#I write best for Lem and Nora though

[mindibindi]

Beyond disappointed in Ted Lasso. What were they thinking?!

The writing is a complete betrayal and insult to Rebecca’s character and Hannah’s skills as they’re being seriously underused. It’s also insulting Sam’s character.

Hoping someone pulls Rebecca’s head out of her ass tbh. Sam shouldn’t be getting caught in the crossfire of her looking for romance. I know he showed up at her doorstep but she still should’ve turned him away, and not even messaged him in the first place.

Hey, I'm with you, Anon, though we do seem to be in the minority. Sam is definitely not blameless here, he is also in the wrong. But if one of them is more in the wrong, it is Rebecca. I can't speak to whether her head has left her arse as yet because I have quit watching (at least for now). I hear she called it off with Sam in the most recent ep, though not because of any major crisis of conscience or because anyone in her inner circle expressed any reasonable reservations in response to her bad behaviour. And to be honest, I'm not sure we should need to hope and pray that Rebecca's precocious god-daughter, her slimy ex-husband, or the brutal British press will act as a moral compass on this ill-advised relationship. Both Rupert and the press have been set up to some extent as the villains of the piece. And a 14 year old should never have to school her elders on what is and isn't acceptable. Nora's needs have already been neglected by Rebecca for far too long.

If a moral position is to be taken on this, it needs to be taken by the show (because stance matters) and/or by its characters. But the show has for the most part depicted this relationship as ill-advised but ultimately hot, sweet, funny and romantic. As for the characters themselves, Sam has shown at least once that he has some moral backbone but seems to be adorably clueless when it comes to fucking his boss who keeps trying to set boundaries with him. Meanwhile, Rebecca's whole arc in s1 was about learning not to misuse her power for her own selfish ends. In season one, she misused her power within the club in order to exact revenge. In season 2, we have seen her misuse her sexual power, though I still cannot see to what end. I'm a bit at a loss as to what exactly she gets out of this 'relationship' but then I'm a grown woman so I have absolutely no interest in sleeping with a Harry Potter enthusiast barely out of his teens. I couldn't think of anything less sexy and more ick. I was certainly hoping for better character development for her this season.

As to what the writers were thinking, obviously I was not in the writer's room, but I would guess that they were thinking that any drama is good drama, people are stupid and fan devotion will trump any meaningful critique. In other words, they were thinking exactly how every other television writer thinks, despite the fact that this show posited itself as 'not like other TV shows'. This, to me, is where the blame really lies. Not with the characters or with the actors who are doing their best to sell this ludicrous turn of events. It must be noted, however, that both actors were completely blindsided by this relationship that had supposedly been so cleverly foreshadowed. Newsflash: if the people actually living these stories did not see this coming then you haven't foreshadowed shit. Sure, there were a handful of people that paired Rebecca with Sam but this does not constitute proof either. Fans have free-range to imagine and re-imagine characters. In some cases this may extend to imagining relationships between characters who have barely, if ever, interacted. There may be little to no evidence that these characters have even clocked each other's existence and some fans will still ship it. The existence of a handful of shippers does not legitimise such a problematic and divisive plotline making it onscreen.

But wait!, you might argue, this may not be a case of a popular show seeing just how far they can stretch fan devotion. This may not be a case of fan service to a handful of shippers. After all, the creators mapped out the entire three-season arc of Ted Lasso before they even pitched it to Apple. This was their brilliant plan all along! To which I would say: then maybe they should've rethought their second act based on people's strong reactions to their first. Ted Lasso was touted as the show we all needed in 2020. The writers and creators have all marveled at the chord it struck considering it was conceived prior to the pandemic and all the chaos it wrought. And while there is something to be said for having/sticking to a creative vision, there is also something to be said for being flexible and responsive to your audience and the cultural zeitgeist with which you're engaged. Season 1 of Ted Lasso told its story so gently, without creating distrust, division or unnecessary anxiety. It did not treat its audience like a gaggle of stupid lemmings to be led over a succession of narrative cliffs. THIS is what I mean when I say the show has broken with its brand. And look, this whole dark forest thing would be okay if the narrative arc was as well-crafted as s1. Season 1 gave us meaning, cohesion, comfort, sense in a senseless time. It was an almost perfectly crafted season of television. And I kept the faith for 6 episodes, despite the first half of s2 being pretty damn wobbly. But the follow-up to this stellar debut has been less than extraordinary so yeah, perhaps they should've thought a little harder about what made s1 so special before throwing it all out the window.

