely stunning, and the music elevated it even more. It really was a great sequence. The rest of the songs were good; Submarine Sandwich Submarine and License to Bust felt the most “classic,” like they’d come from the show’s original run. But all were in keeping with the tone of the series, really.

Next, I’ll run through each episode one by one and talk about what I liked (and didn’t like) about each of them. Then at the end, I’ll share my final thoughts on Season 5 as a whole.

Summer Block Buster/Cloudy With A Chance Of Mom:

Still frame from Phineas and Ferb Season 5 showing the main kid characters performing a musical number.
The opening musical number – and a cheeky reference to Hamster and Gretel.

This episode had the difficult task of re-establishing Phineas and Ferb’s world five years after we last saw it. And I think it hit all of the right notes. We got to see the last day of school before summer – and I like the implication that the boys’ “What I Did Last Summer” presentation took the entire year. Doofenshmirtz “turning evil again” was skipped over too quickly, but that says more about the decision to set this new season a year later than anything else. The big musical number at the beginning was a ton of fun, and felt in line with some of the epic songs from special episodes like Summer Belongs To You.

As a season premiere, the second half of the story was kinda risky! It didn’t follow the show’s typical formula; mixing things up by involving Linda directly in the story. But that decision gave real stakes and emotional weight to what the kids had to do, and I think it worked exceptionally well. All in all, a wonderful way to kick off the new series. And yes – I’m counting these two episodes as two halves of one story!

Submarine Sandwich Submarine:

Still frame from Phineas and Ferb Season 5 showing a very large submarine sandwich with several characters.
The sub under construction.

I liked the callback to Candace’s sandcastle-building award from the previous summer – but this was a storyline where I definitely felt the absence of Jeremy. Even if Stacy or one of Candace’s other friends had been there I think her side of the story could’ve worked just a little bit better. The boys’ side of the story was neat, though, and I liked the visual impact the submarine made. The giant fish was kind of random, but weirdly in keeping with other sea monsters the show has introduced!

Doof and Perry had a classic battle in his lair, one that reminded me a little of their famous hot dog/bratwurst duel, thanks to the abundance of food. Doofenshmirtz’s inator did cover up the boys’ invention – literally, covered it with sand – but was also a bit of a twist on what viewers might’ve been expecting. As noted above, this episode also had a very classic song, and the whole thing had the feel of a Season 2 or 3 episode – which I mean as a compliment.

License To Bust:

Still frame from Phineas and Ferb Season 5 showing Candace and her driving instructor.
Candace taking her driver’s test.

The boys’ gecko gear was cool, and reminded me a little of their rubberisation ray from Night of the Living Pharmacists insofar as it allowed the kids to bounce all over town. This invention wasn’t the main focus of the story, though. As mentioned above, I’m a little disappointed that Candace getting her driver’s license – finally, after more than four seasons! – wasn’t so much as mentioned in subsequent stories, and that puts a little bit of a downer on the ending of her storyline here.

That being said, the driving test sequence was a ton of fun, as was the song. And Doofenshmirtz’s inator – while arguably less destructive than some of his creations – interfered in just the right way to bring everything together. If future episodes do more with the idea of Candace being able to drive, I’ll definitely place License To Bust higher in my rankings! For now, it was fine as a one-off story.

Dry Another Day:

Still frame from Phineas and Ferb Season 5 showing the kids on their luge invention.
Luging through town!

Phineas and Ferb has done the “it’s the hottest day of the year, so let’s do something icy” thing more than once, but the infinitely rolling luge wheel definitely made the concept feel fresh! Candace skiing was a fun visual, and the entire sequence with the song was fantastic, too. The concept reminded me a little of Season 4’s “foam town,” probably because both were big rolling wheels, but the luge idea was definitely original.

We got a glimpse at a Doofenshmirtz backstory! Hooray! Doof told us a little about his childhood as he schemed to store his oil at the swimming pool. That was fun, and the water park was actually a surprisingly detailed and interesting location to visit. The hammerhead shark slide was especially creative. Again, this just felt like a classic, fun Phineas and Ferb episode that I’d happily revisit.

Deconstructing Doof:

Still frame from Phineas and Ferb Season 5 showing Candace and Doofenshmirtz's therapist.
The therapist.

This felt like a pretty “meta” story concept at first, but the way it brought together Doofenshmirtz and Candace – who worked so well together in the Season 4 finale in 2015 – was genuinely fantastic. It makes sense, if you think about it, that someone might be able to piece together the unusual goings-on around Danville, figuring out why these wonderful inventions are always gone by the end of the day. Does that take something away from the “magic” of an animated show? Well… maybe. But I think it worked pretty well.

I wasn’t particularly keen on this episode’s main song; it was fine but just not to my taste, I guess. Not every callback in every episode worked or won a smile, but the therapist’s line about a platypus being a metaphor definitely did! The reference to the Season 2 episode Brain Drain was played deadpan and absolutely perfectly, and it was just a ton of fun. I had to pause the episode for fear of laughing so much I’d miss something good!

Tropey McTropeface:

Still frame from Phineas and Ferb Season 5 showing the "mother mugger" being caught.
The arrest of the “mother mugger.”

I didn’t expect much from this episode when I saw the title, I’ll be honest. But the story was, surprisingly, much more coherent and fun than I’d been expecting. The story of Michael Bublé’s involvement is actually sweet: his son had been a huge fan of the show, and they’d watched it together when he was suffering from a serious illness, with Phineas and Ferb becoming something positive for them both at a difficult time.

There was quite a lot going on in Tropey McTropeface aside from the titular zoetrope; a mugger loose on the streets of Danville, Perry and Candace’s bath appointment, Doof’s plan to rotate city hall… it was a busy episode, but still connected everything together. I don’t think it was the highlight of the season, but a better episode than I expected based on the title.

Biblio-Blast:

Still frame from Phineas and Ferb Season 5 showing Doofenshmirtz gardening.
Doofen-plants!

Perry’s lair entrances were one of Phineas and Ferb’s original elements, but as the series dragged on, they became less prominent. Biblio-Blast has one of the best, though: that pinball sequence was incredibly detailed and great fun. Though a bookcase might not seem like the wildest idea at first, it was another part of the episode that felt like it was harkening back to earlier episodes where the boys’ inventions were sometimes a bit more child-like and grounded. The sequence of the bookcase being built – set to the show’s Quirky Worky Song – was also in that classic vein.

Doof’s story with the evil plant monsters reminded me a little of Night of the Living Pharmacists, and it’s certainly one of the worst backfires of any of his inventions! The design of the plants was quite unsettling, too, meaning they worked well as antagonists on this side of the story. The main song was definitely one aimed at kids – but hey, if it encourages anyone to read more or stick with reading, that can only be a good thing! Oh and the plant-themed reprieve was genuinely cool. Buford also had some great lines in this episode.

A Chip To The Vet:

Still frame from Phineas and Ferb Season 5 showing Buford and Cadace at Mr Slushy Dawg with Jeremy.
Buford, Candace, and Jeremy.

I think I’m right in saying that A Chip To The Vet is the only episode in which Jeremy speaks – though with a different voice actor in Season 5. As noted above, I think his absence was felt, and even here, really, he didn’t play a huge role or advance Candace’s story in a big way. The main vet-themed portion of the story was neat, though, and seeing Perry and Doofenshmirtz doing battle in a completely new location was fun. You’d think the OWCA would be equipped to deal with something as common as microchipping – but then again, it is just a cartoon!

Okay, the goat jump-scare? It got me – and it was hilarious. As was Doof listing all the things he could chip before figuring out he could use the chipper on Perry. The kids’ pet wash was fun, too, and as with Doof and Perry it was great to see them do their thing somewhere other than the back yard. We also got a rare “platypuses don’t do much” line right at the end, too!

More Than An Intern:

Still frame from Phineas and Ferb Season 5 showing Carl looking dejected.
Carl.

This story has a message that I think will resonate very strongly with Phineas and Ferb’s returning fans. A lot of folks are working multiple jobs in the “gig economy,” just trying to make ends meet. And while I wouldn’t have expected a critique of this phenomenon from what is nominally still a kids’ show… I think it’s actually a powerful story. Carl – OWCA’s unpaid intern – has to work multiple other jobs just to pay the bills, and even while he loves his work with the agency, he’s forced to take on all of these other jobs. Major Monogram’s obliviousness is also a big part of this story – perhaps a comment on the “boomer” generation and their unawareness of how tough things really are.

As with Candace and her driver’s license above, this is a story that I would’ve wanted to see have genuine repercussions. Even if Carl doesn’t immediately get paid by the agency, having Major Monogram show a little more appreciation in subsequent episodes would’ve been nice. The rest of the episode was fun, don’t get me wrong, and I’m aware we’ve really only commented on the messaging this time. But it really is an important message, and one I was pleasantly surprised to see the series tackle. Carl really was the perfect character for this story, too.

The Aurora Perry-Alis:

Still frame from Phineas and Ferb Season 5 showing the aurora.
The Tri-State Aurora.

This episode was actually pretty mixed for me. I loved the cruise ship setting, the song, and the whole sequence with the aurora. The animation work to bring the aurora to life was genuinely beautiful; among the best parts of a season where environments have all been outstanding. However, I think The Aurora Perry-Alis maybe tried to cram in just one element too many. Between Monogram’s aunt, Vanessa reconnecting with Monty, the kids building their inventions, Candace and Linda at the spa, Perry and Stacy, Doof and Perry getting miniaturised, the disgruntled cruise employee, and Lawrence stuck in a conga line… there wasn’t quite enough time for every character and narrative beat to shine in the way I’d have wanted.

That being said, I really enjoyed the episode when it settled down, particularly near the end. The moment where everyone just stopped to enjoy the aurora was sweet, and it reminded me a little of the calm, relaxed feeling at the end of the New Year’s Eve episode from Season 4. A mixed bag, for sure, but a great song, some stunning animation, and a solid ending manage to hold it together.

Lord of the Firesides:

Still frame from Phineas and Ferb Season 5 showing the Fireside Girls turning against Isabella.
How could a disagreement about cupcakes get so out of hand?!

I’m glad that we got one episode where Isabella was with her Fireside Girls group and separate from the core characters. The conflict between the two groups of girls was pretty basic, and the twist – that it was all caused by one of Doof’s inators – wasn’t exactly concealed! But it was solid enough, and led to plenty of fun moments as the Fireside Girls’ meeting rapidly descended into chaos. The heavy metal-inspired song and red, firey imagery all worked well on this side of the episode.

Doof and Perry’s story – renewing their business licenses – was neat. Having the pair on roughly the same team works well as an occasional change of pace, and a story about bureaucracy is in line with what we saw of Danville in episodes like Season 4’s Where’s Pinky? which was also set at city hall. Definitely a bit of a change from the characters’ usual shenanigans – but one that worked.

The Candace Suit:

Still frame from Phineas and Ferb Season 5 showing Stacy, Buford, and a pile of Candace suits.
So many Candaces…

You know how some episodic shows have a throwaway line, joke, or scene that works in context but just… doesn’t have the legs to be a standalone thing? Yeah. That’s The Candace Suit for me, at least on the side of the story involving Buford and his life-size moulds. When that was brought up in Season 3’s Doofapus, the idea of a random character like Buford making life-size moulds of people was such a non-sequitur that it was funny. For me, The Candace Suit dragged out that idea way too far, killing the joke… but also taking a strangely dark turn that, while arguably in character for someone like Buford, didn’t sit right.

Perhaps because I found the premise stretched too thin, I wasn’t wild about this episode’s song, either. Doofenshmirtz and Perry didn’t have as much time in the spotlight this time – which is fine in theory, but I wish the main storyline had been stronger. I know this all makes it sound like I detested this episode; I really didn’t. I just think it exhausted its core premise pretty quickly, and over-stretched what should’ve been a throwaway one-liner that, in my view, didn’t really have enough in the tank to be a fully-fledged story on its own.

Agent T (For Teen):

Still frame from Phineas and Ferb Season 5 showing Stacy on Perry's moped.
Stacy gets a turn in the spotlight!

If The Candace Suit took a narrative beat from the show’s original run and overdid it, Agent T (For Teen) is an example of how to do things right. Taking Stacy’s knowledge of Perry’s secret identity from Season 4’s Happy Birthday, Isabella, Agent T (For Teen) picks up that storyline and expands upon it. Stacy’s role here was a lot of fun, and it’s great that another secondary character got a spotlight episode like this. Stacy’s interactions with OWCA – first through the funny instructional video and later when speaking to Major Monogram – were fantastic.

The earlier part of the episode, which saw Stacy and Candace working together at a fancy event, was also funny, but where Agent T (For Teen) really excelled was in those moments with Stacy, Perry, Doof, and the returning Dr Diminutive. I’d wondered if anyone from L.O.V.E.M.U.F.F.I.N. might appear in these new episodes; I wouldn’t have chosen Dr Diminutive necessarily, as Rodney is by far the more iconic character, but his role was surprisingly fun. Doof’s evil organisation also seems to have gotten a serious upgrade… will that come into play in a future story, perhaps? Oh, and the reworked “Agent P” song? Cute.

The Haberdasher:

Still frame from Phineas and Ferb Season 5 showing the OWCA haberdasher.
The titular character.

This is another episode that just… didn’t wow me, to be honest. The callback to the “I’d have x number of nickels” meme was fun, sure, and guest star Alan Cumming gave a genuinely great vocal performance. But something about the deep dive into OWCA’s hat-making and the character of the Haberdasher himself just… didn’t do it for me. I realise that’s horribly subjective, by the way!

Doof’s evolution into a weird mothman-hybrid was truly disturbing, though, and I’ll definitely give the episode its dues for that particular design! And seeing Buford, Baljeet, and Isabella interacting and building things without Phineas and Ferb was a fun idea – one I wish we’d seen a bit more of, to be honest.

Out Of Character:

Still frame from Phineas and Ferb Season 5 showing Buford holding a film camera.
Buford Van Stomm: film director.

When an episode takes established character traits, or introduces new ones, as part of a storyline, things can work really well. When an episode – with an ironic name – introduces something that doesn’t seem to fit a character for the sake of artificially manufacturing a storyline… well, you get an episode like Out Of Character. I can’t remember if Baljeet has had to act before, I think he must’ve at least once in an earlier episode, though! But even if he hadn’t, surely someone as smart as he is could grasp the concept of acting. As a result of that, I felt the bulk of the kids’ story was built on a bit of a flimsy premise.

However! That didn’t ruin Out Of Character for me, and I loved the return of the Space Adventure fictional franchise. The retro sci-fi, kind of Star Wars or Star Trek-inspired vibe was beautiful, and seeing the kids getting all invested in their roles was an absolute blast. Doof’s inator – turning people’s faces forgettable – was a creative idea, and led to a fun visual effect, too. I also felt a cute little nod and wink to Act Your Age, with Buford taking on a leading role in the filmmaking process. A fun episode – even if the premise was a bit annoying!

Meap Me In St. Louis:

Still frame from Phineas and Ferb Season 5 showing Meap walking away from an exploding car.
Remember this clip?

I’ll level with you: the two Meap episodes weren’t really my favourites from the original run of Phineas and Ferb. I’m not sure why, exactly; I’m a huge sci-fi fan and both episodes had fun moments, backstory, and character interactions. But they didn’t blow me away, so Meap Me In St. Louis wasn’t exactly at the top of my list when I was looking ahead to Season 5! That being said, there were still plenty of fun moments in this feature-length episode. I felt the “checklist” of moments from the trailer was a bit too on-the-nose, and the core story of Big Mitch seeking out a substance he could use to rule the galaxy was a tad repetitive… but other than that, it was a surprising amount of fun.

Meap Me In St. Louis (which I’m pretty sure is supposed to be pronounced “Saint Lew-iss,” but one battle at a time, eh?) gave most of the main characters plenty to do. Meap teaming up with Candace was fun, Perry and Doof working together again was also cute, and while the song was very silly, I actually kind of liked it. Again, some beautiful animation work to bring the outer space and seasonal changing sequences to life, too.

No Slumber Party:

Still frame from Phineas and Ferb Season 5 showing the "Friends" parody.
I loved this.

I already highlighted this episode’s song, which was just fantastic, and really the entire premise was a blast. Doof’s desire to spread evil by spoiling a TV show (a hilarious Friends parody) was absolutely pitch-perfect for his level of evil-doing, and his stay awake-inator was on theme, too. I’m surprised Disney okayed a Friends parody, given that the show is owned by a competitor, but I’m glad the higher-ups were good with it because it was genuinely hilarious.

The kids’ competing slumber parties were cute, too, and it was nice to get at least some interaction between Vanessa and Candace before the season ended! The boys’ invention looked really cozy – exactly the kind of thing I’d want to hang out in and watch movies! And Candace’s attempt to get Linda to see it was one of the best in the season as she dragged her downstairs, with the awake-inator missing her multiple times. A really fun episode that took place at night for a bit of a twist, and that had a fun song to boot.

The Ballad Of Bubba Doof:

Still frame from Phineas and Ferb Season 5 showing Doofenshmirtz and his cousin in a faded photograph.
Dr Doofenshmirtz with his swamp-dwelling cousin.

I can see a universe in which “Doofenshmirtz has a redneck Cajun cousin” works as a premise. However… I wasn’t wild about this character in this version of the story. Firstly, it felt a bit mean-spirited; too many stories across the world of entertainment look down their noses at rural or small-town America, particularly in the Appalachian and southern regions, and some of the stereotyping just leaned into that in an uncomfortable way. And secondly, I just didn’t find Bubba to be particularly fun or engaging as a character.

There are some positives to this episode, though. I liked Bubba’s inventiveness, and his successful trapping of Perry. Monogram and Carl had some fun scenes together, and it was nice to see them outside of the OWCA headquarters in a completely different environment. The kids’ forced perspective town was fun, leaning into the Western genre in a big way. Not entirely original, perhaps, but still good. All in all, though, I wouldn’t say this was the strongest end to this new season.

In Conclusion…

Still frame from Phineas and Ferb Season 5 showing most of the main characters at the end of episode 2.
Most of the main characters in the season premiere.

So we’ve talked about all of the individual stories. While researching for this article, it seems as if there might be four more episodes to come later this summer… so maybe this isn’t the full Season 5 review, after all. I wonder why Disney did that and didn’t drop those remaining stories at the same time as the rest of the season?

Anyway, setting that aside, I had a great time with Phineas and Ferb’s revival. There were some fun stories with the kids, Candace, Perry, and Dr Doofenshmirtz, and after such a long time away, it felt incredible to be back in the Tri-State Area all over again. Phineas and Ferb’s fifth season, while imperfect, is still the best animated series I’ve seen in 2025, and will absolutely be a contender for “TV show of the year” when I do my annual end-of-year awards in December. Check back after Christmas to see if it makes the cut!

Still frame from Phineas and Ferb Season 5 showing Dr Doofenshmirtz sitting in a chair holding a bowl of popcorn.
I watched (most of) Season 5 with a big grin on my face!

I’ve rambled on for long enough, so it’s time to wrap things up. There were some episodes and storylines that weren’t as strong as others, and there were a few weird quirks with the animation, especially for secondary characters. But despite those glorified nitpicks, I had a wonderful time. I felt genuinely sad when I realised I was coming to the end of the season; I just didn’t want it to be over! For anyone with Disney+ and who enjoyed even one Phineas and Ferb episode in the past, Season 5 is an easy recommendation.

If there are four extra episodes to come in July, be sure to check back because I’ll definitely share my thoughts. And when Season 6 is ready, I hope to be able to review those episodes, too. Until then, if you want to check out ten of my favourite episodes from Seasons 1-4, you can find them by clicking or tapping here. And I wrote a longer piece about the Christmas special back in December to mark its fifteenth anniversary, which you can find by clicking or tapping here. Until next time… and have a wonderful summer!


Phineas and Ferb is available to stream now on Disney+. Season 5 is also being broadcast on the Disney Channel in the United States. Phineas and Ferb – including all episodes mentioned above – is the copyright of Disney Television Animation. This review contains the thoughts and opinions of one person only and is not intended to cause any offence.

Phineas and Ferb Season 5: Hopes, Fears, and Expectations

A spoiler warning graphic

Spoiler Warning: Beware minor spoilers for Phineas and Ferb, including the Season 5 teasers and trailers.

By the time you read this, the season premiere of Phineas and Ferb’s revival might already have aired! I’m working hard to get this piece out before the full season hits Disney+, though!

I’ve talked about Phineas and Ferb on a few occasions here on the website. The show is unironically one of my all-time favourites, and moreover, it’s something I often turn to when I’m not feeling great or struggling with my mental health. To say Phineas and Ferb is one of my “comfort shows” wouldn’t be wide of the mark.

So I have a few thoughts about its imminent revival!

Two promotional posters for Phineas and Ferb Season 5 (2025).
The revival’s promo posters.

It goes without saying that all of this is the entirely subjective opinion of just one viewer, so if you hate my take, think I’ve missed something important, or I’m excited about something that sounds awful to you… that’s okay! There should be enough room in the fan community for polite and civil discussion. I think it’s also worth noting, in a piece like this, that I don’t have any “insider information,” and I’m not trying to pretend that anything we’re about to discuss can, will, or must be included in Season 5.

Phew! Now that that’s out of the way, let’s talk about some of my hopes, fears, and expectations for Phineas and Ferb’s revival.

Original concept art for Phineas and Ferb Season 1.
Early character designs from the show’s original pitch.

This first point is a big one, but it can be kind of difficult to quantify. Too many reboots and revivals feel corporate and forced; soulless, money-grubbing “content” created not with any artistic vision or integrity, but to please shareholders and/or pad out the increasingly meagre lineup of a streaming platform in a fractured marketplace. I remember that, in the mid-2010s, the rumour was that Phineas and Ferb’s creators felt they had ideas for a potential fifth season – so that’s good news. But at the same time, I’m acutely aware that Phineas and Ferb is being revived for business reasons; Disney wants to use the revival to sign up and retain as many Disney+ subscribers as possible.

Corporate executives tend to treat existing brands and IP much more favourably than something new. We can see that in the marketing push Phineas and Ferb’s revival has gotten; comparable recent projects, even from the same creative team, like Milo Murphy’s Law or Hamster and Gretel didn’t get the same love and attention from Disney. And that’s to say nothing of shows like Hailey’s On It, which was cancelled after just one season and seemed to get absolutely no marketing budget whatsoever.

Photograph from the Phineas and Ferb S5 premiere showing Olivia Olson with a Perry the Platypus costumed figure.
Olivia Olson (left) with Perry the Platypus at the Season 5 premiere.
Photo Credit: The Walt Disney Company

In short, will Phineas and Ferb feel… hollow? Will it be noticeably more corporate in its tone, and will that impact the enjoyment of the finished product? Anything Disney is and always has been corporate, but in its original form Phineas and Ferb was at least an original idea. Will this version be noticeably worse for being revived a decade after it went off the air?

Another way to think about this point is like this: are there genuinely good ideas left and new stories to tell with these characters? Or will it be obvious from the first episode that everyone involved just came back to earn a stack of money? There are some reboots and revivals that are so nakedly corporate that they’re painfully unwatchable; think Dexter or Sex and the City, for instance, though those shows are far outside of Phineas and Ferb’s animated comedy genre. I guess I’m just worried that there’s nothing left in the tank; that all of the good episode ideas were made during the show’s original run, and that this revival will not only fail to recapture the magic… but might even taint the original series by being obviously soulless and so much weaker.

Photograph from the Phineas and Ferb S5 premiere showing the co-creators.
Co-creators of Phineas and Ferb Dan Povenmire and Jeff “Swampy” Marsh at the Season 5 premiere.
Photo Credit: The Walt Disney Company

And I think there’s a valid cause for concern in that regard. I don’t believe it’s an especially “hot take” to say that, outside of a few special feature-length episodes, the quality of Phineas and Ferb seemed to dip during its fourth season. It seemed, even then, that some premises had been done and done again, and that certain characters were more or less played out in terms of how far their arcs could take them. There were still some enjoyable episodes in the mix, but they tended to be ones that flipped the script or tried something different.

This ties into my next point. The revived series is going to be set one year later, meaning everyone will be a bit older. What impact will that have on character dynamics? Will Candace be as high-strung at sixteen as she was at fifteen? Will Phineas and the gang still be together on the same terms as before? The character this matters most for is Dr Doofenshmirtz; after an entire year as a “good guy,” and having had multiple adventures in Milo Murphy’s Law, how will he be different and how will that impact his relationships with Vanessa and Perry?

Promotional image for Phineas and Ferb Season 5 showing Dr Doofenshmirtz at a therapist's office.
How will the time-skip (and character regression) affect Doofenshmirtz and his relationships?

I can’t help but feel it was a mistake to move the timeline along. It risks undermining the powerful and emotional ending that the show’s original run got in 2015, and for an episodic series… would anyone really notice if the new episodes were set in that same endless summer? We can argue that some characters didn’t really change a lot over the course of the show, but Doofenshmirtz definitely did – and having him “become evil again” after going through everything and promising to change for Vanessa’s sake just… it doesn’t sit right, somehow.

The opposite problem might also arise. If we’re saying the kids are all a year older, it’ll seem strange if they look, dress, and behave exactly the same way, won’t it? I think it’s unlikely that the time-skip will do anything narratively; there won’t be some big off-screen adventure that happened during the school year that will be called back to. So if the time-skip doesn’t do anything for the story, and doesn’t seem to have affected most of the characters either, based on what we’ve glimpsed from trailers and teasers… why do it? Why not set the new episodes in that original summer, before the events of the series finale?

Still frame from the Phineas and Ferb Season 5 trailer showing the kids mid-jump.
If all the kids look and behave the exact same way, why not set the new episodes during the original summer?

The combination of Doofenshmirtz’s arc being potentially regressed or overwritten and the apparent lack of change to any of the other characters has me concerned that the time-skip will be seen as a mistake. I can see the reasoning behind it, and the temptation to give the kids another 104 days to plan all-new adventures. But there are drawbacks to it, too, and I can’t help but feel that these outweigh any potential benefits.

I mentioned that Phineas and Ferb was, in its original incarnation anyway, an episodic series. And one of my biggest hopes for the revival is that it stays that way! I don’t need Phineas and Ferb to become some kind of weird serialised cartoon, with each episode setting up the next and ending on a cliffhanger. There’s more than enough serialised storytelling out there; one of the most appealing things about Phineas and Ferb has always been that each episode is a self-contained adventure.

Still frame from the Phineas and Ferb Season 5 trailer showing Candace and Linda.
Linda and Candace as they appear in the Season 5 trailer.

Many episodic shows from the past are being brought back in a new, serialised form. Just look at the Star Trek franchise as an example, but I’m sure you can think of plenty of others. Episodic storytelling was the order of the day a few years ago, but in the aftermath of successful shows like Lost and Game of Thrones, every media executive seems to be demanding season-long narrative arcs nowadays. I hope that Phineas and Ferb won’t fall victim to this, and that Disney’s producers have recognised that the show’s episodic style is a core part of its identity and one of the biggest reasons why it worked so well.

Two-part episodes, feature-length specials, and the like are all okay, of course! But I don’t want to log in to Disney+ to find that each episode leads directly into the next; that Season 5 is one long narrative arc. It just wouldn’t be right for Phineas and Ferb, and it would almost certainly make it feel much more corporate, bland, and unexceptional in the ways we were discussing above.

Photograph from the Phineas and Ferb S5 premiere showing the co-creators on stage.
Dan Povenmire and Jeff “Swampy” Marsh on stage at the Season 5 premiere.
Photo Credit: The Walt Disney Company

I have one specific casting concern, and I’m not really sure how best to broach this. Richard O’Brien – who voices Lawrence, the boys’ father – is 83 years old at time of writing. And throughout the revival’s marketing campaign, I haven’t so much as glimpsed him. Is O’Brien part of the revival? He’s tentatively credited on IMDB, but only for one episode of Season 5, which feels like a placeholder. I haven’t heard talk of the role of Lawrence being re-cast, but I haven’t seen or heard anything from Richard O’Brien himself or the show’s production team to confirm his involvement.

Phineas and Ferb is no stranger to re-cast roles, of course. Ferb – literally one of the title characters – was re-cast in 2020 for Candace Against the Universe, and I think that passed by inoffensively enough. But it would be a shame to lose Richard O’Brien, or to see the role of Lawrence diminished if he’s not able to voice the character as often or as freely any more. I guess we won’t know for sure until the new season arrives, but O’Brien’s absence and silence have left me a little concerned about a potentially reduced role for one of the core members of the Flynn-Fletcher family. Lawrence may not have always been the centre of attention in the way Linda is with Candace, but he’s often been an important presence in episodes, setting up key storylines or just butting in with a funny one-liner.

Cropped still frame from Phineas and Ferb Season 3 showing the boys with their dad.
Lawrence with the boys in Season 3.

I’m not an artist or an animator, so please be aware of that caveat as I make this next point. From the clips and still images I’ve seen so far, something feels “off” about some of the background characters. I’m not sure if it’s something in their eyes, something to do with the colour palette used, or how they’re integrated into scenes, but some of these secondary characters feel floaty and lifeless. It’s like they’re not really there; ghostly, almost transparent presences.

Could that be connected to Disney using a different animation studio, or even just different digital animation software? I’m not sure. I hope it’s not something that’s gonna be too noticeable throughout the revival, though! The main characters – at least from what I’ve seen so far – stay true to their original designs and don’t seem to be impacted by whatever animation changes have been made. That’s positive, for sure, and visual/artistic styles are usually something I can get used to (or get over) given enough time. But from what I’ve seen so far, some of these secondary characters have left me feeling unimpressed.

Still frame from the Phineas and Ferb Season 5 Sneak Peek showing multiple characters during a musical sequence.
I’m not wild about how some of these secondary characters looked in the trailer and sneak peek.

So I think that’s everything I had to say on the negative side of things. Let’s try to be a bit more positive now and look ahead to some of the things I’m most looking forward to!

First of all, to counter some of the negative thoughts I had about the show’s time-skip, I think there’s at least some potential in that idea. It gives the writing team – who are a mix of old hands and newbies – a virgin, unspoiled landscape for telling new stories. There’s no need to worry about how certain character beats or narrative moments might impact stories which are supposedly set further along the show’s timeline, and there’s unlimited room for growth for pretty much all of the characters. In an episodic series – which I’m crossing my fingers and hoping Phineas and Ferb will continue to be – there’s perhaps less of a need for consistent character growth, but the potential is still there.

Behind-the-scenes photo from Phineas and Ferb Season 5 showing the production team.
The team during production on Season 5.
Image Credit: Dan Povenmire

With the kids all being one year older, that could potentially open up new storylines, too. The original run of the show saw various characters develop crushes, but only older characters like Candace and Jeremy got to take things further and develop a full-blown relationship. Could someone like Buford or Ferb get a partner this time? That could be an interesting thing to explore.

And on the teen side, with Jeremy potentially leaving for university and Candace old enough to drive, there could be new storytelling potential. How would Candace react to Jeremy leaving, for example? If she’s able to drive, could that mean more adventures for her and her friends, or her and her brothers, without any adult supervision? That could definitely open up new locations further afield for adventures and building projects!

Promo image for Phineas and Ferb Season 5 showing Candace driving a car.
Is Candace gonna get her driver’s license?

One of my favourite episodes of Phineas and Ferb is the Christmas special from Season 2, and even though it’s June and the show’s usually set in summer… I wonder if we could see another holiday-themed episode either this season or sometime further along in the revival. There were a couple of Halloween episodes during the show’s original run, too, and that’s always a fun holiday to visit! It would be fun to see at least one episode – even if it’s not feature-length – set outside of the summer during one of the holiday events.

And speaking of special episodes – how about another vacation or travel story? Phineas and Ferb took characters to Hawaii, Africa, France, Japan, and my native UK… but there’s huge potential to visit locations all across the United States and around the world. The boys could visit Australia, the Amazon rainforest, or even Antarctica as part of one of their adventures, or maybe Dr Doofenshmirtz will visit a country like Spain or South Africa while pursuing an evil scheme. There’s a huge amount of storytelling potential when characters step outside of their usual environment, and the show used this to great effect last time around.

Still frame from Phineas and Ferb Season 1 showing a depiction of famous British landmarks and buildings.
Phineas and Ferb visited England in Season 1.

So far, I’ve only heard one song from the revived series: Summer Is Starting Right Now which is from the season premiere. The songs in Phineas and Ferb have always been one of the best parts of the show, and at least the first song from the revival seems to keep that trend going in the best possible way! The song feels like it’s right out of the original series, in tone, in terms of vocal performances, and everything. Given that I want to feel like Phineas and Ferb basically picked up where it left off, the revival’s first song definitely hits the right notes for me.

And I think that last point pretty much encapsulates what I want to see from this revival. Sure, there are going to be new stories to tell and new ways for characters to interact and for the two-and-a-half storylines to intersect. But for me, the point of doing a revival of this type is to give fans new stories which stay true to the original formula. That isn’t to say there’s no room for experimentation, but fundamentally, what I want out of a Phineas and Ferb revival is quite simply… Phineas and Ferb.

Still frame from the Phineas and Ferb Season 5 trailer showing the kids on toboggans.
I hope Season 5 is going to be a blast.

I want to see Phineas and the gang inventing and building impossibly awesome and fun projects. And I want to see Dr Doofenshmirtz work on an evil scheme to conquer the Tri-State Area. Candace should be on top form trying to get the boys in trouble, and Perry needs to be pushing Doof’s self-destruct buttons. These storylines should come together at the climax of the plot, with Doofenshmirtz’s inator somehow causing the boys’ mom not to see what they’d built. That’s Phineas and Ferb in a nutshell, and it’s what made the show so enjoyable to watch during its original run. I really hope the revival won’t stray too far from that wonderful formula.

Despite some concerns, I’m genuinely excited to welcome Phineas and Ferb back to our screens after such a long absence. You might remember me talking about the show’s Christmas special back in December; it’s something I revisit with fondness every holiday season. Phineas and Ferb is one of my favourite shows, and I really hope this revival will succeed at recapturing the magic.

Check back some time soon for a review… I’ll be sure to let you know if it achieves that objective!


Phineas and Ferb Season 5 will premiere on the 5th of June 2025 on the Disney Channel in the United States, with all ten episodes being available on Disney+ on the 6th of June 2025 in the United States and “select markets.” The rest of the world will follow later in the year. Phineas and Ferb is the copyright of Disney Television Animation and/or The Walt Disney Company. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Ten of My Favourite Phineas and Ferb Episodes

A spoiler warning graphic.

Spoiler Warning: Beware of minor spoilers ahead for Phineas and Ferb.

In just a couple of months, Phineas and Ferb will be back on our screens for the first time in a decade. Well, for the first time since Candace Against the Universe premiered as a one-off TV movie! So I thought it could be a bit of fun to take a look at ten episodes from the show’s original run that stand out to me.

I’ve talked about this before, but I encountered Phineas and Ferb when I was already an adult. When I used to have a satellite TV subscription back in the 2000s, I came across an ad for the show either just before or just after its premiere. Although I shouldn’t have been interested in a kids’ cartoon airing on the Disney Channel, something about the show’s writing or art style must’ve leapt out at me – so I gave it a watch. And I’m so glad that I did, because Phineas and Ferb has unironically become one of my favourite TV shows… ever.

Still frame from Phineas and Ferb showing Klimpaloon (an old-timey bathing suit with a face).
It’s Klimpaloon!

The best children’s programmes offer something for adult viewers, too – and no, I don’t just mean that they keep the kids busy so we can get on with other things! There can be jokes that adults will find funny, storytelling that transcends the generational divide, or characters who exhibit traits that kids and adults alike can relate to. This explains the enduring popularity of the shows and films which strike the right balance – and for me at least, Phineas and Ferb is up there with the likes of SpongeBob SquarePants, Tom and Jerry, and the best of Disney’s animated films.

