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“The Lion King” Franchise: Concepts, Themes, and Characters Essay (Movie Review)

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The Lion King sequel comprises of three movies including Lion King, the Lion King II: Simba’s Pride, and Lion King 1 ½. In Lion King, Simba is the heir to the Pride lands kingdom and Mufasa his father is getting old, but Mufasa’s brother, Scar is jealous of his brother so he befriends Simba to manipulate and deceive him. There is a strain of violence as illustrated in the death of Mufasa, Simba’s father in a wildebeest stampede.

The aesthetic effect of the animation at this point of the movie is truly impressive and it took two years to create it. The end result is a very intensified depiction of the theme of violence and terror as the wildebeests make the sound of rolling thunder and the viewer ends up feeling the terror and anxiety that Simba must have felt at that point.

This effect is also manifest in the illustration of hungry hyenas (including the graphic display of how one is scratched in the cheek) that were scavenging for food and which scared Simba and his friends. In addition, when the lions fight each other, it gets a little scary and the climax of this is when Scar’s throat is split open. There is a series of sad sequences, and evil characters, throughout the movies, for instance, Scar, Zira, his wife, and the hyenas. However, there is also hope, love, and familial responsibility.

Earlier in 2011, there was a theatrical rerelease in 3D, which further intensifies the initial reflections of different effects in the above scenes. The movies teach poignant moral lessons on the need for communication in a family setting. They also provide insight into the general misconception held by youth and children on the ideal nature of living a life without any worries “Hakuna Matata”. The lesson is that worries are there to motivate people to work harder and strive to achieve excellence.

Simba is a nice role model to children. He develops from a deviant, frightened, and insecure cab at the start of the movie into a typical youth whose dream is to live a stress-free life, and finally to a responsible adult willing to correct his past mistakes and reclaim his dignity while saving his kingdom. Revenge is also evident throughout the movie. There are several catchy songs throughout but they become excessive such as when one song spans more than one scene at some point.

In some aspects, Lion King is almost adult movie disguised by the childish characters. This is so because there are several instances of sexual innuendo, violence, stereotype, and gender-role reinforcement. In that regard, it is not healthy for children in their formative years as it may retard healthy development.

In Lion King, 1 1/2 Timon, (meekat) and Pumba (warthog) are hilarious characters. There are also very graphic scenes such as the eating of various colorful bugs including snails and slugs. This third sequel is rather a backdoor leading into the first story. It is Pumba’s and Timon’s version and is quite hilarious. The graphics in this sequel are equally amazing, for instance, where Timon’s tunnels keep on collapsing right after he completes them and the rest of the meekat always laugh at him.

The movie also features amazing voice-overs including Whoopi Goldberg and James Earl Jones. Lion King II: Simba’s Pride revolves around the theme of revenge whereby Zira, Scar’s wife seeks revenge on Simba and conceives a plan to kill him by training her cub Kovu for the task. The idea is to make Kiara, Simba’s daughter fall for Kovu, thus, exposing Simba’s vulnerability and then killing him.

This plan almost works out until Kovu really falls for Kiara and he cannot go along with the initial plan. At this point, Zira opts to take on Simba herself but she fails as both Kovu and Kiara are there to help Simba to win. The character development in Lion King is commendable. The themes are also very engrossing and they tell of power struggles, love, patience, endurance, growth, and maturity. Overall, it was a well-done animation movie.

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The Lion King Summary, Characters and Themes

The Lion King is a classic Disney animated film (with a board book adaptation) about a young lion named Simba. 

After his father, Mufasa, is murdered by his evil uncle, Scar, Simba flees his home. He eventually grows up, embracing his destiny as the rightful king. With the help of his friends, Simba returns to challenge Scar and reclaim his rightful place as the leader of the Pride Lands. The film is known for its themes of family, responsibility, and the cycle of life, as well as its iconic music.

In the heart of the African savanna, the Pride Lands are ruled by the wise and noble King Mufasa. He and his queen, Sarabi, proudly present their newborn heir, Simba, to the kingdom’s animal subjects. 

Guided by his father and the eccentric shaman Rafiki, Simba learns about the delicate ‘circle of life’ and his future responsibilities as king.