But wait!, I hear the faithful say, you don't know how things will pan out yet! Wait until the season is over and everything will make sense! But -- wearily and once again, I say -- we should not need to wait until the end of the season to understand what the hell is happening. By this point (over halfway through the season and show) we should have a v clear idea of the show's themes and the characters' arcs. And tbf, from what I can tell there are some fab things happening in other aspects of the show that I wish I could watch and enjoy. But my biggest fear at this point is that they are going to use Sam to solve Rebecca's childlessness. That, like Rupert (because the parallel cannot be avoided), she will become pregnant with a young fling and the show's attitude to this relationship will ultimately be: oh well, it was a bad idea and didn't work out for them but it was all for the best in the end cos who can be mad about a cute lil baaaayyybbbeeee??!! If they do go down this path then I will definitely be abstaining from the rest of the show. I will simply recall my repeated viewings of s1 with fondness tinged with regret at just how badly they fucked up a good thing.

Ultimately, Anon, I think this may be a case of there simply not being a diverse enough perspective in the writer's room. I am not saying that every single woman or every single person of colour will necessarily object to this relationship. I am simply saying that women and people of colour will be more sensitive to the issues of gender and race that are relevant here but that have not been fully or sensitively acknowledged in the writing of this plotline. Neither am I saying that Rebecca is the first woman to sleep with a man much (much, much, MUCH) younger than herself or indulge in an ill-advised relationship. But the comparison with Rupert both works here and doesn't because Rebecca is not being written like a white woman, she is being written like a white man. Realistically, only a white man can engage in this kind of hugely imbalanced relationship seemingly without any major moral qualms or societal ramifications. Not to put too fine a point on it, but this kind of relationship is reserved for all the Bills and Joes and Brendans and Jasons out there -- not for the Rebeccas and definitely not for the Sams. We are way beyond the point in feminism where we believe that liberation is simply the right for a white woman to behave as badly as a white man. The truth is that whatever wealth, power and privilege Rebecca has, the rules are different for men and women. She will not be treated the same as Rupert if and when this affair is uncovered. She will be treated far more savagely than Rupert ever was and Sam will be treated far more savagely than Bex was. This is not an argument for the equal treatment of these two relationships. It is an argument against how the relationship between Rebecca and Sam has been envisaged, i.e. through the wrong perspective. In writing from a 'neutral' white male pov, the show has invisiblised all the many issues activated by this storyline and revealed a blindspot that was always there.

As much as I loved and still love season 1 of this show, it has definite blindspots when it comes to representations of race and gender. There are at least two moments in s1 that stand out for me as being so obviously written by a man. Not necessarily because of what they do but because of what they don't do: what is missed, absent, unacknowledged. I was willing to overlook such minor failings in a debut season for many reasons. But s2 seems to have exacerbated these minor flaws rather than correcting them. And here I can't help thinking of Tina Fey speaking of the diversification of the writer's room at SNL during her tenure as co-headwriter. This notoriously male-dominated environment only began to shift and produce better work when a greater diversity of minds, voices and persepectives was allowed in the room. In this richer environment, she notes, different jokes played differently. Different sketches made it to air. Different perspectives were represented and different performers were celebrated. I can't help wondering if this plotline would have made it to air if there had been a female writer, a writer of colour or both further up the chain of command to challenge the ideas of the straight white dudes in charge.

One of the reasons I didn't think Ted Lasso was for me was that it centred a straight, white, cis-het, able-bodied man who rose to a position he didn't earn. That is just not a pov I would normally choose for myself, especially now that there is such a rich array of alternative perspectives through which to view the world. But I think the show won a lot of females fans with its first season largely due to its portrayal of Rebecca. She is the first person we meet. She is arguably the protagonist of s1. And while she would have been figured as a villain in previous pieces, the show never took that stance with her (because again, stance matters). Other elements like the depiction of female friendships, all centred around Rebecca, made this show female-friendly viewing. But imo, the major reason this show won over female fans (this one, at least) is because, in this post-MeToo, post-TimesUp era, it stood up and said: domestic violence is not okay, we stand with women and all victims of abuse, we will defend you, we know words can hurt, we know it can happen to anyone, we know all about toxic masculinity, we do not take this lightly and we will support you in your healing. Needless to say, this is how women hope men will act when they speak of their most difficult experiences but it is not how they always do.