The show’s two-and-a-half storyline structure is really what makes it stand out. The boys and their invention are on one side, with their sister Candace trying to get them in trouble, while secret agent Perry the Platypus is on the other as he battles the self-proclaimed evil scientist Dr Doofenshmirtz. But where Phineas and Ferb really excels is by bringing these two halves of the show together – often, but not always, by ensuring Doofenshmirtz’s scheme will cause the boys’ invention to disappear. Particularly in later episodes, the writers would get creative with these intersecting moments, too, successfully subverting audience expectations!

So that’s a bit of background as we head into the list. But before we go any further, I have a couple of important caveats.

Dan Povenmire and Jeff "Swampy" Marsh at an event for Phineas and Ferb circa 2014.
Phineas and Ferb co-creators Dan Povenmire and Jeff “Swampy” Marsh.

Firstly, I’m not “ranking” these episodes. Nor am I saying these are my “all-time top ten favourites!” These are just ten great episodes from Phineas and Ferb’s original run that I happen to really enjoy. Making some kind of tier list of all the show’s episodes or seasons will have to wait for another occasion. I’m listing the episodes in broadcast order, starting with Season 1 and going through to Season 4, and for the purposes of this list, one “episode” is one story. On Disney+ (and often during the show’s original broadcast run) two episodes would be paired up – but that’s not how I’m arranging my list.

Finally, nothing about this is in any way “objective!” Other fans of the show will have different favourite episodes, so if I pick an episode you hate or ignore one that you think should be obvious for a list like this… that’s okay! There ought to be enough room in the fan community for differences of opinion and polite disagreement.

With all of that out of the way, let’s take a look at ten of my favourite Phineas and Ferb episodes.

Episode #1:
Are You My Mummy?
Season 1

Still frame from Phineas and Ferb showing Phineas, Ferb, and Candace (in a mummy outfit).

Of all the early Season 1 episodes to really nail the core concepts of Phineas and Ferb, Are You My Mummy? has to be one of the best. It’s an adventure story inspired by classic mummy and monster movies, but unlike some later stories which see the boys perform completely out-of-this-world feats, there’s something about the cinema setting that keeps things grounded. The boys go on an adventure, sure… but it’s an adventure in the basement of a cinema filled with “fakey promotional lobby junk,” and a misunderstood “mummy.” This kind of story – in which we see the world through a kind of child’s-eye view – wouldn’t always be present in the series, but I think it’s a big part of what makes Are You My Mummy? so charming.

Perry’s side of the story – in which he has to prevent Doofenshmirtz from flooding the city – is a ton of fun, too. The two halves of the episode come together in the basement of the cinema, with Phineas, Ferb, Candace, and Perry going on a water ride inspired by the likes of Disney’s own Splash Mountain.

Episode #2:
Dude, We’re Getting The Band Back Together
Season 1

Still frame from Phineas and Ferb showing Love Handel's concert.

Phineas and Ferb quickly became known for its songs and musical numbers, and Season 1’s Dude, We’re Getting The Band Back Together has several great tracks. An episode all about music – and the importance of music in the lives of the characters – was bound to have some excellent songs, and we get some outstanding additions to the show’s soundtrack here! It’s hard to pick a favourite, but You Snuck Your Way Right Into My Heart is definitely up there, and I’d be remiss not to also mention Ain’t Got Rhythm, which was nominated for an Emmy award.

The boys team-up with Candace is particularly cute, too, as it shakes up the formula of the show somewhat. It also shows Candace’s willingness to join in with her brothers – at least sometimes! – which is a fun change of pace for her character. Doofenshmirtz’s story of hosting Vanessa’s birthday party also sees him working with Perry for a change – and cements his status as one of the best dads in animation!

Episode #3:
I Was A Middle-Aged Robot
Season 2

Still frame from Phineas and Ferb showing Carl, Perry, and their robot.

This episode puts Candace and Perry in the driving seat, after a “mishap” with a memory erasing machine means Lawrence can’t take her to the father-daughter picnic competition. There are some fantastic moments of humour in this episode; I particularly love the sheer randomness of Perry’s robot being programmed in Dutch, and him having to use two Dutch-to-French and French-to-English dictionaries to operate it. Trying to explain it kills the joke, of course!

I Was A Middle-Aged Robot is another great family episode, as we see the boys, their mom, and their friends all get together to cheer on Candace and their dad. The obstacle course means a lot to her, so having everyone get together to support her just… gives me the warm fuzzy feels. Perry abandoning Doofenshmirtz – who seemed to have a whole story of his own lined up and ready to go – was funny, too.

Episode #4:
Christmas Vacation
Season 2

Still frame from Phineas and Ferb showing Santa Claus meeting the kids.

I know it’s the middle of April and we really shouldn’t be thinking about Christmas… but this Christmas special is one of my all-time favourites, and one I return to every single holiday season. I’m a sucker for the whole “Christmas is in danger, someone has to save it!” story cliché, and Christmas Vacation really sells it – with a Phineas and Ferb twist, of course. As you might expect, it’s Doofenshmirtz’s evil scheme that puts Christmas in danger, meaning it’s up to Phineas and the gang to restore Danville’s holiday spirit.

We talked about songs a moment ago, and Christmas Vacation has some truly outstanding musical numbers. Christmas Is Starting Now should be on everyone’s festive playlist, and that’s just one! There are so many good songs, some beautiful animation to bring the winter wonderland to life, and a fun holiday story keeping it all together. I have a longer piece about Christmas Vacation that I wrote last year to mark its fifteenth anniversary, so click or tap here to check it out.

Episode #5:
The Doof Side Of The Moon
Season 2

Still frame from Phineas and Ferb showing Phineas erecting a building.

I’m pretty sure that the skyscraper in The Doof Side Of The Moon is the biggest thing the boys ever built! It’s gotta be one of the biggest, anyway, as it reaches all the way to the moon. The sequence of the skyscraper being constructed really is a ton of fun, with so many wacky and random building methods all thrown in together. Candace, naturally, wants to report on what her brothers are doing, and this time enlists the help of Albert… a character who really gives me the creeps! I think we all knew or at least remember someone like that from our school days – a very cringeworthy individual to say the least.

There isn’t as much going on with Doofenshmirtz and Perry in this episode, and Doof’s plan is silly even by his standards! But I liked his chart comparing his everyday evilness to the other “background evil” in the Tri-State Area. And Doofenshmirtz’s scheme was responsible for the building disappearing from the Flynn-Fletcher back yard!

Episode #6:
The Belly Of The Beast
Season 3

Still frame from Phineas and Ferb showing Candace and Stacy on their boat.

There are multiple references to the classic monster film Jaws in this episode, which is a ton of fun. The boys build a giant mechanical shark for Danville’s Harbour Day celebration, leading Candace and Stacy to hire a ship to chase after them. The ship’s captain is an incredibly funny character (and someone I hope will return in Season 5 or 6!) and there’s just a lot of fun to be had in this nautical setting. It takes most of the characters away from their usual haunts to do something a little different – while also paying homage to the kind of small-town celebrations that are common across the United States. There’s a lot to love on this side of the story.

Doofenshmirtz’s Taffy-Inator isn’t one of his wackiest or worst inventions; it’s basically just a large taffy machine. Why he wants to promote tooth decay, though… I’m still not clear on that! There were plenty of neat moments with Doof and Perry, though, and again it was fun to see them in a different setting for a change.

Episode #7:
Magic Carpet Ride
Season 3

Still frame from Phineas and Ferb showing the gang on their magic carpet.

I’ll be honest: this episode is primarily making the list for its song! Aerial Area Rug is epic and silly in equal measure, perfectly satirising Aladdin’s A Whole New World while retaining the same majestic tone. Songwriter Robert Lopez – who later wrote the songs for Frozen and Frozen II – put it together with help from the show’s writing team, and it’s just one of the absolute best in the series in my opinion.

Song aside, the episode is fun. The boys recreate a flying carpet that their dad saw on TV when he was a kid, and Doofenshmirtz tries to ruin his brother’s day – only to have it blow back on him. I actually feel sorry for Doofenshmirtz in Magic Carpet Ride, and I think it’s a great episode for exploring more of his feud with Roger.

Episode #8:
Delivery Of Destiny
Season 3

Still frame from Phineas and Ferb showing Doof's building from street level.

An episode told mostly from the point-of-view of a random side character? I know it sounds silly, but it really works! Not only that, but it’s a kind of uplifting story of a young man learning to appreciate his job – something I think we can all relate to in some way. There are some fun musical clips thanks to the inclusion of Love Handel, too. Seeing both the boys’ invention and one of Doofenshmirtz’s plots from a totally different perspective was genuinely interesting.

Delivery of Destiny is the kind of episode that wouldn’t have been possible prior to Season 3. It took the series, its characters, its world, and all of its tropes and completely flipped the script, showing us a glimpse of how things look from the perspective of one of the citizens of Danville. It also wrapped everything up in a fun self-contained story, too. Something a bit different – and that’s why I like it!

Episode #9:
My Sweet Ride
Season 4

Still frame from Phineas and Ferb showing Phineas blowing a bugle on top of a car.

This is probably a “hot take” and a bit of a generalisation… but I find that the quality of Phineas and Ferb seemed to dip a bit as Season 4 rolled around. There are some great episodes in the season, but I’d argue there were also a few less-enjoyable offerings, as well. My Sweet Ride is a blast, though! The nostalgic Americana of the Doo-Wop Hop and the classic car festival is a ton of fun, and the episode’s song is a classic retro-inspired number, too.

Phineas and Ferb trick out Candace’s new car – and let their dad take most of the credit! Doofenshmirtz’s crazy contraption is also a lot of fun, and gives us another glimpse of life in Drusselstein, which is neat. Monty and Vanessa continue their relationship and get a cute moment together, and it’s fun to get a story which brings almost all of the main characters from both sides of Phineas and Ferb’s world together in the same place.

Episode #10:
Phineas and Ferb Save Summer
Season 4

Still frame from Phineas and Ferb showing Monty hiding behind a wall.

Season 4 has a bunch of feature-length episodes, and there are several I could’ve chosen to include here! This time, we’re going with Phineas and Ferb Save Summer – an exciting story which sees Doofenshmirtz’s evil scheme succeed, leading to his organisation trying to take over the world by forcing the planet into a new ice age! Although the boys and Doof are kept separate, their stories come together in the best way possible, leading to Phineas and the gang undoing the damage.

I really enjoyed seeing a different side of Doofenshmirtz. After his initial scheme succeeds, he gets swept along by other evil scientists – notably his nemesis, Rodney – and feels increasingly uncomfortable with the things they’re doing. We also see Perry’s animal colleagues at the OWCA captured after Major Monogram gets fired, leaving Carl and Monty in charge. There’s a fun battle sequence between the animal agents and the evil scientists, and Candace gets a sub-plot about achieving her childhood goals and overcoming a phobia. There’s a lot going on – and it’s all great fun!

So that’s it… for now!

Still frame from Phineas and Ferb showing Candace staring at the boys on a TV screen.
Phineas and Ferb will be back on our screens in a couple of months!

There are literally dozens more episodes I wanted to include, so stay tuned – I’d love to revisit this topic in the future and pick out another selection of episodes. If you only have time to watch (or re-watch) a handful of episodes before Season 5 premieres, though, I hope I’ve given you a few ideas for where to start!

I’m cautiously optimistic about Phineas and Ferb’s revival. I really want to see the show succeed, and I hope the writers have found new stories to tell that will really get back to what made Phineas and Ferb so enjoyable during its original run. However… I would be lying if I said I didn’t have some concerns. Setting the new season a year later is good in some ways, as it allows for character growth and could give the characters new experiences and challenges. But it could also undermine the pretty definitive ending that the series got, and I can’t help but feel that setting the new episodes in that original endless summer might’ve been a better call. I’d love to be proven wrong, though!

Behind-the-scenes photo showing the cast and crew of Phineas and Ferb Season 5 standing in front of a projection of the title screen.
The cast and crew of Phineas and Ferb Season 5.
Image Credit: Dan Povenmire on Instagram

Speaking of Season 5: when it premieres later this year I’m planning to review it, so I hope you’ll swing by for that! I’ll talk about all of the episodes and go into detail about what I liked (or didn’t like, if it comes to that). I’m definitely crossing my fingers and hoping for an enjoyable time. Back in 2020, Candace Against The Universe was pretty good, so there are reasons to be hopeful.

Until then, I hope you enjoyed this look at some of my favourite episodes from Phineas and Ferb’s first four seasons. Who knows… if Seasons 5 and 6 are successful, a renewal could be on the cards and there could be many more stories still to tell in the Tri-State Area.


Phineas and Ferb Seasons 1-4 are available to stream now on Disney+. Some episodes and films are also available on DVD and/or Blu-ray. Phineas and Ferb Season 5 is scheduled to premiere on Disney+ and the Disney Channel in the United States in June 2025. Phineas and Ferb is the copyright of Disney Television Animation and The Walt Disney Company. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Looking Ahead To 2025

A spoiler warning graphic (featuring Sauruman).

Spoiler Warning: Beware of minor spoilers for some of the titles below.

Happy New Year!

I hope you had a wonderful time last night ringing in 2025 – and that you’ve recovered by now! As the year begins, it’s the perfect time to look ahead to some of the entertainment experiences we’ll hopefully be enjoying between now and next New Year’s Eve!

So today, I’ve picked out seven films, television programmes, and video games that are on my radar in 2025. I’ll share my thoughts on each of them – including what I’m most interested in or excited about. I like to do this every year; it’s a fun way to start things off, and it also gives me something to look forward to! I hope you can take a break from packing away the Christmas decorations and join me!

A stock photo of tangled Christmas lights.
The holidays are over for another year…

As always, a couple of caveats. This list is the subjective opinion of just one person – so if I don’t mention your favourite upcoming title, or I get excited about something that sounds like shit to you… that’s okay! There should be enough room for polite disagreements and differences of opinion. It’s also possible that some of these titles will be delayed and may not be available in 2025.

I think 2025 looks like a solid year. There are plenty of entertainment experiences on the horizon that have, at the very least, piqued my interest. So without any further ado, let’s jump into the list and talk about them!

Film #1:
28 Years Later

Still frame from the 28 Years Later trailer showing a man with a bow and arrow.

Horror really isn’t my thing – and after the 2010s were dominated by zombies and post-apocalyptic media in general, there are reasons to feel burned out on 28 Years Later’s premise! But I really loved 28 Days Later when it was released back in 2002; it’s a genre-redefining zombie film that genuinely frightened me. The “infected” zombies that debuted in 28 Days Later are terrifying – and it’s no coincidence that many of the best zombie films and games of the past twenty-plus years have drawn inspiration from the way Danny Boyle presented them.

28 Years Later recently premiered a fantastically haunting trailer, and I can really feel myself getting hyped up. The new film looks like it’s retained what made the original so special, while potentially expanding on the story to see what became of the UK and the rest of the world in the aftermath of 28 Weeks Later and the revelation that the rage virus may have escaped the confines of Great Britain. There’s one annoying thing for a pedant like me, though: it’s only been 23 years since the first film was released!

Film #2:
Lilo & Stitch

Logo for the Lilo and Stitch remake.

I wouldn’t say I’m “excited” about this live-action adaptation. It’s more a case of morbid curiosity – I’m interested to see whether Disney will be able to recreate even 1% of the charm of the original Lilo & Stitch when it moves to live-action. For me, Disney’s recent live-action adaptations have been more hit than miss, but even the best of them haven’t been as impactful (or as good) as the original animated films they were based on.

I can kind of understand the desire to remake a film like Snow White or Cinderella – both of which are decades old. But Lilo & Stitch was only released in 2002, making it the most recent Disney film to get the live-action treatment so far. I’m not convinced that it needed a remake, nor that the remake will be particularly good… but I’m going to tune in anyway to find out!

Film #3:
Star Trek: Section 31

Still frame from the Section 31 trailer showing a spaceship landed on an orange-tinted planet.

Do we count Section 31 as a “film?” I mean, it’s really a TV movie… but it’s my list, so I’m sticking it in this category! As you may know if you’ve read my article about the Section 31 trailers, the film doesn’t feel like it’ll be “my thing.” I’d love to be proven wrong, and I always give the Star Trek franchise a chance to impress me… but something about the “Star Trek does Suicide Squad” presentation from the trailers, and the potential for disappointing backsliding from the film’s main character have definitely left me feeling underwhelmed.

That being said, Section 31 has the potential to bring new eyes to Star Trek in a way that no other project has done since the 2009 reboot. Starring Oscar-winner Michelle Yeoh and with a tone and presentation clearly inspired by popular superhero flicks, I feel optimistic about Section 31′s prospects. I still don’t think I’m gonna love it… but we’ll know for sure in about three weeks’ time!

Film #4:
A Minecraft Movie

Still frame from the Minecraft Movie trailer showing Jack Black's character and a glowing portal.

I can’t tell whether A Minecraft Movie is going to be good, or whether it’s gonna end up being one of those “so bad it’s ironically good” films… but I’m keen to find out! Popular video game Minecraft wouldn’t have been my choice to adapt for the big screen, simply because it isn’t really a narrative adventure. Certainly my experiences of playing Minecraft – including back in 2011 while it was still in beta – were about creativity and “making your own fun” rather than following any kind of story.

I’m not convinced that Minecraft’s gameplay lends itself to a narrative adaptation. But I’ve been wrong before, and the tongue-in-cheek, silly fun vibe that I got from the trailer left a positive impression. There have been other expansions to the world of Minecraft that I haven’t played, so there’s definitely lore for the film to build upon. And any film featuring Jack Black will have, at the very least, one solid and entertaining performance to make me smile!

Film #5:
The Electric State

Still frame from the trailer for The Electric State showing several characters and robots.

The Electric State looks… interesting. A film set in a world where rebellious robots have been defeated and consigned to their own patch of land has, at the very least, a unique premise. I’m definitely getting a “more than meets the eye” feel from the trailer, and I expect the film to unravel the reason behind the aforementioned robot revolt – while the protagonists search the robots’ territory for a missing boy.

In a cinematic landscape dominated by sequels, franchises, and spin-offs, hopefully The Electric State can be something a little different. Chris Pratt and Stranger Things’ Millie Bobby Brown are in the lead roles, and the film will also star Woody Harrelson, Stanley Tucci, and Brian Cox, among others.

Film #6:
Train Dreams

Promo photo for Train Dreams showing two of the main characters laying down.

Based on a book from 2002, Train Dreams is going to be a particularly bleak drama film. Starring William H Macy, Felicity Jones, and Joel Edgerton, the story takes place in the first years of the 20th Century and focuses on a man who works on building the railroad across the western United States. The book won several awards in 2002/03, and this film adaptation seems genuinely interesting.

I’m not familiar with director Clint Bentley, but the main performers in Train Dreams all have pedigree. I think this picture has potential, and I’ll be interested to see how it’s received by audiences when it premieres.

Film #7:
Superman

Promo photo for Superman (2025) showing Superman and his pet dog.

I’m not the biggest fan of comic book/superhero movies. And Superman in particular can feel overpowered! But there have been some good Superman adaptations over the years, and this latest one, from director James Gunn, at least has potential. Superman is supposed to kick off a rebooted “Universe” of DC Comics films, which will also include a film based on Supergirl, among others.

DC has struggled to keep up with rival Marvel, whose MCU has been a driving force in cinema for fifteen years at this point. With Marvel seemingly faltering, however, perhaps the time is right for DC to strike – and with Superman, the company is at least trying to put its best foot forward. Whether this version of the character, and this film, can live up to fan expectations… we’ll have to wait and see!

TV Show #1:
Phineas and Ferb

Still frame from Phineas and Ferb Season 4 showing Phineas pointing and Ferb wearing a welding mask.

2025 is set to be the year that Phineas and Ferb returns to our screens! It’s been almost five years since Candace Against the Universe, and a full decade since the series finale, but I really can’t wait to go on some new adventures with the brothers and their friends. There are always concerns when a beloved property is brought back after such a long absence, but Candace Against the Universe demonstrated that co-creators Dan Povenmire and Jeff “Swampy” Marsh haven’t run out of ideas.

Phineas and Ferb has become one of my “comfort shows;” something I drift back to when I’m feeling low and need a pick-me-up. I’m optimistic about its revival, which has brought back most of the original voice actors, and I will be eagerly tuning in for every new episode.

TV Show #2:
King and Conqueror

Promo photo for King and Conqueror showing William on a battlefield holding a large shield.

Co-produced by the BBC here in the UK and American broadcaster CBS, King and Conqueror will tell the story of William the Conqueror and his fight to become King of England in 1066. Having cast Game of Thrones’ Nikolaj Coster-Waldau in the role of William, and with several other well-known names amidst the cast, I have pretty high expectations for this one!

There have been some great historical dramas over the years – but this is the first that I can recall that will look at the conflict between Harold and William in 1066. I first studied the Battle of Hastings years ago at school, and it’s one of those seminal moments in history that, at least in England, we give a lot of importance to. I’m quite eager to see a big-budget recreation of those events.

TV Show #3:
Star Trek: Strange New Worlds

Still frame from Star Trek: Strange New Worlds Season 2 showing the USS Enterprise in space.

I still have to catch up on a couple of episodes from Season 2, but Strange New Worlds’ third season is on the schedule for this year. For me, Strange New Worlds has become the high-water mark of modern Star Trek; an excellent mix of episodic and serialised storytelling that I wish other parts of the franchise would try to emulate. Anson Mount is perfectly cast as Captain Christopher Pike, and I look forward to seeing what adventures the crew of the Enterprise will get caught up in this time!

There are several new secondary characters who will join the series this time, and perhaps we’ll begin to see Strange New Worlds bridging the gap between the Discovery era and The Original Series a bit more. I don’t want the show to go overboard with TOS characters and storylines, though! If Section 31 is what I’m kind of expecting it to be, then Strange New Worlds will undoubtedly be the highlight of the year for this old Trekkie!

TV Show #4:
The Rig

Promo poster for The Rig showing several main characters. Cropped.

I enjoyed the first season of The Rig a couple of years ago, and it ended on a cliffhanger! It seemed for a moment as if Amazon wouldn’t greenlight a second season – but they belatedly did, and Season 2 will premiere literally tomorrow! So I guess we won’t have to wait long to see if The Rig’s second season will be as good as its first.

I noted elements of films like The Thing and The Abyss in the show’s first season, and I’m genuinely curious to see the next part of its sci-fi/fantasy storyline unfold. Some parts of The Rig could be a little heavy-handed with its environmentalist messaging – which is ironic, as the show is produced by Amazon, one of the biggest emitters on the planet! – so I hope that can be toned down a little this time. Still, I’m pleased that a second season has been made, and I shall be tuning in tomorrow!

TV Show #5:
Spider-Noir

Promo artwork of Spider-Noir (the comic book version of the character).

Nicolas Cage starring as Spider-Man in a film noir-inspired story? That sounds great… doesn’t it? Spider-Noir is set in an alternate timeline, one in which Spider-Man is semi-retired and down on his luck. It’s set in the 1930s, and I think we can expect a lot of references to old detective movies and black-and-white crime dramas!

I like Nicolas Cage’s work, and to be honest I think he’s well-cast here. Spider-Noir also sounds like something a bit different in a superhero genre that can be repetitive and stale, which is something I definitely appreciate. At time of writing I don’t think filming has wrapped, so Spider-Noir most likely won’t premiere until later in the year. Still, one to keep an eye on!

TV Show #6:
Zero Day

Promo photo for Zero Day showing two characters in the Oval Office.

Zero Day has an interesting premise: a devastating cyber-attack takes place. The series is billed as a “political thriller” looking at the aftermath of this attack, the conspiracy around it, and the government’s response to it. I feel echoes of British thriller Cobra, from a few years ago, which looked at the UK government and Prime Minister in the aftermath of a natural disaster.

Starring Robert de Niro, Joan Allen, and Angela Bassett, and with Eric Newman of Narcos serving as showrunner, I think there’s a huge amount of potential in Zero Day. I love a good political thriller, and Zero Day could be a timely and modern examination of the government at a moment of crisis.

TV Show #7:
The Terror: Devil in Silver

Promo graphic for The Terror: Devil in Silver showing the season's logo.

The Terror has had two wonderful seasons under its belt – but with lower viewership for Season 2, it seemed for a time as if AMC had killed off the nascent anthology series. But The Terror is back in 2025, this time based on the novel The Devil in Silver, and set at a suitably creepy asylum!

The novel (which I admit I haven’t read) sees a man committed to an asylum, where he discovers that one of the other patients may be demonic – or even the devil. Stories about demons and supernatural things usually scare me, so I think The Terror: Devil in Silver might be perfect Halloween viewing later this year!

Video Game #1:
Civilization VII

Promo screenshot of Civilization VII showing tanks and planes in the game world.

Civilization VI is my most-played game of the last few years. I picked it up in 2016 and I’ve sunk hundreds of hours into it since then. So the next entry in this long-running series is definitely on my radar! I admit that I’m not fully sold on the game’s “change civilisation and leader” mechanic – not yet, anyway. It feels like a bit of a rip-off from 2021’s Humankind rather than something that the Civilization series developed on its own. But I’d love to be proven wrong about that!

There will be other changes and improvements, and it will probably take a while for me to adjust! Civilization VII might be the kind of game that’s best picked up a year or more after its launch, as there will have been time for rebalancing and fixing problems… but I daresay I’ll be ready to jump in on day one!

Video Game #2:
Tokyo Xtreme Racer

Promo screenshot for Tokyo Xtreme Racer (2025) showing an empty highway.

I did not have a revival of the Dreamcast-era racing game Tokyo Xtreme Racer on my bingo card… but here we are! Apparently Tokyo Xtreme Racer will be returning, and I’m not sure what to expect, to be honest! This feels like a game that could go either way; I was excited for Test Drive Unlimited’s return in 2024 but it turned out to be a bust… so this is definitely a “wait and see” rather than a “buy on day one” kind of game.

That being said, if Tokyo Xtreme Racer is the kind of old-school throwback that its name suggests, it could be a really fun experience – and something a little different. I’ll be following its progress and hopefully checking it out for myself later in the year.

Video Game #3:
Locomoto

Promo screenshot for Locomoto showing a train.

A game that brings together the kind of cozy gameplay that I’ve come to love with… a train? That sounds perfect! Locomoto bills itself as a “cozy life-sim adventure set on a train,” and I’m intrigued by the idea. Customising and decking out my very own train, meeting the passengers, and setting off on a journey just sounds whimsical and magical!

The art style and use of animal characters is giving Locomoto an Animal Crossing kind of vibe, and I’m definitely okay with that! I love the idea of having that kind of gameplay set on a moving train, and I’m hopeful that Locomoto will be a gentle but fun adventure.

Video Game #4:
Atomfall

Promo screenshot of Atomfall showing a bearded man with a gun, a cast iron signpost, and a house.

Atomfall is “British Fallout,” or at least that’s the idea! An open nuclear-ravaged wasteland to explore with post-apocalyptic monsters to battle… but this time it’s set in England’s Lake District! I love the idea, and while I think the Fallout comparison may end up setting expectations a little too high for some folks, I’m still hopeful that Atomfall will be able to deliver an engaging adventure.

Being able to explore a virtual world based on places I remember actually visiting will be a lot of fun; there aren’t that many games set in the UK, when you think about it, so Atomfall will stand out from the pack in that sense. The first trailer for the game looked solid, and there’s plenty of time to give Atomfall some polish if needed.

Video Game #5:
Winter Burrow

Promo screenshot of Winter Burrow showing the craft/cooking menu.

Another self-described “cozy game,” Winter Burrow sees players take on the role of a mouse restoring their family’s burrow. The game promises baking, knitting, decorating, and all of the things you’d expect – while also having some “survival” elements. I really love the animated art style that I’ve seen in promotional material – it reminds me of cartoons like The Animals of Farthing Wood.

Combining a hand-drawn style with some potentially complex crafting, and hopefully with a lot of aesthetic and decorative options… I really think that Winter Burrow could be a ton of fun this year. I’m trying not to get overly excited… but this really does look like it’s gonna be a time-sink for me!

Video Game #6:
Avowed

Promo image for Avowed showing a large glowing mushroom.

Avowed is an action RPG in a fantasy setting, crafted by Obsidian Entertainment. Aside from the excellent Knights of the Old Republic II, Obsidian has also made The Outer Worlds and Fallout: New Vegas, both of which got rave reviews. Avowed will be set in the same universe as the Pillars of Eternity series, so there’s established lore to work with.

I gotta say that all things considered, Avowed looks like it’s shaping up to be a fun time. There’s a studio with pedigree behind it, and the teasers and trailers have looked fantastic. A lot of players have been comparing the way the game looks to Bethesda’s Elder Scrolls series – but hopefully Avowed will bring some improvements to the table!

Video Game #7:
Crimson Desert

Promo screenshot for Crimson Desert showing a character on horseback overlooking a lake or bay.

I feel a little sceptical about any game that seems to be promising the moon… so time will tell whether Crimson Desert can really live up to the hype it’s already beginning to generate. I’m also not entirely sure that a game that has already been delayed by over a year will actually launch in “late 2025” as currently planned, but again time will tell!

According to a lot of players, Black Desert Online – the game upon which Crimson Desert was originally based – has one of the best character creators ever, so I’d love to see that in Crimson Desert, too. The scale of the game’s open world has also been talked up, and as long as there’s enough content relative to the size of the map, that’s a mark in its favour. I’ll definitely take a look at the reviews before I jump in… but there are reasons to be hopeful!

So that’s it!

Stock photo of a woman holding a television remote while eating popcorn.
We’ll look like this in 2025!

We’ve picked seven games, seven TV shows, and seven films that I think will be worth checking out between now and Christmas. Some are arriving this month, others not until later in the year.

Usually I’d say my most-anticipated film or show would be anything Star Trek – and Strange New Worlds’ new season should be great, for sure. I’m less sold on Section 31, though, and I think there are some other upcoming projects that look great. If I had to pick just one – which is nigh-on impossible – I guess I’d say Phineas and Ferb’s revival is at the top of my list.

Still frame from Phineas and Ferb Season 4 showing the brothers under a tree in their back yard.
Phineas and Ferb is coming back this year.

Once again, let me wish you a happy new year! I hope that 2025 has some fun entertainment experiences in store for all of us, and moreover that it’ll be a great year. Whatever your goal might be for the year or your new year’s resolution, I hope you achieve it. And I hope that this list has given you something to think about and maybe even look forward to!

As for me, I’ve got some tidying up to do! And I’ve got to finish taking down the Christmas lights and pack them away for another year. January can feel like a bare month, sometimes, with empty spaces left over when all the decorations come down. But at least we have some films, games, and TV shows to look forward to, eh?

I hope you have a great start to 2025, and please join me as the year rolls on for more reviews, commentary, and geeking out!


All titles mentioned above are the copyright of their respective studio, publisher, distributor, broadcaster, etc. Some photos and promotional art courtesy of IMDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

The Official* Star Wars Tier List

A spoiler warning graphic.

Spoiler Warning: There are spoilers ahead for practically the entire Star Wars franchise.

I don’t know who first came up with the format, but I really like the way tier lists work. Instead of trying to rank every film or episode in a series in perfect order, we can just give them a grade – which is a nice and easy way of expressing how we feel! So today, I thought it could be fun to make The Official* Star Wars Tier List… of all the shows and films that I’ve seen, at any rate.

I first came to Star Wars in the early 1990s, when I watched the original trilogy at the insistence of a schoolfriend. He had just bought the films on VHS, and even though I’d been getting into sci-fi with TV shows Star Trek: The Next Generation, Space 1999, Captain Scarlet and the Mysterons, and films like Flight of the Navigator, E.T., and Back to the Future, somehow Star Wars had completely passed me by. I might’ve seen a few toys in the shops, but that was all. I grew up in a rural part of England in the ’80s and ’90s – but I was too young to have seen any of the Star Wars films at the cinema, so I just hadn’t engaged with the franchise at all.

The Star Wars trilogy on VHS on a starry background.
I first watched the Star Wars trilogy on VHS in the early ’90s.

I was aware of the Star Trek-versus-Star Wars rivalry that fans at the time were still battling out, and as such I recall being unimpressed with Star Wars on that very first viewing. I felt it was somehow in opposition to “my” fandom – Star Trek: The Next Generation – and that some of its storylines were pretty basic and violent compared to what I guess I considered to be the more sophisticated and “grown-up” Star Trek. But that attitude didn’t last long – and after watching the films a couple more times and playing Super Star Wars on the SNES, as well as spending more time with my Star Wars-loving chum, I was officially a convert! I was a Star Wars fan!

And a Star Wars fan I remain to this day – even if I haven’t loved everything that the franchise has put out in the thirty-plus years I’ve been following it. But that’s a brief summary of my history with Star Wars to give you a bit of background as we put this tier list together.

A blank tier list.
Let’s fill out this tier list together!

Before we jump into the list, a couple of important caveats. As I always say, all of this is the entirely subjective opinion of just one fan. If you hate all of my rankings, if I put a film you hate way too high, or a series you adore way too low… that’s okay! Nothing about this is in any way “objective,” and while I will try to justify my rankings and explain why I placed each production in its tier, you are free to disagree vehemently. There should be enough room in the Star Wars fan community for civil discussion and polite disagreement.

Secondly, I will be ranking a number of Star Wars films, television shows, and – perhaps somewhat controversially – video games. I don’t know about you, but speaking for myself some of the best Star Wars stories have come from interactive media, and there are a couple of Star Wars games that I genuinely believe surpass the films and TV shows in terms of the quality of their storytelling, characterisation, and so on. It wouldn’t feel right to exclude those stories from this tier list… so I’m not!

Lego Star Wars minifigures.
We won’t be including every single Star Wars production this time!

Finally, I won’t be including any production that I haven’t seen for myself. What would be the point in pretending to rank a series or film I haven’t seen, after all? At the end I’ll make a note of these, but for reasons that I hope are obvious they aren’t going on the list.

I will be giving each Star Wars production one of the following grades: S, A, B, C, D, and F. These work like grades you might remember from school: F-tier is reserved for the worst of the worst, D-tier is pretty bad but a step up, C-tier is mediocre but not terrible, B-tier is generally good, A-tier is pretty great, and S-tier is the absolute cream of the crop! I will rank each production that I’ve seen/played in release order, beginning with the original Star Wars in 1977 and going through to 2024’s The Acolyte – which is the most recent Star Wars production at time of writing.

Phew! With all of that out of the way, let’s jump into the list.

Star Wars
(Episode IV: A New Hope)
1977
Tier: A

Still frame from Star Wars (1977) showing the main characters aboard the Millennium Falcon.

I think we have to rank the original Star Wars pretty highly, right? This is the film that created the entire franchise; without it, Star Wars wouldn’t exist. It introduced us to some great characters, established a setting that was crying out to be expanded upon, and above all told a really engaging story about the Rebel Alliance, the evil Empire, and a young man caught in the middle of it all. Luke Skywalker is a wonderful protagonist, point-of-view character, and introduction to this world.

The Death Star trench run has become iconic, as have the designs of ships like the X-Wing and Millennium Falcon. The characters of Ben Kenobi, Princess Leia, and Han Solo all felt like they had their own personalities and motivations, seeming to be real people inhabiting this fictional setting. The villainous duo of Darth Vader and Grand Moff Tarkin had weight, meaning our heroes felt like they were in constant danger. All in all, a wonderful start to the franchise and a film I’m always happy to revisit.

Episode V: The Empire Strikes Back
1980
Tier: S

Still frame from The Empire Strikes Back (1980) showing Luke Skywalker's crashed X-Wing.