Mufasa’s embittered brother, Scar, consumed by envy and a lust for power, plots to eliminate both Mufasa and Simba. 

He tricks Simba and his friend Nala into visiting a forbidden elephant graveyard, where they’re attacked by Scar’s hyena henchmen. Mufasa bravely rescues the cubs, but Scar’s next scheme proves fatal. He lures Simba into a canyon and triggers a deadly wildebeest stampede, then throws Mufasa into the chaos to his death.

Scar manipulates the grief-stricken Simba, making him believe he caused his father’s demise, and orders him to flee. Lost and alone, Simba nearly perishes before being rescued by the carefree meerkat Timon and the warthog Pumbaa. 

They teach Simba their “Hakuna Matata” (no worries) philosophy , and he grows up embracing a life without responsibility.

Years later, Simba’s childhood friend Nala, now a young lioness, stumbles upon him. She reveals the desolate state of the Pride Lands under Scar’s tyrannical rule, where drought and famine prevail. 

Nala urges Simba to return and reclaim his birthright, but he’s haunted by guilt and refuses.

Rafiki, with his wisdom, helps Simba realize Mufasa’s spirit lives on within him. Simba then encounters Mufasa’s ghost, who reminds him of his true destiny as king. Galvanized, Simba resolves to challenge his uncle and restore balance to the kingdom.

Back at Pride Rock, Simba confronts Scar, who attempts to rekindle Simba’s guilt over Mufasa’s death. 

Yet, the truth emerges: Scar was the true murderer. 

Enraged, Simba forces his uncle to confess before the pride. A fierce battle erupts as Simba, Nala, Timon, Pumbaa, Rafiki, and the lionesses fight the hyenas. Simba corners Scar, who pleads for mercy but is ultimately banished. Scar’s betrayal leads the vengeful hyenas to turn on him.

With Scar defeated, Simba ascends to his rightful place as king. Rain returns, revitalizing the Pride Lands. Life flourishes once more as Simba and Nala welcome their own cub, held aloft by Rafiki for the kingdom to see. The circle of life continues, demonstrating triumph over adversity and the enduring power of legacy.

Simba embodies the classic coming-of-age story. He begins as a playful, eager cub, filled with youthful arrogance and a desire to prove himself. Mufasa’s death and Scar’s manipulation shatter his world, leaving him guilt-ridden and lost. Simba’s exile with Timon and Pumbaa showcases his ability to adapt and find joy, even in difficult circumstances. 

Yet, he remains haunted by the past. 

His encounter with Nala and Rafiki forces him to confront his responsibilities. 

Simba’s final battle with Scar isn’t just about reclaiming the throne, but about conquering his internal demons. 

His transformation into a mature and responsible king highlights themes of self-discovery, forgiveness, and the enduring power of legacy.

Mufasa represents the ideal ruler: wise, strong, and compassionate. He understands the delicate balance of the “circle of life” and teaches Simba about his role within it. 

Mufasa is a loving father, gently guiding Simba while instilling the importance of duty. His tragic death becomes the catalyst for Simba’s journey, and his memory serves as Simba’s guiding light in his darkest moments. 

Mufasa’s influence lives on through his son, symbolizing the lasting impact of a virtuous leader.

Scar is fueled by jealousy, resentment, and a twisted desire for power. Unlike Mufasa, he sees the kingdom as a means to satisfy his own ambitions and disregards the natural order. 

He is cunning, manipulative, and willing to do anything to achieve his goals, Scar’s insidious nature is highlighted by his exploitation of Simba’s innocence and his betrayal of his own family. 

He embodies the dangers of unchecked ambition and serves as a stark contrast to Mufasa’s benevolent leadership.

Nala is brave, independent, and loyal. She recognizes the Pride Lands’ decline under Scar’s rule, prompting her to seek help from Simba. 

Her love for Simba serves as a beacon of hope, reminding him of his home and his true identity. 

Nala isn’t just Simba’s love interest; she’s a strong character who actively challenges Scar and helps reclaim the kingdom.

Rafiki is the eccentric sage who guides Simba with wisdom and a touch of mystical playfulness. 