The shift away from Rebecca this season has however meant that the white male experience is more centred than it was in s1. Rebecca's journey to recovery, health and happiness has been trivialised and sidelined, reduced to a highly questionable sexcapade. Meanwhile, we get overwrought manpain at every turn. We get Beard wandering around London (no, I haven't seen it and no, I don't need to. We've all been raised on white dudes thinking they're genuises when they have a figurative wank all over our screens). We get NO queer represention at all. And the only other female characters on screen are in care/service roles to men. The father/son, mentoring and toxic masculinity themes are all still there but they're no longer balanced out by ANY other competing perspective. One of the reasons I was okay with Ted failing upwards in s1 was that he used his power and privilege to lift up others. He was the one in service. He used his enormous privilege for good, as anyone with such privilege must. (Admittedly, it could be argued that this is just another version of a white savior narrative).

My point here is that I'm not sure that peeking behind the mask at the sad clown is as revolutionary as some might believe. We love it because it's familiar. But this is a narrative with a long and problematic history. Do I believe in tearing down toxic masculinity in all its forms? You bet. Do I believe that patriarchy traumatises men as well as women and every other minority in existence? I mean...nowhere near as much, but absolutely. Do I believe in men expressing their feelings and going to therapy? Wholeheartedly. But I am also aware that 100 or so years ago, we were in a very similar place with our narratives. Everyone is looking for a recapitulation of modernism and frankly, this might be an indicator of just that. Whenever women and people of colour have demanded rights and recognition, there has always been a resurgence of tales about just how frickin' hard it is to be a white man. Minority genders and non-white people have never in western history been as visible or vocal as they are now. So forgive me (or don't, I don't care) if I critique a show not only for centering fathers, sons, boys and men but for blindly and boldly writing one of its only female characters and one of its only black characters as if their gender and race just do not exist. There are many other power differentials at play in this relationship, including age, experience, wealth and position, but race and gender are the two that patriarchy is most invested in invisiblising. So I don't care how brilliant they think they are, I will not trust the writing of a bunch of white dudes trying to tell me that race and gender are irrelevant.

#ted lasso #rebecca welton #sam obisanya #ask #yeah this one got out of hand

[norafike]

Despite all this, I still love you 29

Maggie made it abundantly clear that Lem wasn’t needed in Chicago. Why she brought him out was a mystery because all she had done was ignore the questions he asked and have him do anything but help her and Marcel.

He spent his time aimlessly wandering the city, it was enough to keep occupied but never enough to let him forget dear Nora. He thought about writing a letter and sending it but his aunt wouldn’t let him, saying it was too risky for him to consider it as their location could be given up.

That made sense but seeing her write letters for Cripps made his mood sour. He knew well enough that writing wasn’t too high risk it was him, his foolish nature to bring trouble wherever he stepped… he just wanted to know why Maggie couldn’t say that herself.

Chicago was a nice change of scenery to where he grew up, but it was never home. At first, he thought that home was back in Lemoyne where they started the whole moonshine operation, but that was before he realised that whenever he thought of home he would only think of Nora. They could be up in the freezing grizzlies or living in the insufferable heat of New Austin, but as long as Nora was in his corner he could not care for it was home.

At least Maggie made sure that he knew they would eventually be going back, she still loved her nephew after all and it wasn't nice seeing him so distraught over leaving behind a woman. Part of the reason why she had him outside all the time was for no other reason than hoping he would run into an old friend of hers, someone she knew a long time ago.

Maggie didn't realise that this friend was in Chicago until she ran into him. They didn't talk long, engaged in a little catch-up for old times sake and when asking about a certain relative she made sure to mention the unsuspecting relationship and he chuckled, always having a feeling that it would happen.

“Keep 'er safe for me,” was the last thing he said to Maggie before disappearing inside a derelict building.

That was why Maggie sent Lem down that road, wondering if he would run into that old friend himself to be confronted or if someone else made them known to her nephew.

...