I’m not alone in considering The Empire Strikes Back to be Star Wars’ high-water mark, and I think you’ll see it right at the top of many folks’ ranked lists! And it’s easy to see why: this is a fantastic film. The opening scenes on Hoth set the tone for a story where the villains are on the march, and everything our heroes accomplished last time is at risk of being undone. Luke is able to follow in his father’s footsteps and pick up his Jedi training with the absolutely iconic Yoda, while Han and Leia are betrayed on Cloud City.

The Empire Strikes Back also contains one of the most iconic scenes in all of cinema: when Luke finds out that Darth Vader is his father. This was a pretty shocking twist, and one that reframed much of the story. Lightsaber duelling stepped up about ten notches in this film, and we were also introduced – albeit briefly – to Darth Vader’s master: the Emperor. Iconic designs like the AT-AT and Snowspeeder debuted here, and the Battle of Hoth is still one of the most tense and exciting that the franchise has ever produced. No doubt that The Empire Strikes Back is a top-tier Star Wars production.

Episode VI: Return of the Jedi
1983
Tier: C

Still frame from Return of the Jedi (1983) showing Princess Leia holding a blaster.

On that first viewing of the Star Wars films that I told you about, my friend’s father insisted that Return of the Jedi was a crap film and a poor way for the trilogy to end. And this was not an uncommon view at the time: a second Death Star already feels pretty derivative, the conflict at Jabba’s palace drags on too long, and the Ewoks were an army of teddy bears that disrupted the Emperor’s carefully-laid plans! I wouldn’t say Return of the Jedi is “bad,” but I would say it’s nowhere near as good as its predecessors.

Return of the Jedi also retconned the relationship between Luke and Leia. I maintain that this decision was a mistake, one that’s been compounded by subsequent productions. Having Luke be Vader’s son was a shocking twist that worked; having Leia be Luke’s sister was an attempt to replicate that… but it didn’t live up to what had come before and doesn’t make a ton of sense, either. Return of the Jedi is also the film that introduced “from a certain point of view;” an overly complicated work of semantic gymnastics to justify the retcon in The Empire Strikes Back – and something that was not only entirely unnecessary, but that has also proven damaging to other stories as the franchise has doubled-down.

The Super Star Wars trilogy
1992-1994
Tier: B

Box art for the SNES game Super Star Wars.

The first part of this trio of SNES games was my first introduction to Star Wars in the video game realm – and it was a lot of fun. These games are challenging 2D platformers, and they don’t always succeed at faithfully adapting the story of the films! In order to make some Star Wars scenes and settings fit the 2D platforming mould, some pretty big liberties were taken and the games diverge from those stories in a significant way. However, there’s plenty of enjoyment to be had jumping and blasting your way across a variety of Star Wars environments… or at least there was in the early ’90s!

X-Wing and TIE Fighter
1993/1994
Tier: B

Screenshot of TIE Fighter (1994) showing a space battle.

Although undeniably dated by today’s standards, I loved playing TIE Fighter in the mid-90s. I didn’t go back to play X-Wing for several years (I didn’t own a copy at the time), but when I did I enjoyed that game, too. Both of these titles really let players feel like they were genuine starfighter pilots in a galaxy far away – even more so if you played with a joystick! These games were tremendous fun… but also pretty difficult! I imagine returning to them nowadays would be pretty hard, and I admit that I’m definitely cruising on my gamer nostalgia here!

Shadows of the Empire
1996
Tier: A

Box art for Shadows of the Empire (1996).

Shadows of the Empire was one of the first games I bought after getting a Nintendo 64 for Christmas in 1997, and I had a blast going on my very own Star Wars adventure. Shadows of the Empire introduced a brand-new character – Dash Rendar – and dropped him into the story of The Empire Strikes Back. After playing through the Battle of Hoth, Dash has his own adjacent adventure that sees him team up with all of the heroes of the original trilogy while battling against the likes of Boba Fett and IG-88.

This was the first game to really give me the sense of being part of the Star Wars galaxy on my own terms, and I think that’s because of how well-written Dash is as a protagonist. He feels like a real character with his own story to tell, and unlike in games like Super Star Wars, where you’d play as Luke and other characters, introducing someone brand-new really expanded the story. It was a ton of fun to go on this adventure through some wonderfully diverse levels – and the combination of gameplay in space and on the ground was neat, too.

Rogue Squadron
1998
Tier: B

Screenshot from Rogue Squadron (1998) showing an X-Wing.

Another classic from the Nintendo 64, Rogue Squadron felt like a huge step up from TIE Fighter thanks to its 3D models and more diverse levels. It was also a lot easier than those other titles, with a better control scheme and more forgiving gameplay. There were also different spaceships to pilot: the X-Wing, of course, but also the A-Wing, Y-Wing, and Snowspeeder, each of which had different weapons that could be useful in different missions.

Episode I: The Phantom Menace
1999
Tier: F

Still frame from The Phantom Menace (1999) showing the pod race.

I went back and forth on this, trying to decide if The Phantom Menace does enough to scrape its way into D-tier. But unfortunately it doesn’t, and the film remains one of the low points of the Star Wars franchise for me. I remember the buzz and excitement The Phantom Menace generated on its release in cinemas… and I also remember the controversy and disappointment it caused.

I’ve addressed this before, but the short version is that The Phantom Menace kick-started a story that just didn’t need to be told. We knew everything we needed to know about Anakin, Palpatine, and Obi-Wan Kenobi from the original trilogy, and seeing the rise and fall of Anakin Skywalker just wasn’t necessary. The Phantom Menace also contained some poorly-written dialogue, a convoluted storyline, some questionable character inclusions, and more. However, I will give the film credit for successfully bringing a whole new generation of Star Wars fans on board – and that, more so than anything else, was its objective.

Episode I: Jedi Power Battles
2000
Tier: B

Screenshot of Jedi Power Battles (2000) showing a Jedi fighting battle droids.

Although less well-remembered than Episode I: Racer these days, Jedi Power Battles was a surprisingly fun action-platformer. The film it was based on may have been a disappointment, but Jedi Power Battles turned out to be a genuinely good time. I picked it up on the Dreamcast, and playing it co-op with a friend on the couch was a lot of fun (especially after a few drinks!)

Jedi Power Battles expanded the roster of characters, with some minor and background Jedi from the film becoming playable. As with Shadows of the Empire above, taking on different roles and playing as new and unknown characters felt pretty good, and the additional characters played well with the game’s expanded story. All in all, a fun romp – albeit held back by the source material’s weak story.

Episode II: Attack of the Clones
2002
Tier: D

Still frame from Attack of the Clones (2002) showing the CGI clone army.

Attack of the Clones was Star Wars’ chance to redeem itself after The Phantom Menace… and if that was its objective, the film failed miserably. The writing and dialogue could be shockingly bad (“I don’t like sand,” anyone?) and the film’s overreliance on green screens and CGI that just wasn’t at the level it needed to be has meant it’s aged incredibly poorly. Seriously: the original trilogy, made more than two decades earlier, looks a heck of a lot better than Attack of the Clones, which looks like a Dreamcast-era cut-scene in places.

Attack of the Clones also continued Star Wars’ annoying trend of making every major and minor character related to someone else. In this case we meet Jango Fett – father of Boba Fett and the “template” for the Kaminoans’ clone army. I like watching Palpatine’s scheme unfold, and Count Dooku – played by the late great Christopher Lee – is a fine addition as a villain. But overall, the film still struggles. Attack of the Clones also has characters and story beats that were either set up or expanded upon in comics or other spin-off media, and this left it feeling somewhat incomplete when the credits rolled.

Knights of the Old Republic
2003
Tier: A

Concept art for Knights of the Old Republic showing Darth Malak.

Now we’re getting somewhere! Knights of the Old Republic helped me to fall in love with Star Wars all over again and put the disappointment of the first two prequel films to bed. There are prequel-era references throughout, of course, but KOtoR told a story that stood on its own two feet, fully separate from the characters of both the original films and prequels for the very first time. I absolutely adored this adventure, and creating my own character and taking them across the galaxy was just fantastic.

KOtoR’s innovative light side-dark side system was a blast, giving the game more replayability. The companion characters and villains were all absolutely incredible, and the variety of levels and missions on offer was outstanding, too. And the twist! I genuinely did not see the game’s big revelation coming until almost the last second, and when it was revealed I can vividly remember sitting on my couch, holding my Xbox control pad with my mouth just hanging open in shock. After the Vader-Luke reveal in The Empire Strikes Back, KOtoR’s twist is the best the franchise has ever pulled off.

Knights of the Old Republic II: The Sith Lords
2004
Tier: S

Screenshot from Knights of the Old Republic II showing a Quarren character.

As great as the first KOtoR had been, its sequel was even better. Despite being a rushed game with some content having to be cut, the story is just absolutely phenomenal, with stunning planets to visit, a war-torn protagonist still suffering the effects of their service and choices they made, and a stellar cast of secondary characters who all feel like real people. My Star Wars love is Visas Marr, by the way, and her arc from Sith assassin to Jedi apprentice is one of the best and most touching in any Star Wars production to date.

There are some wonderful set-pieces in KOtoR II, as the Jedi Exile travels the galaxy in search of the few remaining Jedi Knights and the Sith Lords who had been hunting them. Boss fights against these Sith – and the final climactic fight against Darth Traya – are tense and a ton of fun, and the game’s story is gripping from start to finish. Twenty years later and I’d still love nothing more than to get a proper sequel to this game.

Battlefront and Battlefront II
2004-2005
Tier: B

Screenshot from Battlefront II (2005) showing a Stormtrooper engaging Rebel soldiers.

The original Battlefront games – before EA sunk its money-tainted claws into the series – were great fun. I’m not really a multiplayer gamer, and I like games with strong narratives first and foremost, but there was a lot of enjoyment to get from both of these games. Even the levels focused on the prequel trilogy were solid, and fighting wave after wave of enemy soldiers was something that most games at the time didn’t offer – not like this, at any rate.

In multiplayer was where Battlefront and Battlefront II really excelled, though, and if you could find three friends to play with on the couch, you were definitely in for a fun night!

Episode III: Revenge of the Sith
2005
Tier: C

Still frame from Revenge of the Sith (2005) showing Anakin Skywalker in a hooded robe.

The final part of the prequel trilogy went some way to redeeming the story, and was certainly a cut above what had come before. There are still issues with visuals and CGI as well as some clumsily-written dialogue, but there are also some tense and exciting moments as the Jedi Order falls and Anakin loses himself to the dark side. The main lightsaber duel between Anakin and Obi-Wan runs way too long for me, but other fights earlier in the film – including against Grievous and Count Dooku – were pretty great.

A critic far smarter than I am once suggested that an extended Revenge of the Sith could have replaced the prequel trilogy, and I don’t think that’s a bad idea on the whole. There would’ve been more time for Anakin’s premonitions and slide to darkness to be shown, and for Palpatine’s manipulation of the situation to play out. All in all, though, Revenge of the Sith may not be perfect, but it’s by far the best part of the prequel trilogy.

Lego Star Wars: The Complete Saga
2007
Tier: A

Screenshot of Lego Star Wars: The Complete Saga (2007) showing two characters on Tatooine.

I wasn’t sure whether to include this game, but it’s a ton of fun so why not? This compilation brought together the two earlier Lego Star Wars titles into one package – and with Star Wars apparently complete as a six-film series, it took a comedic romp through the entire story. Lego Star Wars: The Complete Saga was just overstuffed with content – so many characters to unlock, things to collect, and areas of levels that weren’t accessible on a first run. The lack of dialogue and mumbling also made the game feel light-hearted and funny – and after the relative disappointment of the prequel trilogy, putting a different spin on Star Wars to make it fun and entertaining again was just what I needed!

Episode VII: The Force Awakens
2015
Tier: D

Still frame from The Force Awakens (2015) showing Kylo Ren holding a lightsaber to Rey's neck.

In 2015, I adored The Force Awakens. Returning to Star Wars’ “greatest hits” seemed to be just what the doctor ordered as a new era for the franchise got underway. However, with the benefit of hindsight the film’s weaknesses come into full view. The decision to have Luke Skywalker go missing – with no reason for why he’d disappeared being written – was a mistake, and with the death of Han Solo, any chance of reuniting the trio of heroes from the original trilogy was gone. The film is also incredibly derivative to the point of outright copying: a young Force-sensitive person from a desert planet joins a rebellion against a faction of space fascists and helps them blow up a planet-destroying super-weapon. There’s even a “trench run,” for goodness’ sake.

Unfortunately, The Force Awakens was a weak foundation upon which to build the rest of the sequel trilogy, and the decision to allow each writer/director free rein to do whatever they wanted led to a jumbled narrative mess. There were positives in The Force Awakens – the character of Finn, for instance, and his story of defecting from the First Order and overcoming his indoctrination, as well as a story that involved an older Han and Leia reuniting to try to save their son. But there were too many missteps and mistakes – and I just can’t forgive that the film squandered so many of the opportunities that a Star Wars sequel should have had.

Rogue One: A Star Wars Story
2016
Tier: S

Still frame from Rogue One (2016) showing the Death Star being assembled.

I didn’t really have high expectations for Rogue One when I heard about it. A prequel all about stealing the Death Star plans just didn’t sound all that exciting – but I was wrong about that! Jyn Erso made for a wonderful protagonist, and her story took her from being apathetic and sitting on the sidelines to leading the mission that inspired the Rebellion. Cassian Andor was such a great character that he ended up getting his own spin-off. The decision to kill off practically all of the main characters was also incredibly bold for this franchise.

There are so many great moments and sequences in Rogue One that we’d run out of time trying to list them all! The mission to Jedha was incredible, characters like Krennic and Saw Gerrera have become iconic, and while I never felt that the destruction of the Death Star needed an in-universe explanation, learning how it came to be sabotaged was genuinely interesting. An unexpected story that expanded upon the lore of Star Wars in a really fun way.

Episode VIII: The Last Jedi
2017
Tier: A

Still frame from The Force Awakens (2017) showing the Holdo manoeuvre.

The Last Jedi is a great film. It isn’t as great as it wants to be, and there are places where it misses the mark or where its storytelling gets too in-your-face. But it represents a brave attempt to take the franchise in a different direction, far away from the copycat narrative of its predecessor. Some of the things introduced here really work well and expand our understanding of the Star Wars galaxy. I really like the Holdo manoeuvre, for example, and how the film took a look at the galaxy’s mega-rich citizens who are content to sit out the war, knowing that whichever side wins they’ll still come out on top.

Moreover, the film puts two big twists on the story of the sequels. First, Rey turned out not to be descended from a known character. For me, this made her far more interesting and set her up as a protagonist in her own right. Secondly, Kylo rejected any pull to the light side and tried to seize power for himself, setting himself up as the ruler of the First Order. Both of these twists worked exceptionally well… before they were immediately undone in the final instalment of the trilogy.

Solo: A Star Wars Story
2018
Tier: C

Still frame from Solo: A Star Wars Story (2018) showing Lando and Han in the cockpit.

There’s nothing wrong with the main thrust of the plot in Solo: A Star Wars Story… but nothing about the film feels all that special or interesting, either. The story basically doubles down on Star Wars’ prequel problem; we just didn’t need to see this chapter of Han Solo’s life to understand who he is or what his priorities are. We’d already been able to infer all of that from his earlier appearances, and while we learned a bit more about Han in a strictly factual sense… none of that really mattered.

I also loathe the resurrection of the obviously-dead Darth Maul and his insertion into Disney-era canon. Star Wars has continually struggled to let go of characters – even relatively minor and unsuccessful ones – and to see Maul popping up as a “crime lord” of all things was just… ugh. I hated it. The central heist at the film’s core was good enough and there were some solid moments of characterisation. But the film was let down by its fundamental premise.

The Mandalorian
2019-Present
Tier: C

Still frame from The Mandalorian Season 1 (2019) showing the title character knocked down on the ground.

The Mandalorian has some fun scenes and great design elements, introduces some creative new characters, takes us to new worlds, and tells a story that dives deeply into a little-known faction. But for me, The Mandalorian didn’t really hit the mark. Its premise of following “the adventures of a gunslinger beyond the reach of the New Republic” sounded spectacular… but within two episodes the show brought the Force back into play. Things only got worse from there, with Luke Skywalker eventually showing up in person to hammer home that this series can’t escape the clutches of nostalgia.

Worse, though, was the protagonist himself – who seemed, for the first season-and-a-half at least, to have no understandable motivation for doing… anything. Mandy seemed to act at the behest of a room full of TV writers, and it showed, with massive story points like betraying his client to save Baby Yoda coming from nowhere. The series is also too short, with Seasons 1 and 2 barely amounting to the runtime of just one season of television – and sharing two halves of a story that would’ve been a lot better if it had played out in a single season instead of two. Things have improved and the series has grown on me, but I can’t escape the feeling that there’s some wasted potential here.

Jedi: Fallen Order
2019
Tier: A

Screenshot of Jedi: Fallen Order showing the player character sliding down an icy canyon.

I had a great time with Jedi: Fallen Order. After the disappointments of both The Mandalorian and The Rise of Skywalker (which I watched before playing the game), I was glad to see that I hadn’t entirely fallen out of love with Star Wars. Cal’s story of re-establishing his connection to the Force, rediscovering his Jedi side, and going on a rip-roaring adventure across the galaxy was great, and I felt like I was right there with him thanks to some outstanding voice acting and animation work.

Jedi: Fallen Order also gave me what is probably my favourite Star Wars video game moment: piloting an AT-AT! This sequence is one of the best in the game and is just perfectly-paced. There are a few points that come together to deny Fallen Order S-tier status, though: overuse of Super Mario 64′s sliding mechanic, having to both re-play levels and backtrack through them after finishing an objective, and a confusing false choice early in the game all took some of the shine off of what was an otherwise fantastic experience.

Episode IX: The Rise of Skywalker
2019
Tier: F

Still frame from The Rise of Skywalker (2019) showing General Hux wounded.

What an atrocious film. The Rise of Skywalker jumps around, barely spending more than a few seconds per scene, desperately trying to undo the big story points from The Last Jedi. It basically tries to cram two films’ worth of plot into the runtime of a single title, and so many of the storylines it tries to include just fall flat on their face. The clumsy insertion of Palpatine into a story that was never meant to be his not only ruins this film, but manages to make the rest of the sequel trilogy and even the original trilogy feel worse in retrospect.

The Rise of Skywalker betrays or completely misunderstands most of the characters it includes, like Kylo, Rey, and General Hux, undoing key parts of their stories and characterisations. It ignores altogether major characters like Rose and Finn, relegating them to the sidelines and having no idea how to use them. And finally, it contains probably the single worst line of dialogue in the entire Star Wars franchise: “Somehow Palpatine returned.” I don’t like to single out individual writers or creatives for criticism, but I genuinely hope that the people who wrote that line, approved it, and got it into the film never work in the entertainment industry again.

Star Wars Squadrons
2020
Tier: B

Screenshot from the Star Wars Squadrons trailer showing a starfighter cockpit.

Squadrons feels like an updated TIE Fighter or Rogue Squadron – and yes, those are compliments! Thanks to major advances in graphics, sitting in the pilot seat of a starfighter has never looked more beautiful, and the game really succeeds at capturing that sensation in a way few titles ever have. Narratively there wasn’t a lot to say, but the story was worth following to its conclusion, and the side characters were solid in their own ways. I haven’t fired up Squadrons for a while, but I really should jump back in and have another go – it really is the best Star Wars simulator out there right now.

The Disney+ Lego Star Wars Specials
2020-Present
Tier: A

Still frame from The Lego Star Wars Holiday Special showing the main characters and a Christmas tree.

There have been three Lego Star Wars specials made for Disney+ at time of writing – though a fourth is arriving imminently. And all of them have been great fun! I like the less serious tone of these specials, and how each one so far has had a seasonal theme. Terrifying Tales also did more to give backstory to Ben Solo and the Knights of Ren than the entire sequel trilogy had done, and it was quite cathartic to see that!

Star Wars shouldn’t be taken too seriously all the time, and these Lego specials really lean into the more fun, light-hearted, and casual side of the franchise. At the end of the day, Star Wars is supposed to be entertaining – and if there’s one thing I can say about the Lego Star Wars specials it’s that they absolutely entertained me!

The Book of Boba Fett
2021
Tier: A

Still frame from The Book of Boba Fett showing the famous "like a bantha" scene.

I really did not expect to like The Book of Boba Fett. Boba himself always felt like a non-entity to me; a minor character elevated, somehow, through high sales of his action figure, but who did nothing of consequence in the original films and who died incredibly easily in his only big fight! The series also had a huge hurdle to overcome: how did Boba survive dying in Return of the Jedi? I wouldn’t have chosen to greenlight The Book of Boba Fett if I’d been in charge!

But I was wrong, and I found a surprisingly entertaining series with heart. Boba’s adventure on Tatooine was just plain fun in a way that I really hadn’t been expecting, and this miniseries about a character I’d always been underwhelmed by was much, much better than I could have expected. It wasn’t perfect, of course, and in some ways it felt closer to The Mandalorian Season 3 than a standalone project. But I had fun with The Book of Boba Fett for what it was, and I enjoyed its contribution to the Star Wars galaxy.

Obi-Wan Kenobi
2022
Tier: F

Still frame from Obi-Wan Kenobi showing an Inquisitor and a large group of Stormtroopers.

Obi-Wan Kenobi has done the impossible: it has eclipsed both The Phantom Menace and The Rise of Skywalker to become my least-favourite Star Wars project of all time. The series was already going to tell the least-interesting chapter in Obi-Wan’s life, but it ended up completely ruining his character and undermining one of the most powerful moments in A New Hope. It’s the textbook example of why prequels and mid-quels have to be handled with care, and honestly I could write a book about all the things this series got wrong.

In principle, the idea of Obi-Wan leaving Tatooine to rescue Leia could have worked, but it would’ve needed to be a completely different story, one that kept Darth Vader completely out of it. Bringing back Vader for yet more lightsaber duelling with Obi-Wan just felt desperate and tacky, and the entire series fell apart. It was unnecessary in the first place, poorly-written, and with a central premise that completely undermines Ben Kenobi’s role in A New Hope.

Jedi: Survivor
2023
Tier: D

Screenshot from Jedi: Survivor showing a customised Cal Kestis.

I was properly excited to get a sequel to Fallen Order and to get back out in the Star Wars galaxy with Cal and the crew of the Stinger Mantis. But the story Jedi: Survivor told was pretty weak and convoluted by comparison. The sheer randomness of parts of the story – like Greez just accidentally building his cantina atop ancient Jedi ruins – went a long way to undermining it, the surprise return of Master Cordova completely fell flat, an ancient Jedi sealed in a bacta tank for centuries was kind of silly, and a “lost” planet that no one could reach just felt like a boring macguffin. Fallen Order gave Cal a quest that I could follow and that seemed to flow naturally from point to point. Survivor felt much more artificial and constructed.

The game was also let down, in my view, by a reliance on open-world level design that just didn’t fit the story. The supposedly hidden, off-the-beaten-path settlement of Ramblers Reach was located a stone’s throw from two huge Imperial bases and the headquarters of a pirate warlord, and the Jedi outpost on Jedha was walking distance from two massively important areas, too. And of course, there was a traitor in Cal’s group who was so incredibly obvious from his first second on screen that he might as well have had the words “secret bad guy” tattooed across his forehead. The game being released way too early while unfinished and full of glitches didn’t help matters, either.

The Acolyte
2024
Tier: B

Cropped promo poster for The Acolyte.

So we come to The Acolyte – the latest Star Wars series at time of writing! Although it proved to be controversial, I generally liked what I saw in this one-and-done series. Stepping away from the “Skywalker saga” to tell a story in a different time period is something I’d been wanting to see on the big or small screen for a long time, and a focus on the Sith was also something interesting. I don’t think The Acolyte hit all of the high notes it was aiming for, but it was decent nevertheless.

If Star Wars is going to survive long-term, stepping away from familiar characters and the time period of the Empire will be necessary, and The Acolyte is the franchise’s first real attempt to do so. That is admirable, even if it comes a bit late in the day! The story also framed the Jedi Order in somewhat of a negative way, showing how it can fall prey to internal politicking, emotion, and disagreement – all of which were themes that were present in the prequel and sequel trilogies.

So that’s it!

Still frame from Star Wars (1977) showing Old Ben Kenobi.
It’s Old Ben Kenobi!

I’m pretty sure that those are all of the Star Wars films, games, and TV shows that I’ve spent enough time with to place on this list. You’ll note some absences: the animated Star Wars shows of the 2000s/2010s, as well as Andor, Ahsoka, and the Force Unleashed games, to name but a few. I haven’t watched or played everything in the Star Wars franchise – and I probably won’t get around to all of them. That’s why they’re not part of this list.

Let’s take a look at how the final tier list looks:

A tier list showing various Star Wars productions.
You can open this image in a new tab if you want a closer look!

Putting this tier list together has been great fun, and it’s been interesting to revisit some of these Star Wars projects. It’s been a long time since I so much as thought about the TIE Fighter game, and I haven’t re-watched the likes of The Mandalorian Season 1 since it premiered, so going back to them has certainly been something different.

I hope none of these opinions proved to be too controversial! At the end of the day, I’m a Star Wars fan – but I don’t enjoy every single thing that has been produced for the franchise. Still, whether we agree or disagree on what the highlights are, I think you can see that there are more positives than negatives in this wonderful space epic!

All that remains to say is this: May the Force be with you! And I hope you’ll check back soon for more Star Wars discussion here on Trekking with Dennis.


*Obviously this list is not official in any way. The title is a joke!

Most films and TV shows in the Star Wars franchise can be streamed on Disney+ or purchased on DVD, Blu-ray, or digitally. Some games discussed above are out-of-print, others may be available on PC, Xbox, PlayStation, and/or Nintendo consoles. The Star Wars franchise – including all films, games, and television shows discussed above – is the copyright of Lucasfilm and The Walt Disney Company. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Oops, I forgot that Avatar 2 existed…

So, uh… yeah. Avatar 2. Or to give it its proper title Avatar: The Way of Water. It’s a film. It was released almost a year ago. I was planning to write a review of it. And I completely forgot that it existed until a couple of days ago.

The growing Avatar series – which will soon include a big-budget video game adaptation along with two films – has all of the elements of what should be a successful multimedia franchise. The original film was a Best Picture nominee at the Academy Awards, director James Cameron has incredible pedigree as a filmmaker, the world of Avatar is visually gorgeous, a lot of effort has gone into constructing things like a full-blown Na’vi language, and it’s backed up by the almost limitless budget of the Walt Disney Company. So… why is Avatar still so incredibly forgettable?

A promotional poster for Avatar: The Way of Water showing the film's main characters.
I forgot all about Avatar until now…

I didn’t hate or even dislike The Way of Water. For the three-plus hours that it lasted, I had a decent time with the film. It was a swashbuckling sci-fi adventure; a blockbuster worthy of the title that transported me to a faraway planet and a sci-fi future that was entertaining to see. But as the credits rolled I just… switched off. The Way of Water, like its predecessor before it, didn’t leave a lasting impression.

And for a series backed up by Disney’s money, turning a massive profit at the box office, with a new video game adaptation and an expensive theme park attraction… I just don’t get it. Why is Avatar – to use some Gen Z lingo – so “mid?” Why do I find myself caring so little about The Way of Water that I literally forgot it existed? And why isn’t the series making an impact on our collective cultural conversation?

A section of the themed Avatar land at Walt Disney World.
A section of the themed Avatar land at Walt Disney World.
Image Credit: Avatar/Walt Disney World

Although I’m not the most active person online or on social media, I follow a bunch of websites, blogs, and channels that talk about the same kind of things I enjoy discussing here on my website: sci-fi, pop culture, cinema, and geeky entertainment topics. But since The Way of Water was in cinemas, none of them have so much as mentioned the series. If anyone had been talking about it, perhaps I wouldn’t have completely forgotten about Avatar this year.

For a film that made so much money – The Way of Water is currently the third-highest-grossing film of all time, behind only the first Avatar and Avengers Endgame – it’s so strange to be talking about it in this way. A huge audience clearly turned up for The Way of Water… but within weeks it was all but forgotten. I don’t expect to see it winning any of the big awards, which isn’t a slight against it; there’s a lot of competition. But for a film that aims to really kick-start a wider connected universe, I’m just not sure how successful The Way of Water can have been when it’s dropped off the face of the earth so readily.

Director James Cameron with the stars of Avatar: The Way of Water at the film's premiere.
Director James Cameron with the stars of Avatar: The Way of Water at the film’s premiere.

There is absolutely room for a new sci-fi franchise, especially under the Disney umbrella. Marvel and Star Wars are both seeming to stumble and falter, and the MCU is perhaps coming to the end of its life in its current iteration. There’s definitely space for another multimedia “shared universe” to come along. Avatar should be in prime position to occupy that kind of slot… but if it can’t offer something memorable, something for fans and audiences to retain and keep in mind after the credits have rolled, then it won’t even come close. Realistically, Avatar should be challenging Star Wars, Star Trek, DC Comics, and even Marvel in the upper tiers of sci-fi cinema. But right now, it doesn’t feel anywhere close.

Although we can lay part of the blame for this, in theory, on the long gap between the original Avatar and this new sequel – twelve years is a long time to wait, after all – I don’t think that’s a fair explanation. The original Avatar, as I’ve noted in the past, was not an especially memorable film either, and the universe that it attempted to create felt limited to the characters and story that unfolded on screen. I’ve never really gotten the sense from Avatar that there was more to the world of Pandora or to this futuristic depiction of Earth and humanity that I needed to see explored. In fact, I could’ve lived a happy life without ever seeing a single sequel to Avatar – let alone four.

A Na'vi and human character sharing a boat in a still frame from Avatar: The Way of Water.
Boating across Pandora…

So is The Way of Water “unnecessary,” then? That seems a bit harsh! The ending of the first film left the door open to a sequel or spin-off, and it’s worth acknowledging that. But the story was also one that we could’ve considered complete; I never felt that Avatar was crying out for either a direct sequel or for more stories set in this world. “Unnecessary” might be overstating it… but I’d certainly say that I wasn’t champing at the bit for The Way of Water.

All of that could’ve been irrelevant if The Way of Water had been more memorable. I may not have been desperate to see a sequel, but I’m always up for watching a good film, so the “necessity” or otherwise of The Way of Water wouldn’t have mattered if the film itself had something to say. For all of the money invested in it, though, and for all of the technical achievements that James Cameron and his team brought to the table in terms of the way it was created, The Way of Water just didn’t leave a lasting impression. In fact, I don’t feel that the Avatar series or franchise has really made much progress with this instalment – at least in terms of cultural relevance and its potential place in the upper echelons of sci-fi.

A futuristic "rotorwing" helicopter as seen in Avatar: The Way of Water.
A rotorwing aircraft.

And because of that, The Way of Water can feel… forced. If there was no organic groundswell of public opinion craving a sequel – no letter-writing campaign like there had been for Star Trek, no “expanded universe” of comics and novels like Star Wars created, and no real Avatar fan community in general – why was it even made? The very existence of the film – and the upcoming video game adaptation, too – feels very “corporate,” as if a group of executives have decreed that “Avatar is to be the next big thing,” without really understanding what makes a series popular and beloved to begin with – let alone failing to acknowledge that such things can never be manufactured.

For me, The Way of Water sits somewhere alongside films like the original Pirates of the Caribbean or the Indiana Jones trilogy. It was perfectly entertaining popcorn blockbuster fare… but nothing more than that. Unlike with Star Trek, Star Wars, or other top-tier franchises, I don’t have a desire to see more, to explore the universe that the film created, or to really spend much more time in its world. And if that was the ambition behind the Avatar series – to create a succession of one-and-done popcorn action flicks – then I’d say it was doing just fine. But when there’s clearly a corporate aim to push Avatar to something greater… I can’t help but feel that it isn’t meeting its goals, at least not in its current form.

Promotional artwork for Avatar: The Way of Water showing three Na'vi flying over the ocean.
Promo art for The Way of Water.
Image Credit: Avatar on Facebook

Part of the problem is originality. The world of Avatar doesn’t really have anything unique to help it stand out. The blue-skinned Na’vi are the closest it gets, but even then, the CGI-heavy aliens easily blend into a lineup of other humanoid races from other sci-fi properties. The rest of the aesthetic of Avatar is pretty generic, with spaceships, weapons, costumes, and technology that doesn’t really stand out when compared to more successful sci-fi properties.

A lot of Avatar just gets lost in the sci-fi milieu, leaving the franchise unable to differentiate itself from films, TV shows, and even video games in an expanding genre. The time should be right for a new sci-fi series to make a serious push to break into the upper echelons of the genre, thanks to a combination of a renewed interest from big corporations and the fact that some of the biggest names in sci-fi seem to be foundering – if not stalling outright. But the bland, forgettable Avatar isn’t able to make that leap.

A Na'vi character from Avatar: The Way of Water.
The blue-skinned Na’vi are the Avatar series’ most unique creation.

The original Avatar was criticised in 2009 for telling a story that was unoriginal at best, and the sequel falls into the same narrative traps. Themes of environmentalism and colonialism are presented – but these have been examined before, and examined better, in other pictures and other series that have had more to say. Unoriginality doesn’t have to mean “bad,” not by any means. But if the aesthetic, setting, and narrative premise are all things that audiences have seen before, there’s got to be something more to help it stand out or communicate a message. The Way of Water just doesn’t succeed on that front.

When I first sat down to watch The Way of Water, I expected the film to really make the case for Avatar as a series. I expected a strong narrative, compelling characters, and plenty of adventure… but more than that, I needed to see the film take the world-building from its predecessor and expand upon it, creating something that I’d want to lose myself in. With three more Avatar films and a big-budget video game in production, I needed The Way of Water to not only give me a reason to keep them on my list, but to want to get my hands on them. This film was an opportunity not only to remind me that Avatar exists, but to do what the original wasn’t able to and set the stage for something greater.

Kate Winslet and Sigourney Weaver in a pool during filming on Avatar: The Way of Water.
The Way of Water pioneered underwater motion capture.

Star Wars still has fans turning up for its films and streaming shows even though – let’s be realistic – it hasn’t done anything truly outstanding since 1980. But because Star Wars had that strong beginning, and created an alternate reality that fans wanted to experience more of, audiences still show up forty-five years later. They still go to conventions, dress up like Darth Vader, and pay their subs to Disney+ to watch the latest offerings. For all the money that’s being pumped into it, Avatar still doesn’t feel like a series or a franchise that can attract anything like that kind of support.

So that’s it, I guess. I didn’t dislike The Way of Water; it was a competent film with some clever behind-the-scenes technologies and filmmaking techniques that ended up being a perfectly watchable popcorn adventure flick. But I just can’t reconcile the fact that this franchise has now produced two of the three highest-grossing films of all-time… yet it’s still so utterly forgettable that I literally forgot it even existed for months. And even after returning to The Way of Water to take notes and grab some still frames… nothing about it jumps out at me, nothing about it sticks in my mind, and I genuinely don’t see how Avatar as a series will ever break into the top tier of sci-fi franchises if it keeps this up.

Avatar: The Way of Water is available to stream now on Disney+ and is also available on DVD/Blu-ray. The Avatar series is the copyright of 20th Century Studios and/or the Walt Disney Company. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Disney Dreamlight Valley: Buyer Beware?

Although it’s been playable for well over a year, Disney Dreamlight Valley still hasn’t been officially “released.” We should talk more one day about big corporations and publishers abusing the early access model, but that will have to wait. I want to ask an unfortunate question today: has Disney Dreamlight Valley been ruined even before its release day?

For some context, I played and adored Disney Dreamlight Valley last year. The game was my surprise pick for “game of the year” when I dished out my annual awards, it was my most-played game of 2022, and I’ve continued to play it this year as well. So I’m not approaching this subject as any kind of dyed-in-the-wool “hater;” I genuinely wanted to see Disney Dreamlight Valley succeed.