He understands the connection between the past, present, and future, and recognizes Mufasa’s spirit living on in Simba. Rafiki acts as a catalyst for Simba’s self-discovery, aiding in his understanding of his destiny and his place in the ‘circle of life’.

Timon and Pumbaa

This inseparable duo provides comic relief and an important lesson for Simba. Their “Hakuna Matata” philosophy represents a carefree approach to life, focused on avoiding problems and worries. 

While this gives Simba a chance to heal and temporarily escape his past, it also contrasts with his responsibility as king. 

However, Timon and Pumbaa’s unwavering loyalty and friendship ultimately help Simba return to his path, highlighting that a life of fulfillment requires embracing both joy and responsibility.

Zazu is a stickler for the rules and tradition, representing order and duty within the Pride Lands. He’s often exasperated by Simba’s youthful antics and serves as a reminder of the expectations placed on a future king. 

His loyalty to Mufasa continues after the king’s death, and his defiance of Scar shows his commitment to the rightful order of the kingdom.

Shenzi, Banzai, and Ed

These hyenas are Scar’s henchmen, driven by hunger and a desire for power. They operate as a unit, their cackling laughter emphasizing their villainous nature. 

They represent opportunistic chaos, exploiting Scar’s rule to destabilize the natural harmony of the Pride Lands. 

Their eventual demise underscores the consequences of greed and blind obedience.

The Circle of Life

The concept of the ‘circle of life’ is the heart of The Lion King’s philosophy. 

It emphasizes the interconnectedness of all living beings, the balance between life and death, and the understanding that every creature plays a vital role in the grand scheme of existence. 

Mufasa teaches Simba about respecting this delicate balance, and how a true king understands his place within it. Scar’s reign disrupts the circle of life, leading to drought and famine, highlighting the consequences of disregarding natural order. 

When Simba reclaims his throne, he re-establishes this balance, restoring harmony and prosperity to the Pride Lands.

Responsibility and Legacy

Simba’s journey is fundamentally about embracing responsibility. 

As a young cub, he’s eager to be king but doesn’t yet comprehend the weight of that role. His exile allows him to escape responsibility, but also leaves him unfulfilled. 

Through his encounters with Nala and Rafiki, Simba realizes he cannot run from his past or his destiny. By confronting Scar and reclaiming his throne, he accepts the mantle of leadership passed down from his father. 

The Lion King explores the importance of fulfilling one’s duty and the enduring impact a person’s actions can have on future generations.

Facing the Past and Finding Redemption

Guilt and trauma over Mufasa’s death plague Simba, leading him to believe he’s unworthy of being king. Scar exploits this vulnerability, making Simba feel responsible for his father’s demise.

Simba’s growth depends on confronting his past, acknowledging his pain, and ultimately forgiving himself. This struggle mirrors real-life experiences of loss and grief. The film doesn’t shy away from difficult emotions but ultimately offers a message of hope and healing. 

Simba’s act of confronting Scar is not only about reclaiming the throne but also reclaiming his own sense of self.

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The Lion King, Essay Example

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Introduction

Animated films, especially those produced by Disney such as  The Lion King,  function as cultural texts that can be analyzed through an anthropological prism. Wells (1998) contended that “The idea that animation is an innocent medium, ostensibly for children, and largely dismissed in film histories, has done much to inhibit the proper discussion of issues concerning representation” (Wells, 1998, p.187). Anthropologists can discern the contested values and beliefs that pervade American culture by elucidating the cultural politics ingrained in Disney’s animated films. Such a process of uncloaking necessitates exploring beyond the surface for any and all cultural messages that evince undergirding tensions and persistent contradictions and paradoxes. Doing so enables anthropologists to ascertain counter-hegemonic tropes and themes, particularly related to the intersectionality of class, gender, sexuality, race, ability and the nation (Harris, 1994).  The Lion King  was released in 1994 and experienced cataclysmic success, as it was quite popular among children, ascertaining alternatives to the hegemonic understanding of the film such as how the film represents ideas about masculinity and femininity as well as the various representation of race, especially how black people are limned and how such renderings evince racists stereotypes.  As a result, rather than proffering an authentic portrayal of African culture,  The Lion King  reflects various stereotypes attached to race and gender in western societies in order to pander to western audiences so that it could achieve blockbuster status even as an animated film in various markets.