With some aimless wandering, he eventually did divert from his usual route to take what he believed to be a shortcut back to the hotel but the further he walked the more he began to grow uncertain of the pathway as it began to shift more and more into an area he couldn't recognise and backtracking didn't seem to be doing any good for the pathway was full of winds and twists. The best he could do was continue further until he found a road or something that wasn't this alley to help get his sense of direction kicking.

With some walking, he eventually found his way to some form of street. It was abandoned, save for the odd face but eerily quiet regardless and he found that more unsettling than Nora's brother's snoring on a good day.

"Think, Lemuel, where did I come from?" He whispered to himself. The alleyway he had travelled through seemingly having disappeared just after he came through it.

There was no other option than to follow the road, it obviously had to lead somewhere that could help him get home.

As Lem turned the corner a woman walked into him while in a rush, spilling a bottle of cheap beer over his clothes in the process while slipping a letter in his hand. He let out a yelp, engaging in brief eye contact with the woman before she hurried back down the street having not said a word to him.

Alone again, Lem lifted his hand to look at the letter inspecting the folds with his thumb before he opened it up to read whatever was inside. He furrowed his eyebrows in confusion as there was only a very vague instruction to be read. He worried why that woman so purposely handed him the note but she was by now, far gone for him to track down and question.

He ventured further down the cobble roads, listening to the echo of his boots against the floor in the empty street he got lost it and eventually two people emerged from inside an old workhouse. There was nothing special about it, the sign had faded into nothing except a large 'M'. They mumbled as they passed him by, but he caught the slightest glimpse of a name being used and he knew it was where he needed to go.

...

He looked back down at the paper in his hand, reading the simple instruction over a couple more times. It was simple enough to understand, a 'speak to Lyndon' in bolden letters written across with an address scribbled underneath.

Gently he pushed open a door and approached the nearest person he could find, a quiet individual who was sitting on the steps with a cup of coffee in his hand.

"E-Excuse me, sir," Lem spoke in a whisper and sharply the man turned up to face him, giving him a toothy grin.

"I'm lookin' for Lyndon. Couldn't help me could you?"

"You ain't from here are ya? Would've recognised you, for sure." The man commented. He stood up and almost towered over Lem once he did so, it was almost intimidating. "Lyle."

Lem took his hand and shook it, ready to ask for this Lyndon once again before Lyle pointed upstairs towards a room presumed to be some sort of office.

"Lyndon's up that way," Lyle mentioned. "Gotta knock loudly though kid, and if Lou stops you just show him that letter you got."

"How did you…"

Lyle cut him off "…Know about that letter? You wouldn't have known about Lyndon if you didn't get one."

"Thank you, mister." Lem quickly walked past and ran up the stairs before he got to the office. He stopped sharply just by the door and knocked it a couple of times but got no response, so he tried again only this time a lot louder. Soon a much older man pulled the door back and gave Lem a rather welcoming smile before enthusiastically inviting him on inside.

Lem followed, taking rather cautious steps because his cheerfulness was… unsettling.

"Do take a seat, make yourself at home," Lyndon told him, speaking in an accent that was so similar to Nora's just stronger.

"I got a letter… telling me to go to you?" He slowly sat on an old crate, tapping his foot against the wooden floor every-so-often out of nerves.

"Ah yes, I asked Lucy to take that to you. When I heard that the Fike's were in town I just had to meet you."

"People know that My aunt and I are here?" Lem gasped but quickly Lyndon raised his hand to silence him before an outburst.

"Just us folk here and not even all of us then. I know of you from an old friend I have back in New Hanover and your Aunt Maggie of course."

"How?"

"Well, I believe you know my Granddaughter."

...

Lem couldn't believe the absurdity of what words this stranger had just told him. There was no way that Nora's grandfather could still be alive, after all, she told him that the majority of her relatives were either back in the United Kingdom or were dead except for her brothers and Aunt Marge. Surely this man was going mad, with his age Lem couldn't rule it out.

Lyndon remained quiet while he allowed for Lem to process the information, but from what he remembered and what Maggie told him he did expect a bigger outburst at the news than this.

"I-I'm sorry, but Nora said all her relatives were dead by now."

Lyndon laughed lightly, of course he knew she'd say that. "Yes well, I haven't seen 'er in a very long time. Of course, that was when I was still speaking to my son and his wife."

"You had a falling out?" With Lem's question, Lyndon's cheery smile faded into a delicate frown although he looked more relaxed in this position.