Promotional screenshot of Disney Dreamlight Valley.

I can summarise the fundamental problem with Disney Dreamlight Valley in a single word: greed. Between developer/publisher Gameloft and the Walt Disney Corporation itself, greed has quickly crept into what seemed to be a fun game with a lot of potential. I praised Disney Dreamlight Valley last year for being “Animal Crossing without the downsides;” an adorable life-sim game with many of the Disney characters that long-time fans know and love. It felt as if Gameloft had taken the Animal Crossing formula and honed it to near perfection, adding much-needed features and quality-of-life improvements, and updating that style of gameplay for a new generation of players.

That was the game I sunk over 150 hours into in 2022 – and have continued to play on and off through 2023 as well – and that was the game that gave me some genuinely fun and sweet experiences. As an early adopter of the game, I knew that Disney Dreamlight Valley was going to change as development continued and its official launch approached – but I hoped that those changes would be more positive than negative.

A recent update to Disney Dreamlight Valley added Halloween-themed content.

The original plan for Disney Dreamlight Valley was that the game would be free-to-play when it officially launched. Knowing that that was the plan, the fact that the game sold microtransactions and a “season pass” didn’t seem too bad, although I felt it was questionable to sell Moonstones – Disney Dreamlight Valley’s in-game currency – during its paid early access period. But I could at least understand why it was happening, and I even gave credit to Gameloft early on for rebalancing the rate at which Moonstones were generated in-game to be more generous.

However, Gameloft recently announced that Disney Dreamlight Valley will not be free-to-play, as had been the original intention. The timing of this announcement feels a bit sketchy in and of itself; it seems that Gameloft and Disney came to this decision a long time ago and deliberately kept fans and players in the dark until the last possible moment. But that’s almost beside the point, because what’s far worse – and will be far more noticeable to players – is the free-to-play economy that remains in the game. An in-game currency, a “season pass” for cosmetic items, and microtransactions are all part of Disney Dreamlight Valley, even though the game will no longer be free-to-play.

Different versions of Disney Dreamlight Valley – and their associated price tags.

It seems as if Disney and Gameloft want to have all of the money-making tools that modern games employ. They want to sell the game up-front, they want to sell large DLC packs, and they want the in-game currency and “season pass” that are the hallmarks of free-to-play titles. Most games pick one of those, or two at the very most, but Disney Dreamlight Valley is going all-in on monetisation, taking the total cost of the game easily above £100 – and that’s just to get started.

I guess we shouldn’t be shocked. I mean, this is Disney we’re talking about – a corporation that charges guests to park their cars at its hotels and sells bags of popcorn at Walt Disney World for like $15. And I know that modern games are almost never intended to be complete experiences when they launch, but rather ongoing projects with updates being rolled out over the span of months or years – with a steady stream of income all the while. But even with those caveats and that knowledge… this still feels hugely disappointing, and Disney Dreamlight Valley feels like a particularly egregious example of a greedy corporation trying to wring as much money as possible out of players.

Promo art for the first DLC pack – featuring at least one character who was originally implied to be part of the base game.

If Disney Dreamlight Valley isn’t going to go free-to-play – which is an understandable decision in some ways – then the in-game currency and microtransactions have to be stripped out. It isn’t fair to charge players up-front, charge more for expensive DLC add-ons, and still expect to get away with including all of the microtransactions that come with a free-to-play experience. That just shouldn’t be acceptable to anyone. It’s one business model or the other – not both.

I have no doubt that the content Gameloft and Disney plan to roll out in the months ahead will be enjoyable. Practically every update to the game thus far has added new characters and content that I’ve enjoyed… but the updates so far have come at no additional charge. It already seems as if Gameloft plans to paywall new areas of the map and new characters, and that’s before we get into paywalled “season pass” content and cosmetics. When all’s said and done, the full cost of the Disney Dreamlight Valley experience – to get all of the characters, levels, missions, and cosmetic content – will be massive.

The cost of Moonstones (Disney Dreamlight Valley’s in-game currency) on Steam in November 2023.

When Disney Dreamlight Valley was an early access title with a free-to-play future, I thought I knew what I was getting into. The microtransactions were still irritating in the early access phase, but at least I felt like I understood why they existed and what the plan was. Although it was hard to get enough Moonstones through general play, it was at least possible to acquire a certain amount; enough to get some of the cosmetics on offer. But now? Knowing the game will charge up-front, charge more for DLC, keep its in-game currency, keep its “season pass,” and continue to sell other microtransactions and cosmetic content? It feels excessive.

Gone are the days when a corporation like Disney would develop and release a complete game. Disney Dreamlight Valley has that live service component; it’s intended to be an ongoing experience with content being developed post-launch. But there has got to be a way to balance the cost of that development with an enjoyable and reasonably-priced player experience, and right now, the pendulum has swung way too far in the monetisation direction.

Oh god, there’s even a “roadmap”…

If you’ve been awaiting the release of Disney Dreamlight Valley – and especially if you saw my review last year and are still considering picking it up – it’s worth being aware of this change to how the game will operate. Last year, shortly after launch, the level of in-game monetisation felt acceptable. But with the game’s official launch approaching, it no longer does. That definitely affects my ability to recommend the game – especially to parents considering picking it up for younger kids. At the very least you need to be aware of this in-game currency issue and make sure you have some kind of parental control on in-app purchases on whatever system you’re using.

I still enjoy what Disney Dreamlight Valley has to offer… but that enjoyment is now tainted. It feels as if Disney and Gameloft haven’t been up-front with the game’s biggest supporters about these changes. And the game now feels like it’s going to be overly-monetised when it launches. That’s a real shame, and it takes a lot of the shine off of what has been a fun experience.

My recommendation of Disney Dreamlight Valley now comes with a huge caveat: beware of in-game monetisation and Gameloft’s shifting priorities.

Disney Dreamlight Valley is out now – in early access – for PC, Mac, Xbox One, Xbox Series S/X, PlayStation 4, PlayStation 5, and Nintendo Switch, and will be officially released on the 5th of December 2023. Disney Dreamlight Valley is the copyright of Gameloft and the Walt Disney Company. Some screenshots used above are courtesy of Gameloft. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Phineas and Ferb returns!

Spoiler Warning: There are minor spoilers ahead for Phineas and Ferb.

I called it, didn’t I? When Phineas and Ferb The Movie: Candace Against The Universe premiered on Disney+ a couple of years ago, I said I wondered whether it might lead to a renewal of the show… and here we are! Almost eight years after the series ended its run on the Disney Channel/Disney XD, co-creator Dan Povenmire announced on social media that Phineas and Ferb will be returning – not just for a one-off special or TV movie, not even for a single season, but for two whole seasons and a whopping 40 episodes!

I’m actually really pleased to hear this news. Phineas and Ferb is a fun series, and one I return to on days when I’m struggling with my mental health. I guess you could call it one of my “comfort shows,” so to know that there will be more episodes to get stuck into in the months and years ahead… it’s good news from my point of view!

“Mom! Phineas and Ferb are making a comeback!”

I first encountered Phineas and Ferb shortly after its premiere. Back then I had a cable TV subscription (remember those?) and I can’t remember how it came about exactly, but somehow I saw a promo or advertisement for Phineas and Ferb and thought that it looked like fun. I wouldn’t have normally given most things on the Disney Channel a second glance, but even in that short promo something must’ve leapt out at me, convincing me that this was a show I needed to see. And I’m very glad I did, clearly!

Even though I was already an adult when I first watched Phineas and Ferb, it was obvious that the show had a lot to offer beyond its young target audience. The best shows made for kids have something to offer to adults, too – and no, I don’t just mean a way to keep kids distracted and quiet so we can do other things! Phineas and Ferb had subtle jokes and references aplenty that were genuinely hilarious, and the way it told two stories that often (but not always) intersected was something original in the animated space.

There are even Star Trek references!

There was a sense, though, that Phineas and Ferb had started to run out of steam by the time of its fourth season, and I’m not alone in thinking that. Season 4 tried out several different concepts in the form of special episodes, stories that featured new characters, different premises, and tie-ins with the likes of Marvel and Star Wars. The original formula of the show – with the boys’ inventions and the conflict between Perry and Doofenshmirtz – took a back seat.

Most of those special episodes are great fun, don’t get me wrong, but there was definitely a reason why they were made – there were fewer ideas on the table and arguably, as the show had developed and fleshed out its main characters, fewer places to take them in a way that felt interesting. This is a hurdle that the renewed Phineas and Ferb will have to overcome – and it may not become apparent at first.

One of the special episodes in Season 4 was a “zombie” story!

When the show returns, I expect that most fans will welcome it back with open arms. Those first few episodes will re-establish Phineas and Ferb and its format, reintroducing its characters, and if the show basically does what it did from Seasons 1-3, a lot of folks will be thrilled. The question, though, is really whether that format can sustain another forty episodes without something happening to shake things up.

I’m not particularly concerned about questions of “canon” in a show like Phineas and Ferb. It is worth noting, though, that the show has an internal timeline of sorts, and not only that, but Season 4 provided two episodes that come together to give its story a pretty definitive finale: Act Your Age and The Last Day of Summer. There have also been main character crossovers in the series Milo Murphy’s Law – but as far fewer people watched that show, I don’t think it matters in the same way, and there’s definitely enough creative freedom to overwrite some of these things.

Dr Doofenshmirtz in Milo Murphy’s Law.

Having said that, the questions of timing and setting crop up. Will these new episodes take place in the same endless summer as last time, or would they be set further along the timeline – perhaps during the school year or even in the next summer? With Doofenshmirtz supposedly converted to the “good” side by summer’s end, how would that work for his character?

I don’t think that Phineas and Ferb could realistically get away with making Doofenshmirtz a “good guy.” The original format worked so well specifically because his story and his evil schemes stood in contrast to the boys’ shenanigans, so somehow that has to be retained. But it has to be done in a way that doesn’t undo all of the development Doofenshmirtz got over the course of the show’s run; it’s not unfair to call him the breakout character, and a big part of that is because his character arc, such as it is, portrayed him sympathetically, despite his self-described “evil” nature.

Being “evil” is a huge part of Doofenshmirtz’s character – and something the renewed series shouldn’t try to jettison.

It’s a challenge to walk that line: to bring the show back and retain its signature formula, all the while avoiding taking key characters backwards and regressing their development. The most important one to get right in this regard is Doofenshmirtz, though Buford’s status as a semi-reformed yet still self-described “bully” is also of note.

Speaking of characters, it hasn’t been confirmed at this stage whether all – or even any – of the original voice cast will be back. With one notable exception, they all returned for Candace Against The Universe in 2020, though, so I would hope that negotiations are at an advanced stage and the voice cast will all reprise their roles. One or two absences can be worked around – this isn’t a Rick & Morty type of situation, where that series has just lost (for totally understandable reasons) its main voice actor and the person who voiced both of the titular characters. It would still be unfortunate, though, if Phineas and Ferb had to make significant changes to its cast.

Somehow, Phineas and Ferb will have to reassemble (most of) its original voice cast.

Someone else who doesn’t seem to have signed onto the project yet is co-creator Jeff “Swampy” Marsh. Marsh and Povenmire created Phineas and Ferb together, and it’s noteworthy that Marsh has yet to comment publicly on the series being revived. He also provided the voice of Major Monogram, directed a handful of episodes, and was credited with writing more than a dozen – including some of the show’s most popular and best-remembered stories. I’m sure that Disney (and Dan Povenmire) will be working in private to get him back, but his loss would be significant for the show if those efforts fall through.

Without Marsh, and with the main voice actors also not being signed up, I can’t help but wonder if this announcement may have been a little premature. If things don’t go to plan and major voice actors aren’t able to rejoin the project, that would be a real shame – and would put a downer on things as Phineas and Ferb returns, so I really hope that Disney will pull out all the stops to make it happen.

Phineas and Ferb co-creators Dan Povenmire (left) and Jeff “Swampy” Marsh.
Image Credit: IMDB

Although Disney Channel shows have tended to be one-and-done things, it’s hardly something new in the animated space for a series to be continued. Look at the likes of Tom and Jerry, the Looney Tunes, or Scooby-Doo – the latter of which has just been reworked on HBO Max as Velma… actually, maybe the less said about that last example the better!

But the point stands: some animated shows become classics, and have a lifespan far beyond what may have been intended – or even hoped for – at the time they were created. If you’d told William Hanna and Joseph Barbera that new incarnations of their characters and stories would still be being created and enjoyed in the 2020s, I doubt they’d have believed it! So there’s plenty of scope for Phineas and Ferb to come back, and perhaps even to iterate and modernise some of its stories for a new decade and a new audience – some of whom will literally be the children of the kids and teens who watched the show when it first debuted.

The very first shot of the premiere episode of the series.

So I’m thrilled to welcome back Phineas and Ferb, and I’m definitely looking forward to seeing the first batch of new episodes when they’re ready. I’m not expecting to see anything imminently – animation takes time, and although the announcement has been made, it’s clear that the revived Phineas and Ferb is still at a very early stage in its pre-production. In addition to the obvious voice cast, producers, directors, writers, and animators all need to be signed up before work can begin. We’re probably a year or two away from the first episodes being ready… but I’m happy to wait.

This was a bit of a surprise announcement – albeit one that I felt Candace Against The Universe paved the way for – and although it may have been a little early or even premature, it’s certainly succeeded at getting fans hyped up and talking on social media. I’m genuinely excited to have more adventures in the tri-state area with Phineas, Ferb, Candace, Perry, Doofenshmirtz, and the whole gang when the series is ready!

Phineas and Ferb Seasons 1-4 are available to stream now on Disney+. Seasons 5 and 6 are currently in pre-production and have no premiere date scheduled. Phineas and Ferb is the copyright of The Walt Disney Company. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

End-of-Year Awards 2022

Spoiler Warning: Minor spoilers may be present for some of these titles.

As we enter the final hours of 2022, it’s time to look back at the entertainment experiences that we’ve enjoyed – as well as a few that we didn’t enjoy all that much! I’ve cobbled together a few categories from the world of television, film, and video games, and today I’m going to hand out some highly-coveted Trekking with Dennis Awards to some of my favourites!

You’ll find a couple of titles from the tail end of 2021 on this list; I reckon anything released in December is fair game as those titles often get the short end of the stick when it comes to lists like these. Some outlets put together their “best of” lists way back at the start of December, which is far too early in my opinion! But we’re drifting off-topic already!

It’s time to hand out my End-of-Year Awards!

There are plenty of titles that, for one reason or another, I didn’t get around to this year – so for reasons that I hope are obvious they can’t be included. I’m only one person and I don’t have every minute of the day to devote to these pursuits, so the exclusion from this list of certain big titles shouldn’t be interpreted as any kind of deliberate snub!

And as always, a caveat before we begin: all of this is the subjective opinion of one person. I may give an award to a production you vehemently hate, or talk negatively about something you enjoyed, but at the end of the day this is supposed to be a bit of fun. Feel free to disagree with any or all of my picks – but there’s no need to take any of it too seriously!

With all of that out of the way, let’s get started!

Best Television Miniseries/Limited Series:

🥈 Runner-Up🥈 
Five Days At Memorial

Five Days At Memorial had the challenging task of dramatising a real-world event – and a gruelling one at that. I remember the harrowing news reports in 2005 showing the aftermath of Hurricane Katrina, and I could absolutely understand why some folks might feel it’s too soon to make a programme like this. But for my money, Five Days At Memorial did a good job at adapting the events at Memorial Hospital as delicately as possible, staying true to what happened while still making the story engrossing and understandable for viewers.

The fact that Five Days At Memorial shows what happened at Memorial Hospital from two very different angles felt a bit strange at first, but by doing so the series lends the events the challenging ambiguity that they continue to have. By refusing to come down on one side or another – to condemn as guilty or exonerate Dr Pou – Five Days At Memorial strikes the right balance. There was some choppy editing in some sequences that meant the miniseries didn’t feel as smooth as it could’ve, but other than that it was a very interesting look at a very difficult moment in the recent past.

🏆 Winner 🏆
1899

Netflix original 1899 is taking the crown in this category this year. The show goes on a wild and unpredictable ride, blending themes of mental health that resonated strongly with me with mystery and psychological horror. The multilingual series is, in my view, best enjoyed without being dubbed, as the different characters and the language barriers between them are key elements in the story at several crucial junctures.

I was first attracted to 1899 because of its setting – both in time, at the end of the 19th Century, and on a boat making a transatlantic voyage. But what I found when I got started was one of the most unique and different television productions that I’ve seen in a long time. 1899 may not be to everyone’s taste, but I found it absolutely riveting all the way through.

Worst Television Series:

🏆 “Winner” 🏆
Obi-Wan Kenobi

After I’d enjoyed what The Book of Boba Fett brought to the table, I felt a pang of hope that Obi-Wan Kenobi might at least be passable. But it wasn’t to be, and the series was a horrible slog through the absolute worst kind of tacked-on story that used increasingly desperate nostalgia plays to try to recreate some of the magic that, frankly, Star Wars hasn’t had since the ’80s.

Say it with me, folks: it’s time for Star Wars to move on! The vast sandbox that is the Star Wars galaxy has trillions of inhabitants, millions of star systems, thousands of planets, and hundreds of factions and organisations – and tens of thousands of years of history that could explore any of them. For more than forty years, Star Wars has been laser-focused on the same handful of characters and the same tiny sliver of this wonderful setting, but it’s over. If Star Wars is to survive, something’s gotta change. Obi-Wan Kenobi proved that.

Best Television Series:

🥈 Runner-Up🥈 
Halo

Halo wasn’t spectacular, but as the first real attempt to bring the long-running video game franchise into a new medium, it got a lot right. The story it told was a riff on the familiar story that fans will remember from the games, but there were important differences which not only kept the mystery going, but also gave genuine characterisation to the Master Chief.

In terms of cinematography, I liked the way that Halo incorporated some first-person sequences into its action-heavy moments. This could have easily felt like a gimmick, but the way it was done – and crucially, not overdone – made it feel like a throwback to the series’ source material while also mixing things up in the television space. Halo used a fairly standard format that would be familiar to anyone who’s seen a made-for-streaming television show in the past few years, with a slowly unfolding mystery, multiple storylines, and characters who grow and change over the course of the series. It wasn’t anything groundbreaking, and I certainly get the argument that it wasn’t as action-packed as some fans might’ve wanted. But it was, all in all, a decent bit of sci-fi.

🏆 Winner 🏆
The Lord of the Rings: The Rings of Power

The Rings of Power had a lot of work to do to impress me. It had to live up to the legacy of the trilogy of films from a few years ago. It had to show that it could go toe-to-toe with the likes of Game of Thrones, The Witcher, and other big-budget productions in the fantasy space. And, to be blunt, it had to justify its billion-dollar price tag.

Whether The Rings of Power managed to accomplish all of those goals in its first season is still arguably an open question. But it certainly laid the groundwork for what should be a television spectacular, and it was, on balance, probably the best show I’ve seen this year. When I was at a low ebb in the autumn and didn’t have the energy or headspace for watching many new things, The Rings of Power was the one show that I made time for. Sure, there were big battles and other CGI spectaculars, but there were also some genuinely wonderful performances that brought to life some incredible character-focused storytelling. I can’t wait for Season 2!

Best Web Series:

🥈 Runner-Up🥈 
How To Cake It

After a hiatus of more than a year, YouTube show How To Cake It made a welcome return this year. This time, there’s less of a focus on the kind of attention-grabbing, visually spectacular cakes that look like rocket ships or Princess Elsa or a completely different food, and I think that’s actually been a positive thing! Host Yolanda Gampp has branched out, doing much more of a variety when it comes to baking. Some highlights include flavoured cookies, baklava, and even popcorn.

As often happens when a web series takes an extended break, recent episodes of How To Cake It haven’t been doing the same numbers as the series used to get. But I hope that, as time goes by, it will pick up some of those wayward viewers – and perhaps bring on board a whole host of new ones, too. This new version of How To Cake It seems to be making more down-to-earth recipes that you or I might feel brave enough to attempt, rather than showing off impressive designs that only a master baker could create. For me at least, that’s a great thing, and I hope to see much more from Yolanda and the team in the new year.

🏆 Winner 🏆
Anti-Chef

If How To Cake It shows a master at work, Anti-Chef – as the name suggests – is the complete opposite! The show is a lot of fun, and Jamie, the host, isn’t shy about sharing his failures in the kitchen as he works his way through some very complicated recipes. Though he’s not a total newbie any more, many of the techniques in the recipes he challenges himself to try are very advanced, and the personal, relatable style makes me feel like I’m right there in the kitchen.

I love a good cooking show, and as much fun as it can be to see an experienced chef at work, it can be even more entertaining to see an inexperienced home cook tackling some of these recipes. Anti-Chef has given me a lot of laughs this year – but also some cooking tips and inspiration, too.

The Worst of Star Trek:

🏆 “Winner” 🏆
Most of Picard Season 2

I thought long and hard about whether I wanted to call out Picard Season 2, but I think it’s earned a place on this list. The first episode of Season 2 was absolutely fantastic, and if the rest of the season had been anywhere close to that level, we’d be talking about Picard as the best show of the year. But unfortunately things took a pretty sharp nose-dive after the second episode of the season, with Picard and his crew wandering aimlessly for much of the season in a present-day setting that didn’t feel inspiring or enjoyable in the least.

By the time the action returned to the 25th Century in the second half of the season finale, the damage had been done, and despite Farewell pulling out a decent ending, this disconnected, disjointed, overly-long story has to go down as one of Star Trek’s big misses – perhaps even one of the biggest missteps in the franchise’s history. There were individual elements in most episodes that I can honestly say that I enjoyed… but Picard Season 2 overall feels like a massive disappointment.

Star Trek’s Biggest Surprises:

🥈 Runner-Up🥈 
Kobayashi
Star Trek: Prodigy

We ought to talk more about Prodigy here on the website – and I hope we will next year! But for now, the episode Kobayashi came out of nowhere in January to be one of the biggest surprises in the show’s first season. The Kobayashi Maru training programme famously tests would-be captains in a “no-win scenario,” and you wouldn’t think that premise would lead to such a genuinely heartwarming and wholesome episode – but as a longstanding fan, I really appreciated what Kobayashi brought to the table.

Without giving too much away, the Kobayashi Maru scenario plays out on the holodeck, and a cast of fan-favourite Star Trek characters all join in on the action. It’s a nostalgic treat – but it doesn’t overplay its hand, keeping a tight focus on the new characters introduced in Prodigy.

🏆 Winner 🏆
All Those Who Wander
Star Trek: Strange New Worlds

Strange New Worlds had an incredible first season, showing off a varied, episodic approach in which it wasn’t shy about trying out many different genres. All Those Who Wander draws inspiration from the likes of The Thing and Alien to create a tense, claustrophobic sense of horror aboard a crashed starship.

It’s hard to say too much more without getting into spoiler territory – and of all the episodes in Season 1, All Those Who Wander has to be the most important to go into un-spoiled! Suffice to say that the episode takes the horror angle right up to the edge of my personal comfort zone, but never crosses that line. It’s an intense experience, and one that shows just how incredible Star Trek can be when it throws itself into another genre.

The Best of Star Trek:

🥈 Runner-Up🥈 
Coming Home
Star Trek: Discovery

Discovery’s fourth season plodded along, in places, and definitely teased us with mysterious factions and characters that ultimately turned out to be brand-new. But by the time the season finale rolled around, most of that was already settled. What we got was an incredibly emotional episode that saw Captain Burnham and the crew racing against time to reach an unknown, uncontacted alien race.

There were resolutions to disagreements between characters, several incredibly dramatic moments, and a storyline involving Admiral Vance at Federation HQ that showed off Starfleet and the Federation at their very best. Coming Home is, without a doubt, one of Discovery’s very best episodes.

🏆 Winner 🏆
A Quality of Mercy
Star Trek: Strange New Worlds

Captain Pike gets a visit from “the Ghost of Christmas Yet To Come” in A Quality of Mercy – and the episode is incredible. In Discovery Season 2, when it became apparent that Captain Pike knew in advance that he was going to suffer a debilitating accident, an obvious question would be “why didn’t he try to prevent it?” And A Quality of Mercy takes that idea and runs with it.

In addition to a very emotional story involving Captain Pike – one that I, as a disabled person, found incredibly relatable – there’s also a wonderful callback to an episode of The Original Series, and moments for all of the main characters to get a chance to shine. Ethan Peck puts in a spectacular performance as Spock, and there was even time at the very end of the episode for one final twist as the curtain fell on one of the best seasons of Star Trek ever put to screen.

Best Animated Film:

🥈 Runner-Up🥈 
Minions: The Rise of Gru

The Despicable Me franchise is usually good for some fun escapism, and so it proved again with The Rise of Gru. There isn’t anything completely groundbreaking here; you know how the titular Minions behave by now. But stepping back in time to a ’70s setting allowed for some fun jokes, and the over-the-top villains that Gru encountered were a ton of fun.

There was still heart and emotion in The Rise of Gru thanks to Gru’s relationship with the villainous Wild Knuckles, and that did enough to ground what was otherwise a pretty wacky adventure. There were plenty of references and callbacks to other franchises for nerds like us to enjoy, and on the whole, I had a good time with the film. I’m not in a desperate rush to re-watch it, but it was good fun for what it was.

🏆 Winner 🏆
Encanto

After several years in which Disney has focused on live-action adaptations and sequels, Encanto came along like a breath of fresh air! It’s one of the best Disney films of the current era without a doubt, with a deeply engrossing and frequently emotional story that has an uplifting message. And thanks to a wonderful soundtrack by the phenomenally talented Lin-Manuel Miranda, there are some incredible songs too!

A setting inspired by Colombia was also something different for a major Disney production, and the company has done well at diversifying the peoples and places it depicts in its major releases. But that would have been meaningless had Encanto not been such a wonderful, well-told story – and I’m so very pleased that it was.

Best Live-Action Film:

🥈 Runner-Up🥈 
The Unbearable Weight of Massive Talent

With the caveat that I didn’t see that many films this year, The Unbearable Weight of Massive Talent is definitely up there as one of the better ones! I genuinely couldn’t believe that this film existed when I first heard of its premise – Nicolas Cage playing a fictionalised version of himself and going on a wacky adventure. But you know what? I’m very glad that it does!

The Unbearable Weight of Massive Talent could have ended up as a bargain-bin B-movie – or worse, it could’ve tried to take itself far too seriously. But instead it leans into a kind of self-deprecating humour as well as tropes of the action genre, coming across as light-hearted and just plain fun. Nicolas Cage is a good sport for taking part, and The Unbearable Weight of Massive Talent is definitely worth a watch if you haven’t seen it already.

🏆 Winner 🏆
All Quiet on the Western Front

Netflix’s reimagining of this classic German war film is absolutely brutal. If any film has ever come close to accurately depicting the true horrors of the First World War, this is it. The story follows a young conscript from Germany as he joins the army and is dispatched to the front line, and then jumps ahead to the closing days of the war.

Every version of All Quiet on the Western Front – and there have now been three adaptations of the original novel – have shown just how senseless and meaningless war can be, taking a very individualist, human look at warfare. This version hammers that home, and can be uncomfortable viewing. But it’s an incredibly powerful film – one that absolutely deserves to be in contention for some of the top awards.

The “I-didn’t-play-this-game-but-you-probably-should” Award:

🏆 Winner 🏆
Elden Ring

I wish I could say I was interested in Elden Ring… but I’m just not. The “difficult for the sake of it” style of gameplay that has come to be known as the “Souls-like” genre just isn’t my cup of tea, but by all accounts Elden Ring is one of the best examples of this type of game, and one of the best games of the year – if not the generation.

Taking the Dark Souls format into an expansive open-world setting, Elden Ring has won almost universal acclaim from critics and players alike, becoming one of the most talked-about releases of the year. For a single-player title in a gaming landscape increasingly dominated by the online multiplayer scene, I think that’s a fantastic thing, and even though Elden Ring isn’t for me, I still think it’s worth noting it as one of the most important releases of the year.

Best Browser Game:

🏆 Winner 🏆
Wordle

I wouldn’t usually dedicate much time to browser games on a list like this, but since I first played Wordle back in February or March, I don’t think I’ve missed a single day. The format is fun, with a single word each day to guess and only six chances to get it right. Wordle was snapped up by the New York Times and has since spawned dozens or perhaps even hundreds of clones – including variants that have multiple words to guess, and variants based on specific topics or franchises. There’s even a Star Trek-themed one!

Wordle blew up to become an internet phenomenon in 2022, and for a while it seemed like you couldn’t move for people showing off their Wordle results on social media. It’s become part of my daily routine – and my current streak is 77 wins in a row, going all the way back to the middle of October!

The “buggy piece of crap” Award:

🏆 “Winner” 🏆
Uncharted: Legacy of Thieves Collection (PC version)

The PC port of Uncharted: Legacy of Thieves Collection is the worst I’ve come across in recent years. I’d thought that the days of amateurish PC ports were finally over, but PlayStation Studios, Naughty Dog, and Iron Galaxy Studios showed me that I was wrong about that. In short, Uncharted is incredibly poorly-optimised for PC, with a piss-poor frame rate and weird visual and texture bugs that were incredibly offputting. The screenshot above shows off one such glitch.

It’s such a shame because the Uncharted series has always been a blast. The Indiana Jones-inspired games still feel like something different in the action-adventure space, even with the likes of Tomb Raider being reimagined for a new generation. The stories present here are great – but if I have to spend as much time battling bugs as I do enemies, I’m going to have a bad time. Other PlayStation titles – like Spider-Man and God of War – don’t have these issues, so I don’t understand how Uncharted: Legacy of Thieves Collection managed to launch on PC in such a bad state.

Best Expansion Pack/DLC:

🏆 Winner 🏆
Mario Kart 8 Deluxe – Booster Course Pass

The Booster Course Pass has given Mario Kart 8 Deluxe a new lease on life – even if it’s not as transformative as a new entry in the series would’ve been. I was disappointed as the year went by and it became clear that there would be no Mario Kart 9, but the Booster Course Pass has definitely convinced me to dust off my Nintendo Switch and pick up Mario Kart 8 Deluxe again.

The “wave” approach to the DLC has been fun, too, keeping the game feeling fresher for longer when compared to dumping all 48 new racetracks at once. Don’t get me wrong, the longevity of Mario Kart 8 Deluxe is still an issue, and I now have the additional concern that there will be fewer racetracks left to adapt whenever Mario Kart 9 eventually comes along. But in the short-term, the Booster Course Pass is proving to be great fun.

Game of the Year:

🥈 Runner-Up🥈 
Stray

Stray is absolutely adorable: a game in which you get to play as a kitty cat! I was sold on that premise alone, but what I found when I got stuck in was a genuinely enjoyable, well-paced, well-structured indie title. Stray has great graphics, with the movement of the main cat character in particular being incredibly realistic. There’s some wonderful art design in both the environments and the robotic non-player characters, too.

Stray is further proof that there’s plenty of life in the narrative, linear, single-player space, and that not every game needs to be forced into the open-world mould. But at the same time, it’s something very different. Not only is the idea of playing as an animal unique, but the game’s slow pace and focus on peaceful interaction with the environment instead of combat and quick-time events all make for a relaxing, yet deeply engrossing experience.

🏆 Winner 🏆
Disney Dreamlight Valley

If you’d told me a few months ago that my favourite game of 2022 would be an early access Disney title, I wouldn’t have believed it! But I’ve sunk well over 150 hours into Disney Dreamlight Valley since its launch at the end of August, and I’ve been having an incredible time. The game basically took all of my criticisms of Animal Crossing: New Horizons and fixed them, then threw in dozens of new features I didn’t even know I wanted – and some fun Disney-centric stories with a diverse cast of characters for good measure.

Disney Dreamlight Valley is so much fun and has so much to offer, even in this early access form, that it’s hard to know where to begin. There’s an interesting main quest, dozens of character-focused missions, the kind of home-building and design gameplay that players loved about titles like The Sims, and all of the fun of living another life in a fantasy land as you’d expect from an Animal Crossing game. There’s so much to love about Disney Dreamlight Valley, and I’m happy to crown it my favourite game of the year.

So that’s it!

At the first Academy Awards in 1929, Joseph Farnham receives his award from Douglas Fairbanks.
Image Credit: oscars.org

We’ve dished out awards to some of my favourite entertainment experiences of the year. The countdown is on to 2023 – there are just hours left until the sun will rise on a whole new year! Stay tuned in the days ahead because I plan to take a look at some of the things I’m most looking forward to between now and Christmas. Is that the earliest you’ve seen someone mention Christmas 2023?

I hope that this was a bit of fun. There were plenty of enjoyable films, television shows, and video games this year – despite the delays that still hang over the entertainment industry. Though I wouldn’t say that 2022 is likely to go down in history as one of the best-ever years for entertainment, I think we still got a wide variety of experiences, many of which were enjoyable.

So I suppose all that’s left to say is this: Happy New Year! Whatever you plan to do, I hope you have a wonderful time!

See you next year!

All titles listed above are the copyright of their respective owner, company, studio, broadcaster, developer, distributor, publisher, etc. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.


Check out reviews or articles featuring some of the films, games, and TV shows mentioned on this list by clicking or tapping the links below:

The Halo TV Series

Lord of the Rings: The Rings of Power

Strange New Worlds Season 1

Star Trek: Discovery 4×13: Coming Home

Mario Kart 8 Deluxe – Booster Course Pass

Disney Dreamlight Valley

Disney Dreamlight Valley: early access review

Spoiler Warning: There are minor spoilers ahead for Disney Dreamlight Valley.

I don’t usually go for “early access” titles. Some developers and publishers really take advantage of early access, pushing out incomplete games and getting players to effectively pay full price to do the work of a quality assurance team, and just in general, I’d rather wait until a game is ready for prime-time before sinking my energy and money into it. A title has to be something truly exceptional to attract my attention while it’s still in early access. Enter Disney Dreamlight Valley.

At time of writing in November 2022, Disney Dreamlight Valley still has some of the issues that make early access titles so offputting – major missing features, an incomplete story, and some bugs, glitches, and areas where more development time is needed to give the game some polish. But despite that, I’ve sunk more than 100 hours into the game since it launched in early access back in August, and I’ve been having a whale of a time!

The title screen as of the most recent update.

Disney Dreamlight Valley blends the customisation and design gameplay of titles like The Sims with the casual life-sim gameplay of the likes of Animal Crossing, combines those with some simple but fun nonviolent puzzle-solving gameplay, and then also throws in character-focused storytelling that can absolutely compete with any narrative game on the market – at least if you’re a Disney fan! The game’s characters, all of whom are lifted directly from Disney’s extensive back catalogue of blockbuster films, feel real and feel fun to engage with, and the game has so much to offer to kids and adults alike as a result.

As expected, recent titles like Frozen and Moana feature in a big way, but Disney Dreamlight Valley also happily incorporates characters from titles that are almost certainly less well-known nowadays (especially among younger players) like The Sword in the Stone. In fact, the very first character that players will meet upon starting a new game is Merlin – a storytelling decision that I find incredibly bold.

Mickey Mouse, a player character, and Merlin.

Unlike in games like Animal Crossing, where villagers can feel flat and repetitive after a while, the characters in Disney Dreamlight Valley feel much more complete. Partly, it must be said, that’s because they’re all familiar characters from films that most players will be familiar with, but a big part of the way they come across in the game is down to some creative quest design and some pretty good writing. Characters will also interact with one another, stopping for a casual chat that players can overhear while wandering around the valley or participating in other quests, and this small detail goes a long way to making Dreamlight Valley feel like a real place and its inhabitants like real people.

As an early access title, there are of course areas with room for improvement. But I have confidence that developers Gameloft will take player feedback on board and implement changes and fixes as they have done already. Improvements have already been made, for example, to the in-game photo mode, to the impact weather can have on the game world, to certain character interactions that players generally weren’t happy with, and much more besides. One of the advantages of early access is that developers have an opportunity to get feedback from real players – and Gameloft has certainly shown a willingness to change, adapt, and tone down different elements of the game in response.