The Lion King is an animated film produced by Disney as the thirty second feature film in the classic Disney films. It takes place in Africa in the kingdom of the lions, clearly conveying various biblical and literary influences. The film narrates the story of a young lion named Simba who is supposed to succeed Mufasa, his father, as the ruler over this kingdom. Unfortunately, greed overtakes Scar, Simba’s uncle, who murders Mufasa at the beginning of the film and therefore usurps the throne. Simba, still very young, is manipulated into believing that he is responsible for the murder of his father, which is why he flees into voluntary exile as a result of his angish, humiliation, shame, and deep-seated despair. Simba thus grows up alone and comes of age residing with two wastrels free of worries, which the motto “hakuna matata” translates to. Simba gains significant insight and perspective from Nala, who is his friend since childhood, and Rafiki, his shaman, before he returns to the kingdom of lions to challenge the authoritarian rule of Scar. After a violent scuffle between Simba and Scar and his hyenas, Simba assumes the throne of the kingdom, which had deteriorated in Simba’s absence. Pride Rock thus returns to its former greatness, enable the circle of life to persist.

The representation of gender: patriarchal mores

The Lion King  portrays a gender order that is steeped in patriarchal leadership and family, as the characters who ruled over Pride Rock are all males. The lionesses, conversely, are all forced to accept a more secondary and subjected role to their male counterparts, and hunting is the only way they could become somewhat stronger than the lions. Nonetheless, the lions demand that the lionesses go hunting, which thereby strips the lionesses of their autonomy. Following Mufasa’s death and Scar’s ascendance to the throne at his own behest, the lionesses had the opportunity to get rid of Scar if they decided to do so, yet their identity throughout their entire lives was demarked by dependency. as a result, the lionesses have no sense of independence or ability to resist the hegemonic patriarchal order firmly embedded in the portrayed culture. While this construction of femininity is aligned with traditional renderings of gender in western cinema, it is interesting to assess how masculinity is constructed within the portrayed culture. In  The Lion King,  masculinity is a socio-cultural construction in a world where manhood is something that is learned and performed rather than being biologically intrinsic. At the outset of the film, Mufasa, Simba’s father, is killed when Simba is still very young. As a result, Simba must grow up without a father or strong, male influence, away from his mother. As a cub who grows up alone, it appears that Simba is vulnerable to harm, yet he finds solace in his friendship with Timon and Pumba. When he reaches adulthood, Simba exactly resembles his father, who is viewed as a paragon of masculinity demarked by his power and muscularity. At the end of the animated film, Scar and Simba get into an explosive altercation, which conveys that masculinity in this portrayed culture is represented through animals anthropomorphically (Wells, 1998, p. 190). The lions assume the stance of bipedal humans, as they are upright on their two hind feet and attack each other in the same way that humans do when they are in a fist fight.

The representations of femininity and manhood in The Lion King is quite problematic due to the fact that it clearly privileges patriarchy, as only sons of kings were able to inherit the throne and reign over the kingdom. Feminist critics point to the fact that such a depiction eschews how lions actually behave in their natural habitat, as lionesses occupy the most important roles in how lions societies are actually structured. The film diminishes the potent role of lionesses by merely framing them as the love interests of the male characters, such as Nala and Simba. Other female characters seemingly cease to exist in the portrayed world. The title of the film itself intimates that male lions are supreme and that male authority is at the apex of the kingdom, and male lions as kings emerge as patriarchal tropes.