"Yes.. back when this place was workin' we had a decent share of money. I refused to lend them some and they both cut me out, no surprises there though."

"I feel like N-Nora would have mentioned you though."

"No, she couldn't have." Lyndon sighed. "She can't remember me like you can't remember me."

"W-We've met before?"

"Yes, you must have been eleven, maybe twelve then."

"But I feel like I would have remembered had I been that o-old." Lem leaned forward, resting his weight against his arms.

"You would have remembered Nora too."

"Excuse me?"

Lyndon stood from the desk made of old crates and filled with pieces of discarded paper, walked towards the old windows and pulled the sheets closed to darken the room. Lem watched curiously while Lyndon walked around to the door, closing it but not moving from that new spot.

"Your Aunt Maggie and I had a meeting years ago with Cripps. She brought you because you were in her care of course whereas I had been looking after young Nora, who must have been no older than eight. She took a liking to you then, so it comes as no surprise when Maggie told me that she still likes you now… although it's far more than that from what I heard."

"I don't remember any of this, mister."

"Of course not, it's not like we had you meet regularly and as I said- Nora's folks cut me out. I didn't know they died 'til a few years after then."

"So why did you need to speak to me?" Lem asked. Of all the people to secretly pass a note too, it had to be him and by no means did Lyndon not know of his tendency to cause a mess of a situation.

"It's a difficult matter."

"That's not answering m-me."

Lyndon gently hung his head in false shame, while Lem was by no means observant he was able to pick up on the shift in atmosphere and how the welcoming trance was broken with his pushing.

"I've had people monitoring you these past few months, when I found out Maggie was back and workin' with Nora then I had to learn what was goin' on."

"And that brings me into this how?"

Lyndon moved slightly, leaning against the wall. "How much do you care about Nora, Fike?"

"A lot… but w-what's this gotta do with anythin'?"

"Give it a few days... don't just leave but you ain't any good here, the Revenue Agents know all about Nora and her brothers and well, there's nobody better to keep her safe than you."

Lem laughed, a small mock at the faith placed in him from Nora's own grandfather of all people. "Nora protects me more than I can protect myself. I a-ain't gonna promise anythin', but she can handle herself."

"Can she?" Lyndon raised an eyebrow. "Cripps' last letter to me has brought to light something about her that you seem to be keepin' her safe from. Them nightmares."

Lem's face turned grey when he remembered how badly Nora would handle that obstacle whenever he wasn't around with her, how much danger she would be in whenever he wasn't there to be an anchor and it was sickening to worry about her now that he wasn't around. He was a damn fool for not going against his Aunt's wishes and staying home. "She had been so fine r-recently, I completely forgot."

"All I ask of you, Lemuel, is to keep her safe."

"I'd not live with myself if I didn't."

#rdr2 #red dead 2 #Red Dead Redemption #red dead redemption 2 #rdo #red dead online #rdr online #lem fike x oc #lem fike #lemuel fike #lem fike x nora morgan #rdr oc: nora morgan #maggie fike #original characters

[adrian-paul-botta]

Follow Me, Boys! (1966)

Follow Me, Boys! is a 1966 family film produced by Walt Disney Productions. It is an adaptation of the 1954 novel God and My Country by MacKinlay Kantor and is notable for being the final live action film produced by Walt Disney, which was released two weeks before his death.

The film stars Fred MacMurray, Vera Miles, Lillian Gish, Charles Ruggles and Kurt Russell, and is co-produced by Walt Disney and Winston Hibler, directed by Norman Tokar and written by Louis Pelletier.

The film is notable for being one of the few movies that features the Boy Scouts of America and is Disney’s paean to the Boy Scouts. The title song “Follow Me, Boys!” was written by studio favorites Robert and Richard Sherman. For a time, after the film was released, the Boy Scouts of America was considering using the song as their anthem, but efforts toward this end were eventually dropped. Boys’ Life for December 1966 included a teaser article on the film.

Lem Siddons is part of a traveling band who has a dream of becoming a lawyer. Deciding to settle down, he finds a job as a stockboy in the general store of a small town. Trying to fit in, he volunteers to become scoutmaster of the newly formed Troop 1. Becoming more and more involved with the scout troop, he finds his plans to become a lawyer being put on the back burner, until he realizes that his life has been fulfilled helping the youth of the small town. (Wiki)

Cast:

Fred MacMurray — Lemuel “Lem” Siddons

Vera Miles — Vida Downey

Lillian Gish — Hetty Seibert

Charlie Ruggles — John Everett Hughes

Sean McClory — Edward White, Sr.