Promo screenshot featuring Ursula.

Disney Dreamlight Valley feels like it’s also taken on board feedback and criticism of other titles in the casual life-sim genre, particularly 2020’s Animal Crossing: New Horizons. Complaints and criticisms about that game and how difficult it was to play long-term when compared to other Animal Crossing titles abounded, and while Disney Dreamlight Valley is still very much incomplete – multiplayer and cross-platform play have yet to be added, for example – other criticisms that I and others levelled at New Horizons simply don’t apply here. Crafting, for example, is so much easier and smoother in Disney Dreamlight Valley, and the simple fact that tools don’t need to be replaced every five minutes is fantastic!

Characters feel dynamic and respond in real-time to events in the game, and each character has their own series of quests to play through in addition to the main storyline. While there’s a case to be made that exhausting all of the quests should bring the game to an end, there are still “daily duties” – mini-quests that can involve some or all of the game’s roster of Disney characters. Moreover, when the main quests and character quests have all been completed, Disney Dreamlight Valley remains fun to play as an Animal Crossing-esque casual life-sim game; there’s still fun to be had. Racing through certain questlines is not how the game is intended to be played, and several quests have natural timers – plants that take time to grow, or objectives that can only be performed at certain times of day, for instance.

Crafting in Disney Dreamlight Valley.

Although the in-game economy works relatively well at the moment, there are potentially things that could be reworked or rebalanced in future. The titular “dreamlight,” for example, that players accumulate as a reward for accomplishing tasks and finishing quests has a limited number of uses – and when all of the different areas of the map have been unlocked, I found myself simply accumulating dreamlight by the boatload with no way to use it or spend it.

Likewise, the in-game “coins”, while slow to acquire at first, soon build up, and I found that getting a moderately decent crop farm going soon racked me up over 2 million coins – and although there are things to spend those coins on, I’ve hardly made a dent in a money vault that even Scrooge McDuck would be envious of!

Scrooge McDuck in Disney Dreamlight Valley.

While we’re on the subject of currencies, it’s clear that when Disney Dreamlight Valley exits its early access phase and goes free-to-play that a significant focus for the game will be on recurring monetisation and in-game microtransactions. Gameloft and Disney have not promised that all characters and story content will take the form of free updates, either, so there’s a risk in the longer-term that Disney Dreamlight Valley will turn into one of those titles that can be quite a money-sink. For parents of younger kids, that can absolutely be an issue, and it’s worth being aware of at this stage. While Disney Dreamlight Valley is currently quite generous with its various in-game currencies, one in particular – “moonstones” – is clearly being readied to be sold.

Moonstones can be earned in-game at time of writing, and are used to purchase cosmetic items like furniture, clothing, and motifs that can be added to custom designs. Players are also required to spend a large cache of moonstones in order to unlock more items for purchase via a kind of “season pass” that, once again, feels like it will be the target for future monetisation. Free-to-play games and ongoing “live services” require a source of income, but again it’s worth being aware even at this early stage that this is the model Disney Dreamlight Valley plans to adopt.

In-game monetisation is planned in future.

Character customisation is fun in Disney Dreamlight Valley, and I feel that there are a decent range of options including different body types, hairstyles, and so on – with some extras that can be unlocked in-game that weren’t available right at the start. There’s also a huge range of different types of furniture – many pieces of which are lifted from or inspired by modern and classic Disney films. And while there are plenty of clothes to choose from, I think I’d like to see a few more outfits and costumes that allow players to dress up as their favourite Disney characters. Some of the clothes feel a little too “generic” to me, and some of the costumes and outfits are more “inspired by” the films rather than directly taken from them. So that’s an area that I’d like to see improved upon! To give one example that may be more relevant to some fans than others, while Disney Dreamlight Valley includes a decent approximation of Princess Anna’s dress from Frozen, there really isn’t a good facsimile of Elsa’s dress from the same film, despite it being one of the most iconic of modern Disney Princess costumes.

But for the creatives among you, Disney Dreamlight Valley offers a pretty extensive customiser, allowing budding designers to create their own Disney-inspired outfits. The game includes a range of blank clothes – tops, dresses, hoodies, and even Mickey Mouse ears – that can be customised with patterns, designs, and much more. These designs are unlockable through gameplay, so the more time players invest in Disney Dreamlight Valley, the more options there will be when it comes to making fun outfits. Although I have the imagination and creativity of a colour-blind slug, even I managed to create a few fun designs with an intuitive and easy-to-use customiser.

Customising a dress in Disney Dreamlight Valley.

So that’s all there is to say for now! I may take another look at Disney Dreamlight Valley in the months ahead, perhaps when it’s ready to leave early access and go free-to-play. If you have Game Pass either for PC or Xbox, Disney Dreamlight Valley is incredibly easy to recommend. At £35/$30, there’s more than enough content to justify the price in my view – and coming in at less than “full price” is fair for a game that is still in early access and has a few issues as a result. However, despite being in early access, I found my 100+ hours with Disney Dreamlight Valley to be remarkably smooth and free from major bugs; there have only been a couple of occasions on which the game crashed, and thanks to a frequent auto-save, I didn’t even lose any progress.

There are anecdotal reports from folks who play on Nintendo Switch having a worse time with more frequent crashes and finding the game to be a less stable experience, but as I’ve played it on PC I can’t speak to that – however, it’s worth being aware of that and checking out other reviews if you plan to play on Switch.

Remy from the film Ratatouille.

For my two cents, Disney Dreamlight Valley is probably the most fun gaming experience I’ve had in 2022. For anyone who’s a Disney fan there’s a lot to love – familiar and new friends to meet and hang out with in a game that blends both narrative storytelling and casual life-simulation. I haven’t seen some of the newer films from which some characters were taken (Remy from Ratatouille and the titular Wall-E were both new to me) but even with that limitation, I had a whale of a time.

Disney Dreamlight Valley is also one of the best early access games that I’ve played – speaking for the PC version, at least. Despite a persistent issue with cloud saving (which I’ve been repeatedly assured is being worked on) the game is largely bug-free on PC, runs smoothly and plays exceptionally well. Were it not for the incomplete story and some impassable doors, you’d hardly realise that the game was in fact still in early access!

So there we go. I’m happy to recommend Disney Dreamlight Valley at this time. Check back when the game leaves early access and I’ll try to share my updated thoughts!

Disney Dreamlight Valley is out now – in early access – for PC, Mac, Xbox One, Xbox Series S/X, PlayStation 4, PlayStation 5, and Nintendo Switch. Disney Dreamlight Valley is the copyright of Gameloft and the Walt Disney Company. Some screenshots used above are courtesy of Gameloft. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Lego Star Wars: The Skywalker Saga – first impressions

Spoiler Warning: There are minor spoilers ahead for Lego Star Wars: The Skywalker Saga and the nine mainline Star Wars films.

I had a lot of fun in the days when I owned an Xbox 360 with Lego Star Wars: The Complete Saga. That game brought a lot of lightheartedness to the Star Wars franchise, and was also a surprisingly complex game, with many characters to unlock and collectables to find. Going back and replaying levels didn’t feel like a chore, making it a great game to play solo or co-operatively. I had high hopes when a new Lego Star Wars title was announced, and it’s finally here after several lengthy delays!

I’m not even going to attempt a thorough playthrough in time to write a review; it will take a long time to go through the game and truly experience all that it has to offer. But for now I thought it would be worth sharing my first impressions! I’ve spent just over six hours with the game over the past couple of days, and I’ve jumped into two of the game’s stories/campaigns. I feel that’s long enough to get a feel for how the game plays – as well as to spot any major flaws or problems!

Promo art/banner for Lego Star Wars: The Skywalker Saga.

Lego Star Wars: The Skywalker Saga is split up into nine parts – one for each of the nine mainline films of the Skywalker Saga. On booting up the game for the first time, only three are available: The Phantom Menace, A New Hope, and The Force Awakens. Completing these unlocks the next part of that particular trilogy, and so on. It’s a neat way to organise it, and I liked that I was able to choose which trilogy I wanted to get started with. If the campaign had been entirely linear, with players having to unlock each film one by one, it would probably have been less enjoyable – and likewise, if all nine campaigns were unlocked from the start there’d be less to accomplish. All in all, this approach feels like it strikes the right balance.

I chose to start with The Phantom Menace – it’s my least-favourite film (well, tied with The Rise of Skywalker), but it’s often been my starting point when I go back to re-watch the mainline Star Wars films. As a film with a child-friendly atmosphere, it’s also one that I felt could translate well to the world of Lego! After spending a bit of time progressing through The Phantom Menace I hopped out of that campaign and loaded up A New Hope. It took me a second to figure out how to change campaigns on the fly, but it’s something the game allows you to do.

Qui-Gon Jinn with Obi-Wan Kenobi and Jar Jar Binks.

As someone who hasn’t played a Lego game in years, I wasn’t sure what to expect. I was pleasantly surprised to note that, despite major visual improvements, the feel of playing a Lego game is still present. There’s a cartoon silliness that doesn’t merely begin and end with the game’s visual style, it permeates many different aspects of the gameplay as well – and that less-than-serious take has been a hallmark of Lego Star Wars games (and Lego games in general) going back to the very first iteration. All of that is still present in The Skywalker Saga.

Half the fun of Lego games has always been in roaming around the environment, looking for things to destroy, studs to collect, and hidden collectables. I have no idea how many different things are hidden across the game – but in the few hours I’ve spent with it so far I’ve found dozens, and I’ve barely scratched the surface! What I love about these hidden collectables is that it isn’t just a case of wandering around until you find an obscure part of the map that’s off the beaten track; in order to find or unlock many of them you have to solve a puzzle, run through an optional extra assignment, and things like that. Not all of these puzzles are easy, either, despite the game being aimed at kids!

C-3PO and R2D2 on Tatooine.

The Skywalker Saga would absolutely be the perfect first Star Wars game for a younger fan. Of the Star Wars games released in recent years, it’s by far the easiest to get started with – and it’s also the most complete in terms of telling the classic story of the films. Some scenes and sequences are skipped over during the story, but so far I’ve found both of the stories that I’ve played to be surprisingly deep; there’s certainly more than enough context provided by the game that even someone unfamiliar with the films could follow the story.

One thing that surprised me at least a little was the diversity of environments on display in The Skywalker Saga. The Star Wars galaxy is huge, canonically speaking, and we’ve seen a huge variety of different locales and biomes on display in the films and TV shows. But because The Skywalker Saga is a Lego game and has a cartoon feel, I wasn’t sure how well some of that would translate. It was great to see that the different interior and exterior environments all look and feel distinct from one another; that’s something that really captures the sense of scale present in Star Wars.

Promotional screenshot showing an Ewok and AT-ST on Endor.

Speaking of diversity, there’s more than one type of level in The Skywalker Saga! In addition to levels which characters must traverse on foot, there are ship-based sections where players can pilot a variety of different ships from the Star Wars galaxy. I can’t remember if this is something that has been present in prior Lego Star Wars games, but it was neat to see it here. Being able to hop into everything from starfighters to submarines adds a heck of a lot to the experience, making it feel deeper and richer. Programming and developing different modes of gameplay is no mean feat, and even though we all might have our preferences when it comes to the kinds of levels we prefer, I’d say that The Skywalker Saga is significantly better for including these different styles of gameplay.

The Skywalker Saga is being pitched by publisher Warner Bros. as the definitive Lego Star Wars experience. It brings more characters to the table than ever before, as well as more levels based on all nine of the mainline Star Wars films. It’s hard to argue that – at least in 2022 – this really is as good as it gets for a fan of Lego Star Wars!

Promotional screenshot showing prequel-era Republic starships.

There are new elements that are clearly designed to modernise the familiar formula. The fact that it’s possible to level up your characters and give them gameplay upgrades is a nod to the way that this aspect that originated with role-playing games has become omnipresent in video games today. But none of that feels intrusive, and while it’s certainly possible to spend a lot of time chasing down enough studs or Kyber bricks to unlock the next upgrade, it’s also possible to have fun playing the game without paying too much attention to that side of it. I wouldn’t call these things entirely “optional,” but they’re inoffensive for players who aren’t interested or who just want to have fun playing the game.

Getting to grips with the gameplay felt easy enough. There are a few different moves and attacks that player characters can perform, and the nature of these will depend on whether the character is a Jedi, a gunslinger-type, a droid, and so on. There are ranged shots, melee attacks, jumps, and it’s possible to perform combos. Sometimes these combos will be required (enemies can block certain attacks) meaning it isn’t always possible to race through a level mindlessly hitting the X button!

Promotional screenshot showing Boba Fett.

I didn’t encounter a single bug, glitch, or graphical issue with The Skywalker Saga through my six hours of gameplay, and considering the state of some recent highly-anticipated games I think that’s pretty good! I played on PC, but the game is also available on Xbox One, Xbox Series S/X, PlayStation 4, PlayStation 5, and Nintendo Switch.

The Switch version in particular holds a lot of appeal! Being able to play the game on the go is something I’m sure a lot of fans will appreciate, but it also just feels like a good fit in general for Nintendo’s family-friendly machine. I’m glad that The Skywalker Saga was able to get a Switch release; even more so that it was released on Switch at the same time as on every other platform.

Qui-Gon Jinn using the Force to lift a Lego object.

So I guess that’s it. Lego Star Wars: The Skywalker Saga has been a lot of fun so far, and I can’t wait to jump back in and play some more! I’ll be curious to see how the Lego treatment works for The Rise of Skywalker; that film is tied with The Phantom Menace for being my least-favourite in the saga. The Phantom Menance managed to be fun, so I feel reasonably optimistic that, despite not enjoying the film, I’ll at least have fun with its gameplay adaptation!

I’d happily recommend The Skywalker Saga to anyone who enjoys either the Star Wars franchise or this style of kid-friendly gameplay. You won’t get a massive Elden Ring-style challenge out of it, and in terms of multiplayer you’re limited to playing with a single friend only (and I hear it works far better locally than online). But with those caveats, Lego Star Wars: The Skywalker Saga is something I think a lot of players will be able to find enjoyment in. For kids, especially younger kids looking to get started with perhaps their first big Star Wars game, I think it’s a no-brainer.

So far, Lego Star Wars: The Skywalker Saga has been great. For me personally, while I had fun with Lego Star Wars: The Complete Saga during the Xbox 360 era, I don’t feel the same nostalgic pull to these games as some younger folks who grew up playing them as kids might. But even so, I’m having a lot of fun and I’m happy to recommend the game to anyone still on the fence.

Lego Star Wars: The Skywalker Saga is out now for PC, PlayStation 4, PlayStation 5, Nintendo Switch, Xbox One, and Xbox Series S/X. Lego Star Wars: The Skywalker Saga is the copyright of Traveller’s Tales, Warner Bros. Interactive Entertainment, and/or the Walt Disney Company. The Star Wars franchise is the copyright of Lucasfilm and the Walt Disney Company. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Pixar’s Lightyear looks great!

Spoiler Warning: There are minor spoilers ahead from the Lightyear trailer.

We’re firmly in an era of sequels, spin-offs, and franchises. One type of story that a lot of companies are creating to squeeze another title out of their most popular creations is the “origin story” – basically a prequel that goes into detail about the background of a particular character. The Star Wars prequels showed how overexplaining a classic character can be more of a negative than a positive, but franchises push on regardless. From Willy Wonka to Hannibal Lecter, backstories abound in fiction.

Buzz Lightyear is not a character I would have ever chosen to write an entire origin story for. For one thing, Buzz Lightyear is a toy – he doesn’t have an origin story; he was made in a factory and shipped out to a toy shop where Andy’s family bought him! But I guess Lightyear isn’t taking that approach!

Buzz Lightyear has come to life!

The film’s trailer, which was a surprise release a couple of days ago, seems to show a “real” Buzz Lightyear inhabiting a sci-fi world. All of the elements that we know of were present: his rocket-ship, his colourful spacesuit, Star Command, and even his unrealistically large Desperate Dan-esque chin. But instead of simply being a toy for kids to play with, Buzz seems to be a fully-real person in his own right.

This isn’t actually the first attempt at that concept. Though I haven’t seen it, there was a short-lived television series called Buzz Lightyear of Star Command which aired in 2000-2001 and even spawned a video game adaptation for the PlayStation, Dreamcast, PC, and Game Boy Colour. The series might be one you remember, but it doesn’t seem to have been as big as some of the other Disney projects of the era – I hadn’t even heard of it until researching the topic for this article!

2000-2001 television show Buzz Lightyear of Star Command had a similar underlying premise.

It’s possible that Buzz Lightyear of Star Command’s remaining superfans might be treated to an easter egg or two in the new film, so if you fall into that category keep your eyes peeled! Disney and Pixar have a longstanding habit of harkening back to older titles and past iterations of their popular franchises, so I wouldn’t be shocked at all if a couple of sneaky references or callbacks to Buzz Lightyear of Star Command make it into the final cut of the film!

The trailer itself was exciting and surprisingly had more of a dark tone than I might’ve expected. There were some moments that clearly set up dangerous moments for Buzz as he goes on his adventure, and the dark, engraved door opening to reveal a red glow was incredibly well-done and provided a lot of tension. It almost gave me a Doom vibe – odd as that might sound!

Who will emerge from this door?

Buzz Lightyear as a character has, since his inception, been a uniquely Disney take on mid-century sci-fi. The likes of Flash Gordon, Forbidden Planet, and even Star Trek: The Original Series are present in his characterisation and aesthetic, deliberately so. But of course the biggest influence over Buzz Lightyear’s charmingly retro design comes from Walt Disney’s Tomorrowland and Epcot concepts – which have since been brought to life at Disney’s theme parks.

Anyone who’s ever ridden Space Mountain can see clear evidence of its inspiration in the trailer for Lightyear – Buzz’s rocket-ship resembles the ride vehicles and even the launch platform looked an awful lot like the track of the ride. The rings Buzz seemed to be flying through at one point also bore a striking resemblance to Space Mountain.

I definitely got Space Mountain vibes from the trailer.

A big part of the trailer concerned Buzz Lightyear taking a trip in his rocket-ship. There were influences from a lot of astronaut films and television shows in the way he was preparing for the journey, and he seems to have a colleague or friend at Star Command who’s helping him with his mission; perhaps someone who will serve as a point of contact at mission control.

The animation in the trailer was outstanding. Seeing Buzz’s ship slingshotting around the star was truly striking, and reminded me that Pixar is renowned as one of the world’s best animation studios for a reason! As a Trekkie that moment reminded me a lot of slingshot effects in both Star Trek: The Original Series and more significantly in the 1986 film Star Trek IV: The Voyage Home, but there was also more than a little influence from more modern sci-fi titles like Interstellar in the way the star in particular was presented. Overall it was an astonishingly beautiful sequence.

The slingshot sequence was especially cool.

We have no idea at this stage what the story of Lightyear might be. Chris Evans – of Marvel fame – will star as the titular hero, but we don’t know who will play the film’s villain, Emperor Zurg. Zurg has been part of the mythos of Buzz Lightyear since his first appearance, but had a more fleshed-out role in Toy Story 2. Just like it’ll be interesting to see a “real-life” version of Buzz, so too will it be interesting to see how Emperor Zurg makes the jump from toy to real person.

If we continue the mid-century sci-fi analogy from earlier that we know Buzz Lightyear as a character draws from, I see Emperor Zurg as filling a role similar to the likes of Flash Gordon’s Ming the Merciless – but with an aesthetic inspired by early depictions of robots and even Darth Vader. I’ll watch for a casting announcement with trepidation – getting the right person who can play the character in suitably over-the-top style could be crucial to the film’s success!

Buzz’s classic spacesuit.

I’m not sure what to make of the toy cat in the trailer. Lightyear has been described by Disney and Pixar as “the definitive origin story” of the character, and while we’re assured that he is fully human (or at least not a toy) in the film, the presence of what seemed to be a toy cat – whose name is Sox – made me wonder! Is there something else going on here?

On the other hand, Pixar’s press release talked about the original inception of Buzz Lightyear during the creation of Toy Story. They specifically talked about how they envisioned the toy Buzz Lightyear as being merchandise for a blockbuster movie about an action hero – and how Lightyear is that movie! Kind of a film-within-a-film thing, except that Lightyear is a feature-length title in its own right!

What’s the deal with this cat?

The trailer was genuinely one of the best and most interesting that I’ve seen in months, and Lightyear is firmly on my list of titles for 2022! The film is currently scheduled for a June release window, and will presumably hit cinemas first before heading to Disney+ after a month or two – barring any pandemic-related delays or closures.

The retro sci-fi vibe that Lightyear seems to be wholeheartedly embracing appears to give the film a delightfully old-school charm, with clear influences from Disney’s Tomorrowland in particular. That alone would be enough to pique my curiosity, but the fact that there were some amazing visual effects and what seems to be a slightly mysterious and interesting story has seen Lightyear come from nowhere to rocket its way onto my list for next year. I’m genuinely looking forward to this one now!

Lightyear is scheduled to be released on the 17th of June 2022. Lightyear is the copyright of Pixar and The Walt Disney Company. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Walt Disney World at 50

In October 1971 Walt Disney World first opened its doors, making this month the park’s fiftieth anniversary. Though competitors have risen in the years since – Universal Studios most prominently, but there are others – Disney is still the world’s preeminent theme park brand in 2021, which is no small accomplishment!

2006 was the last time I managed to get to Walt Disney World in Florida, and it seems unlikely I’ll be able to make another trip – my health generally prevents me from travelling these days. But I’ve made some wonderful memories at Walt Disney World, from my first trip when I was very young with my parents through to an incredibly fun jaunt with friends while at university. Walt Disney World has always had a lot to offer – and not just for children.

Mickey and Minnie are celebrating 50 years of Walt Disney World!

Recently I put together a list of ten of my favourite Walt Disney World attractions – and you can find it by clicking or tapping here. Long story short, some of the best experiences at Disney – at least in my opinion – aren’t the most extreme roller coasters with the highest drops or fastest speeds. What Walt Disney World has always excelled at is its world-building, crafting lovingly-detailed experiences that don’t need to rely on speed or being an adrenaline rush to hook riders in.

Attractions like Spaceship Earth, the Tomorrowland Transit Authority PeopleMover, and even the Monorail are all incredibly fun to ride over and over again, and in many ways it’s these slower rides that made me fall in love with the Disney theme parks. It’s this combination of slow rides, dark rides, fast-paced rides, shows, and simulation experiences that has meant Walt Disney World has so much to offer to such a range of visitors. Many theme parks – especially here in the UK – tend to be built around one or two big attractions, and these are almost always ultra-fast adrenaline rush roller coasters. Once you’ve ridden one or two, you’ve ridden them all!

The Tomorrowland Transit Authority is one of my favourite rides!

Every aspect of Walt Disney World was planned in detail – with early plans coming from Walt Disney himself before his death in 1966. The idea of corridors running underground to allow employees – better known as “cast members” – to secretly move from one location to another out of sight of guests is a genius move. It means that guests never see a character “out of place;” no cowboys in Tomorrowland nor spacemen in Frontierland.

On a smaller scale, no shop in Walt Disney World sells chewing gum. Why? Because it’s one of the worst forms of litter and the hardest to clean. If every road and pavement were covered with discarded gum the entire park would feel ever so slightly less polished, and Walt Disney was very keen that visitors should feel as if they’d been transported to a magical land away from their everyday lives. He wanted everyone to have the perfect experience – at least within their budgets!

Walt Disney.

The food at Walt Disney World is also exquisite. The park has a huge variety of restaurants and fast-food joints both in the parks and attached to the numerous hotels spread across the property. Many of these are themed experiences in and of themselves, offering guests a chance to dine in the banquet hall of a castle or an orbiting space station – with themed menus to match. And of course, many restaurants bring Mickey Mouse and other characters right to the table.

Walt Disney World didn’t pioneer the concept of the theme park. It wasn’t even the first Disney theme park, with California’s Disneyland having been open for more than sixteen years before it came along. But Walt Disney World took the theme park concept and honed it to near-perfection, having learned the lessons not only of Disneyland but also of other theme parks as well. With years of experience under their collective belts, the team behind Walt Disney World came together to build what they hoped would be the best theme park in the world. Fifty years later the park is still right at the pinnacle of the theme park industry, so it’s hard to say that they didn’t succeed.

The original Walt Disney World logo. It was in use from the park’s opening in October 1971 until 1996.

There are controversies about the way Walt Disney World came to be, of course. Not least the Walt Disney Company’s policy of buying up the land that the parks would ultimately be built upon using dummy companies with fake names to avoid the price shooting up! And of course it’s sad that Walt Disney didn’t live to see his project to completion.

As we look back at Walt Disney World, it’s only natural to look forward, and I’m afraid it’s here that I see new controversies, as well as problems ahead.

In the early 2000s when I was planning a trip to the parks with friends, it was quite achievable for students to put a bit of money aside from part-time jobs to be able to afford not only to visit Walt Disney World, but to do so in style! After saving up, my friends and I were able to afford flights there and back from the UK, as well as a moderately-priced hotel, park tickets, food, and we still had money left over for souvenirs. I can’t remember the exact amount of money we spent apiece, but none of us were wealthy and we still managed to have a wonderful time.

Visiting Walt Disney World is an increasingly expensive proposition.

Nowadays, the inflated prices Walt Disney World charges – and the dozens of hidden extra charges – make it so much more difficult to consider a trip there a worthwhile investment for a lot of folks. Walt Disney World now charges for parking – even at hotels – which is something that never used to happen. And coming very soon is the “Disney Genie Plus” app and programme, which includes paying to skip some of the lines at popular attractions – including on a ride-by-ride basis in some cases, with prices rising dynamically depending on how busy the park gets.

Add into the mix the generally inflated prices of everything from tickets to food, and Walt Disney World is no longer a holiday within reach of everyone. It’s beginning to feel like an attraction targeting wealthier folks exclusively, and when a vacation for a small family is now easily running around the $6-8,000 mark (not including flights, which from the UK aren’t exactly cheap) it’s hard to argue with that assessment.

The new Disney Genie Plus paid-for service is going to make Walt Disney World more expensive – and a worse experience.

Just to give one example, a single portion of popcorn from one of the popcorn stands scattered throughout the parks now comes in at $5.25 (£3.90). That’s a heck of a lot for something as basic as popcorn, so you can imagine that other snacks and meals are priced similarly. Because Walt Disney World knows it has a captive audience, prices have shot up. It was never a cheap place, don’t get me wrong, but recent years have seen price hikes left, right, and centre.

In addition, Walt Disney World is losing many of the things that made it unique. One-of-a-kind attractions are being replaced with bland-looking roller coasters, and rides that used to have unique animatronic characters are being closed down or altered to include Disney-branded characters. One of my favourite rides at Epcot was called El Rio del Tiempo, and it was a slow boat ride that brought guests a small taste of Mexico and Mexican history. Since I last visited it’s been re-themed to include Donald Duck.

El Rio del Tiempo is one of many Walt Disney World attractions that you can’t find any more.

Rides and attractions like El Rio del Tiempo – and many more – were part of what gave Walt Disney World its unique charm. There were always Disney-themed rides like Peter Pan’s Flight or the Mad Hatter’s Tea Party (from Peter Pan and Alice in Wonderland respectively), but they were balanced out by these other rides that weren’t associated with a film or television series. With some rides like Pirates of the Caribbean and Jungle Cruise having been turned into films in recent years, there aren’t many attractions left that exist purely for their own sakes any more. Perhaps I’m showing my age by lamenting that change of focus!

To end on a much happier note, one of my favourite memories as a geeky, nerdy kid came at Walt Disney World in the early 1990s. Not long after having seen the Star Wars trilogy for the first time, I got to go on a Star Wars ride – Star Tours – at Walt Disney World. After queuing up excitedly, the moment the doors to the Starspeeder 3000 wooshed open for the first time was truly thrilling! Boarding an actual spaceship complete with a droid pilot and going on my own little Star Wars adventure felt like a dream come true.

I have incredible memories of Star Tours!

Walt Disney World has delivered an uncountable number of moments just like that one to children and to adults. My cousin visited a couple of years ago, and her daughter got a complete “princess makeover,” complete with makeup, a tiara, and a princess dress. Wherever she went all day long the cast members would bow and wave and treat her like a real Disney Princess. These kinds of once-in-a-lifetime experiences really don’t exist anywhere else, not in the same way. Just like I had my moment of wonder as I boarded a ship in the Star Wars galaxy, so too did my cousin’s daughter as she was transformed into a princess. Walt Disney World makes magical memories like that, and I hope it always will.

The only reason I criticise Walt Disney World for some of the recent changes – particularly the way things are being priced and the “stealth” costs like charging for hotel parking – is because I wish those kinds of experiences were available to as many people as possible. Walt Disney’s dream was that families could visit his theme parks together, and he even said: “Disneyland is a work of love. We didn’t go into Disneyland just with the idea of making money.” Try telling that to the executives of the company today, eh!

I doubt that I’ll ever get back to Walt Disney World. But the park holds happy memories for me from childhood – and from adulthood as well. I hope that the park succeeds and will endure for another fifty years, bringing those same happy memories to new generations.

All properties mentioned above are the copyright of The Walt Disney Company. Some images courtesy of The Walt Disney Company and the Disney Wiki. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Jungle Cruise – film review

Spoiler Warning: There are spoilers ahead for Jungle Cruise.

Any review of Jungle Cruise on Disney+ needs to take into account the film’s price tag. Right now Jungle Cruise costs £20 in the UK or $30 in the United States to “unlock,” and thus the film’s value will vary from viewer to viewer. For my two cents, unless you’re a huge fan of the original Jungle Cruise ride at the Disney theme parks or a particular fan of either Dwayne Johnson or Emily Blunt, this is probably a film to wait for. In a matter of months, and certainly by Christmas, the film will be added to the regular Disney+ lineup, and though I had a decent enough time with Jungle Cruise, I’m not sure that I necessarily got £20 worth of enjoyment from it. If you’re on the fence, trying to decide whether to pay up or wait, I think this is one you can safely wait for.

That being said, Jungle Cruise was enjoyable. I’ve said this before, but in 2002-03 when Disney was talking about adapting Pirates of the Caribbean into a film, I thought it sounded like an atrocious idea! How could a theme park ride possibly translate to the screen, I wondered? I was wrong about Pirates of the Caribbean: The Curse of the Black Pearl then, and if I had similar doubts about Jungle Cruise eighteen years later then I was wrong again! The film was decent, and paid homage to a classic ride which has been part of Disneyland since the very beginning.

Jungle Cruise poster.

If you’re fortunate enough to have ridden Jungle Cruise, you’ll recall that there is a “story” of sorts to the ride itself. Obviously the film takes liberties with this, chopping and changing things to make the story more suited to the screen rather than a semi-interactive theme park attraction. But I was surprised at just how well Jungle Cruise captured the feel of the original ride, with Dwayne Johnson’s character of Frank taking the role of the Disneyland boat captain from the attraction.

There were nods to other aspects of the ride as well, particularly in the film’s opening act with Frank’s literal jungle cruise entertaining the tourists with the same mixture of dad jokes and props as the ride itself. As the story went on, the film naturally stepped away from being true to the ride to focus on a story that was not dissimilar to the aforementioned Pirates of the Caribbean film, complete with cursed undead sailors, a magical macguffin, and lashings of aquatic adventure.

Quila hits the rapids!

There were several surprisingly poignant and emotional moments in Jungle Cruise which I wasn’t expecting. Aside from the typical Disney happily ever after ending (complete with a fake-out sad ending which preceded it) the tastefully handled moment where Jack Whitehall’s character of MacGregor came out to Frank was a very sweet inclusion. Not only did it add personality and dimension to both characters – MacGregor gained a backstory of rejection and further reason to follow Lily, and Frank came across as accepting and kind – but it was a huge step for representation and inclusion. Seeing MacGregor experience rejection yet find acceptance in the most unlikely of places is a powerful message, and the mere act of LGBT+ representation in a blockbuster film is always fantastic to see. Such a message is especially important for younger viewers.

While we’re discussing some of Jungle Cruise’s deeper themes, the film took a dim view of wealth, aristocracy, and closed societies – despite practically all of its main characters being drawn from the upper classes of their day. MacGregor’s unease at having to experience life away from his home comforts was initially played for laughs – though he did become more comfortable with it as the film reached its end. The villain of the piece being a German aristocrat was also a continuation of this theme, as was the initial depiction of Frank as the last independent river boat captain – and the poorest.

Dwayne Johnson as Frank, the riverboat captain.

Having seen a number of films with British villains over the last few years, the decision to make the German Prince Joachim the main adversary to Frank and Lily was actually a bit of a change. There was a time a few years ago where villains in cinema were often German – or of German extraction. But enough time has passed and enough other villains have come and gone that the return to a German villain didn’t feel like stereotyping or a trope in the way it might’ve done had Jungle Cruise been made in the recent past.

The story itself took a couple of unexpected twists. The revelation that Frank wasn’t who he seemed to be definitely came as a shock – but in a good way! Sometimes twists of this nature can feel rushed or like they jolt the story in an unwanted direction, but learning Frank’s true origin managed to avoid that pitfall. It made his character feel more rounded and gave him motivation. We learn why he wanted to take Lily upriver – and why he was so convinced she wouldn’t succeed in her quest to find the Tears of the Moon.

Lily was seeking the Tears of the Moon.

Frank’s “betrayal” of Lily and MacGregor – which he apparently set up off-screen with Trader Sam and her tribe – was perhaps the weakest moment in the story. It did nothing to endear us to Frank, and while it was arguably in character for him it robbed what was initially set up as a tense moment of practically all of its drama. Though the threat and peril were restored after a brief respite, the way the film handled this moment was poor overall.

Representation of native peoples and their relationship to colonists has come a long way in recent years, and when looking back at past Disney depictions of indigenous peoples – such as in Peter Pan or even the original incarnation of the Jungle Cruise attraction – the way the “headhunter” tribe was presented was an improvement. Considering the tribe played a relatively minor role in the film, what we saw worked well. The depiction retained some of the mystery that westerners have of indigenous peoples – something that the original ride drew on for part of its threat – yet at the same time made at least one key character relatable.

The tribal chief.

Jungle Cruise also didn’t shy away from depicting the brutality of colonisation, showing Conquistadors savagely attacking a tribe of native people even after being offered shelter, food, and medicine. However, the film then immediately strayed into once again mystifying the tribespeople by giving them magical powers seemingly connected to the Tree of Life. Overall, the way Jungle Cruise handled its characters’ interactions with indigenous people was better than in some Disney titles, particularly older ones, but arguably imperfect and verging into some of the tropes commonly associated with such tribes in fiction.

Aside from the opening act, which was set in London, and a few other scenes near the beginning of the piece, Jungle Cruise broadly stayed true to its premise as a film about a voyage on a riverboat. The boat itself had character, being old and beaten-up, and was memorable for the way it looked while again retaining some of the charm of the original Disneyland attraction. Quila (Frank’s boat) was not only the characters’ home and method of transportation, but also played a key role toward the end of the story by blocking the river water and saving Lily and MacGregor. Giving the boat more to do in the story than simply be an ever-present stage for the characters made a huge difference to the film, and made its setting feel meaningful.

Quila – the boat – was almost like an extra character in the film.

Though the Conquistadors wanted to kill Frank – and later Prince Joachim – they seem to have had similar objectives when it comes to acquiring and using the Tears of the Moon, and as a result some of the moments toward the film’s climax felt rather forced. Obviously Lily and MacGregor had an incentive to stop the Prince and his gang of German submariners, as they clearly had nefarious intentions for the magical macguffin. But the Conquistadors had basically the same objective as Frank – to lift their curse – and it felt like there could have been a moment near the end of the film where they had all realised that they didn’t need to fight. In fact I initially wondered if Prince Joachim’s betrayal of the Conquistadors was going to set up precisely that kind of storyline. It feels like a miss that it didn’t, as the film basically ended with the heroes defeating two parties of villains.