The representation of race: reinforcing western racial scripts

Another significant anthropological representation in  The Lion King  is that of race and how Disney pandered to western audiences by perpetuating various stereotypes that are intrinsically racist. Although the cultural fabric in the Western world during the twentieth and twenty-first centuries promote multiculturalism, films provide cultural texts in which criticism about the construction of race has germinated. Disney has taken concerted efforts to portray race in an authentic and healthy manner, yet  The Lion King  perpetuates racist stereotypes that have pervaded western discourses for many centuries. The presence of the hyenas becomes problematic as they viewed as members of indigenous or subaltern cultures who are bottom feeders and appear mangy bullies who torture Simba. These hyenas are portrayed by non-white actors, which intimates that Disney, while perhaps done intentionally, limn African Americans and other members of subaltern races not as humans but as animals. Indeed, the hyenas resemble a feckless street gang that reflects the nefarious intentions of minorities such as Hispanics and African Americans. Such notions pervade western discourses about members of subaltern races, especially those of African descent. In addition, the antagonist of the film and Simba’s sinister uncle, Scar, has dark-colored fur, unlike the other lions who have bright golden fur. This seemingly irrelevant observation nonetheless suggests that darker colored skin people–i.e. Africans and African Americans–are cast as evil and are the villains not only in fictive narratives but also in real life.

“The Circle of Life,” which is the opening song of this animated film and its lyrical content demonstrate Disney’s incapacity to depict Africa in an authentic manner and covers up the overt unwillingness to portray black people, especially Africans, as human beings (Byrne & McQuillan, 1999, p. 101). Indeed, this theme song commences with clearly African vocals, yet the instruments are not African in origin. Rather, they sound quite western and was devised by white musicians. The scenery in the opening scene does not look authentically African, as there are very few signifiers of African culture and geography, especially since English is the language used throughout the film rather than any African dialect. Despite portraying African culture, American actors and the English language are deployed in the film, which subtly accentuates the hegemony of American culture and society over Africa. Benshoff & Griffin (2009) argue that the baboon, Rafiki, shares a likeness with the African deity Eshu who is charged with the responsibility of safeguarding travelers and is blamed for the misfortunes or fortunes that creatures endure (Benshoff & Griffin, 2009). Although Rafiki is a lauded character in the animated film. he nonetheless comports himself in a half-crazed, reckless, foolish, and bizarre manner. These traits are often used to describe Africans and African Americans in western discourses. There is also overt disrespect and denigration of African cultures and tradition. When Zazu reminds Simba that his friend Nala would eventually become his wife, Simba retorts that once he assumes the kingship, that custom will be nullified. Although it is hard to discern whether such racial representations were intentional or not by Disney production members, as progenitors of cultural products, hyper vigilance must be adopted because audience members are only exposed to the final products rather than the intentions of the producers.

Various epochs are always stigmatized by particular discursive representations of gender and race, among other critical cultural constructions. The Lion King continues to be highly criticized for its representation of gender and race, as it reproduces western stereotypes and scripts through its portrayal of African culture and society. Patriarchy and a strenuous form of manhood is presented as ideal in his film, which eschews the actual behaviors of Africans and the prominent role of African lionesses in their social structure. More poignantly, the representation of race in the film is problematic for reproducing pejorative western stereotypes about Africans and African culture, especially in the portrayal of African characters as animalistic rather than human.

Benshoff, H. & Griffin, S. (2009).  America on film: Representing race, class, gender, and sexuality at the movies . Chichester: Wiley-Blackwell.

Byrne, E. & McMullan, M. (1999). D econstructing Disney . London: Pluto Press.

Harris, J. E. (1994). Stereotyping for fun and profit.  Christopher Street.

Sweeney, G. (1995) ?What Do You Want Me to Do, Dress in Drag and Do the Hula??: Pumbaa and Timon’s alternative lifestyle dilemma in Disney?s  The Lion King . S eventh Annual  Society of Animation Conference , University of North Carolina at Greensboro

Wells, P. (1998).  Understanding animation . London: Routledge.

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The Lion King: the Realm of the Wild essay

All through the Lion King Disney cartoon one can observe the beauty of African landscapes: jungles, deserts, plains and many more. The nature is depicted through lively colors and amazing animated sunsets. The very first sequence gives a tone for the remainder of the movie. One can observe a marvelous sunrise and a vast variety of animals that move over shadowy plains passing spectacular waterfalls with a multitude of flamingos. All of the animals are approaching the rock to give honors to the newly born lion king who is to rule all ranks of creatures. The sequence shows how chivalrously the animals bow to honor the new ruler. Africa in this motion picture is depicted as a splendid landscape where all sorts of animals live and interact with each other. The theme park depicted in the movie is comprised not only of all sorts of plants and animals, but the whole objective world. This is how nature is improved upon in this animation.