Kurt Russell — Edward “Whitey” White, Jr.

Donald May — Edward “Whitey” White, Jr., as an adult

Luana Patten — Nora White

Elliott Reid — Ralph Hastings

John Zaremba — Ralph Hasting’s lawyer

Ken Murray — Melody Murphy

Parley Baer — Mayor Hi Plommer

Steve Franken — P.O.W. Lieutenant

This was Ruggles’ last feature film. He has a small but critical role in the film. He was age 80 when this picture was made, and did only television work afterwards, until his death in 1970.

  Synopsis

This is a movie which needs to come around again. The USA is hurting for stories such as this. In a nutshell, an outsider named Lemuel Siddons wants so badly to become part of the community he volunteers to become the scoutmaster of a new Boy Scout troop…and over 40 years watches his scouts, their kids and grandkids all follow the path he blazed. He and the community come to realize he is part of them, and that he has become far more important in the grand scheme of life by guiding others to be good citizens/neighbors than he ever might have done by being a famous attorney.

December 2 1966 NY Times Archive:

ON my honor, I will do my best to keep a trust-worthy head, a loyal hand on my typewriter and a helpful, friendly spirit in my heart while writing this review of Walt Disney’s latest pep picture, “Follow Me, Boys!” But I must warn, it’s going to take some doing, and my best may not be quite enough. So be prepared.For Mr. Disney’s contribution to the incoming Christmas show, which includes the traditional Nativity Pageant, at the Radio City Music Hall is such a clutter of sentimental blubberings about the brotherhood of the Boy Scouts and indiscriminate ladling of cornball folksy comedy that it taxes the loyalty and patience of even a one-time ardent member of the Beaver Patrol.

One wonders what sort of horror it may course current 12-year-olds.The strain of it isn’t just in seeing Fred MacMurray playing the role of a tirelessly gung-ho scoutmaster in a small town as though he himself were a self-elected victim of arrested development. That’s a conventional discomfort for which the viewer should be prepared by the introduction of Mr. MacMurray as a member of a band of allegedly over-aged collegiate musicians touring the provinces in a bus, with Ken Murray, looking all of 60, as the leading collegian.What is most painful and embarrassing is the picture this film gives of the American small town as a haven for television-type comedians having themselves a fine time with a routine of rancid clichés.Who is the country-store keeper who gives Mr. MacMurray a job but Charles Ruggles, gentle old codger with a fine stock of licorice sticks. Who is the rich old lady with the eccentric ways but Lillian Gish, offering her valuable land for a Boy Scout camp because that’s where her two deceased sons used to play. And who is the nasty nephew who wants to declare her incompetent but Elliott Reid, popular heavy from several of Mr. Disney’s picture and television shows.Mixed up in their smalltown environment is a mess of parental types who are only a shade less hackneyed than their improbable sons. Considering my oath above, it grieves me to have to report that one is a drunk—a thick-tongued, maudlin widower—who dies along the way and leaves a stouthearted son who is adopted by Mr. MacMurray and his childless wife, Vera Miles. And it also grieves me to have to tell you that this lad, valiant though he is, has to undergo extreme community censure for a minor accident caused by another boy.But so it is in this splashy, sprawling picture, which is as artificial as its brightly colored sets and every bit as superficial as its lump-in-the-throat sentiments. That said, it’s only fair to inform you that the first audience yesterday morning at the Music Hall (made up largely, it appeared, of older people) was chuckling and sniffling all through the film. Maybe that bit of information will testify to the sincerity, if not the fulfillment, of my oath.The glitter of Christmas decorations is dominant in the stage show that completes the program. The highlights are a “Snowflake”‘ ballet, featuring the solo dancers Lawrence and Carroll, and a colorful dancing-dolls number by the lively Rockettes. The Brandt Brothers do a conventional teeterboard turn, and the finale is a dazzling jack-in-the box spectacle.

Follow Me Boys on Turner Classic Movies

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Follow Me, Boys! (1966) Follow Me, Boys! (1966) Follow Me, Boys! is a 1966 family film produced by Walt Disney Productions.