There’s always room in fiction for that kind of narrative; not every story has to depict an emotional coming together and teaming up to defeat a worse villain. But the disturbing implication to the way Frank’s story ended is that he simply left the Conquistadors to endure endless torture; they’re unable to die and it didn’t seem as though he took action to lift their curse. Perhaps this is Disney leaving the door open to a sequel?

Did Frank and Lily condemn the Conquistadors to eternal torture?

Speaking of the way the film ended, with Frank and Lily only able to pluck a single petal from the tree, all Lily really got to do was write up her adventure and land herself a job. In the male-dominated world that the film depicted that is unquestionably a victory for her – but her original ambition had been to use the Tears of the Moon to “revolutionise medicine” and save countless lives, not least in the ongoing First World War. It seems as though this ambition was thwarted, yet the film skips over this point.

Jack Whitehall is not someone I would have expected to see in a film like Jungle Cruise, but he put in a creditable performance as MacGregor. His stand-up act often draws on his self-styled “posh” image, and his character felt like an exaggerated version of that in some respects. Emily Blunt was outstanding in the role of Lily, bringing real personality to the character and crafting a heroine that we as the audience wanted to get behind. Dwayne Johnson seemed at first to be playing a fairly typical “Dwayne Johnson” role, but the addition of an unexpected backstory for his character of Frank took the character to a different place and forced him to step out of his comfort zone and play things differently as the film passed the two-thirds mark. Though perhaps it wasn’t an Oscar-worthy performance, I found Frank to be a believable protagonist and someone I wanted to see succeed.

MacGregor and Frank shared a genuinely touching moment in Jungle Cruise that I wasn’t expecting.

Jungle Cruise relied heavily on CGI almost throughout, and not all of the animation work was as realistic as it could’ve been. Recent productions, even on television, have seen some truly outstanding CGI work, and while nothing in Jungle Cruise was awful or even immersion-breaking, there were quite a few elements that didn’t look quite right. At a number of points I felt that some of the CGI had that “too shiny,” plastic look that plagued CGI a few years ago, and I really thought that animation – especially cinematic animation – had begun to move past that particular issue.

I would’ve liked to have seen more physical props and practical effects, and the fact that a large portion of Jungle Cruise was filmed with green screens and other modern tricks wasn’t as well-concealed as it might’ve been. And perhaps this final point on visuals is a bit of a nitpick, but the fact that a number of the so-called “jungle” sequences were filmed not in South America but in Hawai’i was apparent to anyone who knows their flora! Different biomes do look different from one another, and a few scenes in particular which supposedly took place on the banks of the Amazon were very clearly filmed elsewhere. I know that’s a minor point that won’t have bugged many people, but I found it worth noting.

Happily ever after for the main characters!

So that’s about all I have to say, I think. Jungle Cruise certainly compares to the likes of Pirates of the Caribbean and other fantasy-adventure titles. It was fun, emotional at points, and set up its trio of main characters for a story that was easy enough to follow for kids while still having plenty to offer for adults as well. It stands up well against many adventure films, including classics of the genre like Indiana Jones – which Jungle Cruise was clearly channelling at points!

I had an enjoyable time with Jungle Cruise, and it was a fun way to spend a couple of hours. Whether it will be worth the cost of admission on Disney+ is something everyone will have to decide for themselves, but I think it’ll still be an enjoyable watch in a couple of months’ time. Jungle Cruise presented a fun story that drew inspiration from the likes of Pirates of the Caribbean, yet stayed true to its origins as a theme park attraction. It was a fun ride down the river with Frank, Lily, and MacGregor, and I’m sure I’ll have fun watching the film for a second and third time in the future; it’s definitely one to return to when I’m in the mood for adventure!

Jungle Cruise is available to stream now on Disney+ Premier Access (for a fee). Jungle Cruise is the copyright of Walt Disney Pictures and The Walt Disney Company. Some promotional images courtesy of The Walt Disney Company. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Ten of my favourite Disney World rides and attractions

It’s been a long time since I visited a Disney theme park, but with the re-opening of Disneyland in California recently hitting the headlines, I’ve been thinking about past visits. I’ve been very lucky to have visited three of the six Disney parks in my life, and though California’s Disneyland is the original and thus a classic, for my money you can’t beat Walt Disney World in Florida. There’s just so much more going on and so much more to do!

The last time I visited Walt Disney World was in 2006, and there have been many changes to the resort and its four constituent parks since then. This list won’t reflect those changes, so don’t expect to see me talk about Galaxy’s Edge and Rise of the Resistance. I would love to try that ride for myself one day, but my health prevents me from travelling (even if there weren’t a pandemic going on) so I doubt I’ll ever get to experience it for myself.

Cinderella’s Castle is the centrepiece and icon of Walt Disney World.

Luckily, though, I had several wonderful Disney experiences earlier in my life while I was able, and I’ve visited the parks both with family and with friends. Disney World – and the other parks – are presented as family-oriented attractions, but even as an adult you’ll find plenty going on and lots of things to have fun with.

So let’s celebrate all things Disney by picking out ten of my favourite rides and attractions! For the record, because I know people like to argue: I’m not saying these are objectively the best things to do at Disney World. These are simply ten rides and attractions that I enjoyed at the park on my earlier visits. If you have your own favourites and don’t like these ones, that’s okay! There’s a broad range of things to do at Disney World, with rides and attractions to cater to many different folks and the things they enjoy. We don’t all have to like the same things!

With that out of the way, let’s take a look at my list.

Number 1: The Tomorrowland Transit Authority/PeopleMover

The Tomorrowland Transit Authority/PeopleMover track.

I said at the beginning that this isn’t a top ten list of my absolute favourite rides. But if it were, the Tomorrowland Transit Authority would be my number one! It’s almost certainly my favourite ride at the Magic Kingdom and the whole of Disney World, which might come as a surprise considering it’s very tame. Unlike other slow rides at Disney, the Tomorrowland Transit Authority doesn’t really have its own theme, instead making a loop of Tomorrowland – one part of the Magic Kingdom – from about one storey up.

The Tomorrowland Transit Authority is fun and interesting, passing through several rides in Tomorrowland and a shop, giving you a birds-eye view over much of the future-themed area of the park. It’s gentle, so it’s perfect for young kids and others who don’t enjoy fast-moving rides, and unlike many of Disney’s other slow rides it isn’t in the dark, which again makes it great for kids who might not be so happy in the dark.

There usually isn’t a horribly long queue for the Tomorrowland Transit Authority (or at least, not as far as I remember from past visits) which, combined with its gentle nature, means it’s something relatively easy to do in between “bigger” attractions. Riding the Tomorrowland Transit Authority can nicely punctuate a visit to the Magic Kingdom, providing a way to slow down while still enjoying a ride. But it’s absolutely great fun on its own merit, and well worth a visit. If I ever go back to Walt Disney World, I’m making a beeline for the Tomorrowland Transit Authority as soon as I walk through the gate!

Number 2: El Rio del Tiempo (Mexico Pavilion at Epcot)

The entrance to El Rio del Tiempo.
Photo Credit: Disney Wiki

Sadly, El Rio del Tiempo has been re-themed since I last visited the parks, with the dark ride now taking on a theme based loosely on The Three Caballeros, a 1944 film featuring Disney mainstay Donald Duck. I believe the ride layout remains the same, though, despite the re-theming, so I imagine the gentle pace of the attraction has been retained.

Epcot’s World Showcase is an eclectic mix of different countries, with themed areas representing different parts of the world. There are points of interest and lots of places to eat, but what World Showcase doesn’t have in abundance are rides. The Mexico Pavilion contained my favourite, which is/was a dark ride set inside the attraction’s Mayan pyramid. The version of the ride I remember was a gentle boat ride, with no big drops or splashes, and after trailing around World Showcase in the Florida heat, it was great to take a break and sit down in the shade – and air conditioning!

A lot of theme parks (especially here in the UK) go all-in on thrill rides, trying to outdo each other with bigger and faster rollercoasters. Walt Disney World has always been great at having slower, gentler attractions that aren’t just rides for kids, and El Rio del Tiempo was a great example of an adult-oriented dark ride, one which paid homage to Mexico and Mexican history in a respectful way. I haven’t ridden the updated Donald Duck version, but I hope it managed to keep some of what made the original attraction so pleasurable.

Number 3: The Great Movie Ride

A recreation of Hollywood’s famous Chinese Theater served as the building for The Great Movie Ride.
Photo Credit: The Walt Disney Company

Another attraction that, sadly, can no longer be ridden, The Great Movie Ride was one of the original rides and showpieces of Disney’s MGM Studios/Hollywood Studios. It closed in 2017, being replaced by Mickey and Minnie’s Runaway Railway. As with El Rio del Tiempo above, this reflects a move on Disney’s part to introduce its own characters and brands into all of the rides at Disney parks.

What I loved most about The Great Movie Ride was that a cast member (i.e. a real person) was present throughout, serving as a guide as the ride took you through clever recreations of scenes from famous films like Casablanca, The Wizard of Oz, Raiders of the Lost Ark, and even Alien. There was an incredible diversity of films on display, and having a live performer along with the wonderful animatronics brought the world of Hollywood to life in a way I’d never really experienced before.

The Great Movie Ride was a love letter not just to the “Golden Age” of Hollywood, but to cinema in general. The queue area contained actual props from more than a dozen films – including the famous ruby slippers from The Wizard of Oz and a dress worn by Kate Winslet in Titanic. While it makes sense in some ways for Disney to want to stick to its own brands, I think something significant was lost with the closure of The Great Movie Ride that took away from Hollywood Studios’ premise as a park.

Number 4: Star Tours

The StarSpeeder 3000!
Photo Credit: Disney Wiki

Galaxy’s Edge was not the first Star Wars-themed attraction at Disney World. Not by a long shot! Star Tours opened in 1989, and is still open today – albeit having been given a makeover! Unlike most attractions at Disney World, Star Tours is a simulator, meaning that it stays in one place and doesn’t follow a track.

I can still remember the thrill of boarding Star Tours in the early 1990s, not too long after having seen the Star Wars trilogy for the first time. Actually boarding a starship, complete with a droid pilot, and going on my own Star Wars adventure was a geeky kid’s absolute dream, and the sense of wonder I had as the doors to the simulator opened that first time is a memory that has stuck with me for decades.

The simulator itself was clever, and the ride managed to really give you the sensation of being a spaceship passenger, lurching from side to side and up and down as the ship tried to escape Imperial attacks! The “story” of the ride was, of course, a bit silly, but the experience of being part of Star Wars – even just for a few minutes – is something I’ve never forgotten. I haven’t been able to ride the updated version of Star Tours, but I’m sure it’s just as much fun, and that there are young Star Wars fans today about to have that same kind of experience!

Number 5: Pirates of the Caribbean

Pirates of the Caribbean exterior (at Disneyland Paris).
Photo Credit: Trekking with Dennis

Pirates of the Caribbean was a ride long before anyone conceived of Jack Sparrow or the film franchise! And it’s a fun pirate-themed boat ride perfect for Adventureland. It wasn’t the first ride to be given the feature film treatment – that dubious honour goes to Hollywood Studios’ Tower of Terror, which saw a truly mediocre adaptation in 1997 – but it’s not unfair to say it’s been the most successful to date.

The ride itself – at least the classic version, prior to being updated with characters from the films – didn’t have a strong story, instead comprising little more than a set of pirate-themed scenes loosely bound together. Thus there wasn’t much to “adapt” to bring it to screen, just a theme and a song.

Though the ride has now been updated to reflect the popularity of the films, which makes sense, the original version was plenty of fun. The ride is a step in between something like El Rio del Tiempo and more thrilling, faster-paced rides, containing several short drops and faster sections rather than simply being a slow boat tour in the dark. Pirates of the Caribbean is a Disney classic, and one that nobody should miss when visiting!

Number 6: The Monorail

A Walt Disney World Monorail train.

Though you aren’t technically supposed to… this is the only ride on this list you can ride for free! Because the Monorail runs outside of Disney World itself, connecting the theme parks to several resort hotels and the main entrance, it’s possible to hop aboard even if you don’t have a ticket for the theme park – or at least, it used to be!

The Monorail is a lot of fun to ride, and offers great views of both the Magic Kingdom and Epcot. As a kid, I was seriously impressed with the way the Monorail glides through the inside of the Contemporary Resort – one of the hotels near the Magic Kingdom. The idea of a train going inside of a hotel blew my mind!

It’s designed to be a practical method of transportation, providing guests with an easy connection between their hotels or the car park and the theme parks. But the Monorail is so lovingly designed and well maintained that it’s a fun ride in itself. It also bookends a day at the parks – and even a whole Disney trip – perfectly, by beginning and ending with a ride.

Number 7: Spaceship Earth

Spaceship Earth is symbolic of Epcot.

Epcot’s talisman is a perfect representation of the concept behind the Epcot theme park. It’s a dark ride that goes through a summarised version of history, specifically the history of communication, with great animatronics and excellent narration. Epcot was originally intended as a park with a greater emphasis on imagination and education, showing off a particular vision for a possible future. Spaceship Earth is one of the few remaining elements of that original vision, with others having been closed or Disney-fied.

Spaceship Earth is the first thing you seen upon entering Epcot, and the huge geodesic sphere can be seen from all over the park. Its futuristic design still looks great as the park approaches its fortieth anniversary, and it’s become absolutely iconic. I hope that a planned renovation of the ride, which was due to start last year before the pandemic delayed things, doesn’t take away its educational charm.

Because Spaceship Earth is the first attraction inside the gate, it’s easy to make it your first port of call in Epcot. In my recollection, the queue wasn’t especially long on any of the occasions I wanted to ride, and inside a combination of moving walkways and continuously-moving ride vehicles seem to provide a smooth experience. The final part of the ride, which takes you through a field of stars “into the future” always feels moving and beautiful, and the ride ends on a very optimistic and hopeful note.

Number 8: Kilimanjaro Safaris

The sign welcoming guests to Kilimanjaro Safaris.

In 1998 my family and I were fortunate to be among the first guests ever welcomed into Disney’s Animal Kingdom. The new theme park was fantastic, and coming a few short years after The Lion King had been in cinemas, it was wonderful to see Disney really embracing the animal theme. Kilimanjaro Safaris is, as you might expect from the name, a safari ride.

Growing up, my family visited South Africa on a few occasions to visit an aunt who had moved there, and I lived in South Africa for a time shortly after graduating from university, so I’ve been lucky to have been on a real safari on a number of occasions. And I have to say, Kilimanjaro Safaris compares positively to the real thing! Because the ride is relatively compact, it’s possible to see many different animals – real animals, not animatronics – during the course of your expedition, which is fantastic.

There is a story to the ride, and like The Great Movie Ride above, Kilimanjaro Safaris has a cast member driving the ride vehicle to serve as your guide, adding a whole extra level of immersion. The animals at Animal Kingdom are well cared-for, and while it is still a “zoo” of sorts, knowing that the animals have space to roam and aren’t confined to small cages is nice to know. Getting up close and personal with some of these wild animals might otherwise be impossible, so Kilimanjaro Safaris offers a unique experience that really can’t be found elsewhere.

Number 9: Splash Mountain

Splash Mountain looms large over Frontierland!

After putting so many slower rides on the list, I suppose we need at least one “thrill ride” before we wrap things up! Splash Mountain is a log flume with a slow and tense build-up to a long drop, and it’s very easy to get absolutely soaked while riding! The ride is being re-themed at some point in the near future, following criticism of its present theme, which includes elements from the controversial film Song of the South. The new theme will draw on The Princess and the Frog, and based on concept art looks fantastic.

Splash Mountain slowly builds up a sense of tension. A couple of smaller drops get you riled up for the big one, and the slightly creepy vibe present in some of the animatronic scenes really ramps things up as you… go up the ramp! By the time the big drop is imminent, the ride has done its job of building anticipation!

I’ve always enjoyed Splash Mountain, and though I don’t expect to be able to see the re-themed version any time soon, it sounds like it’s in good hands. It’s one of the main attractions in Frontierland, and one of the “three mountains of the Magic Kingdom” along with Space Mountain and Big Thunder Mountain. Doing all three in a day makes for an amazing and thrilling time!

Number 10: Peter Pan’s Flight

Entry to Peter Pan’s Flight.
Photo Credit: Disney Wiki

Peter Pan’s Flight is a dark ride that vaguely follows the story of the 1953 film, taking you on a journey to Neverland with Peter and the Darlings. The gentle ride is great for young kids, and the adventure of following Peter Pan as he flies above London and battles Captain Hook is rendered beautifully with Disney’s animatronics.

Clever use of forced perspective really does give you the sensation of flight – being high above London and Neverland, looking down. It’s a very well-designed ride to get that sense of scale, and I’ve always appreciated that about Peter Pan’s Flight. Most of the characters from the film are present, including Tinker Bell and Captain Hook, and it’s just a cute, fun ride.

Given the recent controversy surrounding the way Native Americans were depicted, and Peter Pan’s restricted access on Disney+ that has resulted, I wouldn’t be surprised if Peter Pan’s Flight is reworked or even closed and entirely re-themed at some point in the near future. So this might be one to ride while you can!

Bonus: Fireworks displays

Fireworks in the Magic Kingdom.

Few places in the world do fireworks displays as well as Walt Disney World. Even though I’m not the world’s biggest fan of fireworks, which I feel can be a tad boring, the displays Disney World puts on at the Magic Kingdom and Epcot in particular are absolutely fantastic, and well worth sticking around for after dark.

Seeing the fireworks pop over Cinderella’s Castle, while also watching performers in costume as Mickey, Minnie, the Princesses, and other Disney favourites is one of the must-do experiences while in Disney World, especially if you’re visiting with kids. Not only is it a quintessential Disney World experience in itself, it’s also one of the best fireworks shows you’re ever likely to see!

Most places around the world are only treated to fireworks once or twice a year, so seeing a live display – especially a professional one on a large scale – does still present a sense of wonder and excitement, even to an old cynic like me! It’s a great way to end a day at the parks.

So that’s it. Ten of my favourite attractions at Walt Disney World.

No Rise of the Resistance for me… yet!

Did your favourite(s) make the list? If not, I hope you’ll stay tuned. This is a subject I’m sure I’ll revisit at some point in future, as there are at least ten more rides and attractions I can think of that didn’t make this first list! Disney World really has something for everyone, in my opinion. Whether you want the thrill of a fast rollercoaster, an immersive story-based ride, something gentle to do with young kids, or a show to sit down and watch, there’s so much going on that kids and adults of all ages should be able to find something to enjoy. I greatly enjoyed my visits to the park, and I’m glad to have been able to attend while I was capable of doing so.

The great thing about Walt Disney World is – as Walt Disney himself said – that the parks are “never finished.” There will always be changes, additions, and updates to keep things fresh and interesting, and while the trend in recent years has been for including more of Disney’s own characters and intellectual properties, that may not always be the case, and we could see more changes in future that bring back ideas like The Great Movie Ride or Epcot’s Innoventions.

Regardless, I hope this list was a bit of fun, and maybe a trip down memory lane for those of you who, like me, haven’t been able to visit the parks in a number of years.

All rides and attractions listed above are the copyright of and owned by Disney Parks and/or The Walt Disney Company. Some images courtesy of the Disney Wiki and Unsplash. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Raya and the Last Dragon – a review

The first part of this review contains no major spoilers for Raya and the Last Dragon. The second part does, however, and the end of the spoiler-free section is clearly marked.

Raya and the Last Dragon is an expensive film right now, available only via Disney’s “premiere access” feature on Disney+ for £20 in the UK or $30 in the United States. My review of the film has to be seen through that lens, because it’s not simply a title you can watch as part of your regular Disney+ subscription – though it will surely become available on Disney+ in the coming months. If Raya and the Last Dragon follows the same path as last year’s Mulan, it may be available to stream as part of Disney+ in the summer.

So the big question is this: can I recommend it for £20? Or is Raya and the Last Dragon a title that you’re better off waiting for?

I’m kind of an impatient person! And because Raya and the Last Dragon was one of the titles I was most looking forward to this year, for me it was unquestionably worth it. Raya and the Last Dragon is a great animated film that easily hits the highs of other recent Disney projects. I don’t mind paying a little extra for that under the circumstances – it’s about the price of two or three cinema tickets, so if you consider it from that point of view, it doesn’t seem too bad.

But there’s no getting away from this price discussion, and I want to briefly add my two cents. On the one hand, it can seem unreasonable for Disney to insist on an additional £20 on top of the monthly fee for Disney+. If it were an either/or case it would perhaps sit better with folks, but being asked to either pay £20 on top of your £8 a month, or to have to sign up at £8 on top of the £20 to see Raya and the Last Dragon certainly feels anti-consumer, and I get why folks feel that way.

Raya and the Last Dragon was originally supposed to get a theatrical release.

I’m sick to the back teeth of companies using the pandemic as an excuse for everything, and there’s no denying that Disney could simply have waited and released Raya and the Last Dragon in cinemas either later this year or next year if needs be. That’s the approach taken by Eon and MGM for the upcoming James Bond film No Time To Die, which has been delayed for well over a year. However, despite all of that, I like this method of distribution, and I think we’re seeing the beginnings of a shift away from theatrical releases in favour of streaming.

My health and disability means that I can no longer go to the cinema, so from my selfish perspective I love the idea of bringing more titles straight to streaming platforms, and on an occasional basis for a big release that I’m very keen to see, paying a little extra to watch it is no big deal. As television screens get better (and bigger) the so-called “cinema experience” offers less and less value anyway, and being able to watch a film on one’s own schedule, with the ability to pause, rewind, take breaks, etc. is so much nicer than going to the cinema in many ways. So in my opinion, bringing Raya and the Last Dragon to Disney+ for a fee is acceptable. Would I have preferred it to be included in the price? Of course. But these projects are hugely expensive, and recouping some of that money is going to be necessary for Disney, so I understand why they’ve done it this way. It feels like a compromise – not one that everyone will love, but one I find acceptable.

Young Raya during the film’s opening moments.

Before we get into the main section of the review, here are my spoiler-free thoughts.

I would describe the animation as competent. Nothing blew me away with how amazingly detailed it was – like the snow in Frozen or the oceans in Moana did – but there was nothing wrong with it and it was in line with other modern Disney films from the last decade or so. Considering a significant portion of the work on Raya and the Last Dragon was done remotely, that’s pretty good in my opinion.

The story was surprisingly heavy and emotional for a kids’ film, and it was thoroughly enjoyable. In the first few minutes it was perhaps a little fast-paced for my liking, dropping quite a few characters, locations, and themes all at once. But after that fast beginning it settled in, and followed Raya on her quest at a reasonable pace that wasn’t overwhelming. There were light-hearted and comedic moments, plenty of different environments for Raya and her friends to explore that were all based on different parts of southeast Asia, and the vocal performances were outstanding. Aside from the credits there weren’t any musical numbers, and that was something I wasn’t expecting. The score was great, and had an Asian-inspired theme to it, but after the likes of Moana and Frozen in recent years saw huge success with their songs, I was expecting at least a couple.

So that’s my non-spoiler summary.

This is the end of the spoiler-free section of the review. Expect spoilers from here on out!

Raya and the Last Dragon began with an immediate dump of exposition, explaining the backstory of the broken land of Kumandra – based loosely on southeast Asia. As indicated above, this opening section of the film was quite fast-paced, almost rushed, and introduced characters, themes, magic, locations, and backstory all at once. As I sat through those opening minutes I was hoping that the rest of the film would slow down, and luckily it did after a few minutes. That makes the opening, unfortunately, the weakest part of the film overall.

Raya and the Last Dragon follows the titular Raya as she seeks to save the fractured world of Kumandra, whose people have split up into five competing, squabbling, and warring lands in the aftermath of the disappearance of the dragons. But saving the world is just a side-quest for Raya, whose real objective for much of the film is to save her “ba” – her father, and the chief of her people. Yes, that makes Raya a Disney Princess!

Chief Benja, Raya’s father.

The story takes Raya to all five of the different lands, and each was based on a different area of southeast Asia. We spent just enough time in each land to take in the setting, but I think that taking a few minutes more to really get a feel for each – or perhaps the film including one fewer land – might’ve improved things. This is really the only point of criticism, because each of the lands was unique and richly detailed. At first I wasn’t sold on using English names for these places: Fang, Heart, Spine, Tail, and Talon. However, the metaphor made the ultimate payoff to the film’s story more easily understood, especially for younger viewers. The point of these names was to hammer home, at every opportunity, that the people of Kumandra were artificially divided; that the resolution to their problems would be in learning to trust one another and come together. Like the parts of an animal can’t function independently, neither can the peoples of Kumandra. Each land, represented by a piece of the dragon, brings something that the others lack, and working together is the only way.

This theme carried over into the film’s climactic final battle, as each of the friends Raya had made along the way – each from a different land – stood together and used the last of the dragon gem’s magic to help the people of Fang. This metaphor was certainly omnipresent, but didn’t feel laboured. The film knew, from the very beginning when Chief Benja introduced us to the idea of reunifying the fractured land, that this was the direction of the story. The names of the lands fed into that, as did the way Raya assembled her motley crew from different places.

Raya’s friends work together to help the people of Fang.

At time of writing, there’s a renewed focus on anti-Asian hate and hate crimes in the United States. I’m not an American, but I’d like to offer my perspective on how a film like Raya and the Last Dragon fits at this moment. We often hear criticism of Disney for taking legends and stories and twisting them, “Disney-fying” them to sanitise them for a western audience. And you know what? Raya and the Last Dragon, just like other Disney films based on folklore and legend, is Disney-fied. But there’s incredible value in representation, even in this simplified style, and with Disney’s unique reach that extends across borders, cultures, and ages, Raya and the Last Dragon offers representation to an under-represented group of people in cinema, animation, and the cultural mainstream.

We could devote an entire essay to debunking the argument that “representation and diversity for their own sakes are negative things,” but in the context of this film, coming at this particular moment, let me just say that positive representation is important. It’s important that people of all backgrounds feel included, and being depicted positively in mainstream entertainment – particularly in something as significant as a Disney animated film – is an historic moment. Raya and the Last Dragon draws on the mythology and folklore of southeast Asia in the same way as Moana drew on Polynesian legend, and it’s a net positive for people of Asian heritage to see such representation.

Raya and the Last Dragon presents a positive depiction of Asia and Asian people at an important moment.

Kelly Marie Tran is also uniquely positioned at this moment. Tran suffered horrible racist and sexist abuse online in late 2017 through 2018, and I’m so pleased to see her back in such an inspiring role. Raya and the Last Dragon is a story about bringing people together, learning to trust and overcome hatred, and as someone who has, sadly, experienced hatred firsthand, there’s something even more powerful in knowing who it is bringing Raya to life through an outstanding voice performance.

I don’t like to get “political,” but the release of Raya and the Last Dragon happened to coincide with a significant moment for people of Asian heritage in the United States, and I felt it important to at least acknowledge that.

Kelly Marie Tran voices the character of Raya.
Picture Credit: Jimmy Kimmel Live via YouTube.

In the west, we usually associate dragons with fire. Fire-breathing dragons are both a part of European folklore and have gone on to become a trope in fantasy fiction, so it was very interesting – and more than a little unusual – to see a water dragon as the main focus in a dragon-themed film. This is, of course, a reflection of the film’s Asian-inspired story, as was the design of Sisu herself.

Continuing the theme of breaking with common western depictions of dragons, Sisu is presented in an Asian style – a long body, no wings, and covered in fur. Sisu’s design is a Disney take on that concept, blunting its sharp edges and making it child-friendly. And it worked. I daresay Sisu toys and teddies will become a major part of Disney’s merchandise this year and beyond!

Sisu had a great design, inspired by Asian folklore but with a Disney twist.

The other character with a cute design was Tuk Tuk, and right from the opening moments of the film it was clear he’d been designed to be the cute animal sidekick that so many Disney protagonists have. Tuk Tuk worked best in the film’s prologue, after which he’d grown large and basically served as a form of transportation for Raya and Sisu, though the design remained largely the same.

With Tuk Tuk I think we can point to one of the few examples of Raya and the Last Dragon stumbling, at least somewhat. Aside from having a cute (and merchandisable) design, Tuk Tuk was clearly set up for some light-heartedness; some comic relief. Yet the introduction of Noi (the baby) and her three monkeys largely switches the comic relief focus away from him. It’s not a case of “too many characters,” but rather that the film didn’t really know what to do with two sets of comic relief characters. There was less for Tuk Tuk to do as a result.

Raya and Tuk Tuk near the beginning of the film.

The only other point of criticism I have comes at one of the film’s climactic moments. Raya and her friend-turned-nemesis Namaari are involved in a standoff. Namaari planned to take Sisu and the dragon gem pieces back to Fang on her mother’s orders, and Raya drew her sword to stop her. As Namaari points her crossbow at Sisu, Sisu asks Raya to trust that she knows what she’s doing – but Raya doesn’t, and the result is that Namaari’s crossbow fires, killing Sisu.

This moment was meant to show that Raya is the one who bears most responsibility for Sisu’s death; that if she had trusted Sisu, as Sisu asked her to, Namaari was about to stand down. But it simply wasn’t clear that that was the case, and it would be easy for a casual viewer – or a child, and this is a children’s film, after all – to simply see this moment as Namaari shooting Sisu.

Who was really responsible for pulling the trigger?

For such an important moment, I think it needed to be clearer that Raya is the one to blame. This is her character arc across the film’s final act: learning to trust, and being willing to make the first step to establish trust. If we as the audience see this moment as the culmination of Raya’s failings – an unwillingness to trust either Sisu or Namaari – then the rest of her actions and her arc make sense. If we miss that crucial context and simply see this moment as Namaari the betrayer shooting Sisu, what Raya does later on – giving up her pieces of the dragon gem to signify her willingness to trust – doesn’t make as much sense in context.

Namaari’s words to Raya during their epic final fight also ring hollow when the film is seen in this way. Instead of a heartbroken Namaari laying a harsh truth on Raya, it could be interpreted as another attempt by a liar and trickster to get under Raya’s skin. The moment with the crossbow was set up perfectly, but it was too easy to miss that it was Raya, not Namaari, who was really to blame for what happened, and as the rest of the plot turned on this moment I think that should have been much clearer.

Raya chose to trust Namaari at the film’s climax.

We could also talk about how easy it seems to be to slay a dragon in this film’s lore! It seems like an unimportant point, and perhaps I’m the only one who cares or feels this way, but the way the film treated dragons across the first hour or more made it seem as though they’re magical, almost god-like creatures. The way the film’s human characters worship Sisu – and the other dragons – represents this well. Yet all it took to kill Sisu was a single crossbow shot, and I guess what I’m trying to say is that it doesn’t seem to gel. On the one hand we have the film establishing dragons as magical creatures that provided for humans, bringing water and literally giving life to the world, being worshipped and deified centuries after the last of them were wiped out. Yet on the other hand, they’re no different from any other animal and a single crossbow bolt can kill them.

Perhaps this is my western perspective, thinking about dragons not in the context of Asia but in the context of JRR Tolkien and other works of high fantasy. In western dragon lore going all the way back to the legends of Saint George and King Arthur, slaying a dragon is considered an incredibly difficult task worthy of song and celebration. In the world of Raya and the Last Dragon it seems to be something any competent soldier could do. Who knows, maybe that’s why the other dragons went extinct!

Namaari the dragon-slayer!

Raya and the Last Dragon features a cast whose major characters are all female, with male characters in secondary supporting roles. This is something new to Disney, as even past female-led films like Moana, Frozen, or Mulan have included major male characters. The creative choice to have both the main hero and villain both be female actually works really well, and Raya manages to have a closer relationship with Namaari as a result.

Namaari being a redeemable villain – and the film essentially having no overall “big bad” who has to be killed to be stopped – was also a great choice, one that fit perfectly with the theme of overcoming hate and coming together. The whole story of Raya and the Last Dragon was about learning to trust one another, setting aside differences in order to work together for the common good. This theme would have been completely undermined if the final act required Raya to kill Namaari or even her mother, so making both characters redeemable was essential to the story.

Namaari needed to be a redeemable villain for the story to work as intended.

The real villains of the piece were the non-human Druun, depicted as a non-sentient force of nature rather than a character or faction. The design of the Druun managed to strike a balance between being intimidating but not scary and offputting for young children, and I would think that all but the most sensitive children would be able to watch Raya and the Last Dragon without feeling frightened by these crackling clouds of dark purple energy.

More could have been made of the Druun’s relationship with humans. At one point it was suggested by Sisu that the Druun are an embodiment of the arguments and lack of trust between humans, yet this wasn’t really developed further. It’s not clear whether humans directly caused the Druun to appear, whether they came from someplace else to feed on this mistrust and hatred, or what their precise origins are. If the world of 500+ years ago was populated by humans and dragons and was united, with no mistrust and no hatred, how the Druun even arrived in Kumandra is not clear. Perhaps that’s something a future title will explore in more detail, because I think it’s potentially interesting to say that humanity is responsible for giving strength to this powerful foe.

The Druun were the main adversary for Raya and her friends to overcome.

So I think that’s about all I have to say. Raya and the Last Dragon was a thoroughly enjoyable film and a worthy successor to the likes of Frozen and Moana. Disney has been on a roll for almost a decade now, since the release of Frozen in 2013, and the hits keep coming. In the very short term I doubt that Raya and the Last Dragon will catch fire in the way Frozen did, largely because of the cost of accessing it on Disney+ via the “premiere access” feature. However, once the film becomes generally available that should change. In a few months’ time, when it arrives for all Disney+ subscribers, it should see a significant boost.

Unlike Frozen and Moana, the choice not to include musical numbers means that there can’t be a breakout song. Let It Go and, to a lesser extent, You’re Welcome and Shiny went on to not only define the films in which they featured, but arguably bring in more viewers. By “going viral” in a sense, the songs drew more attention to their respective films, and this is something Raya and the Last Dragon won’t have.

The main characters at the end of the film.

I had a great time with Raya and the Last Dragon. I can’t tell you whether you’ll get £20 or $30 worth of entertainment and enjoyment from the film, because such things depend on your budget and your perception of value. But this time, as a one-off and as something I won’t repeat for the rest of the year, I didn’t mind spending the extra money. I didn’t spend money on last year’s Mulan remake, and having seen the film subsequently I think that was the right call. But this time, for the latest Disney animated film, I think it was worth it. Raya and the Last Dragon was funny, emotional, and clever, and told a story about people coming together that is timeless. Its Asian roots shone through, and though some will surely argue that it was a dumbed-down version of Asian traditions, that’s Disney’s trademark style.

If you enjoyed previous Disney animated films, especially recent ones, I daresay you’ll have a good time with Raya and the Last Dragon.

Raya and the Last Dragon is available to stream now on Disney+ via the “premiere access” feature for an additional fee. Raya and the Last Dragon is the copyright of Disney Animation Studios and the Walt Disney Company. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

A new Star Wars: Knights of the Old Republic game rumoured to be in development

Spoiler Warning: There are spoilers ahead for Star Wars: Knights of the Old Republic and Star Wars: Knights of the Old Republic II.

I don’t usually cover rumours here on the website. There are always unsubstantiated rumours flying around every corner of the entertainment industry, and many are either completely wrong or entirely made-up. Sometimes covering a rumour and getting all worked up about it can make you look rather foolish! But the rumour of a new Star Wars: Knights of the Old Republic game feels like it has some weight to it, with multiple news outlets all picking it up.