Nature here forms the entire content as the film itself is meant to be about wildlife and landscape in particular. It is significant to mention that this movie combines a vision of Arica as total wilderness and complete absence of human characters (Finch 90). Another way of how Disney improved upon the nature lies in the fact that this movie is somewhat uneasy in relation to such natural aspect as the circle of life. Although it clearly shows that it is possible and natural for a lion to eat other animals, there are a number of jokes in regard to the food chain. Thus, the meals of Pumbaa and Timon are nothing else than brightly colored beetles and worms. This is what makes their eating habits different from the real world animals. And hyenas in the Lion King are the only characters that are depicted as eating other animals. However, taking into account that hyenas in the movie are shown as living in shadowy and dark places, they are defined as being something opposite to natural. In fact, many aspects of nature in the movie including certain characters and places are seen as unnatural.

The concept of family in this Disney’s cartoon is of great importance both in relation to the target audience and as a major factor of the corporation’s worldview. Family in this movie plays a central role as this animation is itself family oriented. It is highly appealing to children and instills the instincts of protection in parents. Parents and their children watch the Lion King together and this movie makes them think of all the pains of separation. The importance of family is the key point of the Lion King animation. It narrates about how the child is becoming adult and emphasizes the role of a father in the up-bringing of a son (Forgacs 369). Disney focuses on the fact that a father plays a crucial role in the way a son becomes mature and gradually enters the adult world. This aspect of father-son relations is vividly depicted throughout the whole movie.

One of the most important family related aspects of the movie is the introduction of the period of adolescence lived through by a child as an individual experiencing certain crisis. It reflects the personal journey of a young child who faces a number of challenges and deals with various family related problems. The crisis is viewed as not touching upon the splits within the family, but rather emphasizing the very fear of the separation from the family and the fear of living in a non-complete family with only a single parent (Forgacs 370). It raises an anxiety related to the absence of the role model of masculinity in case of the single motherhood. The Lion King is a reflection of all these concerns and fears, thus emphasizing the importance of the masculine role model and the need of reconstructing the distorted family union. This is a significant social problem that exists even in the contemporary society. The Lion King focuses on a number of common concerns in regard to family crisis with a special emphasis on the relationship between a father and a son.

Furthermore, the Lion King provides a strict hierarchical structure of animal ranks. Lions in this movie are presented as kings of the whole animal community. However, Simba’s father and uncle are depicted in a different way. The movie focuses on the depiction of physical attributes of the muscular and powerful father of Simba who rules over the whole animal world and his skinny uncle who governs the violent hyenas as outcasts of the animal community (Myers 47). The world of the Lion King is strictly structured, not only in relation to patriarchy, but the general hierarchically divided society which is based upon the life circle with the lions above all animals bearing the power of the kings. The movie is focused not only on the depiction of physical attributes of the lions, but also the hierarchical roles they play within the society. Thus, the Lion King exemplifies the conflict of powers that results in the victory of the greater good.

Disney’s animation depicts the hierarchy where hyenas are viewed as outcasts of the society. They are a kind of a street gang that lives beyond the life circle. However, their leader is the lion as a representative of the upper class. This hierarchical conflict penetrates the whole narrative showing the clash between good and evil power. Uncle of Simba is viewed as evil, while his father exemplifies good. These two powers struggle against each other reflecting the eternal conflict between good and evil. The Lion King shows that the followers of the Simba’s uncle Scar are stupid and violent cowards. This is added with the effect of the movie’s authoritarian hierarchy existing in the natural world. The natural hierarchies include those of the position in society and those exemplifying gender differences (Schickel 152). On the basis of these hierarchies, the morals and values are vividly depicted throughout the movie. In this regard, it needs to be said that the perception of the environment has greatly changed over time and the Lion King movie shows a totally different attitude to the natural world and wildlife.