I adored Knights of the Old Republic and its sequel. The two games were released in 2003 and 2004 for PC and Xbox, and if you’re unfamiliar with them they’re single-player role-playing games. At a time when the Star Wars franchise had released two pretty crap films, Knights of the Old Republic did a lot for rehabilitating the franchise’s reputation in my mind.

The two games told connected but separate stories focusing on two Jedi Knights – Revan and the Exile. They were set millennia before the main Star Wars films, and while they did borrow some aesthetic elements and themes from the films, they stood alone and apart from Star Wars’ cinematic output. At the time, with Star Wars being dragged through the mud by The Phantom Menace and Attack of the Clones, that was precisely what I needed!

A screenshot from Knights of the Old Republic.

Bioware developed the first Knights of the Old Republic, and in many ways you can see the legacy of that game in their subsequent Mass Effect trilogy. In fact, the first time I sat down to play Mass Effect I considered it to be little more than a generic Star Wars knock-off! The sequel was developed by Obsidian Entertainment, and though it didn’t sell quite as well, and had some issues due to being rushed, it was still a fantastic title.

Both games told genuinely engaging stories with fleshed-out characters who felt real. They allowed a great degree of player choice – which at the time was still a novelty – and in addition to expanding the Star Wars map, visited just enough familiar locations and themes as to clearly be part of the franchise. If someone asked me to describe the “perfect Star Wars game,” it would be one of these two titles. The story, the freedom of choice, the excellent characters… they’re absolutely outstanding.

Other Star Wars games had previously allowed players to fight for the Empire or wield Sith weapons, so being a bad guy was nothing new. But Knights of the Old Republic and its sequel had a Light Side-Dark Side system which allowed players not only to choose which path to follow, but sometimes forced difficult decisions. Sometimes you’d encounter a puzzle or situation where the preferred option would result in pushing your character toward the Dark Side – and if you wanted to do a 100% Light Side playthrough that was difficult! Many smaller moments like this across both games made each playthrough unique.

A screenshot from Knights of the Old Republic II.

In the second game, the characters you would recruit for your party would differ not only by your Light or Dark inclination but also by gender. Male characters recruited one ally, females another. And the characters would have a big impact on your playthrough, with whole side-missions and cut-scenes featuring them. I must’ve played both games half a dozen times by now, even revisiting them as recently as 2017 when I bought them on Steam. Speaking of which: you can pick up both games for less than £15, and they’re usually discounted at sale time. Well worth a buy!

But we’re not here to advertise the first two games! Let’s consider what a third entry in the series could be.

There has already been a sequel of sorts: Star Wars: The Old Republic, a massively-multiplayer online game which is still running almost a decade after its initial release. I only played it for a short while – I don’t enjoy MMO titles as you may recall if you’re a regular around here – so I’m not 100% up to speed on everything that came out of The Old Republic. However, I do remember that it was set a few hundred years later, but managed to bring back some locations, themes, and story points from the original two titles.

Promo art for Knights of the Old Republic II.

A new entry in the series must surely be a single-player title. Though this is unconfirmed right now (as with everything else to do with this game) reusing the Knights of the Old Republic name for a multiplayer title or “live service” would not endear whichever company is developing it to Star Wars fans! And that’s another good point: no developer or publisher has been confirmed for this title yet.

Knights of the Old Republic II ended with some unanswered questions. Where had Revan gone? What would he find beyond the Galactic Rim? Would the Jedi Exile (i.e. the second game’s protagonist) be able to find him? These questions were never addressed, though they may have been touched on in The Old Republic, and thus could be answered by a new title.

One thing we’ve been assured of by this rumour is that the new Knights of the Old Republic will not be a remake or reimagining of either of the first games. That strongly suggests we’re looking at a sequel or prequel, and raises the prospect of bringing back some of the original characters. There could be copyright and/or licensing issues there, as studios have changed hands since the original games were made. But it seems at least possible that we could see the return of characters like Carth, Bastilla, and HK-47.

HK-47 in Knights of the Old Republic.

A direct sequel would certainly be popular with fans of the first two games. I’d be truly happy with that, and being able to pick up where the second game ended and carry on the story would be something absolutely wonderful. But would that have widespread appeal? How many gamers and Star Wars fans have played Knights of the Old Republic? PC or Xbox gamers in the early 2000s had access to these titles, and they were subsequently re-released on Steam and even iOS/Android. But there are undoubtedly a lot of gamers and fans who have never touched either title. The games are both approaching their 20th anniversaries, after all.

In that sense, perhaps a direct sequel is less likely, and what will follow will be a new game with new characters occupying a similar position in the galaxy and timeline. There may be references and even a degree of overlap, but not a straight continuation of Revan and the Exile’s stories. While that may disappoint some hardcore fans, it would arguably offer the broadest possible appeal.

It’s possible that this new game could connect in some way to the ongoing High Republic setting that Star Wars has been pushing recently. The High Republic era is set around 300 years before the main films, during the Republic but millennia after Knights of the Old Republic. Though cinematic Star Wars and Disney+ shows seem focused on prequels and spin-offs at the moment, the High Republic era is the setting for a number of apocryphal works like novels – and perhaps games. So while we’re calling this game Knights of the Old Republic, perhaps what it’ll actually be is Knights of the High Republic!

The High Republic is currently a focus for non-filmed Star Wars stories.

We’ll have to wait and see what a new Knights of the Old Republic will bring. It certainly seems as though the game is a long way off; with no official announcement to go on it could be a long while before we see any gameplay or even a trailer. However, the reinvigorated LucasFilm Games has certainly got off to a flying start in 2021. First came the announcement of an Indiana Jones game, then the new Ubisoft-published Star Wars game, and now this Knights of the Old Republic rumour. It seems that there will be plenty of new games on the horizon to get stuck into in the years ahead – and that’s wonderful.

The opportunity to revisit Knights of the Old Republic would be fantastic, and one of the things I enjoyed about Jedi: Fallen Order when I played it last year was that the game took me back to the planet of Kashyyyk – the homeworld of the Wookies that I first explored in Knights of the Old Republic. Whether it ultimately ends up being a true sequel or just a related story, I think there’s a lot of potential to have a truly amazing time back in the Star Wars galaxy.

Star Wars: Knights of the Old Republic was released in 2003 by Bioware and Electronic Arts. Knights of the Old Republic II was released in 2004 by Obsidian Entertainment – now owned by Microsoft. The Star Wars franchise – including all titles mentioned above – is the copyright of Disney and LucasFilm. Some screenshots and/or promo artwork courtesy of IGDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Electronic Arts seemingly loses its exclusive rights to Star Wars

For almost a decade following Disney’s acquisition of LucasFilm, only one company has been able to make Star Wars video games: Electronic Arts. A deal between Disney and EA gave them exclusive rights to the Star Wars license, and in the years since there have been four mainline Star Wars games, one Lego tie-in, one VR game, and a handful of mobile titles.

Both 2015’s Battlefront and of course 2017’s Battlefront II proved controversial and divisive; the former being disappointingly threadbare and the latter for its aggressive in-game monetisation. 2019 saw Jedi: Fallen Order, which I played through last year and was a fun title, and finally 2020 saw Star Wars: Squadrons, which I’ve also been enjoying. However, four games in nine years is perhaps less than many fans were expecting, especially with two of them having serious issues.

2015’s Battlefront was disappointing to many fans.

Calls for Electronic Arts to be “stripped” of the Star Wars license began after Battlefront’s release in 2015, but reached fever pitch in the weeks after Battlefront II’s launch. There was even a petition that hundreds of thousands of folks signed to ask Disney to revoke EA’s exclusive arrangement. That went nowhere, of course – fan petitions never achieve anything – but is indicative of the strong feelings over EA holding the rights.

The well-received Jedi: Fallen Order and Squadrons, combined with updates and patches which greatly improved Battlefront II, led to a cooling-off period, and as of early 2021 cries for the Disney-EA deal to be somehow undone had largely abated. It was a surprise, then, when LucasFilm announced a new Star Wars game… published not by EA but by Ubisoft!

“A surprise, to be sure, but a welcome one.”

Ubisoft has been honing its style of open-world games for years, with franchises like Assassin’s Creed, Far Cry, and Watch Dogs. It seems, from the teaser announcement made yesterday, that the new title will be an open-world game in a similar style, though no mention has yet been made whether it will be a single-player title like those in Ubisoft’s other open-world series, or a multiplayer “live service.” From my point of view I’m hoping for the former!

The game itself may be several years away, though Star Wars does have a recent track record of announcing games closer to release – that’s what happened with Squadrons last year, for example. No release window has been suggested as yet, and in fact we know precious little about the game itself beyond the publisher responsible.

Star Wars: Squadrons.

The upcoming game is just one part of this story, though. Most industry watchers agreed that Electronic Arts had a couple of years remaining on their deal with Disney, which raises the question of how and why this Ubisoft game has been able to enter development. It’s possible that the original contract was incorrectly reported, in which case it may simply have run its course. Or there may have been clauses regarding a number of titles, profit made, etc. that Electronic Arts didn’t live up to, allowing Disney to open up Star Wars to other companies. We don’t know the details – and unless someone senior breaks ranks to tell us, we likely never will!

Exclusivity arrangements can be difficult, and the Disney-EA deal over Star Wars is pretty much a textbook example of why. An exclusive contract like the one Disney offered EA effectively gives that company a monopoly over the license, and anyone who knows anything about basic economics can tell you why monopolies are a bad idea in practically every industry.

No, not that kind of Star Wars monopoly…

Having a monopoly meant there was no threat of competition, and this allowed EA to sit on the Star Wars license, cancelling titles that senior executives didn’t think would bring in “recurring user spending” and not feeling under any real pressure to develop or release anything. They could afford to be complacent because no one else was contractually allowed to even pitch a concept for a Star Wars title.

This attitude was changed when Electronic Arts saw the scale of the backlash to Battlefront II. The effects of that debacle are still being felt, and the game opened the eyes of parents, journalists, and even politicians to the shady practice of in-game gambling. But we’re off-topic. Too late, EA shifted focus away from cash-grabs, putting out the single-player Jedi: Fallen Order and following up with the space-sim Squadrons.

2017’s Battlefront II controversy may have triggered a change in thinking at EA – and at Disney.

Fans had been clamouring for a single-player story-driven Star Wars game for years, and while Battlefront II had a creditable single-player campaign, it wasn’t until Jedi: Fallen Order’s release in November 2019 that the single-player itch was truly scratched for most fans. By then the damage had been done for Electronic Arts, though, and their earlier complacency and attempts to swindle players with truly awful monetisation came back to bite them.

Though Electronic Arts will continue to work on Star Wars titles – most significantly the upcoming sequel to Jedi: Fallen Order – they will no longer be the only company Disney trusts with their incredibly expensive, incredibly lucrative license. The Ubisoft game may be the first of several upcoming Star Wars projects to be taken on by other companies, and hopefully what results will be a broader range of genres and styles of game.

Protagonist Cal Kestis in Jedi: Fallen Order.

In December 2020, LucasFilm announced half a dozen or so upcoming Star Wars films and television shows. There will be a lot of Star Wars content to come over the next few years at least, and while not all of the shows and films will be suitable for a video game adaptation, some may be. Disney and LucasFilm need to ensure they have access to the broadest possible range of talents in the video game industry if they hope to make the most of Star Wars.

I wasn’t especially excited by the film and television announcements made last month, to put it politely. Too many of them seem to be spin-offs, prequels, and deep dives into uninteresting side-characters rather than expanding Star Wars beyond its original incarnation. But even so, several of these projects seem ripe for video game tie-ins, and the end of the Skywalker Saga of films coupled with this expansion into new films and television projects may have been a contributing factor to Disney ending or not renewing its exclusive arrangement with EA.

Could a game based on the upcoming series Rangers of the New Republic be in the works?

For my two cents, I see the ending of this kind of exclusivity deal as a good thing. Monopolies are problematic for consumers for precisely the reasons the Disney-EA arrangement shows, and in future it could even be used as a case study for why these kinds of deals are a bad idea. Opening up Star Wars games to other companies allows for different points of view, competition, and hopefully what will result at the end of the day will be better games. Not necessarily more games. But better ones.

It is worth noting that Ubisoft is a company that hasn’t exactly escaped controversy recently. There have been serious problems within the company, including sexual harassment accusations against senior executives, and the accusation that the company itself tried to cover this up and cover for abusers. Company culture and institutional problems count against Ubisoft, and while Star Wars fans are rightly excited to learn that the franchise will be moving away from the EA exclusivity deal, it’s worth noting that Ubisoft has issues – and Disney should also be aware of this. The last thing the Star Wars brand needs right now is further controversy, yet a team-up with Ubisoft risks precisely that.

So that’s it. The end to Electronic Arts’ monopoly over the Star Wars license. Now if only someone would make a Star Trek video game…

The Star Wars franchise – including all titles mentioned above – is the copyright of Disney and LucasFilm. Star Wars: Battlefront, Star Wars: Battlefront II, Star Wars Jedi: Fallen Order, and Star Wars: Squadrons were published by Electronic Arts. Some screenshots and promo art courtesy of IGDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Wars doubles down HARD

Spoiler Warning: There are spoilers ahead for the Star Wars franchise, including The Rise of Skywalker, The Mandalorian, and announcements for upcoming productions.

A few months ago I wrote an article titled “Star Wars needs to move on.” In that piece I looked at how the Star Wars franchise has only ever told one real story since it debuted in 1977. Prequels, sequels, and spin-offs all played into or expanded the only real story the franchise has ever told – that of Palpatine and minor characters like Anakin, Luke, and Rey who apparently don’t get to act of their own volition. I argued that, just like Star Trek had done with The Next Generation in 1987, Star Wars needed to put the Skywalker Saga behind it and genuinely move on, telling new stories with new characters.

The Mandalorian should have done this, but hasn’t. The inclusion of Baby Yoda, the Force, Boba Fett, and so many elements copied from the Original Trilogy overwhelmed that series and left me disappointed. I was desperately hoping that, after the reaction to The Rise of Skywalker, the team at Disney and Lucasfilm would think hard about what to do next.

The inclusion of Palpatine ruined The Rise of Skywalker.

Instead they’ve once again retreated back to the Original Trilogy, its spin-offs, and familiar characters. I would have hoped that the failure of Palpatine’s ham-fisted insertion into The Rise of Skywalker would have served as a warning, and that with the only story the franchise has ever told now at a seemingly-final end, the franchise could genuinely move on.

The Star Wars galaxy is up there with Tolkien’s Middle-earth as one of the finest fantasy worlds ever brought to life, yet the creative team at Disney and Lucasfilm seem intent on never exploring the wonderful sandbox they paid $4 billion for. They’re instead going to show us the same tiny sliver over and over again, bringing to life ever more ridiculous spin-offs looking at characters of decreasing importance. What a disappointment.

Star Wars: Andor is a spin-off from a spin-off and a prequel to a prequel.

Let’s look at these disappointing announcements. A Droid Story will focus on R2-D2 and C-3PO. The Bad Batch is a spin-off to The Clone Wars, which was itself a spin-off to Attack of the Clones. Andor is the previously-announced series based around Rogue One’s Cassian Andor. Lando is bringing back Donald Glover, who took on the role of the smuggler in Solo: A Star Wars Story. Rangers of the New Republic is a spin-off from The Mandalorian. Ahsoka is another spin-off from The Mandalorian. And in the previously-announced Obi-Wan Kenobi series, we have the return of Darth Vader.

The only announcements which seem to have any potential to tell new stories are 2023’s Rogue Squadron, a project called Acolyte about which no information was revealed, and an as-yet-untitled film helmed by Taika Waititi. Everything else falls into the same trap that the franchise has fallen into repeatedly since the prequel era: overtreading the same ground, forcing fans to look back, and overplaying the nostalgia card. There’s nothing bold or innovative in any of these announcements. They represent a backwards-looking cowardly corporation, desperate to rekindle the magic of the Original Trilogy but without any clue of how to do so.

Do we really need a Star Wars film about these two droids?

Spin-offs to spin-offs and the increasingly minor characters given starring roles is indicative of a franchise out of ideas. There’s absolutely no creativity in any of these projects that I can see. At a fundamental level they’re all trying to do the same thing – use nostalgia as a hook to bring fans back. If the Star Wars galaxy looked bland and uninteresting, perhaps that would be a necessity. But it’s always been presented as such a vast, interesting setting that it’s positively criminal to only ever look at a tiny portion of it. There are tens of thousands of years of galactic history to dive into, as well as an uncertain future in the years after the war against the First Order. Could we see some of that, maybe?

And how about new characters? The idea of a show based on the two droids is patently ridiculous, as are those focusing on minor characters from spin-off projects. Donald Glover’s portrayal of Lando was certainly one of the better elements of Solo, but does that mean he needs an entire project of his own? What will Disney and Lucasfilm do when these projects run their course? Are we going to see Star Wars: Snowtrooper #7 and Star Wars: That Two-Headed Podrace Announcer? At this rate that’s what’ll happen.

Is this guy getting his own spin-off too?

The sequel trilogy got two things wrong when considering the fundamentals of its storytelling. Firstly was the inexplicable decision to split up the writing, leaving it with no direction and no overarching story. But secondly, and perhaps most importantly, was the decision to re-tell the Original Trilogy, drag Star Wars full-circle back to where it started, and spend too much time looking backwards. The sequel trilogy was an opportunity for Star Wars to lay the groundwork for future success, but instead it’s dragged the franchise backwards.

The Original Trilogy is a weight around Star Wars’ neck. The popularity of those three films compared to any others means that cowards in a corporate boardroom can’t see beyond it. Instead of looking at ways to take Star Wars forward to new adventures, all they know how to do is look backwards at the only successful films the entire franchise has ever produced.

Star Wars is being run by a corporate boardroom that clearly has no idea what to do with the franchise.

The end of the Skywalker Saga saw Luke, Han, and Leia killed off. It saw the final demise of Palpatine. And despite the story of Star Wars having been dragged through the mud, there was an opportunity that hasn’t really existed before – an opportunity to move on to greener pastures. With the only story Star Wars has ever told brought to a conclusion, it was hardly an unrealistic expectation to think we might get something new.

I’m disappointed, as you can tell. The lack of vision and the lack of boldness on the part of Disney and Lucasfilm means that we’re once again looking at the same miniscule fraction of the Star Wars galaxy that we’ve always been shown. There’s nothing interesting about that, and even though I have no doubt that, on an individual level, many of these projects will be at least decent and watchable, I just feel Star Wars could do better. These shows and films are a franchise aiming for a grade C. They’re middle-of-the-road attempts to scrape by, coasting on past success.

If the franchise ever wants to do more than get a basic pass, they’ll have to be bold and aim higher. Do something genuinely different. Step out of the ever-growing shadow of the Original Trilogy and do what Star Trek has been doing for thirty years – tell new stories.

The Star Wars franchise, including all films, series, and upcoming projects listed above, is the copyright of Disney and Lucasfilm. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Wars needs to move on

Spoiler Warning: There are spoilers ahead for the Star Wars franchise, including casting information for The Mandalorian Season 2,The Rise of Skywalker, and other recent projects.

One of my favourite parts of the Star Wars franchise isn’t a film, it’s the two Knights of the Old Republic games from 2003-04. While I generally found the Expanded Universe – now re-branded as Star Wars Legends and no longer in production – to be unenjoyable, Knights of the Old Republic was an exception. It took a setting and a story that was thousands of years distant from the Original Trilogy, and while it’s certainly true that some elements were derivative, especially in the first game, as a whole it was something different that took Star Wars fans to different places and a different era. It expanded on the overall lore of Star Wars without overwriting anything, and it was a great look at the Star Wars galaxy away from Luke, Anakin, and Palpatine.

When it was announced in 2012 that Disney would be acquiring Lucasfilm I was excited. Ever since 1999, when Star Wars expanded to be more than just a trilogy of films, the vague prospect of a sequel to Return of the Jedi had been appealing to me. Learning what came next for Luke, Han, Leia, and others was something I was interested in, as I also was interested to learn what came next for the galaxy as a whole following the Emperor’s death. It’s easy to forget, but Return of the Jedi didn’t end with a full-scale victory for the Rebel Alliance. The Death Star was gone and the Emperor was dead, but practically the whole galaxy was still under Imperial control. I was fascinated to see how the Rebels turned victory in a battle into victory in the overall war.

The destruction of the Second Death Star. The sequel trilogy was supposed to tell us what became of the galaxy after this moment.

The Expanded Universe attempted to tell this story, but it was a convoluted, poor-quality tale hampered by having different writers with different ideas – seemingly Lucasfilm’s policy when it came to the Expanded Universe was that anyone could write anything. Many of these stories came across as fan-fiction, pitting a seemingly invincible Luke, Han, and Leia against all manner of obstacles. Over the years, the Expanded Universe grew to such an extent that it was convoluted and incredibly offputting for newcomers – several hundred books, several hundred more comics and graphic novels, over a hundred video and board games, two kids’ television shows, and myriad others, all of which required roadmaps, suggested reading lists, and of course a number of encyclopaedias and reference works to keep up with it all. All of this meant that the Expanded Universe was impossible to get to grips with without making it a full-time commitment. I was pleased when it was announced that Disney would be overwriting it.

By wiping the slate clean, not only would Disney not be constrained by some of the Expanded Universe’s poor storytelling, but the canon of Star Wars post-Return of the Jedi could be restarted, hopefully in a more concise way that would be easier to follow. That seemed to succeed at first, but now – a mere six years on from the cancellation of the old Expanded Universe – Star Wars is once again pretty convoluted with books, games, comics, and even a theme park attraction all officially canon. While I don’t want to spend too much time making a comparison with Star Trek, in that case the issue of canon has always been incredibly simple: television episodes and films are canon, everything else is not.

With so many books, comics, games, and other media, the old Expanded Universe was convoluted and offputting.

But we’re drifting off-topic. The Expanded Universe being dumped was a good thing, because I hoped what would replace it would be superior. And for the most part that’s been the case, though The Rise of Skywalker certainly dragged the overall story of the sequels down a long way.

Star Wars has a truly interesting setting: there’s a whole galaxy with countless worlds, trillions of inhabitants, and thousands of different species. But for the most part, the franchise has spent decades focusing on an absolutely minuscule fraction of this vast, potentially interesting setting it’s created.

The Expanded Universe spent a lot of time with Luke, Han, and Leia, as well as later with characters like Anakin, and by far the majority of its stories are set between The Phantom Menace and the couple of decades after Return of the Jedi. Where Knights of the Old Republic succeeded was in taking its audience away from that overtrodden ground and showing us a glimpse of the Star Wars galaxy without those familiar characters.

Knights of the Old Republic II was a great game that told a story far removed from Star Wars’ original trilogy.

The prequels dedicated three films to overexplaining the background of Darth Vader – a story I’d absolutely argue was unnecessary and didn’t really do anything to improve or inform the Original Trilogy in any substantial way. That was part of why I found those films so disappointing. While the third entry, Revenge of the Sith, was better than the first two, all three films didn’t really bring anything new or interesting to the table. As I sat down to watch The Force Awakens a decade later, I hoped that we’d start to see something different.

The five films made since Disney acquired Lucasfilm in 2012 have been a disappointment in that regard. We’ve had The Force Awakens and The Rise of Skywalker, which essentially remade A New Hope and Return of the Jedi only worse, Solo: A Star Wars Story which made the same mistake of unnecessarily overexplaining Han Solo that the prequels did with Darth Vader, and Rogue One, which was a great standalone story but was a prequel feeding straight into the plot of A New Hope. The Last Jedi tried to take things in a different direction, but was still a story primarily about Luke – and is now effectively non-canon after being overwritten by its sequel.

The Last Jedi was the most recent Star Wars film to even try to do something differently – but was still constrained by being a sequel using familiar characters.

I know I said I wouldn’t make too many comparisons with Star Trek, but there’s one that’s too important not to mention. In 1987, Star Trek: The Next Generation premiered. And aside from a cameo appearance, that show basically did its own thing and didn’t worry about The Original Series. The Star Trek franchise thus established that it could be so much more than its original incarnation. Star Wars has never done that – in its cinematic canon it hasn’t even tried, despite existing for over forty years. Where Star Trek consists of three time periods, an alternate reality, and nine distinct sets of main characters, Star Wars has been unable to move beyond the story of its original trilogy. The prequels lent backstory to the originals. The sequels and spin-offs expanded that same story. Even The Mandalorian brought in themes, concepts, and characters that weren’t as far-removed from the original films as they should’ve been – a decision compounded by the silly decision to bring in Boba Fett in Season 2.

Star Was could be so much more than it is. But at every opportunity, decisions have been taken to narrow its focus and dive deeper into unimportant parts of its only actual story; after more than forty years, the Star Wars franchise has still only told one real story. The decision to shoehorn Palpatine into The Rise of Skywalker makes this infinitely worse, as apparently he’s been manipulating everything and everyone from behind the scenes for the entire saga of films. As I wrote once, this transforms the Skywalker Saga into what is really the “Palpatine Saga”, as he’s the only character who seems to act of his own volition. But this isn’t supposed to be (another) critique of that incredibly poor narrative decision!

The deus ex machina of Palpatine ruined The Rise of Skywalker… and really the entire sequel trilogy.

The decision to bring Palpatine back is indicative of a franchise that has no new ideas. It was categorically not “always the plan” to bring him back in the sequels, or this would have been established in The Force Awakens. Instead, Palpatine became a deus ex machina because Star Wars as a whole has been unable to move out of the shadow of its first three films. Those films could have laid the groundwork for an expanded franchise – as The Original Series did for Star Trek – but instead they’ve almost become a ball and chain; a weight around the neck of the franchise, keeping it locked in place and unable to move on.

It shouldn’t be because of a lack of ideas. The Star Wars galaxy is a massive sandbox for any writer or director to play in, with almost unlimited potential to tell genuinely new and interesting stories. Instead it’s a lack of vision and a lack of boldness on the part of a large corporation; Disney wants to play the nostalgia card over and over again, and because Star Wars had never previously tried to escape its Original Trilogy, doing so now seems – from a corporate point of view – too big of a risk. How else does one explain the decision to allow The Rise of Skywalker to overwrite The Last Jedi? Corporate-mandated cowardice, retreating to nostalgia and safe, comfortable ground. Trying something even slightly different requires a boldness that simply isn’t present in most boardrooms.

Star Wars is being run by a corporate boardroom unwilling to take risks or do things differently.

Two-thirds of the sequel trilogy re-told the original trilogy. The prequels were glorified backstory, and the two spin-off films were also prequels to the originals. Star Wars has only ever made three original films – everything else either overexplained that story or tried to re-tell it. The Star Wars “saga” is thus nothing more than one story. One main character – Palpatine – controls and manipulates it, and only a handful of characters get any significant screen time and development.

I wrote recently that the overall story of Star Wars has been dragged full-circle, with the questions fans had about the state of the galaxy and the Jedi Order after Return of the Jedi simply not being answered in any meaningful way. The galaxy is once again in a position where Palpatine is dead, there’s one remaining young Jedi, an autocratic state controls much of the galaxy but has suffered a major defeat, and the survivors will have to finish the war and try to rebuild. That’s where both Return of the Jedi and The Rise of Skywalker left things. Far from answering the questions posed by the original films, the sequels just asked the same questions again with a different coat of paint.

By re-telling the same story – albeit in a worse way – the sequel trilogy as a whole has entirely failed to accomplish anything.

The end of the sequel trilogy left the Star Wars galaxy in exactly the same state it was in almost forty years ago.

The announcement of The Mandalorian came with what I thought was an exciting premise: the adventures of a gunslinger far beyond the reach of the New Republic. Wow! Finally, something genuinely different in Star Wars. It didn’t last, of course, as the second episode of the show brought the Force back into things. While in some respects The Mandalorian tried to be different, in too many ways it was samey. The aesthetic, the reuse of elements from the original trilogy like Boba Fett’s armour, the Jawas and their Sandcrawler, and of course the return of the Force made what was already a boring show with episodes that were too short even less interesting. I found the whole experience a disappointment.

The two upcoming Disney+ shows – based around Obi-Wan Kenobi and Rogue One’s Cassian Andor – look set to repeat the same mistakes. Ewan McGregor’s portrayal of Kenobi was definitely one of the prequels’ better elements, but do we need yet another prequel? In-universe, Kenobi went into exile on Tatooine after the rise of the Empire. Anything he does in the show would either be constrained by taking place within a few miles of his desert hut or else feel awfully tacked-on. And the Cassian Andor show is a prequel to a prequel. Rogue One was a great film, but does it need its own prequel show?

Cassian Andor was a great character in his sole appearance. Not sure he needs a prequel series of his own, though.

Can’t the investment being made in these properties be reallocated to something genuinely different? There’s so much potential in the Star Wars galaxy, yet Disney and Lucasfilm seem intent on showing us the same tiny sliver over and over and over again. When people talk of franchise fatigue and the feeling that Disney is milking Star Wars dry it’s because of this! When every Star Wars project feels samey and repetitive, it’s much easier to get burnt out on the franchise.

There are some exceptions – I recently played through Jedi: Fallen Order, and despite that game using a familiar time period, it was a mostly-original story with only one returning character from the films playing a role. It was different enough to feel like a half-step away from what had come before.

Jedi: Fallen Order told a decent standalone Star Wars story.

For the franchise to survive long-term and remain viable, it needs to step away from the original trilogy for the first time. New films and shows, whenever they may come, should look at wholly new characters in a setting and even time period that’s distinct from what came before. There also needs to be a plan – the rudderless sequel trilogy can’t be repeated. Any new project needs to have someone at the helm to guide its story. Questions need to be asked at the beginning about where the characters are going and what the endgame of the story is, so that the franchise doesn’t just keep making the same mistakes.

Not every recent Star Trek project has been to everyone’s taste. But since the 2005 cancellation of Enterprise – and in some respects even before then – Star Trek hasn’t been afraid to try completely new things. Action films, a serialised drama show, and now an animated comedy have all joined the lineup. Some of these have brought in new fans, and at the very least, no one in 2020 can accuse Star Trek of being stale. Star Wars, in contrast, has absolutely become stale. The one story it’s been telling for forty years has finally ended, so now is the moment for Star Wars to properly move on.

The Star Wars franchise – including all films and other media mentioned above – is the copyright of Lucasfilm and Disney. Stock photos courtesy of Unsplash, Knights of the Old Republic II screenshot courtesy of the press kit on IGDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Marvel’s Avengers looks an awful lot like Battlefront II…

One of the things that seemed weird to me about Marvel’s Avengers – the new video game, not the film series – is that the game seems to be using a visual style very similar to the Marvel Cinematic Universe… but without any of the actors’ likenesses. I wondered why they hadn’t been able to negotiate with the various actors like Robert Downey Jr., Scarlet Johannson, etc to use their faces or even get them to provide their voices to the title. Given the popularity of the MCU, that struck me as odd. But perhaps now we know why – the game is going to be very controversial.

If I were an actor in the films or an agent/advocate for them, I’d take one look at Marvel’s Avengers and think to myself just how glad I am to be able to say I have nothing whatsoever to do with it. The controversy the game is drawing for its incredibly aggressive monetisation and microtransaction policies is going to be toxic – and any brand or individual associated with that should watch their backs.

Star Wars Battlefront II generated a lot of controversy in 2018 for its in-game monetisation, and while it’s up for debate whether Marvel’s Avengers will reach that level, it’s trending in a very similar direction. Every single aspect of the game seems designed to extract as much money from players as possible – in a game that charges £50/$60 to purchase in the first place – with a £66 deluxe edition, of course.

Battlefront II released to widespread controversy.

When the game was announced as one of these always-online, “multi-year experience” games, the writing was on the wall. In recent years we’ve seen such titles as Anthem and Fallout 76 try to go down that route, and practically no game which does so manages to avoid controversy. Even by the low standards of this type of game, though, Marvel’s Avengers is taking the piss.

One of the Marvel franchise’s most iconic characters – Spider-Man – is going to be a console exclusive on the PlayStation 4. There are tie-ins with all sorts of random companies, each providing in-game rewards for purchases or subscriptions. There’s an in-game currency which can be bought with real money. Each character – of which there are six at launch (or seven if you’re playing on PlayStation 4) will have their own paid “hero cards”, which seems like a necessary feature to get the most out of each character.

In short, if you can think of a crappy anti-consumer business model used by a recent video game, publisher Square Enix has thrown it into Marvel’s Avengers.

One of several in-game marketplaces ready to vacuum up players’ cash.

The £10 “hero cards” per character is perhaps the most egregious of all the monetisation tactics. It means that players who want to fully experience the game – a game that they have already paid full price for up-front – will need to continually shell out more and more money, perhaps even spending double the initial asking price. That’s not accounting for other cosmetic items, skins, costumes, etc. that are all going to be paid for. The only thing the game doesn’t seem to have is lootboxes – something they make a big fuss about as if expecting gamers to reward them for it.

I’m not a big fan of Marvel, or of comic books in general. But some games with a comic book setting can be decent, and if this were a single-player action title with a big budget behind it I might’ve been tempted to give it a try. Not like this, though. Not with the game being in such a state. People who had early access to play through the beta version have even been reporting back saying that underneath all the aggressive microtransactions, the game isn’t actually all that good.

Marvel’s Avengers may not be as exciting as this promo artwork suggests…

So a 6/10 title is going to cost easily upwards of £100 if you want to buy the deluxe edition and all of the battle passes and in-game currency and cosmetic extras… and you still can’t get iconic character Spider-Man unless you spend all that money on the PlayStation 4 version. I don’t know about you, but to me it’s beginning to sound like it might not be the best value proposition in the gaming world right now.

The Star Wars brand has been dragged through the mud in recent years – admittedly not just because of decisions in games. But the release of Battlefront II and the controversy and backlash it generated tarnished the overall brand to a degree, and I can’t help but feel Marvel is in serious danger of making a very similar mistake. The fact that both Star Wars and Marvel are owned by Disney is worth noting; clearly the company is fine with going all-in on these kind of aggressive money-making tactics.

If I were a Marvel fan, I would have been looking forward to the franchise’s biggest game in a long time. But I’d be looking at the underwhelming game drowning in microtransactions (if we can call £10 “micro”) and feeling sick to my stomach. This is barely even a game – it’s a shop, designed to rope players in and force them to spend more and more and more money. If the core game underneath was decent, perhaps players would be willing to do that. But if reports from those who played the beta are accurate, there isn’t even the kernel of a good game at the heart of this mess.

Ms. Marvel in a promo screenshot.

And perhaps that’s to be expected. The best games are passion projects – titles developed because the team behind them genuinely loved the idea and wanted to see it fully realised. Everything about Marvel’s Avengers feels corporate and soulless, like the game has been conceived in a boardroom full of men in suits who looked at the list of franchises they own then tasked some poor team of developers with making a money-printing machine. These are people who looked at the success of titles like Fortnite and Grand Theft Auto Online and – without understanding anything about them – said “make me one of those!”

The sad thing is that there are many comic book fans and fans of Marvel who would have loved the chance to work on a fun title and bring the superheroes to life for players. But it seems like none of them got a look-in, or if they did they saw this sad, corporate shell and walked away. The suits in charge don’t care, and what has been built is a game where the nicest thing anyone can say is that it looks pretty. Visually impressive, but mediocre and drowning in attempted monetisation.

Disney tried this a couple of years ago in partnership with Electronic Arts. The result? Star Wars Battlefront II, a game so controversial it literally got politicians involved and will probably end up getting in-game gambling banned in at least some areas of the world. It will be hard for Marvel’s Avengers to fail quite so spectacularly, but it seems like they’re willing to try.

Marvel’s Avengers is due for release at on the 4th of September on Xbox One, PlayStation 4, PC, and Stadia. Marvel’s Avengers was primarily developed by Crystal Dynamics and published by Square Enix. The Marvel franchise is the copyright of the Walt Disney Company. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

A look at Project 4K77

A lot of Star Wars fans haven’t seen the original Star Wars. Oh sure, they’ve seen A New Hope, but not the original film as it appeared in 1977 and the years after. In the late ’90s and early 2000s the original film was edited – heavily, in some places – and given the “Special Edition” monicker. It’s this version of the film that’s been the only one available to watch on DVD, Blu-ray, and streaming platforms ever since. So as I said at the beginning – many Star Wars fans haven’t seen the original film.

Even I hadn’t until recently. I’d been lucky enough to see the pre-Special Edition cut on VHS in the early 1990s, but even that version of the film had at least one significant edit – the title. In 1977, Star Wars was just Star Wars. A New Hope was the revised subtitle given to the film after the release of The Empire Strikes Back in 1980, which was also the time it was retroactively declared “Episode IV”. So even I hadn’t seen the original theatrical version!

In one of the most notorious changes made in the Special Edition of A New Hope, Greedo shoots at Han Solo in the Cantina.

The subtitle doesn’t really bother me. I tend to refer to the first film in the series as Star Wars anyway, unless discussing the wider franchise. Then it becomes necessary to differentiate the first film – just like how Star Trek can be called The Original Series. But what does bother me – at least a little – are many of the other edits and changes.

In a way, I can appreciate what George Lucas was trying to do. In 1977, a combination of budget and technical limitations meant that some of his ideas for how scenes could look had to be curtailed, and with the unlimited resources thrown his way in the late 1990s and early 2000s, he evidently felt he could bring the original films more in line with his vision by using CGI.

The opening crawl from the original theatrical version of Star Wars. Note the lack of a subtitle – the film was not called A New Hope in 1977.

The problem is, of course, that CGI in the late ’90s was pretty crap. Heck, CGI can be janky even today – just look at the catastrophic Cats film from last year for an example of that. The result of Lucas’ edits to Star Wars is that the film is, at best, a visually weird mix of poor-quality CGI and the original practical effects. At worst, the crappy CGI can be totally immersion-breaking.

There have been numerous other edits to Star Wars, including when it recently arrived on Disney+. Some fans noted that the currently-available version on both Blu-ray and streaming looks darker and washed-out, as if a filter has been applied.

CGI Stormtroopers, creatures, and ships in the Special Edition.

So what is Project 4K77? It’s a fan-made remaster of the original theatrical release of Star Wars – the 1977 version, digitally transcribed and available to watch in 4k resolution. None of the Special Edition features are included, and there are two versions – with and without digital noise reduction, which can help clean up the old film grain, but at the expense of not being as “pure”. The title is simply a reference to the fact that the finished version is in 4K resolution, and that the original Star Wars was released in 1977. Hence, Project 4K77.

It’s worth noting that the project is completely unofficial and unsupported by Lucasfilm or parent company Disney. The completed film exists in a legal grey area – it’s a copyrighted work, wholly owned by Disney and Lucasfilm, but the team behind Project 4K77 argue that the original version of the film has been abandoned by its parent company and thus is fair game. Big companies like Disney often jump on fan projects as they become aware of them; Project 4K77 has been out in the open since at least 2018, when the finished remaster of Star Wars was released, and in the two years since nothing bad seems to have happened and the website is still online. Perhaps Disney and Lucasfilm simply don’t care – I can’t imagine they’re unaware of the project after two years. But if you’re desperately worried about things like copyright, you should be aware of its status. The people behind the project also say that they expect everyone who downloads it to already own at least one copy of the film through official means.

The original version (top) and Special Edition revision (bottom). Note the difference in colour temperature and lighting for Obi-Wan and the two lightsabers in particular.

I have great admiration for anyone who takes on a big project and sees it to completion, but these fans have gone above and beyond. They’ve worked on this project basically for free in their spare time, and the result has been a complete restoration of the original film. Return of the Jedi has been remastered too, under the title Project 4K83, and The Empire Strikes Back is supposedly still being worked on. The expression “labour of love” can be thrown around very casually sometimes, but it absolutely fits here. There’s no other way to describe what these fans have accomplished.

Star Wars is in an unusual place as a piece of film history. It’s a classic film that spawned an entire franchise, but unlike many other classic works of cinema, the original film that accomplished so much has, in effect, been out of print for decades. When considering other comparable works, even within the sci-fi and fantasy genres, that hasn’t happened before. Alien, Star Trek: The Motion Picture, and even films like Flash Gordon can still be found and watched in their original forms. Star Wars can’t – or it couldn’t until recently.

This scene – featuring a crap-looking CGI Jabba the Hutt – wasn’t even included in the pre-Special Edition cuts of the film.

I don’t think it’s possible to understate the importance of what Project 4K77 has done. When future historians come to look back at late-20th Century cinema, there was a real risk that one of the most important works in the sci-fi/fantasy genres would only be available in a reworked, heavily-edited form. Thanks to this project, that’s no longer the case. The original film has been preserved in its original form, and the importance of that is profound.

While we may look at Project 4K77’s remastered Star Wars as an interesting curiosity, it’s so much more than that. And not only for Star Wars fans like myself who hasn’t seen the film in this form – but for countless current and future fans of sci-fi/fantasy and cinema in general. It’s a piece of history, and I’m all for the preservation of important historical documents and artefacts – by whatever means necessary!

Luke’s X-Wing in its original form – a physical model, not a CGI creation.

If you’re going to go looking for a copy, I daresay you’ll be able to find it through the usual methods for acquiring such content. But bear in mind the file size is particularly large – it hasn’t been compressed in any way. I watched it on my television – a 4K display, but just an LCD one, nothing special. On an OLED display it would look stunning, I’m sure – and even better if you have a proper home cinema setup with a 4K projector and screen!

The more copies of Project 4K77 that exist out there in the wild, the greater the chance it will survive long-term, which is important for the reasons discussed. But it’s something I feel every Star Wars fan needs to see at least once; this is where the franchise truly began. Everything that’s happened since in a galaxy far, far away is built on the shoulders of this film – and in particular, this version of the film. It’s a piece of cinematic history that George Lucas tried to bury. Fans decided not to let him, and Project 4K77 is the result.

The Star Wars franchise – including Star Wars and the rest of the original trilogy – remains the copyright of Lucasfilm and Disney. Project 4K77 is unofficial, and it’s your responsibility to stay on the right side of copyright law. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Is the decision to bring Mulan straight to Disney+ a good one?

I’ve made no secret here on the website that I consider Disney’s live-action remakes of some of its classics to be very much lesser versions of those films. That’s for a variety of reasons, and I’m sure is at least partially influenced by the nostalgic feelings I have for some titles. 1998’s Mulan is an interesting film in many ways, but it’s always felt like a second-tier member of the Disney Renaissance, not quite reaching the same heights as The Lion King, Aladdin, or even Pocahontas. So its remake, which had been scheduled to premiere earlier this year, is a project I’ve been anticipating with muted excitement at best.

That was before the coronavirus pandemic disrupted everything. After abortive attempts to release the film in cinemas in March, then July, then finally August, Disney decided to try something they haven’t done before: bring a major release directly to their streaming service, Disney+. But Mulan won’t arrive on Disney+ ready to watch like any other title, instead it’s going to be paywalled with customers being asked to stump up an extra $30 on top of their regular Disney+ subscription fee in order to access it when it releases next month.

Mulan (1998) is getting a live-action remake.

On a purely mathematical level, I can understand the charge. Films are expensive to make, and Disney wants to recoup as much of that money as possible. $30 is around the price you might pay for 3-4 cinema tickets, so if you think that it’s the same money as a family going to see the film at the cinema, Disney obviously feels that it’s a fair price. But of course watching a film on streaming isn’t the same as going to the cinema, and I have to confess I was taken aback by how steep the cost of seeing Mulan is. As a single person, $30 (or whatever its equivalent in GBP will be) is excessive for seeing one film! That’s the equivalent of more than four months’ subscription to the streaming platform, and I have no doubt many will be as put off as I was.

My big question is this: why can’t Disney just be patient? It isn’t just film releases that have been disrupted, film production has been massively affected too. Disney has already postponed the release dates of many other titles that are currently in production as a result of the pandemic, and surely Mulan could have taken any one of those release slots once the disruption finally ends. Sitting on the film costs Disney very little – releasing it too soon could backfire and cost them massively.

Liu Yifei in the 2020 remake of Mulan.

Ever since broadband internet made it possible to stream and download large files, piracy has been a problem for big entertainment companies. Streaming services like Disney+ are able to survive in part because most people like to follow the rules, but also at least in part because they make it easy and affordable to do so. Who would even notice £4.99 a month – that’s how much Disney+ costs in the UK. Hardly anyone would, of course, and that’s how the service survives. But a sudden turnaround to charge more than $30 for a single film and suddenly a lot of people will be looking for other options.

Piracy is incredibly easy. A simple online search leads to dozens of websites that allow users to stream up-to-date films, and within hours of a film or television series going live, it’s been recorded and reuploaded countless times. When Mulan releases behind a paywall, it will very quickly be uploaded to pirate websites where people will be able to watch it or download it for free.

No, not that kind of piracy…

While Mulan’s release on streaming will almost certainly be lacklustre, it could have the unintended side-effect of harming Disney+ as a brand. Disney+ already is worse than its competitors in that the most recent seasons of its television series aren’t uploaded until months or even years after they debut on television, but if the service gets a reputation for paywalling content, many people will wonder what the point of paying for it is and will unsubscribe. Partly that’s on principle, and partly it’s because the cost of accessing Mulan is incredibly high.

Disney has also harmed its relationship with cinemas and distributors. The cinema industry is suffering greatly from months of closure, and here in the UK, while cinemas have been allowed to reopen since early July, many haven’t. Regular readers will know that disability precludes me going to the cinema these days, but in the past when I was able to, I favoured an independently-owned cinema in a nearby town – one of the few left in the UK. Its fortunes hang in the balance right now, and one thing that could have helped is a big release like Mulan to tempt people back. By cutting cinemas out of the equation and going direct to streaming, Disney has upset the apple cart. Why should cinemas go out of their way to show other Disney films in future?

Cinema owners will protest this decision vehemently.

At least one cinema chain – Odeon, which is owned by AMC – has stated that they will no longer show any films by Universal Pictures as a result of that company making a similar decision. Universal chose to release Trolls World Tour digitally as a result of the pandemic, and AMC and Odeon reacted swiftly, banning Universal films in their cinemas, of which there are many in the UK; Odeon is a big chain. Disney could end up in a similar situation, and if several big chains were to band together, they could effectively prevent Disney films being released almost anywhere. Any company, even a giant like Disney, needs to tread very carefully.

Disney has chosen to prioritise making as much money as possible as soon as possible ahead of all other concerns. And with the company losing money – Disney lost $4.7 billion in just three months this year – perhaps the higher-ups decided they needed to do as much as possible to offset that. Indeed, the decision to reopen as many of the company’s theme parks as they’re allowed to is also part of that – the losses made by having the parks open are clearly less than the losses made by keeping them shut. Evidently Disney has made the calculation that the short-term harm of releasing Mulan digitally is less than the harm of sitting on it for an unknown length of time.

For those willing to pay, Mulan will be available next month on Disney+.

The coronavirus pandemic has been hard to predict, but many medical experts and analysts are anticipating a renewed increase in cases as we move into the autumn and winter here in the northern hemisphere. Disney may have interpreted such statements to mean that regional lockdowns may not be going away any time soon, and even if the rules are relaxed, the general nervousness of the public about the disease – and the looming recession it’s triggered – may put people off going to the cinema anyway. With the USA, which is Disney’s biggest market, being much more seriously affected than the rest of the world, even if everywhere else were to get back to some degree of normality, it may take a lot longer before American cinemas will all be able to reopen.

All of these issues and more have fed into the decision, and I can understand it on a corporate level. But I think one of the key problems is that many higher-ups don’t appreciate just how much they’re asking people to pay to see a single film in their living rooms – or even on a phone screen. $30 is a lot of money to a lot of people, and while it may not be to someone who’s making megabucks at the top of a huge company, out here in the real world it is. $30 could be the back-to-school supplies for a child, a big takeaway meal for a family, or as already mentioned, more than four months of Disney+. People could do a lot with that money, and while many are happy to pay extra for a treat like a visit to the cinema, far fewer will be willing to cough up cinema-ticket prices for a film they’re watching in their living room or on their phone. Disney+ has been inoffensively priced until now, and that has won it many supporters and subscribers. Mulan is not inoffensively priced. In fact it’s priced in such a way as to be downright offensive to many people.

Disney evidently sees this as the least-bad option right now.

Speaking purely anecdotally, I haven’t found anyone willing to pay for Mulan. One person I asked suggested that if it were a better film, they might be willing to consider it, but definitely not for a remake of a B-tier film like Mulan. That was the closest I got to a “yes” out of everyone I spoke to. While there will be a market for it, as some people will desperately want to see this reimagining and others will be pestered into it by their kids, it won’t be enough for the film to break even and I have no doubt Mulan will have a seriously disappointing launch.

But even a serious disappointment may be good enough for Disney as they look for ways to slow their financial haemorrhaging. Mulan will undeniably bring in more money for the company than the precisely $0 it would if it remained unreleased. As long as it covers the costs of streaming it worldwide – which, given Disney+ already exists, it almost certainly will – it may be seen as a success. At the very least it will be something Disney can show to investors and shareholders to demonstrate that they’re trying new and creative ways to get through what could be many more difficult months that lie ahead.

Mulan and Disney+ are the copyright of the Walt Disney Company. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Let’s Play Disneyland Adventures – Part 1

Spoiler Warning: There are spoilers ahead for Disneyland Adventures.

I miss Disneyland. It’s actually been well over a decade since I was last able to take a trip to any of Disney’s theme parks, and I miss the rides, the food… even the queues! If you’re like me and you’re missing spending time at Disney – especially with the current pandemic messing up holiday plans – I’ve got just the game for you: Disneyland Adventures!

This is actually the second time I’ve bought a copy of this game. I first played it in 2011 or 2012 when it was on the Xbox 360 as Kinect Disneyland Adventures. The Kinect was Microsoft’s foray into the motion-control space, and it was a peripheral for the Xbox 360 (a second version was later bundled with the Xbox One). The Kinect device consisted of a camera and a sensor, and the idea was that it would allow for controller-less play; players would use their arms, legs, and whole bodies to control games.

The Kinect sensor for Xbox 360.

We could spend hours delving into the history of Kinect and its hits and misses; suffice to say the concept was good, but the execution – especially in this first version on the Xbox 360 – wasn’t perfect. Though the Kinect peripheral and its bundled game (simply titled Kinect Adventures) actually ended up being the Xbox 360’s best-selling title, it’s fair to say that it wasn’t the success Microsoft hoped for. The Kinect concept has since been discontinued for gaming, though it is still used in some specialist applications.

Disneyland Adventures is the 2017 re-release of the original 2011 title, and came out for Xbox One and PC. Most importantly it doesn’t require Kinect, nor any other motion controls, and can be played with a normal gamepad. This is the version we’ll be looking at today – and in future updates to this series of posts. If you followed my last “Let’s Play” – where I played through 2019’s Star Wars Jedi: Fallen Order – the format will be similar.

Let’s Play Disneyland Adventures.

So what is Disneyland Adventures? It’s a game for kids that features a digital recreation of Disneyland (the original in California) to explore. Fan-favourite characters can be found who’ll give the player little tasks and quests, and some of the park’s most famous rides are reimagined and stylised to form mini-games and levels away from the open space of the theme park.

Today we’ll take a look at the game’s introduction and check out one of those rides.

After a very brief opening cinematic, I had the opportunity to “customise” my character. I’m putting that in inverted commas because the customisation options for Disneyland Adventures are limited, even for a game from 2011. There is a choice of gender, and several of the characters I interacted with had gendered dialogue which I’m assuming does change depending on whether you choose to play as a boy or a girl. And yes, that’s what the game calls its gender choices – the player character is a kid, after all! Other than the gender option there were a handful of different preset faces and a few outfits, and that was all.

My newly-created character by Sleeping Beauty’s Castle.

I’d wager that if you’re even vaguely familiar with Disneyland or the Magic Kingdom, you’ll find that the digital recreation of the park in Disneyland Adventures will feel familiar; I certainly felt that way! The game opened with my (unnamed) character being given a task by Mickey Mouse – take an autograph book to Donald Duck and get his signature. However, after being set this task I was free to explore the park, though there was a quest marker constantly showing my route to Donald’s location.

The Disneyland Monorail makes a loop of the park.

After taking my time to make it to Donald, he signed the autograph book and sent me back to Mickey Mouse. The character voices are all exactly what you’d expect from classic Disney characters, and though the 3D anthropomorphic style used for the characters might take a little getting used to, especially if, like me, you’ve only seen these characters in older 2D animated features, they have a truly classic Disney feel. En route back to Mickey I ran into Captain Hook, and while I couldn’t get his autograph I could interact with him which was fun. Collecting autographs and high-fiving the various characters is going to be a big part of the game.

Dancing a jig with Captain Hook.

Mickey Mouse was still standing near the castle and I returned the autograph book to him. The next quest was to take the book to Goofy in another area of the park, but I took the opportunity to get Mickey’s autograph first. The autographs are one of the games collectables, and they’re divided up into groups of characters.

Getting Mickey’s autograph.

My next task, courtesy of the main mouse himself, was to head over to Goofy and deliver the book. But on the way I decided to have a little bit of a wander through the park – that’s really the main appeal of the game for me! In Tomorrowland, the sci-fi/futuristic area of the park, I met the aliens from Toy Story.

The little aliens.

After that encounter, I tried out one of the attractions – the classic Tomorrowland ride Space Mountain. I’m not wild about ultra-fast rollercoasters usually, but the ones at Disney are done very well and I’ve always enjoyed Space Mountain in particular. In fact, Tomorrowland as a whole is kind of a sci-fi geek’s paradise! The versions of the ride differ at the different theme parks, and I’m sure people who’ve visited all of them will have an opinion on which one is best! In Disneyland Adventures, the attraction stays true to the original theme of the ride – outer space – but kicks it up a gear or two!

Boarding Space Mountain.

I wasn’t sure what to expect from the ride; it’s been a while since I played this game, and because even in those days my health wasn’t great, I struggled with the motion controls and didn’t play Disneyland Adventures – or any other Kinect title – very much. But I was pleasantly surprised to find a delightfully old-school on-rails spaceflight game.

An asteroid to avoid in the centre-right, and coins to collect on the right.

In the style of classic arcade games, the player’s vehicle – styled after the ride cars used on the real Space Mountain – moves forward on its own; control is limited to moving side-to-side to avoid obstacles, collect power-ups, and some sections involved shooting a laser-gun.

Targeting reticle to the upper-left and a “hyperspace gate”.

I wasn’t great at the Space Mountain game, I have to be honest. I kept flying into the asteroids and I missed a bunch of power-ups and coins! Luckily the game is very forgiving and every time I crashed I respawned in the same place, not losing any progress. There are more levels within Space Mountain – at least two more – but I didn’t carry on after completing the first stage. There was a “story” of sorts within the mini-game, following my character through several different space environments, including a battle!

Flying past other spaceships in a battlefield.

After exiting Space Mountain I decided to call it a day. I’ll pick up Disneyland Adventures again soon – unlike my last playthrough I’m in no rush to race through everything that the game has to offer. There may be another few parts in this series to come over the next few weeks though, so stay tuned!

I hope you had fun, and if you’re missing Disneyland or find yourself unable to go because of the pandemic, for £15 on Steam this could be a fun distraction. If you aren’t interested in mini-games and collectables perhaps you won’t enjoy it, but for a relatively low price it’s worth a punt in my opinion. If not, keep checking back and follow my playthrough!

Disneyland Adventures is available for PC and Xbox One. Disneyland Adventures is the copyright of the Walt Disney Company and Xbox Game Studios. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Thoughts on Disney Parks giving Splash Mountain a new theme

Though I haven’t been to any of Disney’s theme parks since a brief visit with a friend back in 2009, I consider myself a fan. Walt Disney World is the biggest, and therefore offers the most to do, but the other parks I’ve had the good fortune to visit are enjoyable too.

Splash Mountain isn’t my absolute favourite ride – that honour has to go to the Tommorowland Transit Authority/Peoplemover, which is brilliant and almost always has a short wait – but it’s up there among my favourites.

Splash Mountain at Walt Disney World.
Photo Credit: HarshLight on Flickr via Wikimedia Commons

Criticism of the ride’s theme, which uses characters and songs from the 1946 film Song of the South, has been building for a number of years already, and work to re-theme it has seemed an inevitability – it was just a question of when. Under the current circumstances, where there’s a renewed focus on race in the United States, Disney evidently felt they could wait no longer.

I’ve seen some criticism of the decision, with it being derided as another part of “cancel culture”, but I fully understand why it’s been done. Song of the South is an interesting work of cinema from an historical and academic perspective – but it’s by no means something kids should be watching, and having its characters on one of Disneyland and Walt Disney World’s most prominent and famous attractions is obviously unacceptable. It arguably has been unacceptable for some time.

Song of the South was the first film for which a black American received an Academy Award, and in addition its pioneering blend of live-action and animation arguably laid the groundwork for many of today’s visual effects and CGI. But we’re looking back on it in 2020 in the same way one might look back on The Birth of a Nation – it may have been pioneering in its techniques, but it is undeniably racist in its depiction of black Americans.

Disney parks need to be spaces where everyone can feel welcome, and while Splash Mountain may not have been quite as troublesome as the film it borrows from, the association is enough for many people to feel upset. Furthermore, Disney parks are in a constant state of evolution, with rides being updated and changed all the time. Another of my favourites – Epcot’s Spaceship Earth – is set for a major overhaul in the coming months. It’s no bad thing when a ride is updated, and the re-themed Splash Mountain will be the better for it.

The basic layout of the ride looks set to remain the same. All that will change is the theming – out with Song of the South, in with The Princess and the Frog. The first black Disney Princess had been lacking an attraction of her own at the theme parks, and I honestly couldn’t imagine a more appropriate or poetic way to include her. I don’t think we need to worry about the ride’s song either – The Princess and the Frog had a wonderful jazz soundtrack with some great options to choose from. Or a new song could be composed just for Splash Mountain. I’d be happy either way.

Concept art for the reimagined Splash Mountain.
Picture Credit: The Walt Disney Company

If you like Splash Mountain for the ride itself, nothing will change. And if you enjoyed the theming and lament its passing, I understand. But something that may seem innocuous to one person or group of people may be upsetting or offensive to another, and from Disney’s point of view, making sure everyone feels welcome and included is really important.

Because of my health I have no idea if or when I’ll get back to the Magic Kingdom to see the renovated ride for myself. But if I ever do I’ll be sure to go for a ride on the new Splash Mountain. I think it’ll be absolutely fantastic.

Splash Mountain and The Princess and the Frog are the copyright of the Walt Disney Company. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Frozen II – Disney’s best sequel?

Spoiler Warning: There will be spoilers ahead for both Frozen and Frozen II.

Disney doesn’t have a good track record when producing sequels to its animated hits. There have been a number of attempts over the years to follow up a successful title with a sequel, but usually the main focus of the studio was elsewhere, with the best writers and animators working on the next big title. The result has been that almost every sequel attempt has ended up as a direct-to-video affair, with an expected drop in quality. There have been some gems hidden amongst these titles – The Return of Jafar, the 1994 sequel to Aladdin, being one example – but generally speaking, Disney prefers to direct its attention to projects other than direct sequels.

Frozen II is something altogether different. With the exception of Fantasia 2000, a sequel to 1940’s Fantasia, and a couple of films in the Winnie-the-Pooh series, Disney hasn’t attempted a big-screen sequel that required anywhere close to the effort put in to Frozen II. The first Frozen, which I picked as one of my top ten films of the 2010s, was a runaway hit even by Disney’s standards. In 2013-14 Frozen merchandise was inescapable, and the film had as big of an impact – or bigger – as 1989’s The Little Mermaid, which kicked off the era known as the “Disney Renaissance”. The value of Frozen as a brand was phenomenally high, and cashing in on that success – especially in an era of cinema so dominated by sequels and franchises – was too tempting for the studio to resist!

The relationship between Elsa and Anna is the core of Frozen II.

Because I was living overseas in 2013 I missed practically all of the pre-release marketing for Frozen. It was only when browsing local cinema listing for English-language titles that I first heard of it, and while I had high hopes as I’d always been a Disney fan, I was absolutely blown away by just how amazing that film was. In my opinion at least, the “Disney Renaissance” can be stretched to include 2002’s Lilo and Stitch, but after that the quality of the studio’s output seemed to dip, and while there were still some enjoyable titles in the decade after, Frozen was on a completely different level.

Idina Menzel, who voices the co-lead role of Elsa, is someone I was quite familiar with before Frozen. I’d been lucky enough to see her on stage in the London production of Wicked – a musical about the Wicked Witch of the West from the Oz series. She’d also released three albums by the mid-late 2000s, all of which I owned, and as a big fan of Wicked I was used to hearing her belt out the show’s big hits like The Wizard and I, Popular, and of course Defying Gravity from the show’s soundtrack album. Menzel also had a co-starring role in 2007’s Enchanted, which is a fun parody of some of Disney’s tropes – made by Disney itself. She seemed like a great fit for a starring role in a Disney film, and I wasn’t disappointed by her performance; I’d always felt she was quite an underrated performer.

I guess we can admit – as Frozen II hints at itself – that the song Let It Go may have been played a little too often in the aftermath of the first film’s success, but nevertheless the Frozen soundtrack has to be one of Disney’s best. Robert Lopez and Kristen Anderson-Lopez returned for Frozen II, and the sequel benefits greatly from their involvement. The songs and music have always been a huge part of any Disney title, so getting that right is incredibly important!

Elsa’s reaction to Let It Go was pretty funny.

Elsa’s ballad from early in the film, Into the Unknown, was Frozen II’s answer to Let It Go from the first film. Music is, of course, something very subjective, and comparing two powerful ballads by the same composer sung by the same singer really boils down to “which did I like better?” While I obviously have to concede that my opinion is influenced by having heard Let It Go many more times, I think I prefer it over Into the Unknown. But that’s really just a subjective opinion.

The other two standout songs for me were Lost in the Woods and Some Things Never Change, which was played close to the beginning of the film.

The song Some Things Never Change from Frozen II.

Frozen II picks up the story a few years after the events of the first film. My initial concern on hearing a second film was in development is how it would get around the usual Disney sequel problem, which I can summarise thus: how do you tell a dramatic, engaging, and interesting story after the “happily ever after” moment in the original title? This isn’t a question exclusive to Disney; many sequels can falter when it comes to answering, but because Disney films like Frozen have self-contained stories that are wrapped up by the end, it’s something ever-present and noticeable in practically every Disney sequel. Frozen’s ending answered the question of Elsa’s magic, fixed the relationships between Elsa and Anna, and Anna and Kristoff, and saw the newly-crowned Elsa open up the kingdom of Arendelle and her castle, no longer feeling the need to isolate herself. Any sequel would have to find a way to get around these finalities.

In the film’s early scenes, we’re reintroduced to Elsa and Anna’s parents, who tell the young girls a story of a battle between Arendelle and their northern neighbours near an enchanted forest in a flashback sequence. The Northuldra tribe are evidently based on the Sámi (or Laplander) people who inhabit northern Scandinavia, and I believe Disney consulted Sámi leaders and historians to enhance the tribe’s appearance and portrayal in the film. The cause of the battle between the Northuldra and Arendelle forces is unknown, but as a result the enchanted forest has sealed itself off, shrouded in an impenetrable fog bank.

Frozen dedicated a lot of time and effort to getting its animated snow to look and behave just right in 2013, and that has carried over to this film too. But I want to also acknowledge at this point the fog effect, which is something that can be difficult to get right in computer animation. Frozen II absolutely nailed the way this fog looks and behaves – and as something that does get a fair amount of screen time, it ended up looking amazing and fit right in with the aesthetic of Frozen II’s world.

The fog in Frozen II was beautifully created and animated.

To get back to the plot, the basic premise that the princesses’ grandfather and the rulers of Arendelle were the “bad guys” who instigated the fight with the Northuldra wasn’t well-disguised – but it gets a pass for that as a kids’ film. I’m sure all of the under-tens in the audience were shocked at that revelation! However, it does draw comparisons to the big twist in the first film: that Anna’s fiancé, Prince Hans, was evil and the film’s villain. That twist caught everyone off-guard, simply because Disney had never pulled a stunt quite like it. There may have been some pressure on Frozen II to follow suit and throw in a twist or curveball, and while it was a success as a story point, it wasn’t a shock in the way the Prince Hans twist had been.

The second point to make from this twist is that it leans very strongly into the “white people bad, natives good” storyline that we’ve seen a lot of in recent years. The portrayal of the Northuldra tribe overall definitely veered toward a common trope in fiction called the “noble savage”, which is where native/indigenous peoples are portrayed as being peaceful, in touch with nature, and so on. Neither of these points need to be taken as criticism; we could spend years arguing the history of European colonialism and its lasting impact on the world and get nowhere. The fact that we’re dealing with a couple of tropes that, by 2019, have been used so often that they’re becoming clichéd doesn’t actually detract from the plot of Frozen II, nor make the film worse. But it is worth noting their inclusion.

The Northuldra tribespeople meet with the King of Arendelle and his guards.

In that sense, the way King Runeard is presented, and the way relations between the Northuldra and people of Arendelle unfold is comparable to another Disney classic from a few years ago: Pocahontas. Swap out King Runeard for Governor Ratcliffe, King Agnarr and Queen Iduna for John Smith and Pocahontas, Arendelle and the Northuldra for the English and Powhatan/Algonquian tribe and you have a similar setup and a comparable situation. In recent years Pocahontas has come in for some criticism for its portrayal of Native Americans, and we’ve seen Disney use films like Moana to try to broaden the viewpoints of its heroines to include more non-white and indigenous peoples. While Frozen II doesn’t give us native protagonists it does continue this trend of using fictional settings to at least give some of these aspects of history a cursory glance. And yes, I am aware that Elsa and Anna are revealed partway through the film to be of half-Northuldra descent, but it doesn’t really become a major point for either of their characters until the film’s final moments.

Frozen was a film which broke some of Disney’s self-imposed boundaries, and in particular threw away the idea of princesses as damsels in distress or characters without agency, who do nothing besides waiting for their handsome prince. Not only through the reveal of Prince Hans as a villain, but by making the film’s one great act of true love an act of sisterly love, Frozen placed Elsa and Anna firmly at the centre of the story. Kristoff, Anna’s boyfriend, actually takes on a role in Frozen II not unlike some Disney Princesses of the past – pining for and chasing after Anna. Some films and television shows receive criticism for the way they handle female characters because those characters spend all of their time talking to or about men. Kristoff’s entire storyline in Frozen II is about his relationship with Anna and trying to figure out the best way to propose to her. His big song midway through the film, Lost in the Woods, is one that in years gone by we might’ve expected a film’s female lead to be singing! Turning this trope on its head was fantastic, and it kept Elsa and Anna as the two main protagonists while still including Kristoff in a way that made sense.

Kristoff’s storyline in Frozen II is all about Anna.

The first Frozen took on almost a Christmas vibe due to its wintry setting and heavy use of snow. Elsa’s ice magic is still prominent, but there was certainly less by way of snow and that wintertime, holiday theme than had been present in the first title. The woods – where a large part of the film takes place – have more of an autumnal vibe, and early in the film we see what seems to be a harvest festival taking place. The setting is clearly the late autumn, but we haven’t quite arrived at winter. That’s really neither here nor there, but I thought it worth mentioning.

There are two fake-out character deaths in Frozen II – Olaf and Elsa both appear to succumb to the limitations of magic. Where the first film had clearly established that a “frozen heart” was something terribly damaging, thus explaining why Anna appeared to freeze solid at the film’s climax, the in-universe rules governing how ice magic works in Frozen II seem a little more lax. There was a vague warning about not diving too deep, but nothing that would explicitly mean Elsa should have frozen in the way she did. Olaf’s disintegration makes more sense, given that his existence was tied to Elsa, though. Despite this pretty small nitpick, both Elsa becoming frozen and Olaf evaporating into snow were truly emotional moments, not spoilt in any way by thoughts of why or how. Perhaps it’s best in a Disney film not to question such things anyway!

Olaf’s “death” was an emotional moment in Frozen II.

The climax of the story sees a dam which the princesses’ grandfather had constructed being torn down. The dam, far from being a peace offering to the Northuldra, was in fact a nefarious plot to control their land and water supply, and Elsa realises that the only way to fix things with the spirits and the Northuldra is to destroy it. Elsa and Anna realise why the people of Arendelle were forced to leave town earlier in the film – breaching the dam will release a flood, destroying Arendelle. Despite this enormous sacrifice, they go ahead with the plan and destroy the dam. But Disney could never let a whole city – and the princesses’ castle – be destroyed! Elsa’s return from the ice magic/spirit world means she’s able to use her magic to turn some of the water to ice, saving the town and everyone’s homes.

The reunion between Elsa and Anna, as well as the resurrection of Olaf, was an incredibly emotional moment, and is the heart of the film. Frozen II really succeeded in getting me invested in these characters. As a sequel, part of that is because they’re familiar from the previous film. But as we’ve seen many times, a bad sequel can take once-important characters and rob their stories of any emotional weight. Frozen II is at least on par with the first title when it comes to the emotional stakes – Anna and Elsa’s reunion, and Olaf being restored, parallels the moment in the first film where the one great act of love restored Anna’s frozen heart.

Elsa and Anna are reunited in Frozen II’s final act.

Both Elsa and Anna have very satisfying arcs in Frozen II, despite my initial concerns that they’d already accomplished so much in the first title. Elsa learns the true nature and source of her powers, and their presence in her life is finally explained. Anna learns to step out of Elsa’s shadow and truly become her own person, which sets the stage for her coronation at the end of the film when Elsa chooses to remain with the Northuldra. Cue Frozen III, perhaps?

Far from being the typical Disney sequel I was fearing, with a convoluted and tacked-on plot, Frozen II delivered an experience on par with its predecessor, and managed to tell an interesting, tense, and emotional story where the princesses remained the stars. The introduction of the Northuldra expands our knowledge of Frozen’s setting without feeling out of place, and the Scandinavian theme from the first title continued to be treated respectfully.

While a couple of the story points were a little more obvious than the Prince Hans moment in the first film, I don’t feel that really detracted from the story. And for many of the film’s young viewers, those moments would have been just as surprising. It was great to see the characters from the first film make their returns, as well as meet a handful of newbies.

The relationship between Kristoff and Sven was a great source of fun.

Some of the smaller moments that I liked that I haven’t had a chance to mention yet were: Olaf’s line directly to the camera saying: “you all look a little bit older”. At my age that starts to feel like an attack(!) but for the film’s younger viewers who are returning from the first title, it was a cute acknowledgement that they’re growing up. I’m sure it was appreciated. I liked how one of the girls in the village asks Elsa to make her a sextant from ice in one scene. I liked the uniforms used for the Arendelle soldiers. I liked that there were some hints of newer technology in Arendelle – such as gas lamps and railways – showing that the world is not stagnant or medieval, and that modernity is creeping in. Finally, I liked how Olaf retained his status as the film’s comic relief; he’s great in that role and Josh Gad’s performance was pitch-perfect.

The story of Frozen II was clever, and it didn’t feel like a tacked-on sequel, nor one that disrupted the princesses’ “happily ever after” for no reason. There was a story worth telling at the film’s core, one that had heart and that was entertaining. Compared to Disney’s past attempts at sequels – as well as memorable flops in other franchises – Frozen II is outstanding, and I had a great time with it from beginning to end.

Frozen II is available to stream on Disney+ in the USA, and will be available on Disney+ in the UK from the 3rd of July 2020. The film is also available on DVD and Blu-Ray. Frozen II is the copyright of Disney. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.