The visual imagery of the Lion King represents the culmination of realistic aesthetics in animation that started with the introduction of Bambi, Snow White and True Life adventure series in the 1930s. All of Disney’s animation movies rely on the live-action tendencies which are the signature of the traditional realistic narrative. The three-dimensional characters, depth of short, movements of characters and zooms in Bambi, Life True adventures series and the Lion King follow two tendencies that are the simplicity of graphics and the thoroughly detailed naturalism (Myers 47). All this is what makes these movies so reflective of each other. The previous portrayal of the wildlife in Disney cartoons was somewhat simpler but at the same time more natural. In this regard, the Lion King differs from the previously released Disney animations.

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You're Talking Like a Song from the Lion King: Essay

The Lion King the Musical

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• Dec 16, 2020

Life Lessons from the Lion King

The Lion King became one of our favorite films not just because of its ability to present the realities of life… love, loss and learning through a pride of lions, but also because of those damn catchy musical numbers! Who else couldn’t stop humming Hakuna Matata for weeks after watching? But let’s focus on the message and not the music for a second because the real Disney magic comes from the ability to weave some important life lessons into the fabric of a feel-good film.

In a typical ‘what did you learn from the Lion King’ article we would start off with the most obvious take-away from the film, Hakuna Matata. It means no worries for the rest of your days. And yet this is often the life lesson I approach with caution, because the reality is that we all carry worry in our lives. I am yet to meet a single person who can confidently say they are worry free.

The good part about that (yes there is one!) is that it goes to show no matter who we are, what we have, where we live or what job we do, we will all have moments of feeling worried, anxious or uncertain about something in our lives. And in many ways, this can be strangely comforting. It always proves to me that we are never alone, no matter what it is, someone somewhere will be thinking the same.

But before I part ways with Timon and Pumba I will say this. I think the true essence of their life lesson is that not all things deserve our worry. For example, when we find ourselves feeling anxious or unsure about everything and anything in life it can leave us feeling stuck or frozen. This is very often when we begin to feel overwhelmed and that’s the kind of worry that I think Timon and Pumba want to us to stop. The worry we carry over things we have no control over.

If on the other hand we feel anxious about an upcoming test for example, that’s a normal reaction to something important. It’s what we do with the worry that makes all the difference. If feeling anxious about doing well on the test means that we put together a study schedule and commit to spending 2-hours per day revising, then the worry has been the nudge we needed to invest time and energy into something that’s important to us.

So, what is Lion King life lesson number two. Running away doesn’t solve anything. Whilst I would love to tell you that you might meet a meerkat and a warthog, and you might also have some wonderful sing-a-longs while you’re hiding from the world, the reality is never quite so magical. Running away from our problems whether literally or through the avoidance of people, conversations and situations doesn’t feel great. And we know that much like Simba, sooner or later we will have to face what we have run from.

We can all resonate with the reason Simba runs away, and the reason he stays away for as long as he does. Fear. Facing up to issues and problems can be scary, but one of the things that the Lion King taught us is that whatever it is we need to face is never as scary as we thought it would be and…. leading me perfectly into life lesson number 3. We have so many more people willing to help us than we realize!

How many times have you gone into full ostrich mode when life has got tough, only to realize two things? Firstly, the time you spent in ostrich mode would have been way better spent tackling the issue you were worried about. Okay maybe the first day under the duvet was a welcome relief, but when we get to the 5th day there, I think we can all agree that the initial relief is usually replaced with more anxiety than the problem itself. Secondly, at the point you asked for help you were surprised at the number of people who were willing to be your Nala.

We all have Nala’s in the world, those people who are there no matter how long it’s been since we’ve seen them, and who always have our best interests at heart. But life lesson number 4 is making sure we know the difference between a Lion and a Hyena. There are some people in our lives, much like the hyenas in Simba’s story, who unfortunately don’t have our best interests at heart.

When life feels hard it can be easy to feel unsure of which decision to make and who to turn to. And whilst it would be awesome if that answer could come in the form of Mufasa nestled in the clouds above us providing direction and guidance, what’s actually more awesome is that we don’t need it. We carry those answers inside ourselves. You see, when Mufasa appears to Simba he isn’t saying anything Simba doesn’t already know deep down.

The Lion King was so much more than a sing-along with Simba and his pals. In fact, the last lesson takes us full circle, back to the place where Simba was first presented to us the viewer. Pride Rock.

Because what really sits at the heart of the Lion King story is the ability to forgive ourselves for the past, the mistakes we have made and the things we can’t change, and look to the future with pride at how far we’ve come on our journey, and how much more there is to learn and experience in the world around us.

Don’t take it from me, take it from Rafiki;

“The past can hurt. But from the way I see it, you can either run from it or learn from it.”

Maria Laquerre is a licensed Marriage and Family Therapist, who specializes in addressing trauma with clients of all ages. Maria has practiced therapy in New Mexico since her return in 2008. Maria's current passion is supporting therapists in doing their best clinical work, which she pursues through offering supervision, consultation and trainings. Maria enjoys spending time with her family, watching Star Wars and Marvel movies, discussing the psychology of pop culture and loves a good book!

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New 'Mufasa: The Lion King' trailer released at D23: Watch here

A new trailer for "Mufasa: The Lion King" arrived Friday.

Disney shared the new look at the highly anticipated Barry Jenkins-directed film, a prequel to "The Lion King," at D23.

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1st look at star-studded 'mufasa: the lion king' trailer: watch here.

A first look at the film debuted exclusively on "Good Morning America" in April.

Aaron Pierre voices Mufasa in the new film. James Earl Jones voiced Mufasa in previous "Lion King" movies.

Other new cast members include Kelvin Harrison Jr., who voices Taka (aka Scar), and Anika Noni Rose, who voices Mufasa's mother Afia, among others.

John Kani, Seth Rogen, Billy Eichner, Donald Glover and Beyoncé Knowles-Carter are reprising their roles from the 2019 live-action "Lion King" remake as Rafiki, Pumbaa, Timon, Simba and Nala, respectively.

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Beyoncé was 'mom first' alongside daughter Blue Ivy in 'Mufasa,' director says

Notably, the "Texas Hold 'Em" singer's eldest child, daughter Blue Ivy Carter, is voicing Kiara, Simba and Nala's daughter.

"The journey of this film is kind of understanding how someone can build a family out of these very disparate parts," Jenkins told "GMA" in April.

The "Moonlight" director added that it's also about "how people who may be alone can find strength by coming together."

"Mufasa: The Lion King" is set to release in theaters on Dec 20.

Disney is the parent company of ABC News and "Good Morning America."

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Home — Essay Samples — Literature — Macbeth Power — The Lion King and Macbeth: An Analysis

The Lion King and Macbeth: an Analysis

• Categories: Art History Literature Review Macbeth Power

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Published: Mar 16, 2024

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Character parallels, plot developments, underlying messages.

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The Lion King Is Getting Its Own Attraction and Area at Disneyland Paris' Disney Adventure World

The attraction will follow simba's story from cub to king..

The Lion King will be getting its own attraction and a new area called Pride Lands at Disneyland Paris' Disney Adventure World.

This new attraction will take guests to the caverns beneath Pride Rock and "bring you alongside Simba's journey from cub to king - it's going to feel like you stepped right into the movie."

The new area of the park - Pride Lands - will have dining, shopping, and a "chance to meet some favorite characters. While we didn't learn much more about the attraction, the art you can see above shows young Simba, Pumbaa, Timon, and Rafiki looking seemingly on at an older Simba standing on the edge of Pride Rock.

This is big news for The Lion King fans, especially as it falls on its 30th anniversary. To learn more about this beloved film, you can check out our retrospective about the Disney Classic right here, told in part by those who brought it to life.

For more, check out our recap of all the big Disney Parks news from the Disney Experiences Showcase, including new Villains and Monsters, Inc. lands and attractions based on Coco, Iron Man, Indiana Jones, Encanto, and so much more.

Adam Bankhurst is a writer for IGN. You can follow him on X/Twitter @AdamBankhurst and on TikTok.

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"Mufasa: The Lion King" closed the D23 evening with director Barry Jenkins giving details about the "Lion King" prequel out in December. The all-new story introduces Mufasa (voiced by Aaron Pierre) as an orphaned cub, lost and alone until he meets a sympathetic lion named Taka (Kelvin Harrison Jr.).

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